{"id":1618,"date":"2026-06-11T13:37:45","date_gmt":"2026-06-11T13:37:45","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=1618"},"modified":"2026-06-11T13:37:45","modified_gmt":"2026-06-11T13:37:45","slug":"does-anybody-ever-make-it-chase-infiniti-rhea-seehorn-and-claire-danes-on-the-drama-actresses-roundtable","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=1618","title":{"rendered":"Does Anybody Ever \u201cMake It?\u201d: Chase Infiniti, Rhea Seehorn and Claire Danes on the Drama Actresses Roundtable"},"content":{"rendered":"
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\nA<\/em>fter hearing The Gilded Age<\/em>\u2018s Carrie Coon talk about the doors that remain closed to her, Love Story <\/em>breakout Sarah Pidgeon asks whether anybody gathered for THR<\/em>\u2018s\u00a0annual Drama Actresses Emmy Roundtable ever feels like they\u2019ve truly made it. The answer? A unanimous \u201cno,\u201d with the subtle implication that anyone who says otherwise may be delusional. \u201cThe vast majority of us are just working,\u201d says Claire Danes (The Beast in Me<\/em>). Climbing to another rung of the endless Hollywood ladder was something all six\u00a0women \u2014 including Chase Infiniti (The Testaments<\/em>), Rhea Seehorn (Pluribus<\/em>) and Kerry Washington (Imperfect Women<\/em>) \u2014 could relate to when they convened at The Georgian Hotel on a late April afternoon and covered everything from red carpet insecurities to becoming a 420 meme.<\/p>\n

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\nChase endured a six-month audition for <\/strong>One Battle After Another<\/em><\/strong>. What is the hardest any of you have worked to get a job, whether you booked it or not?<\/strong>\n<\/p>\n

\nCLAIRE DANES <\/strong>Well, there\u2019s a Leo [DiCaprio] connection. I auditioned many<\/em> times for Romeo + Juliet<\/em>.<\/p>\n

\nCARRIE COON<\/strong> Who else would have done it?<\/p>\n

\nKERRY WASHINGTON<\/strong> Nobody!<\/p>\n

\nDANES<\/strong> There was a protracted waiting period before I heard that I did get the job, and my mouth was full of canker sores. I couldn\u2019t talk because I was so stressed from the anticipation.<\/p>\n

\nWASHINGTON<\/strong> Our bodies, they speak to us.<\/p>\n

\nRHEA SEEHORN <\/strong>On Better Call Saul<\/em>, there was a long period before I found out I got it, and I thought, \u201cI guess I didn\u2019t.\u201d I had tried to do my best to let it go, but secretly, I had not let it go. My agent called me while I was walking in Venice, and I lost it.<\/p>\n

\nWASHINGTON <\/strong>Were you by yourself?<\/p>\n

\nSEEHORN<\/strong> No, I was with my partner, Graham, and my agent goes, \u201cIt\u2019s not public yet, so you can\u2019t tell anyone. Also, when they [announce,] it\u2019s going to be a different name. Just go along with that.\u201d Obviously she meant character name. I thought they meant I needed to change my name. \u201cWhat\u2019s my name?\u201d And she was like, \u201cBeth.\u201d OK, I\u2019ll be Beth. Graham says, \u201cYou\u2019re not changing your name.\u201d I was like, \u201cYou don\u2019t understand show business, shut up!\u201d [Laughter<\/em>.] It took me a full 48 hours to find out that I didn\u2019t need to change my own name.<\/p>\n

\nSARAH PIDGEON<\/strong> I feel like if I\u2019m not getting something, I usually find out pretty quickly. I haven\u2019t had a six-month audition process. What do you even do for six months?<\/p>\n

\nCHASE INFINITI <\/strong>At first [we\u2019d meet] once a month. Then it started to be once a week, and I\u2019m going for movement auditions, karate or just more chemistry reads with Leo and Regina [Hall].<\/p>\n

