Producer, and Hunter Film program alumna, Gabrielle Mahon wins an Emmy and other major TV awards for her work on HBO’s series Succession. 

Film and TV producer, and Hunter Film program alumna, Gabrielle Mahon won three major television producing awards in 2020 for her work as a Producer on the second season of HBO’s series Succession.  Gabrielle was the recipient of a Primetime Emmy Award for Outstanding Drama Series, a Golden Globe Award for Best Television Series (Drama), and the Producer’s Guild of America Norman Felton Producer of the Year Award in Episodic Television (Drama). She has hired 2 FM alumni onto Succession.

Created in 2018 by Jesse Armstrong, Succession tells the story of the Roy family and their bitter rivalries as they battle for control of the powerful global media empire that was founded by the aging family patriarch, Logan Roy.   The series stars Brian Cox, Kieran Culkin, Sarah Snook and Jeremy Strong. 

The third season of HBO’s Succession is currently in production with Gabrielle continuing on as a producer for the show.

 IMA student Wendy Cong Zhao’s film “First Sessions” won a National Board of Review award as part of their 2020 student grant competition.

Synopsis: A Chinese student is hesitant about the idea of therapy, but she finds that the experience starts to change her life and relationship to the world in ways she hadn’t imagined.”

Watch the full film released by The New Yorker.

Prof. Ivone Margulies’ book In Person: Reenactment in Postwar and Contemporary Cinema was reviewed by Katie Kirkland and published in The Drama Review, Volume 64, Number 3, Fall 2020 (T247), pp. 181-183.

About the Book:
Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-holocaust testimonial cinemas. The book contextualizes Zavattini’s proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France and the reception of psychodrama in France (Chronicle of a summer and The Human Pyramid) in the late fifties. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star’s iconography is checked by her corporeal limits (Sophia her Own Story and the docudrama Torero!).