In Abbott Elementary’s third season, series creator Quinta Brunson and her writers room were handed a challenge: Tell a thorough, engrossing story in eight fewer episodes than usual. The ABC comedy, which typically runs 22 half-hour blocks, was truncated as a result of the writers and actors strikes (the February premiere timing also conflicted with the series’ history of following the school year in real time). “I knew right away I didn’t want to hold anything for season four, and that I wanted to protect the finale ending we had planned,” says Brunson. She used the opportunity to try out a time jump for the first time — among other creative pivots — and the result garnered Abbott nine Emmy nominations, including outstanding comedy series. “The season had a different feeling than it might have otherwise, but I’m really happy we gave Janine [Brunson’s character] and Gregory [Tyler James Williams] that satisfying moment,” Brunson adds, referring to their kiss at the end of the finale. “One thing I don’t like is people being unsatisfied.”
This season, the show was nominated for a directing Emmy. Do you have a specific strategy to select directors?
We always like to kick off the season with a director that the cast is familiar with already so that we can settle into a really good groove — like Randall Einhorn, who was just nominated. Toward the middle of the season, we like to open up space for first-time directors or people we haven’t been able to work with yet. Two seasons ago, one of our writers, Justin Tan, directed his first episode, and he’ll be back directing again this season. With 22 episodes, we’ll have room for some of the other writers to do it, and we’ll have a surprise direction from one of our castmates, so I’m excited about that.
Do you feel like the continued awards success makes the show’s future more solid?
In this day and age, I don’t think anyone is too comfortable. I don’t think anyone assumes their show will go on forever anymore. You don’t know if the damn station you’re on is going to exist a year from now. But I believe part of making a network television show is making a good engine, and Abbott has that, so it makes me feel more confident that we can keep going as long as we need to.
What sort of pressure do you feel to listen to the audience’s — or the internet’s — take on different elements of the show?
I’ll say first that every creator is different and every show is different. There are shows out there that have to keep up with the times, like The Morning Show. Ours exists in a world that doesn’t have to rely on what’s happening in the outside world, and that makes it a little easier to just focus on us. I take a lot of cues from authors, because they complete an entire novel before it hits the public. I think that’s the way to go when it comes to writing the show — looking at it like a big novel. I also think the relationship between artist and audience member is specific and sacred and I don’t ever want that to get convoluted. When I’m taking in a good book or movie or painting, I love to be a consumer and not part of the process. I want the audience to feel like this show is their entertainment, and not their job. It’s my job.
Is it hard for you to be a consumer of things you love?
I was on New Girl in its last season, and I was truly the biggest fan of the show. And then I got a part on it and I wasn’t just a fan anymore. I realized I didn’t want to know that Nick and Jess’ apartment wasn’t real. I didn’t want to see the set, I don’t want to have thoughts on the script. It was one of the best opportunities I’ve had, but it stripped away the magic. I don’t ever want the magic to be stripped away from my audience.
How often do people pitch themselves to you as Abbott guest stars?
People mention really loving the show, which is nice, but they don’t usually tell me directly if they want to be on it. I’ve seen a few things in interviews, which is really sweet and cool, but if someone says something to me, it’s usually a joke, or it’s from a friend who is far too famous to be on the show. Donald Glover one time was like, “Put me on.” I was like, “Literally no, I cannot.” I assume he’s joking.
Maybe he’s joking if you say no, but serious if you say yes.
Exactly. Which is fun! I’ve shot my shot like that before. I’ve definitely said to some of the Star Wars people, like, “Yo, I’m free, throw me in there.” They’re like, “Really?” And I’m like, “Nah, I’m busy. Unless you need someone!”
Which moment from this past season are you most proud of?
I’m really proud of the smoking episode. Since we had this truncated season, I decided to use it as a time to push Abbott’s boundaries so that in the future we can get away with more. I’ve sometimes felt like Abbott was getting put in this box of soft comedy. That it’s hunky-dory. And I guess it is, but we have the ability to talk about anything we want, as long as it’s done a certain way. So the scene where you find out that the teachers partake in drugs, I’m really proud of that. When we first debuted it at the table read, it was like, “Holy shit, Janine does what?” And it’s like, yes, Janine smokes weed, as many teachers do. Or they’re doing edibles, they’re microdosing. It’s a reminder to the audience that these are adult people in an adult world who happen to work in a school.
Friends did “The One Where Ross Got High” 25 years ago, so it only feels fair.
Oh, yeah. And the one where they had the free porn so they didn’t turn off the TV. Those were edgy for network television. Those little pushes make us all able to push a little bit further. I talk about Ghosts all the time, my whole writers room thinks I’m crazy because of it, but it’s on CBS and they use the language of “getting sucked off” all the time. Like a ghost just got sucked off [which means moving on from Earth]. On CBS! I love watching shows do that.
This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
