Reese Witherspoon has become a recent poster for the trend, his production company, Hello Sunshine, attesting to his keen eye for screen projects and books that could be good candidates for adaptation. While she started with movies (Missing girl, Wild), his subsequent television efforts were significant.
Team up with fellow actor-producer Nicole Kidman to Big Little Lies, she helped catapult a story of women, children and domestic relationships into a space that had previously been finicky on such a subject. Since then has come Morning wars (Apple TV +), an in-depth and nuanced study of sexual harassment and the #MeToo movement.
His last effort is Small fires everywhere (Amazon Prime), with powerful performances from her and Kerry Washington. Thanks to these series, Witherspoon was able to play dynamic and not always friendly characters, both an opportunity and a risk for an actress. But it is a bet that she can take when she holds the reins.
While Witherspoon plays an active role in the supply and development of projects, not all actors do so, even if they obtain production credit. Years ago I asked David Wenham what his associate producer title was in the 2004 Murray Whelan TV films Rigid and The Brush-Off meant. Adapted by John Clarke and Shane Maloney from Maloney’s books, they were produced and directed by Clarke and Sam Neill. Wenham smiled and explained, “Well, I joined the producers.”
This also appears to have been the case for Matthew Rhys, who is listed as a producer on the new Perry Mason (Fox Showcase). The actor joked that when he heard about the revival of Erle Stanley Gardner’s lawyer, his first reaction was “Why?” What he later signed, however, is a harsh origin story from the depression era in which the future courtroom hero is revealed as a damaged private investigator, on the verge of luck but persistent.
Rhys was not on the ground floor with Perry Masonbut Steve Carell was with the comedy Space force (Netflix), which he co-created and co-produced with Greg Daniels. In this document, Carell lends a welcome humanity to a trendy general of the Maxwell Smart type who is responsible for directing the American space program.
Jason Bateman is also notable in this mix, once best known for playing kindly-manned comedy roles, including son Development stopped. Now he’s an executive producer, star and occasional director of the thriller thriller Ozark (Netflix).
And while he plays the lead role, the recessive, Marty Byrde, the three seasons of the series have provided a showcase for his esteemed set of actresses. He did not use his position to build a speedboat; he made a tense thriller that displays his versatility, on screen and behind the scenes.
The value of wearing more than one hat is also evident in the sheer number of women who frequently work in comedy and its ramifications. They write, produce and sometimes play in projects. Or they use their influence to get things done.
Phoebe Waller-Bridge burst onto the screens as a creator, writer, executive producer and star of Flea bag, then adapted to Luke Jennings Code name: Villanelle novels for Killing Eve. An executive producer on this series, it is not there. More recently came Run, that she produced for Vicky Jones. She arrives late, playing a small but spicy role as a lesbian taxidermist. Talk about having fun with your power.
Then there is Sharon Horgan, who writes, produces and performs in Disaster with Rob Delaney and continuing to create and produce executive Divorced (Fox Showcase) with Sarah Jessica Parker and Thomas Haden Church. And Pamela Adlon, the creative force behind Better things (Foxtel on Demand) and the star of his semi-autobiographical account of the life of a single mother and her daughters.
And Mindy Kaling, who left a role in the American version of Office to creation, writing, executive production and starring in The Mindy project. His latest effort, teen comedy I have never (Netflix), is a charming semi-autobiographical account of the life of an Indo-American adolescent. Kaling doesn’t appear on screen, but her fingerprints are everywhere in the stories she created with Lang Fisher.
Before the current harvest, Tina Fey and Amy Poehler, Saturday Night Live alumni who continued to produce, write and sometimes perform in a range of productions, from 30 Rock and The Unbreakable Kimmy Schmidt at Parks and recreation, Welcome to Sweden and Do it.
Julia Roberts, executive producer of the disturbing plot thriller, is also notable in this pack, but without choosing the path of comedy. Back home (First). She played in the first season, while Janelle Monae takes the lead in the second.
Overall, this is a substantial cohort, indicating a trend with obvious benefits. No one will tell any of these hyphens to stand there and say their lines anytime soon.
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