Lindo understands that audiences often approach a Ryan Coogler project with superhero-era assumptions, an expectation shaped heavily by Coogler’s work on Black Panther and Wakanda Forever. But from the beginning of Sinners, Lindo knew Coogler was reaching into different territory entirely. This wasn’t about vibranium or world-saving stakes; this was about the intersections of horror, folklore, spirituality, and the blues all converging in a film that refuses a neat genre label.

“I was hoping that audiences… would not be expecting Black Panther 3,” Lindo says. “Because I knew that Ryan was traversing the areas between genre, as in, you know, horror or vampire. But I also was very clear that he was telling a much larger story, and I was hoping that audiences would plug into that, the larger themes, and that has proven to be the case.”

What “larger themes” means is left open for audiences to interpret — trauma, legacy, the haunting nature of American history — but the invitation is deliberate. Lindo approached the role knowing that Sinners is as grounded in the humanities as it is in the supernatural. And in doing so, he offers a deeply human anchor for a film in constant dialogue with the past.

For Lindo, Delta Slim is a continuation of a path he’s been walking for years. He sees a clear throughline from his electrifying role as Paul in Spike Lee’s Da 5 Bloods to the layered, internal complexity of Delta Slim.

“This current trajectory that I’m on is very much connected to, indirectly, Da 5 Bloods and the work that I did in that film,” he explains. “In terms of spheres of achievement, there is a connection… between Paul in 5 Bloods and Delta Slim in Sinners in terms of how I have applied myself creatively and how… what work has come about as a result of that.”

Audiences who recall his performance in Da 5 Bloods which was a raw, unguarded portrayal of a fractured veteran, can feel this connection immediately. Paul was a man screaming at the world. Delta Slim is his inverse: a man who holds worlds inside of him, sometimes wordlessly. Both require Lindo to reach into the depths of character psychology, but this time, he’s doing it through silence, music, and aura.

What’s striking about Lindo’s performance is not how much he says, but how much he communicates without saying anything at all. This was intentional.

“What I did focus on was presenting as multi-layered a human being as I could,” he says, reflecting on his early process for shaping Delta Slim. Silence becomes a language, a form of biography, and a method of character revelation. Instead of relying on exposition, Lindo let body language, stillness, and subtle emotional shifts speak for him.

It was essential to Lindo that audiences sense the entire life behind Delta Slim. His griefs, his joys, his contradictions. Even when the script didn’t require him to voice them. “I tried to fill in as much biographical information, and have that be present even when I was not speaking,” he says.

This technique makes the performance feel lived-in and deeply real. It also positions Delta Slim as a vessel for a cultural and emotional lineage that extends beyond the narrative of the film.

To embody a blues musician with authenticity, Lindo understood that research wasn’t enough. Emotional osmosis was required.

Ryan Coogler sent him two books to guide his entry point: Deep Blues by Robert Palmer and Blues People by Amiri Baraka (then known as LeRoi Jones). “I read those books,” Lindo shares. “That gave me a solid intro into the world of blues musicians… the practitioners of this incredible art form.”

But the reading was only the beginning. Lindo immersed himself in the music and the musicians who shaped the tradition: Son House, Muddy Waters, Ike Turner, Howlin’ Wolf, and others whose voices carried suffering, ecstasy, rebellion, and truth.

He listened not just to their songs but to their interviews — studying the way they walked, held themselves, and spoke. “One gets a sense of their lives and their lifestyles… how they are as human beings, how they carry themselves through the world,” he says.

From this constant intake of sound, story, and presence, he began crafting the internal life of Delta Slim. The role became a composite of historical echoes and personal intuition; a bluesman haunted not by demons, but by truth.

Through an almost spiritual fusion of research, embodiment, and imaginative biography, Lindo sought to ensure Delta Slim emerged not as a blues caricature, but as a “particular human being” with a full and complicated interior world.

Ultimately, Lindo’s portrayal stands as a reminder of the power of character work grounded in history and lived experience. Through silence, lineage, and the soul of the blues, he shapes a character who feels both timeless and startlingly present.

