Eighteen years after James Gunn first put her on camera, Mikaela Hoover is having the year her intuition always promised her, trading scenes with Carey Mulligan in BEEF, giving a talking reindeer a soul in One Piece, and stealing pages of the Daily Planet as Cat Grant. She talks to A Shot about sixth senses, working with OCD, and why she’d give anything for a great horror script.
The star of Red Rooms on silence, screens, the horror of the feed, and the strange business of being watched back.
A Shot meets the woman strangers keep mistaking for a goddess.
She just finished an acting class, a run, and yoga, all before noon. Next month, she shoots her first self-written, self-directed short film. But that’s not what we’re here to talk about.
For much of its commercial history, horror was treated as the lowest rung of culture: disposable, juvenile, pandering to our worst impulses. Today, that picture has been almost entirely reversed.
There’s a quiet precision to the way Greig Fraser talks about images, as if every frame already exists somewhere, waiting to be…
Eric Kripke has never chased shock for shock’s sake. With The Boys, he has built a ruthless reflection of power, celebrity, politics, and human insecurity.
For Cailyn Rice, everything starts with feeling—long before the dialogue, the character already lives within her body.
“I’ve gotten used to being different my entire life,” says Nourine Abouseada. “It doesn’t mean it doesn’t hurt, but I do it anyway.”
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