Eva Green has officially joined The Wednesday Season 3 as Aunt Ophelia Frump, bringing a new look to the series with deep psychological knowledge and a Summer 2027 release.
The fact that Eva Green has been cast as Aunt Ophelia Frump in season three of Netflix’s Wednesday is a huge win in the streaming giant’s content strategy and the growing creative evolution of the Addams Family franchise. The announcement was made official on 25 November 2025 through The Hollywood Reporter, putting an end to months of rampant speculation following the Season 2 cliffhanger.
Green’s addition isn’t just a casting coup, it is a clear shift towards high-stakes psychological horror given her natural and proven working relationship with executive producer Tim Burton and his gothic storytelling roots. It’s about how the popular “Lady Gaga” fan theories are being debunked, the production logistics that indicate a Summer 2027 release, and the deep lore of “Raven” psychics that implies Series 3 will be the franchise’s most intellectually daring outing yet.
The decision to cast Green was accompanied by strong endorsements from the show’s creative leadership. Al Gough and Miles Millar, the creators and showrunners, issued a statement to Tudum that focused on what it is that Green brings to the role — attributes that fit with the show’s developing look and feel.
“Eva Green has always brought an exhilarating, singular presence to the screen — elegant, haunting and beautifully unpredictable, making her the perfect choice for Aunt Ophelia.”
—Al Gough and Miles Millar stated
This is the key quote for understanding what Ophelia is supposed to do. The adjectives “haunting” and “unpredictable” suggest that the character will generate real narrative tension and perhaps menace rather than simply being a quirky relative.
The collaboration marks a reunion between Green and executive producer Tim Burton.Their earlier collaborations on Dark Shadows (2012), Miss Peregrine’s Home for Peculiar Children (2016) and Dumbo (2019) made Green the definitive “Burton Muse,” who could capture the director’s unique juxtaposition of the macabre and the sympathetic.
Green’s statement on being cast in the role showed a great understanding of the particular tone of the Wednesday universe—a mix of horror and satire.
“I’m excited to be a part of the haplessly warped world of ”Wednesday” as Aunt Ophelia. This is such a wonderfully dark and funny world, I am so excited to add my particular brand of cuckooness to the Addams family.”
—Eva Green said
It suggests a performance that will oscillate between the comedic eccentricity traditional to the Addams Family and the “dark and twisty” depth Green is famous for.
The Wednesday series has dramatically reframed Ophelia, removing all the sitcom levity for gothic tragedy.
The show draws a line between the types of psychic powers: “Doves” (such as Morticia) are gifted with positive, helpful visions, while “Davens” (such as Wednesday) are plagued by violent, bleak and isolating ones.
Ophelia is a confirmed Raven, just like her niece. And this designation is key, meaning that Ophelia’s “madness” is caused by the very same burden that Wednesday is carrying. She is a “Ghost of Christmas Future” for Wednesday—a cautionary tale of what occurs when a Raven goes “to the limit and beyond” with her gifts.
Unlike the 1964 version, Netflix’s Ophelia endured a traumatic past in and out of institutions. The story discloses that she was lobotomized at Willow Hill Psychiatric Hospital by her mother, Hester Frump (Joanna Lumley).
The trigger of Ophelia’s return is her journal, in possession of Wednesday, whom Morticia entrusts with it as a sign of trust. That object acts as a device, and the two women, aunt and niece (Wednesday) across time while having a vision.
According to Movieweb, The need to cast Green is so urgent because of the explosive final moments of Season 2, Ophelia (back view) in a red dress, committing “Wednesday must die” in her own blood on the cell wall. The iconic image of the finale—and the teaser for Season 3.
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According to Collider, Ophelia’s statement that “Wednesday must die” makes her an immediate danger. However, given the “Raven” aspect of her abilities, she could be seeing a future in which Wednesday turns into a means to an end for potential global destruction, and her trying to kill him is a very warped form of heroism. Or, she could be affected by the madness brought on by her captivity.
Ophelia is more than a psychic threat, “blood on the wall” evokes a bodily threat and Wednesday has never been confronted by a relative in such a fashion.
The typical post-production schedule of 12 to 14 months for a show that relies heavily on VFX (with werewolves, hydes, and disembodied hands), Season 3’s estimated release is Summer 2027.
