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If You Loved the First Season of ‘Yellowjackets,’ You Should Take a Look at ‘The Terror’



If You Loved the First Season of ‘Yellowjackets,’ You Should Take a Look at ‘The Terror’

From the Donner party to the Andes flight disaster, the world is full of real life stories of people that got trapped in the wilderness and had to do the unthinkable to survive. There are also numerous accounts of expeditions gone terribly wrong, leaving no survivors to tell the tale, only raw materials for more or less credible theories about what might have happened. These types of stories draw us in with a mixture of horror, hope, and morbid curiosity, much like a car crash on the side of the road from which we can’t look away. They are told time and time again in documentaries, podcasts, and history magazines, and exhaustively debated by academics and groups of friends with a penchant for the macabre alike. In the realm of fiction, they inspire works as varied as Johann David WyssSwiss Family Robinson, William Golding’s The Lord of the Flies, ABC’s Lost, and, most recently, Showtime’s Yellowjackets.

RELATED: ‘Yellowjackets’: Melanie Lynskey Reveals Laura Lee Was Originally Meant to Die in the Pilot Episode


Created by Ashley Lyle and Bart Nickerson, the coming-of-age thriller series about a ’90s high school girls’ soccer team that is left for dead in the wild after a terrible plane crash kicked off its pilot episode with hints of cultish activity, murder, and cannibalism. After ten enthralling episodes split between the tragedy itself and the lives of four survivors haunted by their past, the show finished its first season with a cliffhanger that points to a plot much more intricate than anyone could have imagined. And, for those that got used to waiting a mere week for the next chapter of the Yellowjackets’ saga, an entire year not knowing what is going on in the woods and what exactly has Lottie been up to may prove to be too much to handle. Unfortunately, there’s no way to fill up the hole the Yellowjackets season finale has left in our hearts and TV schedules. However, there are a few options to help you cope with the symptoms of teen survival drama withdrawal. The best of them is AMC’s 2018 horror series The Terror.

Based on the novel of the same name by Dan Simmons and developed by David Kajganich, The Terror is a fictionalized account of the doomed Arctic expedition led by Sir John Franklin (Ciarán Hinds) in 1845. Alongside Hinds, Jared Harris stars as Francis Crozier, the captain of the eponymous HMS Terror, and Tobias Menzies plays James Fitzjames, second-in-command of the HMS Erebus. The cast also has Paul Ready as surgeon Harry Goodsir, Adam Nagaitis as the ambitious officer Cornelius Hickey, and Nive Nielsen as the mysterious Netsilik woman referred to only as Lady Silence.

Franklin’s expedition left England to search for a Northwestern passage for the Pacific with two ships, 129 men, and supplies for a two-year journey. In 1848, after three years with no word from Sir John, the first of many search parties was launched to retrieve the two vessels and locate possible survivors. Even though the searchers did manage to gather information about the missing men, they found no sign of them. Data gathered over the course of 160 years, from messages signed by the expedition’s commanders to human bodies mummified by the cold, helped put together a tale of starvation, hypothermia, disease, and cannibalism. Still, some mysteries remain unsolved. In 2016, the remains of the Terror were finally found. However, works on the sunken vessel were halted in 2020 due to the COVID-19 pandemic.

Apart from featuring weathered Victorian seamen instead of late 20th century high school girls, The Terror has a lot in common with Yellowjackets, and not just because of its survival in the wilderness theme. Both shows are slow burn mysteries with a large cast characters that deal with matters such as skepticism in the face of the unknown and what happens to societal structures once society is out of the picture. And, perhaps most importantly, both already begin with the certainty of doom.


Ten episodes long, The Terror informs us right in its first few seconds that Sir John Franklin’s expedition had no survivors. Due to the real life status of the story, trying to preserve the mystery of who lives and who dies would be disingenuous to say the least. Though Yellowjackets doesn’t have such commitments with reality, Lyle, Nickerson, and director Karyn Kusama make it clear from the very first episode that the girls don’t have anything good to look forward to. Though their trip did have some survivors, those that didn’t die on the crash have a world of hardships ahead of them, and those that manage to live through the whole experience will be forever traumatized by what they did to survive. Viewers of both shows have no encouragement to keep their hopes up, at least not regarding the safety of their faves. All there is left for us to do is wait for the worst and hope it can still entertain us.

