Universal Pictures and Working Title have announced that the upcoming adaptation of the hit musical Cats from Oscar-winning director Tom Hooper (The King’s Speech) has begun principal photography in London!
The film stars Tony- and Emmy-winning actor and host James Corden (One Man, Two Guvnors, The Late Late Show with James Corden), Academy Award-winning actress Judi Dench (Shakespeare in Love), multi-platinum-selling singer-songwriter Jason Derulo, Emmy- and Golden Globe-winning actor Idris Elba (HBO’s The Wire, BBC One’s Luther), Academy Award, Golden Globe and Grammy Award-winning artist Jennifer Hudson (Dreamgirls), Academy Award-nominated actor Ian McKellen (Gods and Monsters), Emmy and ten-time Grammy-winning global music icon Taylor Swift, comedy superstar Rebel Wilson (the Pitch Perfect franchise) and introduces Francesca Hayward, principal dancer with The Royal Ballet.
Adapted for the screen by Hooper and Lee Hall (Billy Elliot), Cats is produced by Hooper and Working Title’s Tim Bevan and Eric Fellner, as well as Debra Hayward (Les Misérables), who brought the idea to Working Title. The film will be produced by Working Title Films in association with Monumental Pictures and The Really Useful Group and executive produced by three-time Oscar winner Steven Spielberg, musical theater legend Lloyd Webber, Angela Morrison (Les Misérables) and Jo Burn (Annihilation).
One of the longest-running shows in West End and Broadway history, the London stage production of Cats received its world premiere at the New London Theatre in 1981—where it played for 21 record-breaking years and almost 9,000 performances. Based on T.S. Eliot’s Old Possum’s Book of Practical Cats, the show won the Olivier and Evening Standard Awards for Best Musical. In 1983 the Broadway production became the recipient of seven Tony Awards, including Best Musical, and ran for an extraordinary 18 years.
Under the guidance of three-time Tony-winning choreographer Andy Blankenbuehler (Hamilton: An American Musical, In the Heights, Bandstand), who also choreographed the 2016 stage revival of Cats, the film cast features some of the most exceptional and inspiring professional dancers working today, including hip hop dance sensation Larry and Laurent Bourgeiois (aka Les Twins); former principal dancer for the New York City Ballet and Tony-nominated actor Robbie Fairchild (An American In Paris); former soloist of The Royal Ballet Eric Underwood; Mëtte Towley, a member of Pharrell Williams’ acclaimed dance troupe The Baes; Steven McRae, principal of The Royal Ballet; and thrilling, cutting-edge street, freestyle and contemporary dancers from Brazil, France, Philippines, the U.S. and the United Kingdom.
The world-class creative team bringing Cats to the screen includes Oscar-nominated production designer Eve Stewart (The King’s Speech), cinematographer Christopher Ross (Terminal, Room), Oscar-nominated costume designer Paco Delgado (The Danish Girl), Oscar-winning sound mixer Simon Hayes (Les Misérables), BAFTA-winning executive music producer Marius De Vries (Moulin Rouge, Romeo + Juliet) and renowned casting director Lucy Bevan (Ready Player One, Murder on the Orient Express).
The film is scheduled to hit the theaters on December 20, 2019.
Jeffrey Dean Morgan returning to Supernatural for 300th episode
Jeffrey Dean Morgan (The Walking Dead) will be reprising his role as Sam and Dean Winchester’s father John Winchester in the upcoming 300th episode of Supernatural, IGN has confirmed. The milestone episode will air on The CW on Thursday, February 7, 2019!
“We’re incredibly excited to have Jeffrey back for this milestone episode, and think fans will love what we have planned for his character… and a few other surprise guest stars,” said executive producer Andrew Dabb.
Morgan was last seen on the series in the Season 2 finale. The actor has long said he would love to return to the show, but fitting in a return has proved challenging with his busy schedule. Morgan currently stars as Negan on AMC’s The Walking Dead and has recently worked on movie projects like Rampage and the upcoming drama Walkaway Joe.
