The first part of ‘Wednesday’s second season left things on a cliffhanger with our heroine injured after her latest encounter with rampant “Hyde” creature Tyler Galpin (Hunter Doohan). It had a lot to live up to, and while the new batch of episodes certainly have their high points, there is a big issue at its heart.
While the producers, including showrunners Alfred Gough and Miles Millar could be forgiven for sticking to what they know, the endless use of the Hyde creature is a problem as things get repetitive. Also, the first few episodes feel like the tail end of Part One, before a new story randomly takes over, and the two plots fit somewhat uneasily.
The show remains as stylish and fun as ever, but the Hyde creatures are a weak spot –– some effects are decent, others are so cartoony as to truly stand out like a sore thumb.
As expected, Jenna Ortega remains the MVP of the show, her deadpan delivery as on point as always.
But she shares the spotlight with Emma Myers, who shines in particular when she’s swapping bodies with Ortega’s character for a chunk of an episode. The two performers are a delight playing each other, and it’s easily the most fun the season has.
Elsewhere, the Addams clan are used decently, though poor Luis Guzmán still gets the short end of the stick as Gomez. Gwendoline Christie gets to have more fun playing Principal Weems as a spirit guide than she ever truly did in the first season.
And while Lady Gaga’s cameo is fun in the moment, she’s more plot device than character.
Though the second part of the season doesn’t quite live up to the first (those confused storytelling approaches didn’t help), there is still entertainment to be derived from the watching Ortega do her thing.
The producers did at least find a way to weave (most of) the other Addams family members into the story, and the return of Gwendoline Christie’s Weems was a welcome, useful one.
‘Wednesday’ Season 2 Part 2 receives 75 out of 100.
‘Wednesday’ Season 2 Part 1 receives 8 out of 10 stars.
Arriving on Netflix on August 5th is the first part of ‘Wednesday’ Season 2, (four episodes, followed by a further four making up Part 2 on September 3rd).
If all the reporting on it and promotion for the show wasn’t enough to convince you, ‘Wednesday’s return for a second season on Netflix proves that it’s a giant sensation from the off, since it sports a tailored introductory sting featuring everyone’s favorite disembodied hand, Thing, interacting with the steamer’s logo.
‘Wednesday’, though, ultimately has a lot more than the sprawling fanbase to live up to –– it must deliver what audiences enjoyed about the first season while expanding the world and finding some new mysteries for our morbid heroine to explore.
On the evidence of the first part of the new season (split, as is the streamer’s custom, into two chunks premiering in this case roughly a month apart), ‘Wednesday’s child is still full of woe –– and mightily entertaining to boot.
Returning showrunners Alfred Gough and Miles Millar know what makes ‘Wednesday’ tick: plenty of Ortega’s deadpan delivery, a deadly mystery enveloping her and her classmates, plenty for animated body part Thing to handle and some brightness to balance the dour central figure in the form of Emma Myers’ peppy werewolf roommate Enid.
While the element of surprise is perhaps lacking this time, the focus is instead on easing us back into Nevermore Academy, with this year bringing the added notion of having Wednesday’s family –– that would be Morticia, Gomez, Pugsley and looming, groaning manservant Lurch (Joonas Suotamo) –– around on campus more than she would really prefer.
The mystery is another beguiling one, and several of the new characters fit seamlessly into the story.
Still, while the addition of the extended Addams family does draw a little too much focus, at least the writing team keeps the balance most satisfying, Gomez and Pugsley used sparingly while the fractured dynamic between Morticia and her daughter is pushed to the fore.
On the directing front, Tim Burton is back, splitting episodes with Paco Cabezas, offers the requisite style and quirk we’ve come to expect from Wednesday. While not every effect is, er, effective (the Hyde remains some very plasticky CG work), others are still excellent (Thing in particular).
And a move to Ireland for the new season hasn’t impacted the show’s gothic charms, with an episode set at a nearby camp bringing up memories of Wednesday’s memorable time at summer camp in 1993 movie ‘Addams Family Values’.
With Ortega front and center as always, Wednesday herself remains a wonderful creation, all dark moods, gloomy zingers and a wealth of skills. This is a near-perfect blend of actor and role, and Wednesday’s journey this season allows her to deepen without changing too much.
Emma Myers also remains a delight as Enid, the perky werewolf roommate with the love of rainbow colors and, this year, a burgeoning love life. She balances well with Ortega and the two make a solid double act.