And, much like in Yellowjackets, the worst in The Terror comes slowly. Even before the ships are beached for good, it is clear that something is amiss. The signs are just as obvious as Allie’s (Pearl Amanda Dickson) exposed bone in the soccer field. And, after the ships become trapped in the snow, problems begin to accumulate, coming from all fronts. Akin to young Shauna’s (Sophie Nélisse) pregnancy, Van’s (Liv Hewson) disfigurement, and teen Misty (Samantha Hanratty) smashing the plane’s black box for her own personal gain, the men in the Terror and the Erebus are attacked by nature, by their comrades, and even by their own bodies in a sequence of tragedies that have no sole culprit. In The Terror, as in Yellowjackets, it’s impossible to tell what the actual danger is: the wilderness, the surrounding people, or something else entirely.

The supernatural first makes its appearance in Yellowjackets in Episode 3, “The Doll House”, in which a young Taissa (Bailey Burr) sees a man with no eyes in the mirror on her grandma’s bedside. The same man appears on the show’s opening credits, in Sammy’s (Aiden Stoxx) drawings, and in the woods, suggesting that there might be something else in the forest besides bears and wolves. In Episode 5, “Blood Hive”, Lottie (Courtney Eaton) acts possessed and speaks in French after a séance, and, last but not least, there’s the mysterious man credited as “hunter” in Jackie’s (Ella Purnell) hypothermia vision. Signs of a world beyond our own are present all over the show, but, so far, the series has offered nothing concrete as to whether there are supernatural forces involved in the story. The man in the mirror could be just a hallucination, Lottie’s “possession” can just as well be attributed to her unmedicated schizophrenia, and as for the hunter… Well, the mind does weird things when a person is dying of hypothermia. Even if it is very unlikely that there is no paranormal activity taking place in that cabin, nothing has been confirmed yet.


But Yellowjackets was pitched as a five-season show while The Terror was conceived as a miniseries. The AMC naval drama doesn’t have time on its side, and thus it can’t play with the uncertainty surrounding what’s real and what’s not for very long. Without spoiling the show, let’s just say the plot moves faster when it comes to confirming the existence of a supernatural threat, even if the show runners still leave us wondering for an episode or two. What The Terror most has in common with Yellowjackets in this aspect is how the supernatural is first received by the characters and the consequences it has. Though things may change in the future, right now, the rules of the Yellowjackets universe seem quite simple: if you want things to go your way, play along with Lottie. This is what Taissa has apparently learned, considering the altar Simone (Rukiya Bernard) discovers in the finale. And while Van survived a vicious wolf attack with Lottie’s amulet around her neck, Jackie died almost immediately after refusing to say thanks to the bear killed by the future cult-leader. In The Terror, it is the lack of respect dispensed by the English – particularly Sir John and Dr. Stanley (Alistair Petrie) – to the Netsilik and their beliefs that ultimately causes the supernatural creature known as Tuunbaq to come after the crew. Both shows deal with the tension between skepticism and spirituality, but each one comes to its own conclusion: Season 1 of Yellowjackets seems to imply that there are evil forces we cannot control and must abide to in some capacity, while The Terror uses its otherworldly creature to discuss the costs of colonialism and ethnocentrism.

Another social dynamic that is present both in The Terror and in Yellowjackets is hierarchy and how it can be upturned in unforeseen circumstances. Formerly the queen of the school and the captain of the soccer team, Jackie loses her standing with the other girls due to her inability to adapt to their new life in the wild. The fact that no one stops her from going out nor bothers to call her back when the snow begins to fall is just one last reminder that, as Lottie put it during the girls’ mushroom high, she doesn’t matter anymore. Likewise, Coach Ben (Steven Krueger) loses his control over the team as it becomes clear that he doesn’t know what to do and that his recent amputation makes him unable of carrying his own weight. It’s not that hierarchy doesn’t matter in the wilderness. It’s simply a different kingdom that requires a new king – or queen.

