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M. Night Shyamalan on ‘Servant’ Season 3 and Casting Dave Bautista to Lead His Next Film



M. Night Shyamalan on ‘Servant’ Season 3 and Casting Dave Bautista to Lead His Next Film

M. Night Shyamalan is relieved that he gets to finish Servant on his own terms. The Apple TV+ psychological thriller series was recently renewed for a fourth-and-final season, allowing the filmmaker to fulfill the vision he outlined years ago. For a writer-director whose career is defined by his memorable endings, it was always a bit of a risk to tackle a story on a medium that doesn’t guarantee anyone a proper conclusion, but risk-taking has always been a part of Shyamalan’s creative process, especially once he mortgaged his home to fund his 2015 thriller, The Visit. After that $5-million gamble paid off to the tune of $98.4 million, Shyamalan has followed suit for all his subsequent projects including Servant.

“It’s insane a lot of times to do this, and I wouldn’t recommend this to my friends,” Shyamalan tells The Hollywood Reporter. “As you can see, Covid hit, and when you’re paying for these projects like Servant and these movies, you never know what’s going to happen. You can’t guarantee everything. We’ve been extremely lucky with Servant, The Visit, Split, Glass and Old as everything has been successful, but as you know, there’s just no guarantee about that. So it’s a very high-risk situation, but I love that.”

Shyamalan is currently prepping his next film, a thriller known as Knock at the Cabin, and last month, he found his lead actor in Dave Bautista. The world discovered what a skilled comedic performer Bautista is by way of the Guardians of the Galaxy films, but it was his dramatic turn in Denis Villeneuve’s Blade Runner 2049 that turned heads across the industry, including Shyamalan’s.

“I was really taken by what Denis [Villeneuve] and Dave [Bautista] did in that scene in Blade Runner [2049]. He was still in a way that was powerful,” Shyamalan explains. “There’s a type of stillness where you’re not doing nothing; you’re doing everything and you’re still. Every cell in your body will do what it’s supposed to do if you’re thinking something correctly. And Dave was embodying all of this philosophy in that scene … I didn’t know who he was at that time, and he stuck in my head. So when this script came, I was like, ‘There seems to be one guy who can play this giant human being and do the stillness.’ So I asked Dave.”

Knock at the Cabin has also overtaken Signs as Shyamalan’s quickest writing process to date.


“I don’t know what this means, so it’ll be interesting to see at the end of it all, but it’s the fastest script I’ve ever written,” Shyamalan shares. “Signs was the fastest script that I wrote before this. I don’t know if that’s to do with the engine, the movement of it, but we’ll see. I’ve enjoyed it so much, and it’s very emotional.”

In a recent conversation with THR, Shyamalan also discusses the familial environment of his sets. Then he goes on to explain why he thinks Christopher Nolan is going to be happy at Universal Pictures, which Shyamalan has called his home since 2015’s The Visit.

Well, first off, congratulations on the final season order.

Thank you so much. It’s a big relief and I’m super happy. There’s a fear with this format that you won’t get to finish telling the story, so it’s a lovely thing.

Whether it’s Julia Ducournau or Dan Sackheim, you always hire interesting directors for Servant, and Carlo Mirabella-Davis is one example of many this season. Did his brilliant film Swallow lead you to him?

Yeah, it was Swallow. When I saw that, I was very taken with his storytelling, the quietness, how unnerving it was and how beautiful it was. He has a formalism in the way he tells stories that matches mine, so I try to cast directors that are comfortable with the kind of vocabularies that we speak in, and Carlo is such a lovely man. Just a gentle, lovely man. We’re definitely going to try to get him back for the final season.


I’m amazed by all the different ways you’ve photographed the Turners’ house. Are there still plenty of options left that you haven’t explored yet, or are you running out of possibilities after three seasons?

It’s funny you should say that because it’s unending, and I’m astonished by that. I was just mixing the last episode of season three, and Ishana [Night Shyamalan] directed that. And she did this dinner-table scene that was unlike any other dinner-table scene. So I was marveling at how many times we’ve done dinner-table scenes and they’re all so different. Each one is amazingly specific. It’s as if we’ve never been in that room before. I’ve been referencing the show as the first “sit thriller” where you just keep coming back to the same place, and no, we haven’t felt that feeling at all. In fact, it keeps inspiring each director to come up with beautiful ways to use the house. The house is there, so when one director is working, there’s always another director on another stage, drawing with their cinematographer and thinking about how to shoot something.

