Interviews Опции

[NikitA]

Ага! То есть на ОМайли Скалли все-таки повелась?

Я поняла, что наоборот - судя по тому, как быстро она о нём забыла, какая с неё экшн... Все мысли забиты Малдером

[Белая Тигрица]

А, ну да, можно и так понять. Черт, у кого есть твиттер - попросите кто-нибудь Джилл изъясняться точнее.

[NikitA]

Rolling Stone Interview

Gillian Anderson on the Future of 'The X-Files'



When The X-Files ended its first run in 2002, Gillian Anderson was over it. "I needed to dig a deep ditch for anything X-Files-related to go into," she says with a big laugh. "It took a while before I could talk about the show with a sense of appreciation and wistfulness."

She was 33 at the time of the original series finale and had spent the majority of her adult life playing FBI Special Agent Dr. Dana Scully, the impassive, skeptical voice of reason in the fantastical world of her onscreen foil, Agent Fox Mulder (David Duchovny). Throughout nine seasons, including two after Duchovny left, Anderson faced off with campy Monsters of the Week and, in "mythology" episodes, the dreaded Smoking Man and his apocalypse-engineering Illuminati cronies. Ultimately, the experience left Anderson in a creative identity crisis. "I remember looking at the back of an in-flight magazine at some point and seeing an ad for the X-Files box set," she says. "I had such a weird relationship with it, I thought, 'Don't I know that from somewhere?' But at the same time I thought, 'That's me. Why am I on a box set?'" She laughs.

Anderson is now age 47, lives in London and feels at peace with Dana Scully. In the years since the show ended, she appeared in several TV series, notably Hannibal and The Fall, as well as in movies and onstage. Today, she's in Belfast, where she's co-writing a book, WE: A Manifesto for Women Everywhere, with broadcast journalist Jennifer Nadel. Its title is befitting of her X-Files character and her so-called "Scully Effect," the notion that the character inspired young women to pursue jobs in science, medicine and law enforcement.

This year, Anderson returned fully to the world of Agent Dana Scully in a six-episode run of The X-Files, which found Mulder and Scully at odds with villains old and new. The finale, which aired last night, found Scully in the position of reshaping the world, and it harkened back to the show's edge-of-your-seat heyday. Its opening credits sequence promised "This Is the End," but as is the way of series creator Chris Carter, who wrote and directed the episode, the installment left many questions. To find out just how much of the truth is still out there, Rolling Stone spoke with Gillian Anderson about why she wanted to return to The X-Files and how it left off.

David Duchovny once told me that after he left The X-Files, he felt he had to prove to the world that he could play someone other than Fox Mulder. Did you feel that way, too?
Yes. I needed prove that both to myself and to the outside world. But pretty soon after I moved to the U.K., I was offered a role on the TV series Bleak House, based on Charles Dickens' book. I was shocked that they were offering it to me. People in the U.K. look at acting differently than they do in the U.S.; Helen Mirren and Judi Dench have been flitting back and forth between TV, film and stage for years. There's no differentiation. They approached me, "Well, we've seen [your work] and we think you can do this." And I assumed they would be in the American mindset of, "Well, surely you can only do Scully."

Were you apprehensive about returning to the show now?
No, not because of the character. This last year in particular, I've been in a stage production of A Streetcar Named Desire, which has been a dream of mine for 30 years, and I got to play Stella Gibson, who's a favorite character on a British series called The Fall. The combination of those things felt kind of like a shield, almost, against falling backwards into Forever Scully-dom.

What were your apprehensions then?
I had apprehensions that it would suck [laughs]. And even though there's a lot of fans, what if, actually, they don't want it back as bad as they think? Or what if we don't give them what they really want? The ratio of failure was extreme.

It was a big ask of Chris Carter to develop it, present it and tell the story in a way that appealed to fans. He had to figure out where Mulder and Scully are now, the way we're talking about current issues, the elements that we bring in from past episodes, how to maintain the flavor that we used to have, the mixture of the monster and mythology episodes. Luckily, he figured it out perfectly. But he could've made some wrong decisions along the way and taken it in a completely different direction.

If you were in charge, how would you have handled the pressure of bringing back the show?
If I had been at the helm, I would've said "We were at the forefront of television back then. We should begin the next wave." I say that not knowing what that would be, or even what that would look like.

It was Simon Pegg who said to me, "That is not what the fans want. They want exactly what you gave them before." And lo and behold, that's exactly what Chris did, because he knows these things and I don't [laughs].

