The cocreator, writer, and star of the CW musical comedy Crazy Ex-Girlfriend talks about juggling multiple roles, pay equality in Hollywood, and lifting the stigma around mental health.
Eight years after she became a YouTube sensation with the music video “Fuck Me, Ray Bradbury,” a satire about lusting after the nonagenarian sci-fi writer, Rachel Bloom, 31, has been pulling audiences deeper into her musical fantasies through her Emmy-winning show, Crazy Ex-Girlfriend, which begins its fourth and final season this month. With Aline Brosh McKenna (The Devil Wears Prada) as producer and co-creator, Bloom writes, scores, and stars in the genre-bending show, which blends drama, romantic comedy, and earworm original songs.
Crazy Ex-Girlfriend is unlike anything else on TV right now. You play the lead, Rebecca, who is smart and accomplished, suffers from severe mental illness, and expresses herself in musical numbers. When you and Brosh Mc- Kenna first started working together, did you have a sense of what you aimed to achieve with the show?
I wanted to question expectations that women place on themselves based on what they see in the arts and in the media. The show was always meant to be a deconstruction of romantic comedies, princess narratives, hero narratives.
How do you make a comedy about mental illness without poking fun at your character?
The nature of the show was always that [Rebecca] was literally depressed. That was definitely autobiographical because I’ve had anxiety and depression. The show’s about finding what makes you truly happy, about inner happiness. We’re always coming at [Rebecca] with compassion and [trying] to understand why she’s doing what she’s doing. Every episode is an experiment. The tone is always the hardest thing to nail, and each episode there are definitely moments where we make a change when something feels totally off.
ãã®èšäºã¯ Fast Company ã® October 2018 çã«æ²èŒãããŠããŸãã
7 æ¥éã® Magzter GOLD ç¡æãã©ã€ã¢ã«ãéå§ããŠãäœåãã®å³éžããããã¬ãã¢ã ã¹ããŒãªãŒã9,000 以äžã®éèªãæ°èã«ã¢ã¯ã»ã¹ããŠãã ããã
ãã§ã«è³Œèªè ã§ã ?  ãµã€ã³ã€ã³
ãã®èšäºã¯ Fast Company ã® October 2018 çã«æ²èŒãããŠããŸãã
7 æ¥éã® Magzter GOLD ç¡æãã©ã€ã¢ã«ãéå§ããŠãäœåãã®å³éžããããã¬ãã¢ã ã¹ããŒãªãŒã9,000 以äžã®éèªãæ°èã«ã¢ã¯ã»ã¹ããŠãã ããã
ãã§ã«è³Œèªè ã§ã? ãµã€ã³ã€ã³
Where the Clean Energy Jobs Are
A data-driven guide to the skills you need and the opportunities you'll find
CAN WWE PIN THE WORLD?
AS IT MAKES ITS $5 BILLION NETFLIX DEBUT AND PREPARES FOR A GLOBAL AUDIENCE, WWE IS STILL WRESTLING WITH THE TOXIC LEGACY OF ITS COMPLICATED FOUNDER.
RADICAL VISION
POLICE DEPARTMENTS ACROSS THE COUNTRY ARE EMBRACING AI-ENHANCED SURVEILLANCE IN THE NAME OF STOPPING CRIME. HERE'S HOW ONE SECURITY FIRM IS LEADING THE EFFORT AND PROFITING OFF OUR FEARS
Brands That Matter
Our annual look at standout brands encompasses 130 honorees in nine categories, including the inaugural CMOs of the Year. Here's how 12 of those brands and three top CMOs stake out the intersection of business and culture.
The Future According to Google
Google DeepMind, the tech giant's internal AI research lab, isn't just racing to beat OpenAI to market. Under Nobel laureate CEO Demis Hassabis, it's the \"engine room\" of the entire company.
EYE OF THE BEHOLDER
SEPHORA HAS GROWN SO POWERFUL THAT IT CONTROLS WHICH BRANDS LIVE OR DIE IN THE $30 BILLION HIGH-END COSMETICS INDUSTRY. IN THIS BEAUTY CONTEST, SEPHORA ALWAYS WEARS THE CROWN.
CULTURE WARS
Brands on the Run Why Harley-Davidson, Caterpillar, and other masculine\" brands are caving to anti-DEI crusader Robby Starbuck
WORK LIFE
Law Roach, image architect and educator, answers our career questionnaire.
The AI Gadget Debacle
Here's why you shouldn't expect any mind-blowing AI-powered gifts anytime soon.
Why the future workplace will feel more like a hotel
REVEALS WHY THIS IS IMPORTANT TO CORPORATE STRATEGY AND EMPLOYEE ENGAGEMENT