After weeks of staying under the radar and using her knowledge as a political lobbyist to help her game, a strategic win on Nima’s part led to Bismah Ahmed’s exit during this week’s episode of The Anonymous on USA Network. And to properly bid her farewell, we sat down with Bismah to discuss her time on the show.
​
John Betancourt: I'd love to start by asking the same question I've asked all of your cohorts on the show, because you guys have such a diverse group of competitors, how you came to be involved in the show?
 
Bismad Ahmed: You know, casting reached out to me, and I essentially didn't know what this was. I've never done reality before, and so kind of got intrigued with the concept. And I was like, “You know what? This is something that I could see myself doing, especially since I work in politics, my job is extremely stressful, and I thrive under stress.” It's just unfortunately, the way I work. And so, I was kind of like, “Ah, they should just hand me the check. I've got this, you know.” So, I was like, “Okay, this sounds great. Sign me up”. Um, but, yeah, I didn't expect to do reality,
 
John Betancourt: I'm curious now, because some of you had that background of skills that you could really use to your advantage here. So how much did your time in Washington, play into your strategy?
 
Bismah Ahmed: You know what, it played, but it didn't play, right? So, for me, it was like in Washington, you're not as blatant with your rumors. You can't trace back your rumors quite as easily. So, for me, I'm also very observant. As a lobbyist, your reputation is everything, if you don't have a good reputation, I mean, and that's very easy to have, people just don't trust you. You don't even want to be in the same room. You don't want to be, you know, known to be working together. It's just very… it's a volatile environment, right? And so, for me, I did take that into the house. I didn't want to be as open with certain people that I knew that were backstabbing their alliances, and it was pretty obvious going in. And so, I took the tactic of being more of an observer and listening more than talking, because I knew that when people were talking too much, that information was going around, and I did not want to be a part of that. We saw that with Jack and Nina. We saw that with Dillian. You know, it just didn't, it wasn't working out great.
 
John Betancourt: Now coming from that environment, and obviously getting into what was a very challenging show, what was the most challenging aspect of doing this series?
 
Bismah Ahmed: The most challenging aspect of this was creating alliances, but then backstabbing them in the chat. I mean, it was, it was tough. I mean, at the end of the day, I really grew fond of Marcel, but I was targeting them in the chat. It was tough. And if I had gotten The Anonymous, you know, maybe shocking to say, and maybe people wouldn't believe it, but I would not have gotten Marcel out. And you know, so it's a really multi-dimensional concept and game, because you have to deceive on so many levels. And so, I would have done a lot of things differently, but I do think that this is a, this is one of the toughest games that I've even heard of. If I'm being honest, there's so many layers.
 
John Betancourt: Speaking of doing things differently, since you’ve had time to reflect, let’s expand on that.  
 
Bismah Ahmed: Oh my gosh, I listen. I always hope that the Women's Alliance will work out and all of this stuff. Because listen, I don't watch a lot of competition reality, but I do think that in this game, when I came in, I saw four women that were eliminated, and I'm like, “This narrative works to my interest and all of the women's interest,” right? So unfortunately, I did not realize that people were playing their own game at that point. But like on a just strategic level, I thought that would have worked, but it didn't. And so, I think I wouldn't have played so hard into that. And not only that, I think I would have created more of a closer bond with a few people and played into Nina's game of spreading a couple rumors here and there. I didn't do that. I took in the information. There's a lot I could have told but I just decided to keep it in and not draw attention. But then at the end of the day, the people who were creating the rumors, of course, they're going to draw attention to you. So, it was something that watching back, I see the strengths and weaknesses, yeah, and then, you know, hopefully I'll play next game, and I would play it very differently. I think I would be a little bit more savage in person versus the chat.
 
John Betancourt: Now you were saying loudly to whomever was to become The Anonymous that you wanted to say, and you clearly enjoyed playing the game. So, how tough was it to leave the game?
 
Bismah Ahmed: It was tough. I will say it was extremely tough for me. I just wanted an explanation, because after Dillian's outburst, I almost felt extremely confident, right? First of all, I wasn't really up for elimination. I just happened to get the wrong box. So, for me, I was like, “Give me an explanation of why I'm out right now. Okay? Because what I've been doing is has been working, right? I'm not drawing in a lot of attention to myself. I am not spreading it in rumors.” I feel like I was playing a good game. Had it not been for that Face-Off, I would have still been in the game. And look at Andy, he’s flying under the radar. I think he's playing a phenomenal game. Okay, that would have been me, had I kept going a little bit further on. Nobody was putting me up for elimination that day. So, it is a game of luck in some circumstances.
 
John Betancourt: So, what are you going to miss the most about being on the show?
 
Bismah Ahmed: You know, we all wanted to win. I think there's so many lovable personalities on this show. I've met so many incredible people, like in Washington, I'm not going to meet a professional gamer or a Big Brother winner, right? Like, it's very cool to have met these very accomplished individuals in their own respects, right? Like, I just don't meet these kind of people, and so it's the people for me, I will really just cherish this experience for that reason in itself.
 
John Betancourt: We all kind of learn something when we do very unique and new things we haven't done before. What did you learn about yourself in going through this game?
 
Bismah Ahmed: I learned that I can be very nice and very empathetic, and I have to tone that down a little bit in a game like this. So, if you see me on another game, you're going to see a different version of me, because I don't think that worked out great. Um, let me be a little bit more savage in person, versus virtual. So that's what I've learned about myself. I'm going to tone down the niceness, but I do think that I connect with people easily. It's just that when I know that you're blatantly being fake, because I'm very observant, and so if I feel like I sense that, I just back away. So, I saw it on the screen. And you know that can be a weakness in a game like this, but all of this you take in, and you can change going forward.
 
John Betancourt: Alright, so everybody, watch out. Bismah’s coming for everyone in the next round.
 
Bismah Ahmed: I'm coming for you. (Laughter)
 
John Betancourt: Last question, what does it mean to you, to be part of the show that is this new and this unique.
 
Bismah Ahmed: It's so exciting because it really is a compilation of different aspects of different -- um, I mean, The Traitors and The Circle combined. I mean, that's the ultimate game, this game. I even think watching it back on TV, like, it's way harder in person. And I will say that this is a very, very hard strategic game, and I don't know if the viewers could see it watching that, but like, I mean, this was the coolest, hardest, craziest experience of my life. And on so many levels, you have to mentally be aware, socially be aware, you know, physically be able to do the challenges. And if you don't stack up on any of those, your target -- and then, not to mention your background, I don't regret not telling anybody that I was a lobbyist, because that would have been an extra, you know, target, I had on my back and so for no reason, but maybe for a little reason, but I'm glad I did it.
 
This interview has been lightly edited and condensed for clarity.

