{"id":83,"date":"2026-05-17T16:06:03","date_gmt":"2026-05-17T16:06:03","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=83"},"modified":"2026-05-17T16:06:03","modified_gmt":"2026-05-17T16:06:03","slug":"nemesis-creator-courtney-a-kemp-on-making-her-explosive-netflix-debut-and-crafting-a-finale-that-ushers-in-a-season-2","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=83","title":{"rendered":"\u2018Nemesis\u2019 Creator Courtney A. Kemp on Making Her Explosive Netflix Debut and Crafting a Finale That Ushers in a Season 2"},"content":{"rendered":"
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\n[This story contains major spoilers from the entire first season of <\/strong>Nemesis<\/em><\/strong>.]<\/strong><\/p>\n

\nCourtney Kemp has earned her place as one of the most powerful TV creatives. She launched her first series in 2014 with crime drama Power<\/em> with no established stars on Starz, which boasted a other originals. Power<\/em> turned into an addictive hit, and the record-breaking success eventually built to the point that Power<\/em> signed off in 2020 as premium cable\u2019s top-rated scripted series. But the Power<\/em> Universe was just beginning. Three spinoffs have already hit the airwaves, and highly anticipated prequels and sequels are on the way. Four years after she left running the day-to-day of Power Book II: Ghost<\/em>, Kemp is now back with her first Netflix series \u2014 and her un-replicated winning recipe.<\/p>\n

Read more \u2018Moulin\u2019 Review: A Hero of the French Resistance Is Given Tribute in Grinding, Only Occasionally Effective Prison Drama<\/a><\/p>\n

\n\t\u201cI feel like what I do is a little bit comparable to Bruno Mars, in that there is never going to be another Bruno Mars,\u201d Kemp tells The Hollywood Reporter<\/em>. \u201cI don\u2019t think people understand why Power<\/em> works. They saw it from the outside and went, \u2018Oh, that\u2019s a drug show.\u2019 But it\u2019s not really a drug show. It\u2019s a Shakespearean drama about morality, and everybody\u2019s in modern times; they\u2019re saying the N-word a lot. I\u2019m glad nobody has figured out my formula. If someone were to come along and be like, \u2018I\u2019m the new Bruno Mars,\u2019 they would never be the new Bruno Mars. Whether you like him or not, you gotta respect the game. The man knows what he\u2019s doing, and he can be whatever he wants to be at any given time. And that\u2019s what I\u2019m doing.\u201d<\/p>\n

\n\tAdmittedly, it did take Kemp a bit of time to find what she wanted to be doing at Netflix, having signed a lucrative production deal with the company in August 2021. She attributes the long wait for her debut at the streamer to dealing with the loss of her brother and learning the Netflix machine. But, after originally looking to try something completely new, Kemp found herself being drawn to the thought of returning to the world of high-stakes crime dramas.<\/p>\n

\n\tThe result was Nemesis<\/em>, an explosive cat and mouse game between a cop and robber. Created by Kemp and fianc\u00e9 Tani Marole, the Heat<\/em>-style thriller stars Abbott Elementary<\/em>\u2018s Matthew Law as LAPD detective Isaiah Stiles and Insecure<\/em>\u2018s Y\u2019lan Noel as master criminal Coltrane Wilder. When his partner is killed in a robbery, Stiles becomes obsessed with finding the crew responsible, and he soon locks in on Wilder, who, in classic thief fashion, is planning one last job before riding off into the sunset.<\/p>\n

\n\tOver eight episodes, the first season of Nemesis<\/em> rips through more fiery events and story than most shows could in a multi-year run. There\u2019s multiple heists, a massive, blockbuster-level shootout in the streets of Los Angeles, a pair of shocking deaths and plenty of pending trouble left on the table. Late in the finale, Stiles is in pursuit of Wilder, but Stiles\u2019 teenage son Noah (Cedric Joe) is seeking his own revenge for Wilder killing his grandfather. Also in the mix is a cartel gunman, who shoots and injures Noah, and Stiles is essentially responsible since he\u2019d previously asked the cartel kingpin to help him get Wilder. In the end, Stiles must choose between helping his son or allowing Wilder to get away. The cop allows his enemy to flee, but, before he does, Wilder declares, \u201cYou were never going to win.\u201d<\/p>\n

