It follows an unraveling couple (Oscar Isaac and Carey Mulligan) at an elite country club, whose volatile relationship is exposed after two young staffers (Charles Melton and Cailee Spaeny) witness a disturbing confrontation, setting off a chain reaction of manipulation, power plays and escalating fallout. The story also taps into the generational divides of Gen X versus Gen Z. Youn Yuh-jung costars as the club’s billionaire owner, Chairwoman Park, bringing boomer presence into the mix.

Key Insights

• The series blends actors’ real-life experiences into the script, creating more specific and authentic characters.
• Extensive collaboration and rehearsal allow actors to take bold risks while staying grounded in truth.
• Detailed character backstories, from finances to upbringing, shape performance choices in subtle but powerful ways.

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Creator Lee Sung Jin, also known as Sonny Lee, drew from several real-life experiences when shaping the season. Speaking at a press conference attended by Casting Networks, he recalled overhearing a heated argument between a couple in his neighborhood. When he shared the story with friends, he noticed a generational split in how it was perceived. His Gen X peers brushed it off, while his Gen Z friends were alarmed, asking whether he had called 911.

Another key influence came from house sitting for a friend in Montecito, who had recently sold his tech company for millions of dollars. Lee was given access to the friend’s country club membership, something he initially pooh-poohed. “Then you use it for a week, and you’re like, it’s kind of nice!” he said.

Spending time there, he noticed a clear divide: most of the members were boomers and Gen X, while the staff skewed millennial and Gen Z.

“I found that to be a great microcosm for society,” he said. “No matter how hard those employees work, they’re never going to become members.” He pointed to a line from the show where Melton’s Gen Z character Austin observes, “Everyone grabbed the bag before we could,” a sentiment that reflects growing frustration among younger generations navigating a system that feels increasingly out of reach in today’s world. 

“Once we had that metaphor, we kind of ran with it,” said Lee. “I think you can’t write anything true in 2026 without tackling the variable of class. It’s something that permeates every interaction, unfortunately, and it’s not like it’s getting better. If you’re putting your brain into these characters’ minds and trying to wonder what they do, I think money is a huge factor.”

Isaac and Mulligan spoke about playing Josh and Lindsay, the husband and wife whose argument is caught on a cellphone by the younger couple and then used against them to climb their career ladders. The duo previously worked together on 2011’s Drive and 2013’s Inside Llewyn Davis, with Beef marking their third collaboration. Isaac said they’ve also experienced their own generational shifts across those projects.

“We were like Cailee and Charles when we met on [the set of] Drive — young, fresh-eyed people just beginning our careers,” he observed. “On Llewyn Davis, we had met our significant others and were getting ready to embark on starting families.”

Now A-list actors and parents, the duo bring that lived experience into their roles. “Being able to bring in that history, that shared past, that lived experience, and to have so much trust already, I knew that it would be an opportunity for us to be able to be bold together and know that we had each other’s backs,” Isaac said.

That perspective, according to Isaac, also extends to the show’s generational themes. “We can look back with judgment on them now that we know so much more about life … and yet [the characters are] totally blind to the way that they are behaving in the moment.”

Isaac said he worked closely with Lee and Mulligan on the explosive argument sequence, describing it as highly collaborative.

“We spent so much time calibrating that and getting the tone just right, knowing that we needed to end in this tableau,” he explained. “Trying to figure out every version that made the most organic sense to get to that place was an incredible puzzle to solve together.”

Mulligan added, “It’s so easy to act with Oscar because … he’s very bold in all his choices, but none of it feels forced.  Because we had a long lead-up — lots of conversations with Sonny, we had rehearsals — and when we actually got to shooting it, it felt like doing a play. That meant that we could try things. There was a sense of real ease to it.”  

Both Isaac and Melton praised Lee’s willingness not just to draw on his own experiences, but to incorporate those of the actors as well.

“What drew me was the conversations I had with Sonny,” said Isaac. “We had these very long Zoom conversations. There were hours of talking together … mostly about our lives.”

He added that Lee created detailed backstories for the characters, including where they were born, where they went to school, and how much money they made early on. At the same time, as conversations evolved, there was room for evolution to add new information, which would shift and change the character. 

“Josh wasn’t written as a Latino character,” he said of his role. “Lindsay [Mulligan] wasn’t written English [i.e., British]. We found our way into that.”

Melton echoed that collaborative process. “There were many hundreds of hours in the collaboration where we were just sharing personal stories and certain experiences.” 

He shared with the showrunner that even though he is Korean American, he was often mistaken for Mexican growing up. That detail made its way into episode 3, in a restaurant scene where his character Austin says, “Everyone thought I was Mexican.” 

“What Sonny does is not only put in his own experience, but blends it with yours and then puts it into this brilliance of what Beef is.”

The post Inside Netflix’s ‘BEEF’ Season 2: How Collaboration and Lived Experience Shaped Performances appeared first on Casting Networks.

We caught up with Quincie from her home in Los Angeles, and discussed her experience filming the project, what a typical day on set was like, and why she thinks micro-dramas are the perfect response to our ever-changing viewing habits: meeting people where they are.

Key Insights

• Micro-dramas demand the same level of preparation and professionalism as traditional film and TV, despite their shorter format.
• A typical day on set can still mean long hours, full crews, and a highly collaborative environment.
• Actors who stay open and adaptable to new formats like micro-dramas position themselves ahead of the industry’s shifting landscape.

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Hi Quincie! Can you tell us about your earliest inspiration to become an actor?

I remember being very young, and my mom would constantly take me to the movies and the theater. One time, after a show, I became completely distraught and asked her in a total panic what the two people in the movie were going to do! (I think the characters had broken up or lost something, but honestly, I have no idea now, I was just hysterical). 

My mom couldn’t understand why I was so upset until she realized that I didn’t know what we’d just watched was make-believe. When she explained that those people weren’t really going through those emotions and that they were actors whose job was to ‘play dress up’ and pretend to be other people; my little six-year-old mind was blown. Cue Aladdin’s ‘A Whole New World’ It was the first time I realized that storytelling could be a job, and from that moment on, I was completely hooked!

How did your training at The American Academy of Dramatic Arts help to prepare you for working and auditioning?

Oh wow, my training prepared me in countless ways! Learning technical skills, theater history, classic texts, and literature, all came together to give me a really strong foundation. Solid enough to build on, but flexible enough to let me fly. That structure and rigor gave me freedom. The Academy taught me how to approach each new role with vulnerability and nuance, to explore with an open heart, while trusting that all the groundwork has been done.

The depth of my classical training became this internal toolkit I can draw from whenever I’m creating or auditioning. We were exposed to so many different techniques and also one of the most meaningful parts were the relationships I formed with my teachers and directors. Hearing their personal stories, their struggles and triumphs, added so much texture to my developing artist heart and mind. Those connections were as valuable as the training itself.

You’re originally from LA, but you’ve also worked in New York. What do you find are the major differences between working/auditioning in both cities?

There’s genuinely so many details about being a working actress in both NY and LA. It’s honestly pretty cool to me because I think there is so much crossover between the two. So many people these days are bi-coastal, working back and forth. However I’ve always felt personally, the major differences were in the actual work available. 

This could totally be a singular reality but for me, I’ve felt that NY is a lot more as I say ‘busy work’ and LA is more auditioning. Living in NY, I’m maybe auditioning less because I’m busy working on a variety of projects from Black Box Theater, off-Broadway shows, Shorts, Web-Series and Table Reads…there’s so much to do! 

However in LA I seem to book less, but have more substantial auditions. Auditions that are more aligned with my personal vision and career goals. While constantly working in NY was awesome, at times after a couple years it felt a little directionless. So I was eager to come home to hone in on that vision and work a little more intentionally. 

You recently starred in the micro-drama ‘Up to Us’. What can you tell us about this project?

Yes! Up to Us is such an incredible and unique project. It was originally presented as part of the Youth Justice Sex Education Films, a collaboration between the UCLA Art & Global Health Center and the Prison Education Project. The series is made up of three shorts adapted by screenwriter Francisco Aviles (@gotfran) from real stories written by nine system-impacted writing fellows.

It’s a project deeply grounded in truth and rooted in community. After the initial initiative, the team transformed these stories into micro-dramas designed specifically for Instagram and TikTok, which I think is so brilliant. We all live on our phones these days, especially young people, so this approach really meets the audience where they are.

The goal is to spark honest conversations around sexual health, consent, and relationships. When young people see themselves on screen it’ll normalize talking about these topics in a healthy, empowering way.

How did you first get involved and what was the audition process like?

I saw a casting notice on Instagram! Alongside this beautiful deck and shot list stacked with these amazing powerhouses of black actresses on the moodboard. The submission requested an introduction video where I talked about who I am, my experience, plus a bit about my own journey with sexual health and wellness.

After my submission I was called in for an in-person audition. The audition was very chill and I had such a good time actually chatting with the production crew. Shortly after I left I received an email saying I got the role!

What can you tell us about the rehearsal and preparation process for ‘Up to Us’?

Everything about this project was super smooth and really well organized. Once we were cast, we started with a few table reads, and those early sessions were so powerful. The team gave us a little history and background on what the project was about, the purpose behind it, where each of our stories fit in, and why these particular voices were being centered.

From there we all dug into the material and connected these stories to our individual real life experiences. You can really feel that everyone involved cared deeply and that created an environment for full vulnerability and presence. 

