Exclusive

Hypable speaks exclusively to Mary Kate Wiles about her role on Game of Thrones parody series School of Thrones, the end of The Lizzie Bennet Diaries and more.

School of Thrones and The Lizzie Bennet Diaries are almost over, so what better time to sit down with the star of the show(s), Mary Kate Wiles. Wiles, who plays Sansa Stark on the viral Game of Thrones parody series, and Lydia Bennet in the modern Pride and Prejudice adaptation, took some time to speak to us about her feelings regarding the end of The Lizzie Bennet Diaries, what we can expect in the School of Thrones finale, and more.

We also spoke to Mary Kate Wiles back in February about Lydia’s controversial sex-tape story line on The Lizzie Bennet Diaries. Read part one and part two of that interview now. Wiles was also a fan favourite to play Hazel in The Fault in Our Stars movie. Read her response to Shailene Woodley being cast in that role.

Hypable’s interview with Mary Kate Wiles:

Hypable: Last time we spoke, you were in the middle of one of the most controversial aspects of The Lizzie Bennet Diaries, and now the series is wrapped. How do you feel about it all now that it’s (almost) finished?

Mary Kate Wiles: I don’t know. It hasn’t quite hit me that it’s done. I think it’s going to take some time to process that and I believe we as a cast are going to be doing a few more things together, so it’s going to continue a little bit. But it’s definitely weird. It’s hard to view it objectively now, because there’s still some episodes to come and still a few more things that haven’t completely ended yet, but I couldn’t be prouder.

It’s going to be really sad to leave that character behind, but I’m so proud of what we did and really happy that I got that opportunity, and I wouldn’t trade it for anything. When I shot my last episode a couple weeks ago, I finished right before lunch, and they were like, “Okay, we got it,” and I just sat there next to Ashley and just started crying, and we just held each other. Like I said, it’s something that will be with me forever, and I haven’t really quite comprehended what that feels like now.

Well I’ve been on a personal campaign for more Lydia videos.

Oh, I appreciate that.

Are we going to see any more?

I don’t know. I definitely appreciate that. There are things that I would love to be able to wrap up in terms of her story, that as of now are not. A lot of people have been very supportive about that idea, so I hope that is something we get to do. It’s not up to me unfortunately, but it’s something I am very much in favour of. Hopefully we will. It definitely helps – I’m glad that you guys seem to want that, it is encouraging.

I know that you’re not directly involved with this, but do you know if there’s going to be any followup on the transmedia side for Lydia? Because at the moment her twitter is sitting there, it’s very depressing.

I just looked at it the other day, I tweeted that, “Oh, that’s the last tweet that she made.” I have no idea about that, that’s really not me. I guess in the case that she does end up vlogging more she probably will have some tweets because she’ll be tweeting out those videos if that happens. But I don’t know where that’s going to end. Like I said, I would really like to see a conclusion for her for that, and I think a lot of people will as well. I can’t really say what that would be, or what I would hope that would be, but hopefully we get a little more.

Closure.

Yeah, I would like to see that for her.

School of Thrones is the second time that you have played a fairly iconic literary character, you’re making a habit of it. How was the experience different with Sansa?

It’s different in so many ways. Obviously Lydia has been this ongoing thing for quite a while, and has been something that has been very close to me in a way I never expected. Not that Sansa isn’t, but we have only shot 3 episodes. The scope is just completely different. In both cases, I just came into like, “Oh, okay, whatever, I’ll do this thing, this sounds fun.”

I can’t say that I had super strong feelings about either of those characters beforehand, which is kind of good and kind of fun to let the experience shape how I feel about them. In the same way, both of these characters are literary characters but they’re also specific to the project. LBD‘s Lydia is different to Pride and Prejudice‘s Lydia, and same with Sansa and School of Thrones, obviously the different settings and whatever make it a different story.

It’s challenging to meld those things and honour the original character, and also make it new and different and my own. It’s cool that people are giving me those opportunities and trusting me with that. It’s kind of nerve-racking at times, but it’s good.

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After all that talk of inclusivity, Star Trek Beyond falls into the Hollywood trap of implied sexuality.

Mild spoilers for Star Trek Beyond.

Star Trek Beyond, already a wildly anticipated movie, made headlines ahead of its release because of the franchise’s decision to introduce the first openly LGBT character: Mr Sulu, played by John Cho.

While this decision was certainly met with excitement, there was disappointment, too. The original Mr Sulu, George Takei, openly voiced his opinion that they should have introduced a new LGBT character rather than expand on original canon (as they have been the whole trilogy), while Simon Pegg beautifully argued that there was power in using an established character who wouldn’t be defined by his sexuality.

Then came the movie itself, and while the introduction of gay Sulu is still a great thing, we’re left sorely disappointed by Beyond‘s decision to depict the LGBT relationship — or rather, hardly depict it at all.

As reported by our friends at The Mary Sue, the scene featuring Sulu and his husband Ben depicts a “lukewarm” relationship, although Sulu is very affectionate with the pair’s daughter.

