Start with the arithmetic, because the arithmetic is the opportunity: 4 open calls, 3 different pay structures, and 1 stand-in job that runs for 35 days.
Between October 7 and October 15, Project Casting posted four separate calls for My Jesus, Lionsgate and Kingdom Story Company’s feature film about singer Anne Wilson. Two of them film this week in Nashville. One pays SAG scale to performers as young as 10. And the stand-in call alone covers dates from October 21 through November 24 — five weeks on a single feature. Most actors scrolling the board will see one call and apply to one role. The board is actually telling a bigger story, and it is worth reading all of it before you submit to any of it.
Open casting calls — live on Project Casting right now
My Jesus is casting in Nashville through Jenny Alison Casting. Verified live calls:
Diner and pool patrons — featured background, filming Friday October 23, $100 for 8 hours
Stand-in — male, 18–35, 6’1″–6’3″, various dates October 21–November 24, $200 per 12 hours
Wife — featured background, female 25–33, filming Thursday October 22, $100 for 8 hours
The data snapshot: what four calls in eight days actually tell you
Project Casting’s board is a paper trail for this production, and the trail has a shape:
The posting window is compressed. All four calls landed between October 7 and October 15. The first call out — the principal search for two young actresses — posted a full week before the background calls. That order is normal on a feature and useful for actors: principals first, then the featured background that fills the world around them, then the stand-in who has to be on set for all of it.
One film, three pay structures. The young principal roles pay SAG scale. The stand-in pays $200 per 12 hours. Featured background pays $100 for 8 hours, at $12.50 an hour with an 8-hour guarantee and time-and-a-half after 8. On a straight rate comparison, the stand-in earns double the background day rate — and he is the only applicant on the board required to have set experience, with stand-in experience preferred.
Half the open roles are matched to a picture. The Wife role is, in the call’s own words, picture picked by the Director. The stand-in must stand in for a pictured actor and fit a two-inch height window, 6’1″ to 6’3″. On this production, your photo is not supporting material. For two of the four calls, it is the decision.
The same two gates appear on every adult call. Nashville local hire only, and availability regardless of call time for a day that can run 12 hours or more. No travel, no lodging, no partial availability. If you cannot clear both gates, the honest move is to wait — this office casts Nashville productions constantly, as its work on 9-1-1: Nashville shows.
Production at a glance
Title:My Jesus — a feature film inspired by the life and breakout song of Christian and country artist Anne Wilson.
Studios: Lionsgate and Kingdom Story Company, the team behind I Can Only Imagine and Jesus Revolution.
Source: Wilson’s memoir, My Jesus: From Heartache to Hope. Wilson, a Kentucky teenager who had planned to become an astronaut, lost her older brother Jacob in a car accident in 2017, sang at his funeral, posted a performance online, and was discovered by music executives. Her single “My Jesus” became her breakthrough.
Director and writer: Kay Oyegun, making her feature directorial debut. Her television writing credits include This Is Us.
Announced cast: Aliza Kate Barlow plays Anne, in her studio feature debut. Gavin Casalegno plays Jacob. Monica Potter plays their mother, Lynn, and Charles Esten plays their father, Kent. Beau Bridges plays their grandfather, Bob.
Status: in production now in Nashville, Tennessee and surrounding areas, with filming running from October 21 into late November 2026. No theatrical release date has been announced.
Who is casting it: Jenny Alison Casting
Every live Project Casting call for this film names the same office: Jenny Alison Casting, the Nashville-based company run by Jenny Alison Rodriguez. Be precise about the scope, because it shapes how you submit. No separate principal casting director has been publicly announced in the sources for this film; the hiring that is open, call by call, is the background, featured background, stand-in, and young-principal hiring on these notices, and that hiring runs through this office.
Her recent record explains why Kingdom Story keeps her close. On IMDb, Rodriguez is credited as extras casting director on 9-1-1: Nashville, on Amazon’s Scarpetta, and on I Can Only Imagine 2 — which is itself a Kingdom Story Company production. In other words, this is not a first job for a new studio partner. It is a standing Nashville pipeline: the same office that staffs a network series week after week in the same city is now staffing this feature in the same city.
The calls show you her working style:
Photos are specified, and the specifications are strict. A sister notice for this same film, for October 21 background, asks for three recent photographs including at least one full-body shot, clearly showing current hairstyle — no filters, no hats, no sunglasses.
Paperwork is part of casting. The Wife call requires I-9 verification with acceptable original documents, and states plainly that performers on employer-specific work visas sponsored by another employer cannot be considered. Have your documents in order before you are asked, not after.
Picture-picking is explicit. When a role says the director will picture-pick it, casting is building a short stack of photos for the director to choose from. You are not auditioning your way in. You are photographing your way onto that stack.
Contrast that with look-match reenactment casting — Project Casting’s Killer Grannies Season 2 guide covers an office matching faces to real people in real cases. The discipline here is similar (current photo, exact brief, local hire) but the target is different: you are matching a fictional family’s world, not a case file.
The realistic entry points, role by role
Diner and pool patrons — Friday, October 23 ($100/8). The widest door on the board. Diner patrons are open to all genders, ages 18–65. Pool patrons are a smaller group, ages 18–30, and must be comfortable wearing a bathing suit. Both are non-union featured background, both require a Nashville local hire, and both ask you to commit to 12 or more hours even though pay is quoted on an 8-hour guarantee.
Wife — Thursday, October 22 ($100/8). A featured background role playing the wife of one of the leads: female, 25–33, described as fit, available regardless of call time, and picture-picked by the director. Featured background next to a lead is the closest seat to the principal cast that this board offers an adult this week — which is exactly why the photo decision sits with the director.
Stand-in — October 21 to November 24 ($200/12). The best job on this board for the right body. Male, 18–35, 6’1″–6’3″, standing in for a pictured lead across various dates over five weeks. Set experience is required and stand-in experience is preferred. A stand-in works the lighting and camera setups so the actor does not have to — it is technical, repetitive, professional work, and five weeks of it on a Lionsgate feature is a real credit and a real paycheck pattern, not a one-day booking.
Younger Anne and younger sister — SAG scale. Two union principal roles: a blonde performer aged 12–14 to play the younger lead, and a blonde performer aged 10–12 to play her younger sister. Each works roughly one to two weeks in late October through November, must be a Tennessee resident working as a Nashville local hire, and union and non-union performers may be considered. These are speaking principal roles in a studio feature — the most competitive calls on this list, and the only ones paying SAG scale.
How to apply, step by step
Pick the call that matches your actual measurements and calendar. Height for the stand-in, age bands for everything else, and the specific date — October 22 for Wife, October 23 for diner and pool — are stated in the calls. Submitting to a brief you do not fit does not create a backup option; it creates a skip next time.
Build the photo set the office asks for. Recent photos, at least one full-body, current hairstyle visible, no filters, hats, or sunglasses. For the two picture-matched roles, this set is effectively your audition tape.
Bring your Project Casting profile current, then apply to the specific role. Each verified link in the box at the top of this guide is a separate role with its own date and rate. Apply to the role, not to the film in general.
Sort your I-9 documents now. The calls require original, acceptable documents at verification. A performer who cannot produce them cannot be booked, however good the photo is.
Hold the whole day — and mean it. Every adult call repeats the same condition: available regardless of call time, ready for 12 or more hours, with call times typically confirmed the afternoon before. If Oct 22 or Oct 23 is only partly free, it is not free.
For young performers, submit as a family decision. The principal roles are for ages 10–14, Tennessee residents, working one to two weeks. Parents should read the full call, confirm the school and schedule reality, and then submit — these are SAG-scale principal roles, and production will expect a professional level of availability from the household, not just the performer. Start from the casting calls on Project Casting and keep materials ready while the shoot runs into November.
One more look at the live calls before you go
Open casting calls — Nashville, filming October 22–23 and beyond
Featured background pays $100 for 8 hours — $12.50 an hour with an 8-hour guarantee and time-and-a-half after 8 — for both the October 22 Wife role and the October 23 diner and pool patrons. The stand-in pays $200 per 12 hours, and the two young principal roles pay SAG scale.
Where and when is My Jesus filming?
In Nashville, Tennessee and surrounding areas. The dated calls film Thursday October 22 and Friday October 23, 2026, and the stand-in is needed on various dates from October 21 through November 24. All roles are local hires; no travel or lodging is offered.
Who is Anne Wilson, and what is the film about?
Anne Wilson is a Christian and country singer whose debut single “My Jesus” became her breakthrough after she sang at her brother Jacob’s funeral and posted a performance online. Directed by Kay Oyegun from Wilson’s memoir, the film follows that story, with Aliza Kate Barlow as Anne and Gavin Casalegno as Jacob.
Do I need experience to apply?
For featured background, no experience is stated as required — you need the right age band, a Nashville local-hire base, current photos, and a fully open day. The stand-in call is the exception: set experience is required and stand-in experience is preferred. The young principal roles accept union and non-union performers.
Who is casting My Jesus, and how do I reach them?
Jenny Alison Casting, the Nashville office behind the extras casting on 9-1-1: Nashville and I Can Only Imagine 2, is casting the open roles. Project Casting’s Fatal Attraction guide shows the same pattern on another current production: one office, specific briefs, fast dates. Apply through the verified role links above with current photos and your documents ready.
My Jesus shoots in Nashville into late November, and a five-week stand-in window means this production will keep needing local faces as new setups and locations rotate through the schedule. Keep your profile and photos current, watch the board while the shoot runs, and when a call fits your measurements and your calendar exactly, move the same day — on a feature moving this fast, the ready local hire is the hire.
Two dates are doing all the work in this guide: October 21 and October 22.
Those are the filming days for Sandra, the victim’s mother in Episode 1843 of Fatal Attraction, TV One’s long-running true-crime series. The casting call for the role was posted on Project Casting on October 15 — six days before the cameras roll in Knoxville, Tennessee. A second call posted the same day, for a detective in the same episode, pays the highest rate this production has put on the board all month. That is the whole rhythm of this show in one week: a case is cast, the case is shot, and the next case is already posting. If you want in, you do not need a new strategy. You need to be ready inside a six-day window.
Open casting calls — live on Project Casting right now
Fatal Attraction Episode 1843 is casting in Knoxville through Jupiter Casting. Verified live calls:
Detective Boyle — Hispanic male able to portray law enforcement, Episode 1843, midweek shoot dates, $200 per day
Sandra — the victim’s mother, appears 50s–60s, filming Wednesday October 21 and Thursday October 22 in Knoxville, $150 per day
Same office, same week: Snapped Episode 3724 — Cousin and Neighbor/911 Caller at $75 per day for one scene, Detective Juarez at $150 per day, filming October 20–21 in Knoxville
Title:Fatal Attraction — TV One’s documentary true-crime series, on the air since June 3, 2013.
Network: TV One. Episodes run roughly 40–60 minutes.
Format: each episode rebuilds one real case of a relationship that turned deadly, combining interviews with people who knew the case firsthand and dramatic recreations of the events. Malikha Mallette has narrated the series since its second season; Lynn Whitfield narrated the first.
Producer: Jupiter Entertainment, the Knoxville-based company behind a long run of cable true-crime series.
Status: in production now. Episode 1843 is casting this week, with filming in Knoxville on October 21–22, 2026 — and the episode numbering tells you this is a production machine, not an occasional shoot.
Where it films: Knoxville, Tennessee. The recreations are shot where Jupiter works, regardless of where the real case happened.
Who is casting it: Jupiter Casting
Every live Project Casting call for these episodes names the same office: Jupiter Casting, the casting arm of Jupiter Entertainment. Be clear about what that means, because this show has no other casting door to knock on. No separate principal casting director has been publicly announced for the recreation cast — the narrator and the interview subjects are set by the format, and the hiring that remains, episode by episode, is the reenactment cast. That hiring is Jupiter’s.
The calls themselves show you how this office works:
Resemblance is the audition. Sandra’s call says the performer should resemble the reference photo provided by casting and appear to be in her 50s–60s. You are being matched to a real person in a real case. A strong résumé cannot substitute for the wrong face, and the right face needs nothing else.
Current photos, specified exactly. The Detective Boyle call asks for two current photos showing face, full body, and current hair length. Not your best headshot from a better year — your hair, today, at its real length, because hair is part of the match.
No audio is recorded. Call after call repeats it. The recreations play under narration and interviews, so the performance Jupiter is buying is physical: reactions, posture, the ability to hold a moment in silence.
The same office casts the neighboring Oxygen franchise the same way — Project Casting’s Killer Grannies Season 2 guide breaks down an Episode 206 cast built entirely on look-match, and Jupiter’s Knoxville operation runs both boards at once. Performers who understand that system work for this office repeatedly, across series. Project Casting’s earlier coverage of a Hispanic male role on this same series shows the pattern holding season after season: a specific look, a Knoxville shoot, a fast turnaround.
The data snapshot: three episode blocks in fifteen days
Project Casting’s board gives this production a paper trail, and the trail is the opportunity. Between October 1 and October 15, the board carried Fatal Attraction calls for at least three consecutive episode blocks:
Episode 1840 (posted October 1–2) — a sister role and a detective role, the detective at $150 per day plus hotel.
Episode 1842 (posted October 12, filmed October 14–15) — a York Officer at $125 per day, a Police Officer at $125 per day, a SWAT role at $150 per day, and Adrienne, a role that required a valid driver’s license. Every law-enforcement role specified the same physical brief: male, 25–40, physically fit, clean-cut.
Episode 1843 (posted October 15) — Detective Boyle at $200 per day and Sandra at $150 per day.
Read the ladder. Uniformed officer work in 1842 paid $125. The named detective in 1843 pays $200 — a 60% premium inside the same series, in the same month, from the same office. The difference is not seniority and it is not negotiating room; it is the role’s weight in the case. And the volume matters more than any single rate: an office posting three episode blocks in fifteen days, plus a Snapped episode the same week, is an office that needs a deep, reliable local bench. Getting onto that bench once is worth more than any one day’s pay.
The realistic entry points, role by role
Detective Boyle — Episode 1843 ($200/day). The top of this week’s board. A Hispanic male performer comfortable portraying law enforcement, needed for midweek shoot dates. Detectives carry investigation scenes — interviews, discoveries, arrests — which means more camera time than any uniformed role in the episode. The submission is two current photos: face, full body, current hair length. If you fit the brief, this is the first application you send.
Sandra — Episode 1843 ($150/day, October 21–22). The emotional center of the case: the victim’s mother. The performer should appear to be in her 50s–60s, resemble the reference photo, and be comfortable working with murder-related content across both filming days. Family-member roles in this format are grief and reaction work — the camera sits on them while the narration tells the story — and they are cast on resemblance and presence, not dialogue delivery, because there is no dialogue to deliver.
The same-office bench — Snapped Episode 3724 ($75–$150/day, October 20–21). Posted the same day as the 1843 calls, also through Jupiter Casting, also Knoxville. Detective Juarez pays $150 per day; the Cousin and Neighbor/911 Caller roles pay $75 for a single scene. Treat the smaller roles as what they are: a paid, low-risk first day with the exact office that will cast the next Fatal Attraction block.
How to apply, step by step
Match the brief before you match anything else. Age appearance, hair, build, facial hair. Sandra must appear 50s–60s and resemble a specific real person; Detective Boyle must read as law enforcement. If the description is not you, wait for the next block — this production posts a new one roughly every week.
Take the two photos the call actually asks for. One face photo, one full body, both current, both showing your hair at its real length, in plain light. For look-match casting these photos are the audition. Filters, hats, and old headshots all fail the same way: casting cannot match what it cannot see.
Bring your Project Casting profile current, then apply to the specific role. Use the verified links in the box at the top of this guide — each call is a separate role with its own dates and rate. Boyle’s midweek dates and Sandra’s October 21–22 dates are different commitments.
Say plainly that you can work Knoxville as a local. These are Knoxville shoots on six days’ notice. If you are driving in, know the drive and hold both days fully open; recreation days start early and the schedule in the call is the plan, not a suggestion.
Be comfortable with the material before you submit, not after. Every call states it: murder-related content, performed in recreation scenes. If that is a problem for you, it is a problem before the booking, and the honest move is to skip the block.
Answer fast when the office replies. A call posted October 15 for an October 21 shoot leaves no slack in the chain. The performers who work these episodes are the ones whose photos were current and whose phones were answered the same day. Start from the casting calls on Project Casting and keep the profile ready between blocks, not just during them.
One more look at the live calls before you go
Open casting calls — Knoxville, filming October 20–22
How much do Fatal Attraction reenactment roles pay?
On the current Project Casting board, the named detective role in Episode 1843 pays $200 per day and Sandra pays $150 per day. The previous block, Episode 1842, paid $125 per day for uniformed officer roles and $150 for SWAT. Pay is set by the role’s prominence in the case.
Are Fatal Attraction roles speaking roles?
No. The series records no audio for its recreations — the episodes play under narration and interviews. The performance is facial expression, reaction, and physical action, matched to a real person in the case. That is the skill these calls screen for, and it is why current, unfiltered photos matter so much.