What can you tell us about where ‘Up to Us’ was shot and what it was like being on location?

Even though we rehearsed and did our table reads in LA, we actually filmed in Baldwin Park which I’d never been to before. It’s only about 45 minutes outside of LA and funny how the name can be mistaken for the neighborhood in LA that I’m from. I’m originally from Baldwin Hills, a historically Black, culturally rich neighborhood full of heritage and community. And what’s beautiful is that Baldwin Park is that same kind of space for the Latino community, really rooted in Mexican-American culture and tradition. 

It was amazing to explore, meet people, and take in that sense of pride and identity. For me, it’s always the small things that stick like grabbing coffee from a local spot, finding a little neighborhood shop, or chatting with residents between takes. That kind of stuff really grounds me. Baldwin Park reminded me so much of home, which made it the perfect backdrop for our characters’ world. It just added so much authenticity and warmth to the entire experience.

Actors might think that Micro-Drama productions have lower budgets, so there aren’t always things like wardrobe, make-up or even catering. What can you tell us about the reality of being on set?

Being on set was such a treat! I had the incredible opportunity to collaborate with some of the most talented creators and artists I’ve ever met. Wardrobe was led by the amazing Vicky Valenzuela, an LA native with so much character and life. Her style is bold and full of disco flair, sparkle, and flash. She infused each character with such specific and distinct touches.

I absolutely loved her point of view. Hair and makeup were handled by the incomparable Leticia Llesmin (@leticiallesmin), another LA native. She’s an absolute gem! We instantly hit it off, and between the two of us, there was never a dull moment, so much laughter throughout the week. 

We were also truly spoiled by the catering team and food trucks, I’ve literally never been on a set where I wanted to take the food home to-go for later! It was that good! They served delicious Mexican cuisines that kept us fueled and energized between takes.

We had a five day production; day one was about 13 hours and 5 scenes. Day two was another 13 hour day and we got through 7 scenes. Day three was a little lighter, about 8 hours and 3 scenes. Then day four was jam packed; 12 hours and 10 scenes. I actually wrapped a day earlier with Day 4 being my last day with the cast and crew.

Micro-dramas are also getting increasingly more popular. Why do you think that is?

To put it simply, I think micro-dramas are blowing up because of how fast the media landscape moves now. The way we consume content has completely changed. We’ve gone from print to photos, to video, to streaming and now everything lives right at our fingertips.

Watching a feature film used to be an event, an outing. Now we can binge entire shows on our phones while sitting in traffic. The birth of streaming platforms definitely opened the door to this shift, but social media really kicked it into overdrive. 

Micro-dramas are kind of the perfect response to our short attention spans and constant scrolling habits. They fit right into that quick, scrollable space where the random algorithm could be on your side. I think though when done well, they still manage to tell a full, emotional story in just a few minutes.

What’s genius about them is the reach. You never really know where that content is going to land or who it’s going to touch. 

What would you say is the biggest misconception about working on a micro-drama?

I think one of the biggest misconceptions about working on a micro drama is that, because it’s shorter, it must be easier or that the quality isn’t on the same level as traditional Television or film. But honestly it’s a pretty technical medium that requires more of a product mindset, rather than a purely artistic one.

Now when it comes to Up To Us in particular I have to say that I’m not sure how much of that was taken into account. The team was deeply focused on the storytelling and using these pieces as tools to educate, inform, and connect with young people through accessible characters. 

I also think that people tend to assume that micro‑dramas somehow have less emotional depth and are more like modern day soap operas with melodramatic and surface level themes. Now that may be true for some (trust me I’ve seen some pretty horrendous things pop up on my fyp) It’s not the case over here!

What advice can you offer for any actors who want to approach this type of work?

Be open. I say that first because I totally get it, I’m a bit of an old soul myself. I take so much joy in the classics and the original forms of storytelling. I still go to the theater, and I love the whole experience of going to the movies the moment something new comes out and not waiting for it to stream. So I understand how, as artists, it can be tough watching the industry shift and evolve so quickly. But you don’t want to be left behind. 

This is where storytelling is going. My advice would be to lead with an open heart and mind. We might not always love the direction things are headed, but if we want to stay in the game, we have to be malleable. Stay curious, stay teachable, and keep learning.

When you do get the opportunity, immerse yourself fully into the world of the piece. Treat it as you would any other production. I know for me I tend to try my best, to be as present as I can and not fixate on the final product and what will go on in post.

I understand to some degree it could be a really informative and pretty useful tool to know how this media is going to land and how it will be formatted. However with Up to Us I just wanted to live fully in Lulu’s world, to embody her circumstances and her truth.

Finally, the industry seems to be embracing micro-dramas. What do you want people to know as we move forward with this new form of storytelling?

Since the industry is slowly but surely embracing this format, I think it would be dope to see the general public engage with micro-dramas the same way they do traditional Television and film. Pay attention to what’s coming out, find the ones that move you, and start building your own list of favorites.

The same way people geek out over their favorite HBO shows or follow YouTube creators they love. I’d love to see that same kind of excitement and community around micro-dramas. Talk about them with your friends, share them, and start conversations. That kind of word-of-mouth buzz and genuine curiosity is what’ll help solidify this new wave of storytelling.

Because at the end of the day, these stories are real, fresh, and meant to connect and the more people who watch and share them, the stronger this format will be. 

To learn more about Quincie Mychelle Lewis, you can follow her on Instagram: @queenqml
‘Up to Us’ the full series is available to watch now on Instagram and Tik Tok 
To learn more visit: https://up-to-us.org/watch/

*Biography provided by Quincie Mychelle Lewis. This interview has been edited and condensed.

The post What Actors Should Know About Working on Micro-Dramas: From Actor Quincie Mychelle Lewis appeared first on Casting Networks.

It first premiered on the West End in 2023 at the Phoenix Theatre. Set during Henry Creel’s teenage years, the show reveals the origin of Creel’s psychokinetic powers. Danielle Kassaraté is the current associate director.

Danielle’s first experience directing began on a production of All My Sons, leading to work assisting on productions of The Lightning Thief: The Percy Jackson Musical, Tambo & Bones, The Tempest at The Globe and King Lear at the Almeida Theatre. 

Key Insights

• Let go of trying to “get it right” in auditions and focus instead on bringing a playful, authentic version of the character into the room.
• If you want to direct, start by creating with your peers because collaboration is often the fastest path to real experience.
• Approach theatre as more than performance, using it as a tool to connect, heal, and create meaningful change.

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After studying musical theater at the BRIT School in South London, Danielle trained as an actor at the Royal Central School of Speech and Drama. Her acting credits include the Netflix series The Sandman, The Color Purple musical performed at the Birmingham Hippodrome and the Leicester Curve, the international tour of The Curious Incident of the Dog in the Night-Time and The Architect at Greenwich + Docklands festival.

She is also the co-founder of Mawa, the UK’s first all-Black, all-female Shakespeare theater company.

First the resident director and now the associate director, she has her hands full. Danielle spoke to us directly from The Phoenix Theatre in London.

Can you tell us about your earliest inspiration to become a director?

My mum always took me to the theater, and when I was younger they used to have these offers, for … I don’t know if it was just for nurses, but you could get these discounted tickets. There were these vouchers that my mum used to get as a nurse for West End shows, which I obviously don’t think is a thing now, which is a shame.

That made theater accessible for me and her. Basically she took me to the theater a lot when I was younger, because of this discount, which allowed more people to go to the theater, especially in the West End. 

I remember having early memories of watching shows and just being really inspired. I don’t know if it was to be an actor, but I knew I wanted to do something that linked with creativity. There was something in watching other people do and create a world on stage that I wanted to be a part of quite young, and I loved theater at school and all of that. I was always involved in anything that was creative. 

I think it started with my mum really because she encouraged that side of myself from a young age, and we were able to go to the theater and I saw how that isn’t a luxury for a lot of people, especially from different backgrounds. I feel really lucky that I got that, but like I said, there were deals back then which we could use, which meant that we could go. 

One of my earliest memories was seeing Porgy and Bess — it’s a funny full-circle story actually. I saw Clark Peters in Porgy and Bess, and I ended up working with him on King Lear as an assistant. I saw that production, and I saw myself on stage with all these wonderful actors, and thought, “Ah, I can do [that]” with an actor I admired, to then end up working with him on a show that I was also very passionate about. It was a beautiful full-circle moment.

How did your training at the Royal Central School of Speech and Drama prepare you for working on the West End?

I trained as an actor, I did drama and applied theater in education, and that came about because I went to the Brit School from age 16. I was at BRIT studying musical theater and during that time, you know, you get to a point where you have to choose what you want to do, which schools you want to apply for.

We did a community theater project with a local school, and we did a big show at Fairfield Halls for lots of schools to come and watch as well, which was part of this community project, as part of our course.

I remember at the time, a lot of other actors in my year were like, “Oh I’m gonna apply for this school.” They knew exactly what they wanted to do. They knew exactly what schools they wanted to apply for. In terms of the next step in the industry, I was just like, “I’m not there yet.”

I’m not in this space of wanting to be like, “I’m gonna go to this school, and I’m gonna be doing musical theater and I’m gonna be on the West End.” I knew in myself that I just didn’t have that calling at that point in my career and in my life because I was only 17. 

Then I said to my drama teacher at BRIT, “Yeah I’m just figuring out what I want to do, but I really love the community theater project.” She was the one that told me about this course at Central because she studied it. I was like, “Oh, okay,” then I did what everyone else does, I applied, went to the open day and got in.

