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    Having somehow not gotten her fill of sci-fi space drama on Battlestar Galactica, Katee Sackhoff is starring in another sci-fi space show called Another Life for Netflix that concerns an astronaut investigating the origin of some kind of alien artifact. We first heard about it buy amoxicillin online uk, with the only information being that Sackhoff would star as space explorer Niko Breckinridge (a very “TV character” name), but now Netflix has announced a premiere date and the rest of the cast that will be joining Sackhoff on her dangerous journey.

    buy ampicillin online, Another Life will also feature Selma Blair as a “21st-century influencer who uses journalism, social media, and keen intelligence” to break a big story that probably involves aliens, Supergirl’s Tyler Hoechlin will play the former captain of the spaceship who got replaced by Sackhoff (his name is Ian Yerxa, which is certainly another name), and Shameless’ Justin Chatwin will play a member of the United States Interstellar Command and Niko Breckinridge’s husband. The 10-episode first season of Another Life will premiere on July 25.

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    Netflix has finally given viewers a launch date for its Katee Sackhoff-starring sci-fi drama Another Life, along with some first-looks at the series’ “launch window” (we’ll stop with the astronaut jokes now). Stemming from showunner Aaron Martin (Killjoys) and executive producer Noreen Halpern (Haven) and set to premiere on Thursday, July 25, Sackhoff leads the series as astronaut Niko Breckinridge. Leading a young crew on a mission to search for alien intelligence, Breckinridge faces dangers unimagined as her team seeks the genesis of an alien artifact.

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    Katee Sackhoff’s Another Life Sci-Fi Drama Gets Netflix Premiere Date

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    Netflix will go in search of can i buy amoxicillin online uk when its Kate Sackhoff-led sci-fi drama premieres on Thursday, July 25.

    Hailing from from creator/showunner Aaron Martin (Killjoys) and executive producer Noreen Halpern (Haven), Another Life centers on astronaut Niko Breckinridge (played by Sackhoff) who is focused on searching for alien intelligence. As she leads a young crew on a mission to explore the genesis of an alien artifact, they face unimaginable danger on what might very well be a one-way mission. Another Life Season 1 Photos Launch Gallery

    Among the cast, Selma Blair will play Harper Glass, a 21st-century influencer who uses journalism, social media and keen intelligence in an attempt to break one of the biggest stories in human history; Tyler Hoechlin (Supergirl) is Ian Yerxa, the onetime commander of the space exploration ship who lost his post to Breckenridge; and Justin Chatwin (Shameless) will play Erik Wallace, part of the United States Interstellar Command — and Niko’s husband.

    Samuel Anderson (Sky 1’s Trollied) and Elizabeth Faith Ludlow (The Walking Dead) respectively play William, a holographic interface of a sentient A.I., and Cas Isakovic, Niko’s second-in-command and staunchest ally, while Jessica Camacho (The Flash) will play the exploratory spacecraft’s brutally honest communications expert. Other castings include Alex Ozerov (Orphan Black), Jake Abel (Supernatural) and Barbara Williams (Rookie Blue).

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  • Feb 26 2019 Vanity Fair

    “There’s No Tragedy for Me”: Selma Blair’s Transformation

    It was about 10 P.M. on Thursday, August 16, and Selma Blair, 46, was lying on an M.R.I. bed, her body jerking uncontrollably. She had spent the past five years or so fending off a battery of puzzling symptoms that came and went—neck pain, severe vertigo, trouble walking, and sudden loss of feeling in her leg. Anxiety and depression, too. And she had been so fatigued a few years ago—crawl-back-into-bed-after-dropping-off-her-son-at-school fatigued—that she told her agent she could work only in Los Angeles. But she is a single mother with a mortgage to pay. So last year she had willed herself out of bed and booked a movie in Atlanta called After and a Netflix series in Vancouver titled Another Life.

    By that point, Blair was used to doctors’ chalking her symptoms up to depression, or hormones, or an actress simply being “dramatic.” She had started that Thursday searching for the only workable solution she knew—a steroid shot to soothe her neck pain. But a new doctor demanded she get an M.R.I. immediately. So here she was, in a hospital gown and fuzzy socks, being slipped headfirst into the machine’s coffin-size camera. The M.R.I. wasn’t as frightening as her increasingly foreign body, or her inability to control it. She asked the technician to play one of her favorite Pink songs, hoping it would give her strength and stillness. Tears rolled down her cheeks as “Just Give Me a Reason” played and the M.R.I. began scanning her brain, detecting 20 lesions covering it. Within an hour, a neurologist would tell her what this likely meant: Blair suffers from multiple sclerosis, an incurable autoimmune disease that disrupts the central nervous system’s ability to communicate with the rest of the body.


    The first feeling to flood her after the diagnosis was relief. She did not have A.L.S. She finally had a name for what had been wreaking havoc on her body. Her fear was the unknown—how would she react to treatment? Would she ever reclaim control over her physical self? There were 10 minutes of tears. Then she had to get back to business.