Where and when is Fatal Attraction filming?
The current block, Episode 1843, films in Knoxville, Tennessee, with Sandra’s scenes on Wednesday October 21 and Thursday October 22, 2026, and Detective Boyle needed on midweek dates. Jupiter Entertainment is based in Knoxville, and its true-crime recreations shoot there year-round.
Who casts Fatal Attraction, and how do I get considered?
Jupiter Casting, the casting arm of producer Jupiter Entertainment, casts the reenactment roles, and the live calls run on Project Casting. Match your look against the role description, submit two current photos showing your face, full body, and current hair length, and apply to the specific role while its window is open.
More than a decade on the air, Fatal Attraction is not slowing down — it is casting three episode blocks a fortnight and paying its best rate of the month to a detective most actors have never heard of, because he has not been cast yet. That is what a working production looks like from the outside: not a premiere, not a press release, just a Knoxville shoot on October 21 with two roles still open. Match the brief, send honest photos, and be reachable. The next block posts in about a week.
If you need to find UGC creators for your brand, you are probably looking in the wrong places.
We cast UGC creators for brands every week here at Project Casting, and we see the same failure pattern constantly: a brand hires a creator with big numbers, the content flops, and the brand concludes “UGC doesn’t work.” UGC works. The hiring didn’t.
This guide covers the five best ways to find UGC creators, the 90-second vetting check we run on every creator before a brand ever sees their name, what briefs, usage rights, and pay should actually look like — and the done-for-you shortcut if you’d rather skip the forty hours of legwork.
The 5 best ways to find UGC creators
1. Search hashtags on TikTok and Instagram
Search #ugccreator, #ugccommunity, and #ugccontentcreator, then layer in your niche — #beautyugc, #petugc, #fitnessugc. Thousands of creators post their portfolios publicly under these tags, and many put “UGC creator” right in their bio.
This method is free, and it is entirely manual. You find the creators, you send the outreach, you do the vetting. Expect to spend hours scrolling for every usable candidate, and expect most DMs to go unanswered. It works best when you need one or two creators and have time to burn.
2. Use TikTok’s Creator Marketplace and Creative Center
TikTok’s built-in tools let you filter creators by niche, audience, and region, and the Creative Center shows you which creators and formats are trending in your category right now.
The catch: every brand fishes the same pond. The most visible creators get buried under outreach spam, reply slowly, and price accordingly. These tools are a solid discovery layer — just know you’re competing with everyone else who found the same list.
3. Post your brief on a creator platform
Instead of chasing creators one by one, post the job and let creators come to you. On Project Casting, brands join free, post a brief — the product, the audience, the deliverables — and creators with matching portfolios apply. You review real work samples in one place instead of stitching together a spreadsheet from fifty DM threads.
This flips the economics of method #1: one posting replaces dozens of cold messages, and every applicant has already raised their hand for your category and your timeline.
4. Tap creator communities
Creators gather where brands usually don’t look: subreddits like r/UGCcreators, Discord servers, and X threads where creators post fresh portfolio pieces daily. You’ll find raw, unfiltered talent here — including strong creators who haven’t been picked over by every marketplace yet.
The trade-off is that nothing is vetted for you. Community sourcing is a discovery channel, not a quality filter. Every name you pull from a community still has to pass the vetting check below before it costs you money.
5. Use a done-for-you casting service
This is what we do at Project Casting. You tell us the brief — what you’re selling, who it’s for, what you need delivered — and our casting team finds creators matched to it, vets every one with the checks in this guide, and hands you a shortlist ready to shoot. Contracts, usage rights, and timelines are handled for you.
You pay for the outcome, not the hours. For brands running ongoing content — or running their first campaign and unwilling to learn the vetting lesson the expensive way — this is the fastest route from brief to footage.
Finding creators isn’t the hard part. Vetting is.
Here’s what nobody tells you: there are millions of creators. Finding names takes an afternoon. The hard part is the vetting — reading two hundred applications, watching portfolios, checking whether the engagement is real. That’s roughly forty hours of someone’s week, and most brands either skip it or hand it to an intern. That is exactly where the flops come from.
So whichever of the five methods you use, run every candidate through the same check before you commit a dollar.
The 90-second vetting check (steal ours)
Forget follower count. For UGC, followers are nearly irrelevant — you’re buying the video, not their audience. You’ll run it as your own ad. So vet the work, not the numbers. Three checks, ninety seconds:
1. The raw footage test. Ask for one unedited sample — a phone-shot product demo, no cuts, no filters. If they can’t shoot clean, well-lit footage on a phone, nothing else matters. Polished portfolio reels can hide a lot; raw footage can’t.
2. Rebook history. Don’t just ask which brands they’ve worked with — ask which brands rebooked them. A creator brands hire twice is a creator whose content converted. First deals are auditions; rebooks are proof.
3. Engagement authenticity. Scroll their comments. Real questions and real replies mean a real audience. Walls of emoji spam and generic praise mean bought engagement — and bought engagement usually means everything else is faked too.
Red flags that end the conversation: a portfolio that looks like stock photography, no clear process for revisions, and any creator who can’t explain their usage-rights terms. If they don’t know what whitelisting costs, they have never done a real brand deal.
A quick example of the check working: we vetted two creators for a skincare brand. One had 80,000 followers and a glossy portfolio. The other had 4,000 followers and shakier personal branding. The raw footage test flipped it — the smaller account shot clean, natural demos, while the big account’s portfolio turned out to be heavily edited spec work that fell apart unedited. The small creator’s videos outperformed three to one on click-through. Work over numbers, every time.
What to put in your brief
A tight brief is the difference between content you can run and content you have to reshoot. Every brief we work from includes:
The product and the one thing it does best — the single benefit the video has to land
The audience — who this is for, in one sentence
The deliverables — how many videos, what format, what length, which platform
The hook — the opening line or angle, or the freedom to test their own
Usage rights — where you’ll run it and for how long (more below)
Deadline and revision terms — delivery date, and how many revision rounds are included
Usage rights and what UGC creators actually charge
Rates vary by experience and deliverable count, but typical market ranges look like this: newer creators often charge $100–$250 per video, established UGC creators with rebook history commonly land at $250–$500 per video, and bundles (three to five videos) usually price better per video than one-offs.
Usage rights are where brands get surprised. A creator’s base rate typically covers organic posting. Paid usage — running the video as an ad, or whitelisting it through the creator’s account — is priced separately, commonly for a 30- to 90-day term, and renewals cost extra. Agree on the term, the channels, and the renewal price before the shoot, in writing. The cheapest time to negotiate usage is before anyone films anything.
Turnaround is usually three to seven days once product is in hand. Rush timelines cost more; creators who convert get rebooked fast, so lock your next batch while the first is still performing.
FAQ
Where is the best place to find UGC creators?
For speed, a creator platform where you post one brief and review applicants with portfolios in one place. For zero budget, hashtag search on TikTok and Instagram works but costs hours. For zero time, a done-for-you casting service — you get a vetted shortlist without running the search yourself.
How much does it cost to hire a UGC creator?
Typical ranges run about $100–$250 per video for newer creators and $250–$500 for established creators with a rebook track record, with paid usage rights (ads/whitelisting, usually 30–90 days) priced on top. Bundles of three to five videos usually lower the per-video cost.
What’s the difference between a UGC creator and an influencer?
An influencer rents you their audience — you pay for reach to their followers. A UGC creator sells you the content itself, which you run on your own channels and ads. For UGC, follower count is nearly irrelevant; you’re buying filming skill and authenticity, not reach.
How many UGC creators should a brand hire for a first campaign?
Start with three to five creators making one to two videos each. That gives you enough creative variety to find a winning angle before you scale spend behind it — and rebook the creators whose videos convert.
Your two options
Option one: run this system yourself. The five places, the three-part check, the brief in writing, usage agreed up front. It works — and it will cost you roughly forty hours the first time, between sourcing, vetting, contracts, and chasing deliveries.
Option two: we do it for you. Here’s how Project Casting’s casting service works. You tell us what you’re selling and who it’s for. We source UGC creators matched to your brief — found fresh for your campaign, not pulled from a stale database — and vet every one with the checks in this guide: raw footage, rebook history, real engagement. You get a shortlist of creators ready to shoot, usually within days. You pick your favorites; we handle the contracts, the usage rights, and the timelines.
Brands come to us after they’ve burned those forty hours once and never want to do it again — or because they’d rather skip the lesson entirely.
Join Project Casting free and post your first brief today — or hand the whole thing to our casting team and get a vetted shortlist back. Either way, stop hiring on follower count. It was never the signal.
Can you play an entire interrogation scene without saying a single word?
That is not a trick question. It is the actual job on Killer Grannies, Oxygen’s true-crime series hosted by June Squibb, back in production in Knoxville, Tennessee this week. Season 2 is filming Episodes 205 and 206 back to back — October 15–16 and October 17–18 — and every role currently open is a non-speaking reenactment part. No dialogue is recorded. Your face, your posture and your resemblance to a real person in a real case are the performance.
Open casting calls — live on Project Casting right now
Killer Grannies Season 2, Episode 206 is casting in Knoxville through Jupiter Casting. Verified live calls, all paying $150 per day:
Detective Wyatt — male, 60s, bald with a mustache, filming October 17–18
Cheryl — female, early 40s, brown hair, filming October 17–18
Brett — male, early 40s, brown hair and goatee, filming October 18
Sandra — filming October 17–18, local Knoxville hires only
What exactly is this show — and why is it filming in Knoxville?
Killer Grannies is a self-contained true-crime series: each episode takes one real case involving a grandmother accused of murder and rebuilds it through interviews, archival material and dramatic recreations. Season 1 premiered on Oxygen on November 9, 2025, with episodes streaming on Peacock the next day. The series is produced by Jarrett Creative, and host June Squibb fronts each episode — which means the recreations have to carry the story visually between her segments and the interviews.
Why Knoxville? Because that is where Jupiter Entertainment works. The Knoxville-based company staffs these episodes locally through its casting arm, Jupiter Casting. Geography is the first filter on every call: no lodging, no travel, local availability required. If you cannot work in Knoxville this weekend, these roles are not for you.
Who is doing the casting, and what do they actually look for?
The casting company on the live Episode 206 calls is Jupiter Casting, the casting arm of Jupiter Entertainment in Knoxville. An independent Episode 205 listing likewise names Jupiter Entertainment as the company seeking the actors. No separate principal casting director is publicly announced for the reenactment cast — the host and interview subjects are set, and the hiring that remains, episode by episode, is Jupiter’s.
Look at how the calls are written and you can see this office’s style clearly:
Resemblance comes first. Several roles state that the actor must resemble a provided reference photo — in one case loosely, in another closely enough to match a character’s beard. This is look-match casting, not general submission casting.
Specifics are non-negotiable. Detective Wyatt is not “a man in his 60s.” He is bald, with a mustache. Brett is early 40s, brown hair, goatee. Cheryl is early 40s, brown hair. If you do not match the description on the page, you are not a backup option — you are simply not who the case requires.
Silent acting is a stated skill. Call after call repeats the same requirement in different words: convey emotion through facial expressions and body language, with no recorded dialogue. Jupiter is casting people who can react on camera, not people who can deliver lines.
Which roles are open — and what is the realistic way in?
Episode 206, filming Saturday and Sunday, October 17–18, is where the live Project Casting board is concentrated:
Detective Wyatt ($150/day). A law-enforcement role for a male actor in his 60s, bald with a mustache, needed both days with tentative call times of 10:30 AM Saturday and 2:25 PM Sunday. Authority has to read instantly, in silence.
Cheryl ($150/day). The daughter of a murder victim, for a female actor in her early 40s with brown hair, working 1:30 PM Saturday and 6:30 PM Sunday. This is grief and reaction work — the emotional center of a recreation cast.
Brett ($150/day). A male actor in his early 40s, brown hair and goatee, portraying a character involved in plotting a murder, needed Sunday at 1:30 PM. One day, one very specific look.
Sandra ($150/day). Filming both days, 10:30 AM Saturday and 2:45 PM Sunday, with an explicit local-availability requirement — no travel or lodging is provided.
Episode 205, filming October 15–16, shows the wider pattern: a detective role at $100 per day, a forensic tech at $125 per day, and most other named roles at $150 per day. Pay tracks the role, not the performer’s résumé. And the window is days, not weeks — these calls were published October 12 for filming starting October 15, because self-contained episodes cast fast: cast the case, shoot the case, move on.
There is no series-regular door here and no speaking-role ladder inside this show. The opportunity is exactly what it appears to be: paid television work, one or two days per episode, repeatable across episodes if your look fits a different case and you were reliable on the last one — the same standing-pool dynamic that keeps One Chicago background working season after season, as Project Casting’s Chicago Fire casting guide shows on a bigger stage.
How do I apply, step by step?
Match yourself against the description before anything else. Age range, hair, facial hair, build. Recreation casting is a visual match to a real person. If the call says bald with a mustache and that is not you, skip it — there will be another case.
Complete your Project Casting profile with current photos. For look-match casting, a recent, honest photo that shows your face clearly is worth more than a polished headshot from three years and fifteen pounds ago. Casting is matching you to a reference photo, not imagining you younger.
Open the specific live call and apply to that role. Use the verified links in the box above. Each role has its own dates and call times — Wyatt works both days, Brett works Sunday only — so apply to the schedule you can actually keep.
Confirm you can work as a Knoxville local. Every call repeats it: no lodging or travel is provided. If you are driving in from hours away, be honest with yourself about call times like 10:30 AM and wraps that follow full recreation days.
Be reachable and be ready to hold both days. Tentative call times are stated in the calls themselves, which means the schedule can shift. The actors who get booked from a Monday posting for a Saturday shoot are the ones who answer quickly and keep the whole window open.
On set, do the silent work well. Hold character across takes, react rather than perform, and keep continuity — same energy at hour six as at hour one. Recreation directors notice the performers they never have to fix. The same principles run bigger scripted sets, including the Georgia background casting covered in How to Get Cast in AMC “Thunder Road”: exact look, exact dates, fast answers.
Myth vs. reality: what actors get wrong about reenactment casting
Myth: Non-speaking means no acting required. Reality: with no dialogue to hide behind, the camera reads everything — hesitation, overacting, a reaction half a second late. These calls screen for expressive, controlled performers precisely because the work is silent.
Myth: If I almost match the description, I should submit anyway. Reality: the description is a real person’s appearance. “Almost” is a no in look-match casting, and submitting off-brief teaches a casting office to skim past your name next time.
Myth: Recreation work is a stepping stone to a speaking role on the same show. Reality: the format has no speaking recreation roles to step into. Its value is paid set experience and a relationship with a casting office that hires constantly across multiple series.
Myth: A great headshot beats a current photo. Reality: casting is comparing you to a reference image of an actual person from an actual case. The photo that wins is the one that looks like you today, in plain light, with your real hair and facial hair.
One more look at the live calls before you go
Open casting calls — Episode 206, filming this weekend
How much do Killer Grannies Season 2 reenactment roles pay?
The live Episode 206 roles — Detective Wyatt, Cheryl, Brett and Sandra — each pay $150 per day. Episode 205 roles ranged from $100 to $150 per day, with pay set by the role rather than the performer’s résumé.
Are the Killer Grannies roles speaking roles?
No. Every role currently open is a non-speaking reenactment part — no dialogue is recorded. The performance is facial expressions and body language, matched to a real person in a real case.
Where and when is Killer Grannies Season 2 filming?
Episode 206 films in Knoxville, Tennessee on October 17–18, 2026, following Episode 205 on October 15–16. All hires are local: no travel or lodging is provided.
Who is casting Killer Grannies Season 2, and how do I apply?
Jupiter Casting, the casting arm of Knoxville-based Jupiter Entertainment, is casting these episodes. Match your look against the role description first, complete your Project Casting profile with current photos, then apply to the specific live call for that role.
Killer Grannies will keep casting case by case as Season 2 production continues in Knoxville — each episode is a fresh cast matched to fresh reference photos. Keep your profile current, watch the board weekly, and when a case appears that genuinely looks like you, move the same day. In recreation casting, the right face at the right moment is the whole audition.
Billie Lourd is keeping her late mother Carrie Fisher’s legacy alive in a heartwarming way. The actress recently revealed that her two children have become huge Star Wars fans, especially when it comes to watching their grandmother portray the iconic Princess Leia.
For Lourd, seeing her children discover the beloved sci-fi franchise is more than just a family movie night. It’s an emotional connection to Fisher, whose unforgettable performance helped shape one of Hollywood’s most successful film franchises.
The actress also opened up about motherhood, grief, and how her mother’s influence continues to shape her family’s life nearly a decade after her passing.
Billie Lourd Reveals Her Children Are Huge Star Wars Fans
Billie Lourd’s children are discovering the magic of Star Wars, and their enthusiasm has a particularly meaningful connection to their family.
During an interview with People, the actress revealed that her son Kingston and daughter Jackson are fascinated by the legendary science-fiction franchise.
