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The back-to-back news this week of the deaths of Dolly Parton and Tim Curry — both at age 80 — felt like an unfair and twisted threat to our peace.

Both were extraordinary cultural forces whose screen and stage work lit up and shaped our lives, so its no wonder the emotional whirlpool led to one large group chat on social media, with fans posting favorite performance clips and interview soundbites. I took comfort in many, including Parton singing “Jolene” at the Grand Ole Opry in 1988 and eight minutes of Curry in the frantic “how it was done” climax in “Clue” (1985), which he reportedly performed so intensely he had to be taken to the hospital for high blood pressure.

Our writers captured the depth of the legacy each leaves behind.

Greg Braxton reflected on Curry’s significant contribution to the twisted image of clowns with his terrifying portrayal of Pennywise in “It.” Robert Lloyd took on highlighting the actor’s most memorable roles on TV. And in his appreciation of Curry, Steve Appleford praised how Curry’s roles “turned out wilder and more varied than he might have expected but his seriousness and sense of fun never faded, pushing boundaries and himself. No one was ever bored watching Tim Curry onscreen.” (Appleford spoke with Curry in 2025 for his final interview published in The Times; I encourage you to read it.)

Meanwhile, Mikael Wood waxed on Parton’s storytelling prowess in her music. Lloyd looked at her legacy on the small screen, where she appeared in variety shows (two of her own), specials, TV movies, guest shots, interviews and music videos — contending it’s where “much of America met Dolly.” Mary McNamara explored Parton’s unexpected persona as a feminist icon. And Emily St. Martin reminded us of Parton’s contributions to literacy.

The country music superstar’s performance in 1982’s “The Best Little Whorehouse in Texas,” which earned her a Golden Globe nomination, is one of our streaming recommendations this week. (For those seeking community while celebrating the life of Parton, AMC Theatres announced screenings for the film, as well as “Steel Magnolias,” in select locations through Sept. 2.) Our other streaming suggestion, if you need a life vest to keep afloat through the tears, is a series featuring veteran fashion police partners reuniting again — this time, to dole out critiques of fictional characters.

Also in this week’s Screen Gab, we spoke with actor Kristen Johnston about the Season 2 return of “Leanne.” Best known for her role as Sally Solomon in the hit ’90s sitcom “3rd Rock From the Sun,” Johnston has built a career bringing laughs to comedies like TV Land’s “The Exes” and CBS’ “Mom.” Lately, she’s been bringing her seasoned comedy skills to Netflix’s multi-cam sitcom, which captures the messy (and funny) experiences of women navigating midlife — like dealing with menopause or the horrors of the modern dating scene. Stand-up comedian Leanne Morgan stars as the titular character, while Johnston plays her brutally honest sister, Carol.

“Not every show has to be, you know, medieval dragons,” Johnston says. “There’s room for a couple of silly women in their 50s trying to figure it out.” Read more from Johnston in Guest Spot. In the meantime, I’m off to mix and bake a cuppa flour, a cuppa sugar and a cuppa fruit cocktail with the juice at 350 till it’s gold and bubbly. See you next week. — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Dolly Parton as Miss Mona in the 1982 movie “The Best Little Whorehouse in Texas.”

(Universal Pictures)

“The Best Little Whorehouse in Texas” (VOD)

Dolly Parton cemented her movie star status with her feature debut “9 to 5” alongside Jane Fonda and Lily Tomlin. But outside of the irresistible title song, Parton did not sing in the film. She makes up for it with her second film, 1982’s “The Best Little Whorehouse in Texas.” Adapted from the Broadway musical, the country superstar dazzles as Miss Mona Stangley, the proprietress of the popular “Chicken Ranch” brothel. With her characteristic down-home charm, she makes her place of business seem as wholesome as apple (“There’s lots of goodwill and maybe one small thrill, but there’s nothing dirty going on,” she sings in the opening number). Parton also contributed two extra songs to the soundtrack alongside the original Broadway score, including her hit “I Will Always Love You.” — Greg Braxton

Clinton Kelly, left, and Stacy London in “Why’d They Wear That?”

