‘Smiling Friends’ Creators Paint ‘The Office’ Alum Creed Bratton Green and Route Him to A24’s ‘Primetime’ Awards Submissions

Adult animated comedy “Smiling Friends” returned to the spotlight for a production moment that blends character craft with awards-season logistics. In an interview published Monday by Deadline, the show’s creators described a set experience involving Creed Bratton, known for his appearance on NBC’s “The Office,” where Bratton painted himself fully green for an episode titled “Le Voyage Incroyable de Monsieur Grenouille.”

Deadline reported that Bratton’s commitment to the role was visible on set, where the green-painted appearance was treated as part of the episode’s execution rather than a quick costume change. The creators’ account ties the moment to the show’s third and final season, which Deadline said delivered “Smiling Friends” its first Emmy nomination.

The behind-the-scenes account also described how the creators handled the afterlife of that performance once production wrapped. According to Deadline, the “Smiling Friends” team sent Bratton directly into A24’s “primetime” awards pipeline, positioning his episode work for consideration in the category structure tied to prime-time Emmy-style eligibility and submissions.

In Deadline’s write-up, the “primetime” process is framed as part of how adult animation producers can translate creative risk into institutional recognition. The creators’ decision to route Bratton directly through A24’s awards approach indicates that the team did not treat the guest performance as a purely promotional or fan-facing element, but as material intended to meet the formal requirements of awards campaigns.

Deadline’s coverage places the episode in the context of the show’s broader finishing chapter, describing the third season as both an endpoint and a breakthrough for recognition. The account suggests that the green-painted production effort, and the talent’s willingness to commit to the transformation, aligned with the season’s push into mainstream awards visibility through standard industry channels.

A24’s role, as described by Deadline, is linked to the practical mechanics of awards submissions rather than creative direction. By “sending him directly” to A24’s primetime contender process, the creators described a workflow intended to ensure timing and eligibility are handled through the studio’s established awards infrastructure.

The Deadline report does not outline specific nomination outcomes beyond the broader note that the series’ third and final season produced its first Emmy nomination. It also does not identify what particular primetime category or jurisdiction was pursued for Bratton’s episode work in the account described. Further details may emerge as awards organizations publish eligibility, submission, and nomination lists for the relevant year’s contests.