DC Comics confirmed the part of Vandal Savage in DC’s Legends of Tomorrow has been cast. Danish actor Casper Crump will take on the role of the villain in The CW’s new series, which isn’t premiering until 2016.
However, we’ll get to see Crump as Vandal Savage first in Arrow and The Flash crossover episodes before Legends of Tomorrow debuts.
DC Comics released this description of the character and the actor who’ll be playing him in Legends of Tomorrow: “Vandal Savage is immortal, having spent the past 6,000 years moving like a virulent disease through history, whispering in the ears of despots and dictators, all leading to his eventual domination of the world. While the actor may not be a known name here in the United States, it’s hard to argue that Crump doesn’t look perfect for the part.
First introduced in 1944, Vandal Savage has been one of the DC Universe’s biggest heavies for over 70 years, frequently going up against the Justice Society and most recently fighting alongside Etrigan the Demon and Madame Xanadu in The New 52’s Demon Knights. However, he’s never been brought to live action life before (though he’s appeared in animated movies and shows, including Justice League: Doom and Young Justice).”
Crump just finished up work on Tarzan for director David Yates. The Tarzan cast also includes Margot Robbie as Jane, Alexander Skarsgard as Tarzan, and Christoph Waltz as Captain Rom.
The Western Bone Tomahawk has been picked up for release by RLJ Entertainment, with the company acquiring the movie’s US and Canadian distribution rights. Kurt Russell headlines the drama which also features Patrick Wilson, Matthew Fox, Lili Simmons, and Richard Jenkins. Bone Tomahawk was written and directed by S. Craig Zahler who made his feature film directorial debut with the film.
“We are proud to be bringing this thrilling film to US audiences this year,” said Mark Ward, RLJ Entertainment’s Chief Acquisitions Officer announcing the acquisition. “With S. Craig Zahler’s uncompromising vision and the raw performances from the incredible cast, there is no doubt that Bone Tomahawk will be an instant classic.”
Dallas Sonnier, Jack Heller, and Gregory Zuk produced the film with Wayne Marc Godfrey, Robert Jones, and David Gilbrey executive producing.
The Plot: “When a group of cannibal savages kidnaps settlers from the small town of Bright Hope, an unlikely team of gunslingers, led by Sheriff Franklin Hunt (Russell), sets out to bring them home. But their enemy is more ruthless than anyone could have imagined, putting their mission – and survival itself – in serious jeopardy.”
RLJ Entertainment hasn’t announced when we can expect to see Bone Tomahawk in theaters.
Filming is officially underway in LA on ABC Family’s Stay from writer/executive producer Spenser Cohen. The network also announced the cast list, with Skeet Ulrich, Elizabeth Cappuccino, Jordan Fisher, Alicia Coppola, Brianna Brown, Leonard Howze, Sosie Bacon, and Mia Vallett all confirmed for roles.
Jon Turteltaub (National Treasure) is directing the pilot. Turtletaub is also executive producing the thriller along with Cohen and Anna Halberg.
The Plot: “Stay is an edge-of-your-seat thriller about a recently widowed police detective and his two daughters, who are stranded at a foreboding hotel and must unravel the hotel’s mysteries to escape. Skeet Ulrich will portray Shane Brenner, a recently widowed father who has mysteriously packed up his daughters to move them across country, but is stranded by a storm at a mysterious old hotel. Elizabeth Cappuccino stars as Shane’s strong-willed daughter Claire, who is eaten away by guilt after her mother’s death. Jordan Fisher plays Miles, an avid photographer who instantly bonds with a reluctant Claire. He is also stranded at the hotel with his troubled mother, Alison, played by Alicia Coppola. Sosie Bacon costars as Charlotte, who was running away from her privileged upbringing when she was stranded at the hotel. Brianna Brown plays Eva, a con artist out to right past wrongs. Leonard Howze will play Wagner, a gentle soul with a self-deprecating sense of humor. And Mia Vallet rounds out the cast as the Girl in Grey, a girl on a journey of revenge who mysteriously appears outside of the hotel in desperate need of help.”
Jeremy Irvine stars in ‘Stonewall’ (Photo Courtesy of Roadside Attractions)
The official trailer has been released for the dramatic film Stonewall directed by Roland Emmerich. The film is set during the 1969 Stonewall Riots and stars Jeremy Irvine, Jonathan Rhys Meyers, Joey King, and Ron Perlman. Roadside Attractions will be opening the film theatrically on September 25, 2015.