Season two of The Ark on SYFY has come to a close and well, it’s safe to say that Arkaholics everywhere are still buzzing about it. After all, we saw a major character death with a twist and also… aliens. So, what brought about such powerhouse storytelling decisions? Well, we sat down with Executive Producers/Co-Showrunners Dean Devlin and Jonathan Glassner to discuss this bold second season.
 
John Betancourt: I would love to start by learning more about what influenced the decision to give Reece Ritchie a new role to play.
 
Jonathan Glassner: Um, you know, we felt like we had sort of resolved his story last season, you know, he went from being the naysayer who said, you know, “Why are you in command?” And “That'll never work,” and, you know, to being a hero who ended up saving them in the end. And when we came back to the writers’ room this season, we sat, sat down and said, “What are we gonna—” we always start at the beginning, saying, “What are we gonna do with each character this season?” And when it came to Lane, we were like, you know, everything we came up with just felt like we just had already done it with him last season. So, then we decided that the best thing to do was what we did, which was we didn't want to lose Reece, so we wanted to give him a new character to play, and along the way, Lane, unfortunately dies.
 
Dean Devlin: I, you know, I always find it interesting. I don't know if you ever watch any of these shows where people are given their DNA, you know, where you'll meet these people, and they're absolute racists, and they hate some race, and then they find out that they are that race, right? And so for me to have Lane be this guy who was so sure he knew everything in the beginning and he hated clones, to realize that the world was not the way he had it in his head, and that in fact, he is a clone, really was a wonderful resolve of that character and a perfect time to pass that torch to a different version of Lane, who actually may be a kinder, more gentler version.
 
John Betancourt: Another great thing that you all do this season, that I really appreciated, was this is almost kind of like… a greatest hits of sci fi, because you have the grittiness in those first episodes. I love “The Inner Light” tribute with that episode with Ian and Garnet, you know, in their in their own special life, and I'm kind of curious what went into the decision to offer up this, this grand celebration of sci fi over 12 episodes.
 
Dean Devlin: Well, you know, season one was really, to some degree, disaster of the week. You know, what else goes wrong each week? And while that was fun to kick us off, it really… we didn't feel was sustainable. So, we thought, going into season two, let's really start embracing some broader science fiction concepts, and, you know, and that led us to the alternate universe, that led us to the fever dream. So, you know, it opened up storytelling. And then Jonathan and his amazing team of writers, I mean, they just kept, week after week, surprising me and coming up with incredible ideas. And this really has become the show that I always hoped it could be, which is a giant love letter to the type of science fiction shows that Jonathan and I grew up watching,
 
John Betancourt: Now, speaking of the classics, there's always been a hint of a little Battlestar Galactica in this from the from the get-go, which is wonderful. But I did also want to talk about the fact that you guys made another bold decision in getting to Trappist-1D now. Because this is something that could have definitely been drawn out, and I’m curious what led to the decision to bring them to their new home, now.
 
Dean Devlin: Well before we started season two, Jonathan, and I had this conversation, and we said, what if all of season one and all of season two was the pilot for what The Ark is about. And if you think of it that way, you really see that at the end of the season finale, we set up what the series of The Ark really is about, and it's about a search and rescue mission.
 
Jonathan Glassner:  Well, it's also, you can't be headed somewhere for, you know, for 24 episodes and never get there. You know, it's just gonna start to get really old. And so, it was always the plan. First time Dean and I sat down and met, was that we'll actually get there at the end of season two, and that's what we did.
 
John Betancourt: I loved it. I thought it was a great, bold decision, as was, of course, that surprise at the end, which obviously fans now have questions about. But I know that’s likely a season three exploration, but to satisfy the fans now… what can you say about that wild discovery?
 
Jonathan Glassner: Nothing without major spoilers.
 
John Betancourt: Fair enough.
 
Jonathan Glassner: But, I mean, I think that both of those things that you're referring to set up another season or more, in a very good way, an exciting way.
 
Dean Devlin: Yeah, I mean, if you think of our show, almost like an onion that just slowly gets peeled and it just gets more and more fragrant. So, you know, we started off as one thing, and then we opened it up to more sci fi concepts in season two, but now season three, between the New World and the surprises on that world and being able to go anywhere in the galaxy to try and rescue humanity. Literally every science fiction concept that we've ever loved, we can explore on the show now.
 
John Betancourt: I think that will do. Let’s people know there’s some big stuff on the horizon. Now we've talked a lot about Greatest Hits today, things that you guys loved, and I'm curious what the most fulfilling aspect was for each of you as writers, in putting together this season,
 
Jonathan Glassner: I would say it's the cast. You cast a show, and you never know what you're going to get, you know, you hope that you did it right and we nailed it. I mean, I think our whole cast, every last one of them, are amazing, and they always bring -- they always take a mediocre line of dialogue and make it a masterpiece, and they're just very good at expanding their characters and making them three dimensional. I just… couldn't be more thankful.
 
Dean Devlin: Absolutely, same point. I love being surprised with the way an actor performs a bit or a scene or takes something that I thought was supposed to be funny, and they played it very sincere, or the opposite, something I thought was gonna be sincere, and they played hilarious. And then often, the things they're doing will inform us on where we want to take the show. We'll see a look between two actors and go, “Oh, what was… what was that?” And then suddenly, now we're exploring storylines. So yeah, I have to say what the writers’ room and the writers are brilliant, and it's so much fun, but watching it actually come to life, that's where the real surprises happen.
 
John Betancourt: The last question I have for you today, what are you each most proud of when it comes to your work on season two?
 
Dean Devlin: That we’re still alive. François Truffaut once said that filmmaking is much like the settlers coming from the east and going out west. They leave with the idea of great riches and a new life. And when they arrive, they're just happy, they're still alive.
 
Jonathan Glassner: I'm always, I'm always happy when I feel like I've entertained an audience for 12 episodes. And you know, from everything I read from the fans, I think we did. And so, you know, that always is very satisfying to me.
 
This interview has been lightly edited and condensed for clarity.

Midnight Family truly is a unique series on Apple TV+. Since it blends together fiction and real world elements to tell a harrowing tale of a family of paramedics that are struggling to get by and struggling to save lives and to further explore the wonder of this series, we sat down with cast members, Renata Vaca, Diego Calva and Joaquín Cosío to discuss this incredible new series.

Natalia Beristáin is a highly accomplished director and writer, and currently… she serves as the showrunner of the new Apple TV+ series, Midnight Family. And to celebrate the first season of this show, we sat down with Natalia to discuss all things Midnight Family.
​
John Betancourt I would like to start by getting to know what inspired you to come on as the showrunner of this series. 
 
Natalia Beristáin: Well, the invitation I got by the Fabula team. They had the rights for the documentary, but that was it, at the moment, and I was doing a show with them, and they asked if I wanted to develop it with them and think how this idea can become a fiction show. So having that opportunity like to develop it from scratch, or with this amazing promise that the documentary had, but making it our own and portraying my city, portraying what I live and hate and love every day in the city as a local, and with a local team as well, like local creative team, it was hard to pass. 
 
