'What We Do in the Shadows' Star is Voicing Bane in New 'Batman' Game
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The opening night of Gamescom brought a slew of announcements, including Batman getting a brand-new LEGO video game. In the same open-world style as the hit LEGO Star Wars: The Skywalker Saga, "LEGO Batman: Legacy of the Dark Knight" will take fans through the cinematic universe and more.
Read more: New 'LEGO Batman' Video Game Will Take Fans Through All Live-Action Movies
Warner Bros. revealed the trailer for the new video game, with details emerging revealing that fans will get the best of the Batman world from the movies, video games, comics, TV shows, and more.
The trailer for the video game also gave fans of the live-action instances that await them. For instance, Bruce Wayne is seen training in the show, such as in "Batman Begins."
The Caped Crusader also falls into a cave, where he comes up with the bat symbol to terrify his enemies. There are also scenes taken from "Batman Returns," "The Batman," and "The Dark Knight Rises."
Matt Berry and Natasia Demetriou as Laszlo and Nadja in "What We Do In The Shadows" Season 4 Episode 4, "The Night Market" which aired on FX on Tuesday, July 26.
Matt Berry and Natasia Demetriou as Laszlo and Nadja in "What We Do In The Shadows" Season 4 Episode 4, "The Night Market" which aired on FX on Tuesday, July 26.
Russ Martin/FX Networks
More news: 'Fallout' Season 2 Teaser Trailer Gives First Look at Greatest Villain
In its hilarious and slapstick nature, the "LEGO Batman: Legacy of the Dark Knight" video game showcases a moment when Batman is fighting Bane. While Bane steps on a LEGO, and is immediately pained, fans might recognize the voice behind the scene.
Matt Berry is the voice of Bane in the new 'LEGO BATMAN' game. pic.twitter.com/a5ehWIKPkb — DiscussingFilm (@DiscussingFilm) August 19, 2025
It has been revealed that "What We Do in the Shadows" fan favorite star Matt Berry will be voicing Bane in the new "LEGO Batman" game. What is not known is how much the character Bane will be involved.
If the new game is anything like the aforementioned "Star Wars" romp, there might be an entire level dedicated to "The Dark Knight Rises." If that is the case, then fans will get to hear far more of Berry as the violent and buff villain from Batman's Rogues Gallery.
The "LEGO Batman: Legacy of the Dark Knight" video game has been hit with a 2026 release, but the exact date has yet to be revealed by Warner Bros.
For more video game news, head to Newsweek Video Games.
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Newsweek
an hour ago
- Newsweek
Laufey Is an 'Anxious Cinderella' on New Album 'A Matter of Time'
"Dark sarcasm" isn't something that one would expect to hear in the jazz- and classical-influenced pop of Laufey. The 26-year-old Icelandic-Chinese musician is known for her romantic and dreamy tunes inspired by the Great American Songbook—a canon of classic pop songs, Broadway numbers and jazz standards from the first half of the 20th century, including works by such composers as George Gershwin, Cole Porter and Rodgers and Hammerstein—and rendered with a Gen Z perspective. Yet several songs on her upcoming new record, A Matter of Time (August 22), take a more candid—and at times, sobering—tone that contrasts with her earlier material about growing up and being in love at a young age. Album announcement Album announcement Emma Summerton "I'm a very sarcastic person," Laufey (pronounced Lay-vay) tells Newsweek. "With the last album [2023's Bewitched], I showed the light, and I wanted to show a little bit of darkness on this album. I had a lot of fun doing it. It's kind of like an anxious Cinderella." A Matter of Time, Laufey's third studio record, marks another step in the career of the Los Angeles-based singer-songwriter, whose story reads like a fairy tale come to life. Since her 2022 debut album, Everything I Know About Love, Laufey has played sold-out shows; performed with such artists as beabadoobee, Norah Jones, Barbra Streisand and Billy Joel; and won a Grammy Award in 2024 for her second record, Bewitched. Her music attracts nearly 19 million monthly listeners on Spotify, and her TikTok account has 8.7 million followers. Larger and Bolder Sound For A Matter of Time, Laufey says she wanted to make a work that sounded larger and bolder. "But at the core," she adds, "I didn't want to move too much away from my own sound. There's definitely more sonic exploration on the album, which was really important to me." Helping Laufey achieve that vision were her longtime producer Spencer Stewart and, for the first time, The National's Aaron Dessner, whose production credits