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THR Icon: At 90, Marla Gibbs Looks Back on Career as a Sitcom Queen — “My Romance With the People Is That I’m One of Them”



THR Icon: At 90, Marla Gibbs Looks Back on Career as a Sitcom Queen — “My Romance With the People Is That I’m One of Them”

Marla Gibbs has a motto: “It’s never too late.” And she would know. The beloved actress — whose way with a zinger influenced a generation of funny people, from Wanda Sykes to Tyler Perry — was 44 when, recently relocated from Detroit to L.A., divorced and with very few credits to her name, she auditioned for a new CBS sitcom from Norman Lear called The Jeffersons, a spin­off of Lear’s smash hit All in the Family.

The role, which she landed, was Florence Johnston, a housekeeper to a successful Black family living on New York’s Upper East Side. Gibbs’ acid delivery of Lear and company’s whip-sharp and socially progressive dialogue — and her character’s ongoing rivalry with the man of the house, George Jefferson (Sherman Hemsley, who died in 2012 at 74) — made her one of TV’s most popular and dependable belly-laugh generators.

Gibbs was Emmy-nominated five times for the role of Florence but never won. She went on to star in and produce another beloved sitcom, NBC’s 227, which ran from 1985 to 1990 and introduced the world to the talents of Regina King and Jackée Harry. Now 90, and with dozens of film and TV appearances under her belt, Gibbs is still working — since 2021, she’s been a regular on Days of Our Lives. She sat down with The Hollywood Reporter to look back on a groundbreaking half-century career.

What brought you out to Hollywood?

I moved to California in 1969 from Detroit, Michigan. I had moved to Detroit from Chicago, so my three children were all born in Detroit. But I’m a Chicagoan. My sister lived here, and she was begging me to come out here for the longest time. I was running from my husband. I was done. He followed me out here six months later. And I gave him another shot, but it didn’t change anything. So then there was a divorce.


Were you even thinking about acting at the time?

I always wanted to be [an actor] because I was a film addict: Joan Crawford, Bette Davis, Joan Caulfield, Joan Fontaine. I had a lot of sheroes.

Were there any African American actresses whom you looked up to?

[Guess Who’s Coming to Dinner star] Beah Richards. She later played my mom on 227.

What were you doing for work in Detroit?

I was working in reservations for United Airlines. So I transferred out here with my three kids. And, of course, we had free flights. I was able to ship my things and everything via United. It was pretty easy. I was there 11 years when I got to The Jeffersons. And then I stayed for two more years.


Wait. During the first two seasons of The Jeffersons, you were still working at United Airlines?

I was. At that time, we were shooting Jeffersons at KTTV. So I would get on the freeway, come up at Wilshire, turn right, go to the parking lot and sit at my desk: “Good afternoon, this is Ms. Gibbs. How may I help you?”

“We didn’t call it comedy. … it was just funny things they said in the neighborhood,” Gibbs says of how she delivered punchlines on The Jeffersons.
Photographed by Michael Buckner

I have to ask: You were on a network sitcom — why keep your old job?

“Network” and “sitcom” didn’t mean anything to me then. I’m at a job over 10 years. Why give it all up for something new? What if it don’t last? A bird in the hand is worth 20 in the bush. I said to United, “Well, why don’t you let me work an hour later?” Because I was worried about being late if we ran over while taping the show. One day, Bernie West, one of The Jeffersons’ producers, said, “Do you still have that job?” I said, “Yeah.” He said, “Aren’t you tired?” I said, “No.” He said, “Would you take a leave?” I said, “If you pay me.” So I took a 90-day leave from United. After that, I thought, “I might as well give this a shot.” I was never sorry.

Did your co-workers at United see you on TV?


Yeah. They wondered what the hell I was still doing there.

Going backward a bit, when you got to L.A. in 1969, did you just think to yourself, “I think I’ll give acting a try”?

Yeah. “I’m out here where it happens.” I was very disappointed when I got to Sunset Boulevard. I always thought Hollywood was behind some gates. I said, “This is Sunset Boulevard?” And then when I got to Hollywood Boulevard: “This is Hollywood?” It really was a shock.

But you didn’t stop. You wanted to get your piece of the Hollywood dream.

