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‘Superstore’ Finale Interview: Despite The Show Ending The Cast Loves Each Other (Even Ben Feldman)

Cloud 9 has officially closed. After six hilarious and thought provoking seasons, Superstore is officially ending its run tonight. Since 2015, we’ve followed Jonah (Ben Feldman), Dina (Lauren Ash), Mateo (Nico Santos), Sandra (Kaliko Kauahi), Garrett (Colton Dunn), Glenn (Mark McKinney), and Cheyenne (Nichole Sakura) through deportations, union organizing, shortened maternity leave, and every other obstacle that was thrown at the employees of our favorite big box store. Despite lead America Ferrera’s departure earlier this season and COVID complicating production, the show finished strong, finishing up in true Superstore fashion: hilarious and bittersweet.

After sitting down to interview the cast and show runner Gabe Miller and Jonathan Green, it became very clear to me how proud they were of Superstore and how much they adored each other. Jokes flew constantly. Both Ben Feldman and Colton Dunn kept up a fake feud for the interview. Everyone couldn’t stop smiling and laughing. As we say goodbye to these characters, it’s clear showrunners Gabe Miller, Jonathan Green and actors Feldman, Ash, Dunn, Santos, Kauahi, McKinney, and Sakura have no-plans to say goodbye to each other.

Here are those conversations. Mild spoilers for tonight’s finale.

Gabe Miller and Jonathan Green (Showrunners and Executive Producers)

One thing that jumped out while watching the finale, and it’s true over the course of the whole show, it teeters between cynical and realistic but with heartwarming moments. How did you kind of approach coming to an ending that blended the best of both of those? How did you approach that blend?

Gabe Miller: I think, as you’re saying, both things were important to us. It felt like it wouldn’t feel like the show if it was a completely upbeat, happy, almost fairytale ending. So we liked that our ending allowed us to have that note of reality and basically kind of a combination of not only themes of the series, but specifically our COVID season that’s put more pressure on retail. So we like that that was an element, but at the same time it’s the finale of this series that viewers love and we love and we want the characters to end in a good place and reassure people that they’re going to be okay after the series ends.

Jonathan Green: Fighting to save the store seemed like a good natural way to get Amy back in St. Louis and back in with her people. But we felt like winning that fight wouldn’t feel like our show or like real life. One store can’t band together and manage to change a big corporate decision like that. So it was a matter of finding a way for them to lose that battle, but still land in a good place.

I imagine writing the finale for a six-season TV show is a challenge and there are many darlings you have to kill in order to make the proper airtime. Are there any character endings that you guys wanted to have happen that ended up not being in the final episode?

Jonathan Green: We sort of had a thing that was sort of maybe just a joke level thing, but as far as where Garrett ends up job wise, we don’t actually end up seeing that in the finale because he’s the one giving the announcement at the end that we’re showing the flash forwards from. We ended up feeling like we’re getting enough Garrett presence and we see him at the barbecue with Dina, but there was a pitch along the way. He had mentioned this season that he had applied to GameStop four times and had never gotten a job there. This was obviously before all of the big Wall Street news with GameStop. We had a whole storyline actually, where Glenn helped him get a job at GameStop. Garrett wasn’t even gonna bother applying for the fifth time cause he had never gotten it, but Glenn ended up putting in a good word and really selling them on Garrett. So Garrett would finally got his dream job at GameStop. And then we liked the idea that in the flash forward, we see Garrett at GameStop, but already totally checked out. He’s on his phone like the same old Garrett. The joke was that a job is a job. It’s about, like Garrett says, the moments with the people there, but the job itself, even his dream job, didn’t end up being what he thought.

Kaliko Kauahi (Sandra), Nichole Sakura (Cheyenne) and Mark McKinney:

Kaliko, Sandra is just an iconic character. Definitely one of the most layered on the show, you’re always learning something new about her. How did you tap into someone who is not who they seem on the surface?

Kaliko Kauahi: So many of her qualities, as you learned about them, I learned about them too. The week before I’d read the script and be like, “Oh, she has incredible memory! She’s a midwife!” I think that’s kind of where it came from. I was like, “I’ve got to figure out how to present this in a way for her it’s normal, but for everyone else it’s like “What? That’s weird!” So it’s just been so great to work with the writers. I never expected to have a character grow this much and really come into her own after six seasons. It’s been so much fun playing with these guys, so grateful.

Nichole, you are part of one of the show’s most iconic couples. Of course, I’m talking about Mateo and Cheyenne. How did that dynamic duo come about and what was your favorite moment together with Nico?