\nWASHINGTON<\/strong> I had a really long process for Scandal<\/em>. I was at a place in my career where they thought it would be respectful if I met with Shonda [Rhimes] first. So we met, but then I had to read as well. I had maybe four or five auditions until the screen test. Part of why it took so long was because, when Scandal<\/em> aired, it had been almost 40 years since a Black woman had led a network drama. Everybody wanted to audition. And God bless Shonda, she was like, \u201cThen everyone will audition.\u201d Some of those roles, they live in you and you want them so badly. But other girls feel that way, too.<\/p>\n

\nSEEHORN<\/strong> Exactly.<\/p>\n

\nWASHINGTON <\/strong>There\u2019s somebody who knows that this is hers, too.<\/p>\n

\nCOON<\/strong> When I was auditioning for Who\u2019s Afraid of Virginia Woolf?<\/em> in Chicago, all the women who were called back, we all went out to lunch. That\u2019s just the community it was, super supportive. In Chicago, nobody was getting famous. I haven\u2019t had that experience in TV and film. I\u2019m always getting called in at the last minute because they need somebody to fill in something. I wasn\u2019t actually in the first round of consideration because my career started later.<\/p>\n

\nDANES <\/strong>When I was a kid, literally Rollerblading from audition to audition, there was always the same pool [of actresses]. We were kind of pals. It felt reassuring.<\/p>\n

\nWASHINGTON<\/strong> So much bonding happened in those waiting rooms. <\/p>\n

\nCOON <\/strong>And I miss that. I miss the power of the casting director because now it\u2019s a tape farm.<\/p>\n

\n\tAnd these women \u2014 I mean, there were men, too, but in my life, it was all women \u2014 I wouldn\u2019t have a career without casting directors advocating for me. My getting cast in Gone Girl <\/em>was a tape I made in Chicago. I was like, \u201cNo one\u2019s going to watch this tape.\u201d And she watched that tape.<\/p>\n

\nClaire, a critic recently referred to you \u2014 and this was in a very positive piece \u2014 as our cultural avatar for anxiety, given the throughline of <\/strong>My So-Called Life<\/em><\/strong>, <\/strong>Homeland<\/em><\/strong>, <\/strong>Fleishman Is in Trouble<\/em><\/strong> and <\/strong>The Beast in Me<\/em><\/strong>. What do you think of that take?<\/strong>\n<\/p>\n

\nDANES<\/strong> I do think that we\u2019re living in a kind of acutely anxious time. \u2026 Somebody told my husband that every time you play a role, you want it to be a human just up a tree with wolves barking at them \u2014 an everyday person in an extraordinary circumstance. Maybe anxiety is a part of that.<\/p>\n

\nSEEHORN<\/strong> The very few times where I have been asked to play \u201cthe girlfriend of someone interesting, but you\u2019re not interesting\u201d \u2026 playing just utter peace and contentment is super hard. Just doing nothing, it sucks. I used to get a lot of notes from the director: \u201cSo there\u2019s this thing you\u2019re doing which is making me wonder about the character. Can you not do that?\u201d<\/p>\n

\nWASHINGTON <\/strong>Could you just be an accessory?<\/p>\n

\nCOON<\/strong> Change your dress so it matches the drapes.<\/p>\n

\nSEEHORN<\/strong> It bugs me when there will be a male and female actor in something and they\u2019re both brilliant and they will use subjective personality descriptions for the female\u2019s performance. Like, \u201cShe\u2019s just effervescent. She\u2019s quirky!\u201d And then the males will be craft-based compliments of their actual talents.<\/p>\n

\nPIDGEON<\/strong> Do you think it\u2019s changed?<\/p>\n

\nSEEHORN<\/strong> It has changed some, yeah.<\/p>\n

\nDANES <\/strong>But there\u2019s also, \u201cShe\u2019s really attractive. Don\u2019t worry. She\u2019s cute.\u201d<\/p>\n