\n\t\u201cNetflix asked us to wrap it in a place where you wouldn\u2019t need a second season, and I was like, \u2018Bet, we\u2019re not doing that,\u2019\u201d Kemp says with a laugh. \u201cBut we knew that we did not want Coltrane to get caught. We didn\u2019t want it to feel like you did all this for nothing, in a sense.\u201d<\/p>\n

\n\tKemp admits that she was influenced by the lessons learned from the fan reaction to the conclusion of Power<\/em>. Just over halfway through her final season, Kemp killed off her main character, drug kingpin Ghost (Omari Hardwick), and spent the last five episodes using Rashomon-style storytelling to unveil the identity of the killer.\u00a0<\/p>\n

\n\t\u201cI thought I was playing fair with the audience, like I told you guys in the first episode that drug dealers are either dead or in jail, so I feel like those were the only two options,\u201d Kemp says. \u201cBut what I did learn from that experience is that getting an audience to fall in love with someone means something, and so we wanted to make sure that both characters got their due by the end.\u201d<\/p>\n

\n\tWith all eight episodes of Nemesis<\/em> now streaming on Netflix, THR<\/em> chatted with Kemp about wanting audiences to \u201cchain smoke\u201d this action-packed season and spending whatever it took to keep the show in Los Angeles.<\/p>\n

\n\t***<\/p>\n

\nWe <\/strong>last talked<\/strong> for the Power Book II: Ghost <\/em>season two finale, and you said, \u201cI\u2019m really excited about the next time we talk about a Netflix show.\u201d I doubt either of us imagined that it would be four years between conversations! Are you surprised about how long it was from when you signed on with Netflix to premiering your first series?<\/strong><\/p>\n

\n\tIn 2021, my brother died, and I thought I could throw myself into work, and it just didn\u2019t work out that way; I was not really myself. I had intended to do very different things when I went to Netflix, as opposed to doing more of what people knew. I didn\u2019t know exactly what Netflix was looking for, and it took me a moment to get that under my feet. And the Netflix process is not quick, it takes a long time to get things going. It all worked out exactly as it should, because I\u2019m so proud of this show. I\u2019m actually passionate about it, and it\u2019s so great to find that again. As much as it is a collaboration with Tani, I do feel like my voice is in this show, and I finally got the sense of getting to write the way I like to write.<\/p>\n

\nThe last time you created an original series was over a decade ago. How have things changed in trying to get a project off the ground, especially one with no IP, no A-listers and Black leads?<\/strong><\/p>\n

\n\tIt\u2019s very different because Starz is a mom and pop shop. At that time, they developed one or two shows at a time, and it was so tiny that I was sharing an apartment with [writer-producer] Moira Walley-Beckett. She was there while Flesh and Bone<\/em> was shooting, and then I would be there when Power <\/em>was shooting. And Netflix is doing 900 different things at once, and you really have to be loud in order to break through that kind of volume.\u00a0<\/p>\n

\n\tWhen you have Black leads, the pressures are the same, in trying to explain to people what will be appealing. I try to make shows that show people of color \u2014 Black and brown and Asian \u2014 and queer folks, and yet, the universal stuff is there. Everybody\u2019s got a dad, everybody\u2019s got a mom, lots of people have sons and daughters, people are in relationships. And all those dynamics are there, so, whoever you are, you can find yourself in this show, as it should be. I\u2019m not a New York City cop, but we all love John McClane (Bruce Willis in Die Hard<\/em>). Why do we love him? Because we get where he\u2019s coming from. And that\u2019s what I\u2019m trying to do.<\/p>\n

\nPower<\/em><\/strong> paved the way for you and for more <\/strong>Power<\/em><\/strong> shows, but do you feel like it has had the impact on the TV landscape that it should? For example, I feel like every network has been chasing finding their own <\/strong>Yellowstone<\/em><\/strong>, and I don\u2019t understand why that hasn\u2019t been the same for <\/strong>Power<\/em><\/strong>.<\/strong>\n<\/p>\n