The Victorian military power dynamic followed by the men aboard the Terror and the Erebus isn’t as frail as that of a high school sports team, but the hierarchy on both ships slowly loses its importance, specially after the death of Sir John. John Franklin wasn’t the Admiralty’s first choice to lead the expedition. Both Crozier and Fitzjames were considered better choices. However, Crozier’s Irish origin and Fitzjames’ youth and status as an illegitimate child made them undesirable. With Sir John out of the picture, Crozier and Fitzjames become responsible for the entire expedition against the Admiralty’s wishes. Meanwhile, mutinies and insubordination arise below deck due to the stress, the lack of proper food, and the uncertainty about what to do next.


Crozier’s relationship with Sir John is an uneasy one, based on both kinship and prejudice, that is explored in scenes both on and off the ship. Despite not being split into two timelines, like Yellowjackets, The Terror has frequent flashbacks that help illuminate the origins of its characters and the way their lives came together. As for the way in which the survival part of the story is structured, both shows seem to follow the same blueprint. Winter presents itself as a terrifying force in the cold of the Arctic just as it does on the Canadian woods of 1996. Minor expeditions like the one led by Taissa are sent out by Captain Crozier to look for help only to come back empty-handed or end up lost for good. The Terror even has its own Doomcoming in the form of Captain Fitzjames’ carnival, a day of celebration that devolves into utter madness.

Originally a miniseries, The Terror did spawn a second season, released in 2019. Titled The Terror: Infamy, the series tells the story of Japanese community in California that is haunted by a spirit during World War II. Though quite interesting in its own right, Infamy isn’t related to the tale of the Franklin expedition. But who knows? If The Terror does end up quenching your Yellowjackets thirst, perhaps the show’s second season can help you take your mind off of Biscuit and Lottie’s cult for another couple of weeks.

The Terror and The Terror: Infamy are both available on Hulu.


TV News

After Driving Again And More, Britney Spears Shares Her Latest Taste Of Post-Conservatorship Freedom




After Driving Again And More, Britney Spears Shares Her Latest Taste Of Post-Conservatorship Freedom

They say it’s the simple things in life that are the most extraordinary, and that’s likely particularly true if you’ve been denied access to those things for an extended period of time. After Britney Spears was released from the conservatorship she’d been under, the singer has been reintroducing herself to some of life’s simple pleasures. Last summer Spears was super pumped about regaining the freedom to drive, and in January the “Toxic” singer documented drinking her first glass of wine in over a decade. The newlywed continued to celebrate the post-conservatorship life by sharing her first trip to a bar.

Fans of the former pop singer are accustomed to seeing Britney Spears dancing and twirling and modeling different outfits at her and Sam Asghari’s new home. However, the “Toxic” singer took her followers on an exciting field trip, in which she and her assistant patronized a local drinking establishment. She shared her trip — and a sarcastic remark — on Instagram:

(Image credit: Instagram)

As she and her assistant Victoria Asher apparently enjoyed a drink and an app, Britney Spears couldn’t help but throw a little shade at her family, remarking that she was “so so grateful” for not being allowed to have a cocktail for the 13 years after her father Jamie Spears took control of her life. In fact, the 40-year-old said in her post this is her first time to partake in such an adventure. In the video, she shared:

This is my first time at a bar. First time. I feel so fancy, and I feel so sophisticated.

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How ‘Yellowjackets’ Stars Survived Hollywood




How ‘Yellowjackets’ Stars Survived Hollywood

Sure, they may have eaten a person back in the day. But there are some things the grown women of Yellowjackets just wouldn’t do. On this, the actresses who play them — Tawny Cypress, Juliette Lewis, Melanie Lynskey and Christina Ricci — agree, as they gather in a backyard in L.A.’s Topanga Canyon in late July, just a few weeks before they start filming the second season of their breakout show.

