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The gang goes to 'Abbott': How Quinta Brunson and Rob McElhenney made a crossover episode

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The gang goes to 'Abbott': How Quinta Brunson and Rob McElhenney made a crossover episode

There was a moment during the filming of the “Abbott Elementary” and “It’s Always Sunny in Philadelphia” crossover episode that blew Quinta Brunson’s mind. It was the first scene where the core casts of both shows were in the same room.

“The initial moment of all of us on set just rocked me to my core,” said Brunson, star and creator of “Abbott,” in a joint interview with her “Sunny” counterpart, Rob McElhenney. “You have to understand because I’m a fan — it was crazy to see all of you in the school.”

The very idea of putting these two shows together is a somewhat crazy idea that just happens to work. “Sunny” is the profane FXX series that’s set at an Irish dive bar and has been on the air for nearly 20 years. “Abbott” is ABC’s heartwarming breakout hit about the teachers at an underfunded public school, now in its fourth season. But they are both set in Philadelphia, which gave their creators the idea to do an old fashioned crossover, the likes of which used to happen on “Happy Days” and “Laverne and Shirley.”

The first part of the event is scheduled for the midseason return of “Abbott” on Jan. 8. It finds the gang of Paddy’s Pub forced to do community service at Abbott Elementary, a logical explanation for how a bunch of criminals end up around children. It will be followed later by a “Sunny” installment featuring the “Abbott” teachers that concludes the story — the 17th season of “Sunny” recently wrapped production.

Brunson and McElhenney got on a video call with the Los Angeles Times to discuss the process of bringing it all to life.

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This conversation has been edited for length and clarity.

“The initial moment of all of us on set just rocked me to my core,” said Brunson, creator and star of ABC’s “Abbott Elementary,” with “Sunny” star and creator McElhenney.

(Marcus Ubungen/Los Angeles Times)

Quinta, what was your first experience with “Sunny”?

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Quinta Brunson: Even though I was from Philly, I hadn’t actually watched. I came from a very Christian background where that show just could not have been on in my house. So it wasn’t until college — my freshman year in college — and I was in a dorm with my friend Lauren, who is [the person with whom] I discovered all my oddball humor things. We were big into Adult Swim, just the things we weren’t allowed to watch at home. And she was like, “Have you ever watched ‘Always Sunny?’ ” I was like, “You know what, despite being from here, no, I haven’t.” We binged, and it was hard to binge at that time. We’d torrent — sorry — the show from a website nonstop, and I think we watched seasons, at that point, maybe like one through seven. Wait, what are you on now?

Rob McElhenney: 47.

Brunson: No, I didn’t say your age. I said what is the season count.

McElhenney: 17.

Brunson: I couldn’t stop, and I thought it was insane and amazing. It made me proud. It’s how we feel about the Four Seasons. I was like, “I cannot believe this is in my city.” There’s a Four Seasons hotel in Philly that’s incredible. Sorry, just whatever. Anyway, keep going.

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McElhenney: We should shill for the Four Seasons because it’s one of the greatest hotels I’ve ever been in.

How did the crossover start to come together?

Brunson: We met at the Emmys. And Rob and the whole “Always Sunny” team had just finished doing a presentation. The theme was TV shows throughout history. They went up there, which was honestly incredible to see. I think you guys made a joke about never having won an Emmy.

McElhenney: Yeah, the premise was TV shows from the past and we were like, “But we’re in the present. Why are we here?”

Brunson: Then I won an Emmy that night, which was really, really cool. And the first people I see backstage was them, and it couldn’t have been more fitting. The first person I saw was Bradley Cooper because he FaceTimed me, and that was right before we were going to film his episode, to say congratulations. Then I run into them, and so I was just having the most Philly [night]. It was so beautiful. I think the Eagles were playing at that time. It just was really gorgeous. Never met them before. Rob and Kaitlin [Olson, who is married to McElhenney and co-stars in “Sunny,”] had told me that they watched “Abbott,” which just made my heart very warm. I think we very quickly said it: “Our shows should cross over one day.”

