Profiles carries the magazine's long-form portraits: actors, showrunners, directors, editors and department heads, reported over hours rather than a single phone call. Each piece asks how the work gets made and what it costs the person making it. For readers who want interviews that pass the junket answer.
Long-form portraits of actors, writers, directors and crew, reported with time on set and questions about the work instead of the private life.
Every script, every setup, every season: Mike White has written and directed all of "The White Lotus" himself, and HBO's renewal record shows exactly what that concentration of control has bought the network.
Lost made him famous, The Leftovers made him beloved, and Watchmen made him an Emmy winner — the career television argues about more than any other.
A working actor became the screenwriter of Sicario and Hell or High Water, then built Yellowstone into a Paramount empire of spin-offs and dust.
The youngest writer on The Office's staff turned a supporting character into a producing empire that now feeds three streamers at once.
Girlfriends, The Game, and Being Mary Jane built a twenty-five-year argument that Black drama belongs on every screen available.
Hired to write for 30 Rock in his early twenties, he became Troy, then Childish Gambino, then the creator of Atlanta — and the template for the multi-hyphenate decade.
Four acting Emmys in four years made her television royalty; a deliberate pivot to directing made her something rarer — a filmmaker trained on set.
Trained at Harvard Law, allergic to staying in one genre, the writer-producer has been building courtroom empires on television since the late 1980s.
A solo stage piece about grief and desire became Fleabag, six Emmys, a Bond screenplay, and a blueprint for turning intimacy into intellectual property.
From Peep Show to Succession, the British writer built a career out of institutional cruelty — then won three Drama Series Emmys for it.