And some of them were like, Please don’t tell anybody that I’m telling you any of this. And that’s when I wrote an email to everybody and I was like, Did anybody ever talk to you about this shit? And what’s going on with you? And people wrote me back. The pamphlet was called “The Menopause Years.” That’s the only information that I ever got in my entire life about menopause. So when you’re getting examined, Garfield is looking up your pussy. It’s fucking nuts.īut the aging, I had this one pamphlet that was sitting on the table in the gynecologist’s office with all these stuffed Garfields in every examination room. So if I’m in a room with a bunch of 40- or 50-year-old men and they’re talking about who to be set up with, we would never be in consideration. Are you kidding me? That’s gross! We are just not part of the conversation. But if he started dating somebody like me, people would be like, What the fuck? Because he’s Brad Pitt, and he belongs with a 30-year-old. Why do you think honest depictions of women aging are still so rare in pop culture? Is it because we don’t have many older women creating TV and movies? I was like, can you believe we were talking about getting a boat that would cost a million dollars for getting Celia here, and now we’re on the other side of it, and we have this wonderful season that we built? One of my executives texted me this morning and said that he loves the season. I didn’t want to do a season without Phil. And they were like, “Well, there’s a boat, but it costs a million dollars.” So we went to England to shoot, to fold her scenes in. My network at one point got on a “How the fuck do we get Celia here?” Zoom. Every season is so ambitious.Ĭelia Imrie couldn’t get here and fly, but they weren’t booking the boats. I guess that it could be that way if you are not trying to achieve something else and if you just want to put it on cruise autopilot. I really felt like I was gonna be a piece of cake. Pamela Adlon: Perilous would be the word. (It’s in the mid-60s-deep winter temperatures for Angelenos.) Adlon can look back at her show and see that she’s been “modeling the way that a person who has been in the industry as long as I have can, all of a sudden, break through at 50, and not be tossed away.” “So I’ve had those culmination moments in the past few years, where I dream about my kids being young again,” she says quietly, tugging at her black shearling jacket. Her three children (whose age span more or less mirrors her television kids) were all still living at home now two of them are out on their own. ![]() When she started developing Better Things more than seven years ago (with Louis C.K., whose name was excised from the show after season two), Adlon says, her life was very different. And it’s the first I can think of that treats the invisible, uncomfortable quandaries of a woman edging into menopause as worthy of prestige TV treatment. She cocreated, produces, writes, directs, and stars in the critically beloved FX series, which approaches the tangled lives of three generations of eccentric, foul-mouthed women with the adventurousness and emotional delicacy of great American indie filmmakers like Robert Altman and Nicole Holofcener. In fact, Adlon has just finished cutting episodes for Better Things’ fifth and final season, and she seems very serene about it all. ![]() I feel like I’ve stepped into a perfectly lit scene from Better Things in which Adlon’s alter ego, Sam Fox-working actor, director, and single mom of three strong-willed kids-takes a breather while shimmying through the chaotic obstacle course of her daily life, trying to keep all the balls she’s juggling in the air. It’s so deserted inside that the staff vastly outnumbers the customers, and Adlon greets each masked waiter who stops at her table as if they are the oldest of friends. Pamela Adlon is huddled in a booth at Art’s Delicatessen in Studio City, staring out the window at the occasional weirdo passing by on a sunny weekday morning.
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