The returning members of the Addams clan (now regular cast members) are more of a mixed bag. Catherine Zeta-Jones is ever slinky and superb as Morticia, here handed her own deeper emotional throughline with different generational issues and a more active role in present-day Nevermore.
Luis Guzmán is similarly good as Gomez, though he has less to do (but does it all well). Isaac Ordonez is less convincing as Pugsley, but does at least have a fun plotline –– which also introduces some truly Burton-tastic animation for its backstory.
Previously unseen is Grandmama Hester Frump, Morticia’s mother, brought to vibrant, emotionally distant life by UK sitcom and acting legend Joanna Lumley. She fits smoothly into the wider ensemble.
Of the new recruits, Steve Buscemi makes for an appealing new principal, the goofy Barry Dort, a tireless campaigner for outcasts’ right who also has a hidden agenda, while Billie Piper works well as Isadora Capri, the new music teacher at the school.
There’s a fun, small supporting role for Christopher Lloyd (who played Uncle Fester in the live-action ‘Addams’ movies) and Thandiwe Newton provides mystery and power as the head of a nearby asylum which will become key to the plot in this early chunk of the season.
If it’s tough to follow a hit, ‘Wednesday’s second season so far shows little sign of the strain, bringing back what fans like about the show while layering in new mysteries and some worthwhile fresh faces.
Now it’s up the second batch of episodes to stick the landing…
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What’s the story of ‘Wednesday’ Season 2?
Wednesday Addams (Jenna Ortega), returns to prowl the Gothic halls of Nevermore Academy, where fresh foes and woes await.
This season, Wednesday must navigate family, friends and old adversaries, propelling her into another year of delightfully dark and kooky mayhem.
Armed with her signature razor-sharp wit and deadpan charm, Wednesday is also plunged into a new bone-chilling supernatural mystery.
The long-awaited sequel to 1996’s ‘Happy Gilmore’ entitled ‘Happy Gilmore 2’ which once again stars Adam Sandler as the pro hockey player turned PGA tour golfer, premieres July 25th on Netflix.
‘Happy Gilmore 2’, the long-awaited sequel to the classic 1996 Adam Sandler film is a funny and satisfying follow up for fans, although it does rely heavy on nostalgia for the original. Sandler successfully returns to one of his most iconic roles, and while the character has grown since the first film, he’s still as funny and unpredictable as ever.
Christopher McDonald also triumphantly returns as Happy’s rival, Shooter McGavin, and his onscreen chemistry with Sandler is one of the highlights of the movie. The story is strong and mostly works but takes a little time to get going and drags a bit in the third act, and when focusing too much on subplots that don’t affect the main story. But fans of the original or Sandler’s work in general will be very “Happy” with the new sequel for the most part.
The film begins by catching us up on Happy Gilmore’s (Adam Sandler) life since the original movie, and we learn that he went on to win the PGA tour, marry Virginia (Julie Bowen), have five children, and become a golf legend. But after Happy experiences a personal tragedy in his own life, he loses his grandmother’s house, turns to alcohol, quits golf forever, and must raise his children on his own.
Now, 30 years later, his four sons are all grown up (and have their father’s anger issues), and Happy is living with his teenage daughter Vienna (Sunny Sandler), who wants to go to an expensive dance school in Paris that he can’t afford. Gilmore is soon approached by a billionaire (Benny Safdie) who wants to start an extreme golfing league to rival the PGA and wants to recruit Happy. While Happy refuses, it does inspire him to return to professional golfing, but he soon finds that he is a bit rusty on the course.
Eventually, along with his new caddy Oscar (Bad Bunny), Happy joins a tournament between the PGA and the extreme golfing league, where the losing league will be disbanded forever. To make matters worse, while Happy is dealing with his own alcoholism and his new extreme golfing rival played by Haley Joel Osment, his old rival, Shooter McGavin (Christopher McDonald) returns from a long time away and wants his revenge. Now, Happy must fight his own demons, new rivals and old, and win the tournament to save golf and earn enough money to get his grandmother’s house back and send his daughter to dance school.
‘Happy Gilmore 2’ director Kyle Newacheck.
The script by Tim Herlihy and Sandler works exceedingly well, even though it relies heavily on nostalgia for the first movie. The script allows a lot of growth for the title character, while never losing the anger and intensity Happy had in the original. This is an older and slightly wiser version of the character, and it fits Sandler well. The rival extreme golf league plot was very clever, even if it loses its some of its steam towards the end, but the sub-plot featuring Ben Stiller didn’t work for me at all.