Dabb has said that the milestone episode will be a love letter to the show and to the Winchesters. He explained during the Supernaturalpressroom at SDCC that we’ve never seen what the citizens of Lebanon, Kansas — where Sam and Dean live — think about these two guys who “come to the bar” and who go “to the laundromat but their shirts are covered in blood.” Basically, the episode will be about Sam and Dean told through the eyes of outsiders.
Supernaturalfollows brothers Sam (Jared Padalecki) and Dean (Jensen Ackles) Winchester. The thrilling and terrifying journey of the Winchester brothers continues in Supernatural‘s 13th season. Sam and Dean have spent their lives on the road, battling supernatural threats that include everything from the demon that killed their mother to the usual vampires, ghosts, shape-shifters, angels and fallen gods rampaging over the land. They’ve come out on top with the help of allies, both human and supernatural, but every victory comes at a price.
Created by Eric Kripke (The Boys, Timeless, The House with a Clock in Its Walls), Supernatural heads into its 14th season, which will consist of 20 episodes, its 300th episode, and airs every Thursday night on The CW at 8:00 p.m. ET. Andrew Dabb and Robert Singer serve as co-showrunners and executive producers.
The 34-year-old actor will appear in the fourth episode entitled “The Traveler” in the lead role, with the only plot details describing the episode as following two police officers and the mysterious titular character.
Yeun, who broke out in the long-running AMC horror series The Walking Dead, has found large success in the feature industry in the years following his departure from the series, with appearances in the acclaimed Netflix adventure film Okja and the action-horror Mayhem in 2017, as well as in the wildly-raved indie comedy Sorry to Bother You alongside Lakeith Stanfield (Atlanta) and the South Korean mystery drama Burning, which was submitted as the country’s Best Foreign Film for the upcoming Oscars.
Previously it was announced that Peele will serve as the show’s new host, making him the third person to host the series. Previous versions were hosted by legendary writer/producer Rod Sterling for the original 1959-1964 version and Forest Whitaker for the 2002 version.
Jordan Peele’s Twilight Zone series will be produced by CBS Television Studios in association with Jordan Peele’s Monkeypaw Productions and Simon Kinberg’s Genre Films. Jordan Peele, Simon Kinberg, and Marco Ramirez will serve as executive producers for the series and collaborate on the premiere episode. Win Rosenfeld and Audrey Chon will also serve as executive producers.
The original The Twilight Zone took viewers to another dimension, a dimension not only of sight and sound but of mind. Created by Rod Serling, it was a journey into a wondrous land of imagination for five years on CBS, from 1959-1964. The godfather of sci-fi series, the show explored humanity’s hopes, despairs, prides and prejudices in metaphoric ways conventional drama could not. In 1983 Steven Spielberg produced a big budget anthology film version, Twilight Zone: The Movie, directed by Spielberg, John Landis, Joe Dante and George Miller. The show was revived by CBS in the 1980s and ran for three seasons, helmed by the likes of William Friedkin, Atom Egoyan and Wes Craven. It was revived again on UPN and hosted by Forest Whitaker in 2002 for one season. Another revival was attempted in 2012 with Bryan Singer (X-Men: Days of Future Past), who was to develop, executive produce and direct.
Ziering is set to play the recurring role of Daniel Cassidy, a former stuntman turned movie star after starring in the semi-popular role of the Blue Devil and is now missing his glory days as he heads towards his destiny of becoming the real-life superhero.
The live-action DC Universe adaptation of the classic antihero originally created by Len Wein and Bernie Wrightson will be executive produced by Len Wiseman (Sleepy Hollow) who will also direct the pilot. Mark Verheiden (Battlestar Galactica, Netflix’s Daredevil) and Gary Dauberman (It) are attached to co-write the series and act as showrunners, with James Wan (Aquaman) set to executive-produce the series alongside Verheiden, Dauberman, and Michael Clear.
Swamp Thing made his comic book debut back in 1971 and has maintained his position as a staple of the DCU since then, including seminal runs written by Alan Moore, Brian K. Vaughan, Mark Millar, and Scott Snyder. The character was previously adapted into a feature film from Wes Craven in 1982, which spawned a sequel seven years later, and a USA Network series that ran for three seasons in the early ’90s. Dick Durock took on the role in both the films and the series. An animated Swamp Thing series also debuted in the early ’90s but only aired five episodes.
