Lionsgate Picks Up Global Rights To Leah McKendrick Comedy ‘Scrambled’

EXCLUSIVE: Lionsgate has acquired worldwide rights to Scrambled, written by and starring Leah McKendrick, who makes her feature directorial debut on the comedy, which just wrapped filming.

Produced by Jonathan Levine and Gillian Bohrer’s Megamix, along with Brett Haley and Amanda Mortimer, and executive producer Mariah Owen, the film stars McKendrick as Nellie Robinson, a broke, single 34-year-old, fresh off a breakup, who faces down an existential crisis when she decides to freeze her eggs. McKendrick wrote the script following her own egg-retrieval experience last year.

The ensemble cast includes Ego Nwodim (SNL, Love Life), Andrew Santino (Dave), Clancy Brown (Shawshank Redemption, John Wick 4, Dexter: New Blood), Laura Cerón (Station 19, ER), Adam Rodriguez (Magic Mike, Criminal Minds), Yvonne Strahovski (Handmaid’s Tale), June Diane Raphael (Grace and Frankie, Long Shot), Noah Silver (Tyrant), and Sterling Sulieman (Station 19). The cast also includes Max Adler, Mimi Kennedy, Camille Mana, and Matt Pascua.

McKendrick is a Latina American multi-hyphenate from San Francisco. She wrote, produced and co-starred in the vigilante thriller M.F.A. alongside Francesca Eastwood which premiered at SXSW and was dubbed “the first horror movie to speak to the #MeToo era” by The New York Times. McKendrick’s romcom feature Voicemails for Isabelle was preempted by Sony Pictures and landed her on the Black List in 2019. She then wrote the highly-anticipated Grease prequel Summer Lovin’ for Paramount, and set up a second Paramount feature, Better Late than Never, which she is attached to direct. She is currently penning TriStar’s reboot of the ’80s cult classic Troop Beverly Hills.

The project continues Lionsgate’s collaboration with Megamix, which has a production deal with the studio. The studio will go into production next year on a sequel to Dirty Dancing, starring and executive produced by Jennifer Grey, which Megamix will produce and Levine will direct. The studio also recently announced the Megamix production, Sailing, a yacht rock musical comedy to star Woody Harrelson.

BondIt Media Capital is providing production financing. Matthew Helderman, Luke Taylor and Grady Craig executive produce for BondIt.

McAuley Cahill and Jordan Backhus co-produce for Megamix.

Chad Russo at Ramo Law negotiated the deal on behalf of the production. McKendrick is represented by UTA, manager David Clark of Mazo Partners, and Joel VanderKloot of VanderKloot Law. Megamix is represented by Carlos Goodman at Goodman, Genow, Schenkman, Smelkinson & Christopher.

Source: deadline.com

Yvonne Strahovski Is Trying Not to Judge Serena Joy

When Yvonne Strahovski pops up on Zoom, it takes me a minute to remind myself that I am not, in fact, speaking to Serena Joy. The actress has her hair pulled away from her face in a tight bun—her Handmaid’s Tale character’s signature style—and the room in which she sits could easily pass for the Toronto detention center where Serena has resided for the past season. But when Strahovski speaks, her Australian accent creeping into her warm greeting, I am reminded that I am not faced with Mrs. Waterford, but the woman who has been successfully bringing her to life every season going on five years.

It’s clear that Strahovski has a complicated relationship with Serena Joy, the manipulative, often sadistic woman who helped create the hellscape of Gilead. But throughout the seasons, the actress has honed the craft of getting into Serena’s head—which requires the actress to avoid judging her character for the decisions she makes.

“From an actor’s point of view, it’s fun because it is complicated,” she says. “It’s not always easy. I get challenged with some of the material.” Below, Strahovski discusses season five of the hit series, how being a mother changed the way she saw the role of Serena, and why she doesn’t think she will ever be able to wear teal again.

Serena is such a complex woman. When you play her, do you attempt to bring any humanity to the character? Do you want the audience to feel compassion for her?
I tried very hard for the audience to have compassion for Serena, and I think I had my work cut out for me with that. I’ve always tried to approach her from a more human perspective; it’s the only perspective that I can approach her from. I don’t ever see her as purely evil or spiteful and bitter for the revenge. It’s always coming from some place that is a very real, true emotion—fear and sadness. That’s important because it humanizes her and it hopefully makes her a wee bit more relatable to audiences who find her behavior heinous.

How much of Serena’s behavior can you explain away by saying she was just trying to survive in Gilead?
I think I can explain all of it away, basically. It’s really complex—there’s a whole political setup here. She has one foot in the architecture of Gilead and one foot out of it. There’s her relationship with Fred, who betrayed her many times and became abusive. If you ask yourself what it would truly be like to be in that position, you would have a lot of trauma. And I think that’s the foundation of anyone’s bad behavior.

What do you think went through Serena’s head when she heard the news of Fred’s death?
I think her raw emotion was thinking about what could have been, what should have been, and what was never going to be. There was a very real connection between Fred and Serena way back when they first met. They had so much potential and real love between them. It just all went pear-shaped and then some.

Do you think Serena deserved to get pregnant?
I don’t know if she deserved it. It seems to have come into her life to perhaps teach her some kind of a lesson. It’s very meaningful for her, and certainly hit quite close to home for me personally, as a mom of two. I started shooting this season when my second son was only eight weeks old. So that parallel was definitely very impactful.

How has being a mother affected the way you approached this character?
Obviously, I still have to imagine the scenarios and the emotions. I’m not actually in that situation, but it suddenly makes it a hell of a lot easier to imagine anything to do with children and any kind of loss or grief or sense of protection you feel. You understand the lengths you would go to protect your baby. That stuff is automatically built into your system as a mom. You don’t have to go into the crevices of your brain and imagine all those things, it exists within you already.

