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There were a lot of news stories around this time about incidents in academia, in which professors were getting into hot water for various transgressions, and so I just became really interested in the idea of women in positions of power. I was working on a movie idea with Jay that involved a widower, and then at one point, he suggested that this widower has an affair with his boss. You co-starred with Jay Duplass in HBO’s Togetherness, and I understand you were working on a script for him to star in when you realized you could fuse two ideas. In an unusual move for a Hollywood figure, Peet placed her own phone call-without a PR intermediary-to the Writers Guild of America West website to talk about The Chair. In 2018, Mamie Gummer starred as an ambitious tennis mom in Our Very Own Carlin McCullough, at Westwood’s Geffen Playhouse, leading Entertainment Weekly to describe the drama as “resounding affirmation that Peet’s auspicious debut…was no fluke.” The Chair is her first television script, and the first production from Peet’s husband, David Benioff, and his Game of Thrones co-creator, D.B. It wasn’t until 2013 that the off-Broadway Manhattan Theatre Club mounted her play, The Commons of Pensacola, with Blythe Danner as a Ruth Madoff-like figure, and Sarah Jessica Parker as her daughter. Known for film roles in Something’s Gotta Give, The Whole Nine Yards, and Syriana, Peet is equally recognized for TV’s Brockmire and The Good Wife, and for portraying Betty Broderick in last year’s Dirty John. Repeatedly rejected by Columbia University’s theater program, she became a history major, took writing courses, then abandoned writing when she started working steadily as an actor. I’m serious,” says Peet, who has a self-deprecating streak. Upon its August debut, it vaulted into Netflix’s top 10. Wrapped up as a rom-com, and filled with bountiful slapstick, as well as Chaucer, Dickinson, and Melville quotes, The Chair tackles not only ageism and racism, but sexism, cancel culture, interracial adoption, and knee-jerk wokeness, among other hot button issues. “I feel like someone handed me a ticking time bomb because they wanted to make sure a woman was holding it when it explodes,” says Ji-Yoon. In a subplot, the school wants to remove a distinguished lectureship from a brilliant Black professor, Yasmin McKay (Nana Mensah), and bestow it on celebrity novelist David Duchovny, who plays a deadpan, pompous version of himself.
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Indeed, their lectures attract a mere smattering of students, and despite attempts by the long-suffering professor Joan Hambling (Holland Taylor) to make Middle English sexy, her office has been moved to the basement.īattling an administration bent on forcing retirement on the Old Guard (Bob Balaban and Ron Crawford also star), Ji-Yoon is caught up in a compromising, will they/won’t they, relationship with a self-destructive mess of a widower colleague (Jay Duplass). Once ensconced, Ji-Yoon finds herself trapped between the generation once considered progressive, and the social media generation which views the older faculty as hopelessly out of touch.
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Ji-Yoon Kim, the first female, and first person of color, to serve as English department chair at the fictional Pembroke College, a brick-and-ivied bastion of white male privilege.
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The six-part series stars Sandra Oh as Korean American Dr. Luckily, somewhere along the way, Peet regained a sense of fun, which is amply on display in The Chair, an academic satire she co-created with Annie Julia Wyman. “It probably helped me become a writer later,” says Peet, about her lengthy psychoanalysis. It took me many, many years to accept that, and embrace that, and have days or weeks on end during which I would feel like a total imposter/failure/hack, and then to keep stepping up to the plate.Īmanda Peet describes her 14-year-old self as humorless and filled with “teenage girl sadness.” Her mother, a social worker training at New York’s psychoanalytic research center, IPTAR, nudged young Amanda into therapy. You have to be willing to be bad to be good.