As audiences continue to discover Sinners, Lindo’s Delta Slim becomes more than a role, he becomes a testament to the cultural memory embedded within Black American art and to the enduring power of storytelling across generations.

The post Delroy Lindo on Crafting Delta Slim, Navigating Genre, and the Spiritual Lineage from ‘Da 5 Bloods’ to ‘Sinners’ appeared first on Black Girl Nerds.

Jordan began by discussing his long-standing creative shorthand with director Ryan Coogler. Years of collaboration have shaped a trust that allows them to challenge each other and communicate through “non-verbal cues” and instinct. “It strengthened our ability to communicate and execute,” Jordan says. That closeness also allowed Coogler to ask something unusual of him on Sinners: to take his director-producer hat off and just act.

The film required more than acting, though. Jordan plays dual roles — identical twins Stack and Smoke — a task that expanded to what Carter jokingly described as “really four characters” by the film’s end. Jordan explained the nuanced psychological and emotional construction behind each brother, shaped heavily by childhood trauma and diverging coping mechanisms. Smoke internalizes; Stack charms his way through pain. Both are bound to each other, and yet radically distinct.

Technical complexity added to the challenge. Jordan broke down the meticulous process behind shooting twin scenes. TechnoDolly shots, motion-controlled passes, and even a custom “Halo Rig” with ten cameras used for action-heavy moments. The physical and emotional demands of switching voices, energies, and full-body performance multiple times per scene pushed him to extremes.

But it was Carter’s observation about the film’s ambition that prompted the interview’s most striking moment which is Jordan’s acknowledgment that Sinners was the hardest work he has ever done:

“These are definitely the hardest characters I’ve ever had to play, the most difficult movie that I had a chance to make… I wanted to push myself beyond my comfort zone and do something a bit different.”

He framed the project as both creative challenge and personal evolution and a chance to separate this performance from everything he’s done before.

Jordan also spoke openly about grounding the film’s supernatural and genre-bending elements in historical truth. Set in the Jim Crow-era Deep South, Sinners is infused with ancestral memory: “Walking those sugarcane and cotton fields…this movie was a love letter to my grandparents and great-grandparents,” he shared. The emotional weight of that lineage shaped his performance and deepened his sense of purpose.

Ultimately, Jordan hopes audiences walk away from Sinners with layered emotional resonance. Laughter, fear, inspiration and empathy. He celebrates the public’s enthusiastic response to an original, risk-taking film and hopes it encourages more bold creativity in Hollywood.

“Follow your gut,” he said. “If you’ve got the goods, people will come.”

With Sinners, Jordan didn’t just bet on himself — he delivered the most challenging, ambitious, and arguably most defining performance of his career.

The post Michael B. Jordan Admits ‘Sinners’ Tested Him More Than Any Film in His Career appeared first on Black Girl Nerds.

Johnson opened with a reflection on the elusive tone he sought. A balancing act of honesty and generosity that avoids pandering while still meeting audiences where they are. “All the elbow grease went into the script,” he said, describing the delicate line between humor, grief, and social awareness. That balance struck a chord with early audiences, who praised the film as Johnson’s most tonally precise work in the series to date.

Carr’s Gothic flair, supernatural-leaning atmospheres, and playful eeriness are embedded in Wake Up Dead Man, as Johnson openly credits the writer’s “Poe-like gift” with shaping his own instinct for tone and structure. Even the film’s visual language — moody, Gothic, alive with shifting light — was meticulously engineered with cinematographer Steve Yedlin, a collaborator Johnson has worked with since he was 17. Yedlin pre-lit the church set with dozens of controllable lights to create the illusion of natural sunlight drifting behind clouds, an effect Johnson gleefully admits was pure cinematic sleight of hand.

For O’Connor, the film offered a chance to stretch well beyond his previous work. His portrayal of Father Jud, a conflicted priest wrestling with faith, guilt, and identity, demanded a performance rooted in emotional honesty. O’Connor found a spiritual throughline in the character a tension between fear and love, closedness and openness. “Underneath the comedy, there’s a profound truth bubbling,” he reflected. That grounding allowed him to navigate the film’s swings between humor and heartbreak, echoing the best of British comedy where laughter is often one step away from discomfort.

