Emmys 2020: Making Baby Yoda, Designing Succession, and More Behind-the-Scenes Stories

For example: The Long Island mansion that became Tern Haven, the ancestral home of the antagonistic Pierce family, was already pretty much perfect, right down to the candle-powered chandelier that hung over the dining table where most of the episode’s action unfolds. But Carter and his team had to spend some time “settling things down,” swapping out a few eye-catching design elements.

“There’s always risk with these really opulent interiors, that they draw attention to themselves or become a caricature or design porn,” Carter said, adding that as a former actor himself, he always ensures the cast is the center of attention. At the same time, some luxury is always needed: “We want to make sure it feels like billionaires inhabit these spaces, not just millionaires.”
Katey Rich

All That Glitters

The moody makeup of Euphoria

In the third episode of HBO’s transgressive teen drama Euphoria, a lunchroom conversation turns to selfies. They should look “classy, but not too arty,” Jules (an incandescent Hunter Schafer) tells her best friend, Rue (Zendaya). “Like I took them with very little thought or effort, but could also be in fucking MoMA.” Jules is talking about nudes—common currency for a generation navigating sex in the smartphone era—but she could be describing her makeup: dabs of yellow along her arches, with a neon red stripe beneath each lower lash. It’s Kandinsky by way of Sephora.

Euphoria’s parade of looks—crystal-embellished cat eyes, shadow in polychrome pastels, psychedelic glitter tears—is more than visual stimulation. It’s a call to action, reverberating across the runways and prompting online homages. Mindy Kaling spoke for just about everyone when she tweeted, “Be honest, can I pull off Euphoria eye makeup.”

Above: Creator Sam Levinson wanted to centralize Rue’s makeup under her eyes, says Davy, “so glitter could reflect like pools of tears.”
Below: “I wanted to bridge the gap between the fantasy of runway makeup and real life,” says Davy—this starburst look included.
All photos courtesy of HBO.
Above: Hunter Schafer (far left) and Zendaya on set for the season one finale, staged at a school dance.
Below: Doniella Davy touches up Schafer’s gold-foil appliqués, an homage to Claire Danes in 1996’s Romeo + Juliet.
All photos courtesy of HBO.

Doniella Davy, the series’s 31-year-old makeup department head, thinks so. “This isn’t about glam. It’s about expression and telling the story,” she says, describing writer-director Sam Levinson’s “real passion for makeup” as a creative outlet. It’s also a finely etched tool for character study. Jules, an ethereal trans girl, wears vivid smudges or delicate line work. For Rue, a quasi-recovering addict partial to hoodies, melancholic glitter is her against-type party accessory. “It’s beautiful, it’s sad, it’s complicated,” says Davy.

Production for season two was set for mid-March when the pandemic put the world on pause. New Euphoria makeup looks have instead turned up on Davy’s Instagram, a rare public turn instigated by quarantine. “I’m the guinea pig to this whole experiment,” Davy says of her dip into sparkles and candy tones. The lesson of Euphoria comes full circle: “It’s gotten me to come out of my shell.”
Laura Regensdorf

Between the Lines

The ingenious scripts of Better Call Saul

With this scene, Bob Odenkirk’s Jimmy and Rhea Seehorn’s Kim begin a new phase of their relationship— and Better Call Saul enters its endgame.
Script courtesy of AMC/Sony Pictures Television, photo by Greg Lewis/AMC/Sony Pictures Television.

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