\nKerry, I read that earlier in your career, you adopted a persona that you called \u201cRed Carpet Kerry\u201d to help you lean into the more public-facing aspects of the job. What led you to that decision? <\/strong><\/p>\n

\nINFINITI <\/strong>Red Carpet Kerry<\/em>?<\/p>\n

\nSEEHORN <\/strong>I need that.<\/p>\n

\nWASHINGTON<\/strong> It came about because there was a particular project that I was auditioning for \u2014 one of those, \u201cI want this so badly; it lives inside me\u201d roles. And, in the end, it wound up going to another actress. When I was talking about it with my team and other people that I respect in the business, there was an idea that [the actress who booked it] was more of an \u201cIt\u201d girl. She was utilizing her personal marketing in a way that gave her more leverage. I didn\u2019t want to prioritize marketing over craft, but I started asking myself if I was hiding and if I needed to challenge myself to step forward into hair and makeup and fashion in a different way where I could still feel true to myself. I would be in these situations on a carpet and feel terrified of it. I just thought, \u201cOK, there has to be some other version of me. Still me but a version of myself that wasn\u2019t entirely vulnerable and naked, that I could step into and show up in a different way.\u201d<\/p>\n

\nSEEHORN<\/strong> I\u2019m always happy to be invited to the prom but terrified while I\u2019m out there doing it.<\/p>\n

\nDANES<\/strong> You know what I do? And then I discovered that Robert De Niro does this, too, because he makes fun of me all the time. I hum. <\/p>\n

\nCOON<\/strong> You make sounds?<\/p>\n

\nWASHINGTON<\/strong> Oh, and you smile.<\/p>\n

\nDANES<\/strong> I was going to say disassociate, but that\u2019s a nicer way of saying it.<\/p>\n

\nWASHINGTON <\/strong>So much of this work we do is about being willing to reveal ourselves. I was like, \u201cIf I\u2019m scared to be pretty, if I\u2019m scared of people looking at me, that could impact my work.\u201d So it just became an exercise of like, \u201cHow do I play?\u201d<\/p>\n

\nPIDGEON<\/strong> I had a similar conversation with my agent when I was in my first junket. I was so nervous. She told me, \u201cYou look at all of these amazing actors and they have this red carpet personality. It\u2019s an extension of themselves.\u201d But I struggle with this understanding that I\u2019m perceived. I want to be able to get lost in a role and transform, but part of this industry, especially today, is about presenting yourself.<\/p>\n

\nWASHINGTON<\/strong> You as a brand.<\/p>\n

\nPIDGEON<\/strong> I\u2019m still figuring out what that line is that I want to walk where I don\u2019t want to be crippled with anxiousness or fear of having to be public in these settings, but also not hiding. <\/p>\n

\nWASHINGTON<\/strong> Glenn Close has this way of thinking about it that I love. She thinks about being a kind queen and sort of coming out on the carpet. All of these people, they\u2019re part of your court. They don\u2019t have the power. You have the power, and you show up with an elegance, generosity and graciousness, but you still hold what\u2019s yours.<\/p>\n

\nDANES<\/strong> Or you could hum. (Laughter<\/em>.)<\/p>\n

\nSpeaking to that divide between reality and perception, Sarah, you were playing this enigmatic woman whom the culture has fetishized but knew little to nothing about. And as you were filming it, the paparazzi were hounding you the way that they hounded Carolyn Bessette. When was that overwhelming and how did you cope with it? <\/strong>\n<\/p>\n

\nPIDGEON<\/strong> So much of this experience was new for me. I certainly had yet to be on a set before this where there was so much interest from the public. But I think there wasn\u2019t a moment that was lost on me that this was so similar to an experience that Carolyn would have felt. That helped me feel a bit more control over it, of understanding that I was having a physiological response that she would have had. There\u2019s a kinship in that. The moments where I was able to recognize that there was a shared experience with Carolyn made me feel like I could embody her a little bit more.<\/p>\n