The actor also spoke warmly of the ensemble environment Johnson and producer Ram Bergman are known for cultivating. Rather than the isolating rhythm of trailers and downtime, Wake Up Dead Man operated like a traveling theatre troupe. Actors staying on set, sharing space, cracking up between takes. The arrival of Glenn Close, Andrew Scott, and the rest of the cast brought daily jolts of excitement. Daniel Craig, O’Connor noted, was a steadying and openhearted partner, knowing when to give space and when to spark camaraderie.

Johnson attributes the ensemble magic to a self-selecting process: movie stars agree to join because they want the collaborative, theatre-like company experience the Knives Out films have developed a reputation for. “Anyone saying yes to these isn’t doing it for the spotlight, they want the campfire,” Johnson said. It’s a dynamic he plans to preserve. Though his next project is an original film, he confirmed he and Craig are already spitballing ideas for Knives Out 4. And as for ever handing the franchise to another director? Johnson didn’t hesitate: absolutely not. If Craig ever decides he’s done, Johnson says, the series ends with him.

In the end, their conversation underscored why Wake Up Dead Man feels so assured. The film is born from long-term collaboration, creative curiosity, and a genuine love for actors and audiences alike. It’s a mystery built with craft, community, and a surprising amount of heart. Exactly what keeps viewers returning to Benoit Blanc’s world, eager for the next case.

Wake Up Dead Man: A Knives Out Mystery opens in select theaters November 26th and launches on Netflix December 12th.

The post Rian Johnson Confirms He’s Already Working on ‘Knives Out 4’ and Says He Will Never Hand the Franchise to Another Director appeared first on Black Girl Nerds.

There’s a particular kind of magic that happens at Walt Disney Animation Studios, the kind that slips under your skin the moment you step onto the Burbank lot. During the early press day for Zootopia 2, that magic came alive in an entirely unexpected way when I found myself in a sound booth, headphones on, preparing to ADR the voice of Officer Moledebrandt (voiced by Josh Gad). Suddenly, I wasn’t just covering the highly anticipated sequel. I was inside it. But the moment became even more unforgettable when I wasn’t alone in the booth. Standing beside me was Nate Torrance, the exuberant voice behind Officer Benjamin Clawhauser, Zootopia’s beloved donut-loving cheetah.

Recording ADR with Torrance felt like being dropped onto the set of ZPD itself. His warm, comedic energy filled the room instantly. He slipped into Clawhauser’s iconic squeals of excitement, and made the whole process feel like an animated ride-along. While I worked through my lines as Officer Moledebrandt — a small but spirited mole officer with surprising command presence — Torrance offered encouragement and celebrated every successful take, as if we were partners tackling a case. It was a surreal and joyful experience that highlighted just how much personality and heart the actors bring into the booth long before animation brings their characters to life.

Officer Moledebrandt is one of Zootopia’s quirky law-enforcement characters. A mole with stiff professionalism, raspy charm, and a surprising amount of authority for someone whose entire body barely clears desk height. Stepping up to the mic to record my lines was a window into the heart of animation: the careful pacing, the emotional precision, and the collaboration between performance and technology that breathes life into these characters was everything. Every pause mattered. Every inflection mattered. And behind the glass, a patient team of sound engineers guided each take, treating my amateur performance with the same respect they give seasoned actors.

It was humbling, surreal, and electrifying. And above all, it deepened my appreciation for the film Disney is shaping, one that returns us to a city beloved for its humor, its heart, and its social commentary.

Zootopia 2 debuts November 26, 2025, marking the long-awaited return of Judy Hopps and Nick Wilde. This time, the story takes them into new districts and into a case that pushes their partnership, their courage, and their city to the brink. The sequel expands the world in bold ways: more species, more conflict, more nuance — all while staying true to the warm wit that made the original a global phenomenon.

This press day wasn’t just about stepping behind the microphone. It was a chance to revisit what makes Zootopia special through the voices of the cast themselves — voices Black Girl Nerds had the privilege of speaking with only days earlier.