What was it about Chris Carter's scripts made you say yes to returning?
We said yes before seeing a script. It was on the notion that it was a good idea, and that it was something that would be welcomed. Also, we said yes after we were sure there wasn't really an interest to do another movie after so many years. If we were going to have a conclusion to the whole story, this was going to be how we did it.



You've said that, as an actress, finding the Dana Scully character again was difficult. How did you ultimately do so?
It was a weird mixture of accepting that she was different because she's older, while at the same time embracing the elements that made her who she was before. There's a youthfulness to her. She's girlish in a different way than a lot of the women that I've played since. So it wasn't until that hit me over the head, and I tapped into that aspect of her – mixed in with her maturity and her hyper-intelligence – that I finally felt like I had found her again.

Was it fun revisiting Scully during these six episodes?
It was actually pretty tough. There was a lot of stuff going on at home in the U.K. in my personal life that was very difficult to not be present for, so it was a tough shoot. I'm very good at compartmentalizing; I learned that early in the first run when I had a kid who was in my trailer and I was on set [laughs]. And for all those years, it was going back and forth between filming scenes daily and then being "mommy," switching on and off. But when you're so far away, it can be really challenging. When real life is so much more important than anything that you're doing in the world of make believe, it causes angst [laughs]. I felt a mix of "Ahh, we're here," and, "Damn, it couldn't have been any other time?"

Looking back on these episodes, I can recognize the good of it and the fun. It was great to be working with David again and, now that we have a friendship, it makes it easier for us — and I'm sure for everybody. With Chris and the writers who we'd worked with before and some of the same crew, it's the same as it ever was. "I've been out of the house for 17 hours, and now we're going to do it again and again and again." The older you get, the more you start thinking, "Man, I'm too old for this shit."

You and David Duchovny had a strained relationship on-set in the Nineties. When did that change?
I think a lot of it has to do with time and perspective and maturity. We were shoved down each other's throats for so many years and we didn't have a choice. Now, we're together by choice. That makes a difference. When we look back, I think we remember only the good stuff from the old days. We don't really focus on the difficulties we had. In retrospect, one thinks back and gets to laugh and go, "Oh, my God. Can you believe that happened?"

That, compounded with the time that our relationship has grown in between – the times we've seen each other and been there for each other and supported each other – it's the first time that we're going back really feeling like we're two friends working together. We're making the decision to work with a friend rather than a stranger or a coworker that you don't particularly know very well.

Now that you have played Dana Scully again, what do you think of the character's legacy? She set the mold for many strong, female TV detectives that followed.
It had to be someone, right? The way the landscape looked at the time that The X-Files started, it was just pathetic. If it wasn't going to be Scully, it had to be someone. So the fact that it was her and that I got to bring her to life is pretty darn cool.

The thing that continues to boggle my mind is that kids of all ages are discovering not just the show but are discovering her as a role model. Young girls today look at her as if she were current, which is a very curious thing. So that's also pretty cool, too.

Scully also paved the way for Stella Gibson, your character on The Fall. The last series finale was intense. What have you been filming this time?
It's a lot about the after effects of what happened in the last scene of the last season. One would think, "What could it possibly be about if that has happened?" But you've got [creator] Allan Cubitt at the helm, and he just knows how to write good drama. So we've got five-and-a-half hours of very interesting, unpredictable shit happening. That's about all I can tell you.



Another television show you appeared in after The X-Files was Hannibal, which ended last year. You're in the show's final, stinging scene, in which you're about to eat your own leg. Do you feel that was a fitting end to the show?
If you talk to the diehard "Fannibals," they would say it wasn't a fitting end, because they'd never want it to end. But for me, to be part of that finale with that leg on the table, is just insane and it perfectly fits the mind of [creator] Bryan Fuller. There's been a lot of talk of the show getting an afterlife, coming back on another channel or outlet. That would be interesting, but Bryan Fuller is becoming busier and busier by the week, so I don't know how that would ever manifest itself.

Getting back to The X-Files, what are your thoughts on the finale? What do you think happens?
I think Scully saves the world? She certainly is the only person on the planet who can save the world, but it's a cliffhanger. I hope people like it.

What was the wrap party like?
[Laughs] It was fun. They were serving mini-burgers and that there was a huge spaceship above our heads. I stole a pillow from a couch that had "The X-Files" written on it.

