Gloria Calderón Kellett’s remake of Norman Lear’s One Day at a Time had quite a journey. It earned critical raves when it premiered on Netflix in early 2017 for reimagining the family at its heart: whereas the original had revolved around Bonnie Franklin’s redheaded Ann Romano, now the divorced single mom was Penelope Alvarez (Justina Machado), a Cuban-American veteran living in east L.A. with her two teen kids and her fabulous mother, Lydia (Rita Moreno). After three beloved seasons, Netflix cancelled the show. A short fourth season landed on PopTV in 2020, but the show was officially cancelled — again — late last year.
But there is good news for fans who may just now be coming out of mourning: the first series developed under a deal Kellett made with Amazon premieres this week. With Love tells the story of the Diaz family — specifically, their many and varied romantic entanglements — through five different holidays; fittingly given its premiere date of December 17, the season kicks off at the family’s Christmas Eve celebration. How much hassle is daughter Lily (Emeraude Toubia) going to get from her aunts about her recent breakup? Will her brother Jorge Jr. (Mark Indelicato) successfully fool his abuela (Renee Victor) into believing he actually went to midnight mass? And how can Gladys (Kellett) tell that her sister Beatriz (Constance Marie) isn’t currently having sex with her husband Jorge Sr. (Benito Martinez)?
Decider spoke to Kellett this week about how the holiday format suggested itself; how Catholic observance may look in 2021; and portraying a family that looks like America.
DECIDER: TV loves an intergenerational family love story — shows like Parenthood and This Is Us. What made you want to tell the Diazes’ story as a series of mini-movies rather than a more traditional weekly series?
Gloria Calderón Kellett: Well, I always want to see people that look like my family thriving on TV. We haven’t gotten a ton of opportunities to see this through the Latino lens. And so for me, that’s always where the story is going to be centered in some capacity. This came to me last year — literally this time last year. I was facing the holidays and realizing we weren’t going to get to see family again, and it was going to be two years in a row. I wanted the hugs and the food and the music and the dancing and the joy, frankly. This really came out of missing all of that fun, missing all of the cousins and the stories and the gossip and us connecting, especially as adults. It seems like we’re really only getting together for weddings and funerals and holidays — holidays being the time where it’s a little bit less pressure and less heightened.
It really came out of that. I thought about Christmas, and that there are so few Latino Christmases depicted on TV. We really celebrate the night before; we celebrate Christmas Eve. I haven’t really seen that reflected, and I thought, “It could be fun to start there.” And then I thought, “Oh gosh, but there’s so many fun New Year’s traditions that I also have never seen on TV, and it’d be so fun to show those,” and then it was, “Well, but the show’s about love. We should do Valentine’s,” and then it just really bloomed out of that. It just became a holiday show, or at least a heightened day where these people come together for something. “Let’s go to Amazon and ask them if they’ll let me do it.” They were gracious enough to say yes.
Chemistry among a cast can make break or break a project. How much more challenging is it to get the mix right when your cast is as big as With Love‘s?
Well, I really do my homework with cast. There is a common thing that happens these days called “offer-only,” where certain talent does not audition because they have a body of work. I get it, they have a body of work that is impressive and shows what they can do. I always go to agents and say if they want to work with me on something, I have to meet with them. It’s a partnership. I’m spending more time with them than I spend with my actual family when we’re in production. I need to make sure that they understand how I work, that they’re good with that, that I see what they can do and that this is a collaboration — and that everyone is kind and lovely because I think of all the other actors involved.
With all my actors, I call people that they’ve worked with to make sure that they’re kind and generous and know their lines and show up on time and don’t throw tantrums. I do all of that because it’s really important to me that everyone on my set feels comfortable to do the best work that they can do and have a great time doing it. We’re breathing rarefied air, getting to tell stories like this. It’s not lost on me for one moment that I get to do this for a living. We should all be here with a similar purpose: it’s not about ego, it’s about trying to come together in love and kindness to tell a story about love and kindness.
As the series creator, you potentially could have cast yourself in any role. Did you always intend to play Gladys?
I didn’t. I knew I would do something in the show because I always like to pepper myself in, but I waited until Season 3 of One Day at a Time to jump in. I have these fun aunties, and I was pitching a lot of jokes for Gladys. My co-executive producer, Andy Ross, was like, “Well, you obviously have to play Gladys.”