In BGN’s recent interviews, Jason Bateman reflected on Nick Wilde’s evolution. The fox who once danced between cynicism and charm now stands firmly as a protector of his city. Bateman talked about exploring the complexities of a character learning to trust not just others, but himself.

Ginnifer Goodwin, meanwhile, shared insight into Judy Hopps’ growth. She described Judy as older, wiser, and more grounded — still optimistic, but carrying lessons from the first film that shape her sense of justice in the sequel.

One of the most exciting newcomers to the cast is Ke Huy Quan, who voices the enigmatic Gary De’Snake. Quan’s energy during the interview was infectious. He spoke about crafting a character who is both mischievous and unexpectedly heartfelt, someone who shakes up the dynamics of Zootopia in ways audiences won’t see coming.

Finally, Fortune Feimster discussed the joy of voicing Nibbles Maplestick, a beaver whose comedic spark adds levity to the film’s mystery-driven plot. Feimster’s blend of warmth and humor promises to make Nibbles an audience favorite.

Hearing the cast reflect on the story’s emotional beats, then stepping into a booth to voice Officer Moledebrandt myself, brought the entire creative ecosystem into sharp focus.

And if Officer Moledebrandt taught me anything from behind that microphone, it’s this: even the smallest characters can make a big impact.

The post Inside the Slow-Motion Magic: A Black Girl Nerds Editorial on Disney’s ‘Zootopia 2’ Press Day appeared first on Black Girl Nerds.

The first thing guests should know is that this is not your standard meet-and-greet. The Dr. Facilier parlor is intentionally elusive. One day, it appears as a regular room on the ship; the next, its door mysteriously transforms, signaling that the Shadow Man is ready to host. This design choice allows the experience to feel like a secret waiting to be found, encouraging passengers to wander the ship with curiosity and a little bit of intuition exactly the vibe Facilier himself would want.

When asked to expand on what guests can expect once they step inside, Gibson explained the core concept behind the experience.

“The Dr. Facilier parlor is a location that’s going to pop up randomly throughout the years,” he said. “It’ll be a normal door, a normal room every day, and then all of a sudden, Facilier is going to come in and convert it into his parlor. Into his party.”

Once transformed, the space becomes an intimate setting where no more than 10 guests are welcomed at a time. The small group size isn’t just a logistical choice, it’s a storytelling technique, one that ensures each visitor feels personally involved in the unfolding narrative.

“Guests can come greet him, meet him,” Gibson continued. “We contain the experience to be no more than 10 people, so that everybody can have that intimate one-on-one interaction with him throughout the parlor.”

And within that small circle, one guest becomes part of Facilier’s signature flourish: a mysterious, seemingly impossible card trick. According to Gibson, no one has yet been able to decipher how it’s performed.

“He’ll pick somebody out of the crowd to do a trick with him,” he explained. “He gives the person the power of…intuition. You get to sort some cards onto the deck to show everybody that you can see what’s coming.”

This blend of illusion and character-driven storytelling is what sets the encounter apart. It’s participatory magic woven into narrative performance.

As for its location, Gibson shared that guests can find the parlor when it chooses to reveal itself within the Disney Studio on Deck Five. The experience currently appears daily and may pop up multiple times per day, though there is no reservation system.

“You just have to know that it’s happening and show up for it,” Gibson said.

The spontaneity adds to the allure. Rather than funneling guests through timed sessions, the creative team designed the event to feel like a secret passed between those lucky enough to stumble upon it. It’s open to guests 10 and older, with younger participants required to be accompanied.

In many ways, the Dr. Facilier Experience embodies the direction Disney is taking with its newest ship: offering entertainment that unfolds organically, draws guests into story-driven worlds, and makes magic feel personal. With this mysterious new addition, the Disney Destiny reminds us that sometimes the most memorable experiences aren’t the ones on the schedule they’re the ones hiding just behind a door you weren’t expecting to open.

The post Shadow Spells at Sea: A First Look at the Dr. Facilier Parlor appeared first on Black Girl Nerds.