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McElhenney: We continued the conversation at the upfronts. Then it moved quickly past just an aside or a joke, and we started pitching back ideas right there.

A woman in a pink and purple striped dress high-fives a blonde woman in a blue and white striped sweater and jeans.

Janine (Quinta Brunson), left, and Dee (Kaitlin Olson) in the crossover episode. (Gilles Mingasson/Disney)

A man in a green jacket stands in a classroom as a child looks at him from her desk.

“Sunny’s” Charlie Day in one of the “Abbott” classrooms. (Gilles Mingasson/Disney)

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Was it just you two initially in the pitching process?

McElhenney: It was the two of us [and we] just had a basic premise, which would allow us to make both shows and have them feel authentic because obviously they are different styles of show and two different tones. But if we told the same story through two different tones, as seen through the lens of “Abbott,” and then as seen through the lens of “Sunny,” then we could satisfy both audiences. And then because there will be, I’m sure, a lot of people who have never seen “Sunny” before, that will see “Abbott” …

Brunson: And vice versa.

McElhenney: We wanted to make sure that we were making a show that would work for both of them. Once we kind of keyed in on that, it seemed like we could make it work. Then we got the go-ahead from Disney legal, which was a very important part of the process.

And then Charlie [Day] and I went into the “Abbott” [writers’] room and spent the day there.

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Brunson: What was nice was they got it and [were] just such giving creators and so willing to get into the world. It was a dream. I’d work with them any day of the week, anytime. When they left, we were like, “That was really nice. It was really fun.” It’s not the most common experience in the world.

Was it always the idea to do one episode of “Abbott” and one of “Sunny”?

McElhenney: I think that’s what we keyed in on very early. That would be the most fun because we get to play the same characters in the tone of “Abbott,” and they get to play the same characters from “Abbott” in the tone of “Sunny.” That’s what will allow us to satisfy the authenticity of each show but then also stretch and do something different.

“Abbott” is a mockumentary so how did that affect how you would play the “Sunny” characters, Rob?

McElhenney: That’s what allowed for us to still be authentic and step into the world of “Abbott” because these characters are going into a school and they’re constantly monitored by cameras, so they would put on an act. If we’re not acting the way that our “Sunny” characters would, it’s because we know we’re being filmed and we’re putting it on the show. We might not use the same language. We might not make our intentions so obvious or known. We might not be wearing our id on our sleeves. Conversely, when they came over to us, we thought it would be fun to see what their characters would be like when the bell rings and the cameras are not on them.

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Brunson: Our documentary is being filmed because they’re seeking funds for their school. So you’re going to put, probably, a better version of yourself. Then there are some characters who fit the same in both worlds, like Melissa and Ava, because they’re never really putting on for the camera. I think they’ve done something so masterful, not giving anything away, just with Dee [Olson’s character]. To me, when I first read it, I was like, “This adds another layer to all of this, that if you are a fan of both shows, you are going to have the time of your life.”

A close-up portrait of a woman with short dark hair smiling.

Brunson: Our documentary is being filmed because they’re seeking funds for their school. So you’re going to put, probably, a better version of yourself.” (Marcus Ubungen/Los Angeles Times)

A close-up portrait of a man in an orange shirt holding his hand to his chin.

McElhenney: “If we’re not acting the way that our ‘Sunny’ characters would, it’s because we know we’re being filmed and we’re putting it on the show.” (Marcus Ubungen/Los Angeles Times)

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The idea of “Sunny” characters being even remotely near a school is somewhat horrifying. How was that part of your initial discussion?

McElhenney: I feel like we came to that within three minutes of us sitting.

Brunson: I remember we talked about bigger Philadelphia events, right? But it also was: Why are we doing this if we’re not seeing them in the school environment? That’s what really feels fun. When you actually see them lined up in our school, it’s like, “Whoa.” Our show would need volunteers. They would have to be volunteering for the reason that they’re volunteering.

How did you think about matching the different characters?