Kyle Newcheck who worked with Sandler on ‘Murder Mystery’ takes over director duties from Dennis Dugan, who still returns as Doug Thompson from the first movie. Newcheck does a very good job with the pacing, direction and style of the movie. While it does feel like a proper sequel, it also has a very modern vibe with great music that works well in 2025.
There are many great cameos and Easter eggs from the first movie, and they all work, even if Newcheck might go to the well one too many times. The director also gets very good performances out of non-actors like golfers John Daly and Rory McIlroy, Football player Travis Kelce, and sportscaster Stephen A. Smith, and even incorporates social media personalities like Alix Earle.
In recent years Adam Sandler has given some very good dramatic performances in films like ‘Uncut Gems’, ‘Hustle’, and ‘Spaceman’, but returns to comedic form in ‘Happy Gilmore 2’. In fact, I would go as far to say that Sandler’s dramatic work has made his comedic skills even stronger. Sandler is terrific as the older, down on his luck Happy, and is very believable in both the comedic and dramatic moments of the film.
But it wouldn’t be a “Happy Gilmore’ movie without Shooter McGavin played by the great Christopher McDonald. This is easily the actor’s signature role, and he is a force of nature in this sequel. He has fantastic chemistry with Sandler and seeing them together is one of the strongest elements of the film. I won’t say too much about his storyline, but it is very believable to the character from the first film and very funny.
Julie Bowen also returns as Happy’s now wife Virginia, and without revealing spoilers, I’ll just say that it’s unfortunate that the way the storyline unfolds that it does not give the actress more to do. Ben Stiller also returns as Hal L. and has a bigger role than in the first film. But his character is not my favorite, and I found his story arc to be unnecessary.
Joining the cast is musician Bad Bunny, who gives a shockingly funny performance as Happy’s new caddy Oscar and has a very relaxed and fun chemistry with Sandler. Actress Sunny Sandler, Adam’s daughter, also joins the cast as Happy’s daughter, Vienna, and gives a sweet and emotional performance.
Finally, I was very impressed with the performances from non-actors like golfer John Daly, who plays a version of himself living in Happy’s garage. There are also a few unforgettable cameos, which we won’t spoil here.
As far as legacy sequels go, especially with comedies, ‘Happy Gilmore 2’ is a very funny and compelling film. Adam Sandler brings energy, passion, emotion and a lot of humor to his character, and Christopher McDonald is fantastic as Shooter, and it’s a joy to see the two actors together again. While the movie does lean heavy on your nostalgia for the original, it still feels fresh and like a reunion with some old friends.
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What’s the plot of ‘Happy Gilmore 2’?
Thirty years after winning his first Tour Championship, retired golfer Happy Gilmore returns to the sport to pay for his daughter Vienna’s ballet school.
Premiering July 25th on Netflix is the long-awaited sequel to 1996’s ‘Happy Gilmore’ entitled ‘Happy Gilmore 2’ which once again stars Adam Sandler as the pro hockey player turned PGA tour golfer.
Moviefone recently had the pleasure of speaking with director Kyle Newacheck about his work on ‘Happy Gilmore 2’, his love for the original, collaborating on set with Adam Sandler, directing non-actors, working with Christopher McDonald, callbacks to the first film, and Sandler’s onscreen chemistry with Bad Bunny.
You can read the full interview below or click on the video player above to watch the interview.
Moviefone: To begin with, are you a fan of the original ‘Happy Gilmore’ and what was it like to come in and direct the sequel?
Kyle Newacheck: That was truly surreal. So much that I would in my lunch breaks call my brother and be like, “Bro, is this real? Is this real? Is this happening?” He was the one who was like, “You got this. Yes, it’s real and you’re doing it.” Grounding element. There’s also an element of like, “Wow, me? Okay, let’s do it,” and so trust. Trust the instincts, trust the love, trust the skills, and get to work. Roll them up and get to work.
MF: This is the second time you’ve worked with Adam Sandler. What is your relationship like collaborating on set and do you have a shorthand together?
