Chris Pine, Lily-Rose Depp, Kelvin Harrison Jr. & Doona Bae Join Zellner Brothers' Alien Invasion Comedy ‘Alpha Gang'
Character details are under wraps. As previously announced, Cate Blanchett, Léa Seydoux, Dave Bautista, and Riley Keough will also star.
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When the project was announced in October 2024, Channing Tatum, Zoë Kravitz, and Steven Yeun were also in the ensemble, though they've since fallen out for reasons that aren't entirely clear. Sources attributed it to a combination of factors including scheduling that are constantly in flux for a great many indie film packages.
Alpha Gang follows a group of alien invaders sent to conquer Earth. Disguised in human form as a 1950s leather-clad biker gang, they are ruthless in their mission… until they succumb to the most toxic and contagious human condition of all: emotion.
The Zellner brothers are producing for ZBi, along with Blanchett and Coco Francini for Dirty Films, Keough and Gina Gammell for Felix Culpa, Ryan Zacarias for Fat City, Andrea Bucko for Sugar Rush Pictures, Mary Aloe for Aloe Entertainment, and Joshua Harris for Peachtree Media Partners.
mk2 films is repping international sales, having launched pre-sales last year at the AFM, with CAA Media Finance representing North American distribution rights.
Best known for starring as Captain Kirk in the recent Star Trek films, Pine is coming off of projects like his directorial debut Poolman, Don't Worry Darling, and Dungeons & Dragons: Honor Among Thieves, and is represented by CAA and Gendler, Kelly & Cunningham.
Most recently garnering critical acclaim for her starring role opposite Nicholas Hoult and Bill Skarsgård in Robert Eggers' Nosferatu, Depp is repped by CAA, Markham, Froggatt & Irwin, Agence Adequat, and Lichter, Grossman, Nichols.
Recently tapped for the role of Beetee in The Hunger Games: Sunrise on the Reaping, Harrison Jr. is coming off turns in films like O'Dessa, Mufasa: The Lion King, Chevalier and Elvis, as well as the Nat Geo series Genius: MLK/X. Also soon to be seen playing Jean-Michel Basquiat in the indie Samo Lives, he is repped by WME, Anonymous Content, and Del Shaw Moonves.
A South Korean star with credits like Jupiter Ascending, Sense8, and Rebel Moon, Bae is represented by WME and Sloane, Offer, Weber & Dern.
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The Young and the Restless spoilers: Cane's antics force one person to go dark and plot deadly revenge?
When you buy through links on our articles, Future and its syndication partners may earn a commission. It takes a special kind of person to eclipse The Young and the Restless' Victor (Eric Braeden) as the most infuriating person in Genoa City, but it looks like this new Cane Ashby (Billy Flynn) is that person. To be clear, Victor is our favorite character on the soap, but we aren't ignorant of the fact that he has a particular talent for getting under the skin of almost everyone on the show's canvas. Back to Cane. Since his not-so-triumphant return to The Young and the Restless, he's done nothing but enrage a number of guests at his French home. Lily (Christel Khalil) is furious with him for lying about being Aristotle Dumas and blames him for Damian's (Jermaine Rivers) death. Victor was already skeptical about Cane trying to take Chancellor before he became enraged with Cane for holding Nick (Joshua Morrow) and Sharon (Sharon Case) hostage in a storage room. And we'd venture to guess by the time this disastrous French trip is over, most people won't be happy to learn that he's been lying about their ability to leave Europe and return home sooner. Adding to all this, when Amy (Valarie Pettiford) and Nate (Sean Dominic) learn that their respective son and brother was murdered in France, likely by Cane's assistant Carter (Vincent Stalba), they'll probably blame Cane for Damian's demise. Along those lines, Holden (Nathan Owens) may be furious with his boss for the death of his bestie. Having said all of that, we can't help but imagine someone trying to kill Cane in revenge, or at the very least making his life incredibly miserable. We're talking about Cane being forced to watch everything he's accomplished in the business arena stripped from him, and maybe even having absolutely no one rallying for his cause, not even his children. While we have a strong suspicion that either Victor, Nick or a combination of the two is likely going to try to bring Cane to his knees, we think someone else may strive to accomplish beyond that, possibly going as far as murder. If we had to guess who that person is, we think it's either Amy or Nate. For Amy, she just reconnected with Damian after being estranged from him for years. Their reconciliation helped push her into trying an experimental treatment to beat her deadly disease, and she was hoping for more time with her only