Entertainment
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.
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”?
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.
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.”
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.
Janine (Quinta Brunson), left, and Dee (Kaitlin Olson) in the crossover episode. (Gilles Mingasson/Disney)
“Sunny’s” Charlie Day in one of the “Abbott” classrooms. (Gilles Mingasson/Disney)
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.
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.
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.”
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)
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)
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.
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.
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.
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.
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.
Brunson: I wonder which one.
Movie Reviews
Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

That’s both a promise and a challenge she delivers, since what follows may rub some viewers the wrong way. Yet Gyllenhaal’s full-throttle commitment to her vision is compelling in and of itself, and she has marshalled an absolutely smashing-looking and -sounding production. The story proper begins in 1936 Chicago, which, like everything and everyplace else in the movie, has been luminously shot by cinematographer Lawrence Sher and sumptuously conjured by production designer Karen Murphy. Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical. Its Frankenstein (Christian Bale), who has taken the name of his maker, is obsessed with big-screen tuners, and imagines himself in elaborate song-and-dance numbers. (Considering the reception to JOKER: FOLIE À DEUX, one must applaud the daring of Warner Bros. for greenlighting another expensive film in which a tormented protagonist has that kind of fantasy life.)
THE BRIDE! may be revisionist on many levels, but its characterization of its “monster” holds true to past screen incarnations from Karloff’s to Elordi’s: His scarred appearance masks a lonely soul who desires companionship. Frankenstein has arrived in Chicago to seek out Dr. Cornelia Euphronious (Annette Bening), correctly believing she has the scientific know-how to create an appropriate mate for him. Rather than piece one together, Dr. Euphronious resurrects the corpse of Ida (Jessie Buckley), whose consorting with underworld types led to her brutal death. Previously chafing against the man’s world she inhabited in life, she becomes even more defiant and unruly as a revenant, apparently possessed by the spirit of Shelley herself, declaiming in free-associative sentences and quoting rebellious literature.
Buckley, currently an Oscar favorite for her very different literary-inspired role in HAMNET, tears into the role of the Bride (who now goes by the name Penny) with invigorating abandon that bursts off the screen. Unsure of her identity yet overflowing with self-confident bravado, she’s the opposite of the sensitive “Frank,” but they’re united by the world that stands against them. That becomes literal when a violent incident sends them on the lam, road-tripping to New York City and beyond, on a trail inspired by the films of Ronnie Reed (Jake Gyllenhaal), Frank’s favorite song-and-dance-man star.
With THE BRIDE!, Gyllenhaal has made a film that’s at once her very own and a feverish homage to all sorts of cinema past and present. It’s a horror story, a lovers-on-the-run movie, a crime thriller, a musical and more, and historical fealty be damned if it makes for a good scene (as when Penny and Frank sneak into a 3D movie over a decade before such features became popular). In-references are everywhere: It might just be a coincidence that the couple’s travels take them past Fredonia, NY (cf. “Freedonia” in the Marx Brothers’ DUCK SOUP), but it’s certainly no accident that the former Ida is targeted by a crime boss named Lupino, referencing the actress and pioneering filmmaker whose works included noirs and women’s-issues stories. Penny’s exploits lead legions of admiring women to adopt her look and anarchic attitude, echoing the first JOKER (while a headline calls them “Twisted Sisters”), and the use of one Irving Berlin song in a Frankensteinian context immediately recalls a classic comedic take on the property.
Whether the audience should be put in mind of a spoof at a key point in a film with different goals is another matter. At times like these, Gyllenhaal’s pastiche ambitions overtake emotional investment in the story. As strong as the two lead performances are (Bale is quite moving, conveying a great deal of soul from behind his extensive prosthetics), it’s easier to feel for them in individual scenes than during the entire course of the just-over-two-hour running time. The diversions can be entertaining, to be sure, but they also result in an uncertainty of tone. The dissonance continues straight through to the end, where the filmmaker’s choice of closing-credits song once again suggests we’re not supposed to take all this too seriously.
There’s nonetheless much to admire and enjoy about THE BRIDE!, and this kind of risk-taking by a major studio is always to be encouraged (especially considering that we’ll see how long that lasts at Warner Bros. once Paramount takes it over). Beyond the terrific work by the aforementioned actors, there’s fine support from Peter Sarsgaard and Penelope Cruz as detectives on Penny and Frank’s heels, with Sandy Powell’s lavish costumes and Hildur Guðnadóttir’s rich, varied score vital to fashioning this fully imagined world. Kudos also to makeup and prosthetics designer Nadia Stacey and to Chris Gallaher and Scott Stoddard, who did those honors on Frank, for their visceral, evocative work. Uneven as it may be, THE BRIDE! is also as alive! as any film you’ll likely see this year.
Entertainment
These 3 Disney movie songs, animated with sign language, are headed to Disney+
New animated sequences of songs from “Encanto,” “Frozen 2” and “Moana 2” are headed to Disney+.
Disney Animation announced Wednesday that “Songs in Sign Language,” comprised of three musical numbers from recent Disney movies newly reimagined in American Sign Language, will debut April 27 in honor of National Deaf History Month.
Directed by veteran Disney animator Hyrum Osmond, “Songs in Sign Language” will feature fresh animation for “Encanto’s” chart-topper “We Don’t Talk About Bruno,” “Frozen 2’s” poignant ballad “The Next Right Thing” and “Moana 2’s” anthem “Beyond.” Produced by Heather Blodget and Christina Chen, the new versions of these songs were created in collaboration with L.A.-based theater company Deaf West Theatre.
“In the majority of cases, we created entirely new animation,” Osmond said in a press statement. “There were a lot of adjustments that we had to do within the animation to be true to the original intention.”
Deaf West Theatre artistic director DJ Kurs, sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West worked together to craft and choreograph the ASL version of the musical numbers for “Songs in Sign Language.” The creatives focused on being true to the concepts and emotion of the songs rather than direct translations of the lyrics.
Kurs said his team jumped at the chance to collaborate and integrate ASL into “the fabric of Disney storytelling.”
“Disney stories are the universal language of childhood,” Kurs said in a statement. “The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”
Osmond, who led a team of more than 20 animators on this project, said animation was the perfect medium to showcase sign language, which he described as “one of the most beautiful ways of communication on Earth.” The director, whose father is deaf, also saw this project as an opportunity to connect with the Deaf community.
“Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad,” Osmond said. “This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”
Movie Reviews
Maxime Giroux – ‘In Cold Light’ movie review
(Credits: Far Out / Elevation Pictures)
Maxime Giroux – ‘In Cold Light’
The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.
The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.
Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.
Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.
Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.
As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.
The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.
The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.
The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.
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