I went there for three years, many ups and downs like lots of courses, but what I got from it was definitely life affirming. I’m glad I did something like that course before being an actor in this industry. 

You get to understand that there is more to theater than just being on stage, and I know we all know that, but it’s a vessel and a tool that we can use in society to help heal and to make inclusive. To have fun and remind people that there’s escapism we can go to in hard times, and that’s what I loved about that course, that I was able to do that. I worked with Mind Charity, as part of our course and I worked with schools. 

When I graduated, as part of my placement, I worked with a company called Haringey Shed full time. So that placement was like part of my career, somehow going into directing. You end up directing lots of youth theater and children’s theater, but at the time you don’t put that down as directing, you’re like, “Oh,  this is my job.”

But, in reality you’re directing 50 plus kids on stage, trying to put together a production of The Tempest. So yeah! You are directing! My journey through to Central was not linear, but that’s how I got there.

You co-founded The Mawa Theatre Company, the UK’s first all-Black, all-female Shakespeare company. Can you tell us more about Mawa?

We founded it in 2020, during the pandemic, going into 2021. It came off the back of, you know there was a lot of unrest going on at that time, a lot of pain. There were lots of theaters and people opening up discussions. Maisey [Bawden] who had the idea for it, of wanting to create space for us, and that if we were going back into an industry that was going to open up, what would we want the industry to look like?

All of us had a passion for Shakespeare, and I kind of came in through my experience with the outreach and that sort of thing from my experience at Central. I was really keen on the outreach side of stuff, then eventually we put all our heads together. Me, Gabrielle [Brooks], Jade [Samuels] and Maisey, and yeah we came up with Mawa. 

We did a series of online videos throughout the pandemic. We did some more online videos, with my stint at Queens Theatre Hornchurch, alongside with Maisey and through Mawa, we did Shakespeare on Sea. We did a monologue slam in Birmingham and we did one at The Globe in London.

In terms of the future of the company, like lots of things, people evolve and they keep discovering who they are creatively, but Mawa is still and will always be something that was founded from a place that was about creating more opportunity for people. Whether that happens individually or together is something we are still discussing.

There is always space to hold for that, whatever aspect and whatever job. What I know for myself, is that even if I’m not doing an all-Black female Shakespeare show, in terms of creating space and holding space for people that haven’t always had that, is always at the forefront of my mind.

As the associate director of Stranger Things: The First Shadow, can you explain what the role involves?

I look after the show on a week-to-week basis, and that includes going in, watching the show and noting anything office-based, as well to do with cast holiday. Communicating with the offices on anything we might need in the building, but the overall role is the director that is there day to day. That includes parish notes, which is something that we do at the beginning. You need parish notes, maybe to discuss things that happen throughout the week or something you want to work on. 

To be the outside eyes as a director in the building, to help maintain the original vision of the show. A resident is someone that’s on the ground most days, throughout the week, and then you’ve got an associate director who comes in every other week.

Anna Girvan, is my point of contact. Then above Anna, you have the original directors, Stephen Daldry and Justin Martin. It’s about keeping Stephen and Justin’s vision of the show throughout the whole run of it. I rehearse in covers, I run the cover rehearsals and I re-rehearse anybody, like the young actors. We’ve got children in the show, the young Alices, so I rehearse them into the show.

So lots of creative input still, which is nice, because you still get to use your directing chops with the people that are being rehearsed back in.

What advice can you give to actors about auditioning for theater and about the pressure they might feel from being in the audition room?

Doing a long-running show, I think it’s very easy to feel like you have to be a carbon copy of what the show is, especially with a show like ours. You have a television series to reference, but Anna always says in the initial first-round discussion that we’re not looking for that, we’re looking to see what you bring to that.

Of course, there are backstories, there are characters that you can reference, and I think this is with any role, try not to come in expecting what you want us to see. 

Always research the show as much as you can, and that doesn’t mean forking out money to go and watch the show. Like for our show, it’s just useful whether you know the series. If you know the series, you know the world of it, right?

So you’ve got a great reference for that, and what I’d also say is to be as prepared as possible, [and that] doesn’t mean having to be off book. I think there’s this pressure of actors always thinking they have to be off book, and yes it’s useful to be familiar of course, but be playful.

What can happen is you learn a version of it, and then because you’ve learned a version that you’ve rehearsed at home, you can suddenly come into the room and then without realizing it, it’s not as playable.

In terms of young actors I’d say just take the pressure off, having been on both sides, having been rejected many times in my career more than I’ve been said yes to, like we all have, it really sometimes comes down to the smallest thing, and don’t hold on to that.

There’s been amazing talent that along the way you say no to, and sometimes it’s literally just that they’re brilliant, they’re just not right for this show. So just remember that, remember that this “no” is leaving room for the next “yes,” and it’s not always a bad thing. I think straight out of drama school the want is obviously to get jobs and book, but realistically,  this industry is very tough.

I would never want anyone to leave an audition process and think that just because they got a “no,” for their dream role in the West End that it means that it’s “no” forever. It’s very important to hold onto that, because I’ve been there, I understand that, it’s hard.

It’s important when you’re young to not let that define the rest of your auditioning process and let that “no” get to you. There really will be, if you want it, there will be other opportunities that are right for you.

That’s great advice. What would you say is the best approach for an actor in terms of collaboration with a director?

I think being playful with room to play and offer, and that comes through the rehearsal process, even on a long-running show. I’m lucky that I’ve worked on some that allow that room for the actors to still bring themselves and find choices that work for them, yes within the perimeters of the show, but it’s important that the actor still feels ownership, so room to play is definitely invited.

I think throughout, that my main advice is play and offer, and then we go on a journey together and discover what the role is for that specific actor.

What advice can you offer for actors who are also interested in directing?

I’d say go for it. Team up with your friends, I know someone I taught at at [National Youth Theatre] (NYT), she had never really directed before, and off the back of what we did was like, “I really want to try.” So her friend came to her with something and they just put it on at a fringe festival in Camden, and that’s really the way to do it. Even with us at Mawa, we’ve come together, and through coming together, I’ve directed a couple of things for them.

That’s the nature and the beauty of our industry is that we know so many people. Get your friends together. Drama schools are a great way to do that, I’ve done that, it’s a great way to exercise those directing muscles. If you have access at your old drama school, you can ask to assist on a first-year project and a second-year project, and eventually you get a third-year one.

That’s what I would say, is use your tribe to create your own opportunities and your own work.

How has your experience as an actor influenced your directing style?

I come from a place of understanding what it’s like to be on the other side. When I did my first assisting role, I thought, “Oh, I have so much more compassion for the creative team,” because as an actor you turn up and you do your thing and you go home.

You’re going home, and yeah, you’re running lines, but a lot of the time the creative team is sometimes going until really late some days, just discussing things. How this thing isn’t working, or that thing isn’t working, and once the actors leave for tech, the creative teams are still discussing stuff. 

You know actors are on a break and we’re still discussing things. That being said, I have more compassion for this side of things because I’m on it, but I also have understanding and compassion for actors, because I have been on that side. I know how draining it is, I know that some days you turn up and you’re not feeling a hundred percent.

You’re not feeling it, and there’s nothing worse than when you’re not feeling great in your body and you’re trying to find a role. So I have lots of empathy for that side of it as well. 

My main headline is having compassion for both sides, that’s how acting has influenced my directing style. Just making a call like, “Okay, maybe today isn’t the day that we run that bit, because I can see that actors are having a day.” Which most directors would do anyway, but I’ve been the actor having a day, and having to do something and it’s not been great.

I would have liked … maybe someone in the room to take a beat on that before doing anything. I’ve done things with heavy shows, when you’re being asked to do that scene, over and over again. So actually let’s finish at 4 p.m. today, because doing that until 6 p.m. for 6 hours or more sometimes, might not help us in the long run for that actor, you know?

Finally, what show on the West End would be your dream production to direct?

My background is in musical theater, so I would love to direct a musical for sure. There’s a production called Five Guys Named Moe by Clarke Peters, and I would love to explore a gender-swapped version of that. Especially because the themes and the songs are actually a lot about women.

I would be intrigued to unpick that story to see how it would look through a female lens about how men betrayed women during that time and now, and flip it.

You can watch all five seasons of Stranger Things on Netflix now.

The post Danielle Kassaraté on ‘Stranger Things: The First Shadow’ and the Audition Mindset Actors Need to Book More Work appeared first on Casting Networks.

Jacob Tierney’s adaptation of Rachel Reid’s book series has become such a sensation, it has made stars of its two leads, Hudson Williams and Connor Storrie, the latter of whom hosted an episode of Saturday Night Live just a couple weeks ago. 

The show’s success has stretched far beyond the series itself. It has also reminded the industry just how important Toronto is. Aside from the huge amount of talent that comes from north of the border, there’s also all the filming that’s done there, and the below-the-line talent, production companies and agencies that facilitate it all. 

Key Insights

• A breakout hit can reshape an entire market. Heated Rivalry didn’t just succeed, it reignited global attention on Toronto as a creative hub and proved Canadian-led projects can dominate cultural conversation.
• Local storytelling is finally taking center stage. Canadian creators are increasingly telling distinctly Canadian stories, rather than masking them as “anywhere,” signaling a shift toward authentic regional identity.
• Infrastructure and talent depth are Toronto’s secret weapons. From agencies to casting directors to production companies, the ecosystem is already robust and quietly powering major international projects.

