When actors from TV\u2019s top comedy series recently gathered for The Envelope\u2019s Emmy Comedy Roundtable, any lessons they\u2019d learned over the years about how not<\/i> to break quickly went out the window \u2014 this year\u2019s guests made each other laugh early and often.<\/p>\n
Contributing to the hilarity were Danielle Deadwyler, whose English professor in HBO\u2019s \u201cRooster\u201d<\/a> has her life disrupted by a bestselling writer; Donald Faison, who reprises the role of Christopher Turk, now chief of surgery,<\/i> in the revival of ABC\u2019s medical sitcom \u201cScrubs\u201d<\/a>; Sabrina Impacciatore, who embodies the vain managing editor of a failing regional newspaper on Peacock\u2019s \u201cThe Paper\u201d<\/a>; Justine Lupe, who plays Morgan, a flighty but loyal sister and podcast co-host in Netflix\u2019s rom-com \u201cNobody Wants This\u201d<\/a>; Lamorne Morris, who portrays New York City journalist Robbie Robertson in Prime Video\u2019s Depression-set \u201cSpider-Noir\u201d<\/a>; and Chris Perfetti, who features on \u201cAbbott Elementary\u201d<\/a> as awkward but well-intentioned social studies teacher Jacob Hill.<\/p>\n In the course of our conversation, participants discussed surviving bad reviews, what fans misunderstand about comedy and, yes, how they keep a straight face during funny scenes (if not on The Envelope roundtable). Read excerpts from the conversation below. <\/p>\n What is the last thing that made you laugh out loud, whether it was meant to be funny or not?<\/b><\/p>\n Lupe:<\/b> I have a one-and-a-half year-old. She\u2019s just starting to talk. She doesn\u2019t really say a lot of words at once, but she started doing this thing where, when she\u2019s going poop, she just goes, \u201cOh, wow. Oh, wow.\u201d And every time it\u2019s just so cute.<\/p>\n Perfetti:<\/b> I also do that when I poop, so please tell her it\u2019s normal\u2026 I don\u2019t know, guys. It\u2019s scary times. I don\u2019t find myself laughing out loud very much anymore. I guess to that end, I watch Jimmy Kimmel\u2019s monologue every night and I think that it\u2019s pretty drop-dead gorgeous. It\u2019s so funny, and he\u2019s using that platform in such a gorgeous way.<\/p>\n Faison:<\/b> My daughter was playing a volleyball game against a very formidable opponent. I\u2019m just going to put it out there: LeBron James\u2019 daughter. She was serving and pushed everybody back with her serve. Boom! Everybody backs up. Now she\u2019s got everybody out of bounds, then she taps it real soft and it falls in front of them. I laughed out loud. I was just so impressed, and my daughter looked at me like, \u201cYou mother\u2014. Don\u2019t you enjoy that!\u201d<\/p>\n Impacciatore:<\/b> A couple of days ago I was fighting with my boyfriend and it was a very bad fight and I really wanted him to understand my reasons. I was trying to put on my trousers and unfortunately I put two legs in one [side]. He started to laugh so loud and I was so upset. And then I started to laugh loud too. But it\u2019s horrible when it happens, because I\u2019m a very serious person when I fight.<\/p>\n Donald, the last season of \u201cScrubs\u201d concluded in 2010. Now Dr. Turk is back working at the hospital with his buddy J.D. (Zach Braff) and a lot of the original cast. What was it like stepping back into that world?<\/b><\/p>\n Faison:<\/b> When the pandemic happened, Zach and I did a rewatch podcast of \u201cScrubs,\u201d and that\u2019s where all of this started to formulate again. In doing the rewatch podcast, we researched what the fans liked, what we liked, and what we thought was funny. And we were very honest about it. If it sucked, we said it sucked. Then the T-Mobile [ad campaign with Faison and Braff] happened. So for the past five or six years, I\u2019ve been playing Turk to Zach Braff\u2019s J.D. When the revival came around, it was easy to slip back in because we had been doing this banter for so long. The only thing that\u2019s different is that he\u2019s older, but maturity has not set in with him yet. He\u2019s a 50-year-old kid who\u2019s really good at cutting people open and training younger people, but for the most part, he\u2019s still silly.<\/p>\n Chris, \u201cAbbott Elementary,\u201d which follows several teachers at an underfunded public school in Philly, is heading into its sixth season. That means you\u2019ve been playing Jacob for quite some time. Do you ever find the line between your personalities blurring?