(Jordan Petsy / Simple Alien)

“Why’d They Wear That?” (YouTube)

Stacy London and Clinton Kelly are back with a third “Wear” show, after “What Not To Wear” and last year’s “Wear Whatever the F You Want.” This one’s for the Stacy and Clinton fans, as it removes the clients and makeover elements and sits the hosts on a bed together in front of a TV as they critique what characters wear in the movies, viewing film through the lens of clothing, hair and makeup. (It’s very smart.) The films and actors they highlight are meaningful to one or the other — they don’t always agree — which is to say they broadly represent the tastes of people born in 1969. The range of subjects encompasses “Meatballs,” “Poltergeist,” “Best in Show,” “Gentlemen Prefer Blondes” and “The Empire Strikes Back,” in which episode you will learn that London views Darth Vader as “the Karl Lagerfeld of outer space” (“monochromatic dressing … quiet luxury and he doesn’t change — he invests in his pieces”). One episode is a tribute to Catherine O’Hara. With no one’s feelings to dance around, they can be as critical as they like, but snark isn’t the point so much as celebration and the delight of old friends sharing their own, often self-deprecating stories. Come for the analysis, stay for the laughter, or vice versa. — Robert Lloyd

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Leanne Morgan, left, and Kristen Johnston in Season 2 of “Leanne.”

(Patrick Mcelhenney / Netflix)

In “Leanne,” Kristen Johnston plays the ultimate ride-or-die sister you want in your corner — she turns chaotic moments into fun, tells the hard truths and provides unwavering emotional support. The Netflix sitcom stars comedienne Leanne Morgan as a woman trying to rebuild her life after her husband of 33 years left her for someone else. Helping her navigate the emotional rubble is her family, including her fiercely loyal, unfiltered, twice-divorced sister, Carol (Johnston). As Leanne confronts more change in Season 2, like turning 60 and coming to terms with aging parents that require more care, Carol remains a blunt support system. Over the phone, Johnston discussed her connection to the themes explored in the comedy and the genre of TV that has her hooked these days. — Y.V.

Change continues to be a theme in Season 2. It opens with Leanne resisting the idea of turning 60 and still not ready to be alone with herself. Carol is there to remind her that she’s capable. Tell me about your 50s, Kristen. How are you feeling about this stage of your life and the prospect of turning 60?

Oh my God! Honestly, I never even thought I’d make it to my 50s. So, the fact that I’m still here is a pretty big miracle. My 50s has just continued to be about trying to figure out my place in the world and deepening my friendships with my friends, my family. That’s about it.

Are there things you used to worry about that now you’re like, “I can handle that”?

I used to worry about everything, and now I really couldn’t give a s—. I don’t live for other people’s opinions anymore, and that was probably something I lived for for a long time. When you get fame really early, you just condition yourself to not make anyone upset and not get found out by the tabloids or be stalked. I don’t know. I do enjoy really just trying to live. Other people’s opinions matter to me, but they’re not the reason I do or don’t do anything.

You and Leanne both get a chance to play with the idea of getting older early in the season with a daydream sequence about being in the retirement home. What was that like? It hits at such a big topic that many people come to grips with at some point, which is the idea of caring for aging parents.

That’s a huge topic this season, and it one it matters to me because my mom is still here — thank God. But it’s stuff that really comes up a lot. When it’s time to get them into a home, it’s so hard, and of course, they never want to go. Who would? But literally doing that scene was so great because I’m so into prosthetics and makeup. We had a lot of fun coming up with what each of us would be.

Kristen Johnston, left, and Leanne Morgan in “Leanne.”

(Patrick Mcelhenney / Netflix)

The bond between Leanne and Carol is such an important element of the show. What do you think this show really gets right about sisterhood?