Nichole Sakura: (Laughs) Oh gosh, I love that episode where we’re talking about our business ideas and then at the end they’re like” Yeah, we’re not really going to do this.” I just feel like that’s so me and some of my friends. We’re dreaming up all these schemes, but like come on, let’s be real. It’s just fun. I think it came about really organically. I love Nico, he’s such a fun person to be around. I just feel like our characters just naturally had that chemistry and they kept writing to it and it just works. It was very natural. I wish I could take credit for the idea to put them together.

Mark McKinney: Take it! Take it! What are they gonna do to you?

Kaliko Kauahi: They dont know!

If it appears in print, it can’t be a lie, right?

Nichole Sakura: (Laughs) Totally.

How similar to your characters are you?

Mark McKinney: I have a lot of Glen. Well, I’d like to think that I have a lot of Glen’s heart, lack of remorse – one that doesn’t always work out for me. But I really related to it. It was really easy to lean into his (goes into Glenn voice.) “Well, then we’ll make lemonade!” attitude. I hope I’m like that.

Kaliko Kauahi: Sandra is just full of extremes. Depends on the day, depends on the circumstance. But I think within that, that’s in me somewhere. When she is quiet and can’t make up for herself, I have those moments. I think that as a society though, we’ve typically kind of pretend that we’re fine or play it off and play it cool. Sandra does not know how to play it cool. If she’s sad and depressed or if she’s off, you’re going to see it cause she can’t hold it. I actually liked that about her, that she can hold it in.

Nichole Sakura: I think I’m more like Cheyenne than maybe people would already assume. I used to think like, “Oh God she’s so unintellectual!” I mean, I’m not a big intellect myself, but I do think we have that thing in common where we think that we know something about the world and then it turns out, we really don’t. Yeah, I relate to her on a lot of levels for sure. And she’s like a hopeless romantic, which I love about her. I love Cheyenne.

Mark, Dave Foiley, your former collaborator on Kids in Hall got to appear on Superstore a few weeks back. How much of a role did you play in getting him to the show and what can you kind of say about getting to work with him in this environment?

Mark McKinney: He came and visited the set, I think second or third season maybe. I think after that I mentioned to the showrunners or Justin probably, “Hey, you know, he’d be a really good character. He’s funny. We’ve got good chemistry.” It was a total surprise when he finally showed up. I was really thrilled. It was fun. It was weird because here I’m in season six of one show, but when we had a couple of scenes together, we clicked back into our old Kids in the Hall rhythms. I hope it fits!

Nichole Sakura: I loved working with him. He was so cool.

Mark McKinney: He’s very cool. And he’s everywhere! I was clicking around looking for our show and I saw him and thought thought, “Oh wait, this is Dave’s epsiode?” He was on The Goldbergs like last week. 

Nichole Sakura: Popular actor.

Mark McKinney: He is a popular actor. He was in that Ant movie. [A Bug’s Life, not Ant Man].

Colton Dunn (Garrett) and Nico Santos (Mateo)

Colton, you’ve been very vocal on your social media about how hard it is to work with Ben Feldman. Despite what was the dynamic like on set and how do you think that contributed to the show?

Colton Dunn: (Laughs) Yes, well, other than my very public and well-known rivalry with Ben Feldman, other than that it was an absolute joy to work with everybody on this show. What really drives a lot of things are people who don’t get along, rivalries, crazy people storming off sets, and we didn’t really have that at all on our show. In fact, it was the exact opposite. We all really enjoyed each other from the very beginning. We’ve all met each other’s kids and been to each other’s homes. It really was just such a wonderful place to work. That’s the biggest thing that we’re going to miss is the people we got to work with. It’s just so rare out here to find a situation at a job where you’re not dealing with people with personality disorders or all of the other myriad of attributes that a lot of times my fellow thespians tend to suffer from. Including Ben Feldman (laughs).

Nico Santos: It has been incredible. After a couple of years working on the show, I was talking to a lot of my actor friends who were series regulars on their shows as well. I was just telling them how much we got along and what I enjoyed was to just be around each other and that we’re actually friends and that we hang out. All of them, “I hope you realize how rare that is and how special that is.” After hearing that from every working actor that I knew, I was like, “Oh my God, like, I really struck gold with this one.” Honestly, I’m so sad that this show’s ending, I just don’t know if I’ll ever experience this type of closeness and camaraderie again. Who knows what my next show will be, but like this particular show was a dream and I just really cherish what we had.

What was the most challenging aspect about playing your character?