child upon his return to Genoa City. Now that he's dead, she won't get to have those moments. If she feels as if she has nothing to lose, she may make it her mission to make Cane pay, maybe with his life. Nate is an intriguing person to consider as someone who might try to kill Cane. He's a former doctor and once pledged to do no harm, so to see him want to eliminate an enemy is a bit ironic. Although Nate is usually levelheaded, losing a brother he was just starting to bond with may cause him to snap. Especially when you add the fact that Nate is bound to learn that Audra (Zuleyka Silver) was willing to cheat on him for the sake of satisfying Victor's scheme. Selfishly, we kind of want to see Nate go dark and plot against Cane. As a former doctor, he'd likely be able to come up with a few different ways to murder him, but make it look like a natural medical issue. If not Amy and not Nate, then allow us to propose the idea that the one who plots deadly revenge against Cane is Damian. Yes, Damian is allegedly dead. However, we've been holding onto a theory for a while now that Damian is actually alive and would at some point remerge onto the scene. Damian 'haunting' Cane to drive him mad before attempting to kill him could prove rather entertaining. Look, we know the last thing Genoa City needs is another murder mystery. However, Cane may have crossed too many people. New episodes of The Young and the Restless air weekdays on CBS. Episodes become available to stream on Paramount Plus the next day.
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Star Trek: Strange New Worlds Video: Paul Wesley Calls This Week's Shatner-Esque Performance ‘A Wink to the True Fans' — Watch
Warning: This post contains spoilers for Thursday's . This week's Star Trek: Strange New Worlds introduced us to the cast of a fictional 1960s sci-fi TV show… and the star of that show sounded very familiar. More from TVLine The Challenge Premiere: Cara Maria Sorbello Breaks Down That 'Wild' First Challenge, Why [Spoiler] Was Eliminated Leanne Morgan Tees Up Her Netflix Comedy From EP Chuck Lorre, Reveals How Her Real-Life Husband Feels About TV Hubby Ryan Stiles The Challenge 41's Cara Maria Sorbello Names the One 'New Threat' Who Was 'Built for Destruction' Paul Wesley — who plays James T. Kirk on Strange New Worlds — played frustrated actor Maxwell Saint, the star of the very Trek-like TV show The Last Frontier, and Saint's preening, halting delivery was quite reminiscent of William Shatner's infamous acting style on the original Star Trek series. (Any Trekkie would recognize that cadence anywhere.) Wesley's Kirk is generally a different, more grounded take than Shatner's was, but when Wesley read this week's script, 'I realized immediately what an opportunity it was to give the viewers a satirical, more humorous version of what I could have done,' Wesley tells TVLine in the video above. He lists 'the pause in the cadence,' 'the gesturing' and the 'Shakespearean elements' as hallmarks of the 'James T. Kirk that we all know from the '60s. And I thought, 'Well, here it is. Let me do it for you now.' And I had an absolute blast doing it… I didn't want to overdo it, but I also wanted to do enough where it was a wink to the true fans.' Speaking of overdoing it, Wesley admits with a laugh that he had to dial back the Shatner-isms at times: 'We did, obviously, a bunch of takes. And so there were variations in the pauses, where the pause is like, 'Is he gonna say his next line?' And then we settled on sort of the moderate one.' The Last Frontier's flimsy sets and rubber-masked aliens were a tribute to the analog glories of the original Trek, too, Wesley adds: 'If you watch [the original Star Trek], the Gorn episode, for example [Season 1's 'Arena'], they're throwing Styrofoam rocks at each other, right?… Obviously, in the '60s, they didn't have special effects or VFX, and they couldn't digitize things, and so we wanted to have fun with making the sets so clearly a set, and just sort of like that absurdity, yet imagination and beauty, of something that is a 1960s futuristic set for television.' So Trekkies, what'd you think of Wesley's… … … performance? Beam down to the comments to give us your thoughts on this week's episode. Best of TVLine Yellowjackets' Tawny Cypress Talks Episode 4's Tai/Van Reunion: 'We're All Worried About Taissa' Vampire Diaries Turns 10: How Real-Life Plot Twists Shaped Everything From the Love Triangle to the Final Death Vampire Diaries' Biggest Twists Revisited (and Explained)
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This Week's ‘Strange New Worlds' Is a Little Too Cute for Its Own Good