KN: Yeah, I think so. I think we can tell when either of us are maybe not feeling like the scene is up to its potential, and so we will try and pitch to figure out what we can do. I mean, I think we understand each other on a level and partly because I grew up on his movies. I know what he might have in his bag of tricks that he’s looking for, and I also know what he might have in his bag of tricks that we can mess with. I’m a huge fan of his work, and thankfully Adam Sandler is a hard worker. He will put in the work. I think I’m the same way. I work incredibly hard. I really put my whole self into a project, and I think we both have a similar style, where we put our whole selves into a project in the hopes that it will feel effortless. That’s hard to do, but we both try and do that.
MF: The film also features a lot of athletes and sportscasters playing themselves like John Daly and Stephen A. Smith. What is it like directing non-actors?
KN: I find it fun. I think it’s exhilarating. Most of the time they come to the table with just, they’re athletes, so they know what the moment is first. You know what I mean? They understand how to perform in the moment, and I connected those dots quickly where it was like, “Well, this guy, he knows what a moment is. He knows how to rise to the moment so basically just expecting that when we’re going to work. Then basically making the set as comfortable as possible for them so that they feel like they can own the moment I think is really the approach. Then helping them out on any little molecular issues that we might have as we get through it.
MF: Christopher McDonald returns in ‘Happy Gilmore 2’ as Shooter McGavin. What was it like directing him in his signature role?
KN: I mean, I knew Adam before so I could do that, but Shooter I didn’t know. So, when Shooter showed up, it was like, we’re really doing this. This is really happening. Chris McDonald is just a wonder. He’s a great performer. He always gives you something different and just a genuine good guy. He loves the character of Shooter, loves it. It’s not like one of the characters that he did back in the day. This is his character. He loves it, so he’s great. He’s great. It was awesome.
MF: The sequel has many callbacks to the original film, which one was your favorite and were there any cameos you tried to fit in but couldn’t?
KN: Well, I know that there’s not one that I wanted to get in that I wasn’t able to. I think we’re well-covered on that. One of the last ones that we did put in that I think was incredible was the alligators, calling back the alligators. That was a last add. As we were driving around the golf course, we were like, “We should do this,” and I think it worked well. I think it’s one of the funniest scenes in the movie.
MF: Finally, can you talk about working with Bad Bunny and his hilarious onscreen chemistry with Adam?
KN: Yeah, Benito was incredible. I think the first time I framed up a shot on him and his first lines with Adam it was truly undeniable their chemistry and what he was bringing to the character. That character is there on the page, and it has some depth, but I think that Benito put the depth in that character. I feel like he really rounded it out. Yeah, they were just fused. They were working well together, and it was so fun every time. Their interactions outside of the scenes were always pleasant and all that. Sometimes you just get a good pair, and they’re a good pair.
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What’s the plot of ‘Happy Gilmore 2’?
Thirty years after winning his first Tour Championship, retired golfer Happy Gilmore returns to the sport to pay for his daughter Vienna’s ballet school.
The show, starring ‘Scream’s Jenna Ortega, ranks as the most-watched English language show that the streaming service has ever released and was nominated for 12 Emmys, winning four.
So naturally, fans have been clamoring for any word of when it might be back on our screens. And while there is still no properly confirmed date (see below), we do at least know that the second season exists, albeit in raw form as Netflix has marked the end of production on the latest batch of episodes by posting a suitably spooky shot of Ortega.
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She’s posing, in true Wednesday form, in what appears to be a graveyard, with a gothic gate and two robed statues carrying lanterns behind her. What were you expecting? Rainbows and kittens? Storm clouds and a pet cemetery are more her style.
While this is the first official picture from the new season, we have had a previous first look behind-the-scenes clip released as part of Netflix’s Geeked Week celebrations…
And the biggest recent news for the new season is the announcement that Lady Gaga will be appearing in a relatively small role.
What has happened with ‘Wednesday’ Season behind the scenes?
Cast and crew of Netflix’s ‘Wednesday’. Photo: Netflix.
Given the sheer level of excitement around the first season (Netflix took the rare step of releasing actual figures since it had something to crow about: ‘Wednesday’ notched up most hours viewed in a week with 341.2 million hours, tied the record with fellow genre powerhouse ‘Stranger Things’ fourth season for the most viewed show in 83 countries and stands as one of only three titles to cross 1 billion hours viewed on the service within one month, along with ‘Squid Game‘/ and the aforementioned ‘Stranger Things.’
That prompted the company to spawn all manner of merchandising and real-world “experiences” and naturally to commission a second season.