<\/b><\/p>\n Perfetti:<\/b> The line between Chris and Jacob is definitely blurring. When we first started, I was shocked that [creator] Quinta [Brunson] saw me as this person. We weren\u2019t alike at all, but I trusted that she saw something [in me] she wanted to exploit. Now, I would be so lucky to steal some of what he\u2019s got going on. He\u2019s unbelievably loyal and ambitious and really comfortable in his own skin. He leads from that place. And I need to shut the hell up and stop telling the writers things about my own life because now they\u2019re showing up in the show. So truly the line between Chris and Jacob is getting weirder.<\/p>\n Danielle, \u201cRooster\u201d takes place at a fictitious college. You actually have several degrees, including multiple master\u2019s. Did you draw on your own experience in academia for \u201cRooster\u201d?<\/b><\/p>\n Deadwyler:<\/b> I was a student, and that\u2019s a very different dynamic than being an administrator or a professor. But I dig education. I dig the intention of the environment, the debate, the ongoing pushing of the self and weaving that into your personal life. It\u2019s all super connected. So I just brought that to the show.<\/p>\n You\u2019re renowned for your work in intense films like \u201cTill\u201d and \u201cThe Piano Lesson.\u201d Do you use a different muscle for comedy?<\/b><\/p>\n Deadwyler:<\/b> I was always saying to the [\u201cRooster\u201d] team, \u2018Hey, guys, I feel good. I can breathe. I have energy to do things. Is that normal for people?\u2019 So yes, it\u2019s a completely different muscle. But [co-star] Steve [Carell] says this beautiful thing that characters don\u2019t know whether they\u2019re in a comedy or a drama. And that\u2019s about as true as it gets. You bring full rigor and development and discipline to the making of a role, regardless of what genre.<\/p>\n Justine, how much do you relate to your character Morgan in the interfaith romantic comedy \u201cNobody Wants This\u201d? Or is it more like you want to fix her?<\/b><\/p>\n Lupe:<\/b> I don\u2019t know if I want to fix her because that\u2019s what\u2019s compelling about her. I have so much fun playing the mess of Morgan. I relate to her. I started off where she was kind of a semiautobiographical story of [show creator] Erin Foster\u2019s relationship with her sister, Sara. Then immediately the ship left the dock when I took the character. Justine has now taken over this idea of who this person is, and it\u2019s a lot more sloppy and unbridled. The mess of her is actually me, because I\u2019m a little bit sloppy as a person.<\/p>\n The show really captures the relationship between siblings, and sisters <\/b>in<\/b> particular. <\/b><\/p>\n Lupe:<\/b> I identify with the idea of being someone who\u2019s evolved past their original home life, and then going back into circumstances with your family, and regressing immediately. I wanted to play with that dynamic. Morgan might think that she\u2019s evolved past certain things and then the minute she\u2019s codependent with her sister, they devolve back into the bratty kid-like versions of themselves that are like picking on each other. I know the feeling, when you go back home and you\u2019re like, \u201cWow, have I grown up at all?\u201d<\/p>\n Lamorne, \u201cSpider-Noir\u201d is based on a Marvel comic and is set in an exaggerated version of 1930s New York. Audiences have the choice to watch the series in black and white or in color. How does the tone change between the two styles?<\/b><\/p>\n Morris:<\/b> I watched both and they both have their own unique qualities. I would say the way folks should watch it is the way we traditionally watched TV as a people. You start in black-and-white and then when color was introduced, you would go back and watch those same films when they added color to it. While we\u2019re filming it, [I was thinking] \u201cHow are they gonna make this visual effect look cool in black-and-white?\u201d And then you watch it in black-and-white and you go, \u201cWhat the f\u2014?!\u201d And I go back and watch it in color and go, \u201cHoly \u2014 it looks great in color, too.\u201d Everything down to the wardrobe [and] the set design, you watch it in black-and-white and it looks bold and as vivid as if it were in color. But then when you watch it in color and you go, \u201cHoly crap, that house is blue, that suit is orange.\u201d So just go watch it in both versions.