What has it been like to explore the new dynamic between Serena and June with Elisabeth Moss this season?
We have a pretty good laugh about it because we joke that it’s a Juliet-and-Juliet love affair situation. They’re in this crazy toxic, dysfunctional relationship and can’t seem to get out of it. But it’s always important for me to find the new dynamic, because it’s easy to fall back into older patterns. We’ve been doing this for quite some time now, so it is really important for us to find the new flavor of the relationship.

It got pretty raw in past seasons, but it gets even rawer this season. I don’t know how to explain it any other way. They just have some kind of a no-bullshit language between them, where they can really see and hear each other. They can’t lie to each other very well. And that relationship is also really, really complicated, and it’s been great to go even deeper into those complications.

Do you feel like Serena is a true believer in God? How much of it do you think is a front and how much do you think she truly believes what she’s saying?
She’s a true believer. There was definitely a period of time where I thought she was second-guessing it a lot, but for the most part, she is a believer. Especially in this season, because I do think she truly believes she’s been given this gift of pregnancy from God, and it’s for a reason.

Will it be hard when you have to eventually say goodbye to this character after playing her for so long?
Yes and no. It will feel great to say bye, because it has been a lot of emotion. But it’s been five years so far, and that’s a lot of time spent with all of these people, getting to know the cast and the crew and everyone we work with. So it’s a chapter that will be an emotional one to say goodbye to.

Will you ever wear teal again?
Oh my god [laughs]. No, it’s ruined it for me. I really can’t wear it. It just ends up looking like Serena Joy. And I usually wear my hair back too, so then I really look like Serena. I certainly can’t wear it to any red carpet affair. I wonder if the women that play the Handmaids feel the same way about the color red on a carpet.

Source: wmagazine.com

Yvonne Strahovski is No Serena Joy

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YVONNE STRAHOVSKI arrives on set sporting her signature outfit: a gray T-shirt, denim shorts, and white sneakers. It’s August and the sun is shining in Toronto, where Strahovski, 40, is filming season 5 of “The Handmaid’s Tale.” Barefaced and wearing her blonde hair in its natural texture, she only vaguely resembles her character, the austere Serena Joy Waterford.

The steely demeanor that drives fans to love hating Serena is nowhere to be seen: Strahovski jokes about her lopsided boobs from breast pumping for her son, Henry, who was born late last year. When a spider crawls onto a camera lens, she carries it outside to safety. And she eschews Jimmy Choo heels to be photographed barefoot.

Witnessing Strahovski interact with her newborn son and husband, actor Tim Loden, who visit her at her cover shoot, makes it clear that she deserves her numerous accolades, including two Emmy nominations, for portraying the villainess on Hulu’s dystopian drama series based on Margaret Atwood’s 1985 novel. Now in its fifth season, “The Handmaids Tale” depicts life in Gilead, a totalitarian society in what was once the United States. Ruled by a fundamentalist regime, Gilead treats women as property of the government. Any fertile woman becomes a Handmaid assigned to a Commander and their barren Wife, and is subjected to monthly rape in order to procreate for the couple.

Serena Joy is one of the influential Wives, and as viewers discover, an integral architect of Gilead. Her onscreen husband is Fred Waterford, played by Joseph Fiennes, who was killed at the end of season 4 by their former Handmaid, June, played by Elisabeth Moss. “[Serena] is devastated in her own way about the loss of Fred and then she just gets right back into revenge mode,” Strahovski says about her character’s storyline this season. “We haven’t seen this unhinged version of Serena. She loses her mind and wants to get back at June with vengeance.”

For STYLECASTER’s World of Style issue, Strahovski sat down to discuss Serena Joy’s complicated moral fabric, fashion’s role in delineating social classes in Gilead and the show’s eerie propensity to mirror current events.

SC: How has Serena evolved throughout the seasons?
She goes from one end of the spectrum to the other, and then sits in the middle in that gray area between good and evil, but never quite makes it to the good side. Which is probably why she’s an interesting character to watch. [Laughs]. Audiences do end up rooting for her, as she and June in past seasons have gotten closer or when she’s shown a friendlier side. Then she just backflips and goes right back into being her true self.

Serena often receives more ire than Fred. Why do you think that is?
It’s a woman against another woman. It’s representative of this hierarchy of women at the top in the political game versus women at the bottom, which is displayed in the wives and handmaids. The dynamic where one woman is supportive of basically enslaving another woman for rape every month for her own benefit.

Is it fun to play a character like Serena who’s very flawed?
Initially it wasn’t, but it’s fun now. It was difficult for me to come to terms with how evil she was at times and try to justify everything because, at the end of the day, it’s my job to humanize her. It’s not like I’m playing a villain for villain’s sake. She’s a woman who is also surviving in a terrible situation.
Initially, when we met her way back in the pilot, she didn’t trust Fred. Fred had obviously had an affair with a previous handmaid. She’s got her own bag of things that have wounded her and traumatized her. I’m not saying that’s an excuse, it’s a platform for a regular person having gone through certain things to turn you into something. Serena’s turned into a bit of a monster and like all characters in Gilead, she is surviving in her own way and the only way she knows how to.

What do you think motivates her?
Honestly, the fact that she’s lonely. She had a slither of hope with Fred and having someone she could rely on, and that smashed into pieces. She tried with June, and I think June might have tried with her as well. She’s so lonely and so devastated by the fact she has no one. She will go to great lengths to sabotage.

Full interview: stylecaster.com