In the season-three premiere which you directed, there’s an impressive overhead shot as Leanne (Nell Tiger Free) walks out of the front door. Did you stitch the soundstage house and the real location together for that?

That was all on the stage!

Wow, that exterior is extremely realistic.

Exactly! Yeah, we have an exterior inside.


Last year, I praised your episode [season two, episode four] with Marshall Adams as your DP, and he ended up getting an Emmy nomination. Was he stuck in the desert [shooting Better Call Saul] when you guys needed to go?

(Laughs.) Definitely! We’re always balancing his Better Call Saul obligations with Servant. I love that guy. He’s just the sweetest guy and so talented.

I’ve gotten this impression from your actors for a while, but I was reminded of it when I saw a picture of Anya [Taylor-Joy] at dinner with your family. It seems like your actors aren’t just working with M. Night Shyamalan; they’re entering into the Shyamalan family. Even Nell said that Ishana is one of her best friends. Am I on to something here?

Yeah, that’s the way we are. I’m very close with the actors. Of course, when there’s child actors like Nell, they kind of grow up in our family. Oftentimes, I’m casting characters that are the same ages as my daughters, so they grow up together. But it is a very close-knit thing. I find that the safety of having a family environment — where we’re very close — helps the things I’m asking them to do. The vulnerabilities, taking risks and being safe to fail. So that relationship is critical, and the actors allow you to protect them and push them beyond where they would normally be. When we shot Old, all the actors were always at my place, hanging out and raiding my fridge and all that stuff. So we were always together, rehearsing, and that’s the way I love it to be. Our crew is that way, too. We’re all very close. But when you come to my sets, I’m on it and I ask a lot. I’m very strict on the set, but when we’re off the set, it’s a family. We’re very close and we play together.

Ishana’s confidence seems to grow with each episode she directs. Can you talk about her rapid development as a director?

I often joke to her, “If you were an NBA player, you’d be the number-one draft pick coming out of the draft.” She’s been training since she was a baby, and I’m just so happy that she has found what she loves and what she’s excellent at and what challenges her. That it happens to be filmmaking is fantastic, but as a dad, I’m more thrilled that she found the thing that she loves. I think I’ve been an example of someone who has found their love, and even if I worked at a fast-food place, I’d still be writing and making a small little film as soon as I finished working. And I would do that for love because I love doing it. So she’s seen what joy I have and she knows that I love it. I’m always begging, “Who wants to watch a French black-and-white film about a donkey? It’s amazing.” So I’m always bugging family members to come and learn about cinema, and that’s contagious because I think she caught it. She’s different than I am. Her leans and her interests in storytelling. So her perspective of being a woman is going to be fantastic for her and for the world. I want many strong female storytellers to get out there.


Everyone is fascinated by the way you’ve bet on yourself these last eight years. You’ve funded pretty much everything you’ve made during that time. I hope you don’t mind me asking, but when you told your family way back when that you were going to mortgage the house to make The Visit, how did that conversation go?

Oh, no problem! My wife doesn’t care about any of that stuff. If we lived in a one-bedroom place over a garage because of it, no problem. That’s never been a thing, and I think the kids felt that as well. The only reason the things we have mean anything is because of the way the money was made to pay for them. It was made from my head and my creations; that’s why it’s special. But that shouldn’t become a trap to not make great art. In fact, you leverage it to make great art. It’s insane a lot of times to do this, and I wouldn’t recommend this to my friends. As you can see, Covid hit, and when you’re paying for these projects like Servant and these movies, you never know what’s going to happen. You can’t guarantee everything. We’ve been extremely lucky with Servant, The Visit, Split, Glass and Old as everything has been successful, but as you know, there’s just no guarantee about that. You’re going to have projects that don’t work for some reason and you have no control over it. Or you do have control over it and it still didn’t work. So it’s a very high-risk situation, but I love that. It makes it meaningful so that when you and I are sitting together, it’s not transactional. It’s not, “Hey, I don’t care and we’re moving on to the next thing.” This is a very important thing and no safety net is critical. It goes down to how I approach all of it. When I make my movies, I don’t have playback. I’m not going to go back and look. We’re going to use instinct and keep going forward on inspiration.

Speaking of risk, in season three’s fourth episode, there’s a baby-proofing character who can rattle off household accidents stats in a way that would make Gael Garcia Bernal’s Old character very proud.


Do these two characters suggest you’re interested in risk calculation, or am I reading too far into this?