Hester (Joanna Lumley) is unmasked as a cold-blooded pragmatist who locked up her own child. In Season 3, Morticia (Catherine Zeta-Jones) and Wednesday face off with Hester, contesting the family pecking order.
Morticia is the “Dove” that survived by assimilating (somewhat), Ophelia is the “Raven” that was shattered. Green and Zeta-Jones together on screen is one hell of a clash of acting titans as they interrogate the guilt Morticia feels over her sister’s fate.
The choice of Eva Green to play Wednesday op indicates a clear rise in Wednesday’s franchise potential. In signing an actress of Green’s calibre – who is very much a face for the ‘gothic prestige’ genre – Netflix is making sure that season three has the dramatic heft to match the global phenomenon that the first two seasons have become.
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Margot Robbie & Colin Farrell’s A Big Bold Beautiful Journey draws mixed reviews. Stunning visuals but weak chemistry and poor box office hurt its success.
Director Kogonada’s new movie A Big Bold Beautiful Journey receives mixed reviews from critics. It shows a story which is blended with romance, fantasy, and personal insight in a style that feels like a fairy tale. Margot Robbie and Colin Farrell first collaboration brings Academy Award nomination. The romantic fantasy film story is written by Seth Reiss.
Kogonada is famous for his thoughtful movies including “Columbus” and “After Yang.” while Seth Reiss is previously scripting for “The Menu”. A Big Bold Beautiful Journey was shot in California with a production budget of $45 million. Joe Hisaishi scored and was his first time for a Western film with additional songs by Laufey and a Mitski cover.
The film gets mixed reactions from critics. This film scores 55% rating on Rotten Tomatoes and Metacritic gave a 42/100 rating to this film as Kogonada’s skill for making this film with high quality material and the strong acting from the leads. Despite the best directorial work, they are concerned about the script’s execution.
Critical Concerns is about tone mismatches and uneven pacing from the actors. Variety noted that “Farrell and Robbie seem remote and oddly flat, even in moments of deep intimacy and vulnerable feelings.” The New Yorker‘s Richard Brody suggested about directorial talent and pointing it to going in a wrong way. Rolling Stone hit hard, calling it a “disaster” which shows very tough pinching on director’s talent and actors’ wrong choice by taking this movie.
Overall, the film’s cinematography and theme is fantastic which received good reviews. Peter Bradshaw of The Guardian rated it 3/5 stars. He also suggests that film needs to polish its work of art and let go of doubts. Little White praised Kogonada’s “singular, warm sensibility which is worth the ride for fans of its soft emotions, and gave 80/100.
As Deadline noted, Unfortunately, the film faced big troubles at the box office. A Big Bold Beautiful Journey was released on 19 September, 2025 in 3330 theatres and earned only $3.5 million in opening. With a $45 million budget production film received just $8.9 million worldwide is a disaster.
This represents a sharp difference from Margot Robbie’s last hit film, “Barbie.” which earned about $70.5 million on its opening day. A Big Bold Beautiful Journey” 98% lower, the poor performance led to rapid decline in theatrical run.
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NPR says, The story follows Sarah (Margot Robbie) and David (Colin Farrell), two single strangers met at their mutual friend’s wedding. Both characters are suffering from their past relationships and not ready for commitment. This movie is inspired from films like “Eternal Sunshine of the Spotless Mind” and “Howl’s Moving Castle“, these movies are a blend fantasy of characters who deep dive into love, sorrow, faithfulness. The reflection of these movies are shown in A Big Bold Beautiful Journey.
The Hollywood Reporter mentioned, Kogonada’s unique way of shooting stands out in every scene. He uses neat frames and bright colors. The movie’s dramatic feel, like a stage production, reflects its exploration of performance and realistic love bond.
A Big Bold Beautiful Journey is receiving positive and negative reviews from critics and audiences. Positive review received for the film’s visual and blend of fantasy, and introspection but criticized for Actors low energy in some shots and Direction of Kogonada. The critical concern impacted the movie’s further theatrical run. Margot Robbie as Sarah and Colin Farrell as David performed well but seems too distant at the point which makes romantic fantasy film score less. Overall, the movie is still liked by some viewers, as the emotional comedy and artistic ambitions.
Find out how Peacemaker Season 2 ends on a heartbreaking note. Jennifer Holland reveals the emotional finale that sets up James Gunn's new DC Universe.
