Last month brought the first images from new Stephen King adaptation ‘Mr. Harrigan’s Phone’, the latest movie drawn from the iconic author’s work. And, in keeping with King’s style, it blends emotion, life lessons and creepiness.
With John Lee Hancock writing and directing this one, the first trailer is now also online.
‘Mr. Harrigan’s Phone’, which was first published in 2020 as part of a King collection titled ‘If It Bleeds’, follows the likes of ‘Gerald’s Game’ and ‘In The Tall Grass’.
The story follows Craig (Jaeden Martell, while Colin O’Brien plays him as a younger kid), who lives in a small town. He befriends Mr. Harrigan, an older, reclusive billionaire (Donald Sutherland), the two begin to form an unlikely bond over their love of books and reading.
Craig is a quiet, shy boy and has been dealing with bullying at school. He asks Mr. Harrigan how he dealt with people looking to take advantage of him in his day and gets a quick answer… “Harshly”.
And when Mr. Harrigan (mild spoiler alert, though it’s really part of the basic concept) sadly passes away, Craig discovers that not everything is dead and gone and strangely finds himself able to communicate with his friend from the grave through an iPhone (the movie is set in the first year of the iconic communication device’s existence).
Naturally, Craig, who finds his bullies stepping up their campaign of violence, turns to his friend for help, even if Mr. Harrigan has passed to the great beyond. And the body count soon start to mount. Certain connections, it turns out, are never lost. Which will come as a surprise to anyone who has ever used a mobile phone.
Hancock accepted the challenge of turning a relatively short story into a movie. “Because it’s a novella and it’s only 80-something pages, you have to jump in and grab onto thematically what I think he’s trying to say and activate some of it into scenes that aren’t necessarily all in the novella,” he tells Netflix’s Tudum blog.
His biggest concern, though, was pleasing the man behind the story. “You finish a script and you realize you’ve got to send it to Stephen, and you’re going to get a thumbs up or a thumbs down,” Hancock says. “You go, ‘Oh my God, Stephen King’s reading my script. I hope he likes it.’”
We’ll all see if we like it when the movie lands on Netflix on October 5th.
‘Mr. Harrigan’s Phone’, which was first published in 2020 as part of a King collection titled ‘If It Bleeds’, sees Hancock writing the script as well as directing.
The story follows Craig (Jaeden Martell, while Colin O’Brien plays him as a younger kid), who lives in a small town. He befriends Mr. Harrigan, an older, reclusive billionaire (Donald Sutherland), the two begin to form an unlikely bond over their love of books and reading.
But when Mr. Harrigan (mild spoiler alert, though it’s really part of the basic concept) sadly passes away, Craig discovers that not everything is dead and gone and strangely finds himself able to communicate with his friend from the grave through an iPhone…
Which is honestly a surprise to us, since we sometimes have trouble getting a signal in our apartment.
Hancock gratefully accepted the challenge of turning a relatively short story into a movie. “Because it’s a novella and it’s only 80-something pages, you have to jump in and grab onto thematically what I think he’s trying to say and activate some of it into scenes that aren’t necessarily all in the novella,” he tells Netflix’s Tudum blog.
His biggest concern, though, was pleasing the man behind the story. “You finish a script and you realize you’ve got to send it to Stephen, and you’re going to get a thumbs up or a thumbs down,” Hancock says. “You go, ‘Oh my God, Stephen King’s reading my script. I hope he likes it.’”
Though there are definitely scares to be found in the tale, Hancock was not aiming for a full-on fright fest. Which is fitting, since not every King tale is loaded down with terror. “More than anything, it’s about an odd relationship between a billionaire in his 80s and a young man and the bonds of friendship, and how far will you go for a friend?” he says. “Do you like ‘Shawshank Redemption’, do you like ‘Stand By Me’, do you like ‘Green Mile’, do you like a ton of other Stephen King? My take on it was, it’s in the fashion of Brothers Grimm. It’s a cautionary fairy tale in a way.”
Martell, of course, is no stranger to King territory, having played the younger Bill Denbrough in both of the big screen ‘It’ movies. Sutherland, meanwhile, appeared in a TV miniseries of ‘Salem’s Lot’ back in 2004.
Arriving on Netflix August 5th, ‘The Sandman’ is the culmination of years of efforts to bring Neil Gaiman’s classic graphic novel series to screens.