    Noreen Halpern, an executive producer on Another Life, received word from Blair’s rep about the diagnosis. “Her manager said, ‘She’s concerned that you aren’t going to want her on the show anymore,’ which was insane to me. Because we wanted her…. What was heartbreaking for me was her having to deal with the unknown, coupled with her feeling that we weren’t going to fully embrace her. We said, ‘We’re going to make this work.’” Once Blair wrapped the film in Georgia, she flew to Vancouver. “The truth is, she’s such a pro,” said Halpern. “No one knew about it until she chose to share it with people.”


    In mid-October, Blair typed out a long Instagram caption revealing she had M.S., and thanking the Another Life crew for their support. “It wasn’t about announcing a dramatic diagnosis. I had no idea, for some reason, that news outlets would pick it up or anything,” Blair says. “When they did, I was kind of uncomfortable. Then I was worried, thinking, Will anyone hire me?” Her dark humor kicks in. “I reconnected with so many people who thought I might drop dead soon.” She heard from is it safe to buy amoxicillin online uk, whose father has M.S. Marc Jacobs, an old friend who featured the actress in two charity campaigns and named a bag after her, reached out. And Kris Jenner sent flowers that, Blair laughs, “were more expensive than my mortgage.” But three months later, her health having continued to deteriorate, she admits, “I also never thought I’d get this bad, to tell you the truth.”


    We are sitting in the corner of a dark restaurant in SoHo for an early dinner. The actress remains a striking vision, but her body in motion tells the extent of her struggle. Ever since Blair reacted poorly to a high-dose glucocorticoid treatment, she has had difficulty controlling her movements, has limped with a cane, and has spoken with a vocal tremor that she cracks is very “Katharine Hepburn in On Golden Pond.” Her vision isn’t great, and “dressing is a shit show.” Her body emits strange noises—grunts, screams. Because she can no longer raise her arms to brush her hair, she recently lopped it into a bob, dyed blond. She looks and sounds so different that her seven-year-old son, Arthur, has taken to curling up alongside her. “He wants to be closer to my body more, and I can tell he wants to make sure I’m still here inside. I used to be so athletic with him. Now I fall in front of him.”

    Some days are better than others. But curiously, according to her friend of 20 years and Cruel Intentions co-star Sarah Michelle Gellar, “there’s a calmness to her because I think now she knows she can’t do everything, and it’s O.K., some days, if she can’t.… It’s been wonderful to watch her be more settled, more content, and almost more in control of herself in a weird way.”

    As Blair sees it, “there’s a humility and a joy I have now, albeit a fatigued joy.”


    The day after our interview, Blair begins a monthly intravenous-drug therapy, which her doctor Saud Sadiq—who is director and chief research scientist of the Tisch MS Research Center of New York—is hopeful will calm her symptoms. “I’m very optimistic,” he says. “I think she’ll be a different person in a year.” But he underscores the courage in her openness. “I have patients with M.S. who are surgeons, actors, a commercial-airline pilot, sports figures, successful lawyers—they don’t want anyone to know about their illness because they feel it could hurt their career. Her decision to speak out also brings awareness and increases research funding for the disease when people can see somebody affected in the way that she is.”

    Blair has continued candidly sharing her roller-coaster journey on social media. Kris Jenner, who bonded with Blair after the actress played the Kardashian matriarch on FX’s The People v. O. J. Simpson: American Crime Story, has been closely following. “She really is sharing something so vulnerable, and so scary,” Jenner says. “She showed me what courage is, and how to be brave. I changed a bit of the way I live my life because of her.”

    Blair has several motivations for being so forthcoming. First, she wants to ensure other women aren’t making the same mistakes with medical treatment. “With my previous doctor, I put on a good face, because he was a man. We had a joking relationship. I wanted him to think I was doing well, even though I would say, ‘I’m beyond tired.… I can’t stay awake.’ I wish he would’ve taken me more seriously,” she says. “I had been so embarrassed by some events in my life, whether it was drinking or immature behavior, that, as a mother, I wanted to prove I was great even when I was telling someone I had problems. That’s a shame. So, I’d like to counterbalance it by being really honest about how I am.”

    Blair was surprised her honesty struck a chord with strangers. “I’m pretty much a nobody in Hollywood,” she says dryly. “But when I read comments on Instagram from people who were suffering, whether it was from M.S., or anything, I thought, Holy shit, there’s a need for honesty about being disabled from someone recognizable.” Blair can’t sleep much lately, so she has been trying to respond to many of the people who take the time to comment on her posts. “I care about the people on my damn Instagram,” she says. “An actor I admire said Instagram could have been a great experiment for the human condition, but instead it’s curated narcissism. And, yes, there’s some of that. But for me, it has been an exploration into the human condition.”