McElhenney: I wanted to be with Janelle [James, who plays principal Ava]. I said that from the very beginning. I feel like she’s one of the funniest people on television right now. No offense to Quinta.

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Brunson: I feel the same way. None taken.

McElhenney: I also feel like her character fits best with what we do on “Sunny.” I think it’s also her form of comedy is my taste as well. But I just feel like she’s so unbelievably funny, and I just wanted to be in a room with her for a few days.

A woman with long dark hair looks at a man in a gray hoodie holding out his hands.

McElhenney said he wanted to be paired with Janelle James, who plays Ava on “Abbott.” “I feel like she’s one of the funniest people on television right now.”

(Gilles Mingasson/Disney)

Brunson: I think the other matches came pretty organically. I didn’t set out to be in scenes with Kaitlin, but when it all panned out, I was like, “Oh my God, I get to do so many scenes with Kaitlin. I think Kaitlin’s incredible. I think she’s one of the most underrated comedic actresses. I think people should talk about her every single day,” and then getting to perform with her, I’d stand by that 10 toes down now. She’s so good. But when I found out I got to be in scenes with her as Dee — I was over the moon. Once again, this is where the “Sunny” stuff comes in handy — remembering that [both characters] went to [the University of Pennsylvania] — it was stuff like that that goes, “Oh my God, this is just naturally turning into something very, very, very good.” I think the other key pairing was Charlie and Barbara, which is probably one of my favorite pairings in the world. That becomes this beating heart, which is sweet because our show does have heart.

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And the fact that it still got to have it in this episode in a way that I didn’t even predict. Those scenes moved me. They did.

Did you always know that “Abbott” would air its crossover first?

McElhenney: I think just by nature of the schedule. In some ways, you look at the “Abbott” episode, and it stands on its own, and it’s so great, and it’s a fully realized story. But then when you see our episode, it feels like it’s almost like a giant setup, and then this is the punchline. But then you can watch them in either order, and they both make sense.

Dennis, played by Glenn Howerton, is elusive in the “Abbott” episode. Not to spoil anything, but will things you tease in “Abbott” come to fruition in “Sunny”?

Brunson: Dennis is the key.

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McElhenney: Yes. So when you see the “Sunny” episode, you’ll realize why we did that with Dennis.

Was there anything that you were like, “We should save this for the ‘Sunny’ episode. Like ABC standards and practices isn’t going to like this, but FX will be fine with it?”

McElhenney: There’s a joke in your episode that I cannot believe is going to make the final cut. Did I see the final cut?

Brunson: You did.

McElhenney: I cannot believe that that joke was made on your show.

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Brunson: I wonder which one.

Movie Reviews

Roll On 18 Wheeler: Errol Sack’s ‘TRUCKER’ (2026) – Movie Review – PopHorror

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Roll On 18 Wheeler: Errol Sack’s ‘TRUCKER’ (2026) – Movie Review – PopHorror

I am a sucker for all those straight-to-video slasher movies from the 90’s; there was just a certain point where you knew the acting was terrible, however, it made you fall in love. I can definitely remember scanning the video store sections for all the different horror movies I could. All those movies had laughable names and boom mics accidentally getting in the frame. Trucker seems like a child of all those old dreams, because it is.

Let’s get into the review.

Synopsis

When a group of reckless teens cause an accident swroe to never speak of it.  The father is reescued by a strange man. from the wreckage and nursed back to health by a mysterious old man. When the group agrees to visit the accident scene, they meet their match from a strange masked trucker and all his toys with revenge on his mind.

Roll on 18 Wheleer

Trucker is what you would imagine: a movie about a psychotic trucker chasing you. We have seen it many, many times. What makes the film so different is its homage to bad movies but good ideas. I don’t mean in a negative way. When you think of a slasher movie, it’s not very complicated; as a matter of fact, it takes five minutes to piece the film together. This is so simple and childlike, and I absolutely love it. Trucker gave us something a little different, not too gory, bad CGI fire, I mean, this is all we old schlock horror fans want. Trucker is the type of film that you expect from a Tubi Original, on speed. However, I would take this over any Tubi Original.