The production for Season 2 shifted (for budget and scheduling reasons) from Romania to Ireland, and it had to accommodate a few challenges, including a delayed start due to star Ortega’s schedule on Tim Burton’s ‘Beetlejuice Beetlejuice.’
It’s worth noting that Burton is also involved in ‘Wednesday’ as an executive producer as well as directing several episodes.
Alfred Gough and Miles Millar serve as the series’ showrunners, keeping things on track through the new season.
Who else will appear in ‘Wednesday’ Season 2?
(L to R) Catherine Zeta-Jones as Morticia Addams, Jenna Ortega as Wednesday Addams, Luis Guzmán as Gomez Addams, and Isaac Ordonez as Pugsley Addams in Netflix’s ‘Wednesday.’
The first season told the tale of Wednesday’s enrollment at the Nevermore Academy, where she discovers she has inherited her mother’s psychic abilities, allowing her to solve a local murder mystery.
Season 2 will pick up the threads of that, while plunging her into a new mystery, likely with fresh creatures to deal with. The expanded roles for her family members means we can expect more of the Addams clan this time around.
And we predict potential dancing, given the viral TikTok “Wednesday dance” that spread across social media in 2022 following the release of Season 1.
Will Netflix choose to go all ‘Stranger Things’/‘Cobra Kai’ and spread the new episodes out across different chunks? That remains to be seen, but you just know they’ve considered it.
When will ‘Wednesday’ Season 2 land on Netflix?
The streaming service has yet to confirm a formal date, but the show is confirmed to return in 2025.
Actors sometimes have trouble crossing over to take up a position behind the camera, but Zoë Kravitz seems to be making the transition effectively. ‘Blink Twice’ is a confident directorial showcase for the ‘Big Little Lies’ and ‘The Batman’ star: she may hit a few narrative and tonal bumps, but she stays focused on the story she wants to tell and gets the most out of a terrific cast while doing so.
‘Blink Twice’ starts off as a satire, not to mention a riff on the kind of setup we’ve seen before in movies like ‘The Menu’ and ‘Get Out,’ where the protagonist finds themselves in a remote, seemingly friendly (and luxurious) location before things start go off the rails. ‘Blink Twice’ tests the viewer’s forbearance for a chunk of its 100 minutes, but if you’re patient enough the ending should be rewarding in many ways.
Frida (Naomi Ackie) sits in her cramped apartment obsessing over tech-bro gazillionaire Slater King (Channing Tatum), who’s re-entering public life with an apology tour following an unnamed indiscretion (or series of them) that got him canceled. Frida and her roommate/bestie Jess (Alia Shawkat) are waitresses who manage to get work at a reception thrown for King, where they finagle their way into the VIP area and Frida gets a chance to meet-cute with the man himself.
The charming Slater and Frida hit it off right away, flirting furiously with each other until he invites her and Jess to travel with him and his entourage that night to his private island. Neither woman has packed a bag, but that’s no matter: once they get to Slater’s luxurious, decadent private resort, they are provided bathing suits and white linen robes to wear, even perfume to dab on, plus drinks and drugs aplenty along with fabulously curated meals prepared by star chef Cody (Simon Rex), all using locally farmed produce.
It’s the middle stretch of ‘Blink Twice’ that’s ostensibly the most troublesome for Kravitz and her screenwriting partner, E.T. Feigenbaum: the second act becomes a repetitive series of hedonistic montages punctuated like clockwork every now and then by a strange occurrence, as Frida and another guest, reality show veteran Sarah (Adria Arjona), compete for Slater’s attention and the rest – including Slater’s right-hand man Vic (Christian Slater), scuzzy hanger-on Tom (Haley Joel Osment), a couple of other party-hardy girls, and Slater’s perpetually flaky personal assistant Stacy (Geena Davis) – indulge in night after night of booze, drugs, and poolside languor until even the days seem to dissolve into each other.
We know this is not going to end well, but Kravitz makes us wait a bit longer than necessary. Perhaps the way in which she extends that wait makes the movie’s pivot that much more shocking even when you know it’s coming eventually. When things do turn, it’s quick: Frida discovers that Jess has gone missing, and not only does no one seem to remember that she was there in the first place, but Frida herself begins to realize that her memories of the past few days are murky at best and barely there at worst. With the help of a reluctant but increasingly trusting Sarah, Frida learns the horrible, toxic truth.