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Is there another show shooting right now that could become the next Heated Rivalry-like sensation? “Honestly, the only thing people care about up here is Heated Rivalry, season 2,” Toronto-based casting director Ilona Smyth says with a laugh. She continues, “It’s really inspired a lot of Canadian creatives to get on board and realize that [multimedia company and CTV owner] Bell Media supported them and took a big swing.” 

In Smyth’s view, seeing a Canadian success story like this one has a snowball effect. “I think what it’s really done is inspired a lot of Canadian filmmakers to tell Canadian stories and not hold back, trying to place us as somewhere else in the world. I think Britain’s done a really good job doing that. Australia, local networks have done that, whereas, historically, can you tell me where Schitt’s Creek is based?”

So aside from expecting more Canadian fare about Canadians that is actually set in Canada, there’s also plenty of other action happening in the Queen City. Shows like Boston Blue, Ginny & Georgia, Brilliant Minds, Vought Rising and Einstein all shoot there, as did the limited series Vladimir, which just dropped on Netflix.

Whether or not we’ll see another Heated Rivalry come across the border any time soon is anyone’s guess. Probably not, considering how often we get a genuine, bonafide sensation on our TV screens,  but there are plenty of people laboring to try. There are plenty of agents, casting directors and production companies doing excellent work, which should be on your radar.

AGENTS

Toronto has an abundance of good talent agencies, and while here are just a half dozen, as Smyth says, “If an agent doesn’t try to charge you money, they’re a great agent.”

The Characters Talent Agency

Hero Artists

Amanda Rosenthal Talent Agency

The Talent House

Noble Caplan Abrams

PLAY Management

CASTING DIRECTORS

Aside from Smyth, of course, there is a plethora of great casting directors. Here are just a few:

Jenny Lewis and Sara Kay

Brian Levy

Jesse Griffiths

Marsha Chesley

Ashley Hallihan and Ian Bender

Larissa Mair

Lisa Parasyn

PRODUCTION COMPANIES

There is no shortage of quality production companies north of the border. Here’s a small selection:

Amaze

Company 3

Frantic Films

Hideaway Pictures

High Park Entertainment

Lacuna Productions

Neshama Entertainment

New Real Films

Scythia Films

Shaftesbury

Take 5

Whizbang Films 

Key Takeaways

• Position yourself where momentum is building. If you’re in entertainment, Toronto isn’t “emerging” anymore, it’s actively producing opportunity across multiple levels.
• Build relationships with the right gatekeepers. Agents, casting directors, and production companies in this market are essential connectors, not optional extras.
• Follow the wave of authenticity. Projects rooted in real cultural identity are gaining traction, so aligning with that shift increases your relevance and booking potential.

The post How to Tap Into Toronto’s Booming Film & TV Scene Before Everyone Else Does appeared first on Casting Networks.

Key Insights

• AI appeared in nearly one quarter of Sunday’s ads, marking its most aggressive mainstream advertising showcase yet.
• Brands used AI for de-aging, digital cloning, synthetic image generation, and even AI-written scripts, blending real performers with machine enhancement.
• While AI amplified spectacle and nostalgia, weaker executions proved that technology still cannot replace sharp creative judgment.

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But artificial intelligence was far more widespread than those specific entities. The technology showed up again and again in those spots and others using actual humans. Both creating fake people and de-aging real ones. It was without question the most artificially enhanced run of ads in history.

Some were entirely AI-generated, like the Svedka commercial with the company’s Fembot mascot, others used AI to change or enhance real actors.

Take Ben Affleck’s Dunkin’ Donuts commercial. The cleverly conceived — but somewhat cringey — piece that reimagines Good Will Hunting as a 90s-era sitcom with Affleck playing Will featured real actors on a real set. Jason Alexander, Matt LeBlanc, Ted Danson, Alfonso Ribeiro, Jaleel White, Jasmine Guy and of course Jennifer Aniston and Tom Brady, were all, shall we say, enhanced by AI to make them look more like their younger selves.

Similarly, Xfinity’s Jurassic Park spot de-aged Jeff Goldblum, Sam Neill and Laura Dern to something approximating their appearances 33 years ago, but did so rather poorly. The result was a distraction from what was meant to be a funny re-imagining of how successful the park would have been with better wifi.

Ramp made dozens of copies of The Office star Brian Baumgartner for its spot celebrating the company’s AI-powered spend management platform. The joke was there were so many versions of him — including one that carried a pot of chili, thus paying tribute to his most infamous moment on the classic sitcom when his character, Kevin, tried to share a batch of his chili with his officemates, only to spill a giant pot all over the carpet — that all the work he had to do was made effortless.

Matthew Broderick’s Genspark commercial about using AI to do work for people to allow them the day off — gave us an unintentionally creepy look at our potential future of being replaced by machines, but with a Ferris Bueller’s Day Off vibe to it, which may have made it even worse. 

The spot used all human actors, and was apparently written by an AI engine. It would be easy to say writers beware, but the spot’s quality shouldn’t raise any alarms. Yet.

One of the best commercials both touted the advances in Amazon’s Alexa and made fun of it, with Chris Hemsworth detailing to his wife — fellow actor Elsa Pataky — the many ways in which Alexa might kill him. They included wrestling a bear, getting bitten by a snake Chris had previously wrangled, and getting blown up, all of which were represented with AI. 

All of these ads were shot conventionally, with real people on real sets, each of them just enhanced somehow. Or, in the case of the Genspark ad, created artificially.

Google’s new image generation technology showcased a mom using the tech to show her young son what their new house could look like, so as to make him feel better about their impending move, and Meta/Oakley teamed up to show digitally enhanced activities as a way to demonstrate their new smart glasses. 

And then there was Microsoft, which featured a football coach using Microsoft Copilot in Excel to find the best linebackers for his program, though this one gets an asterisk because it had already been airing for several weeks.

The designers of artificial intelligence keep telling us that AI is the future, and that may be partially true, but when it comes to creativity, the human factor will always be integral. So take that, Skynet.

Key Takeaways

• AI is no longer experimental in advertising; it is becoming a standard production tool across major campaigns.
• De-aging and digital replication raise new performance, branding, and ethical considerations for actors and studios.
• Despite rapid AI integration, the most effective commercials still relied on strong human-driven concepts and storytelling.

The post How AI Dominated Sunday’s Game Day Commercials and What It Means for Hollywood’s Future appeared first on Casting Networks.

More than that, they have fallen in love with Hudson Williams and Connor Storrie, the stars of the show. That has led us here at Casting Networks to consider some of this century’s best sports movies and TV shows, and the brilliant performances that made them so. Thus, without further ado, here’s a far too limited selection of some of our favorites, and where you can watch them.

Key Insights

• Sports stories consistently produce star-making performances because they demand emotional restraint, physical specificity, and total belief in high-stakes objectives.
• Many of the most acclaimed performances here come from actors taking tonal risks, jumping from comedy to drama or grounding heightened material in truth.
• Ensemble-heavy sports projects often serve as talent incubators, giving young actors sustained screen time to develop presence, range, and professional momentum.

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TV SHOWS

Ted Lasso (Apple TV)

The feel-good series about an American football coach hired to become the manager of an English soccer team took people by surprise when it premiered in 2020 at the height of the COVID-19 pandemic, but it was worth every kind word written about it. The series won multiple Emmys for its actors, and introduced America to such British talents as Hannah Waddingham and Brett Goldstein, among a host of others.

Chad Powers (Hulu)

Recognizing that he was having a moment where he could get just about anything off the ground, Glen Powell showed that his passion project about a disgraced football player trying for a second chance was more than just a vanity deal. Powell is hilarious in the six-episode first season, which saw him nominated for a Golden Globe award.

Brockmire (Netflix)

Inspired by a series of comedic shorts, this IFC series starred Hank Azaria in the title role of Jim Brockmire, a demented, drunk, out of control baseball play-by-play man whose debauched lifestyle leads to him banished to the low minor leagues. Azaria co-created the show, which ran four seasons, but really, the first season is as close to low-brow comedic gold as you’re going to find anywhere.

Azaria has won six Emmys (four for his work on The Simpsons, and two more for Outstanding Guest Actor in a Drama Series for Ray Donovan and Outstanding Supporting Actor in a Miniseries or Movie for Tuesdays with Morrie), but this is his greatest onscreen work.

Running Point (Netflix)

Kate Hudson’s career was flagging when she took on the lead role in this popular Netflix series about a  family-owned pro basketball team and the long overlooked adult daughter who takes over the team’s operation, and now she’s an Oscar nominee for Best Actress. No, they’re not directly related, but it’s easy to see how her strong comedic work in this show led to the renaissance she’s enjoying now.

Friday Night Lights (Prime Video)

Quite simply the best show about high school football ever made, as well as the best show about small town sports, high school, and, heck, a top 10 show of the century overall. Led by Kyle Chandler, who won an Emmy for his work as Coach Eric Taylor, and Connie Britton, who earned multiple Emmy nods as Eric’s wife Tami, the young cast was a spectacular incubator for talent.

Jesse Plemons, Taylor Kitsch, Minka Kelly, Scott Porter, Jurnee Smollett, Sinqua Walls, Jana Kramer, Aldis Hodge and Caleb Landry Jones are just a few of the young actors whose first major gig was on this series. You may notice that the list doesn’t include Michael B. Jordan, but only because he had already starred on a season of The Wire. Read that list again and try to act unimpressed.