“They’re obsessed with Star Wars. They’re so deeply obsessed,” Lourd shared.
Her children especially enjoy watching the original Star Wars trilogy, which introduced their grandmother, Carrie Fisher, as Princess Leia.
The films include:
Star Wars: A New Hope (1977): Carrie Fisher made her debut as Princess Leia, becoming one of the franchise’s most recognizable characters.
Star Wars: The Empire Strikes Back (1980): Fisher returned as Leia in the critically acclaimed sequel.
Star Wars: Return of the Jedi (1983): Leia played an important role in the conclusion of the original trilogy.
For millions of fans, these movies represent an important chapter in cinematic history.
For Lourd’s children, however, the films offer something even more personal: an opportunity to see their grandmother on screen.
“It’s so deep in all of our veins, and it’s so fun to get to watch them watch that,” Lourd explained.
Billie Lourd Calls Star Wars a ‘High-Budget Home Movie’
While Star Wars is known for its groundbreaking visual effects, memorable characters, and worldwide popularity, Billie Lourd sees the franchise through a different lens.
For her, watching Carrie Fisher portray Princess Leia feels like revisiting family memories.
“It’s the most special thing of all time. I call it a high-budget home movie. It’s really amazing,” she said.
The description captures the unique relationship between Hollywood families and the films that preserve their loved ones’ performances.
Carrie Fisher became an international star after appearing in the original Star Wars movie in 1977.
Her portrayal of Princess Leia helped redefine the role of women in blockbuster science-fiction films, presenting audiences with a character known for her intelligence, courage, leadership, and independence.
Decades later, Leia remains one of the most recognizable characters in entertainment history.
For Lourd, the character’s lasting popularity means her children can experience an important part of their grandmother’s life through cinema.
How Billie Lourd and Carrie Fisher Appeared Together in Star Wars
Billie Lourd also has her own history with the Star Wars franchise.
The actress joined the sequel trilogy as Lieutenant Kaydel Ko Connix, a Resistance officer who appeared in several major installments.
Her appearances include:
Star Wars: The Force Awakens (2015)
Star Wars: The Last Jedi (2017)
Star Wars: The Rise of Skywalker (2019)
These projects allowed Lourd to become part of the same cinematic universe that made her mother famous.
Fisher returned as an older Princess Leia, later known as General Leia Organa, in the sequel films.
Following Fisher’s death in December 2016, filmmakers used previously recorded footage to preserve Leia’s presence in the franchise.
In The Rise of Skywalker, Lourd also served as a body double for a younger version of Princess Leia during a flashback sequence.
The moment created a particularly meaningful connection between mother and daughter.
For audiences, it demonstrated how filmmaking techniques can help preserve performances and continue important character stories.
For Lourd, it represented another opportunity to honor her mother’s legacy.
Billie Lourd’s Children Also Love Her Role in Smurfs
Although Kingston and Jackson are enthusiastic Star Wars fans, they have also started discovering their mother’s acting career.
Lourd revealed that her children have seen some of her other projects, although not every performance has been appropriate for their ages.
The actress joked that her children accidentally encountered scenes from American Horror Story, the popular horror anthology series in which she has appeared.
“They’ve walked in on some [American] Horror Story stuff and been a little freaked out, which is probably not safe,” she said.
Fortunately, Lourd also has family-friendly projects that her children can enjoy.
In the 2025 animated musical Smurfs, the actress voiced Worry Smurf.
According to Lourd, her children were particularly excited about the film.
“They love Smurfs. I did Smurfs for them, and that was so cool,” she explained.
The experience highlights a different side of acting: creating entertainment that performers can share with their own families.
For actors who work across different genres, family-friendly animation can offer a unique opportunity to connect with younger audiences.
Billie Lourd Pays Emotional Tribute to Carrie Fisher
Beyond celebrating her children’s love for Star Wars, Lourd has continued honoring her mother’s memory through deeply personal reflections.
Carrie Fisher died on December 27, 2016, at age 60, following a medical emergency during a flight from London to Los Angeles.
On the ninth anniversary of her mother’s death, Lourd shared an emotional Instagram tribute reflecting on family, motherhood, and grief.
The actress posted photographs connecting different generations of her family.
One image featured Lourd alongside Fisher and her father, talent manager Bryan Lourd, in 2000.
Another photograph showed Bryan with Billie and her children in the same location 25 years later.
The comparison offered a touching reminder of how family relationships continue evolving across generations.
In her tribute, Lourd described a special morning with her daughter, who woke up early and expressed her love through hugs and kisses.
The moment reminded Lourd of how much Fisher would have loved getting to know her grandchildren.
She also reflected on watching her father spend time with Kingston and Jackson.
For the actress, seeing her children develop a close relationship with their grandfather has become one of motherhood’s greatest joys.
Carrie Fisher’s Legacy Continues Through Her Grandchildren
One of the most emotional parts of Lourd’s tribute focused on how her mother’s influence remains present in everyday family experiences.
Although Fisher never had the opportunity to meet her grandchildren, Lourd believes her mother continues to shape the happiness her family experiences today.
“This joy only exists because she existed,” the actress wrote.
The message reflected Lourd’s belief that her mother’s influence continues through the relationships, memories, and experiences shared by future generations.
Lourd also explained that grief is not always defined by sadness.
Instead, it can take different forms, sometimes appearing through moments of happiness, gratitude, and connection.
“My grief takes on many shapes,” she shared.
Her reflections resonated with the broader theme of preserving a loved one’s memory while embracing new experiences.
For Lourd, watching her children enjoy Star Wars represents another way Fisher’s legacy remains part of their family.
How Carrie Fisher Influenced Hollywood and Future Generations
Carrie Fisher’s influence extends far beyond her portrayal of Princess Leia.
In addition to acting, Fisher was an accomplished writer and script doctor who contributed to numerous Hollywood projects.
Her career demonstrated how entertainment professionals can build lasting creative identities across multiple disciplines.
For aspiring actors and filmmakers, Fisher’s legacy offers several valuable lessons:
Create memorable characters: Powerful performances can connect with audiences for generations.
Develop multiple creative skills: Acting, writing, and other storytelling abilities can expand career opportunities.
Embrace distinctive performances: Fisher’s portrayal of Princess Leia helped establish a character who remains culturally significant.
Understand the value of storytelling: Film and television can preserve memories and connect families across generations.
Build a lasting body of work: Meaningful performances can continue reaching audiences long after their original release.
Fisher’s career also highlights how a single iconic role can influence an actor’s professional identity while opening doors to other creative opportunities.
Billie Lourd Keeps Her Mother’s Hollywood Legacy Alive
As Billie Lourd continues developing her own entertainment career, her connection to Carrie Fisher remains an important part of her story.
From appearing in the Star Wars sequel trilogy to sharing emotional family memories, Lourd has found meaningful ways to celebrate her mother’s influence.
Now, with Kingston and Jackson becoming enthusiastic fans of Princess Leia, that connection has reached another generation.
For Lourd, watching her children discover Star Wars is not simply about introducing them to a famous movie franchise.
It’s about sharing a piece of their family’s history.
And while Carrie Fisher is no longer physically present, her performances continue bringing joy to audiences around the world, including the grandchildren who know her through the characters she brought to life.
Explore Acting and Film Opportunities on Project Casting
Inspired by Billie Lourd and Carrie Fisher’s Hollywood legacy?
Whether you’re an aspiring actor, voice actor, filmmaker, or entertainment professional, every successful career begins with opportunities to develop your talent and gain experience.
From major film productions and television series to voice acting roles and independent projects, the entertainment industry offers opportunities for performers at every stage of their careers.
Explore the latest casting calls, acting auditions, and entertainment jobs on Project Casting.
Take the next step toward your Hollywood dreams and discover opportunities that could help shape your acting career.
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Ben Affleck is sharing heartfelt praise for his ex-wife, Jennifer Garner, calling her a “spectacular” mother and opening up about their successful co-parenting relationship.
The Hollywood actor and filmmaker recently spoke about Garner’s dedication to their three children during an appearance on Sunday Today with Willie Geist. While reflecting on their family life, Affleck humorously admitted that he sometimes feels his parenting skills fall short compared to those of his former wife.
Despite their divorce, the former couple continues to demonstrate how mutual respect, communication, and shared responsibilities can help maintain a strong family relationship.
Ben Affleck Calls Jennifer Garner a ‘Spectacular’ Mother
Ben Affleck isn’t afraid to admit that Jennifer Garner deserves recognition for her parenting skills.
During his appearance on Sunday Today with Willie Geist, the actor spoke warmly about his ex-wife and her commitment to raising their children.
“Their mom is spectacular, and it always makes me feel like I’m coming up a little short,” Affleck shared.
The actor, known for his performances in Good Will Hunting, Argo, and Gone Girl, also joked about how his children compare his parenting abilities with Garner’s.
According to Affleck, he sometimes tells his children that he’s doing approximately 75 percent as well as their mother.
The playful exchange offered fans a glimpse into the actor’s family life and his appreciation for Garner.
Affleck and Garner share three children: Violet, Seraphina, and Samuel. The former couple married in 2005 before finalizing their divorce in 2018.
Although their marriage ended, both have continued emphasizing the importance of supporting their children and maintaining a respectful relationship.
Ben Affleck Explains Why Mutual Respect Matters After Divorce
Beyond his humorous comments about parenting, Affleck also shared a meaningful perspective on maintaining a healthy relationship with a former spouse.
For the actor and director, mutual respect is essential when raising children after divorce.
“I respect her. I think the most important thing is having that mutual respect – being able to get along with that person,” Affleck explained.
His comments highlight the importance of cooperation, especially when both parents have demanding professional responsibilities.
For Hollywood actors, balancing family life with a successful entertainment career can present unique challenges.
Film and television productions often involve extended shooting schedules, international travel, promotional appearances, and unpredictable working hours.
These commitments can make maintaining consistent family routines difficult.
However, Affleck and Garner’s approach demonstrates how communication and shared responsibilities can help parents navigate these challenges.
Their relationship also offers an example of how former partners can maintain a supportive family environment even after their romantic relationship ends.
Jennifer Garner Calls Ben Affleck an ‘Incredible Co-Parent’
Jennifer Garner has also publicly expressed appreciation for Affleck’s role in raising their children.
During an interview with Entertainment Weekly in July, the actress discussed how her family responsibilities have evolved as her children have grown older.
“My kids are a little bigger [now]. Their dad … has become this incredible coparent,” Garner explained.
The actress also discussed how having a supportive parenting partner has helped her pursue professional opportunities.
Garner, widely recognized for her roles in 13 Going on 30, Alias, and The Adam Project, has continued balancing acting, producing, and family responsibilities.
She emphasized that Affleck’s involvement as a father provides additional flexibility in her career.
“He’s wonderful. He takes care of them. He’s a great partner in that way. And that’s very freeing.”
Her comments suggest that their co-parenting arrangement has helped both actors maintain their professional commitments while remaining actively involved in their children’s lives.
For Garner, having that support has become especially valuable as she explores more opportunities behind the camera.
How Jennifer Garner Balances Acting, Producing, and Motherhood
Jennifer Garner’s career reflects the challenges many entertainment professionals face when balancing creative ambitions with family responsibilities.
In addition to acting, Garner has expanded her involvement in producing film and television projects.
During her interview with Entertainment Weekly, the actress explained that she values working with production partners who allow her to develop projects with greater creative control.
She also expressed a preference for filming closer to home.
“I love making movies anywhere, but I really want to make movies at home,” Garner said.
For actors with children, production location can significantly influence decisions about accepting roles.
A television series requiring several months of filming away from home may present different challenges than a project produced locally.
Garner’s comments highlight how experienced performers sometimes prioritize flexibility, location, and family commitments when evaluating new opportunities.
These considerations are also relevant to aspiring actors, filmmakers, and production professionals navigating the entertainment industry.
Ben Affleck Opens Up About the Emotional Pain of Divorce
Affleck has previously discussed the emotional challenges associated with divorce, particularly when children are involved.
In an interview with USA Today, the actor described the experience as deeply painful.
“The circumstances of divorce with children is facing something that’s excruciatingly painful,” Affleck explained.
He also discussed how audiences sometimes associate an actor’s personal experiences with the characters they portray.
According to Affleck, however, the connection between an actor’s private life and professional performances is not always straightforward.
“The truth is, really, it’s not as correlative as you would think, except for the sense that you’ve got to have lived life to be able to relive it authentically,” he said.
The actor explained that performers must find emotional connections to their characters without necessarily recreating their exact personal experiences.
His perspective offers insight into the emotional preparation involved in acting, particularly when portraying complicated relationships, family conflicts, or personal struggles.
What Aspiring Actors Can Learn From Ben Affleck’s Acting Philosophy
Affleck’s reflections on personal experience and acting offer valuable lessons for performers developing their craft.
Actors frequently portray characters facing emotional situations they may never have personally experienced.
Developing believable performances requires imagination, emotional awareness, character analysis, and an understanding of human behavior.
Affleck’s comments suggest that performers can use their life experiences as inspiration without relying entirely on personal memories.
Here are several lessons aspiring actors can take from his approach:
Understand your character’s emotions: Focus on the motivations and relationships driving a character’s decisions.
Use personal experiences thoughtfully: Draw from familiar emotions without forcing exact comparisons to your own life.
Develop emotional flexibility: Learn to portray complicated situations through observation, imagination, and preparation.
Maintain professional boundaries: Separate personal circumstances from creative responsibilities when appropriate.
Continue developing your craft: Acting classes, workshops, auditions, and on-set experience can help strengthen performance skills.
For aspiring performers, understanding emotional authenticity can make a meaningful difference during auditions and on-camera performances.
Ben Affleck and Jennifer Garner Continue Their Hollywood Careers
While their personal relationship has changed, both Affleck and Garner remain established figures in Hollywood.
Affleck continues working as an actor, director, and producer, building on a career that includes critically acclaimed films and major studio productions.
His work behind the camera has also earned significant recognition, including an Academy Award for Best Picture for Argo.
Garner, meanwhile, continues expanding her career through acting and producing.
Her experience across television, film, and production demonstrates the importance of adaptability in the entertainment industry.
Both stars have also shown that professional success and family responsibilities can coexist, even when circumstances change.
Their recent comments reflect a relationship built around supporting their children while pursuing their individual careers.
Why Ben Affleck and Jennifer Garner’s Co-Parenting Relationship Resonates With Fans
Celebrity relationships often attract attention because of dramatic breakups, public disagreements, and ongoing speculation.
However, Affleck and Garner’s recent comments offer a different perspective.
Rather than focusing on their past marriage, both actors have emphasized appreciation for each other’s contributions as parents.
Affleck’s description of Garner as a “spectacular” mother and Garner’s praise of him as an “incredible co-parent” reflect their continued commitment to their family.
Their story also highlights how relationships can evolve after divorce.
Although their romantic partnership ended, their shared responsibilities as parents remain an important part of their lives.
For fans, their mutual appreciation offers a more personal look at two familiar Hollywood stars.
For entertainment professionals, their experiences also reinforce the importance of building sustainable careers while maintaining meaningful relationships outside the industry.
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Explore the latest opportunities on Project Casting and take the next step toward building your entertainment career.
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The Challenger: Kristen Stewart to Play Sally Ride in Amazon MGM Limited Series
Kristen Stewart is preparing to take on one of the most important figures in American space history.
The Oscar-nominated actress will portray astronaut and physicist Sally Ride in The Challenger, a limited series centered on the groundbreaking NASA astronaut who became the first American woman to travel into space.
The project brings together Amazon MGM Studios, Steven Spielberg’s Amblin Partners, Kyra Sedgwick’s Big Swing Productions, and Stewart’s Nevermind production label. Maggie Cohn is attached as writer and showrunner.
With Casting TaylorMade among the casting teams involved with the project, The Challenger is also a production actors and entertainment professionals may want to follow for potential casting opportunities.
What Is The Challenger?
The Challenger is a limited television series about Sally Ride and the groundbreaking generation of astronauts who helped transform NASA’s space program.
The series is based on Meredith E. Bagby’s book The New Guys, which explores the astronaut class selected by NASA in 1978 as the agency expanded beyond the predominantly white, male military pilots who had defined its earlier astronaut corps.
Kristen Stewart is attached to star as Sally Ride and executive produce through her Nevermind production label.
Amazon MGM Studios is behind the limited series alongside Amblin Partners and Big Swing Productions.
Kristen Stewart Will Play Sally Ride
Kristen Stewart will lead The Challenger as Sally Ride, marking Stewart’s first starring role in a television series.
Stewart rose to worldwide fame through The Twilight Saga before establishing herself across independent films, dramas, thrillers, and biographical projects. Her portrayal of Princess Diana in Spencer earned her an Academy Award nomination for Best Actress.
The Challenger gives Stewart another opportunity to portray a complex real-life figure whose public achievements made history while much of her personal life remained outside the public eye during her lifetime.
Stewart will also serve as an executive producer on the series.
What Is The Challenger About?