The Showtime survival thriller, created and executive produced by Ashley Lyle and Bart Nickerson, earned seven Emmy nominations, including outstanding drama series and acting nominations for Lynskey and Ricci. The Yellowjackets storyline alternates between 1996 and the present day as it follows members of a high school girls soccer team whose plane crashes and strands them for 19 months in the wilderness, where they resort to cannibalism to survive.

Part of the show’s nostalgic appeal relies on its casting of these actresses, three of whom audiences knew as young women for their slyly offbeat roles in films like The Addams Family (Ricci), Cape Fear (Lewis) and Heavenly Creatures (Lynskey), to play the crash survivors as adults. In this conversation with THR, Cypress, Lewis, Lynskey and Ricci disclose their ’90s regrets, share what it means when you call an actress “quirky” and reveal how survival bonds women — including in the trenches of Hollywood.

Who here knew each other before the show?

MELANIE LYNSKEY (Points to Christina Ricci.) We knew each other a little bit. I went to a Nick Cave concert by myself, and Christina came up and —


CHRISTINA RICCI I was very excited to see you.

LYNSKEY So excited. We were having a lovely chat, and then she’s like, “Are you here by yourself?” She’s the coolest person of all time, and I was intimidated. I just felt embarrassed to say, “I’ve come to a concert by myself.” I was like 24 or something.

RICCI I was impressed because I couldn’t go anywhere by myself.

LYNSKEY I also went to see Clay Aiken by myself because nobody would come with me.

It’s surprising that none of you had worked together over the years.

JULIETTE LEWIS It’s wild when you’ve been around so long, and you sort of have a kindred connection to people. There’s certain actors you’re like, “Mmm, we’re not of the same tree,” and then there’s other actors you’re like, “Oh, yeah. We have some roots.”


Juliette, Melanie and Christina, all three of your Wikipedia entries say some version of, “Often plays quirky or offbeat characters.” What do those words mean to you?

LEWIS Real people, specific and unpredictable.

LYNSKEY I remember I got cast in a movie when I was like 21, and the description of the character before I auditioned was “Blah, blah, blah, the beautiful girl who sits next to him in school.” Then, at the table read, it had been changed to “Blah, blah, blah, cute and quirky.” I was like, “You don’t need to change it. Just keep it …” They’re like, “We better change this description or people will be like, wrong actress.” So, sometimes it feels … I don’t know. I never liked that word, “quirky.”

RICCI When you say that all of us had this description, that to me speaks to a past time, when, if you weren’t the leading-lady ingenue then you were quirky and offbeat. All right, so there’s two groups for actresses? In a way, I’m fine with being in the category I’m in because what it means to me is that I have made an effort in my career to do things that I feel like I haven’t seen before. So, in some ways, I like it. In other ways, I’m like, “Ugh.” It’s a little dismissive. A little cute and dismissive.

LEWIS We come from the ’90s where, when I had blond hair, I was the pretty airhead, and then I dyed my hair dark, and I was the wisecracking, sarcastic girl. But yeah, I think it’s really neat that we’ve all carved this path of range and specificity.

Isn’t another term for that “character actor”?


RICCI But “character actress” used to be something they used to describe an ugly woman.


RICCI Back in the late ’90s, my agents were always like, “We have to be so careful you don’t become a character actress. If we’re not careful, you’re going to end up just like Jennifer Jason Leigh.” I was like, “I like her.” They were so afraid of me not being a leading lady, of me not being sexually attractive to people. It was really the last thing I ever wanted, was for anyone to be attracted to me.

LEWIS My dad was a character actor. So to me, it was something that was super noble. It was a world of adventure and not limiting. I rebelled against the system, the PR system of being in some bizarre idea of beauty. I really revolted against that, for better or for worse. Crying in a bathroom at a photo shoot, like, “I won’t come out.” They want these doe-eyed looks. That’s for sure what I didn’t do in pictures, so I always looked slightly insane, which I prefer over, like, “Do you want to fuck me?”