\nDANES<\/strong> What was the raw material you used for Carolyn? <\/p>\n

\nPIDGEON<\/strong> There are a lot of photographs of Carolyn, but so much of it is after she gained public recognition. You hold yourself in a very different way, as I\u2019m sure you all know, when someone\u2019s taking your photo [versus] you\u2019re trying to go to the grocery store. And there were far less candid photos that her friends took. There was some videography, very little in terms of her vocal expression. I would curse, like, \u201cWhy can\u2019t I just have two and a half minutes of her candidly speaking?\u201d<\/p>\n

\nDANES<\/strong> I remember her. I knew her.<\/p>\n

\nPIDGEON <\/strong>I had no idea.<\/p>\n

\nDANES<\/strong> Narciso Rodriguez is a good friend of mine, and I met her through him a number of times. I remember her pretty vividly. You did a great job.<\/p>\n

\nPIDGEON<\/strong> Thank you. That means a lot to me.<\/p>\n

\nChase, you\u2019ve been on a rocket ship essentially since August. What do you wish you knew a year ago that you learned on your own throughout this?<\/strong>\n<\/p>\n

\nINFINITI<\/strong> Probably to pace myself. Before starting the One Battle <\/em>press, Paul [Thomas Anderson] and Leo had told me, \u201cJust so you know, this is a marathon. You\u2019ve got to make sure that you energetically pace yourself.\u201d \u201cYeah, sure. I get it. Makes sense.\u201d Then we actually started the junket days and the traveling, and I was like, \u201cOh, this is really exhausting in a way that I\u2019d never experienced before.\u201d Granted, I had no idea what an awards season would look like. I had never promoted anything.<\/p>\n

\nDANES<\/strong> In some ways, they\u2019re more exhausting than the work itself, which kind of feeds you.<\/p>\n

\nSEEHORN<\/strong> It\u2019s figuring out who your authentic self is in that. But if your authentic self doesn\u2019t feel like doing the 53rd interview, your authentic self needs to get the eff off.<\/p>\n

\nRhea and Carrie, you\u2019ve both recently had major profile boosts after years of working. When that happens, is there a part of you that\u2019s like, \u201cWhere the hell have you all been?\u201d<\/strong><\/p>\n

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\nCOON<\/strong> That part, the public discourse about you and your life, has always felt so far from me. Don\u2019t get me wrong, I read reviews. I\u2019ll haunt Reddit. I want to know how the work is landing in the world. It\u2019s important to take in the good and the bad because then you know that it\u2019s all subjective and actually has nothing to do with you. So, the slow and steady rise of Carrie Coon has happened entirely outside of my life \u2014 even now after The White Lotus<\/em>. I was at a restaurant last night in Newport, and this sweet young thing who was serving me said, \u201cDo you play guitar?\u201d I\u2019m still moving through the world with people vaguely kind of maybe thinking they know me from their high school. It\u2019s great, and I don\u2019t want to change that. As far as what The White Lotus<\/em> does for careers, there were a lot of think pieces written about the show and the women. Maybe people started watching The Gilded Age<\/em>. I haven\u2019t seen the material results of that yet.<\/p>\n

\nDANES<\/strong> But you always fly off the screen. It happens every time.<\/p>\n

\nCOON<\/strong> And I\u2019ll do it as long as they let me. When they\u2019re done with me, I\u2019ll do something else.<\/p>\n

\nSEEHORN<\/strong> You did a great interview where you said that it\u2019s very helpful, career-wise, to have access to more material but you\u2019re just on a new list. You were like, \u201cI\u2019m still on a list of many people that are ahead of me to get offers.\u201d<\/p>\n

\nCOON<\/strong> I think I\u2019m like top of the B-list now. Instead of the seventh person you come to, I\u2019m like the fourth.<\/p>\n