The Challenger is expected to explore much more than Sally Ride’s historic journey into space.
The story follows the new generation of astronauts recruited by NASA as the agency prepared for the space shuttle era. The astronaut class represented a major cultural shift and included women as well as Black and Asian American astronauts.
These recruits faced rigorous training, intense competition, personal relationships, ambition, and the pressure of becoming representatives of a changing American space program.
Ride would ultimately become one of the most recognizable members of the group and an enduring figure in American history.
The True Story Behind The Challenger
Sally Ride joined NASA as part of its 1978 astronaut class.
On June 18, 1983, Ride launched aboard the Space Shuttle Challenger and became the first American woman to travel into space. At 32, she was also the youngest American astronaut to have traveled to space at that time.
Her historic flight transformed Ride into an internationally recognized figure and helped inspire generations of women and girls interested in science, technology, engineering, mathematics, and space exploration.
But Ride’s connection to the Challenger story did not end with her historic mission.
Sally Ride and NASA’s New Generation of Astronauts
The Challenger draws its inspiration from Meredith E. Bagby’s The New Guys, which chronicles a transformative period at NASA.
The 1978 astronaut class included several historic figures who would break barriers within the American space program.
The group included the first American women selected as astronaut candidates as well as astronauts who would become the first Black American and first Asian American to travel into space.
The series has the opportunity to explore the personalities behind those achievements, including the friendships, rivalries, relationships, ambitions, and pressures that developed as the astronauts prepared for their missions.
That ensemble element could make The Challenger as much a story about a changing NASA as it is a portrait of Sally Ride.
The Challenger Disaster and Rogers Commission
The Challenger disaster forms another crucial part of Sally Ride’s story.
On January 28, 1986, Space Shuttle Challenger broke apart 73 seconds after liftoff, killing all seven crew members.
Following the tragedy, Ride was appointed to the Rogers Commission, the presidential commission created to investigate the disaster.
The investigation ultimately identified the failure of O-ring seals in unusually cold conditions as a critical factor in the accident. Ride played an important role during the investigation and became the only astronaut to serve on the commission.
This period provides The Challenger with a powerful second chapter, contrasting the optimism surrounding NASA’s shuttle program with the tragedy and difficult questions that followed the disaster.
Who Is Making The Challenger?
The Challenger has assembled a significant team of producers and creatives.
Kyra Sedgwick’s Big Swing Productions developed the project and brought it to Amblin Partners.
Sedgwick, Meredith E. Bagby, and Valerie Stadler are executive producers through Big Swing Productions.
Steven Spielberg’s Amblin Partners is also involved in the project, with Darryl Frank and Justin Falvey serving as executive producers.
Kristen Stewart will executive produce through her Nevermind production label in addition to starring as Sally Ride.
Maggie Cohn is attached as writer, showrunner, and executive producer.
Who Is Casting The Challenger?
Casting TaylorMade is one of the casting directors involved with The Challenger.
Casting TaylorMade is a casting company that works on film and television productions and helps productions find performers for roles based on their specific creative and production requirements.
Its involvement is particularly noteworthy for actors interested in potential opportunities surrounding The Challenger. As a historical series involving NASA astronauts, scientists, government officials, families, and other characters from different periods, the production could require a wide variety of performers.
Depending on the production’s needs, casting opportunities could potentially include background actors, featured performers, stand-ins, photo doubles, and specialty talent.
Actors should always refer to individual casting notices for confirmed role requirements, filming dates, locations, rates, and eligibility.
Project Casting will continue following casting developments surrounding The Challenger as the production moves forward.
The Challenger Casting Call
Interested in joining The Challenger?
Casting opportunities connected to major television productions can appear throughout pre-production and filming. Check the casting call below for current role requirements, filming details, compensation, and application information.
Amazon “The Challenger” Series Casting Call for Neighbors
Amazon “The Challenger” Series Casting Call for Neighbors
An Amazon series recreating the late 1970s and 1980s Houston world around NASA is casting background performers to portray neighbors in Atlanta, Georgia. Selected talent will help bring the neighborhood life surrounding the space program to life across filming dates in October.
Job Responsibilities
Portray neighbors in background neighborhood scenes.
Perform natural, period-appropriate actions as directed.
Follow direction from the production team during filming.
Maintain continuity across filming dates.
Requirements
Open to background performers of all backgrounds.
Natural, period-friendly hair strongly preferred.
Must be available for filming on October 14 and October 19–23.
Must be able to work as a local hire in Atlanta, Georgia.
The limited series “Challenger,” inspired by the true story of the Space Shuttle Challenger disaster, is seeking background performers in Atlanta, Georgia. Set across the 1970s and 1980s, the production explores NASA, the Space Shuttle program, and the people and decisions surrounding the 1986 tragedy. A wide variety of talent is needed to help create an authentic period setting, with recurring opportunities available for select performers.
Job Responsibilities
• Work as a background performer in scenes set during the 1970s and 1980s
• Help portray authentic characters and environments from the period
• Follow direction from the production and assistant directing teams
• Maintain continuity and professionalism throughout filming
• Commit to consistent availability when selected for a recurring role
Requirements
• Open to a wide variety of background performers
• Must be able to portray characters appropriate for a 1970s and 1980s setting
• Must be comfortable working as part of a large television production
• Recurring performers must maintain reliable availability throughout production
Maggie Cohn will write and serve as showrunner on The Challenger.
Cohn brings considerable experience in prestige television. Her previous credits include American Crime Story, The Staircase, and Narcos: Mexico.
The Challenger gives Cohn extensive material to explore, from the personal experiences of NASA’s astronauts to the politics and institutional pressures surrounding one of the most consequential periods in American spaceflight.
Steven Spielberg’s Amblin Partners Joins the Project
Steven Spielberg’s Amblin Partners is among the companies behind The Challenger.
Amblin joined the project after its development through Big Swing Productions, adding another prominent creative force to the limited series.
Darryl Frank and Justin Falvey are executive producing for Amblin.
The combination of Amblin, Big Swing Productions, Stewart’s Nevermind, and Amazon MGM Studios positions The Challenger as an ambitious historical drama with substantial talent working behind the scenes.
Why Kristen Stewart Joined The Challenger
Kristen Stewart reportedly became deeply interested in Sally Ride’s story after receiving the material.
According to Kyra Sedgwick, Big Swing had pursued Stewart for more than a year before she read the book and became passionate about bringing Ride’s story to television.
That enthusiasm extended beyond acting. Stewart joined the project as an executive producer and became an important part of presenting The Challenger to potential buyers.
Ride presents particularly rich material for a performer. She was simultaneously an astronaut, physicist, public figure, educator, and intensely private person navigating an era when significant parts of her identity could not easily be discussed publicly.
Ride died from pancreatic cancer in 2012 at age 61. Following her death, her relationship with longtime partner Tam O’Shaughnessy became widely known.
Who Is in The Challenger Cast?
Kristen Stewart is the major announced star of The Challenger and will portray Sally Ride.
The nature of the story also creates the potential for a substantial ensemble cast.
The series could depict members of NASA’s 1978 astronaut class, NASA administrators and engineers, members of the Rogers Commission, government officials, family members, and other people who played roles in Ride’s life and the space shuttle program.
Additional cast members are expected to become clearer as the production develops.
When Could The Challenger Be Released?
An official premiere date for The Challenger has not been announced.
The production has been developed as a limited series, and its subject matter gives the project a natural connection to the anniversary of the Challenger disaster on January 28.
Specific filming dates, production locations, and a release schedule will ultimately determine when audiences can expect to see the series.
Fans and actors interested in the project should watch for further announcements as production progresses.
How to Find The Challenger Casting Calls and Auditions
Actors interested in The Challenger should monitor verified casting notices as the series moves through production.
Major television productions frequently cast at different stages. Principal roles may be handled well in advance, while opportunities for background performers, stand-ins, doubles, featured extras, and specialty performers can emerge closer to individual filming dates.
Requirements can also change from one casting notice to another depending on the scene and production location.
Keeping your acting profile, résumé, headshots, and professional information current can help you prepare when relevant opportunities become available.
Project Casting will continue tracking The Challenger casting calls, auditions, production updates, and entertainment jobs.
Why The Challenger Could Be a Major Limited Series
The Challenger combines a compelling true story with an impressive group of talent.
Kristen Stewart is taking on her first television series-starring role. Maggie Cohn brings experience from acclaimed television dramas, while Big Swing Productions and Amblin Partners add experienced producers behind the project.
At the center of everything is Sally Ride.
Her journey from NASA astronaut candidate to the first American woman in space was historic on its own. Her subsequent role in investigating the Challenger disaster adds another dimension to a story about ambition, scientific achievement, institutional responsibility, tragedy, and cultural change.
The broader story of NASA’s groundbreaking astronaut class could also allow the series to examine the people who collectively transformed the image of the American astronaut.
Final Thoughts
The Challenger is shaping up to be an ambitious historical limited series exploring Sally Ride, NASA’s changing astronaut program, and the events surrounding the Challenger disaster.
With Kristen Stewart starring and executive producing, Maggie Cohn serving as writer and showrunner, and Big Swing Productions and Amblin Partners among the companies behind the project, The Challenger has assembled considerable talent both in front of and behind the camera.
Casting TaylorMade’s involvement also makes the production particularly relevant for actors and entertainment professionals looking for potential opportunities as filming moves forward.
Want to find The Challenger casting calls and other major film and television auditions?
Apply now on Project Casting to discover the latest casting calls, acting auditions, background opportunities, and entertainment industry jobs.
Chicago Fire Season 14 Renewed: New Faces, Cast Exits, and What to Expect
NBC’s high-octane drama Chicago Fire is officially coming back for Season 14. While the brave first responders of Firehouse 51 will continue to save lives in the Windy City, fans should brace for big cast shake-ups and behind-the-scenes changes.
NBC Renews Chicago Fire for 2025-26 Season
Orlando, Florida, USA-July 16, 2019: Golden sign of NBC which is an American English-language commercial television network that is a flagship property of NBCUniversal – Image (Editorial credit: BobNoah / Shutterstock.com)
Chicago Fire has been renewed by NBC for the 2025–26 TV season. The long-running hit will return for its 14th season following the conclusion of its 13th season, which wrapped on May 21. The series remains a flagship of NBC’s One Chicago universe, which also includes Chicago Med and Chicago PD.
The show continues to follow the intense and emotional lives of the firefighters, paramedics, and rescue squad at Firehouse 51, with stars like Taylor Kinney (Lt. Severide), David Eigenberg, Christian Stolte, and Miranda Rae Mayo returning to lead the ensemble.
Ratings Dip, But Firehouse 51 Stays Strong
Despite a noticeable drop in viewership, Chicago Fire remains a top-performing scripted series for NBC. Season 13 averaged a 0.39 rating in the 18–49 demographic and drew in 5.72 million viewers, including DVR playback—down 21% in the demo and 9% in total viewers compared to Season 12.
Still, its strong Wednesday night performance secures its place as NBC’s second-highest-rated scripted show.
Budget Cuts Bring Cast Changes and Fewer Episodes
In a bid to tighten production costs, NBC is implementing changes that will affect the cast and episode structure of Season 14:
Some main cast members will skip 2–4 episodes.
Actors who don’t establish Illinois residency may be featured in fewer episodes due to the show’s Chicago filming base.
Annual salary raises (typically 5%) are being frozen for select cast members.
Some characters may be written off entirely.
These adjustments are part of a broader cost-reduction strategy across network TV.
Two Fan Favorites Exit the Series
With change comes loss. Chicago Fire fans will be saying goodbye to two beloved characters:
Daniel Kyri, who portrayed Darren Ritter for seven seasons.
Jake Lockett, who played Sam Carver for three seasons.
NBC has not confirmed whether these exits will occur on-screen or be handled off-camera.
Brandon Larracuente Joins Cast in Mysterious New Role
To fill the gap left by Ritter and Carver, Chicago Fire is bringing in fresh talent. Brandon Larracuente has been cast as a new series regular for Season 14. Although character details remain under wraps, it’s highly likely he’ll be stepping in as a new firefighter at Firehouse 51.
Larracuente is no stranger to the Wolf Entertainment family, having starred in the Prime Video series On Call. His casting hints at a seamless integration into the One Chicago world.
Fans are especially curious to see if his character will represent the LGBTQ+ community, following the departure of the franchise’s only regular LGBTQ+ character (Ritter).
When Will Chicago Fire Season 14 Premiere?
NBC has yet to announce a specific premiere date, but Chicago Fire Season 14 is expected to debut in Fall 2025. Filming begins in July, so fans should anticipate first-look images and teasers in the coming weeks.
Stay tuned for updates on casting news, plot developments, and behind-the-scenes changes as the series gears up for another action-packed season.
Who Is Casting Chicago Fire Season 14?
Casting for Chicago Fire Season 14 is in the capable hands of Chicago Fire Extras, a reputable casting team that specializes in non-speaking background roles and stand-ins for the NBC drama. They are instrumental in finding local talent to represent the city of Chicago on-screen authentically.
The extras casting is directed by Joan Philo, a veteran casting director with decades of experience in Chicago television and film. Her team is known for maintaining a high standard of professionalism and accuracy when matching talent to production needs.
Joan Philo and the Chicago Fire Extras team have contributed to the realism and diversity of the show, casting real Chicago locals in essential behind-the-scenes roles that help bring Firehouse 51 to life.
Apply for Chicago Fire Season 14 Casting Calls on Project Casting
Want to join the ranks of Firehouse 51? NBC is currently casting stand-ins for Chicago Fire Season 14. Whether you’re just starting out or looking to gain more on-set experience, this is a great opportunity to work behind the scenes of a hit drama series.
NBC ‘Chicago Fire’ Season 15 Casting Call for African American Teens
NBC ‘Chicago Fire’ Season 15 Casting Call for African American Teens
Chicago Fire Season 15 is casting African American kids and teens for paid, non-speaking extra roles in an interior scene. The scene films on Monday, October 12, and talent must be local to Chicago, the suburbs, or border states.
Job Responsibilities
Appear as a background extra in an interior scene on Chicago Fire.
Follow direction from the production team during filming.
Be available to film on Monday, October 12.
Requirements
African American males and females, ages 7 to 17.
Must be local to Chicago, suburbs, or surrounding border states.
Ages 6-15 must have an Illinois child work permit.
Compensation
Paid extra role; rate not specified in the listing.
NBC ‘Chicago Fire’ Season 15 Casting Call for 9.28 / 9.29 Extra
Job Description
Chicago Fire is casting paid, non-speaking background talent to portray bystanders. Seeking men and women of all ethnicities for filming starting at 6:30 AM.
Job Responsibilities
Portray a bystander on camera
Follow direction from the production team on set
Requirements
Men and women, ages 20s to 40s, all ethnicities
Must not have worked on the show in the last two weeks
Valid government ID and Social Security card, or a current U.S. passport
Compensation
$136.40 for 8 hours, time and a half after 8 hours
NBC ‘Chicago Fire’ Season 15 Casting Call for SI Javi
SI Javi Stand-In for “Chicago Fire”
Job Description
“Chicago Fire” is seeking a stand-in to match the appearance of the SI Javi character for upcoming production work in Chicago. This paid, non-speaking stand-in opportunity requires talent who can closely match the actor’s general height, build, complexion, and hair while assisting the lighting and camera teams during scene preparation.
Job Responsibilities
Work as a stand-in for principal talent on “Chicago Fire.”
Stand in place of the actor during lighting and camera blocking.
Match assigned positions and movements as directed by the production team.
Work closely with the camera, lighting, and assistant directing departments.
Remain professional and prepared throughout an extended production day.
Requirements
Latino talent.
Ages 18–30.
Height between 5’8″ and 5’10”.
Weight between 130–160 lbs.
Dark hair.
Must be local to Chicago, the surrounding suburbs, or nearby Illinois border states.
Stand-in or background acting experience is a plus.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI Archer
SI Archer Stand-In for “Chicago Fire”
Job Description
“Chicago Fire” is seeking a male stand-in to match the appearance of the SI Archer character for production in Chicago. The selected performer will assist with lighting and camera blocking by standing in for principal talent between takes and during scene preparation.
Job Responsibilities
Serve as a stand-in for principal talent on “Chicago Fire.”
Assist the camera and lighting departments during scene setup.
Follow blocking, positioning, and movement instructions.
Maintain consistency throughout lighting and camera rehearsals.
Remain available and professional during the full production day.
Requirements
Caucasian male.
Ages 40s–60s.
Height between 6’0″ and 6’2″.
Slim to medium build.
Grey hair.
Must be local to Chicago, the surrounding suburbs, or nearby Illinois border states.
Stand-in or background acting experience is a plus.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI Otis
SI Otis Stand-In for “Chicago Fire”
Job Description
“Chicago Fire” is seeking a stand-in to match the appearance of the SI Otis character for upcoming production work in Chicago. This paid stand-in role involves assisting the production team with lighting and camera blocking while closely matching the general physical appearance of principal talent.