Tawny, what was your sense of what the expectations were for you when you were starting out?

CYPRESS I’ve had a different row to hoe. I’ve spent my whole career doing shitty roles of the sassy one on the side. Honestly, growing up as an actor, I wanted to be an ingenue.


LEWIS Isn’t that funny? And I wanted to be sassy and opinionated.

CYPRESS I couldn’t be an ingenue. I just couldn’t. It’s just not in me, you know? I was never presented with those roles, ever, and I was like, “Oh, OK. That’s not who I am.” I sort of, growing older, have embraced my Jersey side, and I am who I am, and this is what you get.

LYNSKEY I started calling myself a character actor in interviews when I was really young because I think it was reclaiming the term or something. I think I just was like, “That’s what I am.” My agents had all that kind of intensity around it, too. I remember when I did Coyote Ugly

RICCI Oh my God, you got a piece in that? I went up for that, and I didn’t get it.

CYPRESS I did too.

LYNSKEY I played the best friend from Jersey. But the scrutiny that was on Piper [Perabo], who’s one of the coolest, smartest women, just the way people were talking about her body, talking about her appearance, focusing on what she was eating. All the girls had this regimen they had to go on. It was ridiculous. I was already starving myself and as thin as I could possibly be for this body, and I was still a [size] four. That was already people putting a lot of Spanx on me in wardrobe fittings and being very disappointed when they saw me, the costume designer being like, “Nobody told me there would be girls like you.” Really intense feedback about my physicality, my body, people doing my makeup and being like, “I’m just going to help you out by giving you a bit more of a jawline and stuff.” Just the feedback was constantly like, “You’re not beautiful. You’re not beautiful.” In your early 20s, so much of it is about beauty, and how people respond to you, and do people want to fuck you? Do people think you’re their best friend? Even the best friend thing, I started to be like, “I don’t want to do that too many times.”


Did you have to unlearn anything that people tried to teach you when you were starting out?

LEWIS I had developed such a survival mechanism to protect my autonomy, sort of, “You don’t own me. You don’t tell me my value. Only I do.” I was extremely self-critical — it still happens — of my work. It’s almost like a defense mechanism that no one could talk shit about me more than I can. There’s all these things that are wrapped up in how to survive a system. That’s what I’m unlearning today — to be softer. This is a really remarkable industry to be a part of. I feel honored to be a part of it and what it gave me, but I do still hold on to what it took from me in my youth.

Given what you all experienced coming into the industry, do you feel at all protective of the younger actresses who play the younger versions of your characters?

LYNSKEY (Begins to cry.) So much. I feel very protective. At the beginning of production, I sent them all an email, and I just was like, “Whatever you need, if you need a voice, if you need someone to go to the producers for you, whatever you need,” and they were kind of like, “Cool. Thanks.” They’re fine.

CYPRESS Totally fine. Jas [Jasmin Savoy Brown] was a boss on set. She’s like, “This is how we’re doing my hair. This is what we’re doing.”

RICCI They’re very much of a different generation.


CYPRESS I am protective of Jas in the fact that she is so sexually positive, which I love. She has taught me so much, just knowing her as a person. But I’m like a mama bear to her, or a big sister. I’m like, “What are you putting online right now?” She’s like, “Whatever. Whatever. This is life, man. I love myself.” I’m protective, but I’m also in awe of her, you know?

LEWIS But there is a thing I always want to say to young people: Cultivate other interests deeply so that you’re not getting all your life’s blood from this industry, or your self-worth.

Is there anything you miss about the ’90s?

LYNSKEY I have a lot of love letters from the ’90s.

RICCI Someone used to fax me love letters when he was on tour. I did not save them. I throw everything out. I had a specific thing when I was a child, that we would be punished by the things that we loved being destroyed. My husband, who is a much healthier individual, has gone back and found all my old magazine covers on Etsy because he thinks it’s horrible that I never saved them. As a child, I learned that this is going to be taken from me, so why save it anyway?