The Plot:
Stonewall is a drama about a fictional young man caught up during the 1969 Stonewall Riots. Danny Winters (Jeremy Irvine) is forced to leave behind friends and loved ones when he is kicked out of his parent’s home and flees to New York. Alone in Greenwich Village, homeless and destitute, he befriends a group of street kids who soon introduce him to the local watering hole The Stonewall Inn; however, this shady, mafia-run club is far from a safe-haven. As Danny and his friends experience discrimination, endure atrocities and are repeatedly harassed by the police, we see a rage begin to build. This emotion runs through Danny and the entire community of young gays, lesbians and drag queens who populate the Stonewall Inn and erupts in a storm of anger. With the toss of a single brick, a riot ensues and a crusade for equality is born.
AMC will premiere the six-part dramatic action series Into the Badlands on November 15, 2015 at 10pm ET/PT. Created by Al Gough and Miles Millar, the series is set in a future when a “feudal society has emerged and the strongest and most brutal rose to wealth and power. This area came to be called the Badlands, and is divided among seven rival Barons who control the resources necessary to daily life and enforce their rule with the aid of loyal armies known as Clippers. Clippers enjoy status and comforts the general population can only dream of, and they are willing to sacrifice their lives in service to their Barons. Few Clippers ever live to see their 30th birthday, but Sunny (Daniel Wu) is no ordinary Clipper. Demonstrating lethal proficiency in martial arts, Sunny rose swiftly through the ranks to become Quinn’s (Marton Csokas) Head Clipper and most trusted advisor.”
Emily Beecham stars as The Widow, a new Baron who’s challenging Quinn’s position as the most powerful Baron.
AMC’s Into the Badlands cast members and executive producers were on hand at this year’s San Diego Comic Con and in addition to participating in a Q&A with Comic Con attendees, they took part in roundtable interviews to further discuss the new show.
Al Gough, Miles Millar, Marton Csokas, Emily Beecham, and Orla Brady Roundtable Interview:
Will we get an idea why your character chose the butterfly symbol and the name The Widow?
Emily Beecham: “Yeah, absolutely. She’s taken under a wing of a bunch of young girls and she’s been training them as skilled fighters. I think the symbol of the butterfly, she sees it metaphorically as a symbol for her and these young girls rising out of the bad experiences they had in their past. They were abused and she had an abusive husband. Like breaking out of a cocoon and becoming a bold, powerful and free butterfly. She uses that a lot when talking to the girls and she’s very protective of them, guiding them. So I think it’s a symbol of strength and femininity, a feminine, strong symbol.”
Were there any other characters that inspired you?
Emily Beecham: “Yeah, tons. Loads. I watched an awful lot of Kung Fu movies thinking that would help me with the martial arts. Yeah, it was preparing for what we were going to is very difficult martial arts, but we had a really intensive fight week training, and we needed it.”
What was martial arts camp like?
Emily Beecham: “The training camp, it was really challenging. Not only physically, but mentally as well because it was exhausting. And especially in the New Orleans heat…we were training in serious heat. We had to become more flexible and build muscles in my body that I hadn’t used before, like the stomach muscles and everything. You have to do the same moves repeatedly on wires at bizarre angles, and fight against huge men who are twice the size of me and really fast and agile. It was exciting and challenging. It was good.”
How did you come up with the idea for the show?
Al Gough: “We wanted to do a martial arts show. The first films we did in Hollywood were Lethal Weapon 4 with Jet Li and Shanghai Noon and Shanghai Knights with Jackie Chan. It was something that it’s such a wonderful sort of form but you don’t really see it on television, because usually they don’t give the time to actually do it correctly. So when we went in and pitched the show, the first thing we said was, ‘You have eight days to shoot an episode but then you’re going to need simultaneously eight days for a fight, to actually be able to do these fights properly and get all the pieces and really be true to the authentic Hong Kong martial arts style.”