MOVIES

Miracle (Disney+)

You might think it’s hard to isolate the best performance of Kurt Russell’s six-decade acting career, but you would be wrong. This role, 1980 U.S. Olympic Hockey Team Head Coach Herb Brooks, is the gold medal winner. The triumph of this team of college kids who overcame nearly impossible odds to beat the mighty Soviet squad and bring home the gold still resonates 46 years later, and Russell’s embodiment of the legendary coach centers the emotional tale.

When the stoic coach finally lets loose with a quiet, solo celebration in the moments immediately after the team’s momentous victory, it’s a release that will make your heart soar and bring tears to your eyes.

Moneyball (Peacock/AMC+)

Brad Pitt scored an Oscar nomination for Best Actor for his portrayal of Oakland A’s general manager Billy Beane in this adaptation of Michael Lewis’ nonfiction bestseller about how Beane changed the way baseball teams are assembled. But as good as Pitt is, the real revelation here is Jonah Hill, in his first dramatic role.

Hill also scored an Oscar nod, and while Phillip Seymour Hoffman didn’t, he was still Phillip Seymour Hoffman, which means he was also outstanding. So was Chris Pratt, in one of his last supporting roles before becoming a movie star with Guardians of the Galaxy.

The Smashing Machine (HBO Max)

Dwayne Johnson gives the performance of his life in this true story about Mark Kerr, one of the trailblazers in the sport of Ultimate Fighting. Johnson earned a Golden Globe for his work here (costar Emily Blunt is also excellent), and it was well deserved.

If you’re a UFC fan, also check out the stellar 2011 film Warrior (Amazon Prime), starring Tom Hardy, Joel Edgerton and Nick Nolte. While Nolte was nominated for an Oscar for Best Supporting Actor, both Hardy and Edgerton are spectacular as estranged brothers both looking to win the same competition. 

I, Tonya (Tubi)

The movie that removed any doubt about Margot Robbie’s star power, it also introduced the world to Sebastian Stan and Paul Walter Hauser, and, oh, by the way, scored a Best Supporting Actress Oscar for Allison Janney. I, Tonya’s hilarious retelling of the Tonya Harding-Nancy Kerrigan figure skating scandal is a gas, and if that list of phenomenal talent isn’t enough for you, the film also featured Julianne Nicholson, Bobby Cannavale and Mckenna Grace.

Ford v Ferrari (Netflix)

Matt Damon and Christian Bale lead this pulse-pounding true story of how car designer Carroll Shelby and race car driver Ken Miles teamed up to build a car that would beat Ferrari at the famed 24 Hours of Le Mans race in 1966.

Aside from the two leads, the tremendous cast also includes Jon Bernthal, Caitriona Balfe, Josh Lucas, Tracy Letts, Ray McKinnon and Noah Jupe. It’s a thrill ride from start to finish, and not just because of the cool racing sequences. The acting will leave you breathless, too. 

Key Takeaways

• Actors should study sports performances for how characters reveal inner lives through action, silence, and pressure rather than exposition.
• Physical preparation and technical accuracy are career accelerators, not extras, when aiming for roles rooted in real professions or athletics.
• Choosing projects with strong ensembles and clear emotional stakes can quietly set the foundation for long-term career breakthroughs.

The post More Sports Movies and TV Shows for Fans of ‘Heated Rivalry’ to Watch appeared first on Casting Networks.

If you’ve been building momentum and you’re thinking, “Okay, it might be time to talk representation,” January is often when that search starts feeling realistic. Representation is a business relationship you enter because it helps both sides. A rep’s job is to market you, pitch you, guide your strategy, and open doors you cannot open alone.

Your job is to be a product they can confidently sell and a collaborator they can trust. So how do you walk into that first conversation with an agent or manager and sound like someone who’s ready?

Key Insights

• Representation conversations are business meetings, not favors, and actors need to understand what they offer before asking for support.

• Agents and managers serve different roles, and choosing the right one depends on your current career stage and momentum.

• Reps look for clarity, professionalism, and consistency just as much as they look for raw acting talent.

Let’s break it down: what reps actually look for in new talent, how to present yourself like a pro, what to say (and not say), and how to know if this rep is the right fit for you.

Agent vs. Manager: Know What You’re Actually Asking For

The roles of “agent” and “manager” are often treated as interchangeable words for “person who helps my career.” They overlap, but they’re not the same job.

Agents primarily procure work. They submit, negotiate and aim to land you auditions and bookings. They usually have larger rosters and more specific lanes (theatrical, commercial, voice-over, etc.). Agents tend to be more selective about clients who are “ready to go” right now.

Managers often focus more on long-term development and career strategy. They might help you choose classes, shape your branding, build materials, and position you for the right casting offices. Managers can submit you, too, but their value often lies in big-picture navigation.

Many actors have both. There’s no one correct order. The proper order is: the one that matches where you are right now.

Why January Can Be a Smart Time to Reach Out

Actors don’t only chase reps during pilot season or showcase season, but January has a few natural advantages:

Industry rhythm returns. People are back at work after holiday breaks. Meetings start happening again.
New-year roster planning. Some reps assess their client lists early in the year, setting goals, shifting focus, and identifying gaps they want to fill.

Actors feel the “start” line. Newer actors often decide to get serious now, which means you’ll see more workshops, submissions and conversations happening. The takeaway is not “January is magic.” It’s “January is momentum-friendly.” If you’ve been preparing, this is a clean moment to step forward.

What Reps Look For in New Talent (Spoiler: It’s Not Just Talent)
Yes, they want acting ability. But in representation conversations, talent is only one piece of the puzzle. Reps are listening for signs that you are bookable, coachable and consistent.

1) Casting Lanes
New actors get nervous about being “boxed in.” Reps aren’t trying to trap you. They’re trying to understand how to sell you. You don’t need a rigid brand statement like, “I am the sardonic barista with a secret heartbreak.” You do need a practical lane, such as:

• grounded teen/young adult drama
• comedic best friend with fast timing
• blue-collar, approachable dad energy
• polished corporate commercial look
• quirky, offbeat character with warmth

If a rep can’t easily picture where you fit, they don’t know what rooms to push you into.

2) Training and Craft
Reps want to know you’re serious. Training signals commitment and stamina. They’ll listen for:

• ongoing class or recent intensives
• a coach you work with for tapes
• specialized skills (voice, improv, movement, dialects)
• measurable progress, not just “I took one class once”

3) Strong Materials

You don’t need to be perfect, but you do need to be presentable. If your headshots and reel look underlit or rushed, reps will worry you’re not ready for professional pitching.

4) Momentum

Momentum does not have to mean a series regular credit. It can mean:

• consistent self-tape auditions through Casting Networks
• callbacks in student/indie projects
• a short film run, festival acceptance, or strong role in a local theater production
• a clean pattern: you submit, you book, you deliver
• Reps love patterns. Patterns are predictable. Predictable is profitable.

5) Professionalism and Emotional Maturity

This is the invisible factor that makes or breaks it. Reps listen for:

• Do you take direction without defensiveness?
• Do you show up on time and prepared?
• Can you communicate like an adult?
• Are you building a career, or chasing validation?

The rep-client relationship can last years. They’re looking for someone they won’t have to “parent.”

Before You Reach Out: Build Your “Rep-Ready” Package

Think of your materials as a storefront window. The rep is walking past quickly. You want them to stop.
Headshots: current, competitive, and truthful. One strong theatrical shot and one commercial-friendly option is a good baseline. They should look like you now, not “you, two faces ago.” Avoid over-retouching. Casting can smell it.

Reel: short, specific, and easy to watch. If you have professional footage, great. If not, you can still build a smart starter reel: 60-90 seconds is fine to start. Put your best moment first. Choose scenes that match your likely casting.

If you’re using self-produced footage, keep it clean: good audio, good lighting, and acting that feels lived-in rather than performed at the camera.

Acting resume: simple, accurate and readable. Lead/supporting credits first. Training clearly listed with studios and teachers. Special skills that are real. (If you list “dialects,” be prepared to do them in real time.)

Online presence: make it boring in the best way. Reps will look you up. Make sure your public-facing stuff matches the actor you’re presenting. Professional actor website or profile links help. Social media doesn’t have to be curated like a museum, but it should not be a chaos scrapbook either.

A short, confident pitch about who you are
Have a 2-3 sentence summary that’s human, not corporate:

“I’m a California-based comedic actor, actively training and booking indie projects. I’m focused on TV and commercial work and looking for representation to help expand my theatrical reach while maintaining a strong commercial momentum.”

How to Start the Conversation: Submissions That Don’t Sound Desperate

Your goal is to make it easy for a rep to say yes to a meeting.
Outreach email template (customize it)
Subject: Seeking representation | [Your Name] | [Type/Lane]
Hi [Name],
I’m [Your Name], a [location]-based actor. My work lives in [your lane: grounded drama/comedic commercial/etc.], and I’m currently training with [studio/teacher] while building credits in [film/theater/VO/commercial].
I’m reaching out because I admire [specific reason: their client roster, their focus, a recent client booking, their agency’s niche]. I’d love to be considered for representation.
Here are my materials:
Headshots: [link]
Reel: [link]
Resume: [link]
Casting Networks profile: [link]

Thank you for your time and consideration,
[Your Name]
[Phone] | [Email] | [Website/Profile link]

Why this works: it’s short, specific, and gives them everything they need without making them dig.