Following last month’s announcement that Pedro Pascal (Game of Thrones, Narcos) would be taking on the lead role of Jon Favreau’s live-action Star Wars series The Mandalorian, the remaining all-star cast for the project has been revealed (via StarWars.com).
Pascal will star as a lone Mandalorian gunfighter in the outer reaches of the galaxy and will be joined by the previously announced Gina Carano (Deadpool), Giancarlo Esposito (Breaking Bad), Emily Swallow (Supernatural), Carl Weathers (Predator), Omid Abtahi (American Gods), Werner Herzog (Grizzly Man), and the previously announced Nick Nolte (Affliction).
“We’re having a great time working with this incredibly talented group and excited for everyone to see what we’re up to,” said Favreau.
Jon Favreau penned the series, and the directors for the show that have been officially announced include Dave Filoni (Star Wars: The Clone Wars, Star Wars Rebels) who will be directing the first episode. Additional episodes will be directed by Deborah Chow (Jessica Jones), Rick Famuyiwa (Dope), Bryce Dallas Howard (Solemates), and Taika Waititi (Thor: Ragnarok). The Mandalorian will be executive produced by Jon Favreau, Dave Filoni, Kathleen Kennedy, and Colin Wilson. Karen Gilchrist will serve as co-executive producer.
After the stories of Jango and Boba Fett, another warrior emerges in the Star Wars universe. The Mandalorian is set after the fall of the Empire and before the emergence of the First Order. We follow the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic.
The 10-episode first season will reportedly have a combined budget of $100 million, making each episode worth $10 million. It has also been announced that Disney is currently developing multiple limited series featuring characters from the Marvel Cinematic Universe for their upcoming streaming service.
The Mandalorian does not yet have a release date but the Disney direct-to-consumer platform will launch in late 2019.
Variety reports that the long in-development Aaron Sorkin project, The Trial of the Chicago 7, has been put on hold yet again. The film had finally entered pre-production recently more than a decade after the acclaimed writer/director penned the script.
Amblin announced in a statement that due to Sorkin’s work on adapting the classic novel To Kill a Mockingbird for Broadway, which is set to debut on Thursday, and that they are waiting to see how his schedule will balance out.
“Aaron just adapted ‘To Kill a Mockingbird,’ which is premiering on Broadway this Thursday. He is currently evaluating his schedule and commitments to determine the best time and way to make ‘The Trial of the Chicago 7.’ Amblin remains involved as a producer,” Amblin said in a statement.
The true story follows protesters who disrupted the 1968 Democrat party convention with an anti-Vietnam war “carnival” that turned nasty. Demonstrators threw bricks, police responded with tear gas and the center of Chicago was engulfed in flames. Curfews only escalated the violence.
After the clashes, independent investigators blamed eight police officers and eight protesters including Hoffman, who had already disrupted the New York Stock Exchange with showers of fake money.
The police were not charged but the protesters were accused of inciting a riot. One was jailed for contempt, leaving the seven to fight the charges.
Steven Spielberg was, for years, planning to direct The Trial of the Chicago 7 himself, but the plan became to move forward without Spielberg behind the camera when production was originally scheduled to start in January 2014. Paul Greengrass (22 July) and Ben Stiller (Escape at Dannemora) were both in talks to replace Spielberg at one point, but nothing ever came to fruition with either party.
Sorkin, who wrote the script in 2007, is just coming off of his directorial debut in last year’s Molly’s Game, which earned rave reviews from critics and audiences and was nominated for both an Oscar and a Golden Globe for Best Adapted Screenplay. Cohen, who was originally attached in 2007 for the film, is just coming off of his Showtime political satire Who Is America? and is filming the espionage thriller The Spy for Netflix right now.
