Dichen Lachman made her series debut as Roulette in last night’s Season 2, episode 4 of “Supergirl.” While the episode was airing, Lachman took time to answer some fan questions on Twitter, revealing some behind-the-scenes details about her villainous role.
In a tweet, Lachman shared how long it took for the makeup team to make her character’s iconic dragon tattoo. “The tattoos took about 4 hours. It was a bit of a puzzle,” the 34-year-old actress wrote.
When asked “which took longer in hair/MU, the tattoos on #Supergirl or the grounder get-up on #The100,” the Nepali-born actress answered: “#SupergirlCW took longer. But only sometimes because I slept with those transfers.”
A lot of “Supergirl” fans love Lachman’s performance of Roulette, and it’s something that the actress is thankful for. “Hi everyone. Thanks for watching ‘Supergirl’ tonight and for all the amazing tweets,” Lachman said a in video she shared on Instagram.
Lachman also congratulated “Supergirl” writers Paula Yoo and Eric Carrasco for writing an “amazing episode.”
When Lachman’s casting was confirmed last September, a fan tweeted the actress that she would like to see Roulette “alive” at the end of the episode, to which Lachman replied: “That would be nice.”
Fortunately for Roulette fans, that’s actually what happened in last night’s episode, entitled “Survivors.” Although Roulette was arrested for running an underground alien fight club, an order from the higher-ups made the National City Police Department release the villainess from their custody, which means that viewers might have not seen the last of her yet.
Dichen Lachman has confirmed that she will be appearing as DC Comics villain Roulette in Season 2 of “Supergirl.”
In a video clip she shared on Instagram, Lachman thanked her fans for all the excitement surrounding her casting and talked a little bit about her experience in filming the CW series.
“I just want to thank everybody for all the excitement about me appearing on ‘Supergirl’ as Roulette,” the 34-year-old Nepali-born Australian actress said. “The cast and crew are working so hard and there are such incredible people. I’m really excited to be on the show, and I can’t wait for you to see it.”
On Twitter, Lachman revealed why joining the cast of “Supergirl” was pretty surreal for her.
“When I was a little girl in Kathmandu I used to daydream about being Supergirl,” she tweeted. “[It’s] one of the few movies we had on VHS. Watched it many times.”
In a follow-up tweet, Lachman added: “‘Supergirl,’ ‘Superman’ and ‘Police Academy’ were the 3 tapes we had and we watched them over and over again when we had electricity.”
In the comics, Roulette, also known as Veronica Sinclair, is an enemy to the Justice Society. She runs a gambling establishment for supervillains where they can bet on different events like captive superhero death-matches. Rather than getting her own hands dirty, she is more of a calculating business-minded character who manipulates others for profit. Created by Geoff Johns and Rags Morales, Roulette first appeared in 2001’s “JSA Secret Files and Origins” #2.
On CW’s “Supergirl,” on the other hand, Roulette runs an underground alien fight club in National City and is eager to get the Girl of Steel in the ring, Comicbook.com reported.
According to TVLine, Lachman — whose recent TV acting credits include “The Last Ship,” “Agents of S.H.I.E.L.D. “ and “The 100,” among many others — will appear in “Supergirl” Season 2, Episode 4.
What do you think of Lachman’s casting as Roulette? Share your thought in the comments below!
“Supergirl” Season 2 premieres on Monday, Oct. 10 at 8 p.m. on The CW.
The long David Lynch-like opening sequence is memorable: Beautiful young Dorothy awaits the arrival of old flame Mel — a private detective — in a Radio Hill park high above Los Angeles. Two drug dealers, followed by a handsome park ranger, get there first. By the time Mel shows up, it’s — you guessed it — “Too Late.”
Even more memorable, perhaps, is the second sequence, in which trophy wife Janet (Vail Bloom) wanders around naked below the waist, up to and during the murder of her mobster husband, who used to employ Dorothy at one of his sleazy strip clubs.
If you stand on the cutting edge, be careful: It can slice your feet off.
Director-writer Dennis Hauck’s feature film debut plumbs the tangled depths between private eye Mel (John Hawkes) and missing Dorothy (Crystal Reed), the stripper with the proverbial heart of gold he’s hired to track down. It’s a familiar setup. But Mr. Hauck tears it apart, then stitches it back together into a tapestry of eccentric SoCal lost souls, skipping most of the PI detective stuff and focusing instead on the characters’ emotional lives, the backstory and the aftermath — NOT in that order.
This ambitious contemporary film noir unfolds across five nonsequential acts, filmed in the old 35 mm Techniscope format, which yields 22 minutes of footage per roll, compared with the 11-minute max of most subsequent 35 mm formats. With its self-conscious lighting, long zooms and tight focus, Bill Fernandez’ old-fashioned photography superbly captures both the seedy and faux-glamorous vistas of LA.
Oscar-nominated for “Winter’s Bone” (2010), Mr. Hawkes is a self-effacing, less-is-more kind of actor. Here, as the grizzled gumshoe, he resembles a down-and-out Sean Penn. Dichen Lachman as Jill, a hard-boiled Asian vamp, is a little too inscrutable, while Sydney Tamiia Poitier — yes, the daughter of Sidney! — has a nice turn in the opening.
Mr. Hauck strives to channel Quentin Tarantino — a “Pulp Fiction”-style take on the noir genre — but his script’s long-winded, grandiloquent dialogue, packed with film references, grows tedious. Is a stripper’s monologue on Bugs Bunny really necessary?
“I thought it was more interesting to ostensibly solve the case right off the bat and then delve deeper into who these characters are and how they know each other,” the director has said. “The film’s structure was conceived before I even knew what it would be about. I told myself it could be about anything, as long as it takes place in five 20-minute scenes.”
Content follows form, in other words, rather than the usual other way around.
Interesting, in theory.
Dubious, in practice.
“I could be wrong,” he adds, “but I think the shots in ‘Too Late’ are the longest continuous shots filmed on 35 mm in cinema history.”
He is, in fact, wrong. There are many instances of longer takes dating back to the silent era, up through the Andy Warhol films. Anyway, it’s not really about the length of the takes. It’s about the challenge of editing them.
Some nice music adorns “Too Late” — notably, Mr. Hawkes’ performance of “Down with Mary,” and Hank Williams’ “I’m So Lonesome I Could Cry.”
But, oy veh, the self-indulgence of this project — whose climactic finale involves a drive-in theater that doubles as a boxing venue, run by scantily clad Jill.
Director Hauck says he has another project in mind, described as “Nathanael West meets Terry Gilliam for a weird movie about a guy with no tongue.”
Gotta admire the man’s imagination. Gotta wish him better luck next time with the coherent execution.
(Opens Friday at the Pittsburgh Film Makers’ Melwood screening room in Oakland.)