Strange New Worlds loves being Star Trek. That's different from, say, Lower Decks, a series that loved being about Star Trek and the metatextual acknowledgement of that to the nerdiest of degrees. Strange New Worlds knows that it is Star Trek and enjoys that: its connection to the original, the warts-and-all embrace of episodic storytelling, its desire to poke and prod at itself endlessly, and its willingness to vacillate its tone from high drama to high camp on a dime. Sometimes, that can make for incredibly good fun. But sometimes, when it's just a little too much, the show can lose itself, not seeing the forest for the trees. Unfortunately, this week's episode leans a bit too much into the latter.'A Space Adventure Hour' is a Star Trek holodeck episode. Well, really, it's an extended excuse to do a Dixon Hill-esque riff and do a holodeck episode despite the fact that shipboard holodeck technology wasn't common in Star Trek until the time of The Next Generation, a century beyond when Strange New Worlds is set. 'A Space Adventure Hour' acquiesces to that—it frames La'an as its primary perspective and the person in charge of testing an experimental holodeck system aboard Enterprise because of her history with holographic battle simulators, seen in Discovery, and even Pike nods to the eventual existence of the Rec Room seen in Star Trek: The Animated Series. It ultimately concludes that the technology isn't there to be used aboard starships yet, setting the stage for its eventual refinement and arrival by the time of TNG. But that's all excuses. 'A Space Adventure Hour' exists because the Strange New World team thought, 'We're a Star Trek show, and you know what Star Trek does? Holodeck episodes.' And it is, for the most part, a perfectly fine one of those. 'A Space Adventure Hour' fits into the milieu of that Trek trope well enough and doesn't really add much along the way: La'an is tasked with testing the system's power draw while the Enterprise is at full operational capacity examining a dying neutron star; she does so by getting it to replicate a 1960s murder mystery whodunit inspired by a series of novels she read as a child, populating her cast of holographic characters with the likenesses of the main crew. It's a holodeck episode, so things go wrong, safety protocols go offline, and suddenly La'an finds out that to get out of the holodeck alive, she must solve a mystery designed specifically to challenge her. That's all stuff that we've seen from holodeck episodes before, from Dixon Hill stories like 'The Big Goodbye' to things like Voyager's 'The Killing Game' or, perhaps most inspirationally, Deep Space Nine's 'Our Man Bashir.' And 'A Space Adventure Hour' does a mostly decent job at hitting those beats, letting the regular cast loosen up and play very different characters from their usual selves, but it doesn't really build on the holodeck stories that come before it so much as it does just point at the expected beats of those stories, going through the motions. At least, until the climax of the murder mystery fizzles out with a 'twist' reveal—more on that later. So it's perhaps better than worse, then, that 'A Space Adventure Hour' isn't really about being a holodeck murder mystery. At least, it's not interested in being a particularly good one: what 'A Space Adventure Hour' is actually about is telling you that the original Star Trek, the show this show is a prequel to, is the greatest television show of all time, one that changed the whole world, and one that should've lasted forever and ever, and any plan to cancel it, or anything like it, is an act of profound hubris and misjudgment. Very funny for that message to come now, in Strange New World's third season, weeks after Paramount announced that it would conclude with a truncated fifth. But anyway! Strange New Worlds is not a particularly subtle TV show, but it's not telling you all this by literally just having characters in Star Trek turn to the camera and go, 'Star Trek is great!' Instead, it is a step removed: the titular 'Space Adventure Hour' and the key connecting conceit of La'an's murder mystery setting is a fictional 1960s sci-fi TV show called The Last Frontier, which has just been cancelled after its first season by a studio executive whose murder sets off the whole whodunnit. Anson Mount plays T.K. Bellows, the shy writer and Last Frontier creator who believes sci-fi shows are a social good and the future of the industry but longs for more, in the vein of a Gene Roddenberry. Rebecca Romijn plays Sunny Lupino, a former model and starlet turned Hollywood producer who backs The Last Frontier because she believes in its potential, our stand-in for Lucille Ball. Paul Wesley is Last Frontier's leading man, Maxwell Saint, a pompous actor playing the ship's machismo-fueled captain, pulling off the most tortured William Shatner impersonation yet committed to screen. Seriously, the pauses are interminable. All the motivations for potential suspects in the executive's murder hinge on the fact that practically everyone involved in The Last Frontier