What Not To Do

• Don’t send huge attachments unless requested.
• Don’t write a memoir about your childhood dream.
• Don’t insult your current situation (“No one will give me a chance”).
• Don’t ask them to “take a risk” on you. Show them why it’s not a risk.
• Preparing for the Meeting: What to Bring, What to Say, How to Act Like a Pro

If they agree to meet (Zoom, phone, or in person), congrats. Now the real audition begins.

Your Prep Checklist

• Watch your reel again. Know what they’re about to see.
• Be ready to talk about your recent training and what you’re working on.
• Know your availability and your goals for the next 6-12 months.
• Have a list of questions (more on that below).
• Be prepared to discuss your current submission access on Casting Networks.

What Reps Typically Ask

• “Tell me about yourself.”
  • They’re asking: “Can you communicate clearly and confidently?”
• “What are you going out for?”
  • They’re asking: “Do you understand your casting lane, and can you be marketed?”
• “What are your goals?”
  • They’re asking: “Are you realistic and strategic, or purely vibes?”
• “What are you doing right now to build your career?”
  • They’re asking: “Will you work even when you’re not booking?”
• The vibe you want: confident coworker, not starry-eyed fan

A rep is not a celebrity you’re lucky to meet. They’re a potential teammate. Treat the conversation like you’re exploring a collaboration where both parties benefit.

Questions to Ask a Potential Rep (So You Don’t Choose Blind)

New actors sometimes forget they’re allowed to interview the rep, too. You are. Please do. Choosing a rep is like choosing a gym trainer, a business partner and a therapist who gets paid in commission. Compatibility matters. Here are strong questions that won’t make you sound suspicious:

Fit and Strategy
“Where do you see me fitting best right now?”
“What kinds of roles would you submit me for in the next few months?”
“What’s one thing you’d want me to improve immediately?”

Communication and Process
“How do you prefer to communicate: email, text, calls?”
“How often do you like to check in?”
“Do you give feedback on tapes, or do you prefer clients work with coaches?”

Submission Approach
“How do you decide what to submit clients for?”
“How do you tailor submissions for specific offices?”

Business and Expectations
“What are your commission terms?”
“Do you work with contracts?”
“Do you have any upfront fees?” (More on this in a moment.)

A good rep won’t be offended by thoughtful questions. They’ll be relieved you’re taking this seriously.

Red Flags: When “Opportunity” Smells Like Trouble

Not every person who calls themselves a rep is going to help your career. Some are simply selling access, confidence or confusion.
Watch out for:

Upfront fees as the main event. Legit reps earn when you earn (commission). Paying for photos or classes can be normal if it’s your choice and truly optional. Being required to pay them or their “preferred photographer” as a condition is a caution sign. Vague promises. “I can get you in everything.” Nobody can.

Pressure tactics. “You have to decide today.” You don’t. No interest in your materials or lane. If they’re not asking smart questions, they may not know how to build you. They trash-talk other reps or casting. Professional people don’t need to do that.

Your career will involve enough rejection. You don’t need to pay for it.

Green Flags: Signs You’ve Found a Real Teammate
Look for:
Specificity. They can articulate where you fit and why. A plan. Even a simple one: “Let’s tighten your commercial package, aim for co-stars, and build relationships with these offices.”

Professional boundaries. Clear communication norms, clear expectations. Respect for your growth. They want you training and improving, not just “waiting for them to fix everything.”

They’re honest about timing. If they say, “You’re close, but you need X,” that can be a great sign.

After the Meeting: Follow-Up Without Being a Stage-5 Clinger

Send a thank-you email within 24 hours. Keep it simple:
“Thank you for taking the time to meet with me today. I appreciated your insight about [specific point]. I’m excited about the possibility of working together and would love to stay in touch. Thanks again, [Your Name].”

If they asked for something (updated headshots, a new clip, a resume tweak), send it promptly. Speed is a professional love language. If you don’t hear back, a polite follow-up a week or two later is fine. Then let it breathe.

The Truth New Actors Need to Hear: Representation Doesn’t Replace the Work

A rep is not a magic wand. They’re more like a lever. The stronger your foundation, the more force they can apply. An agent or manager can open doors, but they can’t audition for you. You still need to build your craft, stabilize your confidence, and create the consistency that makes casting offices trust you.

A rep can help you aim, but you still have to fire the arrow. And the more reliable you are, the easier it is for them to pitch you with confidence.

Key Takeaways

• January is a momentum-friendly time to pursue representation if your materials, training, and casting lane are already in place.

• Strong headshots, a focused reel, ongoing training, and small but consistent booking patterns make you easier to pitch.

• The right representative feels like a collaborative teammate who offers specificity, strategy, and honesty rather than pressure or vague promises.

The post Should You Get an Agent or Manager First? How Actors Can Prepare for Representation appeared first on Casting Networks.

Having offered those caveats, though, I’m ready, willing and able to give it the old college try, so herein is a quick and nasty look at each of the male acting categories, film and TV, rapid-fire style. Tomorrow, we’ll look at the actresses.

Key Insights

• The Globes reward star power and trends more than any other major awards body, creating unpredictable outcomes.
• Across film categories, breakout performances and celebrity momentum are driving frontrunners over traditional prestige picks.
• TV races reveal a wave of repeat winners and new favorites, cementing momentum heading into Emmys and Oscars.

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BEST PERFORMANCE BY A MALE ACTOR: DRAMA

The nominees are Dwayne Johnson, The Smashing Machine, Jeremy Allen White, Springsteen: Deliver Me From Nowhere, Joel Edgerton, Train Dreams, Michael B. Jordan, Sinners, Oscar Isaac, Frankenstein and Wagner Moura, The Secret Agent.

Remember over the summer, when people were talking about Johnson winning an Oscar? Well, that talk has long died down, and the only reason he’s here — great as he is in the movie — is because of the two categories. He’s not getting an Oscar nod, neither is White, and probably not Isaac. Two of the best performances I saw all year were Edgerton and Moura, and if I had to choose, I’d go with the latter, though I think Jordan wins for his dual roles in Ryan Coogler’s excellent period vampire thriller.

WHO SHOULD WIN: Wagner Moura

WHO WILL WIN: Michael B. Jordan

BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY

The nominees are Ethan Hawke, Blue Moon, George Clooney, Jay Kelly, Jesse Plemons, Bugonia, Lee Byung-hun, No Other Choice, Leonardo DiCaprio, One Battle After Another and Timothée Chalamet, Marty Supreme.

This one is more complicated than I think it should be. Clooney has an outside shot at an Oscar nod for his solid work playing a movie star, but the movie is a trifle that has no real weight to it. The star power, though, is enough to make me think he has a chance here, because the Hollywood Foreign Press Association knows he’d give a killer acceptance speech. DiCaprio has a similar story, though I think he’s pretty much a shoo-in for a nomination. But to me, this is finally Chalamet’s year. And he’ll deserve it. He’s simply spectacular in Marty Supreme.

WHO SHOULD WIN: Timothée Chalamet

WHO WILL WIN: Timothée Chalamet

BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE

The nominees are Adam Sandler, Jay Kelly, Benicio del Toro and Sean Penn, One Battle After Another, Jacob Elordi, Frankenstein, Paul Mescal, Hamnet and Stellan Skarsgård, Sentimental Value.

I think the only reason Penn is here is the aforementioned star power, whereas I think the other five nominees are going to be the same ones called when Oscar nods are announced on January 22. Each of the five men here has a good argument.

Elordi or Mescal as newly anointed stars, Sandler for the dramatic turn and the great speech he’ll give, and del Toro for his continued excellence and the extra zing he brings to every role. I’d actually be okay with any of them winning this, and with winning the Oscar, but ultimately, I think this goes to Skarsgård, not just for his stellar career, but because this is the finest work he’s done in that stellar career.

WHO SHOULD WIN: Stellan Skarsgård

WHO WILL WIN: Stellan Skarsgård

BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES – DRAMA

The nominees are Adam Scott, Severance, Diego Luna, Andor, Gary Oldman, Slow Horses, Mark Ruffalo, Task, Noah Wyle, The Pitt and Sterling Brown, Paradise.

As I noted when I wrote about the Emmys back in the fall, this category will always be easy for me to declare who should win it. Gary Oldman deserves every award that recognizes greatness in televised drama as long as he’s playing Jackson Lamb on Slow Horses. Unfortunately, since I am not yet King of the World and cannot decree such things, let’s just agree that Noah Wyle will continue his run of winning everything for which he’s nominated, and if you’ve seen The Pitt, it’s honestly hard to argue.

WHO SHOULD WIN: Gary Oldman

WHO WILL WIN: Noah Wyle

BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES –  MUSICAL OR COMEDY

The nominees are Adam Brody, Nobody Wants This, Glen Powell, Chad Powers, Jeremy Allen White, The Bear, Seth Rogen, The Studio, and Martin Short and Steve Martin, Only Murders In The Building.

Jeremy Allen White has won this award three years running. That streak ends this year. The dark horse is Glen Powell — again, star power, this time combined with being newly anointed — and so if there’s an upset, I think it’s him, but I don’t think so, because I think that just like Wyle, Seth Rogen continues his winning streak for everything The Studio-related. Also well deserved.

