“All the Queen’s Men” star Eva Marcille booked the role of Marilyn “Madam” Deville while reading scripts in the bathtub, when she stopped on the title page and realized the series was written…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
“All the Queen’s Men” star Eva Marcille booked the role of Marilyn “Madam” Deville while reading scripts in the bathtub, when she stopped on the title page and realized the series was written by Christian Keyes.
“I didn’t need to wait until I got out of the bathtub,” Marcille said. “I risked literally dying because I hit Christian up in the tub like ‘Keyes, is this you?'”
Serving as the center of the BET Plus series, Madam is the boss of a male exotic dance crew.
“Once we cast our Madam, I started falling in love with the project even more,” Keyes said.
Creator, writer and producer Keyes, director and directing producer Kim Fields and actor Marcille discussed their upcoming series “All the Queen’s Men” with senior film editor Matt Donnelly in the Variety Streaming Room, presented by BET Plus.
Marcille said she was intrigued by the project because of its complexity and how it portrays sexuality in a female-driven story.
“Bringing this world to life was really interesting to me, and making sure [we were being] organic with the motivation for Madam, for her clients, for the dancers, so that it wasn’t just gratuitous nudity, just cause we’re streaming,” Marcille said. “Everything had to have absolute grounded intention.”
In preparation for the show, Keyes interviewed countless male dancers over the last 11 years. Fields said that 95 percent of the series’ dancers rely on dancing as a full-time or part-time job. Praising the show’s consultant, Fields added, “We were so dedicated to making sure their world was authentic and truly represented correctly and organically.”