Filmmakers including Joseph Gordon-Levitt (‘Inception’), Roger Avery (‘Pulp Fiction’) and Eric Heisserer (‘Arrival’) have all tried to crack the code and bring Gaiman’s story to theaters. But in all the years of trying, no one has gotten close to making it happen. And Gaiman has gone on record as saying that one or two of the scripts he’s written (not by those listed above) are among the worst he’s ever read, let alone adaptations of his work.
You can imagine, then, the pressure on the team looking to bring it to Netflix. Fortunately, Gaiman is fully involved this time, and while he isn’t running the show as he did with Prime Video’s ‘Good Omens’, he’s had a lot of say in what ends up on screen, including co-writing the first episode with fellow executive producers David Goyer and Allan Heinberg (the latter of whom took the lion’s share of the work).
And, with the longer time permitted by a season of television and the hefty budget/credibility provided by Netflix, it’s a relief to say that the show really works – for the most part, at least.
(L to R) Tom Sturridge as Morpheus / Dream and Kirby Howell-Baptiste as Death in Netflix’s ‘The Sandman.’
The focus of the comics’ series (co-created by artists Sam Kieth and Mike Dringenberg) is the titular Sandman, called Dream, but also known as Morpheus, among other titles. He is one of the seven Endless, a family of anthropomorphic godlike beings. The other Endless are Destiny, Death, Desire, Despair, Delirium (formerly Delight), and Destruction (also called ‘The Prodigal’).
Adapting the first couple of volumes of the comics, the show kicks off with Dream (played by Tom Sturridge) unexpectedly captured and held prisoner for over a century by magician Roderick Burgess (Charles Dance) through the use of an incantation.
Once Dream is able to finally free himself, he must journey across different worlds and timelines to fix the chaos his absence has caused.
That’s a very basic summary, especially for the sprawling source material, which has generated reams of stories and spin-offs. The show doesn’t try to squeeze everything into these initial 10 episodes, but there is plenty to see, including a trip to Hell, a convention of serial killers, a beautiful visit with one of Death’s siblings and one terrible night for the customers in a diner.
Boyd Holbrook as The Corinthian in Netflix’s ‘The Sandman.’
Like the comics before it, the series functions as almost a set of short stories, linked by the overarching characters of Dream, his family and various attendants/creations/humans. There’s an episodic feel to many installments, which means that if you’re not a fan of one, the next is likely to offer something you’ll enjoy instead.
Early on, the story is burdened by the need to set itself up, to introduce the world to newcomers (and not frustrate those who have feverishly consumed the comic across the years) and offer a briefing on Dream’s tough situation.
It helps that you have the likes of Charles Dance in the early going, bringing gravitas and grit to roles that could so easily be cartoonish, and if Sturridge takes a little while to warm up to playing such a tricky character as Dream, he does find his stride.
Dream could be a massive cliché, the sort of whispering goth guy who looks like a young Robert Smith (of The Cure). In Sturridge and the writers/directors’ hands, he’s a complicated, conflicted creation, rocked by his entrapment and thrown off balance by the changes to his dreaming realm upon his return.
Gwendoline Christie as Lucifer Morningstar in Netflix’s ‘The Sandman.’
His quest to reacquire his magical tools – a bag of sand, a helm that looks like gas mask affixed to a spine and a ruby with terrifying powers – is sometimes the least interesting story, feeling like watching someone play a video game and collect items while battling level bosses, but it’s still filled with enough of Gaiman and co.’s creativity and creatures to make it watchable.
One particularly disappointing aspect is the fourth episode, ‘A Hope in Hell’. Despite boasting ‘Game of Thrones’ Gwendoline Christie as Lucifer, it ends up a ridiculous, poorly executed (several big effects shots look like a 1990s TV drama) battle of wills where the outcome is never in doubt.
That, however, is entirely balanced out by the sixth episode, ‘The Sound of Her Wings’, which features one of ‘Sandman’s most iconic and beloved characters, Dream’s older sister Death.
Eschewing the usual cloaked skeleton or otherwise imposing figure, Gaiman instead imagines her as an impish young woman, with a cheery face and a kind word to guide humans from the land of the living to “the sunless lands” once they die. Brought to life on screen by ‘The Good Place’s Kirby Howell-Baptiste, she’s a show highlight, a charming and effusive counterpoint to Dream’s gloomy, wet-eyed meandering.