Gladys is the opposite of me. I met my husband when I was 16 years old. He’s my one and only. I’ve been with him for more than half my life. So to play somebody who was so comfortable and confident and has found the love of her life and it’s herself, and is having a really glorious time during the holidays and is a woman in her 40s and has no shame — it was liberating, to be honest. I didn’t realize how much I needed to play Gladys at the time, but it was a blast.
I feel like the single viewer will especially appreciate not only that Gladys, as you say, clearly states she’s happy with her life as a single person, but also that the show never sells her out by giving us a moment of her private pain or something.
No, she’s out there telling everyone else, “I think you all look crazy.”
It seems like it was important to you to include characters who were in a wide range of life stages, sexual orientations, gender expressions. How do you make sure that you’re bringing the viewer along with those stories without being didactic?
Well, that’s the tricky part. It’s something that we think about a lot. I try to come to it in the most organic way possible, which is that my family has more than one queer person in it. We don’t talk about their LGBTQI status, we just talk about, “Hey, what’s going on? How’s the girlfriend? How’s the boyfriend?” When somebody’s been out for 15 years, it’s not a headline. So I wanted the show to feel like that — like these are all people for whom any trauma that has occurred is in their rearview mirror, and all that’s left is love and kindness. That’s kind of how I filled out the world: what does it look like at my family functions? Who is there and how can I reflect that in the closest way possible? My favorite cousin, Yuki, she’s half Japanese, half Cuban and a scientist and an amazing woman that lives in San Francisco. When we come together, we become 14-year-olds again, talking about all the fun stuff. That’s my reality. It’s not like, “Oh, I really wanted just Asian people on the show.” No, that’s in my family. And I think it’s what a lot of families look like, but you don’t see it often on TV. As America is growing and changing, let’s reflect the reality.
How was it to shoot so many love scenes amid COVID safety protocols?
Well, Amazon was great. We were testing pretty much daily, and on set, it was rigorous. We had masks and shields, and then we would take everything off just for the scenes themselves, making sure everyone had been tested that day and that we had solid results. Also, the cast was just kind in terms of “Hey, let’s not go out and see people and go to parties.” And everyone really had a great respect for one another. We wanted to make one another feel safe and feel good. I had small children at the time, one of whom could not get vaccinated yet when we were shooting in July. People were respectful of that, too. They’re good people who care and who followed the rules. Thankfully, we were all able to stay safe and felt comfortable during production.
Another thing we’re hearing a lot about with regard to love scenes on screen is intimacy coordinators. Did you have one on the production?
We did, the amazing Sasha! Yes, we had a wonderful intimacy coordinator. She would talk through the scenes with us. I learned a lot, because this is my first time writing love scenes. My initial take was, “I’ll just write ‘then they have sex,’ and then I’ll talk to the actors and see what they’re comfortable with.” Sasha was so great because she was like, “Hey, Gloria, it’s uncomfortable for them to decide what they’re doing, actually, so it’s better actually for you to write a very specific scene. ‘This happens, this happens.’ Choreograph that scene, then I can bring it to them and say, ‘Are you comfortable with all of this?’” It didn’t occur to me. She was gentle and kind.
The production was very female-gaze; it was all women. My DP was female, all my directors were female. We really were super, super, super-gentle in terms of reaching out to the actors and making sure that they felt comfortable and proceeding when they did. I thought Sasha was terrific. I would recommend her to anyone.
The difficulties of reconciling the tenets of Catholicism with modern life, basically, is a theme that runs through the series. Were you nervous at all about wading into matters of faith that potentially could be contentious?
No, because I deal with those in my life. I did that on One Day at a Time, too. I grew up in a very Catholic but very loving household. When I’d spend the night at Christina Choi’s house, they were Buddhist, my parents would say, “Oh, go to temple. We’ll pick you up after.” When I went to Leslie Eisenberg’s house, it was, “Oh, take her to temple, take her.” So I went to different houses of faith growing up, and I thought, “Oh my gosh, Catholics are the best. We’re so accepting of all these other religions!” I didn’t know until I was 14 that other Catholic families didn’t do that.