include albums for Taylor Swift and Gracie Abrams. "I've always wanted to work with Aaron," Laufey says. "I'm such a big fan of his and The National. I worked with Aaron [on] a session, and something felt really right about it. It brought a level of speed and shine to the album that I was looking for." An example of Laufey branching out stylistically for this record is the country-inspired track "Clean Air." "It's about letting go of something toxic from the past, whether it's a job, a relationship or a friend," she says. "It immediately landed in this dreamy country world. I love the harmonies of Dolly Parton, Linda Ronstadt and Emmylou Harris. I wanted to have that sound in some way, and it felt like it wasn't a far toss from my world." The song "Silver Lining," the first single released ahead of the new album, recalls early 1960s pop music; Laufey wrote it while she was at Electric Lady Studios in New York City. "I found this vintage electric guitar in a corner and was like, 'I want to write a '60s song with the fun strings and this mid-century vibe and reverbed-out kind of sound.' I wanted it to be a love song, but sarcastic. Icelanders are not good at saying things very directly. We find these side ways of saying it. And I think 'Silver Lining' was kind of my way to do that." Yet A Matter of Time isn't a drastic stylistic left turn from Laufey's first two albums—the lush and elegant arrangements and her sublime torchy singing voice remain the cores of her work, such as on the bossa-nova-styled "Lover Girl" and "Clockwork." But her perspectives about love and the world around her have matured. "It's definitely more bold as well," she says of the lyrics. "It's more honest. It's more raw. It was a fun challenge finding growth within myself." Snow White lead Snow White lead Emma Summerton The feisty "Tough Luck," which finds Laufey throwing shade at a rotten boyfriend, is a notable counterpoint to her usual romantic perspective. "I just wanted to write a mean song," she says. "I had this experience, and it was so funny to me. I was like, 'This is a song.'" On the lush and heartbreaking "Snow White," she critiques idealized beauty with the ironic lyric: "A woman's best currency is her body, not her brain." "I was frustrated with beauty standards and myself for needing to compete with those standards," she says. "Like, 'Why can't I just remove myself?' The lyrics are about how the world has kind of set us all up to need to fit into those standards to compete." "Sabotage" is the album's final and most dramatic track, featuring a dissonant-sounding coda that seems more appropriate for an indie rocker than a pop song; Laufey calls "Sabotage" the album's thesis statement. "It's about that contrast between this glass-like beauty and chaos. This album, for me, showcases the complexity of female emotion to the world. So often, we're good at putting up a beautiful front on the outside, but then there's a noise or mess going on inside, this anxiety. I wanted to find a way to use songwriting and music to describe that contrast." Although Los Angeles is her current home, Laufey pays homage to her Icelandic roots on the track "Forget-Me-Not," recorded with the Iceland Symphony Orchestra; some of the lyrics were written in her native language. "It's a song about the experience of leaving your home country and feeling like you're losing it a little bit," she says. "This was my way of reaching back and reminding it that I love [Iceland] and pleading to 'not forget me.' And so the lyrics—at least in the chorus—had to be in Icelandic because I want to speak to its soul." Born Laufey Lín Bing Jónsdóttir, she was introduced to classical music through her Chinese violinist mother, and her exposure to jazz-pop standards came courtesy of her Icelandic father's record collection. At a young age, she played both cello and piano. "I was like listening to orchestra rehearsals in my mother's womb," Laufey, who was raised in Reykjavík and Washington, D.C., says. "I was given a violin when I was 2. Classical music was what I've heard at home my whole life. But also, it was a lot of jazz music and the Beatles." Although she harbored the idea of becoming a singer in addition to being a musician, Laufey initially didn't think it was realistic for her to forge a career in the vintage music that she grew up with. "I didn't have any example of success from somebody who looked or sounded like me in current times. My favorite singers were from the '40s, '50s and '60s. So I just didn't believe it. I knew that music was always going to be a huge part of my life. I was just too scared to jump into it. Laufey later attended Berklee College of Music in Boston on a scholarship, which