Emmy-Nominated Shows This Year Will Give You Serious House Envy - Kanebridge News
Share Button

Emmy-Nominated Shows This Year Will Give You Serious House Envy

Lavish accommodations set the scene of many of this year’s best TV series, from “Succession” to “The White Lotus”

Mon, Jan 15, 2024 10:17amGrey Clock 9 min

British royalty, billionaire media moguls and wealthy vacationers filled the screens of this year’s Emmy-nominated TV shows.

We may not covet the characters’ tangled, twisted relationships in “Succession,” which swept the nominations, or the backstabbing (and actual stabbing) in “Only Murders in the Building,” up for best comedy. But their lavish penthouses, castles and beach resorts could certainly stoke some house envy.

Here, Mansion Global highlights some of the real-life lavish homes that set the backdrop to some of this year’s fictional favourites.

“Succession” — 27 Nominations, Including Outstanding Drama Series

If “Succession,” the HBO series that’s high on drama and high-net-worth characters, exudes anything, it’s luxury—and that goes for its filming locations as much as anything else.

Take this uber-contemporary waterfront home in the Hamptons, the exclusive pocket of New York’s Long Island favoured by wealthy New Yorkers, which is on the market for $55 million. The angular and glass-covered house was featured in Season 3 of the award-winning series, starring as the beachfront mansion owned by billionaire investor Josh Aaronson, played by Adrien Brody, and visited by Kendall and Logan Roy.

Built in 2018 in the hamlet of Wainscott, the property has a giant open-plan living, dining and kitchen space, where the home’s jaunty inverted roofline translates inside to an upside-down teak pyramid in the centre of room.

The custom kitchen occupies one end of the space with a statement marble backsplash—which made an appearance in the show. At the other end is a towering stone fireplace—you’ll spot that during the episode, too.


A Hamptons, New York, home that featured in “Succession” is selling for $55 million.
Bespoke Real Estate


Bespoke Real Estate


Bespoke Real Estate


In fact, there were a number of real-life trophy homes the TV series used as sets. They include multiple units at the Upper East Side new development 180 East 88th Street on Manhattan’s Upper East Side. The show even took over the building’s crown jewel—a triplex penthouse with a dramatic covered terrace—to film as Kendall Roy’s New York home.

The airy, contemporary apartment was designed around soaring ceiling heights, floor-to-ceiling views and an imposing, sculptural spiral staircase. The five-bedroom condo has its own private elevator connecting the three levels, which culminate in an outdoor roof landing soaring nearly 470 feet over Manhattan. The developer of the building sold the penthouse in June for $24.7 million, according to property records. Meanwhile, another, smaller penthouse in the building that was also featured in “Succession” is still on the market for $14.85 million.


The triplex penthouse at 180 East 88th Street on Manhattan’s Upper East Side served as Kendall Roy’s home.
Sean Hemmerle


A loggia from 180 East 88th Street overlooking the city.
Sean Hemmerle


A bedroom at 180 East 88th Street on Manhattan’s Upper East Side opens to a terrace.
Sean Hemmerle


“Wednesday” — Two Nominations, Including Outstanding Comedy Series

“Wednesday,” Netflix’s supernatural comedy centred around Wednesday Addams (Jenna Ortega) of “The Addams Family” fame, is nominated for best comedy, and Ortega is nominated for best actress in a comedy.

In the show’s inaugural season, Addams is expelled after dumping live piranhas into the school’s pool to exact revenge on the water polo team, and is sent to Nevermore Academy, a private school for supernatural outcasts, including witches, werewolves and vampires.

The show headed to Romania for much of filming, with the suitably gothic and foreboding Cantacuzino Castle, in the small mountain town of Bușteni, serving as the exterior setting for Nevermore. The former royal summer residence was built in 1911 at the request of the late Romanian Prince Gheorghe Grigore Cantacuzino, and today is open to the public.


Cantacuzino Castle in Busteni, Romania was completed in 1911.
Getty Images


“Shrinking” — Two Nominations, Including Outstanding Lead Actor in a Comedy Series

Apple TV+’s “Shrinking,” follows therapist Jimmy (played by Jason Segel) as he deals with the grief of his wife’s death. His next-door neighbour Liz (Christa Miller) is a close friend, becoming somewhat of a surrogate mother to Jimmy’s teenage daughter, Alice (Lukita Maxwell). The proximity of their Southern California homes make for blurry boundaries, especially as Jimmy struggles as a newly single parent.