It feels very real. You have one who’s a black sheep and always blamed for everything, then you’ve got one who’s the Goody Two-shoes and got married at the right time and had kids. Carol did none of that. But throughout that, and much more important than the rivalry and being mad at each other or whatever, is just this absolute unending love. And I feel very sisterly towards Leanne. I get really emotional about her because I feel like she’s my sister. They’re pretty easy scenes to act.

You’ve worked in multi-cam sitcoms across broadcast, cable and streaming. Do you feel a difference?

I don’t know if it’s as much that they’re different, but the times sure have been different. I’m from the era where we would have the head of the studio come to every taping and send us cards and thank you or call you to come over to his house for his 60th birthday or whatever. That doesn’t really happen anymore. I’m from this other era, which really felt more personal and felt more one-on-one. Now it really just feels like, “Don’t look at me. I just want thanks for the paycheck.”

And it seems hard to even gauge how well the shows are doing.

Exactly. Leanne was so nervous about all that at first, and I just said, “Look, all we can do is our our best. Let’s just be funny and have fun, and everything else is above our pay grade.” So she went with that. That’s how we kind of roll.

OK, tell me — how often are you asked about the “Splat!” episode of “Sex and the City”? How often do people come up to you about Lexi?

It’s crazy. It’s all anybody wants to talk about, any podcasters or anything. Really, I would say 80% of the conversations I’ve had in the last few weeks are focused mainly on that.

What does that tell you that a role that was a one-off could have that kind of lasting impact?

It’s the shock of what happens in that scene more than almost anything. There was kind of this angry “I’m gonna live no matter what” vibe to her. So to watch her fall to her death out of her own hubris, it’s just a perfect little encapsulation of a moment in New York City, and I think that’s why people love it. It’s also probably one of the bigger, bigger acting choices I’ve ever made. That was Michael Patrick King. I can’t believe it still matters to people, but obviously, I’m thrilled it does. I did like three takes [of the fall]. And it could have been the stunt woman [who made the cut]. I honestly don’t know who they cut to for what.

Because when people say, “Are you a Carrie? Are you a Charlotte?” A lot of people say, “I’m Lexi.”

They tell me that all the time. I just go, “Oh, babes.” I wouldn’t really want to cling to her as like an inspiration for your character, but I think what they mean is they’re probably bawdy. There are worse things to be in life.

What’s the most recent thing you watched that you’re obsessed with?

I’ve gone down the K-drama rabbit hole. And something I loved is this C-drama called “Pursuit of Jade” on Netflix. It’s so well-done, really good and very thrilling. A period show. Love it. I’ve been sucked into that. Oh, for K-drama — “Bon Appétit, Your Majesty.” That’s pretty much where I’ve been living.

What’s your go-to comfort watch?

I like spooky, weird stuff like “True Detective,” “Broadchurch.” I just did a rewatch. I can’t believe “Broadchurch” is my comfort show. Anything with really good character development, fantastic acting. I love it.

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Choose your own adventure: would you rather travel vicariously with Sean Duffy or Conan O’Brien as your guide?

“Great American Road Trip,” the reality series from the Department of Transportation starring Secretary Duffy and his family, finally launched this week on YouTube after months of delays. Originally set to premiere in June, ahead of the nation’s 250th celebration, it follows Duffy and his wife, Rachel Campos-Duffy, a co-host of “Fox & Friends Weekend,” and their nine children as they travel through seven states. While the couple has roots on MTV’s “The Real World,” their new TV venture doesn’t seem destined to have the same cultural impact. The six episodes of the series — as of publication time — have just over 14,000 views combined.

Meanwhile, over on HBO Max, O’Brien is back for more unpredictable cross-cultural exchanges with the return of his travel series. Now in its third season, “Conan O’Brien Must Go” follows the comedian and podcast host around the world as he interacts with fans and provides glimpses of everyday life abroad with his blend of improvisational comedy and an affinity for situations that embrace the absurd. The season kicks off with a trip to India, a major feat considering the show has faced years of permit delays related to a remote segment for “Late Night With Conan O’Brien” that aired in 2004. I spoke with executive producer and director Mike Sweeney about the latest stops in the show’s world tour.