Job Responsibilities
Work as a stand-in for principal talent during production.
Assist with lighting, camera setup, and scene blocking.
Follow positioning and movement instructions from the crew.
Maintain consistency during rehearsals and technical preparation.
Remain professional and attentive throughout filming.
Requirements
Caucasian or Latino talent.
Height between 5’5″ and 5’9″.
Slim to medium build.
Dark hair.
Must be local to Chicago, the surrounding suburbs, or nearby Illinois border states.
Stand-in or background acting experience is a plus.
NBC ‘Chicago Fire’ Season 15 Casting Call for Bartender
Experienced Male Bartender for “Chicago Fire”
Job Description
“Chicago Fire” is seeking an experienced male bartender for a non-speaking background role in Molly’s Bar scenes. This paid TV casting opportunity is open to men of all ethnicities who have real bartending experience and can confidently perform authentic bar service actions on camera. Talent must be local to Chicago, the surrounding suburbs, or nearby Illinois border states.
Job Responsibilities
Portray a bartender in Molly’s Bar scenes on “Chicago Fire.”
Perform realistic bartending and bar service actions on camera.
Handle typical bartender duties naturally during background scenes.
Follow direction from the production and assistant directing teams.
Maintain continuity and professionalism throughout filming.
Requirements
Male talent.
Ages 20s–50s.
Open to all ethnicities.
Must have real bartending experience.
Must be comfortable performing a non-speaking background role.
Must be local to Chicago, the surrounding suburbs, or nearby Illinois border states.
Must not have recently worked on the production or already be booked for an upcoming episode.
NBC ‘Chicago Fire’ Casting Call for Boy Photo Double
TV Production Casting Call – Boy Photo Double
Job Description
A television production filming in the Chicago area is seeking a Caucasian boy to work as a paid photo double. The selected child will match a principal actor in general build, complexion, and hair color and may appear in wide shots or insert shots in place of the actor. This is a non-speaking role that includes on-set schooling during each workday.
Job Responsibilities
Work as a photo double for a principal actor
Appear in wide shots and insert shots as needed
Match the positioning and movements required for the scene
Participate in rehearsal and filming as directed
Follow instructions from the production team
Attend required on-set schooling
Requirements
Caucasian boy
Ages 7–8
Approximately 4’2″–4’4″ tall
Approximately 50–55 lbs.
Blonde or light brown curly hair
Must reasonably match the principal actor’s build, complexion, and hair
Must be local to Chicago, surrounding suburbs, or nearby border states
Parent or guardian must be available to accompany the child as required
A television production is seeking a Caucasian male stand-in to work in Chicago, Illinois. The ideal candidate should closely match the actor’s general hair color, weight, and complexion to assist the production team with lighting and camera blocking. This opportunity is open to experienced stand-ins as well as talent interested in gaining professional stand-in experience. Local talent from Chicago, surrounding suburbs, and nearby border states is encouraged.
Job Responsibilities
Work as a stand-in for a principal actor during production
Assist the camera and lighting departments with blocking and setup
Follow positioning and movement instructions from the production team
Maintain consistency throughout lighting and camera rehearsals
Remain professional, punctual, and attentive while on set
Requirements
Caucasian male
Ages 50s–60s
Height between 5’11” and 6’1″
Weight between 175–200 lbs
Must reasonably match the actor’s hair color, complexion, and overall appearance
Previous stand-in or extra experience is a plus
Must be local to Chicago, surrounding suburbs, or nearby border states
Reliable and comfortable working closely with the camera and lighting departments
NBC ‘Chicago Fire’ Season 15 Casting Call for Military Experience Actors
Military Experienced Actors for “Chicago Fire”
Job Description
“Chicago Fire” is seeking men and women with real military experience for paid, non-speaking background roles in an upcoming exterior scene filming in the Chicago area. This opportunity is looking for authentic military professionals and veterans who can bring their real-world experience, discipline, and presence to the production.
Job Responsibilities
Work as a non-speaking background actor on “Chicago Fire.”
Use real-world military experience to bring authenticity to the scene.
Perform natural background actions as directed by the production team.
Follow on-set instructions and maintain continuity between takes.
Remain professional and prepared throughout an extended filming day.
Requirements
Men and women with real military experience.
Ages 20s–60s.
Open to all ethnicities.
Male talent must be clean-shaven with short hair in accordance with the requested look.
Must be local to Chicago, surrounding suburbs, or nearby states bordering Illinois.
NBC ‘Chicago Fire’ Season 15 Casting Call for Child Photo Double
Latina Child Photo Double for “Chicago Fire”
Job Description
“Chicago Fire” is seeking a young Latina or mixed-heritage girl to work as a photo double for a child actor. The selected performer will appear in insert shots and wide shots in place of the principal child actor. No previous film set experience is required, and the role involves simple on-camera actions such as sitting, standing, or walking within a scene.
Job Responsibilities
Work as a photo double for a child actor on “Chicago Fire.”
Appear in insert shots, wide shots, and other scenes as needed.
Perform simple actions such as sitting, standing, and walking.
Match the principal child actor’s appearance as closely as possible.
Follow age-appropriate direction from the production team.
Requirements
Latina or mixed-heritage girl.
Age 9 or 10.
Must closely match the child actor’s height, weight, and complexion.
No previous acting or film set experience required.
NBC ‘Chicago Fire’ Season 15 Casting Call for Blonde Actresses
Blonde Female Stand-In for TV Series
Job Description
A television production is seeking a Caucasian female stand-in with blonde hair to work in the Chicago area. The selected performer will stand in for a principal actor while the lighting and camera departments prepare shots and technical setups. This is a non-speaking role requiring talent who closely matches the actor’s physical characteristics and can maintain consistent positioning throughout production.
Job Responsibilities
Work as a stand-in for a principal actor during camera and lighting setups.
Maintain accurate marks and positioning between production setups.
Follow instructions from the camera, lighting, and production teams.
Match the principal actor’s positioning for technical rehearsals.
Remain professional, attentive, and consistent throughout long filming days.
Requirements
Caucasian female, ages 20s–40s.
Blonde hair.
Height between 5’8″ and 5’10”.
Weight between 125–150 lbs.
Must closely match the principal actor’s height, weight, and complexion.
Previous stand-in or professional on-set experience is preferred.
Must be local to Chicago, surrounding suburbs, or neighboring states bordering Illinois.
NBC ‘Chicago Fire’ Casting Call for Correctional Officers
Correctional Officer Background Actors
Job Description
A television production is seeking men and women to portray correctional officers in upcoming prison scenes filming in the Chicago area. Casting directors are looking for performers who can authentically portray professional correctional officers and authority figures. Talent must be local to Chicago, the surrounding suburbs, or nearby states bordering Illinois.
Job Responsibilities
Portray a correctional officer in prison scenes for a television production.
Perform naturally as an authority figure within a correctional facility setting.
Follow direction from the production and assistant directing teams.
Maintain professional behavior and continuity throughout filming.
Participate in a wardrobe fitting as required by production.
Requirements
Men and women, ages 20s–60s.
Open to all ethnicities.
Male talent must be clean-shaven with short hair.
Must be able to authentically portray a correctional officer.
Must be local to Chicago, surrounding suburbs, or neighboring states bordering Illinois.
Must be comfortable working in prison-themed scenes.
Must be professional, reliable, and able to follow on-set direction.
NBC ‘Chicago Fire’ Season 15 Casting Call for Mugshot Photo
Chicago Fire – Featured Palmer Still Photo Shoot
Job Description
A popular Chicago television drama is seeking men for a featured still photo shoot portraying a character named Palmer. This paid casting opportunity is looking for talent who can deliver a natural, authentic look for photos that will be presented to the production director.
Job Responsibilities
• Participate in a featured still photo shoot for a television production • Portray the Palmer character as directed by the production team • Follow posing and creative direction during the photo session • Maintain a professional appearance and attitude throughout the shoot • Be available for the required fitting and photo shoot
Requirements
• Male talent, ages 40s–50s • Open to all ethnicities • Must be local to Chicago, the suburbs, or surrounding states bordering Illinois • Comfortable participating in a professional still photo shoot • Must be available for the fitting and photo shoot
Compensation
• $165 for 8 hours • Time and a half after 8 hours
NBC ‘Chicago Fire’ Casting Call for Featured Firefighter
“Chicago Fire” – Featured Firefighter Background Actor
Job Description
“Chicago Fire” is seeking a Latino male actor for a featured, non-speaking firefighter role filming in the Chicago area. The production is looking for talent with a clean-cut, professional appearance who can convincingly portray a firefighter and work comfortably in a featured background capacity.
Job Responsibilities
Portray a firefighter in a featured non-speaking role
Maintain a professional and authentic firefighter presence on camera
Follow blocking and direction from the production team
Attend a wardrobe fitting prior to filming
Maintain character and continuity throughout multiple takes
Work professionally alongside principal cast, crew, and background performers
Requirements
Latino male talent
Ages 30–49
Must be clean-shaven
Must have short hair
Must be able to convincingly portray a professional firefighter
Must be available for a wardrobe fitting
Must be a local hire in Chicago, surrounding suburbs, or eligible nearby areas
NBC ‘Chicago Fire’ Season 15 Casting Call for Black Cars
Chicago TV Extras With Cars
Job Description
A Chicago television production is seeking local background actors with vehicles for an upcoming shoot. Talent ages 18–70 of all ethnicities are encouraged to apply. Black cars are acceptable. This opportunity is open to performers in Chicago, the surrounding suburbs, and nearby states bordering Illinois. An early call time may be required.
Job Responsibilities
Work as a background extra during a television production in Chicago.
Bring your approved vehicle to the filming location.
Follow directions from the production team throughout the shoot.
Be prepared for an early morning call time and approximately eight hours of filming.
Requirements
Ages 18–70.
All ethnicities are welcome.
Must be local to Chicago, the suburbs, or surrounding states bordering Illinois.
Must have a vehicle available for filming.
Black vehicles are acceptable.
Must be available for the full production schedule.
Compensation
$136.40 for 8 hours, with time-and-a-half after 8 hours.
NBC ‘Chicago Fire’ Season 15 Casting Call for Livecast
Chicago Fire – Female Livecast Body Model
Job Description
“Chicago Fire” is seeking a female livecast model for a specialized full-body molding session in Chicago. The selected model will have a skin-safe mixture and plaster bandage applied to the body to create a lifecast, with the head and body casts completed separately. This role requires someone who can remain comfortable and still throughout the molding process.
Job Responsibilities
Serve as a livecast model for a professional television production.
Participate in separate head and full-body casting sessions.
Remain still while skin-safe molding materials and plaster bandages are applied.
Follow instructions from the makeup, effects, and production teams.
Remain available for most of the day as required.
Requirements
Female talent in her 20s.
Height approximately 5’3″–5’8″.
Thin to medium build.
Must be comfortable with a full-body lifecasting process.
Must not be claustrophobic.
Must be able to work as a local hire in Chicago, the surrounding suburbs, or states bordering Illinois.
NBC ‘Chicago Fire’ Season 15 Casting Call for New Techs
Chicago Fire – Hospital Background Actors
Job Description
“Chicago Fire” is seeking male background actors to portray hospital staff and hospital visitors in upcoming scenes filming in Chicago. Casting is open to men in their 20s–40s of all ethnicities who can bring a natural, professional presence to a busy hospital setting. Talent must be local to Chicago, the surrounding suburbs, or nearby states bordering Illinois.
Job Responsibilities
Portray hospital staff, visitors, or other hospital background roles.
Perform natural background action during scripted television scenes.
Follow direction from assistant directors and the production team.
Maintain continuity and professionalism throughout filming.
Help create a realistic hospital environment for the TV production.
Requirements
Male talent in their 20s–40s.
All ethnicities are encouraged to apply.
No visible arm or hand tattoos.
Must be local to Chicago, surrounding suburbs, or states bordering Illinois.
Comfortable working as background talent in hospital scenes.
Reliable and able to follow on-set direction.
Compensation
Compensation will be discussed with selected talent.
NBC ‘Chicago Fire’ Season 15 Casting Call for Teddy Stand-In
Chicago TV Series – Male Stand-In
Job Description
A Chicago television production is casting a male stand-in to assist with lighting, camera blocking, and scene preparation. The production is seeking a performer who closely matches the actor’s height, weight, hair, and overall appearance. This is a non-speaking stand-in role, and previous stand-in or background acting experience is helpful but not required.
Job Responsibilities
Stand in for an actor during lighting and camera setups
Assist the crew with camera blocking and scene preparation
Maintain consistent marks, positioning, and movements
Follow direction from the camera, lighting, and production teams
Remain attentive and professional throughout the production day
Requirements
Caucasian male
Ages 20s to 40s
Height between 5’11” and 6’1″
Weight between 200 and 250 lbs.
Brown hair
Facial hair is acceptable
Must be local to Chicago, surrounding suburbs, or states bordering Illinois
Previous stand-in or background acting experience is helpful but not required
NBC ‘Chicago Fire’ Season 15 Casting Call for Firefighters
Chicago Fire – Firefighter Background Actors
Job Description
Chicago Fire is casting male background actors to portray firefighters in scenes filming in the Chicago area. The production is seeking clean-shaven men with short hair who can convincingly portray professional firefighters. No real firefighting experience is required. This television background acting opportunity is open to local talent who can remain available for an extended filming day.
Job Responsibilities
Portray a firefighter in scenes for Chicago Fire
Perform realistic background actions appropriate for emergency response scenes
Follow direction from assistant directors and the production team
Maintain consistent positioning and continuity between takes
Remain professional and attentive throughout filming
Requirements
Male talent ages 20s to 50s
Clean-shaven appearance
Short hair
No professional firefighting experience required
Must be local to Chicago, surrounding suburbs, or states bordering Illinois
Must be comfortable with an extended filming day, potentially until 10 PM
Reliable and able to follow on-set direction
Compensation
Compensation details will be provided by the production
NBC ‘Chicago Fire’ Season 15 Casting Call for Chief T Stand-In
TV Series – Fire Chief Stand-In
Job Description
A television production filming in the Chicago area is seeking a male stand-in to match an actor portraying a fire chief. This non-speaking stand-in role involves helping the production team establish lighting, camera blocking, and scene setups before filming. The opportunity is open to experienced stand-ins as well as talent interested in gaining professional on-set experience.
Job Responsibilities
Stand in for an actor during lighting and camera setups
Assist the crew with camera blocking and scene preparation
Match assigned positions and movements as directed
Follow instructions from the production and camera teams
Remain available and attentive throughout the filming day
Requirements
Caucasian male in his 40s to 60s
Height between 5’11” and 6’1″
Medium-to-large build
Light brown or reddish hair
Must be local to Chicago, surrounding suburbs, or neighboring states bordering Illinois
Previous stand-in or extra experience is helpful but not required
Must be comfortable working until approximately 10 PM
NBC ‘Chicago Fire’ Season 15 Casting Call for Michael Stand-In
TV Series – Male Stand-In
Job Description
A television production filming in the Chicago area is casting a male stand-in to assist with lighting, camera blocking, and scene preparation. The production is seeking talent who closely matches the actor’s physical characteristics and can maintain consistent positioning throughout the shoot. This is a non-speaking stand-in opportunity for local talent, with previous extra or stand-in experience welcomed but not required.
Job Responsibilities
Stand in for an actor during lighting and camera setups
Assist the production crew with camera blocking and scene preparation
Maintain consistent marks, positions, and movements between setups
Follow direction from the camera and production teams
Remain attentive and professional throughout each production day
Requirements
Caucasian male
Ages 20s to 40s
Dark hair
Height between 6’0″ and 6’3″
Weight between 230 and 275 lbs.
Must be local to Chicago, surrounding suburbs, or states bordering Illinois
Previous stand-in or background acting experience is helpful but not required
Must be available for multiple production days
Must be comfortable working until approximately 8 PM
NBC ‘Chicago Fire’ Casting Call for Molly’s Bar Bartender
Featured Extra Bartender for TV Series
Job Description
A featured extra casting opportunity is now available for experienced bartenders to appear in a non-speaking role for a television series filming in the Chicago area. Casting directors are looking for men and women, ages 30 to 50, of all ethnicities, who can authentically portray a real bartender in a featured scene. Selected talent may also be invited for a wardrobe fitting before filming.
Job Responsibilities
Portray a featured bartender in a non-speaking television scene.
Perform realistic bartending duties during filming.
Follow on-set direction from the production team.
Attend a wardrobe fitting if selected.
Requirements
Men and women, ages 30–50.
Open to all ethnicities.
Must have real bartending experience.
Must be available for evening filming that may extend into late-night hours.
Must be local to Chicago, the surrounding suburbs, or nearby Illinois border states.
NBC ‘Chicago Fire’ Season 15 Casting Call for Twin Newborn Babies
Twin Newborn Babies for TV Series
Job Description
A television series is seeking Caucasian or Latino twin newborns for featured scenes in an upcoming episode filming in the Chicago area. This paid opportunity is open to both twin boys and twin girls weighing 10 pounds or less. Production provides an experienced baby nurse on set and maintains a safe, supportive environment for newborn performers.