The show—nominated for two Emmys, including a best actor in a comedy for Segel—actually filmed parts at two neighbouring homes in Pasadena, California. The real-life home used as Jimmy’s was built in 1913 and is designated as a Historic Highlands Craftsman home. The Arts and Crafts-style house spans just under 3,500 square feet with five bedrooms, four bathrooms and a pool, according to its most recent listing. It last sold in 2016 for $1.6 million. The neighbouring home, used for Liz and her husband, Derek, is a bit smaller, at about 1,600 square feet. Built in 1922, it has two bedrooms and two bathrooms.


Apple TV+


One of two homes in Pasadena, California, where “Shrinking” was filmed.
Google Maps

“The Crown” — Six Nominations, Including Outstanding Supporting Actress in a Drama Series

Several U.K. estates were featured in “The Crown,” a Netflix original that garnered six Emmy nominations this year, including nods for Outstanding Drama Series and Outstanding Supporting Actress in a Drama Series for Elizabeth Debicki’s portrayal of Princess Diana. Burghley House—a 16th-century manse in Lincolnshire, England, about 130 miles north of London—is one of the largest surviving houses of the era, as well as an example of the great Elizabethan “prodigy” houses, built to honor Queen Elizabeth I. Indeed, it was her Lord High Treasurer, William Cecil, who helmed the project, built between 1555 and 1587.

The estate was featured in the most recent season of the show, but it’s no stranger to the screen, having also been seen in films like “Pride & Prejudice” (2005) and “The Flash” (2023), and even had a turn on “Antiques Roadshow.” The Cecil family put the home in a trust some years ago, and the property is now open to the public, who can tour its extensive gardens and art collection, and is still the site of the Burghley Horse Trials, set to begin this year on Aug. 31. “The Crown” has received 69 Emmy nominations since its first season in 2016, winning 21 times.


Burghley House is a 16th-century English country house near Stamford, Lincolnshire.
Mike Egerton/PA Images via Getty Images


“House of the Dragon” — Eight Nominations, Including Outstanding Drama Series

In “House of the Dragon,” HBO’s blockbuster prequel series to “Game of Thrones,” Driftmark is an island in Blackwater Bay and the ancestral seat of House Velaryon who rule from the castle High Tide.

Away from Westeros, the rugged and rocky outcropping, and the historic castle that stands on top of it, is St. Michael’s Mount, found in the sea off the coast of Marazion in Cornwall, in South West England.

The awe-inspiring spot is currently home to the St. Aubyn family, who have a 999-year lease to live in the castle and run the visitor business. And unsurprisingly, given its grandeur, the mount has been used as a filming location for the 1979 film “Dracula,” the 1983 James Bond film “Never Say Never Again,” the 2003 film “Johnny English,” and in the 2012 adventure movie “Mariah Mundi and the Midas Box.”


Getty Images/imageBROKER RF


St. Michael’s Mount is a tidal island on the southwest tip of England in Cornwall.
Getty Images


“The White Lotus” — 23 Nominations, Including Outstanding Actor in a Drama Series

Season 2 of HBO’s “The White Lotus” took both its cast and viewers to the scenic Sicilian town of Taormina. While the White Lotus—where the show’s affluent, eccentric guests are seen dining, lounging and creating chaos—is a fictional resort, the season was filmed at the real San Domenico Palace, which is a Four Seasons hotel.

Formerly a 14th-century convent, the historic building has been reimagined into a five-star resort offering a cliff top infinity pool, Italian gardens and Michelin-starred dining. Though, much of the monastery’s structure has been preserved, including the original frescoes. With views of the Ionian Sea, Mount Etna and the ancient Greek theatre Teatro Antico di Taormina, the hotel provides for an idyllic Italian getaway, with hopefully less theft and death than that of “The White Lotus.”


The fictional resort this season was filmed at the real San Domenico Palace in Taormina, Sicily.
Peter Vitale/Courtesy of Four Seasons


Formerly a 14th-century convent, San Domenico Palace has been reimagined into a five-star resort.
Courtesy of Four Seasons


Much of the monastery’s structure has been preserved.
Peter Vitale/Courtesy of Four Seasons

“Beef” — 13 Nominations, Including Outstanding Limited or Anthology Series

An extravagant mansion that happens to be one of Los Angeles’s most popular shooting locations made a cameo in the fifth episode of “Beef,” when main characters Amy (played by Ali Wong) and her husband, George (Joseph Lee), book a luxury rental.