    Blair grew up in a Jewish, upper-middle-class household in suburban Michigan, the youngest of four daughters to an attorney father and judge mother. Their family seemed normal from the outside, but Blair alludes to a simmering unhappiness, mentioning that she began drinking at the age of seven, after discovering the intoxicating effect of wine at Passover Seder. Asked what led her to drink so early, she only says, “I have a history of sadness,” before pivoting to happier thoughts. “I had some wonderful moments, too. We took amazing family vacations to Puerto Rico and Aruba and New York. We lived one life and vacationed another. And those bright spots, those dapples of sunlight in the pool, kept me going.” It wasn’t until she enrolled at Cranbrook Kingswood private school that she began to flourish creatively: “Keith Haring did our yearbooks. Yoko Ono came to speak…. That experience showed me there’s more than the dark hallway of my house and my brain. And movies did it for me. And fashion.”

    After graduating magna cum laude from the University of Michigan with a degree in English, psychology, and photography, Blair relocated to New York. An agent discovered her in a theater class, and, within a few years, she had made her mainstream breakout in Cruel Intentions. Her momentum carried over into the aughts—she landed alongside Reese Witherspoon in 2001’s Legally Blonde. She balanced popular fare like 2002’s rom-com The Sweetest Thing with interesting turns in thought-provoking indies, like the Todd Solondz films Storytelling and Dark Horse, and Lori Petty’s autobiographical drama, The Poker House, playing Jennifer Lawrence’s prostitute mother. In 2004, Guillermo del Toro cast Blair in his adaptation of the Hellboy comic as the title character’s paranormal love interest, Liz Sherman. Her performance was singled out as “superb” by The New York Times, and she reprised the character in the 2008 sequel, but Blair was clinically depressed while filming both movies. Afterward, because of her fatigue and physical condition, she limited herself to Los Angeles-based opportunities, like the short-lived TV series Kath & Kim.

    But Blair had difficulty finding roles that coalesced with her quirks—she’s clearly intelligent and deadpan hilarious, patrician but disarmingly blunt. In conversation, it’s easy to see why she and, say, Carrie Fisher hit it off. Blair says the Star Wars actress approached her about 15 years ago at the Four Seasons and simply said, “I want to be friends. I’m having a birthday party tonight, come.” Blair did, and when she married Ahmet Zappa, son of Frank, in 2004, Fisher hosted the wedding at her Beverly Hills home. (Karl Lagerfeld designed two wedding dresses for Blair, one in pale pink, and an identical one in black for the reception so she would not have to worry about spilling her red wine. “I told him, ‘I want a big gown,’ and he said, ‘For your next wedding.’ ”) The marriage did not last—it ended in 2006—but the friendship with Fisher did. “I was not the closest person to her when she died, but her spirit was the greatest of all time—she touched everyone,” says Blair. “I pray to her at night and say, ‘Give me a little bit of your attitude.’ And she does.”

    Another actress Blair connected with is Parker Posey. Nearly two decades after co-starring in The Sweetest Thing, the wry, raven-haired women reunited to play sisters in Netflix’s Lost in Space. “I think we’re both kind of loners, on the fringe,” Posey wrote in an e-mail. “My first impression was that she was really cool—Selma has eyes that elicit a coolness and knowingness.… We both have ‘resting bitch face.’… There’s a sweetness to Selma and an easy glamour—subtle humor.”

    Blair does not always speak about herself in the same glowing terms. On her career, Blair says, “The best performance I gave was in a play called Gruesome Playground Injuries.” Blair played Kayleen, a woman who loves deeply but harms herself, in the two-person play from Pulitzer Prize finalist Rajiv Joseph, during a run in Houston. “It was the hardest, bravest thing I’ve ever done. But then it came to New York, and they didn’t cast me even though I originated the role,” says Blair. “So a few people in Houston might know I am very talented. But the rest of the world might know me as Cecile Caldwell,” she adds, citing her Cruel Intentions character. “And that’s O.K.”

    In the past, it seems that Blair, like Kayleen, was a tightly wound character who loves deeply but harms herself. “I’ve never known how to self-soothe,” she says. “That’s why people drink. And I won’t do that anymore.”

    “After I had my son and he’d go to his dad’s [fashion designer Jason Bleick], I started drinking because of the pain, one, of him not being with me, and two, my physical pain was so extreme that I would drink by myself. That was also a warning to me. I’ve never been one who handled alcohol like a lady. I was self-medicating.”

    Almost three years ago, an incident led her to give up booze cold-turkey. Blair was flying back to Los Angeles from Cancun when she took what she thought was an Ativan (medicine to treat anxiety). The pill, she later learned, was Ambien, which is known to have behavioral side effects. Fatigued and dehydrated from a good time in Mexico, Blair blacked out on the plane. Tabloid reports said that she had shouted, and was taken off on a stretcher upon landing. She was humiliated by the press, and although she says she hadn’t been drinking on the plane, she decided to re-evaluate. “It made me see things differently, and it opened up a conversation with my son about my own past with alcohol.