Nico Santos: For me, it was just not making Mateo – I hate the word stereotypical. It carries so much stigma because you look at Mateo and yes, he’s sort of like the sassy, bitchy, gay guy and people are like “That’s a stereotype!” I’m like, “Well, no people like that exist”. You know? I modeled that after real people that I know. That’s why I love the fact that he was undocumented because it just rounded up his story and made you realize why he is the way he is. But I think the most challenging part is sort of towing that line.

Colton Dunn: Yeah. I think for me, the most challenging part was having to just arrive every day, put on the costume, walk onto set and have to stand next to Ben Feldman.

Nico Santos: (Laughs) Your life is so hard.

Colton Dunn: That was tough. I never have to do that again. Thank God. (Cackles with laughter)

Both of your characters started out as sarcastic with a hard outer shell, but throughout the series, especially toward the end, both of your characters experience some tender moments. Do you feel like you could’ve gone on for five more seasons or are you happy with kind of where your characters landed?

Colton Dunn: I think there’s no doubt in anybody’s mind that this show could have gone on for as long as we wanted it to go. The writers did such an incredible job of building up these characters, really rooting them in reality. I think you also notice, we have a ton of characters that started to come in and then became even more of the family. Sandra, who was there from the beginning, sort of in the background really moved up towards the front. All the characters that were sort of introduced and kind of really came into their own. To me in a perfect world, this show would have just kept on going. And any of us could have said, “Hey, you know what? I think we’re done, I’ll move out.” And there would be another great real character there to fill those shoes. Yes, I do think we could’ve gone forever but I also think that we really went for a great long time. At the end of the day, when somebody sits down and streams the entire series of Superstore, it’s going to be an awesome time.

Nico Santos: Yeah, I completely agree. I mean, like in a perfect world, again, we wouldn’t have been canceled and we’ve have gone on forever. I think the world that Justin Switzer and all the writers have created really lends itself to opening it up with a lot of different characters. We could have just, Grey’s Anatomy-ed this and introduced a whole batch of new workers every season and it really would have worked. There’s so much material to draw from. But you know, we’re ending on season six. I do wish we had a few more episodes to this season to really sort of like tie up some things that we weren’t able to explore, like Eric and Mateo’s proposal. I would have loved to have seen a wedding for those two just so Mateo would have like a real solid win for him.

Colton Dunn: There’s going to be those things I think with this show that when you go back and look and they’ll be like, “Oh, this was that show that in the pandemic sort of already had a big shift in their cast and then the pandemic hit and then they got canceled. There’s definitely a lot of stuff that I know that a lot of the fans are going to go, “What about that thing? Or that felt wrapped up a little quickly.” Yeah. It’s going to happen and it’s sort of unfortunate. I would just chalk it up to the pandemy.

Nico Santos: Thanks Corona!

Ben Feldman (Jonah) and Lauren Ash (Dina)

One of the fun elements of the finale was getting to see the flashback to their first interviews at Cloud Nine. What was it like filming that moment, especially as you knew you were saying goodbye to the show?

Ben Feldman: Lauren, you looked the most ridiculous.

Lauren Ash: I totally did. I tried to get them to let me keep my retainer in for the whole scene, but they thought it was distracting though I give them props for letting me at least take it out at the beginning. That’s my actual high school retainer fun fact. I loved that. I thought it was such a cool, fun, little nod and wink for anyone who’s been with us for six seasons. I thought it was like such a cute fun thing and it was fun to get to see that different stylized period in their lives. Getting to see like Amy during that time and Dina during that time, I thought it was like such a fun wink to what their beginnings looked like then. Dina looks quite different now than she did at the beginning of season one so it’s cool to see what she looked like 15 years before that.

Ben Feldman: Yeah, for me, it wasn’t that wild because I was just playing sort of within the world of the actual show anyway. So it was, it was, I don’t know. I put on a long sleeve shirt.

Lauren on your TikTok account, you’ve talked about how not only you’ve loved playing Dina, but how you’ve loved how Dina’s hotness is portrayed on the show, as you’ve said without “without caveats and without quantifications.” How do you think Superstore has helped plus-size representation and what do you think Hollywood needs to do to further body diversity on screen? 