And I’m really lucky to have the parents I had, who wanted to show me, “Look how similar all of us are.” And there were friends I had who were atheist, friends I had who were agnostic. I was always just taught about love and kindness, and that those were the real Ten Commandments. All of those things, I’m still on board with. My own journey of reconciling: “Well, I like all this stuff, but all the patriarchy and homophobia, can we drop that? That doesn’t seem very loving or very accepting.” As I’m figuring out my own journey, I write about it. Like I said, I have LGBTQ members in my family, and they’re loved and supported. We love them, and anyone who had an issue with it certainly does not show it anymore.
I like the conversation. I like saying, “Here’s why I think this is nonsense. And here’s the stuff that I think is really lovely and helpful and that I appreciated about growing up that way. Can we meet one another somewhere in the middle?” I’m still somebody who loves a lot of people who are die-hard Catholics; I’m more of a salad-bar Catholic. The stuff that I like I think is absolutely wonderful. But I don’t want the jalapeños. I don’t need garbanzo beans. They’re not helping me.
It felt also very intentional that one of the characters who’s explaining the value of staying in the church is Sol [a trans character played by Isis King], who you might expect to feel the opposite.
Correct. I was very moved by conversations I’ve had with members of the queer community who are religious.”How do you… How?” Because a lot of my friends are still Catholic or still Christian or faith is a big part of their life.”How do you reconcile it?” And they were like, “Because all the other stuff is great.” It’s the manmade, patriarchal, white supremacist stuff that’s nonsense. These are really complicated conversations that I’m happy to have. If I can slip them into a romantic comedy, then I love doing it.
Speaking of which: there is a joke early on about the horror that would ensue if someone came home and told their Latino family that they were a socialist. Might politics be a topic that could get explored more in a future season?
If it comes up organically. I think that at these holiday get-togethers, you try to steer clear. I’m not going after my Trump-supporting relatives when I see them at the wedding because it’s 24 hours, so take it easy, Gloria. It’s not the time to try to change their minds. I have people in my family who think vaccines are nonsense. Not the time, today’s not the day. Obviously, people know that I’m a liberal, but I love a lot of people who aren’t. What does that look like? I think we need healing and we need to try to meet one another where we are. The political divide is becoming a wider and wider chasm. I feel like there’s a lot that we also agree on, so we can maybe have a conversation through culture and through work where we’re able to remember that we all love our kids, we’re all trying to do better by them. We want the world to be different. We have very different ways of defining how best to do that, but if we’re just fighting all the time, nothing’s going to get done. That’s not interesting to me.
So I’m trying to make the world kinder and better now. If I can, I try to meet people where they are now and say, “Look, I’m not perfect, but I’m pretty blessed, happy, and full of joy, so I think I’m doing some things right. Let’s talk about where you are and what makes you angry and what frustrates you, and see how we can come together on some of this stuff, so that we can all have a better time on the planet while we’re here.”
The show is set in Portland, where you have lived. Which aspects of life in the city did you especially want to highlight in portraying it?
There were a lot of things I didn’t actually get to hit on that I wanted to just because we had so little time and so many characters that we wanted to service. My family in Portland: a lot of them have chickens. That’s such a thing there. The city now, it’s so cool. It was not that cool when I was growing up there. It was green and it was beautiful and it was lush. You had four seasons. It was really magical as a place to grow up. You can also get a lot of bang for your buck there. It’s not like California where a million dollars gets you a shoebox.
More than anything, I wanted Portland as the setting because whenever I tell people I’m from there, they were like, “Oh, there’s Latinos in Portland?” And I was like, “Yeah. Yeah, we’re everywhere.” And I want to start normalizing that we’re not just in L.A., New York, and Miami. It was more about that: let’s show that we are everywhere. And I’m not saying there’s a lot of us there. In fact, I make a joke in the pilot about it. But we are there, and in many of these cities. I know that because when I do canvassing for voting — because you know they always come after Latinos last; I’m always trying to get Latinos to come out and vote — every city that we go has a large Latino population that is helping to turn the vote. I just wanted them to be seen and know that we know that they’re everywhere.
You have other work on the go right now. What can you reveal about The Horror of Dolores Roach?