Job Responsibilities
Appear as twin newborns in television scenes.
Participate in a professionally supervised production environment.
Work with a parent or legal guardian throughout filming.
Follow production scheduling for newborn performers.
Requirements
Caucasian or Latino twin newborns.
Twin boys or twin girls.
Must weigh 10 pounds or less.
Must be local to Chicago, surrounding suburbs, or bordering states eligible to work in Illinois.
Must obtain the required Illinois work permit for newborn performers.
Parent or legal guardian must be available throughout production.
NBC ‘Chicago Fire’ Season 15 Casting Call for Latino Male Photo Double
Clean-Shaven Latino Male Photo Double for TV Series
Job Description
A television production is seeking a clean-shaven Latino male photo double for a paid filming opportunity in the Chicago area. This photo double casting call is open to local talent who closely matches the required physical characteristics and can portray the featured actor for wide shots and insert scenes.
Job Responsibilities
Serve as a photo double for a television production.
Match the featured actor’s appearance for wide shots and insert scenes.
Follow on-set direction from the production team.
Be available for a full filming day.
Requirements
Latino male.
Height between 5’11” and 6’1″.
Slender to medium build.
Dark hair.
Appears to be in their 20s to 40s.
Must be clean-shaven or willing to shave.
Must be local to Chicago, surrounding suburbs, or nearby Illinois border states.
Previous photo double, stand-in, or background acting experience is a plus.
NBC ‘Chicago Fire’ Season 15 Casting Call for Caucasian Male Stand-Ins
Caucasian Male Stand-In
Job Description
A paid stand-in opportunity is available for an upcoming television production filming in the Chicago area. Casting directors are seeking a Caucasian male with a similar build and appearance to the principal actor to work as a stand-in during rehearsals and lighting setups. This role is open to local talent from Chicago, the surrounding suburbs, and neighboring border states who can work as local hires in Illinois.
Job Responsibilities
Serve as a stand-in for the principal actor during lighting and camera setups.
Follow instructions from the production and camera departments.
Maintain consistency with the actor’s positioning throughout rehearsals.
Be available for the full production day.
Requirements
Caucasian male.
Height between 5’5″ and 5’7″.
Weight between 135 and 165 lbs.
Dark hair.
Ages 40s–50s.
Must closely match the actor’s height, weight, and complexion.
Previous stand-in or background acting experience is a plus.
Must be local to Chicago, surrounding suburbs, or neighboring border states able to work as a local hire in Illinois.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI D
SI D Stand-In for TV Series
Job Description
A paid stand-in casting opportunity is available for SI D in a television series filming in the Chicago area. Production is seeking a Caucasian male with a matching build to work as a stand-in during the first portion of the filming schedule. This is a great opportunity for experienced or aspiring stand-ins looking to work on a major television production.
Job Responsibilities
Serve as a stand-in for lighting, rehearsals, and camera blocking.
Follow direction from the production team.
Maintain continuity throughout filming.
Be available for scheduled production days.
Work extended filming days when needed.
Requirements
Caucasian male, ages 20s to early 40s.
Height between 6’2″ and 6’4″.
Weight between 175–220 lbs.
Dark hair.
Local to Chicago, surrounding suburbs, or neighboring states bordering Illinois.
Available for approximately the first three months of filming.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI B
SI B Stand-In for TV Series
Job Description
A paid stand-in casting opportunity is available for SI B in a television series filming in the Chicago area. Production is seeking an African American male with a matching build to serve as a stand-in throughout the season. This is an excellent opportunity for performers interested in gaining consistent on-set experience in a professional television production.
Job Responsibilities
Serve as a stand-in during lighting, camera blocking, and rehearsals.
Follow direction from the assistant directors and camera crew.
Maintain continuity and professionalism on set.
Be available for the full production schedule.
Work extended filming days as required.
Requirements
African American male, ages 20s–40s.
Height between 6’1″ and 6’3″.
Weight between 175–195 lbs.
Dark hair.
Local to Chicago, surrounding suburbs, or neighboring states bordering Illinois.
NBC ‘Chicago Fire’ Season 15 Casting Call for High Ranking Firefighter
Featured Firefighter Background Actor for TV Series
Job Description
A television production is seeking a featured non-speaking background actor to portray a high-ranking firefighter in an upcoming episode filming in the Chicago area. This paid acting opportunity is open to local talent from Chicago, surrounding suburbs, and nearby border states. Selected performers will participate in a wardrobe fitting and may be fitted with prosthetics to accurately portray the role.
Job Responsibilities
Portray a featured high-ranking firefighter in a television production.
Follow on-set direction from the production team.
Attend a required wardrobe fitting before filming.
Maintain professionalism throughout filming.
Requirements
Male talent.
Ages 40s to early 60s.
Bigger build with a professional firefighter appearance.
All ethnicities are encouraged to apply.
Must be available for both the wardrobe fitting and filming.
Must be local to Chicago, surrounding suburbs, or nearby border states.
Compensation
Featured role: $165 for 8 hours, with time and a half after 8 hours.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI V (Male)
Chicago Fire Stand-In Casting Call – Role SI V (Male)
Job Description
A paid television stand-in opportunity is available for Chicago Fire filming in Chicago, Illinois. Production is seeking a male performer for Stand-In Role SI V. The selected talent will assist with camera rehearsals, lighting, and scene blocking while matching the principal actor’s appearance and build.
Job Responsibilities
Work as Stand-In Role SI V during filming and rehearsals.
Match the principal actor’s camera marks and movements.
Follow direction from the production, camera, and lighting teams.
Maintain dependable availability throughout the production season.
Requirements
Caucasian or Latino male.
Ages 20s–30s.
Height: 5’10″–6’0″.
Weight: 160–180 pounds.
Dark hair.
Must be available Monday through Friday, with occasional night and Saturday shoots.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI S
Chicago Fire Stand-In Casting Call – Role SI S
Job Description
A paid stand-in role is available for Chicago Fire filming in Chicago, Illinois. Production is seeking a male performer for Stand-In Role SI S. The selected stand-in will support the camera and lighting departments by matching the principal actor during scene rehearsals and technical preparation.
Job Responsibilities
Work as Stand-In Role SI S during production rehearsals.
Match the principal actor’s placement and movements.
Assist with lighting, camera blocking, and technical setups.
Maintain consistent availability throughout the production season.
Requirements
Caucasian male.
Ages 30s–40s.
Height: 5’10″–6’0″.
Weight: 160–180 pounds.
Greyish hair.
Must be available Monday through Friday, with occasional night and Saturday shoots.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI N
Chicago Fire Stand-In Casting Call – Role SI N
Job Description
A paid stand-in casting opportunity is available for Chicago Fire filming in Chicago, Illinois. Production is seeking a female performer for Stand-In Role SI N. This television stand-in will assist with rehearsals, lighting, and camera preparation while closely matching the principal actor.
Job Responsibilities
Perform as Stand-In Role SI N during camera and lighting rehearsals.
Match the principal actor’s marks, movement, and positioning.
Follow on-set instructions from the production team.
Remain dependable throughout the television production season.
Requirements
Caucasian female.
Ages 18 to early 30s.
Height: 5’5″–5’7″.
Weight: 115–135 pounds.
Blonde hair.
Must be available Monday through Friday, with occasional night and Saturday shoots.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI K
Chicago Fire Stand-In Casting Call – Role SI K
Job Description
A paid stand-in role is available for Chicago Fire filming in Chicago, Illinois. Production is seeking a Latina performer for Stand-In Role SI K. The selected performer will support rehearsals, lighting setups, and camera blocking by matching the principal actor’s physical characteristics.
Job Responsibilities
Serve as Stand-In Role SI K during rehearsals and technical setups.
Match the principal actor’s movements and on-set positioning.
Follow instructions from the production and camera teams.
Maintain professional and reliable availability throughout filming.
Requirements
Latina female.
Ages 18 to early 40s.
Height: 5’6″–5’8″.
Weight: 140–150 pounds.
Dark hair.
Must be available Monday through Friday, with occasional night and Saturday shoots.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI H
Chicago Fire Stand-In Casting Call – Role SI H
Job Description
A paid stand-in casting opportunity is available for Chicago Fire filming in Chicago, Illinois. Production is seeking a male performer for Stand-In Role SI H. The selected talent will assist with lighting, camera setup, rehearsals, and scene blocking while matching the principal actor’s physical appearance.
Job Responsibilities
Work as Stand-In Role SI H during television production.
Match the principal actor’s marks, positioning, and movements.
Assist the camera and lighting departments during rehearsals.
Maintain dependable availability throughout the production season.
Requirements
Caucasian male.
Ages 50s–60s.
Height: 5’6″–5’8″.
Weight: 135–160 pounds.
Grey hair.
Must be available Monday through Friday, with occasional night and Saturday shoots.
NBC ‘Chicago Fire’ Season 15 Casting Call for SI V
Chicago Fire Stand-In Casting Call – Role SI V (Female)
Job Description
A paid stand-in casting opportunity is available for Chicago Fire filming in Chicago, Illinois. Production is seeking a female performer for Stand-In Role SI V. The selected stand-in will match the principal actor’s height, build, complexion, and hair while assisting with lighting, camera blocking, and rehearsals throughout the television production.
Job Responsibilities
Work as Stand-In Role SI V during lighting and camera rehearsals.
Match the principal actor’s position, movement, and blocking.
Follow direction from the assistant directors and camera crew.
Maintain reliable weekday availability throughout the production season.
Requirements
Female, ages 18 to early 40s.
Asian, Latino, or Caucasian.
Height: 5’8″–5’10”.
Weight: 115–140 pounds.
Dark hair.
Must be available Monday through Friday, with occasional night and Saturday shoots.
NBC ‘Chicago Fire’ Season 15 Casting Call for Firefighters
Chicago Fire Featured Extra Casting Call – High-Ranking Firefighter
Job Description
A paid featured extra opportunity is available for NBC’s Chicago Fire, filming in Chicago, Illinois. Production is seeking men to portray high-ranking firefighters in non-speaking featured roles. This is an excellent opportunity for performers with a strong, authoritative appearance to work on a popular television series.
Job Responsibilities
Portray a high-ranking firefighter in featured background scenes.
Follow direction from the production team.
Attend wardrobe and prosthetic fittings if required.
Maintain continuity throughout filming.
Requirements
Male.
Ages 40s to early 60s.
Bigger build with a fit appearance.
All ethnicities welcome.
Must be able to work as a local hire in the Chicago area.
Compensation
Featured Extra Rate: $165 for 8 hours (overtime after 8 hours where applicable)
NBC ‘Chicago Fire’ Casting Call for Military Style Types
Fit, Clean-Shaven Men with Military-Style Haircuts for FBI Scene
Job Description Chicago Fire Extras is casting bigger, fit men with short hair styled in a military cut for an upcoming FBI scene filming in the Chicago area. This role requires a strong, authoritative presence and a clean-shaven, disciplined look suitable for a federal law enforcement setting.
Filming will take place on Saturday, February 28. Selected talent must also attend a required wardrobe fitting on either Thursday, February 26 or Friday, February 27.
This casting is open to local hires in Chicago, surrounding suburbs, and bordering states to Illinois only.
Job Responsibilities
Portray FBI or law enforcement personnel
Attend a required wardrobe fitting
Follow direction from production staff
Maintain a military-style haircut and clean-shaven appearance
Requirements
Male
20s–60s
Bigger, fit build
Clean-shaven
Short hair in a military-style cut
Must be local to Chicago, surrounding suburbs, or bordering IL states
Job Description Chicago Fire Extras is casting fit, clean-shaven men with short hair for an FBI scene filming in the Chicago area. This background opportunity is for a professional, law enforcement-style scene and requires a sharp, well-groomed appearance.
Filming is scheduled for Saturday, February 28. Talent must also be available for a wardrobe fitting on either Thursday, February 26 or Friday, February 27.
This casting is open to local hires in Chicago, surrounding suburbs, and bordering states to Illinois only.
Job Responsibilities
Portray FBI personnel in a filmed scene
Attend a required wardrobe fitting
Follow on-set direction from assistant directors
Maintain a professional, clean-cut appearance
Requirements
Male
20s–60s
Fit/athletic build
Clean-shaven
Short hair
Must be local to Chicago, surrounding suburbs, or bordering states to Illinois
Job Description A Chicago-based television series is casting paid background actors to portray dressed police officers in an upcoming scene. This opportunity is open to local talent in Chicago, surrounding suburbs, and Illinois border states only.
Casting directors are seeking clean-shaven men with short hair and women with a natural look (no false eyelashes or long painted nails), ages 20s–40s, of all ethnicities. Talent must present a professional, uniform-ready appearance suitable for portraying law enforcement officers.
This is a great opportunity for background actors looking to gain experience on a major television production.
Job Responsibilities
Portray dressed police officers in background scenes
Maintain a clean, professional appearance on camera
Follow direction from the assistant director and production team
Be available for a full filming day
Requirements
Men: Clean-shaven with short hair
Women: Natural look (no false eyelashes or long painted nails)
Ages 20s–40s
All ethnicities encouraged to apply
Must be local to Chicago or surrounding Illinois border states
Submit recent color photo
Include last date worked on the show (if applicable)
NBC ‘Chicago Fire’ Casting Call for Students and White Shirt Role
Chicago Fire Department Students and White Shirt Role
Job Description A Chicago-based television series is casting paid background actors for two roles: Chicago Fire Department students and a featured “white shirt” role. This opportunity is open to local talent in Chicago, surrounding suburbs, and Illinois border states only.
Casting directors are seeking clean-shaven men with short hair, ages 20s–40s, of all ethnicities to portray fire department students in training scenes. Production is also looking for an African American male, ages 40s–60s, clean-shaven with short hair, to portray a “white shirt” (supervisory fire department role).
This is a great opportunity for background actors to gain experience on a major network television production.
Job Responsibilities
Portray Chicago Fire Department students or supervisory personnel
Maintain a professional, uniform-ready appearance
Follow direction from the assistant director and production team
Remain available for a full filming day
Requirements
Local to Chicago, suburbs, or Illinois border states
Fire Department Students: Clean-shaven men, short hair, ages 20s–40s, all ethnicities
White Shirt Role: African American male, ages 40s–60s, clean-shaven, short hair
Include last date worked on the show (if applicable)
NBC ‘Chicago Fire’ Casting Call for Corporate Business Suit Extras
Corporate Business Suit Extras for TV Series
Job Description A hit Chicago-based television series is casting men and women who own business suits and can pull off a strong corporate look. This paid background acting opportunity is open to talent ages 30s–60s of all ethnicities who are local to Chicago, surrounding suburbs, or Illinois border states.
Casting directors are seeking professionals with a polished, executive appearance to portray corporate employees in office or business-related scenes. Talent must have their own business suit and be able to present a believable corporate presence on camera.
This is a great opportunity for experienced extras and aspiring actors looking to work on a major TV production filming in Chicago.
Job Responsibilities
Portray corporate professionals in background scenes
Arrive on set wearing a business suit
Follow direction from the assistant director and production team
Maintain continuity and professionalism throughout filming
Requirements
Men and women, ages 30s–60s
All ethnicities encouraged to apply
Must own and wear a business suit
Local to Chicago, suburbs, or surrounding Illinois border states
Submit recent color photo wearing a business suit
Include last date worked on the show (if applicable)
Chicago TV Series Paid Extras and Mail Carrier Role
Job Description A popular Chicago-based television series is casting paid background actors for non-speaking extra roles. Production is seeking men and women, ages 20s to 60s, of all ethnicities to work in upcoming scenes. Filming will take place in the Chicago area, and talent must be local to Chicago, surrounding suburbs, or Illinois border states.
In addition to general background roles, casting directors are specifically looking for a female actor who can fit a mail carrier uniform (medium shirt, pants size 8 or 10). Selected talent for this role will attend a wardrobe fitting prior to filming.
Some roles require talent to work with their cars on camera. Vehicles must not be black, red, or white. This is a great opportunity for aspiring actors and experienced extras to gain television production experience on a major network series.
Job Responsibilities
Perform as a non-speaking background extra in various scenes
Follow on-set direction from the assistant director and crew
Maintain professional behavior and continuity during filming
Attend wardrobe fitting if selected for the mail carrier role
Provide vehicle details if submitting for car-related scenes
Requirements
Men and women, ages 20s–60s
All ethnicities encouraged to apply
Must be local to Chicago, suburbs, or Illinois border states
Submit a recent color photograph
For car scenes: include vehicle color, year, and make (no black, red, or white cars)
For mail carrier role: must fit medium shirt and size 8 or 10 pants
Compensation
Paid non-speaking extra roles
Additional fitting compensation if applicable
On-set experience on a major television production
NBC ‘Chicago Fire’ Casting Call for Chicago Fire Students
Chicago Fire Department Student Extras
Job Description A hit television drama is casting clean-shaven men and women to portray Chicago Fire Department students. This paid TV extra casting call is open to local talent in Chicago, the surrounding suburbs, and nearby Illinois border states.