Lauren Ash: Yeah, that tick-tock video I made was in response to someone that said “Dina is the best example of plus size representation on television.” And I thought that was both amazing and really sad because to me, one of the things that I think is awesome about it is that Dina is just portrayed as being super hot. It’s never like, “Oh, she’s hot for her size. Or isn’t it weird that someone of her size is that confident?” Because truthfully it’s not weird. It’s realistic. I’m a size 12/14, which is not insane in the scheme of the world. There’s lots of people who are my size and all different sizes. The point I was also trying to make on that TikTok was if I am the greatest example of that at a size 12/14, and that it’s kind of revolutionary that we weren’t commenting on my body, we were just allowing me to be sexy at times on the show, then I think that it shows that there’s a lot of work that needs to be done and that we just need to see more representation. I think that’s the number one thing, just seeing more bodies represented and allowing them to just be, and that the story doesn’t have to be about the body. It’s just about different people who look differently and are confident and sexy in their body. Because the shocking thing is that confidence and sexiness are very related and size and sexiness actually are not, which I think is a misconception that has been perpetuated by media. So again, on one hand, I’m so proud and I’m so happy, but on the other hand, I’m distraught that we have so much further to go.

You both had such close relationships with America Ferrera’s character, Amy, in very different ways. What was it like having America back for these last few episodes?

Ben Feldman: It was great. What if I was like “It was interesting. Done.”

Lauren Ash: (Laughs) Our time is up! Sorry!

Ben Feldman: All right! (throws up hands). No, no, no, no. What was interesting about it was it’s kind of like when you go back home and see all your high school friends and you kind of just jumped right back into your banter as though decades didn’t go by. In this case it was nine episodes or whatever. It felt right. It just felt like the right, the smart, the comfortable, the happy, the homiest way to end the show. And it probably would have felt weird to do all that without America. It was a bunch of pieces finally being put together again. It was Humpty Dumpty getting back up on the wall.

Lauren Ash: I agree. I mean, it would have been very bizarre not to have her. It was great to have her for as long as we did in these last couple. We were really in the trenches in these last couple, we shot for 12 days straight with no breaks. It was long days and it felt very right having the full band back together, going through that kind of like insane schedule. It felt right.

Ben Feldman: It was also really exciting too because America and I went back and forth talking with the other producers and the writers about kind of figuring out how to get Jonah and Amy right. We were really, really involved and it was a super collaborative experience. America and I are super annoying and just harassed the writers and the producers constantly. They were incredibly gracious and respectful and fun to work with. It was like a big team effort to kind of land this plane, which felt really cool.

Lauren Ash: There’s some really, really fun Dina & Amy moments, in that last episode, especially. I did ADR yesterday and I saw some of them and it’s really fun to kind of see again the trajectory of their friendship and seeing Dina see her for the first time is really a nice payoff, I think in terms of the story of their friendship.

Let’s wrap things up in a nice little bow shall we? What do you hope Superstore’s legacy is?

Lauren Ash: Right now, we’re being found for the first time in so many places around the world. It is nutty – love from Canada, the UK, Australia. It’s been really a trip ending the show as people are discovering it for the first time, but it’s a real reminder of what a cool time capsule the show is, how relevant the show was in the moment, but continues to be. The themes that we talked about continue to kind of percolate. I know there’s a lot of talk about it and it’s not meant to sound braggadocious at all, but I really am proud of the show. And I think it did earn it spot as being one of those iconic NBC comedies. For some reason, it usually takes until the show’s over for you to finally get your blazer on the way out the door or whatever.

Ben Feldman: I think 10 minutes before we left.

Lauren Ash: We did! They were like, “here you go get out.” I think just, just the legacy that we created something that was really special with characters that people really, really loved and told stories that were relevant and really kind of pushed things. I go back and watch some of those old episodes and I’m like, “Wow, We really did kind of go to some cool places.” There’s nothing better. There’s nothing better than being on a show that people loved and continue to love and will continue to love. I mean, it’s the best thing.

You can watch Superstore’s season finale and the rest of season six on VOD.

Jason Segel And Bo Burnham Join Adam McKay’s Los Angeles Lakers HBO Drama Series

Just as the Los Angeles Lakers of the 1980s Showtime era were a star-studded bunch, more akin to celebrities than just championship NBA players, Adam McKay’s HBO series on the team is full of A-list actors. The latest to join the cast are Jason Segel, who is tall enough to play Paul Westhead, and Bo Burnham as the legendary Larry Bird. Looks like we’ll be seeing some Magic vs. Bird recreations in the show.

In his first year as head coach, Westhead helped lead the 1980 Los Angeles Lakers and a rookie Magic Johnson to the NBA Championship. Larry Bird is…well, he’s Larry Bird, the Boston Celtics sharpshooter who led the team to multiple titles and had an epic rivalry with Johnson.