believes in the show as a force for good, even beyond being great television. As more bodies begin to drop and finger-pointing pokes and prods at individual paranoias, as far as pretty much anyone in the holoprogram's cast is concerned, Last Frontier (and through its thin veneer, the original Trek) is unimpeachable. The climax of the murder mystery narrative is even paused so Celica Rose Gooding, playing talent agent Joni Gloss, can give that 'turn to camera and say how good this show is' speech to La'an, evangelizing over a dead body right in front of her that The Last Frontier can, and should be given the opportunity to, change television and the lives of the American people for good. Again: not a subtle show, but the remove from what it's actually saying to what it wants to say to its audience might as well be glass, to the point you're almost a little insulted that Strange New Worlds didn't commit fully and have a holoprogram about a fictional murder on the set of actual Star Trek. Which is odd because we do actually get to see Last Frontier for what it is—the episode is bookended by an extended scene from the faux-show as a cold open, and its credits close out over a 'blooper reel' behind the scenes. And despite what the rest of the episode goes on to do to evangelize its worth, as a parody of the original Star Trek, it's oddly mean. The sets are significantly cheaper-looking than much of what classic Trek ever did, and the script feels like an extended 'Spock's Brain' gag but somehow even more convoluted. The acting (Wesley's Saint is joined by Jess Bush/Chapel and Melissa Navia/Ortegas as actresses Adelaide Shaw and Lee Woods, respectively) is intentionally clunky and ham-fisted, right down to Wesley's exaggerated Shatnerisms. The show all these characters go on to laud as a huge hit and a cultural game changer isn't even close to the original Star Trek's quality; it just kind of sucks. Strange New Worlds has done a much better job of loving homages to the look and direction of Star Trek before—the 'Balance of Terror' homages in season one's 'A Quality of Mercy' remain one of the show's finest hours—so The Last Frontier ends up feeling less like the show being in on a joke and more like the show just laughing at what came before it. It's an especially odd contrast with what the rest of the episode wants to say. But once it's got that unsubtle message out regardless, 'A Space Adventure Hour' remembers that it's technically a holodeck episode and needs to wrap fast, which is where the aforementioned 'twist' comes in. La'an's murder mystery ultimately doesn't really matter, because the mystery plot was an entire misdirect: none of the holoprograms in its setting committed the crime, but instead a holographic rendering of Spock, who was inserted into the program to act as if the real Spock had come to help La'an out with her test. A murderer she never would've expected, she gasps as she figures it out, less because of her personal relationship to Spock but more because the possibility of him being the suspect is thrown from so far out of left field that it doesn't feel set up by the episode itself and more of a gotcha once 'A Space Adventure Hour' remembered that it needed to stop telling you that Star Trek is good and finish its original plot. It's made even more thorny by the fact that this revelation climaxes back aboard Enterprise in reality with La'an going to Spock's quarters to resume dance lessons with him (a thing we're reminded of this episode that he's kept up with her since 'Wedding Bell Blues') and recount her experiences testing the holodeck out and his role in the twist… culminating in the two revealing their romantic interest in each other, sealing it with a kiss. It feels like an odd choice, wherever Strange New Worlds takes this over the course of the rest of the season. Spock's barely moved on from his romance with Nurse Chapel, narratively speaking—a plot that was given a ton of build-up and then all fell apart relatively quickly once they got together. La'an herself was already given a will-they-won't-they romantic arc with a legacy Trek character last season with Kirk, even if it ended unrequited. Especially given how 'Wedding Bell Blues' already used its three-month timeskip to justify La'an immediately compartmentalizing her traumatic history with the Gorn, it feels bizarre to just thrust her into a second romantic arc so quickly, like these are the only two options available to her as a character. It's a peculiar end to a peculiar episode, one that never quite manages to extend its charms long enough to effectively communicate what it wants. Strange New Worlds has gotten by on its charms an awful lot over its past seasons, but perhaps it's becoming increasingly visible that those charms have a limit. Want more io9 news? 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