\nDANES <\/strong>Eye roll.<\/p>\n

\nCOON<\/strong> Here\u2019s the thing: I still have to fight. I\u2019m going to have to fight for big movies. What am I getting? I\u2019m getting unfinanced indie scripts. That\u2019s what I\u2019m getting. And it\u2019s probable that, if The Gilded Age<\/em> were to go away, I would get another television job. For me, I haven\u2019t leveled up in the way that you think of when you think of [to Infiniti<\/em>] what you\u2019re going through or [to Pidgeon<\/em>] what you\u2019re about to go through.<\/p>\n

\nPIDGEON<\/strong> Do you think anyone ever feels like they\u2019ve [made it]?<\/p>\n

\nDANES <\/strong>A very, very, very, very, very, very, very few. The vast majority of us are just working.<\/p>\n

\nWASHINGTON <\/strong>We all know we\u2019re on a list. We\u2019re either on a list or we\u2019ve got to be the ones creating the project. For me, that\u2019s why producing has become such a huge part of what I do. I cannot spend my life sitting at home waiting to be invited to the party. I have got to start throwing these parties. Not that that\u2019s easy, but we\u2019re all dealing with the \u201clist\u201d thing. By the way, the lists level up. First you\u2019re just happy that anybody notices \u2026<\/p>\n

\nCOON<\/strong> \u201cI\u2019m on the list!\u201d<\/p>\n

\nWASHINGTON <\/strong>There are bigger lists. Dreams get bigger. We get curious about other things.<\/p>\n

\nClaire, you played Beth in 1994\u2019s <\/strong>Little Women<\/em><\/strong>. I hear you were told at the time that you had to reshoot her death scene because someone had spilled a Coca-Cola on the reel. But you recently found out that that was not the case, correct?<\/strong><\/p>\n

\nDANES<\/strong> Like last year. [At the time,] Gillian Armstrong, the director, told me that Coke spilled on the negatives, so I was like, \u201cSure!\u201d I had no idea what any of that meant. Of course, now I realize. So, I was dying and was really excited about it. [Laughter<\/em>.] I had a death rattle that I had researched, and it just got a little too guttural, I think. I really committed. It was maybe too authentic, let\u2019s call it that, as opposed to clownish, but yeah.<\/p>\n

\nSEEHORN <\/strong>Oh, the reshoot was to change your performance?<\/p>\n

\nDANES <\/strong>We redid it, and it was slightly more muted.<\/p>\n

\nCOON<\/strong> The Hollywood version.<\/p>\n

\nDANES<\/strong> I told Matthew Rhys that story when we were filming [The Beast in Me<\/em>], and then he started calling me \u201cDeath Rattle Danes,\u201d which has stuck.<\/p>\n

\nFor those of you who watch your own work, is there a scene where you\u2019ve thought, \u201cOh, I really wish I could redo that?\u201d<\/strong><\/p>\n

\nCOON <\/strong>Well, I\u2019m afraid I just shot it a couple days ago. I was like, \u201cIt\u2019s time for me to quit the business, yeah?\u201d Everyone was like, \u201cProbably.\u201d<\/p>\n

\nSEEHORN<\/strong> You got to watch something you shot?<\/p>\n

\nCOON<\/strong> No, no, I was doing<\/em> it.<\/p>\n

\nDANES<\/strong> Did you have a morning-after, \u201cOh, I figured it out?\u201d<\/p>\n

\nCOON<\/strong> Oh no. It was happening in the moment. The director and I were just like, \u201cNope!\u201d<\/p>\n

\nDANES<\/strong> There\u2019s always at least one scene on a project where I come home and am devastated. I\u2019m horrified by my limitations. Horrified<\/em>. I\u2019m in tears with my husband. It\u2019s predictable at this point.<\/p>\n

