Quinta Brunson Explains Why Real World Doesn’t Belong in Abbott Elementary
In Abbott Elementary’s third season, series creator Quinta Brunson and her writers room were faced with a challenge: tell a complete and engaging story in eight fewer episodes than usual. Due to the writers and actors strikes, the ABC comedy, which typically consists of 22 half-hour episodes, had to be shortened. Despite this, Brunson was determined not to save anything for season four and to protect the planned finale ending. This led her to experiment with a time jump for the first time, among other creative changes, resulting in Abbott receiving nine Emmy nominations, including outstanding comedy series. Brunson reflects on the season, mentioning the unique feeling it had due to the change in episode count, but expresses satisfaction in giving the characters Janine and Gregory a fulfilling moment in the finale with their kiss. She emphasizes, “One thing I don’t like is people being unsatisfied.”
This season, the show received a directing Emmy nomination. Do you have a specific approach to selecting directors?
We always start the season with a director familiar to the cast to establish a good working rhythm, such as Randall Einhorn, who received a nomination. As the season progresses, we like to provide opportunities for first-time directors or those we haven’t worked with yet. In the past, one of our writers, Justin Tan, directed his first episode and will return as a director this season. With 22 episodes, we have space for other writers to direct, as well as a surprise director from one of our cast members, which I’m excited about.
Do you think the show’s continued success in awards makes its future more secure?
In today’s landscape, no one can be too comfortable about the future of their show. The existence of network television is uncertain, and nothing is guaranteed. However, creating a strong engine for a network television show is crucial, and Abbott has that strength, giving me confidence that we can continue as long as necessary.
How do you handle the pressure of considering the audience’s or internet’s opinions on various aspects of the show?
Every creator and show is different. Abbott exists in a world that doesn’t depend on external factors, allowing us to focus on our own story. I draw inspiration from authors who complete a novel before it reaches the public, viewing the show as a big story. The relationship between artist and audience is important to me, and I want to maintain that sacred connection. As a consumer, I enjoy being immersed in the entertainment without being involved in the creative process.
Is it challenging for you to separate yourself as a fan of things you love?
I experienced this when I was a fan of New Girl during its final season and then had a role on the show. It stripped away the magic of being a fan. I don’t want that magic to be lost for my audience.
How often do people express interest in guest-starring on Abbott?
People express their admiration for the show, but they rarely directly ask to be on it. There have been some mentions in interviews, which I find flattering, but most requests are either jokes or from friends who are too famous to be on the show. It’s fun when someone like Donald Glover jokingly says, “Put me on.” It adds a playful dynamic to the interaction.
Which moment from this past season are you most proud of?
I’m particularly proud of the smoking episode from this season. With the shortened season, I took the opportunity to challenge Abbott’s boundaries to pave the way for more daring storytelling in the future. I wanted to show that we can address any topic as long as it’s handled appropriately. The scene revealing that the teachers use drugs was a moment I am proud of, as it depicted them as adult individuals in a real-world setting.
Friends did “The One Where Ross Got High” 25 years ago, so it only seems fair.
Indeed, other shows have pushed boundaries in the past, allowing us to push further. It’s exciting to see how shows can challenge norms and expectations, leading to more creative storytelling.
This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.