There are many unanswered questions after the season 1 finale of Showtime’s “Yellowjackets,” from the future of Shauna’s baby to what threats the adult Yellowjackets face from their former…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
There are many unanswered questions after the season 1 finale of Showtime’s “Yellowjackets,” from the future of Shauna’s baby to what threats the adult Yellowjackets face from their former teammates. But one question is more pressing than all the others: When will fans see a second season?
While that question is still unanswered — the series’ creatives said they were in the second season’s early stages — many others were discussed in the Variety Streaming Room presented by Showtime, hosted by senior artisans editor Jazz Tangcay. In conversation with showrunners Bart Nickerson and Jonathan Lisco, casting directors Junie Lowry-Johnson and Libby Goldstein and director/showrunner Karyn Kusama, showrunner Ashley Lyle said everyone working on “Yellowjackets” treasured the chance to work on something so incredibly original.
“I think there was a really strong awareness on all of our parts that we had this really incredibly unique opportunity with this show because it’s not based on [intellectual property], so we did not have to worry about what had come before,” Lyle said. “We were creating something entirely new from scratch.”
Speaking to the show’s success and audience response to the series, Lisco said, “We’re all in pursuit of something intangible that is beyond reason that moves you on a visceral gut level, and I think that may be the reason why audiences are responding on such an intuitive gut level.”
Kusama, whose credits include “Jennifer’s Body” and “Destroyer,” discussed what attracted her to the story in the first place. She said, “It’s always all about the script and the first time I read the script, I was struck by the density of the storytelling. There were a lot of characters, there’s a lot of history, there’s a lot of talking back and forth between the past and the present and it just felt like a gargantuan challenge.”
Kusama, who directed the first episode, when asked if she would direct another episode in the second season, teased, “I’m really hoping to be able to make that work. We’re just sort of working out schedules and all of that stuff but that is definitely my intention.”
To the second season, the panel kept it shrouded in mystery with Lyle revealing, “We’ve opened our writer’s room, we have added a couple of new faces to the mix and largely have the team intact from season one because they were fantastic. We’re just excited to dig in, but as Bart said, we are in the early phases.”
To learn more about how the series was cast, what fans can expect for the future of the show and the origins of that ominous symbol, watch the full conversation above.