(Laughs.) I find it all very funny and fascinating and scary and terrifying. Whenever I would read these stats for both projects, especially for Old, I would find all this stuff about how many people die from slipping in their kitchen and falling on a knife that’s upside-down in their open dishwasher. That happens so often! You can die and get injured in so many ways, and if you think about it, it’s absurd because you can’t do anything. You’d be scared to death. So these [Servant] characters have gone through something already, and now this guy is delineating all these other ways. That’s the type of dark humor that you don’t believe can work until you actually do.


You recently made a new friend in Dave Bautista as he’s leading your next film, Knock at the Cabin. Was it Blade Runner 2049 that opened your eyes to him?

It was! I was really taken by what Denis [Villeneuve] and Dave did in that scene in Blade Runner. He was still in a way that was powerful. There’s a type of stillness where you’re not doing nothing; you’re doing everything and you’re still. Your essence of what you’re thinking is coming off your body. I always tell actors that I can definitely shoot the back of you. If you watch the back of Heath Ledger at the beginning of The Dark Knight, the second I saw his back, I thought, “I’m seeing one of the greatest performances ever.” I could see it just from the way he was standing. Every cell in your body will do what it’s supposed to do if you’re thinking something correctly. So don’t just be blank. You have to think it. So don’t show me anything because your body is going to show me. And Dave was embodying all of this philosophy in that scene, and I thought he was a really unusual person because he is who he is and he’s that big. I didn’t know who he was at that time, and he stuck in my head. So when this script came, I was like, “There seems to be one guy who can play this giant human being and do the stillness.” So I asked Dave.

Can you spare a couple adjectives in regard to Knock at the Cabin?

I don’t know what this means, so it’ll be interesting to see at the end of it all, but it’s the fastest script I’ve ever written. Signs was the fastest script that I wrote before this. I don’t know if that’s to do with the engine, the movement of it, but we’ll see. I’ve enjoyed it so much, and it’s very emotional.

Your friend Bryan Cranston told me that you guys have tried to work together a few times. He also said that you talked to him about Old, but he had a show to finish. Could the stars finally align for something in Knock at the Cabin?

I would love it, but there is no role that Bryan could play. He’s an amazing actor, but there is literally no role he could play in it. If he was a foot taller and weighed another 150 pounds, maybe he could’ve taken Dave’s part. Maybe he could’ve gained 150 pounds, but I don’t think he could grow another foot. (Laughs.) But Bryan is amazing. I would love to work with him. We crack each other up, and he is the funniest guy. He’s just a good man, too, so I would love to do something with him.


Is Chris Nolan going to enjoy Universal? You and Jordan Peele seem to be quite happy there.

Definitely, definitely. I conveyed how much I feel about Universal’s commitment to original storytelling and the movie theaters. And in an age where everybody is trying to sell the narrative that original movies and movie theaters are dying out, I don’t believe that at all! Not even a little bit. And Universal has doubled down — and continues to double down — that it’s their identity. So I’m hoping Jordan, Chris, myself and anybody else that will come over, or at other studios, can prove that everyone wants to see fresh, original ideas in a movie theater.

During Glass’ sequence on the battlefield, Elijah (Samuel L. Jackson) commented to Casey Cooke (Anya Taylor-Joy) that she was the sole survivor of the Beast’s (James McAvoy) zoo incident, and he ultimately showed the same interest in her that he did with David (Bruce Willis) and the Eastrail 177 accident years earlier. So did Casey Cooke have undefined superpowers?

(Laughs.) It did occur to me to go there, but I tacked towards keeping the series about those individuals that have powers. And then their family members were an extension of their powers, but more in a connected-to-the-real-world way. So the side characters are equally important, and that was kind of where my head was going. So I tried to keep her as the side character and not one of the superheroes.

After Split, I thought she had superpowered hunting senses since her trauma took place on hunting trips. And after Glass, I thought she had superpowered empathy given her effect on the Beast.

(Laughs.) That’s true, that’s true. But it’s funny you should say that because it did pop into my head.


Have you considered any other TV ideas for when you wrap Servant?

There’s always something. In the last year, I’d say we got really close on two different ideas that I was thinking about and almost did. So you never know. At this second, I don’t have one, but every day, we have a wonderful process that brings us amazing storytellers. So I have no doubt that one day, an incredible storyteller will come in and want to tell a long-form story that I can help them with.

Servant season three is now airing every Friday on Apple TV+.


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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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