CS Interview: Spider-Man: Into the Spider-Verse Directors
Sony Pictures provided ComingSoon.net the chance to have an entertaining chat with the three Spider-Man: Into the Spider-Verse directors Bob Persichetti (The Little Prince), Peter Ramsey (Rise of the Guardians) and Rodney Rothman (22 Jump Street). Check out our interview below, where we talk Oscar chances, Ang Lee’s Hulk, Spider-Man being Jewish and more!
Phil Lord and Christopher Miller, the creative minds behind The LEGO Movie and 21 Jump Street, bring their unique talents to a fresh vision of a different web-slinging universe, with a groundbreaking visual style that’s the first of its kind. The film introduces Brooklyn teen Miles Morales, and the limitless possibilities of the Spider-Verse, where more than one can wear the mask.
Shameik Moore, star of The Get Down and Dope, voices Miles Morales in the film. He is joined by Liev Schreiber as Kingpin, Mahershala Ali as Miles’ Uncle Aaron, Brian Tyree Henry as Miles’ father Jefferson, Luna Lauren Velez as Miles’ mother Rio, Lily Tomlin as Aunt May, with Hailee Steinfeld as Spider-Gwen, Jake Johnson as Peter Parker along with Kimiko Glenn (Orange Is the New Black) as SP//dr aka Peni Parker; comedian John Mulaney as Spider-Ham; and Nicolas Cage as Spider-Man Noir.
Spider-Man: Into the Spider-Verse is directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman. The script was written by Phil Lord and Rothman. The producers are Avi Arad, Amy Pascal, Phil Lord, Christopher Miller, and Christina Steinberg.
ComingSoon.net: So right off the bat, I just want to say congratulations on the Film Critic’s Circle Award!
Peter Ramsey: Thank you. That was a wonderful thing to wake up to.
Bob Perischetti: Yeah, we’re super excited. Kinda can’t believe it.
CS: Do you think you have a shot of breaking through the Disney Best Animated Feature stranglehold at the Oscars this year?
Ramsey: (laughs) No comment.
Perischetti: We have no idea. I still can’t believe the thing is finished, so I am the wrong person to ask.
CS: So several months ago I went to a Sony presentation where I saw 15 minutes of the film in rough form. It was mainly the sequence when Miles is first gaining his senses, and I honestly thought that all the Lichtenstein-ing and the benday dots and the comic bookiness of it was a little overwhelming. I didn’t think it worked. But when I saw that scene in the context of the film it was like, “Oh okay, he’s overwhelmed. That’s what that whole scene was about.”
Perischetti: You just made me very happy. I’m eating cinnamon roll and you just made me very happy.
CS: Was there a lot of tweaking and streamlining of when to go hard with the comic book style stuff and when to pull back?
Ramsey: Yeah, absolutely. I mean, the goal all along was to find the balance between the very stylized visuals that were inspired by comics and the emotional story that was going to engage you and keep you focused on the experience of the characters. So at any given point, we really tried to pay attention to what we were doing visually, whether or not it supported the moment, whether or not it put you in Miles’ experience. And that was kind of the guiding light, because obviously our huge fear was coming up with something that looked really cool but didn’t really connect with an audience on an emotional level.
Perischetti: Yeah, the goal was to give the audience a new experience, but not to overwhelm them. That said, generally speaking, when we had a concept between going a little further and being a little restrained, all things being equal, we would just go a little further. But then, as we watched the movie as a whole, we would provide different things and pull back in different moments and emphasize Miles’ experience a little bit more, and that was always the balancing act.
Rodney Rothman: Yeah. Upfront there was one rule: From the text on screen to spider sense to those environmental things we called shivers, all of those visuals we wanted to turn into a tool for subjective storytelling to Miles. As he went through those things we were trying to experience it with him. If we did that, then it wouldn’t just feel like artifice on top of a story, they would feel embedded into his experience. I think you can feel the progression from the first time you meet him walking down the street to that moment, where the train car comes flying through the window behind him. That’s what’s going on.
CS: Yeah. And it’s interesting because when I first saw the technique, I was reminded a lot of the Ang Lee “Hulk” movie. That was a very early, awkward attempt to try to replicate the comic book look. And I guess Edgar Wright had a little bit more success when he tried it with “Scott Pilgrim.” But did you look at “Hulk” to see what not to do?