\n\tI feel like what I do is a little bit comparable to Bruno Mars, in that there is never going to be another Bruno Mars. You could say that Bruno Mars is part-Prince, part-Michael Jackson, and part all these other things. I am very influenced by Tom Fontana, David E. Kelley, Dick Wolf, and all these people who were writing great crime TV when I was coming up. Every so often in my shows you\u2019ll see a Jake and the Fatman<\/em> reference, I\u2019m taking from Miami Vice<\/em>, \u2014 I did fucking Dallas<\/em>, I did who shot J.R.! But when you put it all together, it\u2019s its own thing. Nemesis<\/em> is an action show, that\u2019s also a family show, that\u2019s also a workplace show.\u00a0<\/p>\n

\nBack to my Taylor Sheirdan example, none of those wannabe <\/strong>Yellowstone<\/em><\/strong> shows have been as good, because his unique voice can\u2019t be replicated.<\/strong><\/p>\n

\n\tI completely agree. When you see those shows, you\u2019re like, oh, that person thought that the setting was what was doing it<\/em>, and no, that it\u2019s not it. But it is what it is. I have imitators out there, and I\u2019m happy to have them imitate. People think it\u2019s the drama, the \u201coh shit,\u201d but you gotta build those family relationships up for those \u201coh shit\u201d moments to mean something.<\/p>\n

\nWith the combination of you and Netflix, I feel like you could have attracted some big name actors. Instead you opted for a pair of talented up-and-comers. What was the process of landing on Matthew and Y\u2019lan as your Stiles and Coltrane?<\/strong>\n<\/p>\n

\n\tThis goes to where we are in the business right now,. We had a certain budget, and you can\u2019t afford big stars on that budget; they\u2019re just not gonna do it for that amount of money. Early in the process, Netflix said, \u201cWe don\u2019t think you need big stars for this show,\u201d and I was like, \u201cWell, okay.\u201d [Laughs<\/em>.] But this is where my experience comes in. For Power<\/em>, Omari hadn\u2019t done a crazy amount of stuff, Joe Sikora had played these little character parts, Lela [Loren] was not really known. Doesn\u2019t matter \u2014 TV can make stars. If the story\u2019s good, then people will come.\u00a0<\/p>\n

Read more Ron Howard on Documentary Filmmaking, Richard Avedon and \u201cCreative Endurance\u201d<\/a><\/p>\n

\n\tY\u2019lan came in and had already decided how he was gonna play Coltrane. He had built this guy from the ground up: voice, mannerisms, presence, even how he walks and talks. And the way he did his audition is in the show. Matthew is a comedian by trade, and has this really light, ebullient personality, and then when he turns it on, you get rocked by how much presence he has. We had a lot of guys come in and test with Y\u2019lan, and this happened to me [on Power<\/em>] with Omari and Naturi [Naughton], where we had women test with Omari but Naturi was the only one who would really boss up and take up space. When Matthew came in to read with Y\u2019lan, all of a sudden Y\u2019lan was a slightly different actor; he wasn\u2019t as calm. I was like, oh, there we go, that\u2019s what it is<\/em>. You needed the difference in their energy.<\/p>\n

\nWhen we talked for the <\/strong>Power <\/em><\/strong>finale, I was so excited about the prospect of Tommy (Sikora) going to Hollywood, but then his spinoff ended up being set in Chicago. Now you finally made it to Los Angeles with <\/strong>Nemesis<\/em><\/strong>, and it sounds like you really pushed to ensure you shot here. How important was that to you?\u00a0<\/strong>\n<\/p>\n