was a turning point for her. "There were so many people writing around me, and it kind of empowered me to explore my sound and try things. So I started writing in a way that reflected my favorite music, which was songs from the Great American Songbook. I realized that if I wrote in that form but used modern experiences, it could create something that people would be interested in." Her breakthrough came when she wrote and released a single, "Street by Street," in 2020 that topped the Icelandic radio charts. Laufey's fame grew around this period when she started posting popular videos online of her performances of classic standards by jazz legends such as Ella Fitzgerald and Chet Baker, as well as her original compositions. Through AWAL, a record company that allows its artists to retain ownership of their work, she released her albums Everything I Know About Love and, a year later in 2023, Bewitched. 'A Generation of Mixture' Much has been written about Laufey's huge popularity with her Gen Z audiences, which is remarkable given that jazz and pop songs from the 1920s to the 1960s are generally a tough sell to mainstream youth. One major aspect of Laufey's appeal to her young fan base is that, underneath the music, her mostly autobiographical lyrics are relatable and contemporary. "I loved it [the Songbook sound] so much growing up.... It's very natural to me to advocate for that. I couldn't fake being a pop singer—this is just what I do. I'm so lucky that people are interested in it. I think it's because Gen Z is just so open to different styles of music. And with the amount of access we have to music from all different genres and decades, the palette of young listeners has really changed. "There are so many artists who have styles that don't fall into a certain box, but are applauded because we are a generation of mixture. So many of my fan base are mixed race like me or from different cultural backgrounds. I think that's a part of it." Laufeyperforms with Gustavo Dudamel & LA Phil at the Coachella Stage during the 2025 Coachella Valley Music and Arts Festival on April 19, 2025 in Indio, California. Laufeyperforms with Gustavo Dudamel & LA Phil at the Coachella Stage during the 2025 Coachella Valley Music and Arts Festival on April 19, 2025 in Indio, Coachella Laufey will be touring large arenas in support of the new album—further evidence of her growing popularity—including two nights at New York City's Madison Square Garden. Yet she has stayed mostly grounded through all of the attention. "I've been practicing that since I was so young," she says, "like the highs and lows of going on stage, playing a recital, coming back home and knowing that I still have to finish my homework the next day. My Chinese upbringing is, 'Stay humble and thankful and respect everyone around you.' That is something that I carry with me always." "I am in true shock over my career," she adds. "It's always surprising to me. It's very hard to have any sort of ego about it when I'm kind of curious as to how it even happened in the first place." Further Listening Everything I Know About Love [ARTWORK] Everything I Know About Love [ARTWORK] Emma Summerton Everything I Know About Love AWAL, 2022 If someone was listening to Laufey's 2022 debut album for the first time and did not know that its music consisted of mostly original material, they could've sworn she was interpreting classic Broadway and jazz-pop songs from the era of Frank Sinatra, Ella Fitzgerald, Peggy Lee and Tony Bennett. That's a credit to how Laufey faithfully mines that era with letter-perfect precision and authenticity: from the melodies and lovelorn lyrics to Laufey's wistful and sultry voice. "It's about dealing with growing up," Laufey said of the album in a press release at the time. "It's also very 'hopeless romantic.' All the songs are based on my personal experiences in the past years, but the way I write about them is like fiction." Bewitched Cover Bewitched Cover Emma Summerton Bewitched AWAL, 2023 Laufey didn't experience the dreaded sophomore slump with Bewitched. Instead, it won a Grammy in 2024 under the best traditional pop vocal album category. In addition to containing the hugely popular "From the Start" and the title song, Bewitched features Laufey's cover of the Erroll Garner standard "Misty." "This is a love album," she said in a previous statement, "whether it be a love towards a friend or a lover or life. The first album also touched a lot on things like moving out of my childhood home and moving into a new city for the first time—being an adult. With this one, I've experienced a little bit more of that, and I'm writing about the magic in the love of being young."