Peacemaker Season 2 Episode 8 Full Nelson brought a rare achievement in genre TV, it provided a gratifying emotional payoff for the central characters that also ended with an apocalyptic, brink- of- war cliffhanger with ramifications for the entire DC Universe. This narrative paradox is exactly the reason why star Jennifer Holland, who plays Emilia Harcourt, referred to everything as “heartbreaking in retrospect”. Her appraisal captures the uneasy duality of James Gunn’s filmmaking in which real emotional breakthroughs are all too often punished by the brutal requirements of survival and franchise restructuring.
While the final episode was more focused on “smaller, character moments” that were designed to provide emotional closure, it also featured critical, major revelations that shaped the DCU. The perceived heartbreak is because Holland’s character, Emilia Harcourt, and her team, the “11th Street Kids” believe Chris Smith/Peacemaker (John Cena) gave himself up to A.R.G.U.S.. Holland later spoke about the emotional torment of this scenario, in particular discussing the “heartbreak of none of them knowing that Chris was kidnapped”.
The resulting effect is one of supreme narrative irony. The season expertly resolved the emotional complexity between Chris and Harcourt. Harcourt, who is defined by her trauma and fear of intimacy, actually exposed herself. But the external story cruelly supplants that hard won trust with the heavy gravity of perceived abandonment. The team manages to bail Chris out of prison, only to learn he’s already gone. They are to surmise that Chris went and left them immediately after their connecting on such an emotional level. This isn’t the grief of mourning a death, but the pain of a betrayal, maximizing the tragic payoff, and ensuring that Harcourt’s future arc will be driven by this unexpurgated pain and misunderstanding.
The near-fatal shooting Harcourt suffered in the Season 1 finale (during the battle with the Butterflies at Coverdale Ranch) left the character deeply scarred both physically and mentally, setting up her complicated return in Season 2. “The Harcourt and Peacemaker tension is very personal trauma,” Holland explained. After her near-death experience, Harcourt came back, according to Holland, “not operating the way she” was, still pushing people away as a mental defense mechanism. The whole of season 2 was about gradually tearing those walls down to nothing, so the final banishment is a particularly vitriolic reward for her emotional journey.
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Now, in a flashback sequence, the storyline finally gave us the truth about the hinted-at “night on the boat,” which served as crucial motivation behind their secretive relationship. The sequence allowed Chris and Harcourt, as DC Comics rivals, to commiserate over professional frustrations at the DC Comics sandwich shop Big Belly Burger, and together they stumble upon a bizarre 90s rock trivia question: a “rock cruise” with the band Nelson. Two enjoyed what was called a “magical, world-shattering, panoramic kiss.” This was, without a doubt, a “pivotal turning point” for their relationship.
The finale’s structure was ultimately defined by the necessity of setting up DCU Chapter One: Gods and Monsters. Regarding a potential third season, Gunn was clear it was not planned “at the moment,” stating: “This is about the wider DCU and other stories this will play out right now.”
Gunn said the Season 2 finale specifically aims to “set up the world of the 2027 DCU cinematic feature, Man of Tomorrow“. As DC Studios co-CEO, Gunn said his focus is “propping up and maintaining and repositioning the big diamond properties that DC has,” like Batman and Superman, but also taking lesser-known characters such as Peacemaker — and creating new “diamond properties” within the franchise.
This demand was why the final episode felt like an “extended teaser” or “backdoor pilot for other DCU projects,” as some critics observed. The narrative goal of the end of Season 2 was assimilation, not resolution. Tying up the Salvation cliffhanger in a third season of the TV show may have conflicted with or undermined the timeline set out in the slate of movie. When they left Chris to perish, his rescue, and what that would mean for him, had to happen in a big DCU event, and that meant the TV series prologue to the films. Although Gunn is still tight-lipped on whether Peacemaker will make an appearance in Man of Tomorrow or Supergirl, he has dropped a hint that Chris Smith’s next outing in the cinematic universe is a safe bet.
Jennifer Holland’s characterization of the Peacemaker Season 2 finale as “heartbreaking in retrospect” is a wonderful encapsulation of the narrative needs the series is forced to cater to with the wider franchise restructuring. The heartbreak is not just the breach of physical separation between Peacemaker and Harcourt but that their emotional walls are torn down only for the new connection to be severed by perceived betrayal. While Peacemaker Season 3 is on hold, the characters’ narratives—now driven by Harcourt’s grief and resolve—are officially at the center of the upcoming cinematic universe.