From the moment host Yolanda Cade, Vice President of Communications for Disney Signature Experiences opened the panel, the tone was set: this discussion was about intention. As Disney Cruise Line expands to 13 ships by 2031, she emphasized that telling Black stories is essential. “Black stories are universal,” she shared. “They resonate with everyone because they are stories of purpose, passion, adventure, and humanity.”

Show director Paul Bryant, whose 47-year tenure with Disney is legendary, walked the audience through the creation of Pride Lands: Feast of The Lion King, an immersive experience rooted in African storytelling traditions. Rather than retelling the tale through animals or traditional costuming, Bryant envisioned a troupe of African storytellers sharing “the tale of the cub who would be king.”

Raised in the South, Bryant recalled how his father could turn even a rock into a story. That intimate, communal magic became the foundation for Pride Lands. “I wanted us to be represented,” he said. “To put this iconic story on stage with people who look and sound like me that was groundbreaking.”

The show incorporates music from every corner of the Lion King universe —Broadway, films, sequels, and Disney Parks — woven together with authenticity and respect for African musicality, drumming, and dialects. A standout exclusive number, Serengeti Rain, serves as the emotional centerpiece of the production. “Heartbeat equals breath equals life,” Bryant said. “That’s what we wanted this show to be.”

Vocalist Regina LeVert, whose powerhouse performances guide audiences through Simba’s journey, described the emotional weight of connecting with guests. For her, the work is deeply personal: “Representation matters. I remember being that little girl watching The Wiz and realizing the stage wasn’t beyond my reach.”

Next, performer Corey J. Bradford of Disney Destiny’s Hercules spoke about working with acclaimed creatives Kevin and Marcel Wilson. Their reimagining of the classic hero blends gospel, R&B, jazz, and pop, paying homage to Black musical innovation while honoring the film’s beloved melodies.

Bradford recalled feeling “destined” for the role, not just as a performer but as someone whose personal journey mirrors Hercules’ themes of doubt, courage, and self-discovery. “You’re given gifts in life, and you’re told to use them,” he said. “I watched my family use their gifts to uplift others. Now I get to do that through this character.”

The production resurrects Shooting Star, an archival song originally written as Hercules’ “I want” number before “Go the Distance” replaced it. Reimagined as a contemporary R&B duet between Hercules and Meg, the song stands as one of the show’s emotional highlights.

Producer Marcus Gibson rounded out the panel by discussing how the ship’s “heroes and villains” theme shaped every entertainment offering. From dining to stage shows, the Destiny is designed to immerse guests in story at every turn, an experience made richer by inclusive, intentional design.

For Marcus, whose own childhood was shaped by comic books and Disney films, helping bring characters like Black Panther and Dr. Facilier to life onboard holds immense significance. “Twenty years ago, you couldn’t have told me I’d be creating a Black Panther stunt show on a cruise ship,” he said. “Representation isn’t just talked about here, it’s happening.”

Dr. Facilier, in particular, receives a standout moment on the Destiny. His eerie charisma and iconic New Orleans flair echo through a dedicated entertainment space a nod to the panel’s shared Louisiana roots.

The panel closed with a wave of gratitude, emotion, and collective pride. What’s happening on the Disney Destiny is a cultural celebration. It’s legacy-building. It’s a signal of where Disney Cruise Line is headed: toward deeper representation, richer storytelling, and a more inclusive magical experience for every guest.

As Yolanda said, “I see myself all over this ship.” And thanks to the creators, performers, and visionaries behind Pride Lands, Hercules, and the Destiny’s entertainment design, countless guests will feel exactly the same.

The post Inside Disney Destiny: How Black Storytellers Are Reimagining Magic at Sea appeared first on Black Girl Nerds.

Born in Los Angeles, Regina spent years performing across Japan and Europe before returning home in 2018 to be closer to family. That homecoming sparked a new chapter with Disney when she joined Frozen – Live at the Hyperion at Disneyland. Then came a pivotal moment: the first-ever all-Black production at Disneyland, A Tale of the Lion King, an early 25-minute incarnation of the show now staged aboard the Destiny. Under director Paul Bryant, that production planted the seeds for what would later become Pride Lands Feast.

