“We had come to rely on TV for escapism and connection, so we felt a sense of purpose as we fought to finish our season.' Sera Gamble, co-creator of “You,” on making TV during the pandemic, chronic content overload and what else television’s future holds.
At the height of Los Angeles’ brutal January Covid outbreak, I sat in my kitchen at 1 a.m., drinking coffee to stay alert for the on-set rehearsal being livestreamed to my iPad. As I texted with the director, ambulance sirens announced another patient headed to an overwhelmed ER.But even a pandemic couldn’t suck all the fun out of making TV. Sure, we were working within a complex, quickly evolving world-wide crisis, but at least we got to use our imaginations all day long.
The essential question of our time: “Do we need to drive to this?” We’ve perfected our Zoom game: ring-lit, cute from the waist up, unwilling to endure rush hour for a logistics meeting ever again. We’re taking a hard look at what’s become the norm, because we need to fix what’s gone too far. This conversation is bigger than whatever went wrong on any one set. And it isn’t going away.The story’s always been about Hollywood exporting entertainment world-wide. As for what we watch at home, when some other country made amazing TV, Hollywood would buy it to make the “American version.” The thinking went: Domestic audiences will reject subtitles, dubbing, “foreignness.
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