I found some parts that were definitely a shout-out to the slasher humor from all those movies. Another good point that made the film shine was the sets. I guess what I can say is the film is everything Joy Ride should have been. While most modern slashers are trying to recreate the 1980s, the film stands out with its love for those unloved 1990’s horror films. While most see Joyride, you are extremely mistaken, my friend; you will enjoy this film much more.

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In The End

In the end, I enjoyed the entire film. At first, I saw it listed as an action thriller; I was pleasantly surprised, and Trucker pulled at my heart strings, enveloping me in its comfort from a long-forgotten time in horror. It’s a nostalgic blast for me, thinking back to that time, my friends, my youth, and finding my new home. Horror fans are split down the middle: from serial-killer clowns (my side) to elevated horror, where an artist paints a forty-thousand-year-old demon that chases them around an upper-class studio apartment. I say that a lot, but it’s the best way to describe some things.

The entire movie had me cheering while all the people I hated suffered dire consequences for their actions. It’s the same old story done in a way that we rabid fans could drool over, and it worked. In all the bad in the world today, and my only hope for the future is the soon-to-end Terrifier franchise. However, the direction was a recipe to succeed with 40+ year old horror fans like me. I see the film as a hope for tomorrow, leading us into a new era.

Trucker is set to release on March 10th, 2026

 

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Review: In ‘American Classic,’ Kevin Kline and Laura Linney deliver a love letter to theater

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Review: In ‘American Classic,’ Kevin Kline and Laura Linney deliver a love letter to theater

The lovely, funny “American Classic,” premiering Sunday on MGM+, is a love letter to theater, community and community theater. Kevin Kline plays Richard Bean, a narcissistic stage actor. He’s famous enough to be opening on Broadway in “King Lear,” but he has to be pushed onstage and is forgetting lines. After he drunkenly assails a hostile New York Times critic — caught on video, of course — he’s suspended from the play, and his agent (Tony Shalhoub) advises him to get out of town and lay low until the heat’s off, as they used to say in the gangster movies.

Learning that his mother (Jane Alexander, acting royalty, in film clips) has died, Richard heads back to his small Pennsylvania hometown, where his family — all actors, like the Barrymores, but no longer acting — owns a once-celebrated theater. To Richard’s horror, it has, for want of income, become a dinner theater, hosting touring productions of “Nunsense” and “Forever Plaid” instead of the great stage works on which he cut his teeth.

Brother Jon (Jon Tenney), running the kitchen at the theater, is married to Kristen (Laura Linney), Richard’s onetime acting partner, who dated him before her marriage; now she’s the mayor. Their teenage daughter, Miranda (Nell Verlaque) — a name from Shakespeare — does want to act and move to New York, as her mother had before her, but is afraid to tell her parents. Richard’s father, Linus (Len Cariou), is suffering from dementia, though not to the point he won’t actively contribute to the action; every day he comes out again as gay.

Across the eight-episode series, things move from the ridiculous to the sublime. Richard’s attempt to stage his mother’s funeral, with her coffin being lowered from the ceiling, while “Also sprach Zarathustra” plays and smoke billows toward the audience, fortunately comes to naught; but he announces at the ceremony that he’ll direct a production of Thornton Wilder’s 1938 play “Our Town” at the theater, to “restore the soul of this town.” (His big idea is to ignore Wilder’s stage directions, which ask for no curtain, no set and few props, with a “realistic version,” featuring a working soda fountain, rain effects and a horse.) Fate will have other plans for this, and not to give away what in any case should be obvious, the title of the play will also become its ethos, with a cast of amateurs, including Miranda’s jealous boyfriend, Randall (Ajay Friese), and ordinary people standing in for the ordinary people of Wilder’s Grover’s Corners.