Just check out the ensemble Segel and Burnham are joining. Adrien Brody is Pat Riley, Sally Field as Jessie Buss, and Michael Chiklis as Red Auerbach, John C. Reilly as Jerry Buss, Jason Clarke as Jerry West, Quincy Isaiah as Magic Johnson, Solomon Hughes as Kareem Abdul-Jabbar, Gaby Hoffmann as Claire Rothman, Hadley Robinson as Jeanie Buss, DeVaughn Nixon as Norm Nixon, Molly Gordon as Linda Zafrani, Rob Morgan as Earvin Johnson Sr., Spencer Garrett as Chick Hearn, Kirk Bovill as Donald Sterling, Delante Desouza as Michael Cooper, Stephen Adly Guirgis as Frank Mariani, Tamera Tomakili as Earletha ‘Cookie’ Kelly, and Joey Brooks as Lon Rosen.

Segel is coming off a really amazing, and criminally underseen, performance in Our Friend. Burnham played a key role in Oscar contender Promising Young Woman.

No word on a release date, but we know McKay has already shot the pilot episode. Considering the muscle HBO is putting behind this one, expect it to get a prime slot and be pushed to the moon. [Variety]

‘Separation’ Trailer: Feuding Parents And Nightmarish Puppets In New Horror From ‘The Devil Inside’ Director

Haunted house movies are only matched by demon possession films in sheer quantity, so how about one that combines elements of both with a more familial touch? Separation is the latest from director William Brent Bell, best known for The Devil Inside, The Boy and its sequel Brahms: The Boy II, and like those latter films, this horror has the well-being of a child at its center.

For a kid, having two parents constantly fighting with one another can be the scariest thing in the world. But what happens when one of those parents dies, and yet the feuding continues? That’s what appears to be happening here, as something evil appears to be filling in the space where one parent used to be…taking on the form of creepy puppets.

The film stars Mamie Gummer, Rupert Friend, Madeline Brewer, Bill Cox, Simon Quarterman, and Violet McGraw.

Separation hits theaters on April 30th.

8-year-old Jenny (Violet McGraw) is constantly caught in the middle of the feuding between her lawyer mother Maggie (Mamie Gummer) and artist father Jeff (Rupert Friend). She leads a lonely but imaginative life, surrounded by puppets called “Grisly Kin”, which are based on the works of her father. When Maggie is tragically killed in a hit-and-run, Jeff and Jenny try to piece together a new life. But when Maggie’s father (Brian Cox) sues for custody, and babysitter Samantha (Madeline Brewer) tries to be the new woman of the house, life in their Brooklyn townhome takes a dark turn. The puppets and frightening characters come to life and Jenny is the only person who can see them. When the motives of the ghoulish creatures become clear, the lives of everyone are put very much in jeopardy.

 

‘Ghosts of Tsushima’: Chad Stahelski To Direct Film Adaptation Of The Kurosawa-esque Video Game

If you’ve played Sony’s amazing Kurosawa-esque video game Ghosts of Tsushima, you know the damn thing already looks like a big-budget blockbuster movie. Well, now it’s actually going to become one, with one of the best action directors around attached to ensure that it’s as beautiful on the big screen as it is on your console.

Deadline reports Sony and Playstation Pictures have hired John Wick franchise director Chad Stahelski to helm a Ghosts of Tsushima film. For those unaware, the game is set in 1274 as a Mongolian army invades the island of Tsushima, wiping out virtually all of the samurai within it. Only a grievously injured Jin Sakai survives, and now wages a blood war for vengeance against those who attacked his clan.

Stahelski, along with David Leitch, are the architects of the John Wick franchise. However, as we’ve talked about pretty recently, Stahelski hasn’t been branching out to other projects the way Leitch has. That seems to be changing lately, as he’s agreed to multiple films including a Die Hard-esque action film titled Classified, a long-developing Highlander reboot, the fantasy film Arcana, and more. That’s along with the upcoming John Wick 4, of course.

There’s a part of me that would prefer a Japanese filmmaker, someone closer in style to Akira Kurosawa. But I can hardly complain about Stahelski, who has quickly become one of the top action filmmakers around.

 

‘In The Earth’ Trailer: Ben Wheatley’s Pandemic Horror Arrives Next Month

While vaccines are rolling out and the pandemic, hopefully, is beginning to wind down, there are still a bunch of movies out there exploring the horror of what we’ve gone through. In the case of Ben Wheatley’s latest film, In the Earth, he frames the outbreak from the lens of its impact on nature, and the untamed evils that lurk in the forests.

In the Earth marks a return to the genre for Wheatley, and the small-scale thrillers of his early career. He debuted this one at Sundance just a couple of months ago, and I’ll be the first to admit it did not win me over at all.

The film stars Joel Fry, Ellora Torchia, Reece Shearsmith, Hayley Squires, John Hollingworth, and Mark Monera, many of which have worked with Wheatley in the past.