\n\tIt was everything to me. Netflix was willing to do it in Los Angeles, but, at first, they would have preferred we went to Atlanta. Then, over time, they understood, and we had the fires and they really were supportive about the fact that we were shooting in L.A. But it didn\u2019t change our budget, and that\u2019s not easy, especially because this is a high-action show \u2014 as you now know, at the top of episode six we do a major fucking shootout! And so I spent all the money. But I spent the money to keep it in L.A. because Los Angeles is important. We have great artisans, we have incredible below-the line-artists who need to work. And then the primary reason is I\u2019m a mom to an amazing kid, and I left my kid before to shoot in New York for years, and I want to be here.<\/p>\n

\nOne of the things I appreciated most about Nemesis<\/em> is how you guys did not hold back. In an era where it feels like so much of TV is slow-played, you went at warp-speed, with multiple heists out of the gate, a major character knocked off halfway through, and a massive shootout well ahead of the finale. Were you determined to just empty the clip and not worry about holding back for future seasons?<\/strong><\/p>\n

\n\tAbsolutely. We didn\u2019t wanna leave anything on the field. Tani would say something like, \u201cThere\u2019s 24 frames per second, and rent is due every minute.\u201d We were constantly focused on the best possible story we can tell in the shortest amount of time. And it was very different from Power<\/em>, where I would fill up all 58 minutes and 30 seconds of that hour I was allowed. This, just get it, get it, get it! Because we wanted it to feel like you cannot stop watching this. Tani would say, \u201cWe want people to chain smoke these episodes.\u201d As opposed to having a week for people to talk about the cliffhanger I left on Power<\/em>, now this is, \u201cI need you to stay in your seat.\u201d So it\u2019s a different tempo and dynamic of storytelling that has to be so fast. I wanted it to feel like exactly what you\u2019re saying, which is, \u201cWell, they\u2019re not gonna do that\u2026 Oh shit, they did it!\u201d<\/p>\n

\nI guarantee that no one will get to the end of episode five and not immediately click play on episode six. How did you pull that <\/strong>Heat<\/em><\/strong>-esque shootout off? Living in Los Angeles, it\u2019s clear that you were really out in these streets.<\/strong><\/p>\n

\n\tFor episode two of Power<\/em>, I wrote Ghost and Angela (Loren) going to the American Museum of Natural History, and everyone told me, \u201cThey will never let you shoot there,\u201d and I was like, \u201cI\u2019m doing it.\u201d I got told no so many different times\u2026and then we shot it. And that\u2019s how I felt about this. Tani was very insistent about how we were gonna do it, and I said, \u201cWe can\u2019t afford to shoot for four days, so how are we gonna do this in a way that we can afford? \u201d And so it meant taking out other scenes.\u00a0<\/p>\n

\n\tBut I wanted to be in L.A., and I wanted it to be recognizable. When you watch it, as an Angeleno, you\u2019re like, oh, they are in Century City! Oh my god, they actually did that shit<\/em>. And of course there\u2019s a Heat<\/em> homage, but I love to take something that you already know and add something. So, for me, what is so great about that scene is the moment that Stiles sees that it\u2019s his dad he\u2019s shooting at \u2014 I mean, fuck! Now we\u2019ve added this whole other level. But that was hard to shoot in the middle of that, so we did have to add an extra day of shooting to get really good closeups and get that emotional story across. We really had to break that sequence as though it was its own movie.<\/p>\n

\nWhat went into the decision to conclude season one with Coltrane on the run, as opposed to in handcuffs?<\/strong>\n<\/p>\n

\n\tNetflix asked us to wrap it in a place where you wouldn\u2019t need a second season, and I was like, \u201cBet, we\u2019re not doing that.\u201d But we knew that we did not want Coltrane to get caught at the end. We didn\u2019t want it to feel like you did all this for nothing, in a sense. And I\u2019ll admit that I have learned a little bit from how people reacted to Ghost\u2019s death. I thought I was playing fair with the audience, like I told you guys in the first episode that drug dealers are either dead or in jail, so I feel like those were the only two options. But what I did learn from that experience is that getting an audience to fall in love with someone means something, and so we wanted to make sure that both characters got their due.<\/p>\n

\n\tEven though his marriage is a mess, Stiles does choose to save his son, so he did learn something. It was maybe too late, but he grew. And, in that moment at the end, Coltrane knows what it is to lose a child, and he\u2019s like, \u201cSave your son.\u201d He gets this great moment of beautiful redemption in his own way, even though you\u2019ve seen him kill a bunch of people.<\/p>\n