Miles Millar: “The other thing we wanted to do was really elevate the idea of what could a martial arts show be? Because that wouldn’t just be about martial arts. It would be about real characters, real emotion, and then a story and drama you would follow in the vein of Crouching Tiger, that women would like. The drama would be as magical and involving as the action. It wouldn’t just be about martial arts and fights, like a cop show. It would be something that would be more elevated and more interesting and more original. So the idea of this became a science fiction series really at its core, even though it borrows visually elements from the Victorian era. So it’s how do you reinvent this genre and pull from other, all Asian cultures? The Japanese cinema, Kurosawa, from Chinese cinema, Hong Kong cinema and do this deliberate mashup of Asian and Western, particularly Western Westerns, and make it feel and be authentic to itself so it’s uniquely original. I think you see the trailer, certainly you’ve seen nothing like this in terms of a world creation that feels real and different and textured. The idea this is a distressed future but also the idea that almost like the jungle, the environment is encroaching, things are crumbling. It’s moldy and sweaty. It’s dirty. It has an authenticity and a veracity to how it feels and looks. It’s very important.”
Can you talk about the challenge of writing these episodes knowing you wanted this amount of action, knowing the history you’ve had working with fight units and actors?
Al Gough: “It was a very interesting setup of the show. Obviously, we have to set out and write the best story you can tell.”
Miles Millar: “And create the best characters and do the best casting. It’s giving the show soul and heart. The way to get, in terms of a martial arts fight to be great, is that you really care about who’s fighting. It’s all about the work you do as character creation and the relationships. If you have a character entering a fight that you really care about, then the fight’s going to be much better than if it’s just guys fighting, or women fighting. So that’s the difference between the B movie and something that’s really elevated. The reason The Walking Dead works is that you really care about those people and their jeopardy. So that was our aim for this, that if you care about these people and their emotional journeys and their dilemmas, then you will care when they get into fight. That will elevate the martial arts, too.”
How do you shape episodes within these constraints?
Al Gough: “Like I said, we had an eight day fight unit. What we did is we offset the fight unit from the main unit so that actors could move back and forth to be able to do the fights.”
Miles Millar: “It’s a 3D chess game.”
And in terms of storytelling?
Al Gough: “We’ve written a lot of martial arts movies and we always write out the fight sequences. We did it for Jackie, we did it for Jet. What you have to do is make sure all the story points and the emotional beats are within the fight and they have to be scripted.”
Miles Millar: “We usually find an environment or a concept. So for example, we have the sword fight in the rain that was in the first episode. The concept was a sword fight in the rain which would be involving our hero, Sunny [played by Daniel Wu]. So how does that work within the emotion, but then how do we practically build a set that has rain towers and going to shoot eight days in the rain? What does that mean for wardrobe and vehicles? In terms of the practicalities, how are you going to drain a set of water for eight days? How are you going to keep actors from freezing? So, under their things they’re wearing wetsuits. It’s all practicalities of production but also you want the visual power of that sequence.”
Will we see Lydia is the person actually pulling the strings? She seems more powerful than she’s portrayed.
Orla Brady: “I think Lydia begins to have, literally begins an understanding of autonomy at a certain point. I think she has seen herself, as many women do, in relation to she’s a wife or a mother or some sort of part of a larger picture. I think during the course of our story, she finds an old copy of A Room of One’s Own. I don’t know how much I’m allowed to say but there is a moment when she begins to question everything, the way she has lived her life and that maybe she wasn’t that person. Maybe she is somebody who has a different life. That could be, so I’m glad you asked that.”
Miles Millar: “That’s true of a lot of the characters in the show, that they’re all actually reaching a crisis point in their lives. Marton [Csokas] has a crisis and The Widow is also struggling at this point, so it’s all about people in crisis.”
Marton, you play a lot of villains. What do you make of this character?
Marton Csokas: “Also in my career I’ve played a lot of great characters, but the more commercial things seem to be in people’s minds. I thought this is an adventure. There were many aspects that I liked. It wasn’t sort of a straight line of a story at all. It’s influenced by all the things that have been discussed already. It has an Oriental quality, it has a Victorian quality, a neo-Victorian quality. It has the potential to be a parable for the life that we live now while maintaining an older storytelling structure but thrown into the future and have the adept hand of Al and Miles who go inside the world that we’re articulating and comment philosophically and psychologically on the human condition. And, the women are very strong. It’s a whole universe and as a metaphor for what we endure every day and very heightened circumstances in the future. So it brings out Darwinian qualities in people and it also brings out existential questions too. And they live, love, die in this very unusual world.”
Is your fighting style more medieval?
Marton Csokas: “Yeah, samurai with a broadsword so it has a medieval aspect, yes. But it also has the long list of martial arts styles that Stephen Fung and Master BD utilize. It’s a hybrid of things.”