We did complete the pilot, and we are waiting with bated breath to see if Amazon is going to pick it up to series. That’s starring Justina Machado, who I worked with, of course, on One Day at a Time, and I adore her. That’s with the Blumhouse and Spotify. It’s a really incredible creative team. Aaron Mark wrote the play seven years ago with Daphne Rubin-Vega; then they turned it into a podcast that was very popular. Now, we’re hoping to make it as a series. It’s fun, and it also takes this sort of penny-dreadful story and modernizes it. It’s telling a story about the prison-industrial complex and what it does in terms of petty marijuana crimes. Dolores Roach goes to prison for marijuana, and then she comes out and now you can get weed at the Apple Store because white people own it. She’s given her life to this thing and she has anger, and she deals with that anger…not so well. It’s kind of fun to have a Walter White character that’s Latino.
And a woman!
Exactly. That’s a really fun one. We hope to know about it soon. And then the other, Verona: the pilot is in and we are waiting to hear about next steps on that. Glowing Up is an animated series of Amazon. We’re waiting to hear on that; they’re they’re working on the pilot now. And then I have a movie at HBO Max with Natasha Rothwell called We Were There Too. It was a crime that we got paid to write together; we got away with something. We had so much fun. We have to get notes, but we’re very close, and we’re hoping that we can be in production on that next year, with Greg Berlanti producing. Lots going on. Very exciting time.
So busy. I hope you can take a little time off with the holidays so close!
Yeah. I’ll take a little bit of time off, but I love what I do. I love it. I’m not digging ditches. There’s so many people, essential workers and teachers and people that are really in the thick of it, and I get to be a storyteller. I take it very seriously and I try to do it joyfully so that when they come home from their hard days, they have something to put a smile on their face.
What was the most formative show for you, that shaped how you think as a writer or the stories you want to tell?
It was probably the ’80s sitcoms, Family Ties and Who’s the Boss. The Cosby Show, A Different World. I just saw myself in those worlds with funny people, sitting around a couch, talking. Those were the families that were warm and inviting and wonderful. I longed so much for my family to be on those couches. Now, I get to do that, so it’s great.
And what is your favorite show at the moment?
Succession. I’m not even mad that it’s all white people: they’re all so awful, I’ll allow it. It’s so great, so great. Also, I’ve got to give love to Insecure because Natasha [Rothwell], she’s my favorite actress too, so I can’t believe I get to work with her and that she’s my friend because she’s so funny and brilliant and wrote beautiful episodes and directed this season. I’m just so proud of her and I love her so very much.
Television Without Pity, Fametracker, and Previously.TV co-founder Tara Ariano has had bylines in The New York Times Magazine, Vanity Fair, Vulture, Slate, Salon, Mel Magazine, Collider, and The Awl, among others. She co-hosts the podcasts Extra Hot Great, Again With This (a compulsively detailed episode-by-episode breakdown of Beverly Hills, 90210 and Melrose Place), Listen To Sassy, and The Sweet Smell Of Succession. She’s also the co-author, with Sarah D. Bunting, of A Very Special 90210 Book: 93 Absolutely Essential Episodes From TV’s Most Notorious Zip Code (Abrams 2020). She lives in Austin.
Sports world reacts to John Madden’s death
Legendary NFL coach and broadcaster John Madden died Tuesday morning at 85, the NFL announced. News of the football icon’s passing hit Twitter on Tuesday evening, and athletes, coaches and broadcasters from across the sports world reacted.
Fellow broadcasting legend Dick Vitale, who is currently battling cancer, called Madden “the greatest analyst of all time of any sport” in his Twitter tribute.
Former Yankees pitcher and notable Raiders fan CC Sabathia said “your legacy will live forever.” Madden coached the then-Oakland Raiders from 1969-78, a couple of years before Sabathia, a Vallejo, California native, was born. Lakers star LeBron James had similar words about Madden’s lasting legacy, adding an infinity emoji.
Former tennis star and social justice activist Billie Jean King recalled meeting Madden as a “privilege.”
Radio voice of the Rangers Kenny Albert, a five-sport broadcaster who’s been with FOX Sports since its inception in 1994, shared a photo circa 26 years ago to remember Madden.