Ramsey: (laughs) Well, here’s the really funny part: I actually storyboarded Ang Lee’s “Hulk.”
CS: Oh wow.
Ramsey: So I was there.
Perischetti: So I guess we did look at Peter’s work and decide what not to do. (laughs)
Ramsey: An ongoing theme.
Rothman: But yeah, we didn’t necessarily look at other movies. We mainly just tried to figure out what made sense for this particular project, and there was a lot of work put into it and to trying to figure out this specific technique.
CS: And Rodney, I’ve actually been a fan of yours since your book “Early Bird.”
Rothman: Thank you. You and my grandma, yeah.
CS: I know, me and her talk about it all the time. Of course you’ve done some work with Judd Apatow as well as Lord & Miller over the years, but I think this is your directing debut and your animation debut at the same time, right?
CS: So can you talk a little bit about what you brought to the table and what specifically you were focused on and how you kind of integrated yourself into the process?
Rothman: Sure. Absolutely. I guess I worked a lot as a writer and producer in comedy and action/comedy. Those kind of skills were more about story and writing. You know, I was integrated into the whole process and I was allowed to participate in the whole process of making this movie. That was part of the spirit of the project, and also to the credit of Bob and Peter. That said, I was new to animation in a lot of ways, and there were a lot of things that I wanted to express, but I certainly didn’t have anywhere near the level of expertise that these other two guys had. So I was very reliant on them and I honestly learned a lot from them. For me, in a weird way, that was the big positive for me from the experience, was being able to work alongside people that knew a lot about stuff that I was really interested in but had less experience in than them. So I got to learn a lot.
Ramsey: And we loved Rodney.
CS: My favorite part of “Early Bird” was the section where you were doing Jdate, so I feel like this question is very specifically to you, Rodney: There’s a split second where we see the wedding of the main Peter Parker in the film. And when he gets married, he steps on the glass, so he’s Jewish. Can you talk a little bit about making Peter Parker explicitly Jewish?
Ramsey: Yes, he can.
Rothman: It was just something that I wanted to do. It was kind of a running joke that we had, was me insisting that Peter Parker was Jewish, but we’re not really saying—first of all, we’re not really saying Peter Parker is Jewish. It could be that MJ is Jewish in this universe. It could be that in an alternate universe, Buddhists step on glass. We don’t know. It’s an alternate universe. But I mean, I guess when I thought about Stan Lee and Forest Hills and Peter Parker… I thought for 15 frames, we can do this.
CS: Well, it stood out. And I think there is something to that. I think there are a lot of scholars who say that even though it’s not explicit, that in the early appearances in the comic book it’s suggested that Peter might be Jewish.
Ramsey: Yeah, they never really said it, and I don’t think that’s really a thing.
Perischetti: But some of the great comic book creators, you know, they’re Jewish. So that wouldn’t be too shocking.
CS: Even though this is a comedy, this feels like the truest expression of the comic book “Spider-Man.” You get to pull from all the different sources and blend all the different artistic styles. It made me wonder why it has taken so long for studios to utilize big budget feature animation for comic book movies? It seems like a no-brainer.
Ramsey: That’s a really good question. I don’t know why it took so long. I mean, I think maybe we can just attribute that to the success of the Sam Raimi “Spiderman” films and the Favreau “Iron Man” films. Those things became such cultural flashpoints it may have just stunted any growth of what a Marvel movie has to feel like. Even on the course of making this movie people were oftentimes surprised at its maturity, at the story we were telling, at the way we were telling the story, because it was animated. They brought some preconceptions to it that none of us have about animation. So I think it wasn’t so much a conscious decision, I think we all consider ourselves filmmakers. Our medium on this one is the animation, and we are deeply in love with it and we took advantage of every single aspect of it.
CS: When you were developing this and coordinating with Amy Pascal and Avi Arad, was there anything that you wanted to do that maybe conflicted with plans for either the Marvel Studios “Spider-Man” or the larger Sony “Spider-Verse”?