In their everyday life, the main characters of this revenge-filled black comedy from Netflix live in a suitably dark house filled with concrete and dim lighting—a stark contrast to the sun-drenched vacation home lined in window walls overlooking the Santa Monica and San Gabriel mountains. In real life, the mansion is located in the San Fernando Valley and once belonged to Frank Sinatra. The characters and their daughter, June, lounge in the pool, with the airy, white Mid-Century Modern home in the backdrop.

Besides “Beef,” Miley Cyrus made the striking home and cinematic views the backdrop of her latest album “Endless Summer Vacation,” which dropped earlier this year. The six-bedroom mansion was also featured in “Mad Men” and “Dreamgirls” (2006).


The former home of Frank Sinatra featured in “Beef.”
DPP Real Estate


Episode 5 features George and June splashing around in the homes 50-foot pool.


The six-bedroom mansion, which also featured in “Mad Men” and “Dreamgirls” (2006), went up for sale again in April for $16.5 million.
DPP Real Estate

“Only Murders in the Building” — 11 Nominations, Including Outstanding Comedy Series

Douglas Elliman is handling sales in the Upper West Side building.
Evan Joseph Photography

The Selena Gomez, Steve Martin and Martin Short comic murder mystery “Only Murders in the Building” takes place almost entirely within the fictional Arconia and the surrounding Upper West Side neighborhood. In reality, filming took place at the Belnord. Completed in 1908, the luxury residence occupies a full block at Broadway and West 86th Street.

The building has a starring role, showcasing apartments within its 213 units, as well as its famous inner courtyard (one of the largest in the city) and its facade. Originally designed by Hiss and Weekes in the Italian Renaissance Revival style, it was reimagined in 2018 by Robert A.M. Stern, who updated and opened up the apartments while preserving the public spaces. There are currently 13 active listings at the Belnord, listed by Douglas Elliman Development Marketing and priced up to $13.85 million for a four-bedroom on the 11th floor of the 13-storey building.


The grand front entrance to the building leads into a massive inner courtyard.
Evan Joseph Photography


A actual bedroom suite at the Belnord.
Evan Joseph Photography


The real resident’s lounge at the Belnord.
Evan Joseph Photography

—V.L. Hendrickson, Liz Lucking, Casey Farmer and Beckie Strum contributed reporting


What a quarter-million dollars gets you in the western capital.

Alexandre de Betak and his wife are focusing on their most personal project yet.

Related Stories
I.M. Pei’s Son Speaks of His Father’s Legacy of Creating ‘Places for People’ Ahead of a Retrospective in Hong Kong
By ABBY SCHULTZ 12/06/2024
EV Trade War Could Spread to Luxury Cars
By STEPHEN WILMOT 12/06/2024
Louis Vuitton Unveils Its Most Extravagant High-Jewellery Collection Ahead of Olympics
By LAURIE KAHLE 09/06/2024
Wed, Jun 12, 2024 5 min

I.M. Pei was the confident visionary behind such transformative structures as the Bank of China Tower in Hong Kong and the Louvre Pyramid in Paris, but he was also humble, and for years resisted a retrospective of his work.

Pei, a Chinese-American architect who died in 2019 at 102 , would always protest any suggestion of a major exhibition, saying, “why me,” noting, too, that he was still actively at work, recalls his youngest son, Li Chung “Sandi” Pei. A decade ago, when Pei was in his mid-to-late 90s, he relented, finally telling Aric Chen, a curator at the M+ museum in Hong Kong, “all right, if you want to do it, go ahead,” Sandi says.

A sweeping retrospective, “I.M. Pei: Life Is Architecture,” will open June 29 at M+ in the city’s West Kowloon Cultural District. The exhibition of more than 300 objects, including drawings, architectural models, photographs, films, and other archival documents, will feature Pei’s influential structures, but in dialogue with his “social, cultural, and biographical trajectories, showing architecture and life to be inseparable,” the museum said in a news release.

As a Chinese citizen who moved to the U.S. in 1935 to learn architecture, Pei—whose full first name was Ieoh Ming—brought a unique cultural perspective to his work.