John Betancourt: You bring up a really good point about taking this in a very expansive direction, because I was very impressed with the fact that this series is, at times, it feels very much like a very scripted drama, but also it feels like a documentary, and it also feels very, very real and very raw, which I really appreciated. As a showrunner, what went into the decision to add such depth and add such realism to this particular story. Because this isn't something that medical shows tend to do. 
 
Natalia Beristáin: See I think it, I mean, we know these medical shows that have been going on for so many years, and there, obviously there's a formula there that works. But we wanted to take what we thought worked from that formula and make it our own and not try to make like a generic show, but a very specific show on not only the Mexican health issue context, but also, like, the way we live, our city and our like our Latin-ity and like, embrace that and be proud of that and portray that to the world. 
 
John Betancourt: Obviously, this is there's a lot of depth just when it comes to the human experience here. And as you just said, you know the situation in Mexico City when it comes to the to the medical setup there, ideally, what do you hope the audience takes away when they watch this show? 
 
Natalia Beristáin: See, totally I mean, for me, I mean, you have the medical drama, but it's about the human drama. And I think that it doesn't really matter where you're from or where you live. You can connect with that. You can connect with the fact that you're trying to pay the rent, you're trying to figure out who you are, in the middle of working, and you're falling in love for the first time. You're leaving your child because, not because you want to, but because you have to go and work and make money and all of that. That's the human drama, and that for me, is the core of our show, with the particularity that these characters live in an ambulance and have this adrenaline and rush and deal with life and death, but again, they just want to come to their house and take a bath. And, yeah, chill.
 
John Betancourt: Obviously, this is a very ambitious tale as well. Just it's so grand and so sweeping as well. I love that too. What were some of the big challenges you encountered as a showrunner in assembling something so grand.
 
Natalia Beristáin: Every single thing that you can think of. I mean, shooting nights. We had a very long 25-week shooting, and of course, just by the name you know, you know that you're going to have a lot of shooting nights. Assembling this amazing cast, which I'm so proud of, but it took a while to make it happen, having a scope of a show that could compete with any show out there, but that still doesn't lose its local flavor, if, and doesn't lose sight of what mattered to us, which, again, it's a character driven piece, so having all those layers happening at the same time, it was definitely not easy, But I'm proud of the job accomplished. 
 
John Betancourt: Obviously, this is something that, you know, that you put a lot of work into. You very deeply care about. I can tell them in how you speak about it. What does it mean to you now to have it out to the world?
 
Natalia Beristáin: I'm just thrilled that it's out there. Finally. I'm thrilled that not only my work, but the team's work is going to be portrayed there, and the people worldwide can have a different look at what Mexico is, because usually at least the shows that happen on a bigger scale that portrayed Mexico or Latin American countries, they usually get, like, directors from outside to come and narrate our stories, which is fine, but this has that local point of view, and that, for me, is like something I'm really proud of. 
 
John Betancourt: Outside of that depth, we discussed, what else are you most excited for audiences to experience without giving any spoilers away?
 
Natalia Beristáin: Well, it's going to be a little window to Mexico City or to the different cities that Mexico City has. It also, I think, it opens questions about, “How does the public health system work in my community? Do I know how it works?” There are also social like narratives that we're touching without making a big political thing out of it. But I think the Latino creative minds behind it, behind and on camera… I am so proud of the scope of our show. I'm so proud of the actors and actresses that are portrayed there. Story wise, the fact that we're telling a story that doesn't necessarily -- it's new characters. I think it's refreshing to see Latino characters that are not Narcos or criminals. It's another part of our society and that I'm proud of as well. 
 
This interview has been lightly edited and condensed for clarity

After skipping an elimination during last week’s episode of The Anonymous on USA Network, they resumed with a vengeance during last night’s episode. For Jack, the loveable gamer that invented some amazing strategies during his time on the show, was sent home by Victoria. And to properly bid farewell to Jack, we sat down with him to discuss his experiences on the show. 
 
John Betancourt: I’d love to start by asking what I’ve asked all of your competitors, how you came to be involved in the show. 
 
Jack Usher: It’s actually a fun background story. My friends and I during Covid, during lockdown, we had nothing to do. Nobody could go to work or anything. So, to pass the time and stay connected, we got really hooked on the board game Settlers of Catan, and we played, you know, addictively. The joke was, we were the best players in the world, but we only played against each other. And then when Covid started letting up, and there were actually --we found there were in person tournaments. And we were like, “Let's see if we're actually any good,” you know, we go to the tournaments. One of my buddies wins the first tournament, qualifies for the US Nationals.
 
I then, I'm like, I want to play in nationals. Go to five more tournaments. Six of us end up qualifying for nationals. I make semis, get knocked out by my friend. He then goes on to win the US Nationals. He then goes on to play in Worlds, comes in second place in the world. So, in a sense, we are some of the best players in the world. As ridiculous as that is, and casting reached out to him. They figured a Catan player might be good at this game. He's an actor, so he, you know, doesn't want to be pegged as the reality TV guy by casting, for, you know, actual traditional stuff, but he sent him my way, which I'm very appreciative of. Shout out to Eric Freeman, incredible Catan player, great friend, and that's how I got on the show. As ridiculous as that is.
 
John Betancourt: Yeah, no, I love that. That's, that's quite the journey. But obbviously, I have to go right to the million-dollar question… that was an emotional goodbye. That was, definitely, I think, the most emotional goodbye of anybody to date on the show. How hard was it to go home?
 
Jack Usher: For me, it was really tough. And I think it was maybe the toughest for me for a few reasons. One is that I was doing really well, and so I felt like I really started to feel like I could win the whole thing at the beginning of the show. You know, it's not even real yet. It's all ridiculous, and then you start really doing well, and then you can, kind of, like, taste it. There's also another element for me, where, you know, I'm the gamer, I'm the games guy. This is sort of my whole identity, in a way. And so, I was trying to, essentially, like, realize my own identity by winning and but in a sense, losing is… that is such a central part of gaming. It's like, if you're a gamer, you've lost, and I've lost. The thing that I tell people when I beat them at games, and they're like, “I'll never be as good as you,” or “How are you so good?” is I've lost more times than you've played. And so, you gotta ultimately, you know, losing is a good friend of mine, and there's as many lessons to be learned from losing, if not more than winning. So yeah, it was super tough, and I really wanted it. I don't know if anyone else there wanted it quite like how I did, but hey, that's, that's the game, and I was super lucky to play at all. 
 
John Betancourt: You also had some of the best strategies out there. I think really, you and Xavier probably had the two best strategies to go with. And I'm kind of curious how you came up with the amazing strategies that you came up with. Because, I mean, you won The Anonymous multiple times, I think, more than anybody else in the game, and you just kept figuring out ways to do it.
 