We’ll let you discover that truth for yourself, but it’s here that ‘Blink Twice’ makes its full turn from satire to horror to revenge thriller, with a final act that is both crazy in its sheer energy and bracing in its aggressive sense of purpose. It’s a tribute to Kravitz and her cast that the shift, while jarring at first, leads to a violently satisfying climax that makes the more morally ambiguous coda easier to swallow.
Whatever issues Kravitz may have with putting her twisty narrative through its paces, she doesn’t seem to have any with the technical aspects of directing. Under her command, the sound design is excellent, the soundtrack is popping (no surprise there, really), and the cinematography by Adam Newport-Berra captures the saturated excess of Slater King’s lifestyle, the foggy wooziness of what at first seems to be endless nights and days of partying, and the dark, bloody reality underneath. It’ll be fascinating to see what Kravitz does next.
We’ve only seen Naomi Ackie being largely underused in ‘Star Wars: The Rise of Skywalker,’ but she did garner praise for 2022’s Whitney Houston biopic, ‘I Wanna Dance with Somebody.’ This is our first time watching her in a lead role and Ackie nails it easily. Her work as Frida is initially vulnerable and open-hearted, even if her obsession with Slater seems questionable. But she never fully trades in her self-respect, which makes her transformation from victim to avenging warrior all the more believable.
She also makes a great pairing with Arjona, who starts out as competitive and distrusting – especially with Frida – before recalling and embracing the time-honored (and perpetually true) maxim that women only have each other to look out for them in the end. Her arc here is better developed than Arjona’s last major role, as a femme fatale in ‘Hit Man,’ and she runs with it for all its worth, delivering an excellent performance that may mark her a star in the making.
Channing Tatum initially turns on the charm and faux vulnerability as Slater, a man who may be doing his best to appear humbled but never quite makes it seem genuine – underneath, he’s angry that he has to take responsibility for his actions. He says all the right things about therapy and rehab and spirituality, but Tatum’s essential blandness works for him in this instance, hinting at the emptiness that lurks inside Slater. Even his seeming interest in Frida curdles after a while, long before things really go south, and his air of entitlement during the film’s third act is as horrifying as anything else.
‘Blink Twice’ initially begins, somewhat eccentrically, as one of those poke-fun-at-the-super-rich send-ups that can easily become boring because the fruit is so low-hanging. But there’s just enough of a feeling from the beginning that something is out of sorts – even with Kravitz dropping clues throughout – to allow a sense of dread to creep into the proceedings. That still doesn’t prepare you for what the director has in store, and it’s refreshing that she’s not interested in returning to any satirical comfort zone once the mayhem begins.
There are no doubt some who will label ‘Blink Twice’ as “divisive,” but they’d be really missing the point about the systemic failure that keeps letting someone at a certain level of wealth and fame get away with the unspeakable just because he says he’s all better now. ‘Blink Twice’ is also a cautionary tale about what happens when too much power and opportunity is left in the hands of truly stunted personalities, and a rallying cry for people – especially women – to look after each other.
Kravitz certainly comes from wealth and fame herself, but she has almost certainly come up against those toxic types as well despite her privilege. ‘Blink Twice’ is a scream of rage on behalf of those who don’t have the resources to defend themselves, and while it gets messy and scattershot at times, it manifests a primal power that we’d like see Kravitz keep channeling.
‘Blink Twice’ receives 7 out of 10 stars.
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What is the plot of ‘Blink Twice’?
A starstruck waitress and her friend are invited to the private island of a billionaire tech mogul, where endless days and nights of debauchery and partying soon give way to the realization that something is very wrong.
Cast and crew of Netflix’s ‘Wednesday’. Photo: Netflix.
Preview:
‘Wednesday’ is now in production on Season 2.
Christopher Lloyd and Billie Piper are among the new cast additions.
The likes of Catherine Zeta-Jones and Luis Guzman are now series regulars.
With such a big reaction to ‘Addams Family’ spin-off dramedy ‘Wednesday’s first season, you can imagine Netflix’s frustration on not being able to strike while the pop cultural iron is at its hottest, with the writers and actors’ strikes putting paid to a potential 2023 shoot.
But, following a location switch to Ireland, the show has finally gotten back into the swing of things, and cameras are now rolling on Season 2, as a fun video featuring disembodied hand Thing delivering scripts reveals…
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And the start of production is not the only piece of news to emerge from the show today, as, following on from word of Steve Buscemi joining the cast, a slew of actor announcements was revealed by the streaming service.