Well, my sister was what they called an extra, but we thought she was a starlet. She was in The Poseidon Adventure. She was sitting next to the captain, and she didn’t have any lines, but we saw her, and every time she came back to Detroit, the press would meet the plane. We thought she was really hot. So first thing I did, I signed up for acting classes at PASLA, the Performing Arts Society of Los Angeles. Ta-Tanisha from Room 222 was discovered there. Then I talked to my sister’s agent, Lil Cumber. She was the agent for most of the Black actors. She thought she knew what they wanted, so she put a broom in my hand and picked a photographer.

Actress Marla Gibbs poses for a portrait at PMC Studios on February 1, 2022 in Los Angeles, California.
Photographed by Michael Buckner


Because you were expected to play a maid?

That’s what most of the Black Hollywood actors played, the ones who were not in lead roles.

Yet this was not 1939 and Gone With the Wind. This was 1969, but nothing had changed.

Nothing had changed.

Your first parts were in blaxploitation movies [like 1973’s Sweet Jesus, Preacherman and 1974’s Black Belt Jones].

I didn’t think that, but yes.


The word “blaxploitation” didn’t come up?

Not to me. It was just a movie, period. My girlfriend and I, we would sweet-talk our way past the guards at the big studios and take our résumés. I remember we were at 20th Century Fox, and we met Joyce Selznick, David O. Selznick’s niece. And she said, “Come on in, girls.” She spent 20 minutes giving us a whole speech about how Hollywood works. I always appreciated her.

And how did you land The Jeffersons?

It’s because of you guys. The Hollywood Reporter. My agent was Ernestine McClendon. And she wrote a full-page letter to The Hollywood Reporter about how poorly her [predominantly Black] clients were being treated. We were “the revolving door” at auditions: in and out, in and out. They were not paying any attention to us. After that, everybody wanted to see us. Then I heard they were casting for The Jeffersons. And my agent got me an audition. And this time when I went in, they were paying attention to me because of Ernestine’s letter in The Hollywood Reporter.

That’s nice to hear! It was probably exciting, too, that a sitcom was going to be about a Black family who’d achieved the American dream.

I didn’t know what it was. It was called The Jeffersons, that’s all I knew. And the part they wanted me to read for, Florence the maid, reminded me of my grandmother and my aunt in Chicago. So that’s how I played her. And the casting director liked it. She took me right over to the producers, and they liked it. By the time I got home, I had the job.


That easy.

And then they had Norman Lear come in. I decided that for one laugh line, I would try it a different way. They went, “No! What did you do? Do it the way you did it at the audition!” What nobody told me is that it was Norman’s favorite line.

Norman Lear, creator of The Jeffersons, was by Gibbs’ side on July 20, 2021, when she received her star on the Hollywood Walk of Fame.
Amy Sussman/Getty Images

What line was it?

I say, “You live in this building, right?” Isabel [Sanford, who played Louise Jefferson] said, “Yes.” I said, “And you live in this building, too?” Roxie [Roker, who played neighbor Helen Willis], said, “Yes.” I said, “You folks don’t mind if I ask you something: How come we overcame — and nobody told me?”

Had you been doing comedy before this? Did you know how to deliver a punchline?


It was something new. I mean, we didn’t call it comedy. We thought it was just funny things they said in the neighborhood. So I did it that way, and that’s the way I did it all the years I was on the show.

I love how unassuming you are.

I don’t think I gave the writers the credit that they deserved.

Well, it was a marriage, right? Their words and the way you deliver it.

Yeah. Sometimes I had to change it around. They might have “Mr. Jefferson” at the front, and I’d put it at the end. I’d say, “Black people speak in a rhythm. Chinese people speak in a rhythm. Jewish people punch words a lot. I have to put it in my rhythm.” After a while, I’d get two or three laughs instead of just one. So they left me alone.

What’s your friendship like with Norman?


We always say we love each other. It’s gotten better and better through the years. I’m sure he was probably a little annoyed with me over 227. I had originally produced 227 as a play [written by Christine Houston], and I owned all the rights. I sold it to Norman, who I guess sold it to Sony and NBC. He didn’t want any actor of his to also be a producer. “Actors act, producers produce,” he used to say. But I wanted to be executive producer. He refused. In the end, I didn’t get the money, I didn’t get the billing — but I got all the rights of a producer. I had final say on hair and wardrobe. And I hired Jackée, who had an awesome audition. Then she ended up getting the Emmy. Now, I’ve been a bridesmaid [at the Emmys] five times, but I’ve never been a bride. I didn’t think it was important. That shows you where my head was coming from, coming out of Chicago and Detroit. I said, “The work is its own reward.” Now I understand better. Because I understand the business.