“When Paul called me about workshopping the show for the Destiny, I immediately knew it was special,” Regina recalls. What began as a solo storytelling piece with a pair of dancers has since evolved into a fully collaborative ensemble experience. “I love this incarnation. It’s richer, more layered, and we get to pass the story between voices. That energy is everything.”

For Regina, the show’s cultural significance is inseparable from its artistry. She speaks with deep emotion about the responsibility of guiding guests, many of whom may be encountering African cultures for the first time, a through a story rooted in tradition. “Disney brought in dialect coaches and cultural consultants. They made sure we understood the gestures, movement, and meaning. As African Americans, learning more about Africa has been a gift. And honoring it correctly is everything.”

She has experienced the impact of representation firsthand. At Frozen, she once locked eyes with a little Black girl during curtain call. “She wasn’t looking at Anna or Elsa. She was looking at me. And I knew what that meant.” It echoed a pivotal moment from her own childhood, seeing a touring production of The Wiz and realizing there was space for her onstage.

That sense of purpose informs her work on the Disney Destiny. Whether navigating the challenges of performing live while guests dine or adjusting to the movement of a ship at sea, Regina views every show as a chance to connect. “It’s always someone’s first time seeing it. They deserve your full heart.”

Her bond with the cast — and even the ship’s musicians — runs generations deep. Some collaborators she met as early as 2018 at Disneyland. Others she met only when rehearsals began in Toronto. But building something from scratch forged immediate intimacy. “You get to know each other sooner because you’re sharing parts of yourself every day.”

Asked why she chose Disney Cruise Line after performing across the world, Regina’s answer is simple: the opportunity to develop a new work rooted in culture, community, and authenticity. “I’d love to come back in five years and see how the show has grown. It feels like we’re shepherding this story into the world.”

What she hopes families take away from Pride Lands Feast is equally heartfelt. “The story is about facing challenges — every hero must. I hope families engage with each other, talk, share, sit together over a meal, and reflect. Live performance reminds us that nothing replaces real human connection.”

As Disney continues expanding space for diverse storytelling, from Regina’s show to a Black actor leading Hercules on the Disney Destiny, she sees momentum building. “Let’s keep going. Keep expanding. Keep telling these stories the way they deserve to be told.”

Regina LeVert is redefining what it means to bring legacy, culture, and representation to the high seas.

The post Regina LeVert on Leading Pride Lands Feast and Expanding Black Storytelling on the Disney Destiny appeared first on Black Girl Nerds.

Black Girl Nerds had the opportunity to get a 1:1 interview with Corey to talk about his historic and monumental role as one of the most iconic characters in the Disney franchise on the Disney Destiny Cruise Line.

Describing the opportunity as a “dream come true,” Bradford embraces the chance to breathe new life into the beloved Disney hero, leading a show that blends powerful live vocals, aerial stunts, and innovative choreography to transform the animated classic into a spectacular experience at sea aboard the Disney Destiny.

As the lead in Disney Cruise Line’s newest Broadway-inspired production, Bradford is redefining what it means to be a hero at sea, bringing a fresh sense of soul and authenticity to the iconic character.

When asked about his favorite musical artist, Bradford doesn’t hesitate. “Beyoncé,” he says with a grin. “Do we even have to say why? Her artistry alone — but also her strategy, her work ethic — it’s really admirable. I’d love to have even an ounce of what she has.” That blend of humility and ambition shines through in his portrayal of Hercules.

Stepping into such a legendary Disney role could easily feel daunting, but Bradford approaches it with gratitude rather than pressure. “It was such an honor,” he says. “Once it was official, I just wanted to do it justice. I know how many people hold this story near and dear — and I’m one of them. I wanted to tell my story through Hercules. I’m not out here fighting Titans or Hydras,” he laughs, “but we all face our own challenges. I wanted to use what I’ve been through — the good and the bad — to bring authenticity to the story.”

For Bradford, the role demands both vocal precision and physical stamina. “It’s very physical,” he says. “You’re running around, singing, dancing, and then there’s the choreography and fight sequences with these incredible, larger-than-life puppets. I remind myself before every show to keep it honest and stay present. No performance is ever exactly the same that’s what keeps it exciting.”