LYNSKEY That’s heartbreaking. Well, I saved everything because I’m basically an emotional hoarder. I have this literal suitcase, an old-fashioned suitcase.


RICCI This is very dark, but I would just like to go back to that age and do it over again and not make so many fucking mistakes. Honestly, I regret so much.

CYPRESS Me too. One thousand percent.

LEWIS Me too.

RICCI I’d like to go back to 1996 and be like, “All right … we had a practice run. It went OK, but it wasn’t really as great as we wanted it to be. We’re going to do this again.” People who are like, “I have no regrets.” What fucking magic life did you live?

LEWIS Where they go, “I don’t regret anything because that led up to this moment.” Really? The thing that could’ve put my dad in an early grave, I fucking regret it. Yes. I was very scary as a young teenage person.

CYPRESS Yeah. I hurt a lot of people growing up, and I wish that I didn’t. I was going through my memory box. It was my great-great-grandmother’s she brought over from Hungary. It’s huge, and it’s filled to the brim with everything from my life. I came across a note from high school. It was my first gay friend, and it broke my heart because he was like, “I want to thank you for not talking to me anymore and just cutting me off the way that you did. It made it hurt less.” I literally was crying, and I had to call him and be like, “I just came across this note, and I’m so sorry that I was that person to you.” When I think back, I think how wonderful our relationship was, but I was a shit, you know? I would definitely do so many things differently.


LEWIS I’ve had those moments where I turned into … Because I’ve been bullied, but when I was 11 and got in a fight with a girl, I was mean [the same way] how a girl was mean to me. I was really vicious.

LYNSKEY I think people without regrets are narcissists. I think they’re lying to themselves.

RICCI Denial is the only way to get up that river.

What did you all feel when you learned that Roe v. Wade was overturned?

RICCI It’s really horrible to be told so plainly what your value is.

LEWIS I wish the two factions can talk, like, “Hey, what do you do with a bad situation, poverty and drug addiction, and rape?” You have to have an option that is salvageable or is sustainable for the survival of a person, a woman who’s living.


CYPRESS I don’t really give a shit what your reason to have an abortion is. It’s your fucking body. I don’t really fucking care. You don’t want to be a mom, right? That’s your fucking decision. Look, we can put morals on it and say, “Well, only when you’re raped, or only if it’s …” It’s like no, dude. It’s either in or out. We’re either telling women what to do with their bodies or we let them have their own choice. I am of the mind, choice. I’m not going to judge you for making that decision.

LYNSKEY And there seems to be this general lack of compassion and empathy that’s just growing and growing. There’s so much hatred, and people are unable to look at another person’s life and go, “Oh, you know, that’s an untenable situation,” or even, “That’s a difficult situation.” There’s no grace given to anybody else. There’s no empathy. You don’t get to make decisions for somebody else. You don’t know what’s right for them.

Is there a place for TV and film in that conversation?

CYPRESS I mean, that’s what TV and film do. That’s what art is. On Yellowjackets, let’s talk about Shauna’s baby in the woods, you know? Yeah. I think we have a lot of room to speak on this subject, and I hope we do.

Did anybody have their kids on set for season one?

LYNSKEY (Points to Ricci.) We did.


RICCI And I was pregnant. I didn’t tell anyone but these ladies that I was pregnant for six months. When we started, I was six weeks pregnant. It was difficult. There were so many times where I was like, “Ooh, when they find out I’m pregnant, and they made me sit in this smoky room all day. When they realize that they made me stand for eight hours, and I’m pregnant, and I have this horrible sciatica, and it’s 100 degrees, oh, they’re going to feel so bad.” They didn’t feel bad at all. But anyway, it was fine. In fact, it would’ve been helpful if I was playing a more emotional character because I can give a real good performance when I’m pregnant, real emo.

How would you finish the sentence, “Yellowjackets is really about …”?



CYPRESS Friendship.