So, is this the end?
[Singing, а la Jim Morrison] "This is the end." [Sighs] Oh, I don't know. I think we ended it in a way that it could go one way or the other. It all depends. I mean, it's a nice idea that we could carry on. But I live in London. I've got three kids. I have other commitments to other shows. David is doing a TV show for NBC [Aquarius]. There's a lot of things that aren't conducive to a long-running or even one more year of a running, multiple-episode TV show in the mix. So there would have to be some pretty extraordinary circumstances.

But maybe. Maybe the success that we've had thus far with the six episodes is enough for extraordinary circumstances to present themselves. You never know.

[Белая Тигрица]

I stole a pillow from a couch that had "The X-Files" written on it.

[Singing, а la Jim Morrison] "This is the end." [Sighs] Oh, I don't know. I think we ended it in a way that it could go one way or the other. It all depends. I mean, it's a nice idea that we could carry on. But I live in London. I've got three kids. I have other commitments to other shows. David is doing a TV show for NBC [Aquarius]. There's a lot of things that aren't conducive to a long-running or even one more year of a running, multiple-episode TV show in the mix. So there would have to be some pretty extraordinary circumstances.

Ну что за...

Спасибо, NikitA!

[NikitA]

I stole a pillow from a couch that had "The X-Files" written on it.

Она не была бы Джиллиан, если бы ничего не унесла с собой

[NikitA]

Gillian Anderson: Reviving Blanche DuBois in Brooklyn
The Wall Street Journal
By Sophia Hollander
April 29, 2016 8:10 p.m. ET



The last time Gillian Anderson performed onstage in New York, she was living in the Village and waitressing on St. Mark’s Place.

She won a best newcomer award in 1991—and never came back. Until now.

Ms. Anderson stars as Blanche DuBois in “A Streetcar Named Desire,” opening May 1 and running through June 4 at St. Ann’s Warehouse in Dumbo, reprising her role from an acclaimed 2014 London production.

“I wonder how she gets through it every night,” said the show’s director Benedict Andrews. “I think she understands vulnerability and addiction and survival. And she is also not afraid to bring out those aspects of Blanche.”

Ms. Anderson talked to The Wall Street Journal about survival, “Streetcar” and the future of her most famous role, Dana Scully in “The X-Files.”

WSJ: What do you remember about that first New York production?

G.A.: I think initially I was cast because I could do a British accent. I’d only ever done college theater before that, so it was quite a big deal and a sizable house. Probably one of the biggest that I’ve ever played to—even still. I had a lot to learn.

Like what?

How important timing is on stage. I had a couple of dark experiences, panic attacks on stage.

What happened?

Literally, like, I thought somebody had dropped acid into my cup. It was horrendous. I don’t know why it happened, but it came out of the blue while I was on stage. At first I thought, “I don’t know my next line and I don’t know that I’m going to be able to get it out.” And then my mouth just started moving and I was able to have the panic attack while doing the play, which I learned is possible. That’s not fun because once that kind of starts, it starts a cycle. But anyway. Let’s get off the panic attacks.

Talk to me about the first time you encountered “Streetcar” and why it’s had such a hold on you?

I’d seen some productions in the past and felt “No!” Just that—I felt like there was part of me, my bones or something, that wanted to jump on the stage and go “No, this is how you…!” I’m not saying in any way that I’d say it the right way or whatever, but just that it’s been—it’s almost as if the doing of it pre-existed in my life.

Has being 47 years old influenced your portrayal of Blanche, who is usually much younger, or do you think it’s irrelevant?

I don’t think it’s irrelevant. I think that ultimately her self-obsession and her—I mean, she only wants to be in darkened rooms. That’s pre-plastic surgery, you know? I definitely feel like I wouldn’t have been able to play her or to understand certain aspects of her psychology prior to a decade ago.

But that had less to do with age and more to do with another level of understanding of self-destruction, self-hate, the concept of being misunderstood. There’s a desperation that is inside her. It’s essential, I think, to who she is. Whether it’s on the surface, whether you see it or not, it’s got to be under there.

That’s how you would describe the past 10 years?

The longer you live, the more death you experience, the more loss, the more tragedy and grief. I think [it] just makes for a—it can’t not have a—I don’t want to say a positive impact but an impactful presence on a performance.

You’ve played a lot of strong, damaged women. Why?