The stunt crew are all friends. How do you work their relationship into your show?
Al Gough: “Basically, you have the person who is going to double for the actor, trains the actor. So it’s a lot of that and it’s all, again, as Emily said and Marton said, they have this training which they really want to get you flexible and using muscles and knowing how to do things over and over again. And then you train with their team and choreograph with their team. And then the team can sometimes double for you or doubles for the person that you’re going to be fighting against.”
Miles Millar: “I think you’d be amazed how much everyone does. You’ll never know what’s a double and what’s the real actor. It’s the point of the technique that we’re using that when you see Marton in a big fight with one of our other characters, that you’ll see Marton and you’ll see with Emily. When she fights, you really feel she’s doing all of it. So it’s just the skill set of people like Stephen Fung, they know what moments to pick the real actor, what moments to double. It’s a magic trick but it works.”
What can you say about the visual palette that distinguishes each set?
Miles Millar: “Well world building is key to a show like this. We spend a lot of time talking about the visual palette and how this show would be different. We didn’t want to verge into cliche or venture into the dusty Book of Eli/Mad Max desaturation desert. It’s a deliberate choice the saturation to go for jungle. One of the inspirations was Chernobyl which 30 years after Chernobyl, it was a paradise for wildlife, a refuge. Nature’s taken over and encroached. Even Angkor Wat. You see nature’s incredibly strong, it’s violent, and it’s much stronger than man. So the idea that this world, it has the facade of respectability but actually if you look closely, everything is distressed. There’s sweaty bedspreads. The curtains are moldy and ripped. It’s a distressed future which is sort of like a facade that the barons have put on, and that each baron has a very distinct look. They’ve taken things from the past and turned them into their own. So Quinn and his clipper force wear red vests. It’s minimalist Samurai Asian.
There’s another baron we meet called Jacoby and his clippers wear tartan. There’s a steampunk Neo-Victorian feel to the show which is deliberate in terms of its aesthetic. You look at the show, it feels like it’s set in the past but actually look closely. Everything’s streamlined. It has a futuristic edge to it in terms of the design of particularly the wardrobe. Lydia and Jade who are Quinn’s respective wife, their outfits are actually modeled after classic 1970 Halston outfits. So if you look closely, it all works as a whole and Lydia’s color is purple for example. Jade’s color is blue, so the choice of color palettes for both characters is very deliberate. The Widow’s is black but the butterfly is jewel-toned. So it’s really looking at the show in a very deliberate way that when you see these characters, you’ll know who they are. So it’s really important that the choices of color and silhouette for the wardrobe were very specific. And, again, it was all about trying to create an original world that we hadn’t seen before.”
As actors, how do you make the characters three dimensional?
Marton Csokas: “All the combination of things that have been discussed. Wardrobe’s obviously very important and that’s going to a Neo-Victorian element. There’s a cummerbund and a high collar. There’s long lines in the trousers and boots. That’s going to make me, whether I like it or not, walk in a certain way and I can adapt accordingly, but it gives an elevation. He’s a baron, he has an elevation. And in the color, red, says passion, desire, lust and blood, all those kinds of things, royalty.
Within the words that we have, the overall structure of the story, I try and look for psychological archetype. And then bring detail into that based upon work that an actor should do and can do. So there’s animal work and there’s psychological work. How to speak, what accent, what rhythms? How does this person think and accordingly how do they see the world around them? And then the world of course informs how they behave based upon their interpersonal relationships. Power is a strong driving force in this world. Everybody needs to survive. Who do they trust? Betrayal. We’re dealing in that kind of currency so you build somebody up for your own benefit, you always have to be careful that they don’t usurp you. Will they, won’t they? And if I’m building somebody up, will I undercut them at some stage?
In some ways, it’s an expansive world. It’s also a very small world because it turns on a small area. You can be knocked off any second. A vast world, but at the same time, Emily as The Widow, if we were sitting in this proximity, might well thrust a dagger in my side. Lydia and her husband and wife could very well take a fork or [knife], but they also need each other so the tension is enormous. If you get rid of somebody, everybody else is going to come from the swarm.”
Al Gough: “It becomes like a power vacuum. The thing with the barons is they’re sort of part warlord, part feudal king and part mob boss. The Badlands, the economics is they’re all interrelated. They all control certain resources that they need from the other. So it’s always the uneasy alliance of those nation states, as it were.”
