The screenwriters also sounded off on the industry challenges they're tackling.
Many of the writers came to their nominations via different paths. After writing several big studio films over the years,"For the first time in forever, maybe, I was writing entirely for myself," Mazin told. "I was not concerned about anyone else. I had nothing else I had to try and no one else I had to convince — nothing else, no artificial barriers or anything like that, which in movies, that's all you have.
"I think the show had to change, because of what's going on in politics, not just in the United States, but across the globe — the tribalism, the rise of these authoritarian regimes and leaders, the war on facts," Mandel added. "The world is a darker place. The show got darker. I do think as we embraced that darkness, we leveled up on a version of a certain level of darkness, nastiness and the comedy that comes with that.
"It's an episode that we're really, really proud of, and we're really excited how people responded to it," Snyder said. "It's a really raw story, really focusing on June, and that's a risk. Elisabeth Moss is our not-so-secret secret weapon, but this episode, you're really just with her this whole time. I've heard it described as a feminist"This is probably one of the very favorite things I've ever written," added Snyder.
"The changes are happening," said Snyder. "There's always more work to be done. There's always the wish that the change could be faster. And really the culture comes down from the top. The more women creators we have, the more women behind the camera, the more women producers doing the hiring, people of color in the same positions, you get more of that inclusion happening all up and down the line. It's great. The conversations are happening.
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