Casting directors are seeking men in their 20s to 40s with short hair, as well as women who can maintain a natural look (no false eyelashes or long painted nails). Talent must be able to realistically portray fire department students in training scenes.
This is a great opportunity for aspiring actors and experienced background performers looking to gain on-set experience on a popular television production filming in Chicago.
Job Responsibilities
Portray Chicago Fire Department students in training scenes
Follow direction from the assistant director and production team
Maintain continuity and professional behavior on set
Arrive camera-ready with a natural, clean appearance
Provide accurate wardrobe sizing for production
Requirements
Local to Chicago, suburbs, or surrounding Illinois border states
Men: 20s–40s, clean-shaven, short hair, all ethnicities
Women: Natural look (no false eyelashes, no long painted nails)
Include last date worked on the show (if applicable)
NBC ‘Chicago Fire’ Season 14 Casting Call for Babies
Newborn Babies for “Chicago Fire” TV Series – Chicago, IL
Job Description A hit television series filming in Chicago is casting newborn babies for an upcoming episode. This paid TV casting call is seeking single newborns, twins, or triplets weighing between 6 lbs and 11 lbs to appear in scenes on set.
Filming will take place in Chicago, and families must be local to Chicago, surrounding suburbs, or nearby Illinois border states. A baby nurse will be present on set, and production takes special care to ensure newborn safety and comfort. All babies must have a valid Joan Philo work permit prior to filming (guidance will be provided if needed).
This is a short on-set commitment designed specifically for newborns.
Job Responsibilities
Appear on camera as a newborn baby in a television scene
Be available for scheduled filming days
Parent or guardian must remain on set at all times
Follow production guidelines for infant safety
Requirements
Newborn babies weighing 6 lbs to 11 lbs
Single babies, twins, or triplets
Must be local to Chicago, IL or nearby surrounding areas
NBC ‘Chicago Fire’ Season 14 Casting Call for a Cocktail Party Scene
Cocktail Bar Scene Background Casting Call
Job Description A television production is casting background actors to portray stylish patrons in a fun, upscale cocktail bar scene. This opportunity is perfect for talent in their 20s and 30s with a polished, fashionable look who can bring energy and authenticity to a lively nightlife setting. The scene will feature a large group to create a vibrant downtown atmosphere.
Job Responsibilities
Appear on camera as a cocktail bar guest in a social scene
Portray natural interactions in a trendy nightlife environment
Follow direction from the production and assistant directing team
Maintain continuity in wardrobe, hair, makeup, and movement
Remain professional, punctual, and camera-ready on set
Requirements
Male and female talent
Ages 20s–30s
All ethnicities encouraged to apply
Stylish, attractive, and camera-ready appearance
Comfortable wearing upscale cocktail bar attire
Must be local to Chicago, surrounding suburbs, or bordering states
Men should have measurements available (height, weight, suit jacket, neck, sleeve, waist, inseam, shoe)
Women should have measurements available (height, weight, dress, pants, T-shirt, shoe)
NBC ‘Chicago Fire’ Season 14 Casting Call for Pedestrians w/ Cars
Pedestrians and Drivers Background Casting Call
Job Description A television production is casting background actors to portray pedestrians and pedestrians with cars in realistic street scenes. These are non-speaking extra roles ideal for talent looking to gain on-set experience in a professional production environment. The production is seeking a wide range of everyday looks to create authentic city atmosphere.
Job Responsibilities
Appear on camera as a pedestrian or pedestrian with a vehicle
Follow direction from assistant directors and production staff
Maintain continuity in movement, wardrobe, and positioning
Remain professional and attentive while on set
Requirements
Male and female talent
Ages 20s to 50s
All ethnicities encouraged to apply
Must be local to Chicago, surrounding suburbs, or bordering states to Illinois
NBC ‘Chicago Fire’ Season 14 Casting Call for CFD Delivery Person
Male Background Actor for Delivery Person Role
Job Description A television series is casting a male background actor to portray a delivery person in an upcoming scene. This role requires a clean-cut, professional appearance and the ability to follow on-set direction while contributing to a realistic workplace environment. The scene will be filmed for a scripted television production.
Job Responsibilities
Portray a delivery person in a television scene
Follow blocking and direction from the production team
Maintain continuity and professionalism on set
Appear camera-ready throughout filming
Requirements
Male performers ages 20s–40s
Clean-shaven with short hair
Must be local to Chicago, nearby suburbs, or surrounding border states
Comfortable performing background action on camera
Reliable, punctual, and professional
Prior background experience is helpful but not required
NBC ‘Chicago Fire’ Season 14 Casting Call for Real Dad and Child
Real Dad and Child for Television Series Scene
Job Description A television production is casting a real father and child to appear together in a scripted scene. This role focuses on authentic interaction and natural chemistry between parent and child, helping bring realism to a family moment on screen. The production is seeking genuine parent-child pairs for background work in a professional TV environment.
Job Responsibilities
Appear on camera together in a television scene
Interact naturally as a real parent and child
Follow on-set direction from the production team
Participate in a wardrobe fitting prior to filming
Requirements
Real father and child pairing
Child must be 6 years old
Open to all ethnicities
Must be local to Chicago, nearby suburbs, or surrounding border states
Available for filming and a wardrobe fitting during the same week
NBC ‘Chicago Fire’ Season 14 Casting Call for Male and Female with Short Hair
Background Actors for Television Series Scenes
Job Description A television series is casting background actors to appear in interior and exterior scenes filmed in the Chicago area. The production is seeking clean-cut performers to help create realistic, everyday environments on screen. This opportunity is open to a wide age range and is ideal for talent interested in non-union television background work.
Job Responsibilities
Portray everyday background characters in scripted scenes
Follow on-set direction for movement and continuity
Appear in both indoor and outdoor filming environments
Maintain a professional and camera-ready appearance
Requirements
Clean-shaven male performers with short hair
Female performers welcome
Ages 20s–70s
Must be local to Chicago, nearby suburbs, or surrounding border states
Comfortable working indoors and outdoors
Reliable, punctual, and able to follow direction
Prior background experience is helpful but not required
NBC ‘Chicago Fire’ Season 14 Casting Call for Male and Female Extras
Background Actors for Television Series
Job Description A television production is seeking local background actors to appear in interior and exterior scenes filmed in the Chicago area and surrounding suburbs. This opportunity is open to a wide range of ages and looks, making it ideal for performers interested in gaining experience on a professional TV set.
Job Responsibilities
Portray everyday characters in scripted television scenes
Participate in indoor and outdoor background action
Follow on-set direction and maintain continuity between takes
Work professionally with cast and crew
Requirements
Male and female performers, ages 20s–70s
Must be local to Chicago, nearby suburbs, or surrounding border states
Comfortable working indoors and outdoors
Reliable, punctual, and able to follow instructions
Prior background experience is helpful but not required
NBC ‘Chicago Fire’ Season 14 Casting Call for Evy Stand-In
Stand-In Role for Television Production
Job Description A scripted television production is seeking a Caucasian female stand-in to support continuity and lighting setups on set. This non-speaking stand-in role is ideal for talent with a close physical match to a principal actor and availability for professional on-set work. Prior on-set experience is helpful but not required.
Job Responsibilities
Serve as a stand-in for a principal performer during technical setups
Maintain consistent positioning, posture, and movement as directed
Work closely with the crew to support lighting and camera preparation
Remain professional and camera-ready throughout filming
Requirements
Caucasian female
Light brown or dark blonde hair
Height between 5’3” and 5’4”
Weight range between 105–125 lbs
Must closely match the required physical specifications
Available to work as a non-speaking stand-in on a TV set
Compensation
$186 for 8 hours
Time and a half pay after 8 hours
Paid stand-in role on a professional television production
NBC “Chicago Fire’ Season 14 Casting Call for Passengers
Chicago Fire – Passenger Background Roles
Job Description A network television series is casting paid background actors to portray passengers in upcoming episodes filming in the western suburbs of Chicago. These are non-speaking roles and a great opportunity for performers looking to gain on-set experience in a fast-paced television production. Talent must be available for all required filming days.
Job Responsibilities
Appear on camera as a passenger in background scenes
Perform natural, non-speaking background actions
Follow on-set direction from the production team
Maintain professionalism, punctuality, and readiness throughout filming
Requirements
Male and female performers ages 20s–70s
All ethnicities encouraged to apply
Must be available for all scheduled filming days
Comfortable working in non-speaking background roles
Must be able to work as a local hire in Chicago or surrounding areas
NBC ‘Chicago Fire’ Season 14 Casting Call for New Teen Extras
Teen Extras for Television Series
Job Description A scripted television series is casting teens for paid, non-speaking background roles. This opportunity is ideal for young performers looking to gain professional on-set experience while working on a major TV production. Filming will take place in the western suburbs, with multiple shoot days available.
Job Responsibilities
Appear as background talent in scripted television scenes
Follow on-set direction from the production team
Maintain professionalism during filming
Attend a wardrobe fitting if selected (optional but helpful)
Requirements
Teens ages 16–18
Open to all ethnicities
Must be local to Chicago, surrounding suburbs, or nearby border states
Available to work multiple shoot days in the western suburbs
Comfortable working as a non-speaking extra on a TV set
Compensation
Paid background role
Industry-standard extra pay rates
Valuable on-set experience with a professional television production
NBC ‘Chicago Fire’ Season 14 Casting Call for Body Double Extra
Body Double Extra (Non-Speaking)
Job Description A TV production is seeking local background talent to work in a tight, enclosed filming setup for a special episode. This is a paid, non-speaking extra role for men and women who are comfortable in compact spaces and can maintain a professional, calm presence on set. Selected talent may be asked to wear a flesh-toned bodysuit-style wardrobe as part of the scene.
Job Responsibilities
Perform as non-speaking background talent in a special episode scene
Work comfortably in a very compact filming environment
Follow on-set direction and maintain continuity between takes
Wear assigned wardrobe, which may include a flesh-colored bodysuit
Requirements
Male and female talent, ages 20s–40s
All ethnicities encouraged to apply
Must not be claustrophobic and must be comfortable in tight spaces
Must be able to work as a local hire in Chicago, nearby suburbs, or surrounding border states to Illinois
Reliable, punctual, and able to follow direction in a fast-paced set environment
Compensation
Paid non-speaking extra role (rate provided upon selection)
NBC ‘Chicago Fire’ Season 14 Casting Call for Real Firefighters
Real Firefighters (Paid TV Extra Roles)
Job Description A TV production is seeking real firefighters to appear on camera in authentic emergency-response scenes for a special episode. This is a paid, non-speaking background opportunity for firefighters who can bring real-world presence, uniform accuracy, and professional realism to set. Availability across multiple shoot days is a plus, and early call times are possible.
Job Responsibilities
Appear on camera as a real firefighter in emergency and station-style scenes
Wear your real firefighter uniform/gear as appropriate for the scene
Follow on-set direction and maintain continuity across multiple takes
Be punctual, professional, and camera-ready for long production days
Requirements
Must be a real firefighter
Open to men and women; all ethnicities encouraged to apply
Able to work as a local hire in the Chicago area/Western Suburbs
Comfortable performing as non-speaking background talent
Must have a recent color photo in uniform (no sunglasses, no group photos)
NBC ‘Chicago Fire’ Season 14 Casting Call for Latina Photo Double
Latina Stand-In (TV Production)
Job Description A TV production is seeking a Latina stand-in to match a principal actor for lighting and camera blocking. This paid stand-in opportunity is ideal for talent who can closely match the performer’s height, weight, complexion, and overall look, and who can work professionally on a fast-paced set.
Job Responsibilities
Stand in for a principal actor during lighting setups and camera rehearsals
Match the actor’s general look for scene continuity (height, weight, complexion)
Follow direction from the crew and remain ready between setups
Maintain consistency with wardrobe and positioning across takes
Requirements
Latina
Height: 5’3″–5’5″
Weight: 115–145
Dark hair
Must be able to closely match the actor’s look for lighting and camera work
Don’t miss your chance to work on one of network TV’s most iconic drama series. Apply now and take your first step onto the set of Chicago Fire Season 14 with Project Casting!
Hayden Panettiere’s former fiancé, Wladimir Klitschko, is asking for greater legal authority to protect the late actress’ estate amid allegations that some of her jewelry and other personal belongings may have been pawned after her death.
The former professional boxer claims a person outside Panettiere’s family who was previously connected to the actress may have taken some of her possessions to a pawn shop. Klitschko is now seeking the ability to request law enforcement assistance in recovering the property, according to court documents reported by multiple outlets.
The developing legal dispute comes after Panettiere, known for her work in Heroes, Nashville and the Scream franchise, died on August 16, 2026, at age 36. Authorities determined her death was the result of an accidental drug overdose.
Wladimir Klitschko Claims Panettiere’s Jewelry Was Pawned
According to the latest court filing, Klitschko believes a non-family member previously associated with Panettiere pawned property belonging to the actress, including what he believes was jewelry.
Klitschko reportedly contacted the pawn shop connected to the alleged transaction. However, he claims the business would not disclose information about the items unless law enforcement became involved.
That has created urgency around his request because Klitschko fears the property could eventually be sold to other buyers, potentially making recovery more difficult.
The allegations have not been established as fact in court, and reports do not identify the person Klitschko believes may have been responsible.
His latest filing asks that, if he is appointed guardian of his daughter’s estate interests, he also receive the authority necessary to request and authorize a law enforcement investigation into Panettiere’s allegedly missing property.
The Dispute Is Connected to Daughter Kaya’s Inheritance
The jewelry allegations are part of a broader legal effort involving Panettiere and Klitschko’s daughter, Kaya.
Klitschko filed a petition in Los Angeles County probate court in September seeking temporary guardianship related to the 11-year-old’s estate interests. Kaya is reportedly entitled to inherit her mother’s estate, making the preservation of Panettiere’s property particularly important to the guardianship proceedings.
Klitschko has argued that having the appropriate legal authority would allow him to manage and protect assets belonging to his daughter.
While Klitschko already has custody of Kaya, the guardianship request involves his ability to act on her behalf in matters surrounding her inheritance and Panettiere’s estate.
The court had not ruled on the request at the time of the latest reports.
Klitschko Previously Raised Concerns About Missing Property
The pawn shop allegations are not the first time Klitschko has expressed concern about what happened to Panettiere’s belongings.
In an earlier petition, he claimed some jewelry was missing or unaccounted for and raised concerns about other property belonging to the actress.
Klitschko also said federal agents had accessed Panettiere’s home and removed property as part of an investigation. His petition argued that an estate representative would eventually be needed to recover and properly manage those items.
The filing further claimed Panettiere had hired a security company before her death because of concerns that someone had gained unauthorized access to her property.
Following her death, according to Klitschko’s filing, locks at the residence were changed and storage containing designer clothing and accessories associated with Panettiere’s public appearances was relocated as a precaution.
These claims remain allegations contained in court filings and should not be treated as findings that a particular person committed wrongdoing.
Panettiere’s Family Supports Klitschko’s Guardianship Effort
People close to Panettiere’s family have publicly expressed support for Klitschko’s effort to represent Kaya’s interests.
Sources connected to the family told TMZ that they support his guardianship filing and described him as a dedicated father.
Panettiere and Klitschko began dating in 2009 and later became engaged. They welcomed Kaya in December 2014 before ultimately separating in 2018.
Despite the end of their romantic relationship, the pair remained connected through their daughter.
Questions Have Also Emerged Over Panettiere’s Personal Effects
The legal questions surrounding Panettiere’s belongings extend beyond the property Klitschko claims may have been pawned.
Reports indicate that her parents, Lesley Vogel and Skip Panettiere, have also disagreed over where earrings Panettiere was wearing at the time of her death should be sent.
According to reporting based on the coroner’s documentation, the earrings were removed during the autopsy and secured for safekeeping. Because conflicting instructions were reportedly given about where to send them, officials said the belongings would not be released until the issue was resolved.
The dispute illustrates the complications that can arise when personal property becomes part of an estate following a sudden death.
Hayden Panettiere’s Death at 36
Panettiere died on August 16, 2026, while in South Carolina.
The Greenville County Coroner’s Office determined that her death resulted from an accidental overdose involving multiple substances.
Following her death, Klitschko publicly mourned Panettiere and shared a family photo featuring the actress and their daughter.
Her death prompted tributes from fans and entertainment industry colleagues who remembered a career that began when Panettiere was a child actor and eventually included major television and film roles.
She became particularly recognizable for playing Claire Bennet on NBC’s Heroes before starring as Juliette Barnes on the country music drama Nashville. Her film credits also included multiple appearances in the Scream franchise.
What Happens Next With Panettiere’s Estate?
The immediate legal question is whether Klitschko will receive the guardianship authority he is requesting.
That decision could determine his ability to formally act on Kaya’s behalf in matters involving Panettiere’s estate, including efforts to locate and potentially recover missing property.