(L to R) Tom Sturridge as Morpheus / Dream and Stephen Fry as Fiddler’s Green / Gilbert in Netflix’s ‘The Sandman.’
Yet even he gets some real moments to shine in that same episode, with the other half of the running time given over to the story of Dream’s encounters with Hob Gadling (Ferdinand Kingsley), whom he first meets in 1389. The subject of a bet between Death and Dream, Hob gets his wish to become immortal and meets Dream every hundred years in the same tavern.
We watch Hob’s fate rise and fall and Kingsley imbues him with real, deep emotion, crafting a character who watches the world change around him, sometimes using that to his advantage, other times suffering for it. It’s a magnificent performance and elevates the show around it.
Other elements to recommend include Matthew the Raven, who aids Dream in his missions. A winning combination of superb digital effects and real birds, Matthew also benefits from a charming voice performance by Patton Oswalt.
David Thewlis, meanwhile, brings pathos and cold sociopathy all at once to John Dee, whose ownership of Dream’s ruby goes very, very wrong. Thewlis is, in fact, like Kingsley, one of the actors whose performance is superior to the source material.
David Thewlis as Dr. John Dee in Netflix’s ‘The Sandman.’
‘The Sandman’ may never please every fan in exactly the way they hope – this is an adaptation, don’t forget – but it’s faithful where needed, spirited and fantastical. It also doesn’t shave away the more brutal ruminations on the darker side of humanity.
Faithful fans have waited many years to see the series realized; this might be as close to correct as it’s possible to get in the visual medium.
‘The Sandman’ receives 4 out of 5 stars.
(L to R) Kirby Howell-Baptiste as Death and Jenna Coleman as Johanna Constantine in Netflix’s ‘The Sandman.’
Few genre projects are as anticipated at this year’s San Diego Comic-Con than Netflix’s series adaptation of Neil Gaiman’s ‘The Sandman’.
Sure, there are the gigantic likes of Marvel and DC bringing their own latest comic book-based treats to con audiences, but Gaiman’s sprawling, mystical and magical tale of the Lord of Dreams (and the various people, creatures and realms he encounters) is a truly special one to its fans.
And it’s a story that has long defied attempts at adaptation, especially on the movie front (and partly because Gaiman himself has tried to make sure that if it happened at all, it happens right).
The longer format of serialized television and the budgets/technology afforded by today’s streaming services finally appears to have cracked it, and the show is less than a month away. So Netflix naturally went all out with a Hall H panel featuring cast and creators.
The cast of Netflix’s ‘The Sandman’ at San Diego Comic-Con 2022.
For those who might be unaware of the comic book (which debuted back in the 1980s), this is the story of another world that waits for all of us when we close our eyes and sleep — a place called the Dreaming, where The Sandman, Master of Dreams (Sturridge), gives shape to all of our deepest fears and fantasies.
But when Dream is unexpectedly captured and held prisoner for a century, his absence sets off a series of events that will change both the dreaming and waking worlds forever. To restore order, Dream must journey across different worlds and timelines to mend the mistakes he’s made during his vast existence, revisiting old friends and foes, and meeting new entities — both cosmic and human — along the way.
That feels like a very CliffsNotes summation for something that is gigantic and filled with myths and monsters. Oh, and a talking Raven called Matthew (voiced in the series by Oswalt, a confirmed fan of the comics who read from issue one).
Comic book creator Neil Gaiman from Netflix’s ‘The Sandman’ at San Diego Comic-Con 2022.
Gaiman talked about how happy he was that the story was finally coming to the screen in the right way, while the cast enthused about getting to play their various characters. There were the usual anecdotes – Tom Sturridge, who plays Morpheus, the Lord of Dreams, was cast after hundreds of other actors were auditioned, while Gwendoline Christie plays Lucifer as a “junkie angel”.
Perhaps the biggest news to emerge was that artist Dave McKean – who created so many of the beautiful covers for the comics, but who had effectively retired from work on it – was back for the show. “Every episode has end-title credits, and it’s a different sequence for each episode,” said Gaiman, “this amazing, flowing film that Dave McKean made.”
Clips from a couple of episodes were screened, though as usual those were only for attendees. Netflix was gracious enough to put a new trailer online for everyone to see.
Tom Sturridge from Netflix’s ‘The Sandman’ at San Diego Comic-Con 2022.