The series has a comfortable, cushiony feeling; it’s the sort of show that could have been made as a film in the 1990s, and in which Kline could have starred as easily in his 40s as in his 70s; it has the same relation to reality as “Dave,” in which he played a good-hearted ordinary Joe who takes the place of a lookalike U.S. president. The town is essentially a sunny place, full of mostly sunny people, to all appearances, a typical comedy hamlet. But we’re told it’s distressed, and Mayor Kristen is in transactional cahoots with developer Connor Boyle (Billy Carter), who wants clearance to build a casino on the site of a landmark hotel. (Much of the plot is driven by money — needing it, trading for it, leaving it, losing it.) He also wants his heavily accented, bombshell Russian girlfriend, Nadia (Elise Kibler), to have a part in “Our Town.”

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As in the great Canadian comedy “Slings & Arrows,” set at a Shakespeare Festival outside of Toronto, themes and moments and speeches from the play being performed are echoed in the lives of the performers, while the viewer experiences the double magic of watching a fine actor playing an actor playing a part. Kline, of course, is himself an American classic, with a long stage and screen career that encompasses classical drama, romantic and musical comedy and cartoon voiceovers; the series makes room for Richard to perform soliloquies from “Hamlet” and “Henry V,” parts Klein has played onstage. He brings out the sweetness latent in Richard. Linney, who played against her sweetheart image in “Ozark,” is happily back on less deadly ground (though she’s tense and drinks a little). Tenney, who was sweet and funny on “The Closer,” and who we don’t see enough of these days, is sweeter and funnier here, and gets to sing. (All the Beans will sing, except for Linus.)

As a comedy, it is often predicable — you know that things will work out, and some major plot points are as good as inevitable — but it’s the good sort of predictability, where you get what you came for, where you hear the words you want to hear, ones you could never have written yourself. “American Classic” is not out to challenge your world view in any way but wants only to confirm your feelings and in doing so amplify them. Shock effects are fine in their place — and to be sure there are major twists in the plot — but there is a certain release when the thing you’re ready to have happen, happens, whether it brings laughter or tears. Either is welcome.

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‘Scream 7’ Review: Ghostface Trades His Metallic Knife for Plastic in Bloody Embarrassing Slasher Sequel

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‘Scream 7’ Review: Ghostface Trades His Metallic Knife for Plastic in Bloody Embarrassing Slasher Sequel

It’s funny how this film is marketed as the first Scream movie in IMAX, yet it’s their sloppiest work to date. Williamson accomplishes two decent kills. My praise goes to the prosthetic team and gore above anything else. The filmmaking is amateurish, lacking any of the tension build and innovation in set pieces like the Radio Silence or Craven entries. Many slasher sequences consist of terribly spliced editing and incomprehensible camera movement. There was a person at my screening asking if one of the Ghostfaces was killed. I responded, “Yeah, they were shot in the head; you just couldn’t see it because the filmmaking is so damn unintelligible.” 

Really, Spyglass? This is the best you can do to “damage control” your series that was perfectly fine?

I’m getting comments from morons right now telling me that I’m biased for speaking “politically” about this movie. Fuck you! This poorly made, bland, and franchise-worst entry is a byproduct of political cowardice.

The production company was so adamant about silencing their outspoken star, who simply stated that she’s against the killing of Palestinian people by an evil totalitarian regime, that they deliberately fired her, conflating her comments to “anti-semintism,” when, and if you read what she said exactly, it wasn’t. Only to reconstruct the buildup made in her arc and settle on a nonsensical, manufactured, nostalgia-based slop fest to appeal to fans who lack genuine film taste in big 2026. To add insult to injury, this movie actively takes potshots at those predecessors, perhaps out of pettiness that Williamson didn’t pen them or a mean-spirited middle finger to the star the studio fired. Truly, fuck you. Take the Barrera aspect out of this, which is still impossible, and Scream 7 is a lazy, sloppy, ill-conceived, no-vision, enshittification of Scream and a bloody embarrassment to the franchise. It took a real, morally upright actress to make Ghostface’s knife go from metal to plastic. 

FINAL STATEMENT

You either die a Scream or live long enough to see yourself become a Stab.

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