Plus, our writers recommend two TV dramas that feature formidable women — one is a former city slicker solving mysteries in the Montana wilderness, the other is a detective trying to untangle a missing woman’s case while her personal life is falling apart.

But before I set you on your streaming way, I want to also share our guide to some of Hayden Panettiere’s most notable work. When news broke this week about her sudden death at age 36, it came as an extraordinary shock. Panettiere had been working in front of the camera since she was in diapers, appearing in commercials and, by age 4, making the rounds in the soap opera circuit. Like many millennials, my first exposure to her talent was in Disney’s 2000 sports drama “Remember the Titans,” where she (at age 10) played the spunky, football-loving daughter of a high school assistant coach — and delivered the line that helped signal the prep sport was bigger than Christmas in Virginia. Though her career was cut far too short, she was part of some memorable projects, including “Heroes” and “Nashville,” that are worth revisiting.

Her influence, though, extends beyond her screen work. In her appreciation of Panettiere, culture critic Mary McNamara wrote of the Panettiere’s candidness about her mental health struggles, which included bringing awareness to the realities of postpartum depression: “Panettiere spoke up when she could have remained silent. She called out a truth that has been too long ignored and gave millions of women a chance to ask for help. She might not have saved the world, but she threw a big part of it a lifeline.” — Yvonne Villarreal

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Tracy Spiridakos as Anna Pigeon and Paulina Alexis as Zoey Bear Child in “Anna Pigeon.”

(Michelle Faye / USA Network)

“Anna Pigeon” (USA Network)

This highly watchable, lightly addictive, woodsy episodic procedural dishes up meat and potatoes entertainment, or perhaps one should say “poutine,” given that almost all the talent involved is Canadian, as is the impressive scenery. Tracy Spiridakos (“Chicago P.D.”), just the right number of hairs out of place, plays Anna, a New York City stage manager turned federal park ranger after a personal tragedy. In Nevada Barr’s series of novels, the heroine works at a new park from book to book; here, we’re in Montana’s Glacier Park (it does run right up to Canada), the setting of the 2001 “Blood Lure,” with Anna apparently ready to stay put as long as the TV series lasts. (The first Pigeon novel, “Track of the Cat,” from 1993, informs the pilot, directed by Leah Thompson, not Canadian.) Missing persons, bank robbers, litterbug campers and an aggressive grouse bring the trouble. And murderers, of course. Community is a theme; there’s a handsome bartender for romance, a rich villain to hiss. There’s a talent show. The cherry on this sundae is Paulina Alexis, Willie Jack from “Reservation Dogs,” as Anna’s sidekick, enlivening the ensemble with her centered, serious, quietly humorous energy. — Robert Lloyd

Eve Myles as Annie Cassidy and David Morrissey as Michael Polly in “Gone.”

(James Pardon / Britbox)

“Gone” (Britbox)

Like many British murder mysteries, “Gone” opens in a picturesque portion of that green and pleasant land, in this case the rugby pitch of a stately boys school outside Bristol. Overseeing the home team is headmaster/rugby coach Michael Polly (David Morrissey) who has the mien and manner of a perpetually disappointed tyrant. When Polly’s wife, Sarah, cannot be found at the home they share with their adult daughter, Alana (Emma Appleton), it’s difficult to tell how he’s feeling, if anything. He certainly will not allow a missing wife to interfere with his task of molding boys into men, not with exams and a Very Important rugby final coming up. When he finally reports her absence to the police, it is pretty clear to everyone, especially Det. Sgt. Annie Cassidy (Eve Myles), that he knows more than he’s telling. But is it British reticence, or something more sinister?