“His life is what’s really interesting and separates him from many other architects,” Sandi says. “He brought with him so many sensibilities, cultural connections to China, and yet he was a man of America, the West.”

Facade of the Bank of China Tower in Hong Kong in a photograph commissioned by M+ in 2021.
© South Ho Siu Nam

Pei’s architectural work was significant particularly because of its emphasis on cultural institutions—from the East Building of the National Gallery of Art in Washington, D.C., to the Museum of Islamic Art in Doha, Qatar—“buildings that have a major impact in their communities,” Sandi says. But he also did several urban redevelopment projects, including Kips Bay Towers in Manhattan and Society Hill in Philadelphia.

“These are all places for people,” Sandi says. “He believed in the importance of architecture as a way to bring and celebrate life. Whether it was a housing development or museum or a tall building or whatever—he really felt a responsibility to try to bring something to wherever he was working that would uplift people.”

A critical juncture in Pei’s career was 1948, when he was recruited from the Harvard Graduate School of Design (where he received a master’s degree in architecture) by New York real estate developer William Zeckendorf.

With Zeckendorf, Pei traveled across the country, meeting politicians and other “movers and shakers” from Denver and Los Angeles, to Philadelphia, Washington D.C., Boston, and New York. “He became very adept at working in that environment, where you had to know how to persuade people,” Sandi says.

During the seven-year period Pei worked with Zeckendorf, the developer fostered the growth of his architecture practice, supporting an office that included urban, industrial, graphic, and interior designers, in addition to architects and other specialists, Sandi says.

When Pei started his own practice in 1955, “he had this wealth of a firm that could do anything almost anywhere,” Sandi says. “It was an incredible springboard for what became his own practice, which had no parallel in the profession.”

According to Sandi, Chinese culture, traditions, and art were inherent to his father’s life as he grew up, and “he brought that sensibility when he came into America and it always influenced his work.” This largely showed up in the way he thought of architecture as a “play of solids and voids,” or buildings and landscape.

“He always felt that they worked together in tandem—you can’t separate one from the other—and both of them are influenced by the play of light,” Sandi says.

View of the National Center for Atmospheric Research, on the mesa, in a photograph commissioned by M+ in 2021.
© Naho Kubota

Pei also often said that “architecture follows art,” and was particularly influenced by cubism, an artistic movement exploring time and space that was practiced in the early 20th century by Pablo Picasso, Georges Braque, and the sculptor Jacques Lipchitz, among others. This influence is apparent in the laboratory at the National Center for Atmospheric Research in Boulder, Colo., and at the Everson Museum of Art in Syracuse, N.Y. “Those two buildings, if you look at them, have a play of solid and void, which are very cubistic,” Sandi says.

Yet Sandi argues that his father didn’t have a specific architectural style. Geometry may have been a consistent feature to his work, but his projects always were designed in response to their intended site. The resulting structure emerged as almost inevitable, he says. “It just was the right solution.”

Pei also intended his buildings “not only to be themselves a magnet for life,” but also to influence the area where they existed. “He never felt that a building stood alone,” Sandi says. “Urban design, urban planning, was a very important part of his approach to architecture, always.”

After he closed his own firm to supposedly “retire” in the early 1990s, Pei worked alongside Sandi and his older brother, Chien Chung (Didi) Pei, who died late last year, at PEI Architects, formerly Pei Partnership Architects. Pei would work on his own projects, with their assistance, and would guide his sons, too. The firm had substantial involvement in the Museum of Islamic Art, among other initiatives, for instance, Sandi says.

Working with his father was fun, he says. In starting a project, Pei was often deliberately vague about his intentions. The structure would coalesce “through a process of dialogue and sketches and sometimes just having lunch over a bottle of wine,” Sandi says. “He was able to draw from each of us who was working on the project our best efforts to help to guide [it] to some kind of form.”

The M+ retrospective, which will run through Jan. 5, is divided into six areas of focus, from Pei’s upbringing and education through to his work in real estate and urban redevelopment, art and civic projects, to how he reinterpreted history through design.

Sandi, who will participate in a free public discussion moderated by exhibition co-curator Shirley Surya on the day it opens, is interested “in the opportunity to look at my father anew and to see his work in a different light now that it’s over, his last buildings are complete. You can take a full assessment of his career.”

And, he says, “I’m excited for other people to become familiar with his life.”