Newsweek
2 hours ago
- Newsweek
Homeowners Shocked by Discovery in 125-Year-Old House: 'Time Capsule'
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. A couple renovating a 125-year-old Victorian home in Pennsylvania have uncovered a treasure trove of historical artifacts—culminating in the discovery of what they describe as a "literal time capsule," sealed inside the home's architecture nearly a century ago. Nikk Alcaraz, 30, recently posted a video on his TikTok account @nikkalcaraz documenting the early stages of the home's renovation. Alcaraz is a content creator, author and artist. He is the author of the cookbook Peculiar Baking and creator of Practical Peculiarities, a social-media page devoted to peculiar food, DIY and lifestyle content, he told Newsweek. "I bought a cheap Victorian house … and these are the cool things we found," Alcaraz says in the clip. It showcases old photographs, skeleton keys, a meat cleaver, and what appears to be an original porch post. A caption shared with the video reads: "It's almost been a whole year since I bought my cheap old Turn of the Century Victorian House. I gotta say, it's definitely not cheap anymore! …" The clip has had over 2.2 million views since it was shared on July 18. @nikkalcaraz It's almost been a whole year since I bought my cheap old Turn of the Century Victorian House. I gotta say, it's definitely not cheap anymore! 😂 Though I pictured we'd get a lot more done in a year, we've quickly learned that this is gonna take a lot of time. For instance, we've been working on one bathroom for 7 months! 😱 yes! Bathing in an old enamel basin has become my norm. And though it's not ideal, there is something special about slowing down and taking my time to clean myself. 🤣 Same goes for the house. The more time and care I take, the better the outcome will be. Can't wait to share the next loads of videos with you. For now, here's a recap of all the cool stuff we've been finding along the way. #cheapoldhouse #victorianhouse #turnofthecentury #historicalhomes #nikkalcaraz #hiddentreasures ♬ original sound - Practical Peculiarities Built in 1900, the home is featured prominently on Alcaraz's social media, including on his Instagram account @practicalpeculiarities, where he shares about its eerie charm. The median spending on home renovations in the United States was reported to have surged by 60 percent in recent years, rising from $15,000 to $24,000 between 2020 and 2023; this is according to a 2024 survey by Houzz, a home design website. Born in Santa Fe, New Mexico, Alcaraz lived in Los Angeles for all of his 20s before moving to Pennsylvania. Alcaraz said that he and his partner bought the Victorian home after submitting a low offer. "We only saw the listing photos and [had] a low-quality walk through of the property before purchasing," he said. The estate sale home had been long vacated, and the owners were eager to sell. "We put in a low offer just for 'funsies,' and it got accepted. That's when we got serious and decided to move from Los Angeles to southwestern Pennsylvania." Having never visited the state before, Alcaraz and his partner were drawn to the idea of a quieter, more-meaningful life outside of Los Angeles. "We felt as if there was so much more to life than working hard every month only to flush out our accounts," he said. "I've always dreamed of owning an old Victorian house … it was almost like a gravitational pull." That pull led them to a 1900-built Victorian home filled with secrets, including one major surprise hidden inside the newel post of the home's staircase. Calling it "one of the coolest" discoveries from the home, Alcaraz told Newsweek about it for the first time, noting that he has not previously publicly shared about the "time capsule" they found on social media. "When we were taking down the drop ceiling in the downstairs hallway, we discovered a small piece of paper sticking out from beneath the upstairs newel post," Alcaraz said. "To our surprise, it was an old Ivory soap wrapper. We continued to look up through the post from below and discovered it was stuffed with things." Inside, the pair found brittle papers, candy wrappers, children's drawings, a friendship bracelet, and a torn storybook page. "It was a literal time capsule. One of the papers was dated 1925, so I knew it was put there by the three kids that used to live here. Through my research, [I learned that] their names were Lucy, Maggie and Eleanor Edel," Alcaraz said. In addition to the capsule, Alcaraz and his partner have uncovered wedding photos, a 1950s Valentine's Day card, newspapers from the 1940s and 50s, a photo of Maggie hidden behind the fireplace, antique garden tools, seven layers of wallpaper from different decades, and an original mason jar from the 1800s. The pair have also found many functioning skeleton keys, milk bottles and caps from 1902 to 1940, and a large meat cleaver hanging in the basement ceiling rafters. "We plan on incorporating all the finds into the decor of the home to honor all the families that once resided here," Alcaraz said. The renovation is extensive. "Every room needs to be renovated, some more than others," Alcaraz said. While certain rooms just need wallpaper and plaster repairs, the home still has knob and tube wiring and old gas light lines that must be brought up to code. Plumbing-heavy rooms such as the kitchen and bathroom have been the most challenging. "We already completed the biggest, which was rebuilding the entire second floor," Alcaraz said. "The floor was slowly falling in one corner. This was the most-stressful project because we had never done anything like this before." He added that the couple are learning through YouTube videos, books, and advice from preservationists. "Most contractors in the area don't specialize in old houses, so I don't trust their fixes," he said. Despite the challenges, Alcaraz has a clear vision. "I envision this home to be the right mix of peculiar and historical; almost as if a whimsical witch lives in an old manor," he said. "Think like the houses in The Chilling Adventures of Sabrina or Practical Magic with my unique, peculiar twist. "Every day, we peel back more layers and discover the original beauty of the house," Alcaraz added. "It feels as if the house is breathing in relief and gives back to us more gifts. I do believe it has its own soul, and sometimes, I whisper to the walls, 'Thank you! You're beautiful,' or 'You're in good hands.'" A close-up view of some interior features in a 125-year-old Victorian home in Pennsylvania, including a staircase post (left) and a keyhole (right). A close-up view of some interior features in a 125-year-old Victorian home in Pennsylvania, including a staircase post (left) and a keyhole (right). Weston St. James Do you have a home renovation-related story to share? Let us know via life@ and your story could be featured on Newsweek.