When it comes to favorite moments and song selections from the Disney musical, Bradford lights up. “Zero to Hero hands down,” he says. “It’s always been my favorite song, even before this show. It’s a big, high-energy number that makes you want to stand up and dance. And the gospel influence? That’s home for me. I grew up in the church, so that music moves me every time.”

Performing for guests aboard the Disney Destiny has been deeply rewarding. “Seeing the faces in the audience the smiles, even the tears — it reminds me that we’re all connecting through the same emotions. After the show, hearing people say how much it meant to them just confirms that what we’re doing matters.”

Bradford also draws creative energy from his castmates, especially Matthew Patrick Quinn, who plays Hades. “He’s such a seasoned professional,” Bradford says. “Watching how he approaches the work is inspiring. I try to take bits and pieces from everyone I work with and bring those lessons into my own craft.”

As the Disney Destiny continues its voyages, Bradford’s Hercules reminds audiences and perhaps himself that true heroism comes from perseverance, heart, and the courage to keep going the distance.

The post Corey J. Bradford Redefines What It Means to Be a Hero at Sea in Disney’s New ‘Hercules’ Production appeared first on Black Girl Nerds.

“Inspiration to take it in this direction really stems right back to that original movie,” Trachtenberg explains. “The thing that made Predator so special was that it was a slasher movie in the tradition of Freddy, Jason, and Michael Myers, except when we finally saw the creature, it was intelligent. It had skill. It had a code. It had culture.”

This distinction, he says, is what separates the Yautja from other cinematic monsters. “None of those other movie monsters would have disarmed themselves to fight their foe with honor,” he continues. “The actions that being took in the very first Predator opened the door to embrace more of that culture and code.”

For Trachtenberg, Predator: Badlands isn’t about repeating the franchise’s familiar beats. It’s about evolving them. “I’m driven not to tell the same kind of story over and over again,” he says. “We can stream any of the older films if we’re in the mood for that kind of tale. What excited me was making something with such a unique character, not just because it’s a creature as the protagonist, but because the features of Predator culture make for awesome dynamics and relationships with the other characters in the movie.”

By humanizing the Yautja, Trachtenberg invites audiences to see the Predator not merely as a killer, but as a being bound by pride, honor, and the universal instinct to survive with purpose.

For more of our interview with Dan and the cast of Predator: Badlands check out the video below:

The post Dan Trachtenberg on Humanizing the Yautja in ‘Predator: Badlands’ appeared first on Black Girl Nerds.

“TESSA and TH1A are synths that really stand out,” Fanning explains. “This film is set the furthest into the future of the Alien and Predator world that we’ve seen before, so my synths could be more advanced.” That advancement informed her performance, particularly with TH1A. “She’s more humanistic personality. Her emotions are big, empathetic, and warm. I wanted the audience to be drawn in by her openness. She didn’t have to be so robotic.”

However, her other half, TESSA, leans into the darker legacy of Weyland-Yutani, the morally ambiguous corporation that has haunted the franchise for decades. “There’s always a slight darkness when you’re working for the company,” Fanning says. “We amped that up in TESSA. She’s more mission-driven, loyal to a fault, and maybe a little cold. More in line with Michael Fassbender’s Prometheus android. I was inspired by all of the androids that have come before.”

While Fassbender’s David represented the eerie perfection of artificial intelligence, Fanning wanted her synths to feel fractured and alive. “We wanted to create something unique,” she says. “TH1A, especially, is broken. She’s been alone for so long, tucked away in a nest, that when DEK (Dimitrius Schuster-Koloamatangi) arrives, she just won’t stop talking. She’s this lonely chatterbox trying to feel connected again.”

With Predator: Badlands, Fanning delivers two distinct performances that merge heart and hardware, honoring the Alien universe’s legacy while redefining what it means to be human in a world built by machines.

For more of our interview with Elle Fanning and the team behind Predator: Badlands check out the video below:

Predator: Badlands premieres in theaters this November 7th

The post Elle Fanning Channels Michael Fassbender’s ‘Prometheus’ Character in ‘Predator: Badlands’ appeared first on Black Girl Nerds.