And then we have the new guest stars, including the exciting likes of Christopher Lloyd, who has his own ‘Addams Family’ connection, having played Uncle Fester in the two ‘Addams’ movies. But with Fred Armisen already established as Fester in ‘Wednesday’, we’ll have to wait and see who he’s playing.
Here’s what ‘Wednesday’ show-runners Al Gough and Miles Millar said about the new cast:
“We are thrilled that the entire Addams family will be enrolling in Nevermore Academy this season along with a dream cast of icons and new faces.”
Tim Burton will be back as the main director for the new season alongside Paco Cabezas and Angela Robins.
When will ‘Wednesday’ Season 2 be on Netflix?
The streaming service has yet to reveal when the show will return to its servers, but we’re guessing as soon as (in)humanely possible, given that ‘Wednesday’ is the Most Popular English TV series on Netflix with 252.10 Million Season 1 views.
The film stars Brie as Ally, a workaholic who returns home to visit her mother (‘Airplane!’s Julie Hagerty) the same weekend that her ex, Sean (‘Top Gun: Maverick’s Jay Ellis) is getting married to his young fiancé Cassidy (‘The Flash’s Kiersey Clemons). Ally is quickly thrown into the wedding festivities as the videographer, but really plans to ruin the wedding so she can get Sean back.
Moviefone recently had the pleasure of speaking with director Dave Franco about his work on ‘Somebody I Used to Know,’ developing the idea for the screenplay, directing his wife Alison Brie, and putting together his crew and the rest of the cast.
Dave Franco co-writes and directs Prime Video’s ‘Somebody I Used to Know.’
You can read the full interview below or click on the video player above to watch our interviews with Franco, Alison Brie, Jay Ellis, and Kiersey Clemons.
Moviefone: To begin with, can you talk about creating the story for the film and writing the screenplay with Alison, and did you to continue to write with her and change dialogue while you were shooting?
Dave Franco: The story came about while we were walking through my hometown of Palo Alto. I think being in that setting, these ideas of going home, and reconnecting with your roots, and thinking about who you used to be compared to who you are now, all of that just became what the script ended up being. Then, in terms of how much the dialogue changed over time, it’s always changing.
One thing I like to do is before we start filming, I meet up with all the actors, and we basically go through each scene, and I ask them, “Are there any lines of dialogue or even any single words that don’t feel natural to you? Let’s change that now, let’s put it in your voice so that by the time we’re on set, we’re hitting the ground running, we’re not figuring all that stuff out.”
It ends up being this thing where, I think on both movies I’ve directed, I go over the script a million times, and then every day before whatever scene is coming, I look at that scene again. You just see it in a new light, and more often than not, I’m like, this is overwritten. We don’t need to say all this. Let’s chop it back. So it’s more about pairing everything back.
(L to R) Alison Brie and director Dave Franco at the premiere of Prime Video’s ‘Somebody I Used to Know.’
MF: Can you talk about the crew you put together for this project, and what was it like for you to work with your cinematographer to compose shots on set and work with your editor in the cutting room to assemble the film?
DF: The best. I surrounded myself with people who I’m a fan of, and just having that collaboration with those people was incredible. My DP, Brian Lannin, shoots that show ‘Dave.’ I don’t know if you’ve seen that, but it’s one of my favorites because they do really hard comedy, but it’s also beautiful. The visuals are stunning, and I thought he’d be the perfect guy for this.
With this one, it was kind of inherent to some romantic comedies. There’s a lot of scenes where it’s just two people talking, and the challenge was how do we make that exciting? How do we make that engaging visually? He’s just got such a beautiful eye, and the setting itself did a lot of the heavy lifting too. We shot in the Pacific Northwest, and any direction you point the camera, it’s stunning.
Then, in the edit, my editor Ernie Gilbert, I love him to death. What can I say? It’s just a healthy back and forth where obviously I have very specific ideas of how I want things to play out, but I trust him so much, and he would come in with ideas, and new things that I would never think of. Anyway, this is a long way of saying I’m so collaborative. It’s my favorite thing to do, especially when I’m surrounded by people who are just so talented.
(L to R) Alison Brie and Danny Pudi in Prime Video’s ‘Somebody I Used to Know,’ which was directed by Dave Franco.