This is, unfortunately, a common problem in Hollywood when an LGBT couple — almost impossibly — makes it into a big franchise film. They’re allowed to be there, but having any kind of physical interaction even remotely resembling what a heterosexual couple might have still seems to be off-limits.

Related: Hollywood is failing the LGBT community: GLAAD slams Disney, Paramount and Warner Bros.

And, according to John Cho, there was actually a kiss filmed. “There was a kiss that I think is not there anymore,” he told Collider. “It wasn’t like a make-out session. We’re at the airport with our daughter. It was a welcome-home kiss. I’m actually proud of that scene, because it was pretty tough.”

Cho points out that Ben was played by a non-actor, writer Doug Jung, and says, “Obviously, I just met the kid, and then Doug is not an actor. I just wanted that to look convincingly intimate. We’re two straight guys and had to get to a very loving, intimate place. It was hard to do on the fly. We had to open up. It came off well, in my view.”

And we wish we could have seen it. Introducing a major LGBT character in the Star Trek franchise is a fantastic first step, and depicting two POC actors raising a child together is a great statement — but, unfortunately, the decision to cut out their kiss (which was already chaste, by the sounds of it) is emblematic of Hollywood’s continuous phobia of depicting LGBT relationships and intimacy on the big screen.

As Screen Crush also points out, this exact same scenario played out in Independence Day: Resurgence, too. In Finding Dory, the lesbian couple are only implied, in a blink-and-you’ll-miss-it sequence.

LGBT representation (when present at all) is always so subtle, evidently in fear of offending straight audiences while not totally erasing non-straight sexualities. And, sadly, even that is considered a big step forward — but maybe it’s time we start depicting humanity as it is, and not what society wished it was 100 years ago.

Here’s looking at you, Star Wars.

Harry Potter and the Cursed Child reviews from theater critics are glowing, so when the hell can Americans get a chance to see the play in New York?

With just days to go until The Cursed Child script book is released around the world, The New York Post’s theater reporter has spoken to sources who say the play will be coming to Broadway sooner rather than later. Producers are currently holding discussions to bring the play to NY as early as 2017.

They haven’t yet announced a Broadway engagement for “Harry Potter and the Cursed Child,” but New York theater people say it’s only a matter of time. Word is that Friedman and Callender are in negotiations for a Shubert theater possibly for next season. They may hit Toronto first, however.

The idea of The Cursed Child hitting Broadway so soon (“next season” could mean around May 2017) will come as a relief to American Harry Potter fans who would rather not travel overseas to see “the eighth story” (though it’s a little more affordable to do so right now thanks to #Brexit). It also speaks to this important fact: It’s important to see The Cursed Child rather than reading it.

If the show does go to Toronto first as The New York Post suggests it might, a trip to Canada would also be easier for Americans. Sorry, people who don’t live in North America.

This writer saw the play in June and absolutely loved the characters and magic happening on stage. But the story is… not the best. I’m very eager to see what fans, myself included, think of the story after reading the script book this weekend.

For her part, Rowling has promised that fans around the world will get to see the play. Only time will tell if she’s hinting at a movie or a world tour:

If ‘Cursed Child’ comes to Broadway next year, will you try to see it ASAP?

The West End production currently has dates running into May 2017, but additional dates are expected to go on sale in early August.

Present day Han Solo may’ve left the main Star Wars series after the events of The Force Awakens, but the character’s time in movie theaters is far from over.

The new Han Solo film from Lucasfilm — scheduled to hit theaters in May 2018 — might turn into a trilogy for the reluctant hero, according to the New York Daily News.

The paper reports that star Alden Ehrenreich has signed a three-picture deal, suggesting that the studio intends to expand the Han Solo spinoff into a trilogy. “They feel that his character has the right potential to become a central figure in several movies,” a source told NY Daily News. “They’re keeping things under wraps at the moment, but the deal is that he has signed for at least three movies.”

This makes a lot of sense given the popularity of the character coupled with his absence in Episode 8 and beyond. We also know that Lucasfilm and Disney have many, many grand plans for Star Wars in the years ahead: The very first Star Wars theatrical spinoff, Rogue One, opens later this year. Episode 8 then hits theaters a year later (2017), followed by Han Solo’s own movie (2018). Next comes Episode 9 in 2019, followed by yet another spinoff reportedly focused on Boba Fett in 2020.

As for 2021 and beyond? Only time will tell, but we expect more movies set in the worlds of The Force Awakens, Rogue One, and now Han Solo.

The Han Solo spinoff will be directed by LEGO Movie helmers Phil Lord and Christopher Miller. They’re currently deep into pre-production, as this tweet from Lord this morning shows:

“This is the first film we’ve worked on that seems like a good idea to begin with,” the directors said last July. “We promise to take risks, to give the audience a fresh experience, and we pledge ourselves to be faithful stewards of these characters who mean so much to us. This is a dream come true for us. And not the kind of dream where you’re late for work and all your clothes are made of pudding, but the kind of dream where you get to make a film with some of the greatest characters ever, in a film franchise you’ve loved since before you can remember having dreams at all.”