Lady Gaga's Cameo In ‘Wednesday' Confirmed As Netflix Premieres Season 2 Footage
Netflix has confirmed Lada Gaga's cameo appearance in Wednesday's second season, which she shot in Ireland in one day. The news was confirmed at the streamer's yearly Tudum event, where the first six minutes of the premiere episode also dropped (above). Her participation in the series was originally leaked in November.
At the celebration, Gaga performed an original song that will be featured on this season's soundtrack. She has been in Los Angeles preparing for the celebration, including various rehearsals.
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Part 1 of the hit series led by Jenna Ortega will air on August 6, with Part 2 following on September 3.
Created by Alfred Gough and Miles Millar, Wednesday follows the titular Addams to Nevermore Academy, where she learns to master her emerging psychic abilities. In Season 1, she uncovers a killing spree that was connected to her parents, Morticia (Catherine Zeta-Jones) and Gomez (Luis Guzmán), who met at the school 15 years earlier.
Gaga joining Wednesday will be her latest acting role following her turn as Harley Quinn in Todd Phillips' Joker: Folie à Deux, where she co-starred opposite Joaquin Phoenix. The singer has previously starred in films like 2021's House of Gucci and 2018's A Star Is Born.
Watch the video footage above.
[youtube https://www.youtube.com/watch?v=Lxa8poQYRtc?version=3&enablejsapi=1&origin=https://deadline.com&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent&w=600&h=338]
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Frank's hypnotically sure performance as Elizabeth is the staging's bright lodestar. Her voice is caramel and cloves, expressive even in Burns's lighter modern phrasings, downright beguiling in more lyrical passages taken whole from Shelley's period text. Her body language speaks more resonantly yet: Stillness can equal immense authority onstage, and this actor's economy of movement generates black hole gravity, making larger gestures all the more seismic when they erupt. Takayo's is a nervier and more restless presence, as is Westrate's — aptly enough given the essential fecklessness of this adaptation's still-charming Victor. He's twitchy and shifty and impossible to repose any real faith in, this thoroughly modern man-child, which is one potent way Burns sustains the evening's exquisite narrative tension. Grounding a character's evasions and fictions in a physical vocabulary that screams 'I cannot be trusted' is a sly tactic for making an audience second-guess what it already knows to be a horrifying truth. That truth, of course, involves what constitutes monstrosity, and in whose eyes. Burns's last great coup is the climactic reveal that finally settles the question of whether this tale of a grotesque and murderous villain bears any resemblance to fact. It's not quite a spoiler to acknowledge that a Creature does make an appearance — actor Lucas Iverson gets a playbill credit, after all — but the specifics of that answer and the delicacy in how Burns and company navigate the moment elicited audible gasps at Sunday's matinee. Like nearly every rich and gorgeous element of this 'Frankenstein,' it's flat-out astonishing. Frankenstein, through June 29 at the Klein Theatre. About 2 hours 20 minutes, including an intermission.