RICCI Haunting, the way trauma haunts you. The way you can never escape. The way it twists people in different ways.


LEWIS Aberrant survival tactics.

We know that these characters have done a bunch of aberrant things, as you say, including cannibalism. But do you have in your mind an idea that, “OK, she may have eaten another human being, but she would never do this“?

RICCI I know when they confront me because I’m like, “OK, she wouldn’t do that.” Misty wouldn’t drink that drink. Originally, in the script, she was drinking a Brandy Alexander, and I said, “No, Misty would drink a chocolate martini.” I have rules and stuff for her in my head, and they do conflict with the writers sometimes. I don’t think she actually is interested in men, at all. I think she does it because she’s bored, or because she thinks that’s what she’s supposed to do. Then, she’s also realized that she can have a lot of fun trying to trick them into having sex with her when they don’t want to. It’s like men will kind of know that you don’t want to have sex with them, but if they can get you to have sex with them, they won.

LEWIS It’s a power thing.

RICCI Misty’s way of doing it is through this really horrible manipulation, making him feel guilty and having sex with her while feeling guilty, which would be a terrible experience.

When you have a different perspective on your character than the writers, what do you do?


RICCI That’s part of the thing with TV that I’ve learned now, being involved in a production but not being one of the EPs, so you aren’t a part of creating what people do. “OK, they wrote this scene. I have to play this scene. If she was in this situation, how the fuck would she be in this situation, and why would she be?” Then, you don’t have to tell other people what you come up with. They can find out about it later when you do press.

Does anybody else have a line in their mind that their character wouldn’t cross?

LYNSKEY I had one. There was something written into a script where I was going on a date with my lover, and they had me going into my daughter’s bedroom and taking her underwear, which was just not practical because I wouldn’t fit it. She’s little. But also, ew. I think there was something, apparently, somewhere, people liked the thing in the pilot where I’m masturbating in my daughter’s bedroom. I was like, “Can that just be an isolated incident? I don’t want it to be a theme.” So I just was like, “I don’t want to do that.” They were great about it.

LEWIS It comes, I think, with experience and respect, that they appreciate if you have a point of view. I have an “anything goes” stamp on me, which they all know. But I have strong ideas, especially about my trajectory in midlife. I’ve looked at Natural Born Killers recently, and I’m like, “Jesus.” Thank goodness I had a partner like Woody Harrelson, but it is so sexual. No one forced me into that. I was a young nihilist who didn’t give a fuck, and I felt comfortable with Woody, and I liked the material. But nowadays, I’m very particular. So, they had written a sex scene, and I was like, “I don’t know. I don’t know that she even gets off. I don’t know that she even can have orgasms.” That’s how deep I went. So it was more like, is she doing something to get something? At the end of the day, I just didn’t even think she fucks, sorry to be so graphic, at this juncture that you saw in season one. I think she might’ve had relationships with all of them in the wilderness. I don’t know if they’re going to write it, but that’s what I’d like to think of Natalie.

LYNSKEY That’s what I think too.

RICCI What? I never thought of that. Who would they be making out with? I guess each other.


The finale hints that there may be additional Yellowjackets who survived into adulthood. Have actors been cast for those roles?

LEWIS Wait, Melanie, didn’t you say that on our chain, that someone we like is cast to be … (At this point there is meaningful eye contact among the four women.)

RICCI We don’t know for sure. That’s what we’ve heard was close to happening.

LYNSKEY We don’t know anything.

On season one, you were making this show under the radar. Now there’s so much fan speculation. Does that change the way you approach the work?

RICCI There’s more pressure going into season two.


CYPRESS Have you guys also had that feeling of like, “Can I do this? Is it going to be good, the second season? Am I going to fuck this character up?”

LYNSKEY I have those fears.

RICCI Me too, but because TV is so fast, and you have so little time with the information, the process of talking about the show afterward helps you to evolve your take on your character. To understand things that were intended with the character that maybe weren’t clear originally because you get to hear the EPs talk about it. I’m going to make changes in the next season based on what I have come to realize through all this talking.