Jack Usher: Yeah. So, it's so interesting. It's the first iteration of this show. And so, I basically came in and was just trying stuff. I'd like hypothesize an idea and then try it. And sometimes it worked and sometimes it didn't, but some of them were very successful. So, my initial idea was I wanted to double bluff as a woman pretending to be a man, and so I thought the football handle was the most, in my opinion, gendered handle towards being a man. And I threw in some language about, oh, dudes, you know, I don't think they aired one, but people started making, like, puns on their own handles, like, “I'm just here eating my popcorn,” and I said something like, “Well, I think this conversation's been a touchdown,” which, to me, is so like, you know, someone who doesn't know anything about football really would say that, like, it doesn't really even make sense. So that was my try, that, in addition to putting Andy at risk, who, by the way, I had no intention of sending home, but I thought that that was probably my best chance, and it really worked. And then afterwards, on the second handle, I had to try something different, and I stumbled upon the Xavier strategy of pretending to be Lilly or Bismah.
 
So, I was just trying stuff, and some of it really worked, and there were parts that didn't totally work, uh, I would definitely, if I were to do it again, I think my big error was being a little too vocal. Ultimately, towards the end, I think as I like, got closer to the end of the game, I started, like, doing too much, but I think I did pretty well in Anonymous mode. I don't think anybody at any point was had me locked in and pegged as a handle like how I think people did for a lot of people.
 
John Betancourt: Now you kind of mentioned some of what you would do a little differently, maybe being a little less vocal. What else would you have done, strategy wise, differently now that you’ve had time to kind of reflect on this
 
Jack Usher: Interesting yeah, what would I have done? I would not have partnered with Xavier for the partner challenge.
 
John Betancourt: I wonder why, that was a tad messy. Stacking those boxes. 
 
Jack Usher: Oh, yeah, totally. I… that was, that was a brutal challenge. It was also so windy. I don't know if youcould tell that, but also because, we were already sitting there talking, and DANI announced the challenge and said, “You’ve got to partner up with someone.” And he was right there, pick someone now, and it was like, “Okay, we're here. Let's go.” In retrospect, I wasn't playing for safety in that challenge because I had just gotten safety, and I didn't want to be the guy who's always safe, because I wanted to lower my threat level. But I think by partnering with Xavier, you know, some of his shine, you know, rubbed off on me, and he was always going to be the most threatening player to anyone in the game at every stage. So, I think I had to get in with Xavier, but also maintain a little bit of a distance from him, which I think I failed to do, especially by partnering with him. 
 
John Betancourt: Now in staying with time to reflect, I'm very curious what you're going to miss the most about being on this show. 
 
Jack Usher: Wow. What am I going to miss the most? You know, it's a dumb answer, but the people. I really think the other players were super special people who I don't -- they're not necessarily the type of people I get to interact with every day. And I think as sometimes, as you get older, your pool of connections sort of whittles down. And so just getting to get out there and meet all these different characters, um, was really special, that… that was a really special element of the game. Um, so that's like, the lame answer, which is true, though, but maybe also just getting to be, like, unabashedly, like, underhanded. I think that that is fun. I don't… I'm very, you know, straight up in real life. And part of why I love to play games is because it's an arena where everybody knows the thing. Everyone knows you're playing to win, and lying is and deceit is totally part of the game. And so, I think having an arena to do that where it's totally acceptable, I will miss that, but I also have other games, so I'll get other chances.
 
This Interview has been lightly edited and condensed for clarity. 

At long last, Carol and Daryl return to our airwaves this Sunday on AMC in season two of The Walking Dead: Daryl Dixon – The Book of Carol, and in anticipation of an epic season two premiere to come, we here at NTG took a little time to sit down and talk with several cast members from the show to discuss what they’re excited for audience to experience and they hope we take away. So, without further ado here is what, Anne Charrier (Genet), Romain Levi (Codron), Eriq Ebouaney (Fallou) and Louis Puech Scigliuzzi (Laurent) had to say about season two of this beloved show.
​
John Betancourt: I’m curious what each of you hope audiences take away from season two of the show?

Anne Charrier: That you can always choose, choose your side. Of course, I'm doing, you know, a message that is about my character a bit, but you can always choose the side you're going on, you know?

Romain Levi: Yeah, and even in very dark times, you can open your heart, you know, I like that idea. And we can feel, we do can feel love in this season, and even if, yeah, it's hard, we're all fighting, you know, we don't know if we're gonna die tomorrow, but yeah, we can still open our hearts. Yeah.
Anne Charrier: I love that. I love… Romain says it so well. That's exactly what I meant.

Eriq Ebouaney: I mean, my name is Fallou on the show, and I'm the leader of Union of Hope. And I think for me, the message, the main message is don't give up the hope.

Louis Puech Scigliuzzi: Yeah, yeah. I mean, it does. It's really, it's spreading hope around the world. And also, we see it with, you know, everybody arriving at the Nest, and it's always about hope and never giving up in your dreams.

John Betancourt: What are each you most excited for audiences to experience this season? Without any spoilers, of course.

Anne Charrier: There’s so many things.

Romain Levi: Well, definitely, but the first thing for me, definitely the fact that Carol is back, you know, when I read this in the end of the first season, I was like, so happy about it. And to… I think, I won't spoil anything if I say that they will see each other, you know, they will be back together. And this is magical. This is very beautiful there. That's why I really love the Carol idea. But more it's… it's stronger than this, in a way. It's this… finally they find the way to find each other. You know, they found a way to find each other, and it's very beautiful to see them together. Really.

Anne Charrier: Yeah, I would have loved to find a more interesting answer, but I couldn't, you know, it's… he’s right. You know, that's definitely what is the point of this season. To see them together, to reunite them.

Eriq Ebouaney: I mean, having Carol back, it’s just such a great moment, you know, and don't forget that this season's called The Book of Carol. So, everything is around Carol. She brings back emotions, she brings back her great soul. She brings back energy. I mean, she's fearless as well, the same. She's a badass. So, the thing is, we just surrounded by this badass. It just we having a such a beautiful moment, because it just an inspiration for us.

Louis Puech Scigliuzzi: Yeah, and I mean, she really does bring that sort -- she brings that friendship back in the show. And that's really exciting for, you know, all the fans.

Eriq Ebouaney: Yeah, and we shot in those iconic locations in France as well, you know, the Louvre, Mont-Saint-Michel, Pont du Gard, and all those places, so and watching them destroyed like that. I mean myself as an actor, I was a bit sad, but on screen, it's just awesome.

Louis Puech Scigliuzzi: Yeah, it is, it is.

This interview has been lightly edited and condensed for clarity.