I’m damaged in many ways. And yet a lot of what my fight is about is pushing through that to live a meaningful, sane existence and make a difference and play to my strengths. So I think damaged characters resonate with me. It might be the one area where I get to reveal those aspects of myself because the rest of the time I’m caught up in being this responsible mother of three children and the activist and the author and the blaaaah. All that stuff. And so it’s like the little hole at the top of the brown-rice pot that lets the steam through.

I would be remiss if I didn’t ask you about “The X-Files.” What did you think of the recent six-episode reboot?

I think there was an expectation that we would rewrite the book like we did originally and what [creator Chris Carter] was right again about is that that’s actually not what the fans wanted. What the fans wanted was their comfort food and that’s what he delivered.

On behalf of all fans, regarding the last episode, I have one question: What the heck?

On behalf of Scully, good question.

Will there be more?

It’s more likely than not.

[NikitA]

13 Ways of Looking at Gillian Anderson

From Scully to Blanche, an actor at the top of her craft breaks some news and discusses everything from Streetcar to The Fall
By Rebecca Kurson • 05/02/16 3:03pm



I

She’s very beautiful, even more beautiful than she was a decade ago. She’s very short—she’d stand just 5-foot-2-inches tall if she ever took her high heels off—but she’s a blonde now, and it suits her pale skin. She was never a ginger. That was only for The X-Files and she’s a blonde again, like she was as a child growing up in England. Ms. Anderson doesn’t have the weird, pinched look of a Hollywood Botox star, and that’s because she lives in London now. She drinks very milky coffee, and praises a staffer when the coffee arrives—“Perfect color!” she exclaims with genuine delight.

Here’s one other way she’s not like a Hollywood starlet—she shaves. She’d sliced her leg, badly, before the photo shoot, and laughs about it now as makeup is applied to the cut. “I bled like a stuck pig!” During a long interview with the Observer, she laughs a lot, sitting on a stool in St. Ann’s Warehouse in Brooklyn, where the London production of A Streetcar Named Desire opened on April 23 and runs until June 4. Ms. Anderson is Blanche duBois, and she won rave reviews for the 2014 Benedict Andrews revival at the Young Vic in London.

2

She made a film about Blanche duBois. The short is like watching a play, since the camera is still; Ms. Anderson calls it “theater-like in its construction, in a way that film isn’t usually, almost like Terence Davies.” The inspiration for the film short, she explains, “came initially from the Young Vic. They asked, ‘Would you be interested in making some sort of a film for our film series.’ Chiwetel [Ejiofor] has done something for Season of the Congo, and at the time, I didn’t know whether, with my focus being on the play, if I’d even have time to think about it, or what I might do it on.”

But the thought of playing Blanche before she packed her suitcase proved incredibly compelling. “I kept getting the imagery very clearly in my head, of that life,” Ms. Anderson explained. “Her past lives and breathes in the present of the play. That was the impetus.”

The short features a tottering Blanche in her studio apartment. At one point, she leans out the window, answering a pack of unseen gentleman callers. “Hey Blanche,” one of them yells up, “come have a drink with us.” She considers it, as she stands between the open window and the billowing curtain.

“How many are you?” she drawls.

“Three.”

“Well, that’s three too many,” Blanche retorts, but at the same time, she is putting on her party dress and getting ready to go. She doesn’t bother zipping the dress, just throws on a tatty stole and leaves. “That dichotomy is throughout her life and the play,” notes Ms. Anderson. “Yes, no, yes, no, yes, no, yes, no…of course.”

3



There’s a story with the unzipped dress, too. When Ms. Anderson was performing in Streetcar in London, her dress often came undone during a pivotal scene. “In our production of it,” Ms. Anderson says, laughing, “there’s a pink dress that I put on that would stay all the way up, and I could never reach all the way up, so they would have to stay it at a certain point. I also had a bra on. But there were nights when that stay wouldn’t work. So for the whole scene, I had to hold the dress up and gesticulate like this [waves wildly] and it was fine and it worked, but that [Blanche’s unzipped dress in The Departure] reminded me of that time on stage. It wasn’t so hilarious the first couple of times it happened. I was like, ‘I can’t believe this!’ Plus there’s mashed potatoes and food and gravy and beer that the dress is sweeping up, and I’m stomping around in this dress.”