‘The Sandman’ will premiere on Netflix for its first season on August 5th.
Tom Sturridge as Morpheus / Dream in Netflix’s ‘The Sandman.’(L to R) Tom Sturridge as Morpheus / Dream and Kirby Howell-Baptiste as Death in Netflix’s ‘The Sandman.’(L to R) Kirby Howell-Baptiste as Death and Jenna Coleman as Johanna Constantine in Netflix’s ‘The Sandman.’Gwendoline Christie as Lucifer Morningstar in Netflix’s ‘The Sandman.’David Thewlis as Dr. John Dee in Netflix’s ‘The Sandman.’(L to R) Tom Sturridge as Morpheus / Dream and Stephen Fry as Fiddler’s Green / Gilbert in Netflix’s ‘The Sandman.’Boyd Holbrook as The Corinthian in Netflix’s ‘The Sandman.’Joely Richardson as Ethel Cripps in Netflix’s ‘The Sandman.’
Queenpins – directed by Gita Pullapilly & Aron Gaudet
Kristen Bell & Kirby Howell-Baptiste in ‘Queenpins’
Born in South Bend, Indiana, Gita Pullapilly studied finance at University of Notre Dame and later journalism at the Medill School of Journalism, Northwestern University. She met her future husband and creative collaborator Aron Gaudet while producing his documentary ‘The Way We Get By’. The two have collaborated on multiple projects and were jointly appointed Guggenheim Fellows in 2015. ‘Queenpins’ is their second narrative feature film together, following their 2013 festival hit ‘Beneath the Harvest Sky.’
Inspired by a true story, ‘Queenpins’ follows two desperate women, Connie (Kristen Bell) and JoJo (Kirby Howell-Baptiste) who go from extreme couponing to running the largest coupon scam in United States history. When their illicit business grows, a grocery store chain loss prevention officer (Paul Walter Hauser) joins forces with a postal inspector (Vince Vaughn) to take the two women down.
‘Queenpins’ is now playing in select Cinemark Theaters nationwide, and will be available streaming on Paramount+ on September 30.
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Pullapilly and Gaudet talked to Moviefone about their new movie.
Moviefone: Can you talk about your collaboration process?
Gita Pullapilly: We’re married, so…
Aron Gaudet: …we wake up in bed together, and everything we do is basically together.
Pullapilly: Yeah.
Gaudet: When we write, it’s not like we send the script back and forth together. We’re right next to each other. Every word is gone over and agreed upon, going into the script.
Pullapilly: Very much, our work is like marriage therapy. We do a lot to try to heal ourselves from our childhood issues, to be able to get down to a spot where we can write together and direct together and really challenge each other in productive ways, so we can get the best version of that movie out there.
Gaudet: When you talk about collaboration, our entire lives together is a collaboration. Whether it’s our marriage, writing together, directing together, going on a walk together. But, then we love the collaboration with our cast and crew. To open that open and be as collaborative as possible and make everybody feel like they have a stake in it. I feel like that comes from being in such a collaborative person relationship as co-directors, co-writers, spouses.
Pullapilly: I think one thing, when we are writing on our laptop, we have to be open to each other’s ideas. Because that is the first time on a story that Aron and I have to have our perspectives melded together. We have to be open to that, and we have to understand whose idea is the journey we want to go down for whatever that scene is or whatever we’re trying to craft. That’s the first step for us: being open to each other’s ideas. Then, once we are on set, we really own that concept because any idea that is going to make that film the best version of the film is going to be an opportunity for us to make that best version of the movie. Whether it’s from a gaffer or anybody else, we are super excited to hear it because it only means that they are that much more invested in the movie, but also that makes for the better movie.
MF: You came across this story on a coupon blog. How did you fall down that rabbit hole?
Pullapilly: So many stories that are told are optioned very quickly in Hollywood, and we aren’t ever in the position where we can option those, or we just weren’t in on the game earlier enough to have access to them. Much of what Aron and I do is taking deep dives on the internet trying to find stories out there that haven’t been told, need to be told, and are so unique and interesting that they resonate with us in some way. I don’t know how I got on the coupon blog, but I saw three sentences that talked about this “counterfeit coupon caper” and “$40 million” and it happened to have the name of the detective from Arizona in the article. I shared it with Aron, and we thought there was something unique and special here, so we reached out to the detective, and he was fascinating, and we drove to Phoenix to spend more time with him and hear more of the story.