Season one of Women in Blue (Las Azules) has come to a close on Apple TV+, and to further dive into its bold nature and the journey that Mária went upon, we sat down with series co-creator Fernando Rovzar and series lead Bárbara Mori to discuss ‘Valentina’.
 
John Betancourt: Fernando, what went into the decision to end season one in such a surprisingly unconventional manner.
 
Fernando Rovzar: I think that the show began, you know, as a mix between reality and fiction. And as such, I think in the end, there had to be also a very clear idea of where the reality was and where the fiction was. And the truth is that even in the in the happiest of endings, the reality is that in 1971 in Mexico, there had to be, there also had to be a little bitterness, and there also had to be a little reality, because the truth is that the struggle that these women went through in 1971 was only the beginning, and we couldn't, in good conscience, we couldn't pretend that that was that, that was like the end of it, that the system wouldn't try to, you know, to keep doing what the system does. So, in that sense, and on the other side, talking about reality, I think that, you know, in, I think it was 1974, there was a convicted serial killer known as Goyo Cardenas. Goyo Cardenas was released and pardoned by the President and invited to the Senate to talk about second chances.
 
And this man murdered four women and buried them in his backyard. And he was released for the same reasons that the government started the program of Las Azules, which is, you know, to pretend, to show people that that we were something that we weren't, and to show people that, you know that women are in the police, but at the same time, don't let them investigate. And here's second chances, but at the same time, this man murdered four women and so it just, it just shows that that all the characters in this story are living in in a system that is very prone to theater. So, it was very natural for this, to be able to have a mix of all those things, because that's very much at the essence of Mexico.
 
John Betancourt: Bárbara, I'd love to know what it meant to you as an actor to have so much to work with in this finale.
 
Bárbara Mori: Yeah, it felt really good since the part of the creation, you know, with Fernando, all the work that we did before, also when we rehearse with all the actors and actresses, and you know, the story is getting stronger and tough and very dark in some ways, and very emotional. For me, the inner transformation, emotionally speaking, in Mária… it was very, huge, very, very like challenging for me as an actress, but it felt really, really good to get out of my comfort zone as an actress and be able to tell the story like this.
 
John Betancourt: Some follow up questions to all that, back to Fernando for this one. I'm very curious then, because you mentioned that the finale felt very, very real, which I think I appreciate. It was almost like I was watching more of a documentary than I was a season finale. And I'm curious how you as a showrunner managed to make it feel so raw and so real.
 
Fernando Rovzar: Well, I think that I do have something against endings that don't that feel -- because life doesn't end like, life doesn't close. Like every, every time a door closes, another one opens, in life. And I think that we live every single day ending a story and beginning another one and living like a middle of a third one. You know, we always have, like, all these stories, and not all of them end, and not all of them, you know, we don't notice when, when some of them begin, even. Like, as in love stories, you know, sometimes you don't even know when a love story begins. So, it was interesting, because we had so many moving pieces with Valentina, with Gabina, with Ángeles, with Mária, and also the moving pieces with Alejandro and Romandía and, you know, and the police, you know, the investigation, that I think that what I really wanted, is to sort of establish the idea that that you don't get a curtain that closes on you and says, “we're done.”
 
It's sort of like life doesn't give you that. And so, I guess that's why it feels a little bit more like real life, because, because you can, you have this feeling that you're sort of very satisfied at what the season is closing, but also you do get the feeling that you could watch another episode right away. You know, you get the feeling that the story could go on. And I think that's a good place for a series, because we are very excited at the idea that, that maybe we'd get a second season. So, I also didn't want to, I didn't want to close down all the doors.
 
John Betancourt: For Bárbara, to continue to talk about the acting process for you. You mentioned your performance, was out of your comfort zone and you tried some new things. How did you tap into such raw emotion as an actor?
 
Bárbara Mori: Well, I, to be honest, I've been acting different for the last four years in my life. I've been acting for 27 but the last four I was I started a new process. And my new process has to be with energy, you know, and to tap into the energy of the character and let the character and let the scenes surprise me, you know. Before, me as an actress, I always was trying to get into, you know, this is the result of the scene, so I have to get there, you know. And now, in these last four years in my career, I've been like, you know, let the scene take you. I don't know where. We don't know where, which emotion we're gonna reach, but we're gonna reach some true emotion. So, let's go and with his hand (Fernando) and with, you know, Leonardo Sbaraglia, actor, that he works like this as well, and all the actors and actresses in the show that were very compromised with the scenes, you know, with the characters, with the show, and everyone was very ready to shoot, you know, all memorized and everything. So, it was perfect. The set was perfect to just play and see what happens.
 
This interview has been lightly edited and condensed for clarity.

Joanna Scanlan is a highly accomplished actor that has appeared on numerous shows and in numerous films. Currently she stars as Moira in season four of Slow Horses on Apple TV+, and we here at NTG had the honor of sitting down with Joanna to discuss her experiences on the show thus far.
 
John Betancourt: I'd love to start today by getting to know how you managed to come to the world of Slow Horses.
 
Joanna Scanlan: Well, um, I'm very lucky to have had a long relationship with Slow Horses in that when they originally started to develop the show, a very close friend of mine, Morwenna Banks, was in the original writers’ room, along with Will Smith, who I'd worked with on The Thick of It, the UK show. So, I knew they were developing it, and I heard lots about how that process was going, and I was always very excited about it. Seemed like a great idea, and I hadn't read any of the books, but it seemed very positive. And then when the night, the first night, when it dropped, my husband and I sat on our sofa, out of loyalty to our friends, to watch their show, and we were blown away. I mean, literally in that case, because it is a lot of explosions. But it was just… we just couldn't believe how utterly brilliant it was. So, we were early adopters, and then I loved it, for everything that it is, the extraordinary cocktail of thrills and comedic sense and the emotional heart of it as well, all of that coming together. We loved it. Loved it, loved it. Couldn't wait for the next series. Couldn't wait. And then I couldn't believe it when I was asked to join the team, and, you know, end up in Slough House myself that just felt like, “No, I'm a fan.” I was only hoping that it wouldn't spoil it for me, because it'd been such a pleasure to watch. I didn't want to kind of see behind the curtain.
 
John Betancourt: Speaking of that, that leads me right to my next question, what does it mean to you then, to join a show that you're a fan of, and that is also just an outright phenomenon?
 
Joanna Scanlan: Well, I think at the end of the day, the way I approach all my work, is that I don't really do it for what happens afterwards. I do it on to be there on that day, doing that thing with those people. And there can be no greater pleasure than being a part of Slow Horses for Apple TV Plus. I mean, seriously, it is the happiest, most enjoyable and most enriching job I have ever had. I absolutely loved it from dawn ‘till dusk.
 
John Betancourt: What was it about the job that you enjoyed so much?
 