Those accustomed to the speedy lab results and instant deductions of a standard police procedural may find themselves, at least initially, shouting out instructions and demands — how can the forensics report be so scanty? why is [fill in the blank] not brought in for questioning? But the show is, essentially, a psychological drama wrapped in a murder mystery. Anchored by splendidly counterintuitive performances by Morrissey and Myles, “Gone” will wrap up its case over six tense and twisty episodes. But the questions it raises — about the insidious power of abusive relationships, the complexity of human emotions and the peril of considering secrecy as protection — linger long after immediate justice is served. — Mary McNamara

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Conan O’Brien in a segment filmed in Morocco for Season 3 of “Conan O’Brien Must Go.”

(Team Coco / HBO)

As a member of the growing subgenre of celebrity travelogue, Conan O’Brien has cuddled with Javier Bardem in Spain, dressed up as Sigmund Freud in Vienna and faced off against a Muay Thai fighter in Thailand. The new season of “Conan O’Brien Must Go” has the frequent flier funnyman visiting India, the Netherlands, Morocco and the Philippines — meeting his international fans and testing how well his improvisational humor translates. I spoke with his longtime collaborator Mike Sweeney, co-writer and director on every episode, about this season’s locations and O’Brien’s SPF needs. — Y.V.

The series is a chance for Conan to interact with international fans, particularly those that have been on the podcast. Why do you think Conan’s style of humor travels so well?

He’s fearless. I think that helps. He genuinely loves people, and he has to make people laugh. He has to make people laugh all the time in the United States. And then if you put him in another country, he’s going to figure out how to get his laughs over there, even if no one speaks English. It’s literally like being thrown in a room where he’s got to find his oxygen, and he’s gonna find it by getting laughs everywhere he goes. I’m sure the fact we have a camera with us, people are curious. They tend to attract people who want to open up and play around. People can spot him from a mile away. That also helps. That’s another key to a good travel show — have a really tall orange-haired host.

The first episode is set in India. Things start with him trying to get on a crowded commuter train. What were some moments from that episode that stand out to you?

Yes, we wanted to go in the famous Mumbai commuter trains. Boy, the amount of red tape to get permission to even go down on the platform was crazy. We had to do it several months out. But we loved that [segment]. We loved playing street cricket. He had a young man teaching him, named Veer [Pandey], who was very funny and kind of dismissive of Conan, and that’s kind of Conan’s sweet spot.

Some countries have incredible restrictions — you might need permits to talk to people in the street, you’re dealing with curveballs. And a lot of what Conan does is improvised and you don’t want rules to get in the way. How how do you deal with that?

It varies from country to country. You get a feel for it early on and go, “Oh, we need figure things out far in advance here. You’re getting to a very important point, which is: How much red tape is there in each country? India — a ton. We knew that because we almost shot there in 2018 [for “Conan Without Borders”] and it fell through ultimately because of all this red tape. We knew we really had to have a running start with India. But the Philippines, they were pretty cool. Same with the Netherlands. You know what the big issue is nowadays? Drones, where they let you shoot with drones.

Conan O’Brien during a Bollywood segment in his travel series.

(Team Coco / HBO)

What’s it like doing a travel show as the current administration puts stress on international relations? Did you notice any shifts this season on how you were either received or what’s possible to get cleared because you’re an American show?

Not overtly. Nothing was represented as like, “Oh, you want to come shoot here? Well, we’ll teach you a lesson.” I’d say really surprisingly, it was business as usual in terms of getting permissions to shoot. What’s going on in the crazy United States really wouldn’t come up that much because the things we’re doing are apolitical, which is usually how we like to do it. It’s Conan connecting with people and, in a way, be a political statement because it comes down to respecting other cultures and wanting to learn about other cultures and bridging gaps that way.

There was that moment on the commuter train where a passenger rebuffs Conan by saying, “Fake a— liberal media.” And Conan just rolls with it.

Yes, it’s just like, “Oh, they they even have people calling stuff out like that over here.” It was almost like, “OK, I feel at home. Thank you.”