MF: How did Kristen Bell come on board?
Gaudet: Early on, once we had a finished script, she was on a very short list of people that we thought would be right for the role of Connie. We knew that Connie in the movie is a definite go-getter. She’s a former Olympian, and she has a lot of ambition and drive, but also she ends up doing bad things. Kristen when we sat down with her, one of the first things she said was that for some reason even if she’s doing things like committing crimes, audiences still love her doing those things. That was exactly what we needed in Connie. Somebody who had this go-getter mentality, who was extremely likeable even if they were committing crimes and breaking laws.
MF: In the real story was she a racewalker?
Gaudet: No. We really don’t know much about the real women. We took the framework of the coupon scam – what happened, how they did it, and what they did when they made all this money – and then we just completely created characters. That’s why it’s more inspired by the story. The characters are complete creations.
Pullapilly: We wanted the two women to represent so much of what we as women are going through in society today, feeling boxed in and trapped and not being able to find the loopholes to break out and succeed. We felt like to do that, we wanted to create our own characters.
MF: Did you also develop the YouTube aspect of JoJo?
Gaudet: Yeah, as we did a deep dive into the world of coupons and the world of extreme couponing, we would watch just tons of YouTube videos of these extreme couponers. We latched onto a couple that we were really interested in. We would just watch their videos over and over. They would talk you through their stockpile room, or how they clip their coupons and organize them. We started basing JoJo off of some of them. We knew she had to have her YouTube channel and her whole brand going.
Pullapilly: The couponing videos are really fantastic. You can go down a big rabbit hole of watching so many of them because they are so interesting and unique, and then you see all the deals they’re getting, and you’re like wow this is incredible.
MF: I read that 96% of Americans use coupons. Do you know what percentage of that are competitive couponers?
Gaudet: It’s probably a small percentage that do extreme couponing, but as far as using coupons in their lives, yeah it’s a lot. What we realized is it’s really the foundation of the U.S. economy, coupons.
Pullapilly: What we realized is there is the question, is it a need or a want? And that really determines if someone is going to buy something or not. But a coupon eradicates that question.
Gaudet: It tips it to a need.
Pullapilly: It tips it to a need, even though it’s most likely a want.
Gaudet: It puts a ticking clock on it. There’s a whole psychology behind coupons and coupon use, and we were fascinated by all of that. There were stories that we would read like the CEO of JCPenney got rid of coupons and just wanted to do everyday low pricing and almost bankrupted the company. They lost $4 billion dollars because he got rid of coupons. There is that feeling that not everyone is an extreme couponer, but they like the idea that they can get a deal.
MF: Can you talk about the various shooting locations given the COVID protocols?
Gaudet: It was very constricted because twenty-two of our thirty shoot days ended up being on this one campus that is an abandoned health facility. A lot of those locations were really just finding areas on this campus where we could create another location. There are a lot of locations, but it was a lot of movie magic to make it the world during the pandemic. We knew we had to keep people safe and create a bubble to work in, while not sacrificing story. We never wanted it to feel like a movie that was made during the pandemic, but it was a challenge every day to pull that off.
MF: Was the location of their coupon warehouse also on that campus?
Gaudet: Yeah, that’s on that campus as well.
Pullapilly: We had Mexico on that campus. We had Montenegro on that campus. We had the coupon facilities on that campus.
Gaudet: We found every small nook and took advantage of it. We were able to do a couple of days at a grocery store and a day at the airplane hangar. But the heart of the movie was all shot on this one campus.
Pullapilly: I don’t think anyone realized how many different looks we pulled off. Our production designer Jennifer Klide did an incredible job of trying to be as creative with such a limited budget to work with to find ways to make everything look different.
MF: Was Vince Vaughn’s postal inspector character part of the real story?
Gaudet: The true story did involve postal inspectors. This detective in Phoenix had teamed up with postal inspectors. It involved a postal inspector S.W.A.T. team. All of those aspects are true to the story. Then it was us taking a deep dive into postal inspectors, talking with a postal inspector. We were going off of this theme where these two women felt very undervalued and discounted like a coupon, but so do both of the male characters that Paul and Vince play. We realized that they felt undervalued. Within law enforcement, postal inspectors are not held in as high regard, or they’re just not known like the FBI or the CIA. But the reality is, the postal inspectors were the very first law enforcement agency in the history of our country.
