|ALL MY LIFESHAMELESSHANDMAID|
Mr. Mercedes star Breeda Wool is set to star opposite Jason Isaacs, Martha Plimpton, Reed Birney, and Ann Dowd in Mass, an indie drama from first-time feature director Fran Kranz. Written by Kranz, the pic takes place in the aftermath of a violent tragedy that affects the lives of two couples in different ways. 7 Eccles Street financed the pic and will produce with Kranz and Casey Wilder Mott of 5B Productions. Wool, who will be co-starring in the Marianna Palka-directed film, Collection, recently recurred on the third season Netflix’s GLOW. The Innovative and Bold Management & Production repped actress also starred in the indie feature, Mother’s Little Helpers, which premiered at SXSW.
Anjali Bhimani S.W.A.T, Crazy Ex-Girlfriend has been added to the cast of Universal’s All My Life, the film inspired by the life of Jenn Carter and her husband Solomon Chau. Jessica Rothe and Harry Shum Jr. star along with co-stars Chrissie Fit, Jay Pharoah, Marielle Scott, and Kyle Allen. Marc Meyers is directing the film, which is about love, life and laughter circle of a young couple as they plan their wedding in the face of devastating news. Todd Rosenberg wrote the screenplay which will be produced by Todd Garner and Sean Robins under their Broken Road Productions banner. Sara Scott and Lexi Barta will oversee the project on behalf of the studio. Bhimani can be seen in Marvel's Runaways on Hulu and the upcoming season of Blindspot.
Professional boxer Kali “K.O.” Reis is set to mark her acting debut in the indie thriller Catch the Fair One from writer/director Josef Kubota Wladyka. She’ll play a boxer who plans her own abduction in order to find her missing sister. Darren Aronofksy’s Protozoa’s Pictures is producing the film with Mollye Asher, Kimberly Parker and Wladyka. Reis fought in the first-ever televised female boxing match on HBO and is the first Native American fighter to win the International Boxing Association's middleweight crown.
Showtime recently renewed Shameless for an eleventh and final season. This decision came a full season after Emmy Rossum’s departure as Fiona following a long lead-up. In contrast, this season appeared to drop a substantial slip up - Lip deciding to leave the Gallagher home and move two hours away with Tami and their baby - without much notice. Well, that didn’t actually happen. Further, things got really messy and tragic with Lip in this season finale, but first, the good news.Showtime
“Gallovich” officially happened. Ian and Mickey Milkovich tied the knot after things looked hopeless on several occasions, and Mickey became a Groomzilla. The actual ceremony went off without much of a further hitch within their relationship, even though Mickey’s dad burnt down the planned venue, but that gave rise to a better shindig. Ultimately, the wedding was everything fans probably wanted it to be. Frank behaved himself for the first time in years, and then we heard about another impending wedding when Kevin finally proposed to V. That was a nice lead-in, too, with a fake-out about Kevin lying about money, but really, he was only trying to actually pull off a surprise.
As for Mickey and Ian, your guess is as good as mine on whether they’ll be happy together long-term. I hope they at least make it through the series because they both appear to have finally realized they’re damn lucky to have each other. Mickey should feel especially grateful because there’s no telling when homophobic Terry will try to kill Ian again. He did open fire on their honeymoon suite, but all was well.
All was not well, however, where Lip is concerned. After a major blowout fight with Tami outside the wedding, he ended up hitting the booze. The figurative funeral arrived for his sobriety, and Jeremy Allen White continued to crush his portrayal.Showtime
Years of hard work poured down the drain, but this move guaranteed that Lip won’t be leaving the show. In fact, he’s now further cemented as the series’ emotional center while embodying the Gallagher essence. There are facets of Lip that represent nearly every other character of the show, and watching his journey at times evolving and devolving through our very eyes throughout the series is truly heartbreaking. Things are never as real for anyone else on Shameless than they’ve been for Lip. He went to college, after all, the only Gallagher to do so, and everything still fell apart for him.
Furthermore, Lip still doesn’t know how to take care of himself. I was actually wondering at the beginning of this episode how he was keeping himself together in the lead-up to the wedding. Tammy had taken Fred and left Lip with her key and a “go f*ck yourself” note, and Lip’s first course of action was to check up on whether Ian had taken his bipolar meds before his stressful day. Fiona’s...
In “The Other Lamb,” Raffey Cassidy plays a young woman whose first period coincides with the discovery of a miscarried lamb fetus. Such is the territory we're in with Polish filmmaker Malgorzata Szumowska and screenwriter Catherine S. McMullen's allegorical slice of folk horror, and boy are we in for it. Though hardly subtle in its metaphoric intent, this story of a rural cult of all women, segregated into “sisters” and “wives,” led by a single powerful man makes for an unnervingly effective thriller dripping with atmosphere and foreshadowing.
Cassidy stars as Selah, one of the “sisters” in the Flock, as its deemed by their overseer, the Shepherd Michiel Huisman. While he certainly fits the bill of the Charismatic Cult Leader, he's a bit more brooding as he smothers his acolytes with kindness. Almost all of them are brainwashed blondes he's either plucked out of civilization, or bred in-house using his stable of wives, who've spiritually expired. Selah isn't especially close to any of the other sisters, and it's a testament to Cassidy's gifts that, without much dialogue, most of Selah's struggle is a buildup of internal shifts. There are flashbacks — or are they reveries? — of Selah in a prior life as a normal teenager. But any spiritual vim within her has been stamped out within the parameters of the cult, which prohibit any interaction with anything related to the outside world. “It's a broken place made by broken people,” the Shepherd says.
Selah is also alienated from her group because, since she's a late bloomer in the menstruation department, she isn't considered fertile, and therefore really even useful. Repeated imperatives of “your time will come” feel ominous and scary, and this countdown to hell inside the walls of a cult can't help but conjure thoughts of “Midsommar” or Hulu's “The Handmaid's Tale,” which takes place in a similarly patriarchal world where women are seen as breeding vessels, and nothing more.
There's not a lot of hope here. In whatever part of the world this cult is in, the weather looms grey and dank, such that the outsides constantly match Selah's insides. But there is a storm inside her, as the film steadily mounts to become an epic parable of female revenge. The ways in which the Shepherd grooms his women — most of whom become disposable, as revealed in a harrowing shot of empty dresses next to the riverbed — is a recognizable kind of modus operandi. His tactics include kissing the women on the forehead, or, in several shocking moments, jamming fingers in their mouths as an act of penetration and possession. It's icky, but also resembles the pathology of the very real sexual predators in the world.