    “There were a couple of experiences in my recent adult life that transformed me,” Blair says, citing the plane incident as one. Coming forward two years ago with allegations about being sexually assaulted by filmmaker James Toback when she was a young actress was another revelatory moment for her. (Toback denied the allegations at the time.) “Just being free of that shame was huge,” Blair says of the experience, for which she was named a Time Person of the Year in 2017, along with other “silence breakers” in Hollywood. “And then another was being diagnosed with M.S. The doctor said, ‘Your life will forever be different.’ And I was like, ‘Well, thank God.’”

    Throughout the course of our three-hour conversation, Blair offers only one complaint about her M.S. diagnosis—and it’s related to the lack of stylish clothing available to disabled people. It might sound frivolous, but to Blair, who has always used clothes as a form of self-expression, it is a matter of identity. When Cruel Intentions and Legally Blonde opened in theaters, in the pre-stylist era of Hollywood, Blair’s inherent sense of style made her a muse for fashion brands like Stella McCartney and Marc Jacobs. Karl Lagerfeld chose her as a face of Chanel in 2005, photographing her himself. Blair has had a difficult time adapting her style for M.S. functionality and has been dreaming up a solution: “I would like to partner with someone like Christian Siriano on a line for everyone—not just people who necessarily need adaptive clothing, but for those who want comfort, too. It can still be chic. You shouldn’t have to sacrifice style. Like, let’s get elastic waistbands to look a little bit better.”

    Then there are the challenges of canes. “I bought an acrylic cane that was very Miami 1980—kind of fabulous and horrible,” Blair tells me. “But the problem with an acrylic cane with M.S. is that you drop the fucker. If it’s acrylic, I’m like, ‘Oh my God. My cane just shattered and it’s everywhere.’”

    Canes, she says, should “fit right and look cool.” “I have met so many people on Instagram who have said that they were always ashamed of their cane,” says Blair. “You want to still be part of the living, not a shuffling person people get out of the way for because they’re queasy. A cane, I think, can be a great fashion accessory.”

    She continues, “I really feel like people with disabilities are invisible to a lot of people. Because they’re uncomfortable, or don’t have the energy to dress up, don’t want to be seen.… There’s a friend I follow on Instagram, my new friend, and she’s had a stroke and both our brains are affected similarly. She’s gorgeous but lives in a boarding house and has a different life than I do. I look at her pictures and I’m like, ‘You got to get some artwork on your wall.’ I don’t know how to get there, but I have to make over her space. I want to do this for so many people. I wasn’t sensitive to it before I became like this, but luckily I am not a shy person.”

    She isn’t—and she will continue to share her story. “There’s no tragedy for me,” she says. “I’m happy, and if I can help anyone be more comfortable in their skin, it’s more than I’ve ever done before.”

    Blair will keep acting, too.

    “I don’t know if I believed in myself or had the ambition before my diagnosis,” Blair says. “And oddly now I do, and I don’t know if it’s too late.”


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  • Nov 28 2018 Deadline

    Halfire Entertainment Hires Loretta Ramos As SVP Creative Affairs

    Loretta Ramos has joined Noreen Halpern’s Halfire Entertainment (Alias Grace) as Senior Vice President of Creative Affairs, a newly created position in which she will oversee all development and production for the company. Halfire is behind Emmy-nominated Netflix limited series Alias Grace, which recently received a Gotham Award nomination as best breakthrough series (Long Form). The company is currently in production on Another Life for Netflix, starring Katee Sackhoff, Justin Chatwin and Selma Blair.

    Ramos moves to Halfire from Bryan Fuller’s Living Dead Guy Productions, where she oversaw development and production, having served as a producer on Starz’s American Gods, NBC’s Hannibal and Mockingbird Lane and Syfy’s High Moon. She has also produced several short films and music videos, including the award-winning short Sacramento, which premiered at the AFI Film Festival.

    “I could not be more excited to be working with Loretta”, said Halpern. “She’s a great producer, with superb taste, who nurtures and supports the creative process.”

    Halfire Entertainment’s previous credits include ABC’s Rookie Blue, HBO’s Hung and AMC’s Hell on Wheels.

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  • Sep 07 2018 Deadline

    ‘Another Life’: Eight Cast In Netflix Sci-Fi Drama Series

    A. J. Rivera (Grandfathered), Alexander Eling (Shadowhunters: Mortal Instruments), Alex Ozerov (The Americans), Jake Abel (Dirty John), JayR Tinaco (Rake), Jessica Camacho (The Flash), Barbara Williams (Mayans MC) and Lina Renna (The 100) have been cast in Another Life, Netflix’s sci-fi drama series, from Alias Grace producer Halfire Entertainment. They join previously announced Katee Sackhoff, Selma Blair, Justin Chatwin, Tyler Hoechlin, Samuel Anderson, Elizabeth Faith Ludlow and Blu Hunt in the 10-episode series, which Netflix picked up last April.

    Created by Aaron Martin (Slasher, Saving Hope, DeGrassi: The Next Generation), who also serves as showrunner, Another Life centers on astronaut Niko Breckinridge (Sackhoff) who is focused on searching for alien intelligence. She leads a crew on a mission to explore the genesis of an alien artifact. As Niko and her young crew investigate, they face unimaginable danger on what might very well be a one-way mission.