MF: Finally, there are a lot of actors in the movie that you and Alison have worked with in the past, and a few that you have not. Can you talk about putting together the cast and having an opportunity to work with your friends?
DF: It’s the best for many reasons. When you’re surrounded by people that you feel comfortable with, you feel more willing to take risks knowing that no one’s going to judge you. When I am putting together the team, of course, I want people who are talented, but it’s just as important to me that everyone is really nice and hardworking. When you’re surrounded by that type of person, it just makes it easy, man. It’s like, I don’t need to micromanage anyone.
Everyone’s there to work, everyone’s excited, and it’s this nice family environment. As an actor, I’ve been on a couple sets that are not that way. It’s a weird vibe. I made a vow to myself that when I have control on any set that I’m on, I’m going to make sure that obviously, let’s do good work, but let’s also have a good time. We’re away from our friends and family for months at a time, it should be worth it. Let’s look back, and remember the experience itself too.
Alison Brie in Prime Video’s ‘Somebody I Used to Know,’ which was directed by Dave Franco.
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20 years later, M. Night Shyamalan‘s Oscar-nominated horror film about a little boy (Haley Joel Osment,) who sees dead people not only stands up, but it still gives us all the chills.
The movie is so much more than cheap jump scares, but here are some of “The Sixth Sense” scenes that still get to us. SPOILERS, obviously, if you haven’t seen it.
1. The man in the bathroom
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The discovery that former patient Vincent Gray (an unrecognizably emaciated Donnie Wahlberg) has broken into Dr. Malcolm Crowe (Bruce Willis)’s house starts the film on a deeply unnerving note. He’s clearly unstable and Malcolm is trying to talk him down when Vincent turns, calmly grabs a gun and shoots him. And then, as the camera pans away, he puts the gun to his own head and pulls the trigger.
2. The open cabinets
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Cole’s mom Lynn (Toni Collette) gets a shock when she returns to the kitchen after a moment and finds every cabinet and drawer wide open. There’s no way Cole, who hasn’t moved from the breakfast table, could have done this on his own.
3. The vanishing palm print
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Right after the cabinet incident, and after Cole has left for school, Lynn sees the imprint of a hand on the table. It quickly vanishes, but she, and we, are unsettled.
4. “I’ll show you where my Dad keeps his gun.”
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One of the most chilling ghosts (we’re getting goosebumps right now!) is a boy, dressed as if from the ’70s. He tells Cole, “I’ll show you where my Dad keeps his gun.” He then turns and you see the back off his head has been blown off. (Note: If you’ve ever seen the airplane edit, this scene ends before the ghost turns around.)
5. The vomiting girl ghost
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As a panicky Cole hides in his tent with his favorite toys, we watch in horror along with him as one by one, the clothespins are undone and someone comes in… it’s the ghost of a little girl (a pre- “O.C.” Mischa Barton), and she won’t stop vomiting. Truly, truly disturbing. Especially when we find out how and why she died.
6. The angry suicide
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Cole is understandably nervous about going to the bathroom in the middle of the night. He doesn’t see the figure walking past him (but we jump a mile). But he does notice the room getting colder and colder and the noises from the kitchen. He goes in and sees a woman in a pink bathrobe facing the corner and tentatively asks, “Mama?” No, it’s a bruised angry ghost, who says (seemingly to her dead, abusive husband), “No, dinner is not ready,” and thrusts her slashed wrists at him, shouting, “Look what you made me do.”
8. The hanging ghosts
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Turns out even Cole’s school is haunted. The reveal of three hanging Revolutionary-era ghosts — one of them a little boy — is horrific, if a bit in-your-face for this otherwise subtle film.
8. Malcolm hears a ghost on the tape of an old session with Vincent
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Malcolm pulls out a tape from an old session with Vincent. The tape kept running as Malcolm walked out to take a phone call. First, he hears nothing but Vincent panting, then a frightened man begins speaking in Spanish, begging, “I don’t want to die.” Maybe more of a deep chill than a jump here, but we’re still spooked.
9. The dead cyclist, “Standing next to my window”
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Near the film’s end, as they’re struck in traffic after an accident up ahead, Cole tells his mother he’s ready to “communicate” with her. He tells her a lady died in the accident. “You can see her?” his mom asks. “Where is she”? “Standing next to my window,” he says quietly. Lynn can’t see her, but now, we, the audience can. All the chills.