4

Ms. Anderson is very careful, a private person who doesn’t like the stranger who keeps lingering about by the glass doors of the theater, and she’s careful with her words. She lived in England as a child, and learned to swap accents with ease. She’s lived in America, filmed for months in Canada and now lives back in England. She might have something to add to the current debate on who, exactly, is an American citizen. But when asked about politics, she stays out of it.

“I don’t know this debate,” she demurs. When pressed, she keeps out of the fray and speaks only to her own experience. “Well, in terms of immigration, I feel like London has my heart, and I feel like potentially my soul is still in America. I’ve been asked before if I would give up citizenship. And I wouldn’t. I’m quite clear on that. And I do identify as an American,” and she says it with an emphatic American accent. “But because of the depth of my childhood there, it is so ingrained, that I long for England when I’m away from it.”

5

Ms. Anderson can blur the line between American and British, but Tennessee Williams’ play is something else altogether. “I don’t think Tennessee’s plays could be transposed in any other place but America. It felt very quintessentially American when we did it in the U.K. And it’s a mixed cast, half British, half American, all played it American. It definitely feels like a quintessentially American play.”

The play debuted at the Young Vic in 2014 to spectacular reviews. Written in 1947, A Streetcar Named Desire now features music from Patsy Cline and PJ Harvey, and has a decidedly modern air. The U.K. cast features Ben Foster as Stanley and Vanessa Kirby as Stella, and is directed by Benedict Andrews, revered for his innovative productions of Three Sisters and Streetcar.

“Bringing something that’s been built and created in the U.K. and bringing it here and it will be differently judged,” she points out. Ms. Anderson is full of praise for her co-stars and the director. “I think one of the things that Benedict Andrews is so brilliant at is getting to the root of the writer’s intention and certainly the type of archaeological work that we did to bring out its essential truth was so specific. We were mining for the gold of Tennessee Williams.”

6

She also completely inhabits Stella Gibson, in a tour de force performance in The Fall, which airs on Netflix. Stella is a detective superintendent from London, brought in to investigate a series of murders in Belfast. Who is Stella Gibson, besides the most elusive and compelling character on television today? “I feel like she is something rare and unique in contemporary creative culture. She’s her own species almost,” Ms. Anderson declares. She credits Alan Cubitt, who writes the series, now about to release its third season. “I remember when we were filming, I kept thinking, ‘There’s something about her I think women are going to understand. There’s elements of her that I certainly don’t have in me. There are confounding and just unique enigmatic aspects that if I were paying attention, I would aspire to!’ ” Stella is both heartless—she has no sympathy for a cuckolded wife, and little pity for the men who inevitably fall in love with her. But Stella weeps for her victims, and agonizes over the unknown fate of one of the killer’s victims. “So much of who she is is not how I am in my life. But I find her so compelling still and felt that from the moment we were working on it, even when we were doing the press for it, I kept saying, ‘She’s going to be good for women!’ ”

7

Stella (in The Fall, that is, not Stella Kowalski) drinks, and is sexually omnivorous, hitting on both a female medical examiner and at one point stopping in her police car at an investigation just because the detective there is very striking. She gets out of the car, tells him her hotel room number, and leaves. Cool.

But in a few years, when her beauty begins to fade, could Stella become a Blanche DuBois? No, says Ms. Anderson. “I don’t think so. The thing about Blanche is that Tennessee talks about the delicate humans of the world. Blanche is delicate in a way that Stella [Gibson] will never be. “

8

Ms. Anderson has famously played two law enforcement characters, both of them the voice of reason and eminently competent. Agent Scully was the only person who could keep Mulder in check. In The Fall, there’s a glorious scene with a suicide where Stella takes control of the situation. She excises a hysterical woman from the scene with surgical grace. Is the actor anything like these police officers?



Ms. Anderson laughs again. “I might be the one who gets hysterical! Seriously, I don’t have the same reflexes that she [Stella] has in my life. I’d like to think that I would because of all the police officers I’ve played, but I’m actually a little bit of a ditz. I’d probably be the one going, ‘Now what am I supposed to do? Where’s the exit?’ ” She laughs: “The truth comes out!”