Rothman: Wow, great question! You like softball answers? (laughs) There was a lot of coordination between us and Amy and Avi, really specifically a lot with Amy, just making sure that we didn’t tread on each other’s material. We found a way for the two contemporary versions of “Spider-Man” on the big screen to live separate from each other, but parallel. Having said that, there were very few limitations set by them creatively.
Perischetti: That’s very true. They were extremely supportive. They were huge cheerleaders.
Ramsey: We were really shocked —in the same way that maybe the public is shocked now that they see this movie- that there can be such a different telling of essentially the same story points. You have a kid coming of age being bitten by a spider. That’s consistent for Peter, Miles and all the others, but we were given the freedom to make it different. You have to make it different. And that really helped.
Perischetti: And Amy and Avi, I think first and foremost, they really wanted to fall in love with Miles. That was their vision for us was to make us fall in love with this kid, make us really get inside his head, inside his life in a way that we’re going to want to go through the whole experience with him.
Ramsey: Yeah. And you don’t get to make a movie that aspires to push boundaries without the protection and support of important people.
Rothman: Phil and Chris.
Ramsey: Yeah, Phil and Chris and Amy and Avi and Tom Rothman. They were our people who protected us.
CS: Even though we’ve had guys in their late 20’s playing Spider-Man, we haven’t really seen the late 20’s Spider-Man represented on screen. It’s been mostly high school-aged Peter. The high school years are only really a fraction of the comic book timeline, I think for the most of the run of the comic book he’s been an older dude. That’s certainly what I grew up with in the Todd McFarlane and Erik Larsen era. What was it like getting to explore the adult Spider-Man?
Perischetti: Great. Yeah, it was a blast. I think we’ve all had so much exposure to Spider-Man, to Peter Parker. We have this big knowledge of him, that he’s just part of our lives in some way. The cool thing was because Miles was in a world where Peter Parker and Spider-Man exist already, we were able to not just make a meta commentary on it, we were able to make it important to the narrative. And he really informed a lot of what Miles’ choices were, and the expectations placed on Miles. It was really fun to age him up and see what happens after you spend many years breaking your back, literally, trying to save people. Yeah, it was great.
Rothman: The original Peter Parker at the cusp of a different stage of his life was really fun. We got really inspired doing it knowing that parents are going to be taking their kids to the movie, and being able to show them both versions of themselves in the movie was sort of part of the whole spirit of it.
CS: Which of you three was the biggest comic book fan?
Perischetti: Good question. I would say Peter.
Ramsey: Probably me.
Rothman: I would say Peter.
Ramsey: I’ll cop to that, yeah. That was where I learned to draw. That’s where I learned to tell visual stories, so it’s deep down in my bones and it’s a pretty amazing experience to get to participate in this one.
CS: Well, at the very least you’ve certainly redeemed yourself from “Hulk.”
Queen Atlanna fights for her family in new Aquaman clip
Ahead of the film premiere, Warner Bros. Pictures and DC Films have released another new Aquaman clip, this time highlighting Queen Atlanna’s combat skills as she fights with Atlantean soldiers. Check out the video below (via Screen Rant).
From Warner Bros. Pictures comes an action-packed adventure that spans the vast, visually breathtaking underwater world of the seven seas. The film, starring Momoa (Justice League, Game of Thrones) in the title role, reveals the origin story of half-human, half-Atlantean Arthur Curry and takes him on the journey of his lifetime — one that will not only force him to face who he really is, but to discover if he is worthy of who he was born to be… a king.
Aquaman also stars Amber Heard (Justice League, Magic Mike XXL) as Mera, a fierce warrior and Aquaman’s ally throughout his journey; Oscar nominee Willem Dafoe (Platoon, Spider-Man 2) as Vulko, counsel to the Atlantean throne; Patrick Wilson (The Conjuring films, Watchmen) as Orm/Ocean Master, the present King of Atlantis; Dolph Lundgren (The Expendables films) as Nereus, King of the Atlantean tribe Xebel; Yahya Abdul-Mateen II (Baywatch, The Get Down) as the vengeful Black Manta; and Oscar winner Nicole Kidman (The Hours, Lion) as Arthur’s mom, Atlanna. Also starring is Ludi Lin (Power Rangers) as Captain Murk, Atlantean Commando, and Temeura Morrison (Star Wars: Episode II – Attack of the Clones, Green Lantern) as Arthur’s dad, Tom Curry.