<\/p>\n Sabrina, your character in \u201cThe Paper\u201d wants to be the managing editor of the Toledo Truth Teller, but she\u2019s really all about the clickbait. How much did you know about that conflict in modern journalism? <\/b><\/p>\n Impacciatore:<\/b> I made sure not to know anything about it because Esmeralda doesn\u2019t have a clue. Esmeralda is not a real journalist. Esmeralda is there for some mysterious reasons that I\u2019m trying to figure out. She\u2019s the queen of bull\u2014, so I made sure not to know anything about journalists. And because I had played Valentina in \u201cWhite Lotus,\u201d I wanted to make sure that this character is going to be completely different from her. She must be out loud, she must be big. So I made some choices about her, for example, the nails. I still have these nails because I\u2019m still shooting, but usually I don\u2019t have long nails. But these nails started to make me think in a different way, to move my hands in a different way. Like these are guns, weapons to manipulate people. [Touches Morris with her nails.<\/i>]<\/p>\n Morris:<\/b> Consider myself manipulated.<\/p>\n Impacciatore:<\/b> I\u2019m the opposite. I have no filters in life. I am my own worst enemy. I\u2019m too transparent. I don\u2019t know how to hide feelings. So I thought, \u201cWhat does she do?\u201d Because it\u2019s a documentary, she thinks one day she will be a star. So I have her have hair like Rita Hayworth the first day I arrived on set. They were looking at me like, \u201cWhat is she doing?\u201d They didn\u2019t get it, so I had to explain that she wants to be a star. Once you start to play a manipulative person, you see manipulation everywhere. It\u2019s like now I\u2019m losing a bit of innocence, because I don\u2019t trust anybody anymore. Now randomly I say, \u201cAre you trying to manipulate me?\u201d<\/p>\n \u201cThe Paper\u201d and \u201cAbbott Elementary\u201d are mockumentaries. Does it make a difference in how you\u2019re perform<\/b>ing<\/b> when it\u2019s shot in that style?<\/b><\/p>\n Perfetti:<\/b> On our best day, we\u2019re trying to dupe people into believing that it\u2019s real life. But similarly, I think Jacob thinks that he<\/i> will be the star of this documentary whenever it comes out. He\u2019ll be an executive producer on it. So there\u2019s very much an element of having one foot in the audience\u2019s experience. His outrage is heightened because he knows it\u2019s being captured on film. I grew up doing plays and so it\u2019s an easy dynamic to borrow from. When you\u2019re on stage, even on your best days, you always have even a pinkie in the audience\u2019s experience. You have to be able to be in conversation with them. The mockumentary format really allows for that and I think it informs the show in a really beautiful way.<\/p>\n Impacciatore:<\/b> The first time that I watched \u201cThe Office,\u201d I thought, \u201cThis project is incredible, but the light is so horrible. I will look so ugly.\u201d I was trying not to be chosen for this project because I was so scared to be so ugly. So when I arrived on set as the character, I brought my own ring light and I said, \u201cGuys, Esmeralda, because she knows she\u2019s in a documentary, she needs her own lighting.\u201d I got away with it. To me, comedy is a very serious thing.<\/p>\n What do audiences underestimate or misunderstand about what it takes to make a comedy? <\/b><\/p>\n Deadwyler:<\/b> The assumption is that you\u2019re being funny, and it\u2019s not that at all. When you [Chris] just talked about doing plays, I was thinking theater is the thing that enabled me to really lean into the joy and transition into working on \u201cRooster.\u201d There\u2019s a rhythm and a quality of engagement that I learned completely in the theater world that applied to the gelling and the cohesion of \u201cRooster\u201d in all of the scenes. So leaning into drama enables you to lean into the hilarity or the quirkiness or awkwardness of humor.<\/p>\n Morris:<\/b> If the script is funny, it\u2019s going to be funny if you\u2019re an actor playing it real. And obviously you have throughout history those characters who know how to add to that, who can ham it up in such a way. Chris Farley and those guys. The Belushis, the Will Ferrells. They can take something really funny and just say, \u201cI\u2019m gonna add my stamp to it so when you see this type of humor, you know it was from me.\u201d Then you have your Judd Apatows of this world who can create a funny environment and all the actors are basically playing it real and playing it straight.<\/p>\n Faison: <\/b>People think you\u2019re actually that funny or you\u2019re that quick and you can come up with those jokes that fast. But really you\u2019re saying somebody else\u2019s words and you\u2019re being somebody else. Somehow I got labeled as a stand-up comic. I\u2019ve never done stand-up in my life, but I\u2019ve been in so many comedies that people think, \u201cHe must be funny in real life.