    Rivera will play Bernie Martinez, the Salvare’s microbiologist and part-time chef. He is an understated super-brain with a crazy green thumb and an ability to turn even the most cardboard-tasting MRE into something you’d get in a Michelin-rated restaurant. That, plus his barrage of jokes is a form of currency on The Salvare.

    Eling is Javier Almanzar, a former hacker on board The Salvare as an expert in computer engineering. He doesn’t pull punches and, though he doesn’t say a lot, he always speaks his mind. Quick to perceive offense, this quality reveals his tendency to wear his impoverished childhood like a badge.

    Ozerov will portray Oliver Sokolov, one of The Salvare’s engineers. His family fled the floods of one of the world’s many water cities and – untethered on land – he’s discovered and built an entire life online. But what happens when he’s forced to live in reality, gazillions of miles away from the Earth?

    Abel will portray Sasha Harrison, the son of the U.S. Secretary of Defense, Sasha grew up in wealth, enjoying every luxury. He never wanted to go into space, but finds himself on The Salvare as the government’s representative and diplomatic liaison. With any luck, the PR from this mission will fast-track his political career and help land him in the Oval Office one day.

    Tinaco will play Zayn Petrossian. Zayn is the ship’s medic, and since in the future medicine is a whole lot more holistic than it is now, ze is also the ship’s shrink. Ze is extremely logical, intuitive, and curious. As chief medic, ze must confront hir worst fears of losing those people ze’s grown closest to.

    Camacho is Michelle Vargas. Michelle says it like it is, which you think would help her in her job as The Salvare’s communications expert. The problem is, she’s aggressive, she complains a whole lot, and she can rub people the wrong way. She’s also exciting to be around, because you never quite know what’s going to come out of her mouth.

    Williams will play General Blair Dubois. Dubois is a General with the United States Interstellar Command, in charge of United States’ response to the Artifact. She is career military, with years of combat experience. If she was younger, she might well have been leading The Salvare mission, rather than leading the teams on the ground. All the scientists around her may be in awe of the Artifact, but she is preparing for the best and expecting the worst.

    Renna will portray Jana Breckinridge-Wallace. Jana is a wonderful mix of both her parents, Niko Breckinridge (Sackhoff) and Erik Wallace (Chatwin) – adventurous and brave, intelligent and curious. She struggles to find normalcy at home with one parent in space and in perpetual danger.

    Noreen Halpern executive produces for Halfire Entertainment.

    Abel is repped by APA, Untitled, and Jackoway Tyerman. Ozerov is repped by Thruline Entertainment and Innovative Artists. Camacho is repped by Ellis Talent Group and attorney Matt Rosen at Stone, Genow, Smelkinson, Binder & Christopher. Williams is repped by Oscars Abrams Zimel & Associates and SMS Talent.

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  • Aug 30 2018 The Hollywood Reporter

    ‘New Mutants’ Star Blu Hunt Joins Netflix’s ‘Another Life’

    Hunt joins a cast on the sci-fi drama that includes Katee Sackhoff, Selma Blair and Tyler Hoechlin.

    The cast of the Netflix outer-space series Another Life continues to grow.

    Shortly after signing four actors to join lead Katee Sackhoff and Selma Blair in the project, the show has added Blu Hunt to the ensemble, The Hollywood Reporter has learned. Hunt will play August, the lead engineer and youngest member of the crew aboard the spaceship commanded by astronaut Niko Breckinridge (Sackhoff).

    Another Life centers on Niko and the crew of the ship Salvare as they undertake a mission to find out the origins of an alien artifact. They face unimaginable danger and the growing realization that they may be making a one-way trip.

    The cast also includes Tyler Hoechlin, Justin Chatwin, Samuel Anderson and Elizabeth Faith Ludlow. Aaron Martin (Being Erica, DeGrassi: The Next Generation) created the series and executive produces with Noreen Halpern.

    Hunt is one of the stars of The New Mutants, an X-Men spinoff slated for release in August 2019 (after being pushed back a couple of times for reshoots). She plays telepath Danielle Moonstar, aka Mirage, alongside Maisie Williams, Anya Taylor-Joy, Alice Braga and Charlie Heaton in the Josh Boone-directed feature. The actress also had a recurring role on The CW’s The Originals.

    Hunt is repped by CAA and Luber Roklin.

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  • Aug 28 2018 Deadline

    Another Life: Tyler Hoechlin, Justin Chatwin, Samuel Anderson & Elizabeth Faith Ludlow join Netflix Sci-Fi Drama

    Former Teen Wolf star Tyler Hoechlin, Shameless alum Justin Chatwin, Samuel Anderson (Loaded) and Elizabeth Faith Ludlow (The Walking Dead) have been cast opposite Katee Sackhoff in Another Life, Netflix’s sci-fi drama series, from Alias Grace producer Halfire Entertainment.