We all saw that Conan, famous for his red pompadour hairstyle, recently made headlines for a slick, oily hairdo, which was the result of a severe scalp sunburn. In the Morocco episode, there’s a sun-heavy segment. Were you worried about his scalp then? How much budget goes to Conan’s SPF needs?

He’s self-regulating because he has to be that way in California. He has to be that way on a cloudy day in Cape Cod. It’s just ingrained in him, his sun protection. I don’t even think about it. It was business as usual for him in Morocco.

What’s a show you’re currently obsessed with or recommending to people?

We loved “Widow’s Bay” [Apple TV], of course. I sound like everyone else, but also Katie Dippold is great. She was an intern at “Conan,” and I’ve seen her a few times over because we kind of lived near each other in Los Feliz. But she’s just delightful. We’re so happy for her, and plus that show was just amazing. And my wife and I dipped back into “Slow Horses.”

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A new young adult series has entered the chat.

“Sterling Point” has all the hallmarks of your usual YA obsession — yearning, an awkward love triangle, a lack of adult supervision, an enviable waterfront setting and complicated friendships. Unlike most other YA series of the moment, it’s an original story that isn’t based on a book. Created by Megan Park, the writer-director behind Sundance hit “My Old Ass” and an actor with roots in the coming-of-age circuit in shows like “The Secret Life of the American Teenager,” the heartfelt drama centers heavily on the complex relationship between two teens who discover they’re half sisters after a death exposes a deep family secret.

It’s the latest series helping Prime Video step further into its WB/The CW era as a go-to destination for younger audiences, joining hits that include “The Summer I Turned Pretty,” “Every Year After,” “We Were Liars” and “Off Campus.” Not to show my millennial wrinkles, but unless the streamer invests in a campaign that evokes the spirit of late ‘90s marketing push known as “The Faces of WB,” what’s even the point of it all? Until then, in this week’s Guest Spot, we spoke with Park about the series that has teen drama enthusiasts hooked.

Also in this week’s Screen Gab, our writers recommend a six-part British television drama that recounts the tragic 1988 bombing of Pan Am Flight 103 and a 2007 stoner comedy directed by Gregg Araki that will help you mellow out and pregame this weekend’s latest addition to the genre. — Yvonne Villarreal

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Phyllis Logan, left, Molly Geddes and Cora Bissett in “The Bombing of Pan Am 103.”

(Netflix)

“The Bombing of Pan Am 103” (Netflix)

Admittedly, I didn’t know a lot about the Pan Am flight disaster that this miniseries depicts, but I’m glad that’s no longer the case. This BBC production (it debuted in the U.K. last year) depicts the stories of American and Scottish investigators who spent more than a decade combing through evidence, clues and tips to bring justice to the families affected by the bombing of Pan Am Flight 103. In 1988, the commercial jetliner was transporting 259 people, including 190 Americans, when it exploded over the skies of Lockerbie, Scotland, killing everyone on board and 11 Scots on the ground. Until the events of Sept. 11, 2001, it was one of the most lethal acts of air terrorism, according to the FBI. In the series, we see the gravity of the disaster, but also a deep layer of humanity, showing how Lockerbie and its citizens were irrevocably changed, yet their compassion never wavered, whether for each other or the victims’ families, who formed a lasting bond in an unlikely place. The main characters in the show are based on real-life people: Connor Swindells is DS Ed McCusker, who helped lead the investigation in Scotland; Patrick J. Adams is FBI Agent Dick Marquise, who led the American investigation; and the brilliant Merritt Wever is Kathryn Turman, a tireless advocate whose work led to reforms and services for families of victims. Be prepared to watch with a box of tissues. — Maira Garcia

Anna Faris, John Krasinski, center, Michael Shamus Wiles in 2007’s “Smiley Face.”

