For most of her acting career, Pamela Adlon was best known for her voice, even though she rarely felt like she had one of her own.
Adlon, née Segall, entered the family business as a teenager — her father Don Segall was a sitcom writer — mostly shuffling around in small TV roles in the Eighties before finding a niche in the Nineties as a voice actor, most famously as middle schooler Bobby Hill on King of the Hill. She worked a lot but rarely felt secure in her career prospects or her level of artistry.
Adlon, née Segall, entered the family business as a teenager — her father Don Segall was a sitcom writer — mostly shuffling around in small TV roles in the Eighties before finding a niche in the Nineties as a voice actor, most famously as middle schooler Bobby Hill on King of the Hill. She worked a lot but rarely felt secure in her career prospects or her level of artistry.
- 2/24/2022
- by Alan Sepinwall
- Rollingstone.com
She almost gave it all up.
After decades as a working actor rolling through short-lived sitcoms, pilots, voiceover gigs and smallish movie roles, Pamela Adlon finally realized her dream of landing her own series, FX’s “Better Things,” in 2016.
The autobiographical show was well-received by critics and yielded two consecutive Emmy nominations for lead comedy actress. Adlon joined FX’s roster of hot-shot auteur stars such as Donald Glover, Zach Galifianakis and the “It’s Always Sunny in Philadelphia” gang. Season 2 of “Better Things” generated even more glowing reviews and praise for her work as writer, director, producer and star.
And then the #MeToo explosion happened. In November 2017, Adlon’s longtime friend and collaborator, Louis C.K., was publicly accused of sexual misconduct by multiple women — allegations he later acknowledged to be true — in the pages of The New York Times. The story hit a week before “Better Things” aired its second-season finale.
After decades as a working actor rolling through short-lived sitcoms, pilots, voiceover gigs and smallish movie roles, Pamela Adlon finally realized her dream of landing her own series, FX’s “Better Things,” in 2016.
The autobiographical show was well-received by critics and yielded two consecutive Emmy nominations for lead comedy actress. Adlon joined FX’s roster of hot-shot auteur stars such as Donald Glover, Zach Galifianakis and the “It’s Always Sunny in Philadelphia” gang. Season 2 of “Better Things” generated even more glowing reviews and praise for her work as writer, director, producer and star.
And then the #MeToo explosion happened. In November 2017, Adlon’s longtime friend and collaborator, Louis C.K., was publicly accused of sexual misconduct by multiple women — allegations he later acknowledged to be true — in the pages of The New York Times. The story hit a week before “Better Things” aired its second-season finale.
- 2/12/2019
- by Cynthia Littleton
- Variety Film + TV
I really like Better Things, FX's new comedy starring and produced by Pamela Adlon, who was Louis C.K.'s frequent on- and off-screen collaborator on Louie. (Here's my review from yesterday.) The show is deeply autobiographical, with Adlon playing a thinly-disguised version of herself: a single mom to three daughters, and a former child actress still plugging away in show business (finding more success in voiceover work than on camera) decades later. At press tour, I sat down with Adlon to talk about how (when she was still going by Pamela Segall) she got started in the business, her early '80s androgynous period — highlighted by Willy/Milly, where she played an adolescent girl who wished to be a boy, and woke up the next morning with a penis — the transition into voice work on shows like King of the Hill, the ways that her new art imitates her old...
- 9/8/2016
- by Alan Sepinwall
- Hitfix
Right now I’m listening to Weezer’s Raditude, which is more weird than it is good (though “Can’t Stop Partying” is a wonderful song for many reasons). Driving back from a bar last night, “Tired of Sex” came on the radio and reminded me of the spark the band used to have. “Tired of Sex” is so incredibly loud and angsty (it’s a major contributor to the emo movement circa Get Up Kids and Saves the Day, I think), but it’s clearly a young person’s song. It’s not a song (nor is Pinkerton a record) that you write in your 30s because it’s about being youthful and full of angst and hormonal despair. And when you’re a rock star in your 30s, you get access to expensive equipment and you can spend the rest of your life producing glossy garbage.
Raditude, conversely,...
Raditude, conversely,...
- 3/30/2010
- by Danny Djeljosevic
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