Corey Stoll (Photo by Richard Chavez / Showbiz Junkies)
The announcement was short but sweet. The notoriously secretive filmmaker Woody Allen revealed the cast list for his upcoming film which will shoot in New York and Los Angeles. Filming’s expected to begin this month on the untitled project executive produced by Ronald L. Chez, Adam B. Stern, and Allan Teh. Letty Aronson and Steve Tenenbaum are back collaborating with Allen as producers. Edward Walson is also producing.
The cast list was released in alphabetical order: Jeannie Berlin, Jesse Eisenberg, Blake Lively, Parker Posey, Kristen Stewart, Corey Stoll, Ken Stott, and Bruce Willis.
Allen also revealed Anna Camp, Stephen Kunken, Sari Lennick, and Paul Schneider will co-star.
The plot has not been unveiled nor has the expected theatrical release date been announced.
The new video from 20th Century Fox’s The Martian features Matt Damon, Jessica Chastain, Kate Mara, Michael Pena, Sebastian Stan, and Aksel Hennie questioned after spending 10 days and nights in isolation prior to their mission to Mars. Directed by Ridley Scott and adapted for the screen from Andy Weir’s novel by Drew Goddard, The Martian cast also includes Kristen Wiig, Jeff Daniels, Sean Bean, Donald Glover, Mackenzie Davis, and Chiwetel Ejiofor.
Fox will be releasing the film in theaters on October 2, 2015.
The Plot:
During a manned mission to Mars, Astronaut Mark Watney (Damon) is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive. Millions of miles away, NASA and a team of international scientists work tirelessly to bring “the Martian” home, while his crewmates concurrently plot a daring, if not impossible, rescue mission. As these stories of incredible bravery unfold, the world comes together to root for Watney’s safe return.
Tom Cavanagh at the 2015 SD Comic Con (Photo by Richard Chavez)
Tom Cavanagh was very cagey when it came to discussing what’s happening in season two of The CW’s breakout series The Flash during roundtable interviews at the 2015 San Diego Comic-Con. Laughing, Cavanagh said, “I know what’s happening and I’m not going to tell you any of it!” Sticking pretty much to that promise, Cavanagh did say that he and executive producers Greg Berlanti, Andrew Kreisberg, and Geoff Johns would like to see more Flash and Arrow cross-over episodes.
“Last year, I think Johns and Greg and Andrew felt like they did a solid job bridging Arrow and The Flash, and if the viewership numbers are a testament to that, then we did,” explained Cavanagh. “It’s very organic for Martin Stein and Harrison Wells and Reverse Flash and Oliver – all of those guys to join up again. […]We certainly have a desire to. It’s all part of the same world. We all want to explore as much as possible of that world.”
Looking back on season one of the series, Cavanagh said episode 15 in which Eobard Thawne murders Cisco Ramon (played by Carlos Valdes) was a truly pivotal episode of the show. “It was tremendous because this is episode 15 – we talked about this when we had a screening of episode 15 in Hollywood. I’ve never been part of a television show that says we’re going to air not a season finale or not a pilot, we’re going to air a mid-season part of it and we’re going to have a special airing of it.
We did it because most of the journalists in the room could say episode 15 felt like a season finale. He declares his love, I kill Cisco, I get out of my chair, Joe is dying because of the weather wizards… It had so much stuff going on and that’s in 48 minutes of television. The fact that we had a big moment when Eobard Thawne kills Cisco, that feels like a really big moment when one of your main cast members dies. And the nice thing about the way we structured the story was we could then do that scene and Carlos and I could do that scene five different times.
Next episode, we come back and we need a lucid dream to try and get some information. Next episode it’s a flashback. And our next episode…we kept coming back and we got to do it many different ways every time,” explained Cavanagh. “It was fun to put my hand through his chest. I think we did it organically without us trying to cheat and we got to show people again and again and again how horrifying this was and also raised questions about will it happen again and how will he be affected. How will I be affected?”
As for season two, about the only solid hint Cavanagh would drop was that everything that happens will be earned. They won’t be taking any shortcuts in storytelling. “My starting point is always Eobard Thawne and what’s nice about being that person is there’s a lot of different worlds that Eobard Thawne can encompass and because of that there’s always new people we can bring in. It doesn’t feel like a cheat; it’s in an organic fashion. I very much enjoy that.”