\u201d I imagine Jack Black must hate going outside because everybody\u2019s, \u201cDo that skandosh, sliggidy, diggity thing that you do!\u201d<\/p>\n Deadwyler:<\/b> They want you to do that you do for drama, too.<\/p>\n Morris:<\/b> \u201cMake me cry\u201d?<\/p>\n Deadwyler:<\/b> They want you to give them the feeling that they know you for, because that\u2019s all they\u2019ve witnessed of you. They want me to ride a horse. They want me to cry. And it\u2019s like, \u201cI\u2019m just trying to get these chicken wings and go home.\u201d<\/p>\n And trying to break out of that, whatever that is, and move on to the next thing that you want to do.<\/b><\/p>\n Faison:<\/b> For a long time it was very difficult as an actor to do anything else other than comedy, because you could get typecast. That\u2019s something that happens right away. You could be the best friend for the rest of your life if you\u2019re not careful.<\/p>\n Morris:<\/b> I came up in traditional comedy. Second City, Chicago. When I was a kid, I didn\u2019t care about anything else other than like making people laugh. So in plays and things, I was always cast as the comic relief, back in my ham-it-up days. Up until the beginning of my TV career with \u201cNew Girl.\u201d I didn\u2019t know who I wanted to be on that show. I didn\u2019t know who I was and I\u2019m thankful to the staff for just allowing me to grow into that character. But what I grew into was a f\u2014 clown. I just was like, \u201cOh man, I get to do this for seven years.\u201d I loved every minute of it.<\/p>\n When you get recognized out in public or somebody knows they know you from something, who have you been misidentified as? Or do they simply call you by your character\u2019s name?<\/b><\/p>\n Faison:<\/b> I was at sushi once and it was actually another famous person that came up to me, I\u2019m not gonna say their name. And he looks at me and goes, \u201cAlfonso?\u201d I said, \u201cNope.\u201d And he hightailed it out so quick. I was like, \u201cI gotta call Alfonso Ribeiro and tell him that somebody thought that I was him at a restaurant.\u201d I\u2019m glad to be recognized, but I am not Alfonso Ribeiro.<\/p>\n Morris: <\/b>People think I\u2019m everybody, but there\u2019s one guy I get. Malcolm Barrett. This has been going on for 15 years. A good friend from theater school, we did every play together, he called me when I moved to L.A. and was like, \u201cDude, congratulations on your AT&T commercial!\u201d I was like, \u201cWhat AT&T commercial?\u201d And he\u2019s like, \u201cThe one where you\u2019re playing Pop-a-Shot basketball.\u201d And I\u2019m like, \u201cThat\u2019s not me.\u201d Years later, everyone, people would come up to Malcolm all the time and say, \u201cCongrats on \u2018New Girl.\u2019\u201d<\/p>\n Perfetti:<\/b> I cannot go to Philadelphia because I suddenly now have 5 million new family members. I don\u2019t get mistaken for an actual person, but I do love the moment where you pass them on the sidewalk or on the subway and you see the wheels churning in their mind.<\/p>\n Lupe: <\/b>I have a yoga teacher that still calls me Willa [her character from \u201cSuccession\u201d]. I\u2019ve been going to her for like a year and she\u2019ll be like, \u201cAnd Willa, you want to move into down dog.\u201d<\/p>\n Justine, you\u2019ve been referred to as a scene-stealer more than once for your work in \u201cSuccession\u201d and \u201cNobody Wants This.\u201d What do you make of that?<\/b><\/p>\n Lupe:<\/b> That was the thing about \u201cSuccession.\u201d I started when I was 26 and I felt like I got to be a fly on the wall in so many incredible scenes with all-star actors. To even be even seen among that kind of company, it makes me so happy. I feel the same way about \u201cNobody Wants This.\u201d I look around and I\u2019m like, \u201cWow, these are just incredible people that I\u2019m working with.\u201d So it\u2019s nice to know that people are even registering my existence.<\/p>\n Perfetti:<\/b> Willa is responsible for what I think may be one of the funniest TV moments ever. I can\u2019t remember which season where you read your reviews and throw the iPad overboard, but it lives in my mind rent-free. The sound you make, the way that you just kind of stare off into the distance afterward, it\u2019s one of the greatest things I\u2019ve ever seen.<\/p>\n Do you read reviews of your work?<\/b><\/p>\n Morris: <\/b>I did a movie called \u201cSandy Wexler\u201d with Adam Sandler and he said to me, \u201cHey buddy, when a film comes out, don\u2019t read the reviews.