9

Stella Gibson has a deep connection to Paul Spector (Jamie Dornan, who is possibly too handsome to portray a murderer, because you kind of wouldn’t mind seeing him creep into your bedroom) and the show does little to explain their bond. So why, when both Paul and Stella’s lover, Tom Anderson, gets shot, does Stella run to Paul? Pure practicality, explains Ms. Anderson. She hesitates to reveal too much, and wisely pulls back. “Before, when I answered this question, it was speculative…” she says slowly. Now that she’s filmed season three, she knows. “But the fact of the matter is, [Stella] doesn’t want him to die. She can tell the wounds to Anderson are not as bad. He’s sitting up, whereas Spector is bleeding out. She wants to see him in prison. She wants to see him punished for what he’s done. She doesn’t want him to get away with death. It would be so easy.” As for the link between cop and killer, season three will reveal…absolutely nothing about it.

10

Stella is an elegant presence in the police station, wearing flimsy silky tops and gorgeously high heels. But she leaves her hotel and sleeps on a cot in an office. Stella is eminently self-reliant, Ms. Anderson explains. “It’s part of who she is. She’s a grafter, as they say over there. She’s a worker. She will do whatever it takes to get to the root of the disease. She works until the work is done. If it’s too late to go back to the hotel, she makes sure she has something to change into and her dry cleaning. She takes good care of her clothes in that way. It’s a very good juxtaposition between the cot and the cashmere sweater. And she makes do. She gets her needs met, regardless.”

11

Ms. Anderson is the co-author of a line of successful science-fiction books. She has written (with Jeff Rovin) two volumes of The Earth End Saga. Ms. Anderson joined the secret sci-fi society when she was cast in The X-Files, but, she recounts, it wasn’t until she realized “how much of the science-fiction films that were out in the ’70s and ’80s were big parts of my life and I had a secret love for them. For me the way into to it was to create a character [Caitlin O’Hara] that I didn’t think necessarily existed in that genre—a normal mom. She discovers that she can do things that she didn’t realize that she could do. That she’s not a superhero. She’s just a psychiatrist. She’s learning about it at the same time the audience is.”

Typically, Ms. Anderson gives credit to those around her. “It’s very clear to me that I could not do this in any way, shape, or form without Jeff. I am a co-backseat writer in this. It’s something I enjoy immensely. I’m not at a stage on my writing that I know where chapter one would go. My brain doesn’t work that way, or at least I haven’t asked my brain to work that way to try and figure something out.”



Best of all, the books will be coming to the small screen. “We’ve just recently sold this to be made into a TV series. It hasn’t been announced yet, so I can’t tell you who will be in it, but it will be announced within the next few weeks.”

12

Ms. Anderson rarely watches anything. She doesn’t binge on Netflix and she doesn’t see many movies either. “I don’t watch anything. I do not know where people find the time,” she says flatly. “On planes, I work. I’ve got another book I’m working on. Or I am memorizing lines. I think I watched my first film in a year and a half just recently. I watched a French film called Marguerite, about this Parisian singer who had the most ghastly voice ever in the history of human beings. And she sang in salons. It was eventually determined that she literally had no idea and she was loopy. Eventually someone told her and she collapsed,” and she giggles for a while. “Then my daughter was here recently and the one night we went out properly we saw Deadpool. So it’s a great juxtaposition: a French film and Deadpool.”

13

She likes my boots. Dr. Martens 1460 Originals 8 Eye Lace Up Boot, Pewter Koram Flash. She ends the interview by interviewing me. When she learns I reviewed the season finale of the new season of The X-Files, she really wants to know. “Were you happy with them?” she asks me, quite earnestly. “The extra episodes?”

“I was ecstatic,” I answer. She is pleased. When I express sorrow that Mulder is left to die in a crappy white car on an anonymous bridge, she offers a little comfort.

“I think that the mixture of the success in the rerun and the clear statement of the desire for it to continue is still out there, then I think it more likely than not to continue. I think that in retrospect, there was maybe a hope that it would be seven, not six. So it was a bit more abrupt maybe than it would have been.”

With that, her milky coffee is finished and so are we.

[NikitA]

Best of all, the books will be coming to the small screen. “We’ve just recently sold this to be made into a TV series. It hasn’t been announced yet, so I can’t tell you who will be in it, but it will be announced within the next few weeks.”

Ещё бы она себе отвела там какую-нить роль

I think that in retrospect, there was maybe a hope that it would be seven, not six. So it was a bit more abrupt maybe than it would have been.

Интересно... Серий могло бы быть 7...?! Нам недодали.

[Monday]

Интересно... Серий могло бы быть 7...?! Нам недодали.

И не стыдно им. Нищих грабить

[Белая Тигрица]

Интересно... Серий могло бы быть 7...?! Нам недодали.

А!