Newsweek
2 hours ago
- Newsweek
Olivia Colman and Benedict Cumberbatch's War of Wit in 'The Roses'
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Olivia Colman and Benedict Cumberbatch in THE ROSES. Olivia Colman and Benedict Cumberbatch in THE ROSES. Jaap Buitendijk, Courtesy of Searchlight Pictures "We had wanted to work together for a long time," Benedict Cumberbatch tells Newsweek, reflecting on the project that finally united him with Olivia Colman. To seal the deal, it took adding powerhouses like writer Tony McNamara (The Favourite, Poor Things) and director Jay Roach (Bombshell) to create The Roses (August 29). The new film adaptation of Warren Adler's 1981 novel The War of the Roses was also made into a hit 1989 movie starring Michael Douglas, Kathleen Turner and Danny DeVito. "It takes nothing away from the original film," Colman says. "Ours is with a sort of respectful nod to it and has taken it in a slightly different direction." The new film follows Ivy (Colman) and Theo (Cumberbatch), a witty British couple whose marriage is so rooted in sharp-edged banter that they can no longer turn it off and it almost becomes their personalities. After relocating to America, their professional lives pivot—his fails while hers skyrockets—igniting a domestic war to end all domestic wars. Their once humorous jabs morph into devastating weapons used at an epic dinner party and far beyond, and their dream home becomes the battle arena where their marriage may be the biggest casualty. "At first, I said, 'I'm not doing a remake,'" admits writer McNamara. "What I do want to write is a movie about marriage [instead]. Two people trying to stay together who don't have the skill set." Director Roach had a similar reaction, captivated by the emotional core of the story. "The comedy and the drama and the pain and the joy are not separate. They're all overlaid all the time," Roach says. "In Tony's script, the hope is kept alive till the very last second of the film." For Colman and Cumberbatch, one key difference between their version of this story and the original is how the couple treats each other. "I think they [Ivy and Theo] love each other," Cumberbatch states, contrasting the new film's slow burn with the immediate animosity the characters show in the original. "They love each other more," Colman says, adding, "There's more silliness." McNamara built the story around the dynamics that many modern couples have to grapple with. "Most people I know, both partners work," he says. "I felt like sometimes ambition is the enemy of marriage." In the hands of Colman and Cumberbatch, the depiction of these nuanced dynamics was natural. "They're so self-driven, self-motivated, and in a way, you could just have the cameras be in the right place and trust the great script," Roach says about their talent. "I helped add those little extra bits, but the fundamental power of what they can do as actors, I was never gonna have much impact on that." "I've got British acting royalty, and I've gotten American comedy royalty," McNamara says, referring to the film's supporting talent, primarily Andy Samberg and Kate McKinnon. "And the day those two things got on set, it was great to see how nervous both sets were. Ben and Olivia were like, 'Oh my God, these two comedy geniuses.' And of course, Andy and Kate were like, 'Oh my God, it's British acting royalty.'" Kate McKinnon and Andy Samberg in THE ROSES. Kate McKinnon and Andy Samberg in THE ROSES. Jaap Buitendijk, Courtesy of Searchlight Pictures Ultimately though, a film like this relies on the chemistry of its leads, something Colman and Cumberbatch have in spades. Watching them on screen and observing them in person, it's surprising that this is their first project together. During the course of our conversation below, lightly edited and condensed for publication, their talent and charm are on full display. Before any question was asked, Colman said: "Your lips are beautiful and juicy. I'm so sorry, I just have to say," complimenting this reporter's mouth. While we assure you this did not interfere with our professionalism, it also wasn't exactly a bad way to start a conversation. This story is so well-known. Was it intimidating to take on a modern version? Benedict Cumberbatch: We had wanted to work together for a long time, and Searchlight had it as a property in their back catalog. My memory of the [original] film is a great one, and I thought, yes, that would be a very juicy relationship to play—so much drama and fun and comedy and tragedy. Little did we know that Tony [McNamara] would write that good a script. It was one of those things that was laughed out loud. Olivia Colman: We had Tony doing all the heavy lifting for us. It takes nothing away from the original film. It's a