WHO SHOULD WIN: Seth Rogen

WHO WILL WIN: Seth Rogen

BEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES, ANTHOLOGY SERIES, OR A MOTION PICTURE MADE FOR TELEVISION

The nominees are Charlie Hunnam, Monster: The Ed Gein Story, Jacob Elordi, The Narrow Road to The Deep North, Jude Law, Black Rabbit, Matthew Rhys, The Beast in Me, Paul Giamatti, Black Mirror and Stephen Graham, Adolescence.

This one is easy. So is the next one. It’s the year of Adolescence, and there is no way that Stephen Graham isn’t going to win this award. And he should.

WHO SHOULD WIN: Stephen Graham

WHO WILL WIN: Stephen Graham

BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION

The nominees are Ashley Walters and Owen Cooper, Adolescence, Billy Crudup, The Morning Show, Jason Isaacs and Walton Goggins, The White Lotus and Tramell Tillman, Severance.

What I wrote above? Change out Graham’s name for Owen Cooper’s, and it’s the same deal. See you tomorrow for all the actresses.

WHO SHOULD WIN: Owen Cooper

WHO WILL WIN: Owen Cooper

Key Takeaways

• Michael B. Jordan and Timothée Chalamet are positioned for major Globe wins thanks to star profiles and standout roles.
• Supporting categories favor industry veterans like Stellan Skarsgård while spotlighting rising talent such as Jacob Elordi and Paul Mescal.
• TV dominance shifts to new streaks—Seth Rogen, Noah Wyle, and the cast of Adolescence—with legacy icons like Gary Oldman still delivering award-worthy work.

The post Golden Globes 2026: Male Actor Predictions appeared first on Casting Networks.

Film

Best Performance by a Male Actor in a Motion Picture – Drama

• Joel Edgerton — Train Dreams
  
• Oscar Isaac — Frankenstein
  
• Dwayne Johnson — The Smashing Machine
  
• Michael B. Jordan — Sinners
  
• Wagner Moura — The Secret Agent
  
• Jeremy Allen White — Springsteen: Deliver Me From Nowhere
  

Best Performance by a Female Actor in a Motion Picture – Drama

• Jessie Buckley — Hamnet
  
• Jennifer Lawrence — Die My Love
  
• Renate Reinsve — Sentimental Value
  
• Tessa Thompson — Hedda
  
• Julia Roberts — After the Hunt
  
• Eva Victor — Sorry, Baby
  

Best Performance by a Male Actor in a Motion Picture – Musical or Comedy

• Timothée Chalamet — Marty Supreme
  
• George Clooney — Jay Kelly
  
• Leonardo DiCaprio — One Battle After Another
  
• Ethan Hawke — Blue Moon
  
• Lee Byung-hun — No Other Choice
  
• Jesse Plemons — Bugonia
  

Best Performance by a Female Actor in a Motion Picture – Musical or Comedy

• Rose Byrne — If I Had Legs I’d Kick You
  
• Cynthia Erivo — Wicked: For Good
  
• Kate Hudson — Song Sung Blue
  
• Chase Infiniti — One Battle After Another
  
• Amanda Seyfried — The Testament of Ann Lee
  
• Emma Stone — Bugonia
  

Best Performance by a Male Actor in a Supporting Role in a Motion Picture

• Benicio Del Toro — One Battle After Another
  
• Jacob Elordi — Frankenstein
  
• Paul Mescal — Hamnet
  
• Sean Penn — One Battle After Another
  
• Adam Sandler — Jay Kelly
  
• Stellan Skarsgård — Sentimental Value
  

Best Performance by a Female Actor in a Supporting Role in a Motion Picture

• Emily Blunt — The Smashing Machine
  
• Elle Fanning — Sentimental Value
  
• Ariana Grande — Wicked: For Good
  
• Inga Ibsdotter Lilleaas — Sentimental Value
  
• Amy Madigan — Weapons
  
• Teyana Taylor — One Battle After Another
  

Television

Best Performance by a Male Actor in a Television Series – Drama

• Sterling K. Brown — Paradise
  
• Diego Luna — Andor
  
• Gary Oldman — Slow Horses
  
• Mark Ruffalo — Task
  
• Adam Scott — Severance
  
• Noah Wyle — The Pitt
  

Best Performance by a Female Actor in a Television Series – Drama

• Kathy Bates — Matlock
  
• Britt Lower — Severance
  
• Helen Mirren — MobLand
  
• Bella Ramsey — The Last of Us
  
• Keri Russell — The Diplomat
  
• Rhea Seehorn — Pluribus
  

Best Performance by a Male Actor in a Television Series – Musical or Comedy

• Adam Brody — Nobody Wants This
  
• Steve Martin — Only Murders in the Building
  
• Glen Powell — Chad Powers
  
• Seth Rogen — The Studio
  
• Martin Short — Only Murders in the Building
  
• Jeremy Allen White — The Bear
  

Best Performance by a Female Actor in a Television Series – Musical or Comedy

• Kristen Bell — Nobody Wants This
  
• Ayo Edebiri — The Bear
  
• Selena Gomez — Only Murders in the Building
  
• Natasha Lyonne — Poker Face
  
• Jenna Ortega — Wednesday
  
• Jean Smart — Hacks
  

Best Performance by a Male Actor in a Limited Series / Anthology Series / TV Movie

• Jacob Elordi — The Narrow Road to the Deep North
  
• Paul Giamatti — Black Mirror
  
• Stephen Graham — Adolescence
  
• Charlie Hunnam — Monster: The Ed Gein Story
  
• Jude Law — Black Rabbit
  
• Matthew Rhys — The Beast in Me
  

Best Performance by a Female Actor in a Limited Series / Anthology Series / TV Movie

• Claire Danes — The Beast in Me
  
• Rashida Jones — Black Mirror
  
• Amanda Seyfried — Long Bright River
  
• Sarah Snook — All Her Fault
  
• Michelle Williams — Dying for Sex
  
• Robin Wright — The Girlfriend
  

Best Performance by a Male Actor in a Supporting Role in a Television Series

• Owen Cooper — Adolescence
  
• Billy Crudup — The Morning Show
  
• Walton Goggins — The White Lotus
  
• Jason Isaacs — The White Lotus
  
• Tramell Tillman — Severance
  
• Ashley Walters — Adolescence
  

Best Performance by a Female Actor in a Supporting Role in a Television Series

• Carrie Coon — The White Lotus
  
• Erin Doherty — Adolescence
  
• Hannah Einbinder — Hacks
  
• Catherine O’Hara — The Studio
  
• J. Smith-Cameron — MobLand
  
• Parker Posey — The White Lotus

The post Golden Globe Nominations 2026: Acting & Casting Highlights appeared first on Casting Networks.

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Advice & Inspiration

1. The “Holiday Monologue” Challenge – Pick a classic holiday movie or story and rewrite one scene as a modern monologue. Perform it and post it (or just save it for your reel). It sharpens adaptation skills. Here are a few suggestions for movies: Miracle on 34^th Street, Elf, It’s a Wonderful Life, Fiddler on the Roof, and Rudolph the Red-Nosed Reindeer.

2. Create a Warm-Up Ritual for Cold Weather – Hydrate more than usual and add a short morning vocal steam to protect your voice from dry indoor heat. If you want to go that extra step, use a humidifier such as the Levoit OasisMist 1000S.

3. Email (or even snail mail!) Your Reps a Gratitude Note – A simple, sincere “thank you for the work this year” goes a long way in nurturing the relationship.  

4. Update Your Casting Profiles – While this should be ongoing during the year, our busy schedules sometimes keep us from this type of task. Add new credits, new clips, updated sizes, and refresh your bio for January submissions. 

5. Practice Cold Reads with Family Holiday Chaos – Ask a friend or family member to hand you a random page from a book. Perform it instantly. Real-life distractions make the rehearsal more useful. This is a lot of fun!

6. Attend a Local Play or Holiday Concert – Support local performers and refill your creative inspiration. Take notes on staging, character presence, and ensemble energy. It’s also a great way to meet new acting friends!

7. Choose One Acting Skill to Master in 2026 – Dialect? Physical comedy? On-camera technique? Pick one. Write a plan. December is perfect for choosing intentional growth.

8. Winter Wardrobe Prep for Auditions – Plan five audition-ready outfits that are warm, layer-friendly, and camera-friendly so you don’t scramble indoors/outdoors all month. 

9. Build Your 2026 Vision Board – Creating a Vision Board is a great activity to do on a restful day. Add casting goals, dream roles, collaborators, directors, and locations.

10. Learn How to Write a Script – So what if you don’t think you can write. Put your ideas down and see what happens. Choose a comedy, a drama, or horror and see where it takes you. Work on structure, pacing, and character arcs. This book will help.

11. Celebrate Your 2025 Wins – List 25 achievements from 2025, big or small. Even “I kept going” counts. This boosts confidence before heading into pilot season prep.

12. This month’s social media spotlight goes to Colton Macaulay! “Coltyy” (with two “y’s”) is a guy who literally jumps into quicksand and lets venomous spiders crawl on his face. He turns terrifying situations into a masterclass on instinct, commitment, and staying calm under pressure. Curious. Bold. Unafraid of the messy, unpredictable parts of being human — and being an actor. Who knows? Coltyy’s actions may be the jolt you need to start your own channel.