\u201d He\u2019s like, \u201cWho cares? We got our own thing going.\u201d \u2026 It allowed him to stay true to who he is for his fan base, which is larger than life. If you start caring so much about what people think about your art, it\u2019s going to change what got you there in the first place. That\u2019s what Jamie Foxx talked about after winning an award, you don\u2019t want to switch it up all of a sudden because everybody looks at you like you\u2019re this great actor, you won this thing, and you start doing things differently.<\/p>\n Impacciatore:<\/b> On set, if someone gives me a feedback about something that he liked, I don\u2019t want to hear that because it feels like a trap. And I don\u2019t want to know what worked and what didn\u2019t work because I want to be free. I want to explore things. Reading a review \u2026 it\u2019s something rational that is describing something irrational. Like to me, acting is an irrational act. It\u2019s wild when it happens. It\u2019s going somewhere else and not even knowing what you did.<\/p>\n Faison:<\/b> I tend to not look at reviews. This was the first time ever in my life \u2026 when \u201cScrubs\u201d came out this time around. It\u2019s because we made it for the fans. It was strictly for the fans. So when we put it out and the critics were very nice this time around, that was cool. And then you get to Reddit and Instagram and you\u2019re waiting for them to be like, \u201cYou guys suck!\u201d \u201cHow dare you?!\u201d And that didn\u2019t show up. It was like, well, I\u2019m gonna read the reviews then.<\/p>\n Lupe:<\/b> I once had a critic call me a \u201cbargain-basement Gwyneth Paltrow.\u201d<\/p>\n Morris:<\/b> You\u2019re like, \u201cGwyneth Paltrow, you say?\u201d<\/p>\n Lupe:<\/b> As long as the word Gwyneth is in there, I\u2019m OK.<\/p>\n Morris: <\/b>If someone calls me \u201ca bootleg Eddie Murphy,\u201d I\u2019m retiring.<\/p>\n Faison:<\/b> \u201cHe kind of reminds me of a poor man\u2019s Richard Pryor.\u201d Why, thank you.<\/p>\n Lupe:<\/b> There was like a part of me where I was like, \u201cWell, if I can make it through that, then whatever. Who cares? It\u2019s just fun to hear people\u2019s perceptions of what you\u2019re putting out there. How people interpret it. Because sometimes you can\u2019t see the forest through the trees. If you have enough perspective, it\u2019s interesting to hear the dialogue about the things that you\u2019re working on.<\/p>\n Deadwyler: <\/b>If it\u2019s productive, I find that critical analysis is useful. But if it\u2019s critical stabbing, that\u2019s useless to me.<\/p>\n Faison: <\/b>I have a question for all of you guys. When it comes to acting on set, do you prefer to see what you just did or do you prefer to trust what the director says? When it comes to comedy, I wanna see what the f\u2014 we are doing just to make sure we\u2019re in the rhythm.<\/p>\n Lupe: <\/b>I don\u2019t watch it in the moment. I\u2019ve gotten easier on myself watching things after they\u2019re released. When I first watched my work, I just wanted to like, in all honesty, tear my face off. It was really a tough experience.<\/p>\n Morris:<\/b> If I trust the director, I never look at the monitor. No knock on, like first-time directors, because I work with a lot of first-time directors that I trust, but there are some from time to time that just go, \u201cIt\u2019s great,\u201d every take. And so sometimes I have to go, \u201cJust give me a second, let me see.\u201d … A couple of times [they\u2019d tell me], \u201cEverything you did was brilliant.\u201d And I know for a fact it wasn\u2019t. So now I don\u2019t trust s\u2014 you say.<\/p>\n The Envelope\u2019s 2026 Emmy Comedy Roundtable: Lamorne Morris, from left, Justine Lupe, Chris Perfetti, Danielle Deadwyler, Donald Faison and Sabrina Impacciatore.<\/p>\n<\/p><\/div>\n<\/figure><\/div>\n Chris, the cast on \u201cAbbott\u201d are so good at bouncing lines off one another. How are you not breaking all the time, or are you?<\/b><\/p>\n Perfetti:<\/b> It\u2019s certainly gotten harder as we\u2019ve gotten closer. We\u2019re all trying to make each other break now. But we\u2019re pretty good. The show is sort of made on the fly and we\u2019re constantly throwing jokes away or trying to see how far we can push something. I think a lot of what we find funny on \u201cAbbott\u201d is people trying to avoid pain. Even when it\u2019s ridiculous, it doesn\u2019t feel too hard to keep our feet on the ground. We\u2019re also so blessed with the mockumentary [format]. The story is very much told by the camera. So I\u2019m always on, and something that comes up in that take might make it into the final cut because there\u2019s three cameras going at all times. But Quinta probably breaks the most because \u2026 she genuinely forgets about some of the jokes that she writes. And so when she hears it again, it takes her by surprise.