Joanna Scanlan: I think it's just being surrounded by complete quality at every turn. You know, whether you know seriously, from the facilities guys, to Gary (Oldman) himself, you know, every single person is at the top of their game. They are all producing and delivering. There's nothing I could have brought, you know, I didn't have to think about anything other than just playing Moira. Because normally, in every job I go to, I'm a shocker for trying to do other people's jobs. Because I think, you know, you really should -- that prop isn't quite right, or that costume isn't quite right. I'm quite fussy, but my God, these guys are so ahead of the game that there's no way that anything I could bring would do anything other than diminish it. They are superb. Adam Randall, the director, every single bit of that show is thought through with such excellence. And not least the comedy, which is something that… you can't do that by hammering it on the head. You've got to let that live and breathe. And I think Will (Smith) has been the most amazing showrunner, because he lets the space and the air into the rehearsal time so that people are bringing their very, very best to the party, and not trying to kind of control it. No, you know, not trying to just, you can sit on Comedy too, too easily. Just, you know, sit, squash it. But he just allows that kind of energy and so it flies. Yeah, really good.
 
John Betancourt:  Something I also really enjoy is how realistic all the characters feel. Everybody seems like somebody you would know in life or have worked with in life. And I'm curious how you as an actor, added such depth and realism to Moira. Because there are folks that I’ve found in my travels that are like Moira.
 
Joanna Scanlan: Really. You recognize that type?
 
John Betancourt: Yeah, oh yeah. I’ve worked with a couple of people like her.
 
Joanna Scanlan: I think it relates back to The Thick of It again, because I think Will at some level, was remembering the character I played there, and I had based her -- so like this is iterations back on a real person that I worked with when I was young, and I worked at a big arts organization in London, and this person was exactly, you know, I'm channeling her really still through Moira, somebody who's sort of a little bit deluded into their to their value in the world, but at the same time, they are actually quite good at what they do. They just miss the bigger picture, miss the context of life, and focus too narrowly on their own self-importance in a way, and sense of indignation, should people not go along with their way of thinking. How shocked and surprised they are that nobody agrees with them, and that quality, I think you do meet in the workplace quite a lot, because they're just very, in a way, very narrow minded, but at the same time they've got something to offer. It's a real thing. It's not, it's not pointlessness, but it doesn't see other people's concerns. And I think, so I based, you know, originally, that one other character on, and this is a kind of revisioning, back to my experience as a young as a young administrator in in this arts organization. The other thing I think about people like that is they're not people, people, but they think they are.
 
John Betancourt: Oh, that sums it up perfectly. That’s Moira to a tee. Obviously, we’ve still got a few episodes left in the season, without any spoilers, what are you, kind of most excited for audiences to enjoy?
 
Joanna Scanlan: Well, it gets really, really complicated, not in a confusing way, in a very shocking way. Actually, there's very little I could say without giving too much away. But you might be, you know, when you've seen the French stuff from the first couple of episodes, you might be thinking, “What's that? What's that all that about?” And that really, really pays off. So, I think you're following River, going through a very, very important emotional journey. And it's, yeah, it's a… I wish I could tell you more about that. In terms of Moira’s story, that also gets interesting. And a couple of friends of mine have said to me, “Oh, I think you're the baddie. I think you’re; you know, I think you've been planted there,” or, you know, “You're definitely not what you seem.” So, and that's not exactly right, but there's a kind of way in which she definitely has a sting in her tail. More to her than you might imagine.
 
This interview has been lightly edited and condensed for clarity.

Scott Weintrob is an accomplished director, whose work can be seen on Prime Video and Peacock. His current project, Paradox Effect, is also his feature film debut, and it is available on demand now, and we here at NTG had the distinct honor of sitting down with Scott to discuss his first feature film.
 
John Betancourt: I'm very curious, first and foremost, what attracted you to this film as the director?
 
Scott Weintrob: Well, it's funny because the producers first approached me, they saw a Ford commercial they liked, and they said, “Hey, come in and we'll chat.” So cool. I went to meet them, and they offered me this Christmas movie. And I was like, “What is this, man?” Like, What? What? Because you get, as a filmmaker, the goal for me is always to be to make movies. So, when you get a call and people are like, “Oh, I've got a movie for you,” you’re like, great! But I was like, I don't want to make a Christmas movie, you know, like, here's this script, read it, and they're like, “There's nothing, no one attached, no money. But if you want to rewrite it, go for it.” And that's basically where it came from, is they gave me this script, and the bones of it were pretty solid. And then, you know, a friend of mine and I would just rewrite the thing
 
John Betancourt: Now this film is such a tight knit ride, like everything pops, everything moves, and I'm curious how your prior experience influenced that, that tight knit, intense vibe.
 
Scott Weintrob: Well, there's two parts to it, right? So, I do a lot of Doc(umentary), and I really believe that, like when you make doc, it makes you a really good storyteller, because you can have your assumption of what the story is going to be. But in doc, you're like in real time making decisions, should I go left? Should I go right? And you're making instant story decisions, right? And so that's like a really good preparation for a movie, because on a movie with a very small budget, like things don't always go to plan, and very rarely do. You don't have time to shoot extra, and if things go amiss, you have to work out, “What can I do? There's a scene I no longer have time to shoot. How do I tell the story to keep going?” So, I mean, the doc part of it is very helpful. And then obviously, I've done a ton of car commercials, so I just understand how to shoot action because been doing it for, you know, very high level for quite a while.
 
John Betancourt: What was different about directing a feature in this vein over anything else that you've done so far.
 
Scott Weintrob: So, the thing about a feature is it's a very, very intense and like all consuming process, like you can work on several projects at a time in Doc, you can be, “I'm working on a doc and I'm shooting a commercial at the same time.” A movie? Your whole life stops, and you are just working on the movie. So I was in Italy, and you spend a few hours asleep, and other than that, you work on the movie. It is everything. And as a director, there is no one that can move forward because they have like questions, and everyone has questions. No one ever says, “Hello, how are you?” at all. They always have a question. So that's your like, from dusk till dawn is answering questions, but they're all like, you know, valid questions. It's just very, very like, this is a story, and there is no time for anything else.
 
John Betancourt: I’ve heard from other directors; how critical it is to be prepped for a project. What kind of prep work goes into a project that is he's kind of a bit on a smaller budget, but so ambitious and so big in scope regardless.
 
Scott Weintrob: Yeah, so, like the other directors said, so, coming from commercials, I know exactly what I'm going to shoot before I shoot it, right? I've gone through -- I go to the location. I take stills, I like work out exactly the movement, both camera positioning and talent and/or car, whatever it is that's actually moving through the scene. So, I know, and I pick locations that I know how to utilize. I just have that background of, you know, knowing that this is going to take X amount of time, and once I've got that worked out, the like, technical part, I can get creative, because I know that once that's ticked off, the team's good and they can do what they need to do. And now I'm like, I can get creative.
 