    Former Teen Wolf star Tyler Hoechlin, Shameless alum Justin Chatwin, Samuel Anderson (Loaded) and Elizabeth Faith Ludlow (The Walking Dead) have been cast opposite Katee Sackhoff in Another Life, Netflix’s sci-fi drama series, from Alias Grace producer Halfire Entertainment.

    Created by Aaron Martin (Slasher, Saving Hope, DeGrassi: The Next Generation), who also serves as showrunner, Another Life centers on astronaut Niko Breckinridge (Sackhoff) who is focused on searching for alien intelligence. She leads a crew on a mission to explore the genesis of an alien artifact. As Niko and her young crew investigate, they face unimaginable danger on what might very well be a one-way mission.

    Hoechlin plays Ian Yerxa, the former commander of The Salvare space explorations ship, who loses the post to Niko (Sackhoff).

    Chatwin portrays Erik Wallace,’ part of the United States Interstellar Command, dedicated to finding intelligent life out in the universe and husband of Commander Niko Breckenridge (Sackhoff).

    Anderson is William, a holographic interface of a sentient A.I. Neither a futuristic Tin Man, nor a robot who pines to be human, William is a new form of life with the knowledge of all humanity at his disposal.

    Ludlow will play Cas Isakovic, Niko’s (Sackhoff) second-in-command and staunchest ally, filled with courage and moral conviction.

    Selma Blair also recurs in the series.

    Noreen Halpern executive produces for Halfire Entertainment.

    Hoechlin, who starred as Derek Hale on Teen Wolf, plays Superman on the CW’s Supergirl. His feature credits include Bigger and Everybody Wants Some, and he’ll next be seen in Can You Keep A Secret? He’s repped by UTA, Management 360 and Morris Yorn.

    Chatwin played Jimmy on seasons 3, 4 and 5 of Showtime’s Shameless. He also recurred as Jason Kellerman on Orphan Black. Chatwin is repped by UTA and Viewpoint.

    Anderson’s credits include the role of Leon on Loaded, and key roles on Dr. Who and Trollied.

    Ludlow was most recently seen as Arat on The Walking Dead. She appeared on the big screen in Guardians of the Galaxy Vol. 2 and will next be seen in Godzilla: King of the Monsters. She’s repped by Abrams Artists Agency, Mitchell Gossett at Industry and Gail Tassell at Tassell Talent Group.

    Madha’s directing credits include series Scorpion, Turn, 24: Live Another Day, Person of Interest, The Blacklist and the pilot of Dick Wolf’s Law & Order: UK. He’s repped by UTA and The Gotham Group.

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  • Aug 21 2018 Deadline

    Selma Blair Boards Netflix Sci-Fi Drama Series ‘Another Life’

    EXCLUSIVE: Selma Blair is joining Netflix’s 10-episode sci-fi drama series Another Life in a recurring role.

    Another Life centers on astronaut Niko Breckinridge (Battlestar Galactica and Longmire alumna Katee Sackhoff) who is focused on searching for alien intelligence. She leads a crew on a mission to explore the genesis of an alien artifact. As Niko and her young crew investigate, they face unimaginable danger on what might very well be a one-way mission.

    Blair will play 21st century media influencer Harper Glass on the series, who uses journalism, social media and keen intelligence in an attempt to break one of the biggest stories in human history.

    The Hellboy and Legally Blonde actress is repped by Wishlab and The Gersh Agency. Blair is currently filming the feature After opposite Jennifer Beals and Peter Gallagher and also starred in Maria Gabriela Cardenas’ movie The Great Illusion. Blair recently guested on Netflix’s Lost in Space as Jessica Harris, and appeared with Nicolas Cage in the black comedy Mom and Dad which made its world premiere at TIFF last year. She also portrayed Kris Jenner in FX’s Emmy-winning The People v. O.J. Simpson: American Crime Story.

    Another Life is from creator/showrunner Aaron Martin and producer Noreen Halpern through her Halfire Entertainment shingle, both of whom are executive producing. Another Life extends Halpern’s relationship with Netflix. Halpern, through her Halfire Entertainment, executive produced the acclaimed Netflix limited series Alias Grace, written by Margaret Atwood and Sarah Polley, and directed by Mary Harron. Halpern’s series credits also include Rookie Blue and Haven.

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  • Jun 25 2018 Vanity Fair

    A Look Beneath the Veil of Alias Grace’s Showstopping Hypnotism

    Star Sarah Gadon and director Mary Harron break down the unsettling, revealing climax of the Netflix miniseries.

    A Look Beneath the Veil of Alias Grace’s Showstopping Hypnotism

    As Emmy nominations approach, Vanity Fair’s HWD team is once again diving deep into how some of this season’s greatest scenes and characters came together. You can read more of these close looks here.