What to Watch

Special Holiday Month Viewing Guide

Family-Friendly Picks

• The SpongeBob Movie: Search for SquarePants (Dec. 19 2025) – SpongeBob and Patrick embark on a festive ocean quest filled with jokes and heart. 
• My Secret Santa (Dec. 3, Netflix)  – A kindhearted holiday mystery about gifts that magically appear around a struggling family.
• Disney Holiday Shorts Collection (Disney+) – Olaf, Groot, and the Pixar crew return in brand-new minis perfect for little ones.
• A Charlie Brown Christmas (CBS Annual Broadcast) – Classic Animation. A tradition still loved by kids and grandparents.

Teen & Young Adult Favorites

• Man vs. Baby (Dec 11, Netflix) – Absurd, youthful humor perfect for bingeing with friends.
• Love Is Blind: Italy (Dec 1, Netflix) – Reality Romance. Huge among YA audiences, especially during the holidays.
• Oh. What. Fun. (Dec 3, Prime) – Holiday family comedy with ensemble cast, fun premise (“mom goes off-script”), good for YA looking for light but smart viewing.
• Five Nights at Freddy’s 2 – One year has passed since the supernatural nightmare at Freddy Fazbear’s Pizza. The stories about what transpired there have been twisted into a campy local legend, inspiring the town’s first ever Fazfest.

Adult Line-Up

• Goodbye June (Dec 12, Netflix) – A nostalgic, emotional December romance with strong performances.
• Silent Night, Deadly Night – A reimagining of the controversial 1984 cult horror classic. Holiday-themed for adults who want something other than cozy viewing.
• New York Philharmonic Winter Gala – Elegant, seasonal, and popular among adult viewers.
• The Night Before (2015) – On Christmas Eve, three lifelong friends spend the night in New York City looking for the Holy Grail of Christmas parties.

Films

13. Kill Bill: The Whole Bloody Affair (action / adventure) – Quentin Tarantino’s KILL BILL: THE WHOLE BLOODY AFFAIR unites Volume 1 and Volume 2 into a single, unrated epic — presented exactly as Quentin intended, complete with a new, never-before-seen anime sequence. Starring Uma Thurman, Lucy Liu, Vivica A. Fox, Daryl Hannah, Gordon Liu, and David Carradine. December 5 in theaters.

14. Avatar: Fire and Ash (sci-fi / adventure) – On December 19, the third installment in James Cameron’s Avatar series starring Sam Worthington, Zoe Saldaña, Sigourney Weaver, and Kate Winslet hits theaters. The conflict on Pandora escalates as Jake and Neytiri’s family encounter a new, aggressive Na’vi tribe.

15. No Other Choice (drama) Abruptly laid off after 25 years at the same company, a desperate man goes to extreme lengths to eliminate the competition for the job he wants. Starring Lee Byung Hun and Son Yejin. In Select Theaters Christmas and everywhere in January.

16. Marty Supreme (drama) – Want to see a film on Christmas Day, December 25? From writer/director Josh Safdie and starring Timothée Chalamet, Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler Okonma, Abel Ferrara, and Fran Drescher, Marty Supreme is about… wait for it… ping pong!

TV/Small Screen

17. Countdown to 2026: Times Square Celebration is the yearly tradition where you can watch the ball drop! Big musical guests + celebrity hosts. Starts around 6pm ET on December 31.

18. Merv (romantic comedy) Starring Charlie Cox, Zooey Deschanel, and Gus the pooch, this film arrives on Prime on December 10. An estranged couple decide to co-parent their dog, Merv, after their breakup. When the dog becomes depressed, Russ takes him on a holiday to Florida, and Anna unexpectedly shows up, forcing the two to confront their feelings while trying to help their dog. 

19. Taylor Swift:The End of an Era (docuseries) premieres on Disney+ on December 12. Experience a streaming event for the eras with behind-the-scenes footage of Taylor’s tour. Taylor Swift’s 6-episode docuseries, The End of an Era, streams exclusively on Disney+ beginning December 12. 

20. I AM BOXER (Singapore competition / sports reality) premiered on November 24, 2025, with subsequent episodes following a weekly release schedule throughout December and beyond. The series is a survival competition featuring ninety boxers, hosted by Don Lee, Kim Jong Kook, and Dex. You can watch the available episodes on the Hulu website or as part of the Disney+ and Hulu combined offerings.

Wellness Activities:

21. The “Cozy Character” Journaling Night. Bundle up with blankets, tea, and soft lighting. Spend 20 minutes journaling as one of your characters either past, present, or imaginary. Grab your blank lined Actor’s Journal of if you’re feeling a little more playful, check out the Hack Your Acting Audition Journal.

22. A Holiday Lights Walking Meditation. Visit a decorated neighborhood or park. Walk slowly, notice the lights, breathe deeply, and let the visuals spark story ideas. This combines grounding mindfulness with sensory inspiration. 

23. The Winter Body Reset Stretch Session. Do a gentle 10-minute stretch routine after long days spent indoors. Focus on the hips, jaw, upper back, and breath. You can also visit one of the many Stretch Zone franchises or a business like it.

24. Aromatherapy for Audition Nerves. Create a winter scent blend like pine + orange + clove or lavender + peppermint. Use it before filming self-tapes. This builds ritual and sharpens presence. 

25. A Holiday Film & Feelings Night. Watch a nostalgic holiday movie, but instead of studying acting choices, tune into your emotional response. Ask yourself, “What did this awaken in me?” The idea is to reconnect you to emotional truth without analysis paralysis.

26. Go Bonkers With a Different Type of Word Search. Pick one Saturday or Sunday to drive yourself off the wall with Scene Stealers for Actors, One Phrase Word Search. This addictively not-so-simple puzzle book challenges you to find just ONE hidden acting phrase per page — but don’t be fooled. These tiny hunts pack big personality.

Live / Virtual Events:

27. Improv Jam is set for December 10 on the second floor of the Oakes Center, 120 Morris Avenue in Summit, NJ. It’s like an open mic for improv!

28. The Trans-Siberian Orchestra: Winter Tour 2025 has dates set throughout the winter in various cities across the States. When Paul O’Neill first conceived the Trans-Siberian Orchestra, his goal was as straightforward as it was incredibly ambitious. “The whole idea,” he explained, “was to create a progressive rock band that would push the boundaries [of the genre] further than any group before…Way, way further.”

29. Mariah Carey’s Merry & Bright Tour 2025. This performance is part of a 10-show holiday residency running from November 28 through December 13, 2025. She is not on a full “Merry & Bright Tour” in the traditional sense of traveling to multiple cities, but rather performing a limited engagement in one location at the Dolby Live at Park MGM in Las Vegas, Nevada.

30. ICE! Featuring The Polar Express” is a holiday attraction at Gaylord National in National Harbor, Maryland that brings the story to life through large-scale ice sculptures. The attraction features scenes from the popular Christmas movie, carved from thousands of blocks of ice, and is typically part of a larger Christmas event held at the resort. There may be sister sites in different throughout the U.S. that have the ICE! Attraction. See the website for more info.

Actors with December Birthdays

Watch their performances for inspiration. Read interviews or biographies of these actors for insight. Post a tribute on social media about the actors below to spark conversation.

December 1

• Zoë Kravitz – The Batman, Big Little Lies, Fantastic Beasts
• Sarah Silverman – Comedian/actor; Wreck-It Ralph, The Sarah Silverman Program

December 3

• Amanda Seyfried – Mamma Mia!, Mean Girls, Les Misérables, The Dropout

December 4

• Jeff Bridges – The Big Lebowski, Crazy Heart, Tron, True Grit

December 5

• Walt Disney (historic figure, actor/voice actor/producer) – Voice of Mickey Mouse, founder of Disney Studios
• Frankie Muniz – Malcolm in the Middle, Agent Cody Banks

December 7

• Nicholas Hoult – X-Men, The Menu, About a Boy, The Great

December 8

• Ian Somerhalder – The Vampire Diaries, Lost

December 9

• Judi Dench – James Bond franchise (M), Philomena, Shakespeare in Love

December 10

• Kenneth Branagh – Harry Potter (Gilderoy Lockhart), Belfast, Thor (director & actor)
• Raven-Symoné – That’s So Raven, The Cosby Show, Raven’s Home

December 11

• Hailee Steinfeld – True Grit, Hawkeye, Bumblebee, Dickinson

December 12

• Mayim Bialik – Big Bang Theory, Jeopardy! host, Blossom
• Regina Hall – Girls Trip, Scary Movie franchise

December 13

• Jamie Foxx – Ray (Oscar), Django Unchained, Collateral

December 18

• Brad Pitt – Fight Club, Once Upon a Time in Hollywood (Oscar), Troy, Seven

December 20

• Jonah Hill – Superbad, The Wolf of Wall Street, Moneyball

December 22

• Ralph Fiennes – Harry Potter (Voldemort), The Grand Budapest Hotel, Schindler’s List
• Jordin Sparks (actor/singer) – Sparkle, Broadway roles

December 27

• Timothée Chalamet – Dune, Call Me By Your Name, Wonka

December 28

• Denzel Washington – Training Day (Oscar), Fences, Malcolm X, Equalizer

December 29

• Jude Law – The Holiday, Sherlock Holmes, Fantastic Beasts

December 30

• Lucy Punch – Bad Teacher, Into the Woods, Dinner for Schmucks

December 31

• Anthony Hopkins – The Silence of the Lambs (Oscar), Thor, The Father (Oscar)

The post December 2025: Activities for Every Day This Month appeared first on Casting Networks.