“What I really enjoy about that character is you know it’s a comic book so the walls that prevent us from joining people who are big in mythology come down very quickly, and everybody wants to see it. Everybody wants to see that. Even though they want to see it, you want to do it in the best possible way that will give people… You want to do it where you feel like you have earned it,” said Cavanagh.
Season two of The CW’s The Flash will premiere on October 6, 2015.
Katie Cassidy (Photo by Richard Chavez / Showbiz Junkies)
Katie Cassidy is proud – as she should be – of the amount of physical training she’s put into playing Laurel Lance/Black Canary on The CW’s Arrow. With season four set to premiere later this year, Cassidy has been dedicated to making sure she is in top shape so that she makes for a believable superhero on TV.
“The thing is I’ve always wanted to be in this genre. I love training; I love working out. I love action, and I kind of realize that I can determine my own destiny. I realized that I love working out and I love being healthy, and they’re basically saying, ‘You’ve got to look like you’re in superhero shape.’ And I also think it makes the character on the show a lot more realistic the more I can do,” explained Cassidy during roundtable interviews at the 2015 San Diego Comic Con. “As an actor I just feel like in my brain that’s what I would do is train and work out and work hard. It’s been really hard but it certainly has paid off. I don’t know if you guys follow me on Instagram but the training, I take it really seriously. But I love it and it makes you feel good too, being strong and having biceps.”
Speaking of her powerful biceps, Cassidy hopes the writers will include scenes of her using the salmon ladder in upcoming episodes. “[…]I’ve actually been working on it and I certainly hope so,” she said when asked about the possibility of that taking place in season four. Cassidy hasn’t actually been on the real salmon ladder yet because it’s on set and they’re on hiatus, but Stephen Amell clued her in on how to tackle it. “He was like, ‘As long as you can do a pull-up… ‘Can you do a pull-up? Can you do three pull-ups?’ I was like, ‘Yes! I can do 30 pull-ups.’ He’s like, ‘That’s all you really need to do. As long as you can do pull-ups, you’re going to be okay.’ I used to be a competitive gymnast and I feel like it’ll be pretty – I don’t want to say easy – but I feel like I got it.”
Cassidy obviously admires Laurel and says she’s a fighter with a lot of heart. “I definitely think that we’ll see her this season a lot more polished. She’s been training. She’s been working on her skills as much as possible. I think we’ll see her just develop and become even stronger. I also think that Andrew Kreisberg made a good point. He said, ‘Laurel always sees the light at the end of the tunnel as opposed to Oliver who can get to a dark place.’ Laurel always tries to see the positive in everything and I think that she’ll continue to do that. I think that she’s going to be a big part of the creation of Legends.”
Getting to gradually grow into the character of Black Canary and watch that storyline develop was also something Cassidy enjoys about being a part of Arrow. “As an actor it worked out perfectly and it was a dream come true because for me I like to do – to make any character I play as legitimate as possible I like to do backstory and creating as much detail as possible after script analysis to make the script and the story more legitimate,” explained Cassidy. “And so as an actor when they actually write that for me it’s genius because it makes that more realistic. I think the writers were really smart and we didn’t come out of the gates all of a sudden in season two I was Black Canary. Laurel had to go through hardship to be able to come out the other side, and for it to be believable. I think it was a slow, steady pace was definitely a good thing and I think now I can just go crazy and kick some ass! It’ll be awesome.”
Jenna Dewan Tatum (Witches of East End, Step Up) has joined the cast of CBS’ superhero series, Supergirl. Dewan Tatum will be playing Lucy Lane, the older sister of Lois Lane. DC Comics confirmed the casting news, describing the character as “brash, funny and as beautiful as her older sister Lois Lane, Lucy is strong, smart and successful in her own right. She’s got a history with Jimmy Olsen (Mehcad Brooks) and she’s come to town to right a previous wrong.”
Lucy Lane will first appear in episode three and stick around for multiple episodes.
The cast of Supergirl is led by Melissa Benoist in the title role and Mehcad Brooks as Jimmy Olsen. Chyler Leigh is Alex Danvers, Calista Flockhart is Cat Grant, David Harewood is Hank Henshaw, and Jeremy Jordan will play Winn Schott. CBS will debut the series on October 26, 2015 at 8:30pm ET/PT before moving it to its normal time slot of 8:00pm ET/PT on November 2nd.