SYNOPSIS: As the world searches for a cure to a disastrous virus, a scientist and park scout venture deep in the forest for a routine equipment run. Through the night, their journey becomes a terrifying voyage through the heart of darkness, the forest coming to life around them.

NEON will release In the Earth into theaters on April 30th.

 

 

‘Spencer’: New Look At Kristen Stewart As Princess Diana As Film Finds Its Prince Charles

Kristen Stewart’s Princess Diana has found her prince. As a new image of Stewart as the popular Princess Di emerges, word arrives that Poldark actor Jack Farthing has joined the cast of Spencer, playing Prince Charles.

Charles and Diana were married for 25 years until 1996. She was killed in a tragic accident just one year later.  Spencer, which is directed by Pablo Larrain (Jackie), centers on just one weekend in their relationship, however, it’s a crucial one. During a weekend getaway with the royal family at Norfolk’s Sandringham estate, she makes the decision to get a divorce from Charles, as rumors swirl about various affairs.

Also in the cast are Sally Hawkins, Timothy Spall, and Sean Harris. Steven Knight (Locke) wrote the screenplay. Spencer is expected to open this fall. The production has just moved to the UK for the final leg of shooting.

‘Sniper Elite’ Movie In The Works From ‘Rampage’ Director Brad Peyton

Brad Peyton, the director who gave us San Andreas and Rampage, has yet another video game movie in the works. Variety reports Peyton will direct and co-write Sniper Elite, based on the hit WWII shooter game franchise.

Sniper Elite takes place during the Nazi blitz of London during WWII. Elite sniper Karl Fairburne is inserted into this scenario to stop a deadly Nazi assassin who has Prime Minister Winston Churchill in his sights.

The first game in the series was published in 2005. The fourth and most recent game was released just last year. There have been multiple spinoffs, with over 30 million units sold worldwide.

Here’s what’s interesting about the hiring of Peyton. He’s had a very close association with Dwayne Johnson. Not only did they work together on Rampage and San Andreas, but also Journey 2: The Mysterious Island. Also, when Johnson was up to star in a Lobo movie for DC Films, it was Peyton attached to that, too. Might they reunite for Sniper Elite?

 

‘Spiral: From The Book Of Saw’ Will Unleash Horror And Mayhem Into Theaters A Week Early

Now you can experience Jigsaw’s deadly games even earlier! Lionsgate has set Spiral: From the Book of Saw, starring Chris Rock and Samuel L. Jackson, for May 14th, moving it up a week to take advantage of theaters reopening. The film had originally set to open in May 2020, but was pushed due to the pandemic.

The ninth film in the Saw horror franchise that began in 2004, Spiral boasts its best group of actors yet. Chris Rock, Samuel L. Jackson, and Max Minghella lead the way as cops investigating a series of grisly murders eerily reminiscent of the Jigsaw killer’s twisted games.

Behind the camera is returning director Darren Lynn Bousman, who directed Saw II, III, and IV. He’s working from a script by writers Josh Stolberg and Peter Goldfinger, who wrote 2017’s Jigsaw.

Lionsgate is showing a lot of faith in this revival of the Saw franchise. The May 4th date makes it one of the earliest major studio films to arrive in the summer without a streaming component. They’re relying totally on theatrical, and perhaps they can do that because the Saw films traditionally don’t cost much.

‘Nomadland’ Interview: Jessica Bruder And Bob Wells Talk The Movie’s Real-Life Impact

Courtesy of Searchlight Pictures

When Jessica Bruder and Bob Wells first met, they had no idea their personal experiences would lead to a major motion picture, slated as the frontrunner at this year’s Oscars. At the time, Bruder was a writer researching the effects of the 2008 housing crisis and the rise of those choosing the transient lifestyle in its aftermath. Wells was a leader in the nomadic movement, giving speeches and making YouTube videos showing others how to live in a van or camper.

Courtesy of Jessica Bruder

Their experiences eventually let to Bruder’s 2017 book Nomadland: Surviving America in the Twenty-First Century, which caught the eye of Searchlight Pictures (formally Fox Searchlight), Frances McDormand, and director Chloe Zhao. Now called Nomadland, the film follows McDormand’s Fern as she travels around the country, working seasonal jobs in the wake of her husband’s death and losing her home. With Nomadland nominated for six Academy Awards, I sat down with Jessica Bruder and Bob Wells to chat about their lives since the film, the effects of COVID on the nomadic lifestyle and how all stories deserve to be told.