(Lacey Terrell / First Look Pictures)

“Smiley Face” (Prime Video)

This has been a stand-out summer for highbrow discourse about Homeric adaptations. As a reward, let’s get stupid with Gregg Araki’s 2007 stoner flick “Smiley Face,” a giddy, silly romp about a slacker (Anna Faris) whose troubles start when she snarfs a plate of pot cupcakes for breakfast. Her misadventures treat us to a tour of L.A. — from a Hollywood casting office to the Venice Beach boardwalk, with a pit stop at a meat-packing plant in El Monte. Even better, it’s a tour de force performance from Faris, who plays an impulsive mess with the fearlessness of a clown leaping into a kiddie pool of pudding. She deserved to make a dozen more movies just like it. (The “Scary Movie” franchise only halfway counts.) If “Smiley Face” gives you the munchies for a great new comedy, check out “The Wrong Girls” with Kristen Stewart and Alia Shawkat and Araki’s latest farce, “I Want Your Sex,” which stars a ferociously funny Olivia Wilde. — Amy Nicholson

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Ella Rubin and Amélie Hoeferle in “Sterling Point.”

(Prime Video)

The enemies-to-lovers romance trope in a teen drama? It’s been done. “Sterling Point” anchors its premise on an enemies(ish)-to-sisters storyline. The coming-of-age drama opens with 17-year-old twins, Annie Jacobson (Ella Rubin) and her twin brother Connor (Keen Ruffalo), who were raised in New York City and inherit a Canadian island following the death of their estranged grandfather. The series follows Annie as she sets out to the island and encounters Ramona (Amélie Hoeferle), the half sister she didn’t know existed until she arrived there. Their initial friction gives way to a tight bond as they piece together emotionally heavy family secrets.

The series hails from Megan Park, who has become known for her nuanced stories about young people with films like “The Fallout,” a drama starring Jenna Ortega about the aftermath of a school shooting, and the Aubrey Plaza-led “My Old Ass,” about a teenager who meets her older self while on a mushroom trip. Over video call, Park discussed the “Sterling Point’s” origins, her hopes for Season 2 and the coming-of-age stories that she admired growing up. — Y.V.

Many series about and catering to young adults right now, some of which are part of Prime Video’s lineup, are based on books that have built-in fan bases. Did that make “Sterling Point” a harder sell? What was your experience of pitching it?

Yes, I think people are always more nervous to take a risk on something brand new when you’re like, “This is just a weird idea I had in my brain, but trust me I think it’ll work.” But I was really lucky with Amazon being so supportive because they had just acquired “My Old Ass” and I think they understood the voice and the stories that I was wanting to tell with the show. I was shocked that people were willing to take the risk of being like, we’re going to go in a writers room and we’re going to figure out the show in an old-school way; we’re not going to rely on any kind of built-in audience or IP. I’m very thankful for Amazon for taking that chance on us. It’s not that I’m against adapting IP. I’m sure I would do that at some point, but I had an idea and somebody still wanted to listen to it, so I feel very grateful for that.

What inspired this story ?

I wanted to try [writing for] TV because I was like, “Well, eight hours is a lot more content than just making a movie.” That was a fun challenge to me. When I was acting, I spent so many years doing TV, so it felt like home. For me, it was the sisterhood story and sort of the the idea of these two young women who are connected by this woman that they don’t know and don’t feel like her death has necessarily affected either one of them, and it has very much affected both of them. I thought it was an interesting idea to explore, nature versus nurture. I come from a family where there’s a lot of adoption, and I had also never really seen a character like Annie where they were adopted and they didn’t have the desire to seek out their biological family, and that was just something they were fine with. That’s been an experience of a lot of people in my family. Oftentimes, [we see] stories about you know people wanting to find their biological family. Both of them exist, but I hadn’t seen the latter in a lot of things. I was excited to explore that.

Daniel Quinn-Toye, Bo Bragason and Jacob Whiteduck-Lavoie in “Sterling Point.”

(Prime Video)

Identity, and how that’s shaped by our parents, drives so much of the story. What interested you in that parent-child or just familial dynamic?