    THE SCENE: ALIAS GRACE SEASON 1, PART 6
    The centerpiece of Netflix’s period miniseries Alias Grace, an adaptation of Margaret Atwood’s novel, is an almost-18-minute long scene where convicted murderess Grace Marks (Sarah Gadon), a longtime inmate, becomes the subject of a well-intentioned but theatrical exhibition of hypnosis. Grace’s good manners and longtime protestations of innocence have convinced some that she has been taken advantage of. But the holes in her story, and the conflicting testimony of witnesses, lead to her imprisonment nonetheless. In an extremely Victorian move, her supporters suggest hypnosis in front of a private audience—hoping to uncover something in her repressed memories, while also enjoying the novelty of a recent fad.

    The process does not go as expected. Beneath the sheer black veil placed over her head—and in front of every uptight clergyman and stuffy society matron who has gossiped about her—Grace becomes an entirely different person. She begins to speak in a low, hissing voice, and darts malevolent glances at Simon Jordan (Edward Holcroft), the obsessive psychiatrist attempting to determine if Grace can claim insanity. The voice coming out of her mouth is saucy, cunning, and remorseless; it claims to be Mary Whitney (Rebecca Liddiard), a girlhood friend of Grace’s who died after a botched abortion. In just a few minutes—with just the addition of a veil and some theatrics—the scene radically re-frames the story, offering Grace up as a martyr, a murderer, a performance artist, or the subject of supernatural possession.

    Director Mary Harron anchored the sequence on Gadon’s performance, laying out the scene around her as if it were a painting. The high, curtained windows of the parlor, coupled with the somber tones of the audience’s Victorian dress, suggested to her a John Singer Sargent portrait; fittingly, the folds of the sheer black veil fall over Gadon’s face like broad brushstrokes. Both Gadon and Harron said in separate interviews that they were nervous when approaching the scene, owing to its complexity and significance.

    Both, however, left satisfied with what they accomplished. “It’s the masterpiece of the show,” Gadon said. And, as Harron observed, “The veil is like the perfect image or metaphor for the whole show, because Grace is veiled—she’s partly obscured, she’s enigmatic, and you’re constantly trying to see the real self. So it was a beautiful image, in the end.”

    HOW IT CAME TOGETHER
    As written by Sarah Polley, this sequence offered room for interpretation—which made filming it particularly daunting for its director and star. The hypnotism was like a one-act play within the show itself, said Gadon. “I was overwhelmed by the amount of work to learn. It became a massive sequence.”

    Watch Now: Milo Ventimiglia Recaps “This is Us” Seasons 1 & 2 in 12 Minutes

    Originally, Harron said, the scene took place seated around a table, “more like a séance.” But after watching Augustine, a 2012 historical drama from French director Alice Winocour, Harron realized that such an arrangement wouldn’t tease out one of the scene’s most vital elements: that Grace, an object of fascination and a true-crime celebrity in her own right, is being put on display by the hypnotist, Jeremiah (Zachary Levi), a charlatan with only dubious scientific talent.

    “He doesn’t know that she’s going to talk in Mary’s voice,” Harron said. “But there’s also that aspect you don’t know—is it a séance? Is she actually channeling something? Is it some kind of confession? . . . Is it a repressed self taking over? Or is it a kind of ghost—the ghost of Mary Whitney? You just don’t know. It’s also theatrical, and it’s also a performance—but we’re not sure how much is a performance and how much is real.”

    The crew had the added advantage of being able to reach out to Atwood herself for clarification, specifically when it came to how Mary Whitney’s voice would emanate from Grace. “In the book, it’s very ambiguous,” Gadon said. “Does Grace actually sound like Grace? Does Grace actually channel Mary Whitney?”

    Atwood was not coy in her response. “We went directly to Margaret,” she said. “And Margaret said, ‘During the hypnosis, Mary’s voice speaks through Grace.’ It’s so rare that you have that—that line of communication, and also that guidance into the material,” Gadon said.

    The revelation from Atwood led Gadon to work with a dialect coach to match her words to the way Liddiard would say them in character. Gadon had Liddiard record the lines, and practiced repeating them along with the recording.

    “[Rebecca] has such a fascinating voice. It is quite nasally . . . that was the easiest way for me to access it: to go into my nasal passages,” Gadon explained. The effect sometimes surprised her: “Whoa! What voice came out of me?! It was really fun and creepy.”

    “The more specific things can seem, the better they are,” Harron said. “She had this specific model to work on, and that unlocked it. I never anticipated how very scary it would be. But when you heard it, it was like, Oh my god.”

    Harron and Gadon went over the script together several times before filming, with Gadon reading and re-reading it aloud to Harron. The role of Grace was a tall order, especially in Polley’s adaptation, which took a long and winding road to the screen; Polley first tried to option the novel when she was just a teenager. Ultimately, Gadon’s slippery lead performance is central to what makes Alias Grace work. To Harron, honoring the script and the book meant preserving the ambiguity present in both: “You don’t want to settle on one answer with Grace, because then it’s just a puzzle with one answer. The mystery of Grace is part of the meaning of the story.”

    Then again, Gadon laughed, “You can’t just have her in the space of ambiguity as an actor! It’s not really making any choices and decisions.”