Pullapilly: And they’re baddasses. You should see some of the videos online of postal inspectors. They’re incredible.
Gaudet: They took down the Unabomber. They are involved in a lot of big cases because so many crimes involve the mail. It was us realizing that these guys are badass, but they’re not viewed that way, and there is comedy to be had there. Vince’s character comes in justice is very much his core value, but everyone else around him is like, wait, what’s a postal inspector?
MF: Can you recommend another film directed or co-directed by a woman for viewers to seek out?
Pullapilly: I think Kimberly Peirce who directed ‘Boys Don’t Cry,’ is an amazing filmmaker. I think what she did with that movie is spectacular because it opened my eyes to a world I didn’t know before. It was so raw and real that it moved me profoundly and inspired me to want to push the limits of storytelling, to be able to make an impact on the lives of other people. I admire her greatly.
Gaudet: I think what is excited to us is to see somebody like Patty Jenkins who goes from smaller films like we’ve started at, to something like ‘Wonder Woman’ but on her own terms. We’re always looking for directors to admire who do that – go from a smaller budget to a bigger budget, but do it on their own terms and still bring their own vision to it. That’s always inspiring.
Boys Don’t Cry – directed by Kimberly Peirce
Hilary Swank & Chloë Sevigny in ‘Boys Don’t Cry’
Inspired by the brutal murder of Brandon Teena, a trans man living in rural Nebraska, Peirce’s breaktrhough drama received critical acclaim and Hilary Swank won the Oscar win for Best Actress. Although its approach and cisgender casting is dated now, the film was a watershed moment for trans representation in cinema upon its release.
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Monster – directed by Patty Jenkins
Charlize Theron in ‘Monster’
Before breaking records with her pair of Wonder Woman films for DC, Jenkins wrote and directed this powerful drama inspired by the real-life story of serial killer Aileen Wuornos. The film was released to wide-spread critical acclaim, and Charlize Theron won the Oscar for Best Actress for her complex portrayal of Wuornos.
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We’re getting our first look at the characters of “Why Women Kill,” the CBS All Access drama from “Desperate Housewives” creator Marc Cherry.
The 10-episode stars Ginnifer Goodwin (“Once Upon a Time”), Lucy Liu (“Elementary”) and Kirby Howell-Baptiste (“The Good Place,” “Downward Dog”) as three women who live in the same house in different decades — and who all contemplate murder.
CBS
Ginnifer Goodwin will play Beth Ann, a woman aspiring to be the ideal housewife in 1963. Per CBS, “She is kind, cheerful and warm. But if you get too close, you start to see that she wears a mask to hide her pain. Beth Ann’s whole world revolves around her husband, and so she is understandably defensive and immediately in denial when told Rob is having an affair. Determined to learn the sordid details for herself, Beth Ann is in for a life-changing shift of perspective.”
CBS
Liu is Simone, an elegant, stylish ’80s woman who’s the picture of urbane confidence. She’s seemingly happily married to her indulgent husband, Karl, But she’s devastated when she learns Karl is cheating on her.
CBS
Howell-Baptiste’s character is Taylor, whose story takes place in 2018. She’s a fiercely intelligent lawyer whose husband is content to play beta to her alpha. She’s also upfront about being bisexual, and she and Eli have an open marriage, which, so far, seems to be working. Until, we guess, it doesn’t.
“Why Women Kill” is Cherry’s follow-up to “Devious Maids,” which ran for four seasons on Lifetime.
Hulu’s revival of the UPN/CW drama has cast “Good Place” alum Kirby Howell-Baptiste in a recurring role, reuniting her with star Kristen Bell. The actress also appeared in HBO’s “Barry” and BBC America’s “Killing Eve.”
In the revival, a rash of spring break murders in Neptune has decimated tourism in the seaside town. Mars Investigations is hired by the parents of one of the victims to find the killer. Soon, Veronica (Bell) is drawn into a battle between Neptune’s wealthy elite, who disapprove of the spring break bacchanalia, against the working class that depends on the cash influx.
Howell-Baptiste will play Nicole, the owner of a Neptune nightclub favored by spring breakers that Veronica believes is the killer’s hunting ground.
Original series creator Rob Thomas is writing the first episode. Most of the show’s stars are returning, including Jason Dohring, Enrico Colantoni, Percy Daggs III, and Francis Capra.