The cast of 2019’s Live in Front of a Studio Audience performance of The Jeffersons.
Eric McCandless via Getty Images

How racist and how sexist was Hollywood as you became a star? And do you think you helped change it for the better?

It’s better, but I don’t think I had anything to do with it. The people watching, they’re the ones who make decisions about whether you’re good or not, or whether you deserve something or not. In 227, the network wanted me to own the building. I said, “I will not own the building. That makes me one of the haves. I don’t know what that would do to my career. And I’m not willing to find out. I’m one of the have-nots. My romance with the people is that I’m one of them.”

That’s fascinating. You knew your appeal was tied up in the fact that you were not one of the Jeffersons. You were their maid.

That’s right.


Speaking of the haves, what was your TV boss, Sherman Hemsley, like off-camera?

Completely shy. We went to different affairs, industry events, and he would be miserable. We felt so sorry for him. So Roxie and I would always be trying to bolster him up. When I first rehearsed with him, I said, “Is that all he’s going to give me?” Honey — the cameras came on and a whole ‘nother person stepped out.

You’ve mentioned Roxie Roker a few times now. [Roker died in 1995 of breast cancer at 66.] Was she your closest friend on the show?

She was. I loved Roxie. Every time she wanted to try something, she wanted me to do it with her. We took tennis lessons with this guy from Inglewood, and all we did was run for the ball. Then she joined this spa and took me there.

She’s famous to younger generations because she’s Lenny Kravitz’s mother and Zoë Kravitz’s grandmother.

Lenny was always around. He was a teenager then. I remember my son telling me, “Mom — he’s really good. He’s going to make it.” I told Lenny that.


Were Roxie and her husband [television producer Sy Kravitz] the inspiration for the show’s interracial couple, Tom and Helen Willis?

I don’t think so. Because I remember Norman told Roxie, “Now for this part, you’re married to a white man and you’re going to be required to kiss him.” He said, “Is that all right?” And she said, “Let me put it to you this way.” She took a picture out and showed him her husband. Roxie and [Franklin Cover, who played Tom] were very close. They were a lot of fun. Roxie called Franklin “the Black woman’s burden.” Because she picked him up at his house and took him to work all day.

Was it occurring to all of you that the show was busting social taboos that you just did not see on television at the time? Interracial love and so on?

We saw them in real life. TV was catching up. And people recognized it. The first year we got some flak. They had some meetings with the network. And Norman said, “This is my show.”

Gibbs (right) with Jackée Harry on 227.
Columbia Picture Television / Courtesy: Everett Collection

Did all the actors in the Norman Lear TV Universe hang out? My fantasy is that you and Bea Arthur were friends.


Watching TV, it might seem that way. But you go to work, and you’re tired. You’ve got to go home and cook. And they’ve got whatever they’re doing. Plus, we’re not living in proximity to each other.

Oh well. What about Regina King? Didn’t you give Regina her big break at age 14 on 227?

That’s my baby. She was my daughter in a play called The Little Girl Down the Street Gave Me the Blues. When we were auditioning for [the role of my daughter in] 227, I said, “I want Regina.” I had to fight like hell, but they finally gave in.

And now look at her. Her career has been unbelievable.

I told her recently, “How do you expect me to catch up with you?” She’s just marvelous. I knew it, and everybody knows it now. You know, I finally got the star on the [Hollywood] Walk of Fame last July. And that was Regina’s idea. She thought I should have the star. Those things just don’t enter my head.

You’ve seemingly done it all. Is there anything else you’d like to achieve?


I just finished my book. It’s called It’s Never Too Late. That’s my story. And I’m sure it’s a lot of other people’s story. I’m sure it should be encouraging to a lot of people who think it’s too late. I really got it from a lady that came up to me and said, “Ms. Gibbs, I always wanted to act. You think it’s too late?” I said, “Are you still breathing? If you’re still breathing, it’s not too late.”

Interview edited for length and clarity.

This story first appeared in the Feb. 11 issue of The Hollywood Reporter magazine. Click here to subscribe.


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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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