\nWASHINGTON<\/strong> When you watch it, do you ever feel like, \u201cOh, it actually should have been that?\u201d Or do you feel like it should have been the thing that you imagined in your head? Sometimes I feel like I want it to be something and then it turns out to be something else.<\/p>\n

\nSEEHORN <\/strong>(To Infiniti and Pidgeon<\/em>) Do you guys watch your work?<\/p>\n

\nINFINITI<\/strong> Yeah, I do. I find it to be fun. The first time you watch it, after the first 20 minutes, you have that buffer of like, \u201cOK, now I know that\u2019s me. Let\u2019s get into it.\u201d Then I can watch it without thinking back to what I did and where I was on the day and being like, \u201cI wish I did this or that.\u201d<\/p>\n

\nPIDGEON<\/strong> I don\u2019t think I particularly enjoy the experience of watching myself. I feel like I remember each take that I do, and I know the takes that I have when I think, \u201cThey\u2019d better not use that.\u201d<\/p>\n

\nWASHINGTON<\/strong> Do you ever communicate with the script supervisor or the director about the takes you like or don\u2019t like? You can.<\/p>\n

\nPIDGEON<\/strong> No. All the takes that I don\u2019t like, they always end up in the show.<\/p>\n

\nWASHINGTON<\/strong> Oh, then maybe you shouldn\u2019t talk to them. [Laughter<\/em>.] What\u2019s in the show is amazing, so maybe stay out of it.<\/p>\n

\nSEEHORN<\/strong> I excruciatingly watch my own work to learn from it.<\/p>\n

\nCOON<\/strong> You\u2019ve got to know your bad habits so you can make a choice.<\/p>\n

\nPIDGEON<\/strong> (To Infiniti<\/em>) Did you find a difference between how you were able to take up space on One Battle<\/em> versus The Testaments<\/em>? You were working with such huge names. Did you feel different in how you approached the work or how you felt on set?<\/p>\n

\nINFINITI<\/strong> I think it was more how I felt on set as opposed to the work. With One Battle <\/em>and then Presumed Innocent<\/em>, I was the youngest person on set. So when I got to do The Testaments<\/em>, I was like the big kid. There\u2019s a bunch of younger girls who are on that show. Coming from One Battle<\/em>, I could piecemeal stuff that Leo taught me, that Paul taught me. Regina, Teyana [Taylor], everybody on that set taught me, even the whole crew. Because I would always ask every single question that I could. The one thing that everybody across the board has taught me is to be there for everybody, be a listening ear. I really wanted to make myself available to all of the other girls [on Testaments<\/em>] because, for some of them, this is the biggest part that they\u2019ve had or the most lines that they\u2019ve had. I just wanted to make sure that I could be there to support them in the same ways that everybody had supported me. A lot of that was me being like, \u201cIf you ever need anything, I\u2019m here to listen. If it\u2019s something in the scene, I\u2019m here to help you. If you need somebody to confide in after a take or if you just want to have a laugh, I will be that for you.\u201d It\u2019s scary to take up space in something when you\u2019re new at it.<\/p>\n

\nDANES<\/strong> Did they take you up on that?<\/p>\n

\nINFINITI<\/strong> They did, and it was something that I found to be so special. I never worked with a group of girls before, and it was amazing.<\/p>\n

\nCOON<\/strong> That\u2019s very impressive that that\u2019s what you took away from your experiences. Not all young people would take that lesson from that experience.<\/p>\n

\nWhat are some memorable exchanges you\u2019ve had with fans? <\/strong><\/p>\n

\nCOON<\/strong> On [the NBC comedy] Whitney<\/em>, I played Roxanne. There were constant jokes that she was drinking. Her Sprite can was vodka. It\u2019s a sitcom. It didn\u2019t go super dark about it, but it was definitely a thing. I had been given fan mail that was sent to my agent, and I was like, \u201cI\u2019ll just read one or two for fun.\u201d Bad idea. A woman had sent me multiple pamphlets from AA, legitimately believed that this character is real and is an alcoholic and needed help. But it also came with pictures of her. She\u2019s a soccer mom. She has a job. I was like, \u201cHow is this person functioning in the real world if she believes people in the TV are real?\u201d There was a long letter about how she wanted to help me.<\/p>\n