Jessica, you met Bob Wells when you spent months at a time driving around the country, documententing individuals who had given up their housing following the 2008 recession. That experience culminated into your book. Writer/director Chloe Zhao has not adapted it into the film Nomadland which Bob, you appear in. What drew both of you guys to working with with Chloe Zhao on this piece?

Jessica Bruder: The people who first approached me about the book were Peter Spears (producer) and Frances McDormand, and it was Frances who came upon Chloe at the Toronto Film Festival. She saw it and loved the writer and brought Chloe onboard to the project. And then I went and watched Chloe’s past work and I thought it was fantastic. And that’s really what you have to rely on when you’re making a leap of faith like this one. So that’s the simple answer.

Bob Wells: For me, I’m always looking for an opportunity to get the word out. I like to tell people that they have an opportunity. There are options in life that there’s hope, whatever their life situation is. There is another way to live and I did the exact same thing [as Jessica]. I looked at her work. I admired it, admired her and thought this would work well.

Bob, how has your life changed since Nomadland came out? Is it a whole different world for you now because of this?

BW: Well, actually it’s changed very little. I run away and hide in the back country as much as I can. You wouldn’t think it, but I’m an incredibly private person and I need my alone time to recover. Because I put myself in the spotlight so much in so many ways, I need more time than ever to be alone. My life is pretty much built around being alone. And so no one can find me! If you could track me down, you’re really, really good. But now I get more emails and my name is in the press more often, but in no other way has it affected me.

Jessica, the book goes to a much more political place than the movie does. Was that kind of a mutual decision between you and Chloe (Zhao, who wrote the script) and what are your thoughts on that especially now that Amazon, which is heavily featured in the film, is getting a lot of criticisms for actively trying to prevent unions.

JB: Well, I think people have been studying Amazon’s practices with labor for a long time. I actually don’t see that as a new thing. I do recognize that there’s a big difference between filmmaking and bookmaking and I am really glad I did the book the way I did. There are certain ways you can give context in a book that is perhaps different from how you might do it on screen. It’s a different type of show don’t tell. But in terms of how things were going to be structured with the film, I wasn’t the screenwriter. I basically said, “Here are all the ingredients in my pantry from working on this material intensely for years and Chloe, make of it what you will.”

Bob, you make a very moving speech to Fern towards the end of the film, where you talk about the death of your son. How did that conversation make its way into the film since it wasn’t originally in the script?

BW: I made a conscious decision to talk about my son in the film as a healing journey for myself. It was a conscious decision I made before I talked to Chloe about it. It was one of the few times I’ve talked about it in actual public, certainly to a national audience. It was hard, but it was healing. That kind of summarizes the whole movie. Doesn’t it? It was hard, but it was healing.

You just mentioned that you have been getting a rise in emails from a lot of people, who have seen the film. My question actually is for both you and Jessica, with COVID-19 causing a lot of people to go through financial turmoil, have you seen an uptick in interest in the nomadic lifestyle since Nomadland came out and since COVID started?

BW: Yes, definitely. The government’s pumped so much money into the economy it’s kind of kept it afloat. People are oddly enough, sometimes they’re flushed, sometimes they’re broke and sometimes they’re in flush again. So I think the real tidal wave is yet to come, but no question there have been more who are interested in coming out into the life now. I’ve had a lot of emails from people who’ve seen the film, but right now its a lot of COVID. After 2008, we’ve talked about the great recovery. Well, I haven’t seen that myself. I have gotten, not as many, but nearly as many emails since because the vast majority of Americans have been left behind from the great recovery… the great economy. So I still, I’ve always heard from them.

JB: Bob is also out on the road, so I would take his comment on this more seriously than mine, but anecdotally, I’ve heard about people heading out there. And I agree with him that the movie may be a small factor in the future, but I think the bigger factor is actually just kind of how we’re living as a culture, in terms of how we treat people. And if you look even as far back as 2019, CEOs were getting paid 320 times as much as the average worker. In 1965, that ratio was 21 to one. We’re just in a really strange place as a culture right now, where we’ve got this economy that we treat like a God and a society that we think as secondary to the economy, when it should be the other way around. I think that was crystallized in 2008, when a lot of people did lose faith in the economy. Like Bob said, the idea of jobless recovery is kind of an oxymoron. A lot of people didn’t bounce back and now we’re dealing with COVID and we’re talking about an eviction crisis where the federal government does keep kicking the can down the road. But in terms of rental assistance, that’s really a moving target. We don’t know when people will be back in some semblance of the lives that went before. So again, I think more to come.

I love how the movie very much blends fiction and reality. It’s sort of pushing this line between documentary and narrative filmmaking. What is one thing that you both hope a first-time viewer takes away from Nomadland?