Directed by Wan from a script by Will Beall (Gangster Squad) and David Leslie Johnson-McGoldrick (The Conjuring 2), from the story by Geoff Johns, Wan and Beall, the film is being produced by Peter Safran and Rob Cowan, with Zack Snyder, Deborah Snyder, Rob Cowan, Jon Berg, Walter Hamada, and Geoff Johns serving as executive producers. The movie is based on characters from DC’s Aquaman created by Paul Norris and Mort Weisinger. Rupert Gregson-Williams (Wonder Woman) will compose the music.
Aquaman opens on December 21 in theaters everywhere.
Queen Atlanna Fight Scene - Aquaman (2018) Movie Clip HD - YouTube
Based on the Charles Forsman graphic novel, I Am Not Okay With This is a coming of age story about a teenage girl navigating the trials and tribulations of high school, all the while dealing with the complexities of her family, her budding sexuality, and mysterious superpowers just beginning to awaken from deep within her.
The Amazon description for the graphic novel reads: “Sydney seems like a normal 15-year-old freshman. She hangs out underneath the bleachers, listens to music in her friend’s car, and gets into arguments with her annoying little brother — but she also has a few secrets she’s only shared in her diary. Like how she’s in love with her best friend Dina, the bizarreness of her father’s death, and those painful telekinetic powers that keep popping up at the most inopportune times. In this collection of the self-published minicomic series, Forsman expertly channels the teenage ethos in a style that evokes classic comic strips while telling a powerful story about the intense, and sometimes violent, tug of war between trauma and control.”
The eight-episode series was co-created by director Entwistle and writer Christy Hall. Entwistle and Hall will executive produce alongside Shawn Levy, Dan Levine, and Dan Cohen. Josh Barry will produce for 21 Laps.
First look photo at The Kitchen reveals a fierce female trio
Warner Bros. Pictures has released the first photo for director Andrea Berloff’s The Kitchen, giving us our first look at Elisabeth Moss, Melissa McCarthy, and Tiffany Haddish’s characters in the crime drama. Check out the full photo below (via Collider).
The Kitchen is an adaptation of the DC/Vertigo female-fronted comic book series of the same name. The original series was written by Ollie Masters and illustrated by Becky Cloonan and Ming Doyle. The series takes place in Hell’s Kitchen, New York, in the 1970s and follows the wives of Irish mobsters. Ultimately, the wives step in and take over to start running the business after several men are arrested during a mafia sweep.
The film’s official synopsis is described as follows: Three 1978 Hell’s Kitchen housewives whose mobster husbands are sent to prison by the FBI. Left with little but a sharp ax to grind, the ladies take the Irish mafia’s matters into their own hands—proving unexpectedly adept at everything from running the rackets to taking out the competition…literally.
McCarthy (Ghostbusters, The Heat) is set to portray Kathy, an adoring mother who leads the charge for the women to take over the business. Haddish (Girls’ Trip, Night School) will be playing Ruby O’Carroll, a woman willing to kill anyone who gets in her way while Moss (The Handmaid’s Tale, Us) will be playing the role of Claire Walsh, a timid wife of an abusive husband who eventually starts to fall in love with the violence that starts to take over her life.
The cast also includes Domhnall Gleeson (About Time, Star Wars: The Last Jedi), Common (Selma,Eve), James Badge Dale (World War Z, Donnybrook), Brian d’Arcy James (Spotlight), Margo Martindale (The Americans), Bill Camp (The Night Of), and Jeremy Bobb (Marshall).
Andrea Berloff will be writing the script for the film and will be making her directorial debut with The Kitchen. She is best known for co-writing Straight Outta Compton. Michael De Luca will be producing the film.
The Kitchen will hit theaters on September 20, 2019.