Showrunner Kerry Ehrin took over the much anticipated Apple TV+ series and transformed it into a show about anger, inequity, and female friendship
“I’ve always had a network of women writers that I've worked with, and we love each other, but of course we’re competitive!” she quipped. “So I really just wanted to write about a real genuine, complex female relationship of two smart, high-powered women.” It was also a chance to let Aniston, in her first major TV role since’ Rachel Green, shrug off the burden of likability and get angry and abrasive. “Jennifer is a grown woman,” Ehrin said.
The fact that Apple set its showcase drama in the dying world of broadcast TV was a joke not entirely lost on thewriters. A network-news exec warns at one point, “The entire world of broadcast could just fall off a cliff in a few years—boom, lights out—unless we reinvent it. We’re all going to get bought out by tech.” Ehrin enjoyed skewering the entertainment business, slicing through the “many, many layers of bullshit and illusion.
In the series, a network-news executive tries to exploit the #MeToo moment by declaring their morning show a “a safe space, a feminine space,” and urging Bradley to “be the narrative real women are living.” Ehrin said she was poking at the way the industry vaunts “empowered female characters” while not fundamentally changing how the business works. In some waysitself feels like it’s similarly riding this cultural rupture for all it’s worth.
The show was being written even as #MeToo sent shock waves through the industry, and it premieres in the wake of
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