BW: I think everyone sees that they have an alternative, that there is another choice. That if things are looking financially really bad, which they work for Fern, you realize there is an option. There is a whole other way to live and at first, it can appear to be a huge loss. For most people it would be a horror show, but Fern loves it and she chooses it and she finds healing in it. She finds community. One thing I tell people all the time is “these may very well be the best days of your life coming up,” and Fern found that and she would not give it up. I think that’s what I want people to know.

JB: I hope it will remind people that they don’t have to go draw from the same old wells to find stories. We live in a culture that’s obsessed with youth and wealth and celebrity and in my mind, great stories are all around. The stories that I heard on the road are to me more compelling in many ways than stories I hear about the bold face names out there. I hope people will keep an open mind and keep that in mind and reassess how they look at our culture a little bit.

Nomadland is currently in theaters and available to stream on Hulu.

Review: ‘Shoplifters Of The World’

Joe Manganiello And Ellar Coltrane Star In A Disappointing Tribute To The Smiths And Their Fans

The influence of music varies from person to person. Whether it be that one song that touches you or a group/artist you can’t get out of your head. For Cleo (Helena Howard) that connection was with The Smiths in Shoplifters of the World. Yup The Smiths – the English rock band out of Manchester who rose to fame in the early to mid-80s. Although the band had a short shelf life, only about 5 years, they had a devoted following. It was this following that felt the shock in 1987 when The Smiths abruptly broke up.

Cleo was just aimlessly floating through life in Denver on that fateful day in the late 80s. Her home life wasn’t the best, many of her friends had gone off to college, and she seemed to be stuck. Working at a grocery store, avoiding college at any level, and dreaming of her fake French boyfriend to save her. At least she had the music of The Smith’s to escape to. Their lyrics and sound resonated with her and perfectly described her teenage angst. Until the soul crushing news came out that is.

Cleo’s friends Sheila (Elena Kampouris) and Patrick (James Bloor) happened to be back in town. Sheila and Patrick have been dating since middle school, but their relationship is at a crossroads. Sheila is incredibly sexually frustrated as Patrick doesn’t like sex and Patrick is unsure of his sexuality. The last member of the group – Billy (Nick Krause) – is madly in love with Cleo and leaving for the army the next day. They all got back together to send Billy off in style with a romp through their old stomping ground. That might just be what the doctor ordered to ease the pain of The Smiths breakup as well.

On the other side of town Dean (Ellar Coltrane), who also is in love with Cleo, has other plans. Dean works at the local record store and has a more optimistic take on The Smiths breakup. He wants to celebrate all the music they were able to get from the band, not harp on no more coming. In an effort to impress Cleo and leave his mark, Dean has decided on a more dramatic approach. He wants to share The Smiths music and send a message. Dean heads to a local Metal radio station and forces DJ Full Metal Mickey (Joe Manganiello) to play The Smiths all night at gunpoint.

Shoplifters of the World is “based on true intentions.” There is an urban myth that Dean’s plan in the film was actually conceived and almost carried out in Denver in the late 80s. The person ended up chickening out and not commandeering a radio station by gunpoint, but the story lives on. This myth becomes the central focus of Writer/director Stephen Kijak’s (and based on Lorianne Hall’s story) film.

Kijak intertwines Dean and Cleo’s stories throughout Shoplifters of the World. He allows us to see what is happening in both their worlds simultaneously and how their actions impact each other. In addition, Kijak also breaks the film up into chapters – all based on The Smith’s lyrics of course. The music, script, old footage, and easter eggs throughout are all homages to the band. For someone that is a fan of The Smith’s it may be the ultimate experience. Kijak goes as far to say that there is “enough buried treasure to keep the avid fan digging in for months on end, trying to connect all the dots and solve all the puzzles.” That’s great for The Smiths fanatics, but what about the average fan or regular ole movie lover?

Kijak may have been too focused on revolving the script around song lyrics and forcing them in. Aspects of the script fall flat and drag on. Many of the characters deal with the complexities of life and finding more about themselves. The issue is the audience doesn’t truly care or connect with any of them. We see transformations abound and self-reflection, but it ultimately doesn’t provide to be meaningful for the viewer. That’s not to say the entire script doesn’t deliver. There are a few hilarious jokes and moments. On top of that, the relationship/dialogue between Dean and Mickey was enjoyable to watch unfold. Manganiello’s Mickey steals the show and is a joy whenever he’s on screen. For fanatics of The Smiths, Shoplifters of the World might just be the cult classic you’re looking for. For everyone else, it is a disappointing coming-of-age teen dramedy that you can pass on.