Like what?

RICCI Well, that’s a secret.

How much do you want to know about the path that your character is on?


CYPRESS Fuck, I want to know everything. I sit there, and when I think about the show, I think, “What the fuck are they going to do with this character?” There’s so many different parts to her right now. The dog thing. She’s now a senator. There may be an old love coming back, you know? I’m like, “How are they going to do this?” I just want to know.

LYNSKEY Now you’re a full-time dog killer.

RICCI I didn’t even know that you were supposed to be the one that killed the dog.


RICCI I thought, “Oh, well maybe somebody broke in.”

LYNSKEY That could still be, right?


CYPRESS Wait, give me more to think about.

So you don’t go to the writers and say, “To be clear, did I kill the dog?”

CYPRESS Oh, we do. They just say, “Mmm.”

RICCI “We don’t know.”

CYPRESS But they do know.

RICCI I don’t think they’re trying to control us with no information or anything. Sometimes, they don’t want to commit to something that hasn’t been necessarily set in stone. I do find it frustrating to not know, and we’re never able to know fully. I have decided to learn how to function with knowing nothing.


Interview edited for length and clarity.

This story first appeared in the Aug. 3 issue of The Hollywood Reporter magazine. Click here to subscribe.

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James Gunn Addresses Peacemaker Future Amid Batgirl Cancelation




James Gunn Addresses Peacemaker Future Amid Batgirl Cancelation

Shockwaves from Warner Bros.’s cancelation of Batgirl have had many fans questioning the possibility of other DC-connected projects following suit. Amid outcries from fans of Batgirl, Michael Keaton, Brendan Fraser, and even Snyderverse fans who are always eager to picket Warner Bros., Peacemaker fans started asking James Gunn whether there was any possibility that his DC work was going to suffer amid the company’s cost-cutting exercise. Ironically, considering the history that led James Gunn to work with DCEU characters, it seems that the director and his shows are the only ones who are “safe.”

What seems like a lifetime ago, James Gunn was all set to start work on Guardians of the Galaxy Vol. 3 for Disney and Marvel Studios when some old Twitter posts led to him being unceremoniously sacked. By the time Disney backtracked on their firing, Gunn was already committed to directing The Suicide Squad for Warner Bros., which is why Guardians of the Galaxy Vol. 3 has taken so long to arrive. Now, during all the chaos at Warner Bros., it appears that Gunn is not worried at all about the second season of Peacemaker getting the ax. When asked if the show was safe, Gunn simply replied:


“Yes, guys, calm down.”

That is a relief for fans of the small sub-universe Gunn is building inside the DCEU, which along with The Suicide Squad and Peacemaker, is set to include at least another unannounced project and be linked to the Amanda Waller series that is in development. At least that side of the franchise doesn’t appear to be going anywhere.

Related: Peacemaker: Will More Suicide Squad Members Appear in Season 2?

Is Warner Bros. Still Planning on Rebooting The DCEU?

There have been rumors of a “soft-reboot” coming to the DCEU for a long time, and while it seems at times like Warner Bros. is heading in that direction, they have constantly denied any such intention. During San Diego Comic-Con, the entire focus of the Warner Bros. live-action DC panel was on Black Adam and Shazam! Fury of the Gods. Both of these movies have their small links to the wider DCEU, and once again, Warner Bros. seemed to be causing confusion by including a Justice League montage within the Shazam sequel while at the same time professing that they are not revisiting that particular DCEU set up in any way.

One thing clear from Dwayne Johnson’s appearance at SDCC is that he believes that Black Adam is setting the tone for a new DCEU, and based on everything else that is happening, he could be right. While there is no way of telling exactly where the franchise will be heading beyond The Flash in 2023, with new additional entries like Wonder Woman 3 constantly being stuck in limbo, it has been made clear that some big changes are being made in regards to the DCEU and fans will be hoping that those changes bring some kind of consistency to the franchise before it ends up crashing down around itself.


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