I’ve always just loved stories that are about that; family dynamics are the most interesting to me because they’re so full of triggers, and everybody has some kind of crazy story within their family, or a mystery. At that age, you’re finally realizing your parents are just people too, and they maybe don’t know everything. And maybe you have different ideas or thoughts about how the world works than your parents, and that can sometimes not go over very well. It is an interesting time. And as a mom now with children — I have a 2- and 6-year-old — you think a lot about like, “Wow, how are my kids going to feel about A, B, and C when they’re this age? What’s my relationship going to be with them as teenagers and adults?” It’s so wild to think about. I was also writing it, thinking about a lot about the mom and the parents POV as well.

The show has romance or feelings of infatuation that are a hallmark of young adult dramas, but it’s not the focus of the show. It’s the relationship between the sisters. There’ve been studies saying that teens want less sex in TV and movies, that they prefer watching stories about deep friendships or platonic relationships. Was that top of mind for you at all?

You’re the first person who’s asked me that, and I feel like yes. We love a love triangle, we love a love story — it’s so fun and such an escape; it’s almost like an essential part of a show in a way. But especially this generation, their friendships are deeply important and they live at home longer, statistically. Their relationships, their parents, are a lot different than maybe millennials’. When I was in high school, I was never involved in romantic relationships. That was a later part of life, and I feel like I’ve talked to a lot of people, they were like, I wasn’t dating really in high school. I was not ready and not there yet. You don’t often see that. And so it was fun to have this this North Star that the real love story and the real heart of the show is the sisterhood, and I hope that sets the show apart in an exciting way, because it felt that way when we were writing it.

The season ends with Annie and Ramona essentially swapping locations. What are you interested in exploring in a Season 2 with these characters?

I have a whole bunch of ideas left, so we shall see. There’s a lot between these two young women having now experienced each other’s lives fully that is going to be really interesting to explore and pick up, hopefully, if we get the chance to. Listen, eight hours seem like a lot, but once you get into it, you’re like, “Wait, man, there’s eight hours more that I think I could get deeper into A, B, and C.” And there’s so many great supporting characters in the show, and we had stuff [for them] that we wanted to fit in for them in Season 1 that we just couldn’t fit in. Season 2 could be fun in that way, where you know these people and know the world, and now you can go more into [who they are.] Who is Oona’s mom? There’s all these other characters who we can get more into their world as well.

The YA genre is thriving right now. And it’s not even just young people tuning in — I feel like I see so many TikToks from millennials and Gen X talking about their obsession with them. Why do you think we’re still turning to these types of stories later in adulthood?

Because it’s nostalgic. It’s such a defining time in every single person’s life. It’s why young people are finding shows that we grew up on, like “One Tree Hill” or “Dawson’s Creek.” And why women in their 50s or 60s are still relating to the newer shows like “Off Campus” and and “Elle.” It doesn’t matter the era; it’s just the unique sort of idea that it’s the first this, the first that; the defining moments of our lives in so many ways.

In the spirit of this series, what were some of the coming-of-age films, TV series or books that shaped you?

I grew up in like the era of such great coming-of-age comedies — “Clueless” was a big one for me — and really epic rom-coms like “How to Lose a Guy in 10 Days.” Those movies really stuck with me. I would say that Chris Columbus, as a filmmaker, makes movies like “Mrs. Doubtfire,” “Step Mom” — those movies that are such wild ideas or really sad things, but you’re also unexpectedly crying. In “Mrs. Doubtfire,” you’re like, oh, this is a story about a dad who misses his kids, but it’s so heartfelt but also funny at the same time.” I want to make things that are heartfelt, which isn’t necessarily a cool word to some people. I think it’s cool because I want to make things that are meaningful but also lead with their heart, and you’re surprised when the emotion comes. It’s not just super, super dark or super, super light and fluffy; it hopefully falls perfectly right in the middle.

ICYMI

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