beautiful piece, a seminal piece that we all remember. But ours is with a sort of respectful nod to it and has taken it in a slightly different direction. What feels fresh about this take on the story? Cumberbatch: Well, I think they love each other. Colman: Yes, they do. They love each other more. Yeah, I think that's right. Cumberbatch: There's a little bit more humor, dare I say it. The first one is funny, but it's very, very dark. Colman: There's more silliness. Cumberbatch: Yeah, I think so. And I feel that Tony's very smart. He kept us English in an American context. You have that kind of cultural clash and misunderstanding. I think it means that they then become even more English, and their invective and humor and wit that's celebrated by friends becomes even more mean without them really knowing what damage it's doing. The humorous joshing and teasing that came out of their initial love just gets worse and worse. I loved how the very particular British sensibility of "taking the p***" out of someone you love can sometimes be misinterpreted. Did you enjoy playing with that cultural friction? Colman: Oh, well, that's great. I'm pleased you love it. American audiences have really taken to it. And it's also such a lovely foil for the incredible American talent we have in the film—Kate McKinnon, Andy Samberg, Zoë Chao. I love watching their reaction to us, and I think maybe that's why Tony's such a genius and he knew that that would work. Cumberbatch: We can sound a bit sharp and knowing and snide even when we're trying to be terribly cuddly and lovely. If you say, "Are you all right?" Americans go, "What? I've been to my therapist. What are you talking about?" Colman: A director I worked with once said, "Get some rest." And I thought, "Do I look tired?" I've heard other people saying it and it's genuinely a nice, "Go and have a nice sleep." But, "Get some rest?" B*****. What do I look like? The film reverses gender stereotypes, with the wife becoming the primary breadwinner. How important was that gender role reversal to you? Cumberbatch: To me, it's not about gender, it's really just about an imbalance in a relationship that was existing in another dynamic. It could work equally well if it was her having a career suicide, let's say, and me having an up-and-up stretch from having been at home. Colman: I suppose for many people, they do see it like that, because we're still laboring under this idea. But with this film, it could be either. It could be a same-sex relationship. I don't think it's a mother, father, male, female. It's partners. It's two humans trying to cope with being partners who work, who are parents. Cumberbatch: It's the extreme nature of the change [in their circumstances]. When you try to be bold and impulsive and you've got kids and you're 10 years into a marriage, you have to take a little bit more care. He moves his obsession from architecture to his children and her career takes off, and they just start to miss each other. They don't hold each other and look at each other, collaborate on what unites them. And that can happen in any dynamic. Colman: It would be lovely, one day, when people don't [see it as a gender issue]. Cumberbatch: Sadly, this is still [that] world. We shouldn't have to imagine, it should actually be the reality, and I think it's coming up a lot [in interviews about the film], sadly, because it still isn't the case. We have to keep working, people, to make that not the case. Director Jay Roach with Olivia Colman and Benedict Cumberbatch on the set of THE ROSES. Director Jay Roach with Olivia Colman and Benedict Cumberbatch on the set of THE ROSES. Jaap Buitendijk, Courtesy of Searchlight Pictures You're surrounded by comedy legends like Kate McKinnon and Andy Samberg. How did working with them elevate the process? Colman: It did up the ante. We had front-row seats to McKinnon and Samberg. Cumberbatch: And when she [McKinnon] gets going on a line that she hasn't yet tested and starts laughing because she knows what's ahead, then you are all in trouble. But our director, Jay, is very patient. He lets that run a little bit, and we all end up going, "Sorry, sorry, sorry." But it's to foster a moment that's rare to get, where the fifth or sixth take is as alive as it would be if it was the first. Colman: Yes, absolutely. It was exciting. You didn't want to let them down. But also, I think what's really nice is being in the presence of such comedy greatness, genuinely. You can show a little humility. Cumberbatch: Yeah, give them the floor and just, "Oh my God. That's it!" Colman: "Oh my God, we're not worthy!" We'd be paid to sit that close to those people, watch them do their thing. It was really... Cumberbatch: Free entertainment. Got paid for it. Paid for the pleasure.