<\/p>\n Lupe:<\/b> There is something to that energy of people enjoying being in that kind of space with each other, like on the verge of laughing. Riding the line of being just about to break, it\u2019s so much fun. The chemistry between them is so palpable. When you see a break like that, you\u2019re like, \u201cWow, they\u2019re really enjoying each other.\u201d<\/p>\n Morris:<\/b> [It\u2019s hard when] I\u2019m literally loopy, it\u2019s late and I know this actor I\u2019m working with is a f\u2014 killer. I start laughing before we roll, and I\u2019m like, \u201cThis is gonna be so difficult.\u201d<\/p>\n Lupe:<\/b> And then it\u2019s like that thing when you\u2019re like a little kid, where someone\u2019s like, \u201cStop laughing\u201d and it makes it worse because you are trying so hard not to laugh.<\/p>\n Impacciatore:<\/b> If there is that moment where we can break, there is a real abandonment and there is a real freedom … It\u2019s the most beautiful feeling about being an actor. It\u2019s about feeling less lonely.<\/p>\n Faison:<\/b> Danielle, you\u2019re working with Steve. First of all, he\u2019s gonna break everybody. I\u2019m pretty clear that everybody on set\u2019s gonna laugh because he\u2019s just got that. But has anybody made him<\/i> break yet? And who is that person? I know if I made Steve Carell break in the middle of a scene, I\u2019m dancing for a while. I\u2019m gonna be calling my mom like, \u201cYo, he f\u2014 laughed at my joke!\u201d<\/p>\n Deadwyler:<\/b> I know that they wilded out the day the bed broke [during a fight scene with co-star Phil Dunster]. But I have not seen him break in that way. He is so rigorous. He\u2019s about building the character, building a dynamic, trying to tell a full story.<\/p>\n Lupe:<\/b> He also must have so much practice from \u201cThe Office.\u201d<\/p>\n Deadwyler:<\/b> He\u2019s strong.<\/p>\n Faison:<\/b> I laugh harder at \u201cSaturday Night Live\u201d when they break than when they keep it together.<\/p>\n \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n \u2018 Some details of this article were extracted from the following source www.latimes.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":" When actors from TV\u2019s top comedy series recently gathered for The Envelope\u2019s Emmy Comedy Roundtable, any lessons they\u2019d learned over the years about how not to break quickly went out the window \u2014 this year\u2019s guests made each other laugh early and often. Contributing to the hilarity were Danielle Deadwyler, whose English professor in HBO\u2019s […]<\/p>\n","protected":false},"author":2,"featured_media":2432496,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25172],"tags":[],"class_list":["post-2432495","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2026\/05\/Chris-Perfetti-Danielle-Deadwyler-more-join-2026-Emmy-Comedy-Roundtable.com2Fac2F942F7f4522ff4875a839b26066a6.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2432495","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2432495"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2432495\/revisions"}],"predecessor-version":[{"id":2432497,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2432495\/revisions\/2432497"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2432496"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2432495"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2432495"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2432495"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Chris](\"https:\/\/ca-times.brightspotcdn.com\/dims4\/default\/3715680\/2147483647\/strip\/true\/crop\/5401x5906+0+0\/resize\/320x350!\/format\/webp\/quality\/75\/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F74%2F39%2Fbbd56dc84bcd89431d5e2abe2952%2F1551754-et-2026-emmy-roundtable-comedy-cmh-06.jpg)
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<\/picture>\n![\"June](\"https:\/\/ca-times.brightspotcdn.com\/dims4\/default\/a220196\/2147483647\/strip\/true\/crop\/2813x3450+0+0\/resize\/320x392!\/format\/webp\/quality\/75\/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Ff4%2Fb6%2F24f098fe48158e4b3bfd6e90a961%2Fenv-26-0604-comedy-roundtable-final.jpg)
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