\nWASHINGTON<\/strong> God bless her.<\/p>\n

\nDANES<\/strong> Most of the time, people are really nice. I remember my son, who was like 4, said, \u201cWhy do people always say, \u2018I like your work?\u2019 \u201d That\u2019s mostly what people say, and I\u2019ve played some extra characters, right? I thought that might attract some colorful comments and attachments. I have met people who are bipolar, and they found some company in what I was doing as Carrie Mathison [on Homeland<\/em>]. That\u2019s very moving.<\/p>\n

\nLooking at the body of your work and your public appearances, what is your favorite meme of yourself?<\/strong><\/p>\n

\nCOON<\/strong> Me sprinting away from the gunshots in The White Lotus<\/em>. I\u2019m deeply gratified when my physical life is lauded, because I was an athlete. I love physical stuff on set. I love hanging out of a window. I love running. I also just felt like, yeah, that\u2019s a very American response. You hear a gunshot, you\u2019re out of there. That felt very real to me. There\u2019s also my really ugly cry face. [To Danes<\/em>] I know you and I both share that. The cry faces, we have that. And I will say, too, for fans, it\u2019s always The Leftovers<\/em> fans that recognize me. I always hear about people\u2019s grief. It\u2019s very moving. There\u2019s such deep sharing that happens and it\u2019s not trite, and I\u2019m very grateful for it.<\/p>\n

\nPIDGEON<\/strong> There are some from The Wilds<\/em>. I\u2019m covered in blood and dirt and kind of losing it, pacing back and forth. There are a few frames of me looking pretty rundown and crazy.<\/p>\n

\nCOON<\/strong> Good for the group chat.<\/p>\n

\nINFINITI<\/strong> I make a face of disgust during the DNA test in One Battle<\/em>. My friends love to use that one.<\/p>\n

\nWASHINGTON<\/strong> My character from Little Fires Everywhere<\/em>, there\u2019s a scene where I\u2019m smoking a joint. People love to send me that on 4\/20.<\/p>\n

\nINFINITI<\/strong> Happy belated!<\/p>\n

\nSEEHORN<\/strong> I\u2019m so deeply terrified about what is going to be said about me online, even though I can\u2019t escape it. My friends will send them to me if they\u2019re particularly unattractive. Apparently my listening face, when I believe the other person is an idiot, is very useful to a lot of people. There are quite a few of them.<\/p>\n

\nThis story appeared in the June 10 issue of The Hollywood Reporter magazine. Click here to subscribe<\/em>.<\/p>\n

Read more Emily Watson Named Sarajevo Film Festival Jury President and Honorary Heart Recipient<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

THR convenes six of TV\u2019s celebrated actresses including Chase Infiniti, Kerry Washington, Sarah Pidgeon, Carrie Coon, Rhea Seehorn & Claire Danes.<\/p>\n","protected":false},"author":1,"featured_media":1617,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[1428,511,1429,1430,336,1431,1432,1433,1068],"class_list":["post-1618","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-carrie-coon","tag-chase-infiniti","tag-claire-danes","tag-drama-actress-roundtable","tag-kerry-washington","tag-rhea-seehorn","tag-roundtables","tag-sarah-pidgeon","tag-thr-original-video"],"yoast_head":"\nDoes Anybody Ever \u201cMake It?\u201d: Chase Infiniti, Rhea Seehorn and Claire Danes on the Drama Actresses Roundtable - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=1618\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Does Anybody Ever \u201cMake It?\u201d: Chase Infiniti, Rhea Seehorn and Claire Danes on the Drama Actresses Roundtable - 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