So, in terms of prep, I went there way before the shoot to pick locations. So, because that's so key, is the locations all get triggered and approved, for budget, for schedule, because in my head, I'm like, this is where we're going to shoot this scene. This is how it's going to work. So, I need those things to like, get settled so I can really like, then start to (story) board, and then I board, and then when we get there, like, we know what we're doing. And remember, you only get the talent, like, maybe a day or two before you start shooting on a budget like this. Olga's gotta do a fight. Olga's gotta do a car chase. When is she gonna rehearse? There's no real time for rehearsals. I believe Olga (Kurylenko) got there on a Thursday and we started shooting on a Saturday.
 
John Betancourt: Well, that’s just incredible prep work, and I have to ask a follow up to that. In that, how did you pull off rehearsals and everything else, in such a short time?
 
Scott Weintrob: So, I had a rapport with Olga because I'd spoken to her a couple of times before the shoot. It was just important. I’ve just worked with, like, a lot of talent. I know it's important to really sort of get to know each other, and, like, they need to know that, like, I earned my spot, and by doing work that got me the spot, like it wasn't that someone just said, “Hey, your uncle got you…” wherever the bullshit that happens, right? And when they've done other work that they know and you earned it, there's a different rapport. So now, like we're into that, and we talk about character, we talk about what's needed. There was actually a scene that was very important to Olga, because she had had a friend who had some addiction challenges before, and she was like, “This movie is all well and good, but like, there has to be a moment where the character stops us. ‘I don't know if I can do this’” right? And you're like, “Yes, brilliant, great idea, totally valid. Let's put that in there.”
 
And I think these are the moments that like, built the rapport with the talent, there's trust, and you're a shared vision. So, when you need to like, say, “Look, this is where we're going now. We need to go and do this car chase. We need to go and do this, like, this is how we're going to do it.” It may seem like a rush, but she has the trust that I know how to build these scenes, right? And there's a trust in her that she's really deeply thinking about her character, because she's asking questions like that, and that's how you do it in a shorter time.
 
John Betancourt: This is a big, ambitious film. I noticed there's a little bit of heart to it, though, and a little bit more depth than some of the average film in this particular vein does. What are you kind of hoping audiences take away from this movie on a deeper level.
 
Scott Weintrob: Yeah. I mean, look, there's this, the mama bear, parent idea of, like, what a parent would do for their child, but not in such a like, cheese ball way that it's like, you know, just tons of people fighting, and it's unrealistic, and people are like, falling over walls and stuff. Like this is, I wanted it to be believable and true. Like this is really the characters. You believe them. And like Olga all the way through, never felt like an action hero. She just felt like somebody just happened to be part of it, holding a gun. She always looks a little awkward when she's holding the gun, because she doesn't really know how to properly do it anyway. You never see her doing some sort of crazy maneuver, right? You never see her like doing shooting somebody and then like a trained shooter, like, missing her and her shooting them like, so I feel like just everything about it felt true and real and that was important. And then, like, you know, at the end of the day, her goal was very simple, like, just to be with her daughter and have a regular life.
 
John Betancourt: Last question that I have for you today, what does it mean to you now to have this out to the world.
 
Scott Weintrob: I mean… It's been out in different countries, so I’ve received messages and stuff. You know, we premiered it at Rome Film Festival. Jared Butler introduced it. It was really cool to see it, you know, we literally locked the movie up, I don't know, like 48 hours before they screened it for the first time. So, I didn't even watch that screening because it just looked like a bag of shots. It didn't look like a movie to me because I was too close. So now, like, however far away we are from wrapping is cool because I can watch the movie as a movie, which I enjoy.
 
This interview has been lightly edited and condensed for clarity.

Reginae Carter is a rising star in Hollywood, and in recent years has graced our multiplex and our televisions with her dynamic talent as an actor. Currently, she stars as Miss 290, one half of the Drill Group, K-Town, on Kold x Windy on ALLBLK, and we here at NTG had the honor of sitting down with Reginae to discuss her season two experience!
 
John Betancourt: Obviously, since we last talked, some big things have happened for you. Acting is now your focus, which is great, and you're everywhere on TV and film now, which is just phenomenal to see for you. But I'm curious to know what it was that called to you, first and foremost about acting.
 
Reginae Carter: Well, I've always wanted to act since I was a little girl, like That’s So Raven was, like, one of my favorite shows. Like, I honestly auditioned for it and everything. Like, I loved acting. I used to be in like, acting schools and have acting classes, so I've always wanted to act, but I didn't start getting, like, more serious to it, until I turned, like, 17-18, and that's when I did my first movie, Pride and Prejudice: Atlanta. And that's when I was like, “Okay, I like this. I love that I can tap into different characters. I love that I can work with, like legends. I love that all of this stuff is happening”, and, yeah, it was a blessing.
 
John Betancourt: Now what was it that attracted you to the role of Miss 290?
 
Reginae Carter: Well, I actually narrated season one, like did, like a story time narration on it the first season, and they called me back a year later and was like, “We want you on that.” And I'm like, “Well, sure, like, I had already watched the season one,” so I'm like, “I actually love this.” So, when they gave me my character, I'm like, “Oh my gosh. And I could be a rapper, not just in my mirror at home.” So, I'm like, “Okay, cool. Like, this is fun.” So, I just study all my all my favorite like female rappers and stuff, and became Miss 290.
 
John Betancourt: Now that I did not know. So, something new for me to learn today, and since you’re clearly deeply intertwined with the show, what do you love about it?
 
Reginae Carter: I feel like the show is very relatable. Um, especially with new artists nowadays, where they're coming from, a different background and different like, I feel like nowadays, with TikTok, with just everything, you can come up overnight, like you never know when your spot is gonna get taken, or when you might have competition, or whatever the case. So, I feel like the show is very relatable with saying Kold and Windy felt like they were gonna be on top for a minute, and nobody was gonna come in their way, where it's like, oh no, K-Town is here. So, what y'all gonna do?
 
John Betancourt: Speaking of that, actually, I do want to dive a little bit further into that, because this show has just been just a phenomenon. I mean, you see it on social media, people love it. You love it, so, I'm curious what you think makes this show resonate with audiences so well.
 
Reginae Carter: Well, like I said, I feel like people can relate to it, where it's like, sometimes it's hard to give up something that you've been dealing with or going through your whole life, to want something better for yourself, or to get to going to a different route. Whereas I feel like that's what Kold and Windy is kind of going through. They've been doing stains, robbing, doing all of this for years, where it's like, listen, though you got a chance to be one of the biggest like, y'all are one of the biggest groups, but you can't be on the news killing people at the same time. So, like, I feel like people can relate to that, where it's like, not as extreme, but certain things, you gotta give up one thing to get better.
 
John Betancourt: Now something I love about this show, is how every character is so incredibly realistic, and I’m curious how you made Miss 290 feel so real?
 