\nYou are no stranger to putting teen sons in the middle of their father\u2019s dangerous work. And like Tariq (Michael Rainey Jr.) did on Power<\/em>, Noah does teenager things and makes life more difficult for his father, putting them both at risk. At a certain point, fans were so frustrated with Tariq\u2019s actions that <\/strong>Michael was receiving death threats<\/strong>. And yet, he and you got the last laugh because Tariq is now beloved and the hero of the Power<\/em> Universe. After the events of the last few Nemesis<\/em> episodes, are you prepared for the Noah and Tariq comparisons?<\/strong>\n<\/p>\n

\n\tI\u2019m always wrestling with inheritance, genetics, nature versus nurture. I think I mentioned to you before that my dad once said to me that he saw me as another son, even though I obviously am not. And some of the things that I\u2019m trying to still work out are, how much like my parents am I? I mean, that\u2019s so universal. From the beginning, Stiles says he\u2019s not like Nightmare, and, as the audience, I assume you\u2019re like, \u201cNo, you\u2019re just like him.\u201d There\u2019s a moment where Noah says to his other grandfather, \u201cAm I gonna be just like them,\u201d and he\u2019s like, \u201cNo, because you\u2019re better than they are.\u201d But, because you know me as a writer, all the things that have happened to Noah \u2014 the nurture, the trauma \u2014 he might not turn out so great. But whose fault is that?<\/p>\n

\n\tSo yes, I feel like people will compare him to Tariq, but he is different from Tariq. Tariq did not have as many other options. And Tariq was always f\u2014ing up in school and doing stupid shit; he wasn\u2019t a good kid. Noah\u2019s a good kid. And we are trying to tell a different story. Also, Tasha (Naughton) and Noah\u2019s mom are not the same. [Laughs<\/em>.]<\/p>\n

\nHaving interviewed you for season finales so many times over the years, I probably shouldn\u2019t even bother asking you to tease a possible second season.\u00a0<\/strong><\/p>\n

\n\tBoy, you know me better!<\/p>\n

\nBut I have to try! So what would you feel comfortable sharing about what a season two would look like?<\/strong><\/p>\n

\n\tI think we have made it pretty clear that there are some more consequences coming for Stiles. And I think we have definitely ended the season where Coltrane\u2019s gonna have to go find his wife. And that\u2019s pretty much all I can say.<\/p>\n

\nYou walked away from running the Power<\/em> shows after season two of Ghost<\/em>, so how involved are you still with the various prequels and sequels? The fans are all very excited about the Ghost and Tommy origin series and <\/strong>the rumored team up of Tommy and Tariq<\/strong>.<\/strong><\/p>\n

\n\tThose are my boys, Ghost and Tommy, so I\u2019m involved in Origins<\/em>. Sascha [Penn] runs it, and I\u2019m very careful to not overstep, because I can\u2019t give it my full attention, so it would be really messed up to dip in and out, so I kind of leave it to him. But Sascha was a writer on Power<\/em> for the first year, and so we share a lot of the same ideas about how the show should be. We are waiting to hear when the Tariq and Tommy spinoff will happen. I\u2019m really happy about Origins<\/em>, and I think people are really gonna love it.<\/p>\n

Read more Lars Eidinger: The Man Who Plays Monsters<\/a><\/p>\n

\n\t***<\/p>\n

\nNemesis is now streaming all episodes on Netflix.<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Nemesis creator Courtney A. Kemp breaks down twists and turns of her Netflix heist thriller finale and why she wouldn’t end ion a neat resolution.<\/p>\n","protected":false},"author":1,"featured_media":82,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[73,74,75,65,76,77],"class_list":["post-83","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-courtney-kemp","tag-ghost","tag-nemesis","tag-netflix","tag-power","tag-power-book-iii-raising-kanan"],"yoast_head":"\n\u2018Nemesis\u2019 Creator Courtney A. 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