ESPN’s Bomani Jones took a bit of a shot at current color commentators, noting that Madden “set an unreachable standard.”
Frank Caliendo, who’s made a career out of impersonations, including one for Madden, said he was surprised how emotional he felt.
Several football players, and others, including Saints running back Mark Ingram II and former Cowboys receiver Dez Bryant, credited Madden with being part of the reason why they love football.
Rams wide receiver and NFL MVP contender Cooper Kupp quote the late coach in his tribute: “The road to Easy Street goes through the sewer.”
Miles McBride’s Knicks role will lessen with Kemba Walker’s resurgence
MINNEAPOLIS — The Knicks got back another body in rookie point guard Miles McBride, who was cleared from protocols Tuesday and rejoined the team in Minnesota.
But there is no longer any hype for the rookie’s return. Kemba Walker is back as the starting point guard and coming off winning Eastern Conference Player of the Week honors with four standout games, including his Christmas Day spectacular. The Knicks have gone 2-2 since Walker regained the starting job.
“It’s great,’’ coach Tom Thibodeau said. “He had a great week. He’s playing great basketball. The team winning helps him get recognized and he was a big part of driving that winning. It’s great for the team.’’
McBride was also spectacular in his last outing before getting COVID-19, when he played the entire second half Dec. 16 in Houston and seemingly earned a spot in the rotation. In fact, McBride had strung together two decent outings before he was ruled out. But things have changed since his emergence and McBride is likely back to being a bit player.
Without a practice, McBride wasn’t even expected to see time when the Knicks faced the Timberwolves to kick off a four-game road trip.
Of course, with Walker’s arthritic knee, anything is possible. The Knicks play Detroit on Wednesday in a back-to-back, so it’s uncertain whether Walker will complete both contests. In addition, Immanuel Quickley is out of COVID-19 protocols but Thibodeau wasn’t sure he was ready for meaningful minutes.
That left Walker against the depleted Timberwolves, who were missing their three top players (Anthony Edwards, Karl-Anthony Towns, D’Angelo Russell), all because of COVID-19 .
When McBride got sidelined by the virus and Derrick Rose needed ankle surgery, Walker was resurrected by Thibodeau and it’s been a stunning comeback story.
Though Thibodeau has clear reservations about Walker based on his nine-game banishment due to his defensive malaise as an undersized point guard, he admitted after the Christmas Day triple-double against Atlanta that Walker is playing “much more aggressive.”
Walker’s triple-double that featured 10 points, 12 assists and 10 rebounds was a lot different than his prior outing, when he scored 44 points against Washington.
“I thought his passing was terrific,’’ Thibodeau said before the Knicks resumed their schedule.
“Kemba had control of the game. The game tells you what to do. That’s what I loved about the way he played. I don’t think he forced anything. They puts size on him and were aggressive in their pick-and-roll coverage. He didn’t fight it. He attacked pressure the way you like to attack pressure. You don’t fight pressure with pressure. Don’t try to split it. Get rid of it, go to the backside. Let the game tell you what to do.’’
The Knicks coach is finally seeing all the elements of what Walker can do. Before his demotion, Walker was nothing more than a no-defense, 3-point shooter whose plus-minus was an abysmal minus-122.
Thibodeau was also concerned about his durability in sitting out two of the three back-to-back sets. The last load management game in Atlanta in late November triggered Thibodeau’s decision.
But now it’s only superlatives from Thibodeau in judging the last four games.
“Sometimes it’s going to be his shooting, sometimes it’s his penetration and getting in the paint to force a collapse and sometimes they’re being aggressive with their traps get rid of the ball quickly,’’ Thibodeau said. “The overall play, his rebounding. When your guards rebound, those are key to fast breaks. The more guard rebounding we get the better we can be. ‘’
The Knicks still have three players in protocols — centers Nerlens Noel and Jericho Sims and the newly infected Wayne Selden. Quickley and Kevin Knox were cleared on Christmas but were held out for conditioning.
No matter. The Knicks go as Kemba goes.
“He’s much more aggressive,’’ Thibodeau said. “That was the challenge. At the beginning of the year he and Evan were two new starters. Sometimes guys are trying to fit in. he’s being very aggressive which is the way we want him to play. Not deferring at all. When he and Julius [Randle] are aggressive like that our team is different.’’