Reginae Carter: Well, like I say, I feel like everybody kind of kind of knows how it is to be like a female rapper, you know, the looks, the sexiness, the this, the that. So, I feel like I channeled that with also being from Chicago, being from the west side of Chicago. I have a lot of friends that's from Chicago, so they helped me with that. So, when I first found out about me being Miss 290 from the west side of Chicago. Um, I hit up my friends, and I was like, “Okay, what is it like? How? What they like? What do they say? How? How should I say this word?” Like, they helped me a lot with that So, I brought that person where, so you can relate to me, but I'm also hungry. I want this, like, and with Mae West, you can see the difference between us two, where it's like, I feel like she's like, a little bit more cooler than me, like nicer than me, but we're still on one thing, and that's taking over. And also, I studied a lot of female rappers, like Latto, The City Girls, like different things like that. So, I can become that artist too. There's a lot of studying going on, just so I could become Miss 290.
 
John Betancourt: Now, obviously you're aware of the phenomenon this show is, coming into this was there any pressure for you in joining this cast and joining a show that's so important?
 
Reginae Carter: Well, honestly, I don’t walk into a room thinking that it's pressure, but I feel like, as far as it already being a show, they already had their cast. Of course, I was like, “Hmm, how am I going to fit in? Probably, I don't know how that's going to be,” but… fit right in. Everybody was super cool. Everybody was super welcoming. It felt like a family. It felt like I was on the first season. So yeah, I really enjoyed the cast and the production and everybody on set.
 
John Betancourt: As a follow up to that, what has been the most satisfying aspect of this role for you?
 
Reginae Carter: I actually like that people are randomly telling me that they're seeing me on it, like, and then just different things. Like, I feel like a lot of people don't really – now that I'm acting more. I did Boxed In, I did my Libra movies, Boxed In one, Boxed in Two. And like, now they're kind of seeing me. So just to add another accomplishment, and people are actually like, “Oh, I love you on Kold x Windy, I can't wait to see what y'all do.” Like it's kind of giving people that… “what will happen next,” and I love that.
 
John Betancourt: Something else I've always enjoyed about this series is that it does kind of play in in both the light and the dark. It's very much a gray area show. Now, so far, your character hasn't had as much of that. But clearly there's still some of that desire to get into some of that darker part of the world with Drill as it is. I've always been curious for actors, does any of is it hard to differentiate, or hard to differentiate, hard to pull away from some of that dark material when you leave for the day?
 
Reginae Carter: Honestly, I feel like… I know with reality TV, it's helped me to like, say, for instance, when a camera is on, like, um, that's when you it's time to say, what you got to say, do, what you got to do. Like, for instance, like, when I'm that character, I come in that character, as soon as I get on set, like, that's where I'm at, but when I leave, that is my life, like, I know I'm not that character anymore. I don't take that home. And I also read about, like, the Joker or something. So, I really am big on, like, not kind of becoming my character, out of the scene, or off of set.
 
John Betancourt: If I can follow up on that a little bit further, because I'm it's always a great opportunity to talk to actors and just learn their process. So how then do you shut it off so easily?
 
Reginae Carter: Sometimes it's not always easy. I'm still learning how to because, especially, like when I was in Chicago, okay, I was coming home talking like I was from Chicago, they was like, “hold up, girl!” (Laughs) Like, sometimes, you know, it's kind of like, you gotta get it, but as long as it's not for the bad, like, it's nothing, being the character all day, like, hey, if you want to, if you feel like you killed that scene, and you want to do it all night, till you go to sleep, there's nothing wrong with it, until it's like you just being rude to people, or you're being mean, or it's like, I don't know, I feel like it's all in the energy that you give towards that scene or that character.
 
John Betancourt: It’s also quite impressive how everyone in this series is searching for something, searching for more. What would you say Miss 290 is searching for in this series?
 
Reginae Carter: Um, I feel like really, really showing that we have a drive. We're hungry for this. Like, we're actually in music, we're putting our all into this. Yeah, we from Chicago. We… we probably did some stuff. Maybe, you all never know. I don't know what's going on there but stay tuned. But as far as right now, I feel like, we’re those girls where it's like, we're different from Kold and Windy, and they see that, and they're like, “Hold up, what's going on?” And then we're also stepping on their toes. As far as probably like, working with the same people, so it's like, hold up. Now we're in the same room as them, what's going on? And I love that, because it's like, we're waking them up.
 
John Betancourt: What does it mean to you both personally and as an actor, to be part of a show that is this unique and this important?
 
Reginae Carter: It means it a lot, first of all, to be on ALLBLK where you know, it's promoting and honoring my people, black people, and also just giving people a chance. I love that Kold x Windy has a lot of new faces too. But that cast is, like, amazing. I've seen so many, like, so many scenes where I'm like, “Oh my gosh, she went really deep in this,” like, I love that. I'm also learning from them as actors and actresses as well. And I feel like we've been watching certain shows for so many years. Kold x Windy, is that new show that I feel like we'll have multiple seasons as well.
 
John Betancourt: Speaking of its importance, it does have a lot of messages in it as well, what’s the message you hope audiences take away from season two?
 
Reginae Carter: Um, it's a lot of things to take away from Kold x Windy season two, just like, say, for instance, like with your health. You know, I know Kold and Windy’s, Auntie or the lady that raised them, like your health, just like being more into your health. The music industry, always like being hungry, but never getting too big headed and humble yourself, staying humble, because you never know who will be the next person that may take your spot. You never know, like, so be humble. Keep working. Never feel discouraged.
 
John Betancourt: With season two out now, what are you most excited for audiences to experience?
 
Reginae Carter: I feel like I'm most excited for our audience to see -- I feel like the main question is, what is like, who is K town? Like, what are they about to do? Like, I really feel like it's going to be left off where it's like, “Oh, wait. They probably about to give them a run for their money.” And I feel like people are probably about to start choosing sides or figuring out, like, you know, this is when it's that time where it's like, “Oh, we're coming over. We're taking over,” and Kold and Windy, they not going for that. I don't know. They probably gonna kill us. (Laughter from Reginae and John.) Yeah, no, I'm just super excited. And hopefully there is Season Three with me on it.
 
John Betancourt: The last question that I have for you today, what are you most proud of when it comes to your work this season?
 
Reginae Carter: I'm always proud for people to see my craft and see what I'm doing like every project that I do, every movie, every series I love, like my growth from one to another. I love to see myself, to study myself, to also critique myself, what I'll do better next time. Because I'm my biggest, like, you know, supporter, and also, I'm gonna be, I'm honest with myself too. So, it's like I'm not in denial about anything. I'm very hard on myself, but not that hard. Like I feel like I'm very realistic with myself, I would say.
 
This interview has been lightly edited and condensed for clarity. Stream All Episodes of 'Kold x Windy' at allblk.tv.