    Between them, the director and star developed three modes for Gadon: Good Grace, who is innocent; Bad Grace, who is guilty; and Neutral Grace, who is calmer, wiser, and older. At times, especially during scenes with Simon Jordan, Gadon would film multiple interpretations of the same moment. “The groundwork is done before you roll the film,” Harron explained. “I’d run over to her from the monitor and go, ‘Now do Good Grace’ . . . I’m not trying to get her to find the performance. It’s just subtle calibration.”

    That made the hypnotism scene much easier to enact. The moment when Grace opens her eyes under the veil was electric for Harron: “Her eyes had been closed, but then they open—and it’s a look of such malice,” she said. “That’s the thing about directing . . . It’s so exciting, like, Oh yeah, that’s what it is! You don’t even quite know what it is until you’re actually doing it.”

    Gadon is the type of actress who prepares a lot in advance. In addition to working on her dialect and laying the foundations of performance with Harron, Gadon read Atwood’s book six times. “I kind of went crazy with the book,” she said ruefully. “I was reading the book, and comparing it to the script, and writing down the differences . . . I kept reading it and reading it and reading it, looking for answers. And then I realized that they were never really going to come from the book.”

    The hypnotist’s veil is only just mentioned in Atwood’s novel, but Harron quickly realized how important it would be to the filmed scene. “It was such a key element,” she said. “Much more noticeable than in the book.” Harron considered patterned veils and fabrics of different weights. Ultimately, she was won over by a semi-transparent black veil’s beautiful simplicity.

    For Gadon, being veiled held significance. “There were so many times when I watched the show later where I thought—That is so intense how much I look like the statue of the Veiled Virgin.” But the series gives that iconic image an entirely new context: “[Harron and Polley] take that image that we have seen so often—often in a patriarchal construct—and they say: The veiled woman is something we cannot crack. The veiled woman is something that can be dangerous, something that can express her innermost complicated desires. All of a sudden, they open up this image—and they kind of reclaim it,” Gadon said.

    The shroud helped Gadon perform Mary Whitney’s otherworldly voice as well. “There was something absurd about the scene, and it grounds it by being under the veil,” she said. “So much of Grace Marks’s life was about how people projected things onto her. So having that veil neutralizes everything you’ve learned up until this point, and it allows you to project this idea of Mary onto her, and project this idea of danger, too.”

    It was a frustrating prop, though. “It was driving us nuts, actually,” Harron remembered. “I was worried it was getting wrinkled.” There was “a lot of shaking it out and re-arranging it,” and “making sure there was enough light coming through, so you could see the face, but not too much.” Harron had to juggle a mixture of wide shots and very tight close-ups around the finicky square of fabric, one of which ended up being her favorite: “It’s almost like a silhouette, in profile, under the veil, with just a rim of light around her face,” she said. “If i was designing the poster—if I had to choose a single image that sums up the show—I would have chosen sitting under this black veil, with a little bit of her face peeking out.”

    Gadon was acutely aware, while filming the scene, that her friend and mentor David Cronenberg was also in the audience. (Cronenberg plays Reverend Verringer, an early advocate for Grace’s innocence.) “To look out from under the veil and see him—it was very surreal,” she said.

    Cronenberg cast Gadon in his 2011 film A Dangerous Method, and has directed her in two more films since then. Gadon felt the weight of that history during the scene. “David has probably been one of the most influential directors on my career; he really changed my life. I wouldn’t have a career without him. So much of who I am as an artist has been influenced by him. So to have [them] in that room was just so meta: these women that i grew up admiring, and that informed so much of my own work, in front of a man who single-handedly changed my life. Very much super meta,” Gadon said.

    Harron and Polley also built tension by contrasting the hypnotism against flashbacks and reveries that were filmed and lit in a completely different way. The Kinnear farm, the site of the murders, is suffused with golden light, and Harron used a Steadicam and rich colors to give the place a dreamlike quality. A particularly telling moment comes when we get a glimpse of Grace kissing her alleged co-conspirator, James McDermott (Kerr Logan), amid clotheslines of drying laundry. Harron and her cinematographer, Brendan Steacy, were running out of time when they had to shoot the scene—so rather than try a time-intensive lighting setup for a nighttime shoot, they did a handheld one shot at twilight. “It was just running to make it before dark,” Harron remembered. The scene is one of her favorites, partly because it reveals a version of Grace that the audience hasn’t seen before. “This Grace is mocking, and sort of a vixen. And leading [McDermott] on,” she said.

    The way the series explores the various sides of Grace is what makes it so fascinating—and what made it so challenging for its star. “Everything about Grace Marks is complicated; everything about this job was difficult. And when I finally finished the job, Audible asked me to do the audiobook of Alias Grace. And even that was like the hardest thing I’ve ever done. It was so hard to read this book out loud! I would laugh to myself doing it—like Jesus Christ, nothing is ever going to be easy with this piece of literature,” Gadon said.

    But, she added, it was worth it. “It’s so classic. The thing you’re the most afraid of becomes the thing you love the most on the other side. Because it does feel like this massive accomplishment.”

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