Bar raises dramatically for Zach Wilson in matchup with Tom Brady, Buccaneers
When Zach Wilson stares across the MetLife Stadium field at the opposite sideline this Sunday, it won’t be Trevor Lawrence he’ll be looking at as his game-day counterpart.
Lawrence, drafted by Jacksonville one spot before the Jets selected Wilson at No. 2 overall last April, is a contemporary.
This Sunday at MetLife, the Jets rookie quarterback won’t be staring at a contemporary on the other sideline. He’ll be staring at the GOAT.
The bar raises dramatically for Wilson and the Jets, who are coming off of their feel-good, get-well win over the woeful Jaguars and Lawrence this past Sunday.
Brady and Buccaneers, who are 11-4, NFC South division champions and seeking to repeat as Super Bowl champions, play the Jets, who are 4-11 and seeking more signs of development from their rookie quarterback.
To say this is a step up in competition for Wilson and the Jets going from Lawrence and the Jags to Brady and the Bucs is as obvious as pointing out that Tampa Bay receiver Antonio Brown has had a few off-the-field incidents during his otherwise stellar NFL career.
There hasn’t been a lot to keep the interest of the Jets fan this season — other than watching Wilson’s development. That took an unfortunate pause for the four games Wilson missed with a knee injury, but he’s been back for five games and has looked like a better quarterback, throwing only two interceptions in those games (none in the last three) since returning from his injury.
The problem, though, is that Wilson hasn’t been producing enough touchdowns, throwing for three of them and rushing for four others in the past five games.
Baby steps, though.
Wilson was the better quarterback this past Sunday when matched up with Lawrence, who threw for more yards than Wilson did, but Wilson ran for 91 yards, including his electric 52-yard scoring jaunt, and made key throws when he needed them.
Wilson will not win Sunday’s game against Brady and the Bucs throwing for the 102 yards he had against the Jaguars. He and the Jets will need more.
Consider this: Brady enters the game having thrown 37 TD passes and for 4,580 yards this season and averages a league-high 305.2 passing yards per game.
Then this: The Buccaneers average 29.5 points per game this season, second most in the NFL.
And this: Wilson doesn’t have a single 300-yard passing game, averages 183 passing yards per game and has thrown seven TD passes in 11 games.
Seven TD passes is a pedestrian two-game total for Brady.
Wilson and the Jets are playing with house money anyway in what always has been a developmental season, so Sunday against Brady should, at its very least, be a great measuring-stick learning experience for Wilson, who’s studied Brady on tape.
Wilson revealed this month that he watched film of Brady before the Jets played the Eagles on Dec. 5 in an effort to pick up tips on how Brady worked against the Eagles defense when he played them earlier in the season.
“I thought it was really cool to see kind of how he went through his whole process, how he navigated the pocket, different things like that,” Wilson said at the time.
On Sunday, Wilson gets to see that process up close as Brady tries to dissect a Jets defense that has yielded 29.9 points per game this season, the most in the NFL.
That puts an added onus on Wilson to produce on the other side of the ball, because he knows Brady is going to get his. Wilson will likely need to produce four TDs — any way he can — for the Jets to simply remain competitive with the Super Bowl champs.
That’s a lot to ask of a 22-year-old kid who’s produced just 11 TDs in his 11 starts, up against Brady, who’s thrown 618 TD passes and for 83,784 yards in his remarkable career.
It, too, is a lot to ask playing against an aggressive Tampa Bay defense that’s ranked No. 9 in the NFL in points allowed (20.8 per game) and is led by former Jets head coach Todd Bowles, who’d surely like to send a holiday message to his former employer.
If you don’t think Bowles will be blitzing the bejesus out of Wilson, then you probably think Antonio Brown is a living saint.
The good news for the Jets is that Wilson has shown incremental improvements, particularly when it comes to his decision-making and quicker releases on his throws.
“He’s coming along, he’s getting more comfortable, he’s calmer back there,’’ Jets coach Robert Saleh said Monday. “He’s in a great headspace and it’s going to be fun to watch him grow, continue to grow.’’
A big part of that growth will take place this Sunday as he watches the GOAT operate from the opposite sideline at MetLife.
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