Klitschko maintains that quick action is necessary to prevent assets from disappearing or being transferred before they can become part of Kaya’s inheritance.
Until authorities or the court establish what happened to the allegedly missing belongings, however, the claims surrounding the pawned jewelry remain allegations.
The case highlights a less visible issue that can follow the death of a public figure: protecting intellectual, financial and personal property while an estate is being organized.
For entertainment professionals, an up-to-date estate plan can provide clearer instructions about ownership and management of valuable assets, including real estate, contracts, royalties, memorabilia, wardrobe, jewelry and other personal property.
As the proceedings continue, further court filings could provide additional clarity about Panettiere’s estate and Klitschko’s efforts to safeguard their daughter’s inheritance.
Will Smith and DJ Jazzy Jeff’s journey from teenage friends in Philadelphia to one of hip-hop’s most recognizable duos is inspiring a new scripted television series.
Titled 215, the upcoming drama will explore the early years behind DJ Jazzy Jeff & the Fresh Prince, focusing on two young friends attempting to break into Philadelphia’s emerging hip-hop scene.
The project comes from Smith’s Westbrook Studios in partnership with The Malar Group and promises to explore the friendship and ambition that existed before worldwide fame, hit records, and The Fresh Prince of Bel-Air.
For actors and entertainment professionals, 215 is also an upcoming television project worth following as it moves through development and eventually toward casting and production.
What Is Will Smith’s New Series ‘215’ About?
215 takes its name from Philadelphia’s famous 215 area code, immediately connecting the series to the city where Smith and DJ Jazzy Jeff began their careers.
The scripted drama will follow teenage friends pursuing a record deal while attempting to establish themselves in Philadelphia’s growing hip-hop community.
Rather than simply documenting their eventual success, the series is expected to focus on what happened before they became stars—the friendships, setbacks, opportunities, and determination involved in building a music career.
The setting will also allow the series to explore Philadelphia during the late 1980s and early 1990s, when hip-hop was rapidly expanding its influence across American popular culture.
‘215’ Will Explore Friendship and Ambition
At the center of 215 is the relationship that helped launch DJ Jazzy Jeff & the Fresh Prince.
Terence Carter, president of television at Westbrook Studios, explained that the company was attracted to the opportunity to tell a character-driven story while recreating an important period in Philadelphia’s music history.
Carter described 215 as particularly meaningful because it draws inspiration from the rise of DJ Jazzy Jeff and the Fresh Prince while celebrating Philadelphia’s late-1980s and early-1990s hip-hop scene.
The series will be rooted in themes of friendship, ambition, and staying authentic while navigating a changing music industry.
Those themes could help 215 appeal to audiences beyond longtime Will Smith fans by presenting the story as a coming-of-age drama about young artists trying to turn their creative ambitions into careers.
The Malar Group Partners With Westbrook Studios
The Malar Group is working alongside Westbrook Studios to develop 215 as part of a broader collaboration involving film and television projects.
Sayan Navaratnam, CEO of The Malar Group, described the project as an origin story centered on two people who believed in one another and overcame significant obstacles while building something that lasted.
According to Navaratnam, 215 marks the beginning of a larger partnership between The Malar Group and Westbrook Studios.
That makes the project more than a standalone television concept. It also represents the first announced title in a wider slate of potential entertainment projects from the two companies.
How Will Smith and DJ Jazzy Jeff Got Their Start
Long before Will Smith became one of Hollywood’s biggest movie stars, he performed under the name the Fresh Prince.
Smith teamed with Philadelphia DJ Jeffrey Townes, better known as DJ Jazzy Jeff, and the pair formed DJ Jazzy Jeff & the Fresh Prince.
Their playful storytelling, accessible lyrics, and chemistry helped them reach audiences during a transformative period for hip-hop.
The duo became known for songs including “Girls Ain’t Nothing but Trouble,” “Parents Just Don’t Understand,” and “Summertime.”
Their success helped Smith transition from music into television, eventually leading to the NBC sitcom The Fresh Prince of Bel-Air.
From Hip-Hop Partners to ‘The Fresh Prince of Bel-Air’
215 will not be the first television connection between Smith and DJ Jazzy Jeff.
The two famously appeared together on The Fresh Prince of Bel-Air, which aired for six seasons from 1990 to 1996.
Smith starred as a fictionalized version of himself, while Townes had a recurring role as Jazz, Will’s friend.
Their on-screen chemistry became one of the sitcom’s memorable elements, extending a partnership that had already been established through music.
The show became a defining television comedy of the 1990s and helped propel Smith toward an increasingly successful acting career.
His transition from rapper to television actor and eventually global movie star makes his early entertainment career particularly suited to an origin-story format.
Why ‘215’ Could Stand Apart From ‘The Fresh Prince’
Although Smith’s early life has long been associated with The Fresh Prince of Bel-Air, 215 appears positioned to explore a different chapter.
Instead of beginning with the familiar fictional story of a Philadelphia teenager moving to California, the new series will focus on the music scene that preceded Smith’s television breakthrough.
That distinction could allow audiences to see how the partnership between Smith and Townes developed and how two young performers navigated the entertainment business before achieving mainstream recognition.
It also gives the creators an opportunity to showcase Philadelphia itself.
The city’s neighborhoods, fashion, music, and emerging hip-hop culture could become major parts of the series’ identity.
Will There Be Casting Calls for ‘215’?
No official 215 casting calls have been announced.
The actors who will portray the central characters have also not been revealed, and details about supporting roles remain under wraps.
However, actors interested in upcoming TV casting opportunities may want to follow the project as it progresses.
A scripted period drama centered on young musicians and Philadelphia’s hip-hop community could potentially require performers for principal, supporting, featured, and background roles.
Possible casting needs could include young performers, musicians, dancers, clubgoers, record-industry characters, and other roles needed to recreate the era.
These potential roles have not been officially announced and are based only on the show’s premise. Actors should wait for verified casting notices before submitting for any opportunity connected to 215.
Who Is Casting ‘215’?
A casting director for 215 has not yet been publicly announced.
As the project moves closer to production, the selection of a casting team will be an important development for actors interested in audition opportunities.
Casting directors typically begin assembling principal and supporting talent once a scripted project advances further into pre-production. Background casting may follow as production dates and filming locations are finalized.
Project Casting will continue tracking developments surrounding 215, including official casting announcements and potential audition opportunities.
What’s Next for ‘215’?
Several important details about 215 remain unknown.
A network or streaming platform has not been announced, and there is currently no confirmed premiere date. Production dates and filming locations also have not been publicly revealed.
More information should emerge if the series progresses toward production.
For aspiring actors, filmmakers, crew members, and other entertainment professionals, announcements surrounding casting directors, filming locations, and production dates will be particularly important to watch.
With a story built around the early careers of Will Smith and DJ Jazzy Jeff, 215 has the opportunity to introduce audiences to the friendship and Philadelphia hip-hop scene that existed before the pair became household names.
Seven casting calls. One production. Six days. That’s what landed on Project Casting’s board for Copperhead — the Miles Teller–led crime thriller filming right now in Oklahoma City — and it’s the kind of number that tells you more than any pep talk about “breaking in.” When a production posts bouncers, bartenders, cowboy bar patrons, pool players, cocktail waitresses, scrambling gamblers, and extras-with-older-cars in a single week, it isn’t browsing. It’s filling a set, fast, and it needs real people with real looks and real skills: western wear in your closet, a beater car in the driveway, a decent pool game.
This is a data-led breakdown of Copperhead: what the production is, who’s deciding, what the numbers say about your odds, and exactly how to get your submission in front of the right person before cameras stop on November 6.
Open casting calls — live on Project Casting right now Copperhead is casting background extras through Oklahoma Movie Makers this week. These are the live calls:
Let me lay out what the live board actually says, because it’s unusually legible for a production this size:
7 active Copperhead calls on Project Casting, all posted by Oklahoma Movie Makers within roughly a single week — the densest cluster of calls for one production on the board right now.
$110/day for up to 10 hours of background work, with $15/hour overtime after 10 hours and an extra $25 for the day if your vehicle is used. Every call carries the identical rate card — no negotiation, no tiers, no surprises.
Age bands covered: 21 to 75. The cowboy-bar-patron call runs 35–75; bouncers skew 21–40; the older-cars call takes 21–70; pool players 21–60. This is not a production casting one “type” — it’s staffing an ecosystem.
Skill premiums beat pretty faces. The bartender call prefers real bartending experience. The pool-players call requires billiards experience — intermediate level acceptable, but it must be real. The scrambling-gamblers call wants people comfortable with energetic physical movement in an action scene. Demonstrable abilities are doing the selecting here, not headshots.
Vehicles are a casting category. The older-cars call wants a beat-up older vehicle — “nothing new and nice,” per the listing — with photos of the car in the submission, and pays a $25/day bump. Your car can literally book you.
The window is now through November 6, 2026. That’s the production’s scheduled wrap in Oklahoma, per the Oklahoma Film + Music Office slate. The bar-scene calls shot October 6; the older-cars call shot October 5. New waves will keep posting until wrap — productions this size don’t run seven calls and stop.
For context on what background pays across the current board: the same week Copperhead posted at $110/day, Universal’s 1980s feature Freefall (the Miami Vice ’85 production) was posting SAG-rate background at $241 for 8 hours, and a Warner Bros. feature was casting specialty gymnasts at role-dependent rates. The pattern is consistent — productions that need real-world types cast them fast, in bulk, through regional casting companies, with same-week deadlines. Being registered, local, and fast is what gets you those breakdowns before they fill. (The same dynamic is playing out on Universal’s Miami Vice ’85, which is casting background in New York and New Jersey right now — here’s that breakdown.)
The takeaway for Copperhead: this is bulk, type-driven background casting with same-week turnarounds. The people who book are findable in a database, local to the Oklahoma City area, and submit complete packets within hours — not days.
Copperhead at a glance
Copperhead is a West Texas–set crime thriller financed by Black Label Media and directed by John Swab — the Tulsa filmmaker behind King Ivory (which premiered at Venice in 2024, where Swab received the Smithers Foundation’s Ambassador of Hope Award) and Ida Red. Swab specializes in exactly this kind of drug-world crime story, and he frequently works with a recurring company of actors. The script is by Chad Feehan (Ray Donovan) and novelist J. Todd Scott.
The setup, per the trade announcements: when an undercover drug deal explodes into violence in West Texas, a veteran detective is forced to team with a young federal agent to unravel a conspiracy inside their own elite task force.
The cast is the headline. Miles Teller signed on to lead back in June, and the late-August ensemble announcement via Deadline added Jason Momoa, Kiefer Sutherland, Tenoch Huerta (Black Panther: Wakanda Forever), and Adria Arjona (Andor). Character details are still under wraps. Producing alongside Black Label are Teller’s own Lime Tree Productions and Swab’s Milk Boy banner. On the business side, Black Bear is launching international sales at TIFF’s newly created film market, while CAA Media Finance and WME Independent are co-repping domestic rights — which means no distributor and no release date have been set yet.
The production pre-qualified for the Oklahoma film incentive and is lensing in the Oklahoma City area from September through November 6, 2026. (You’ll see the film listed on casting sites as “Copper Head” — same production, same shoot.)
The casting director: Chris Freihofer
For background and extras — the only doors actually open to working actors on this production — the name that matters is Chris Freihofer. The Norman, Oklahoma–based casting director was named in the Oklahoman‘s October 2 casting coverage as the person putting out the call for the film’s honky-tonk bar scene, and the Project Casting listings run through Oklahoma Movie Makers as the posting office.
This is the regional-casting-company model that staffs nearly every location shoot: the production hires a local CD who knows the local talent pool, and that office fills hundreds of background slots in days, not months. Freihofer’s operation is your target — not a Los Angeles principal-casting office. The principal roles were filled through the trade-announcement casting process months ago; the background machine is what’s running right now, and it runs through Norman.
Why this matters for your odds: regional CDs remember reliable people. A bar-patron day that goes smoothly — on time, in the right wardrobe, no drama — puts you on the shortlist for the next wave of calls. Background casting is a repeat-purchase business, and the buyers are a small circle of regional offices. Every smooth day is a deposit.
What they’re casting — and your realistic entry points
Principal roles are locked; that Deadline ensemble announcement was the casting. What’s open — and what will keep opening through November 6 — is background, and the seven live calls map the production’s needs with unusual precision:
1. The honky-tonk bar ecosystem. This was the October 6 shoot and it’s the clearest picture of what the film needs: cowboy bar patrons (35–75), bouncers (beefy males 21–40), bartenders (22–50, experience preferred), cocktail waitresses (21–40), and pool players (21–60, must actually play). A full-ecosystem location day. If you fit any of these types and you’re Oklahoma-based, more bar, restaurant, and nightlife location days are the likeliest repeat bookings.
2. Vehicle owners. Older, beat-up cars for daytime scenes — the call is explicit that nothing new and nice will do — with photos of the car required in the submission and a $25/day bump when your vehicle is used. If you own a period-plausible beater, lead with it in every submission. Productions pay for production value they don’t have to rent.
3. Action background. The scrambling-gamblers call (30–60) is for a casino scene with simulated danger — it wants people comfortable with energetic, physical background movement and reacting to staged chaos. If you have stunt-adjacent comfort or just genuinely move well, this is a smaller, less competitive pool.
4. Specialty skills, stated outright. Bartending and billiards aren’t “nice to haves” on these calls — they’re preferences and requirements printed in the breakdowns. Real skills, stated on the call, beat a polished headshot every time in this lane.
What this tells you about the entry point: you are not auditioning for Copperhead. You are submitting a type plus a packet. The realistic goal is paid background days on a major feature at $110/day — and, just as valuable, a working relationship with the regional office that will book the next Oklahoma production too.
Who should not submit: anyone who can’t be in the Oklahoma City area on short notice. Every call is local-hire by nature — same-week dates, no travel paid. Submitting from out of state for a Tuesday bar scene burns the contact.
How to apply, step by step
This is the exact packet the live Copperhead calls ask for. Regional offices triage hundreds of emails per call; incomplete packets get skipped without a second look. Follow it to the letter:
1. Build the two-photo set. Every call asks for two recent photos: a close-up (head and shoulders) and a full-body shot. Current, unfiltered, well-lit. If you’re submitting for the older-cars call, add clear photos of the vehicle — year, make, and model visible or noted.
2. Write the email with every field. The calls ask for your name, address, phone number, and city/state of residence in the submission — plus vehicle year, make, and model where applicable. Put it all in the body of the email. Don’t make a busy casting office open attachments to find your phone number.
3. Submit for the call you actually fit. The bouncer call wants a beefy build. The pool call requires real billiards experience. The bartender call prefers actual bartending experience. The bar-patron call skews 35–75. Casting directors can spot a stretch submission instantly, and a stretched submission burns a contact you might need for the next production.
4. Own your wardrobe — and say so. The bar-scene casting asked participants to arrive in their own Western wear, and the coverage noted couples and friends were welcome. If you have the wardrobe, mention it in the submission. Wardrobe-ready extras get booked faster because they’re one less problem for the department.
5. Register at copperheadfilm.com. Freihofer’s team directed prospective extras to register at the production’s own site for the bar scene. Do this in addition to — not instead of — submitting to the specific live calls. It’s a separate list, and being on both doubles your surface area.
6. Create your Project Casting profile and check the board daily. These calls post and fill on same-week timelines — the October 5 and 6 dates were cast within days of posting. Pickup casting goes to the first qualified, complete submissions. Being findable in the database is what gets you the breakdown before it closes.
Myth vs. reality
Myth: You need an agent to get on a Momoa/Teller movie. Reality: All seven live calls are direct email submissions to a regional casting office. No agent, no pay-to-play portal, no gatekeeper beyond a complete packet and the right type. The agent lane and the background lane are different businesses.
Myth: Background work is a lottery. Reality: It’s a logistics operation. The CD needs forty bar patrons who own western wear and can be in Oklahoma City on a Tuesday afternoon. The “lottery winners” are the people whose packets were complete, on-type, and early. The numbers at the top of this article are the whole game — there is no hidden step.
Myth: One day of background is the ceiling. Reality: Regional offices rehire relentlessly. A smooth bar-patron day makes you a known quantity for the next Oklahoma shoot, and Oklahoma is running a deep production slate. Treat day one as an audition for day two, not as the prize itself.
Myth: You should wait for a bigger role before submitting. Reality: These calls close in days, and the production wraps November 6. The October 5 and 6 dates are already shot. Waiting for a “better” opportunity is how you miss the only window that exists.
Myth: Extras casting is all about how you look. Reality: On these calls, it’s about what you have and what you can do — a beater car, a pool game, bartending experience, western wear in your closet. Inventory beats vanity.
If big-ensemble productions are your lane, the same playbook applies to television: How to Get Cast in House of the Dragon Season 4 breaks down how that show’s casting director actually finds people.
Open casting calls — more Copperhead waves are coming The October 5–6 dates are shot, but Copperhead films through November 6 and new background waves will keep posting. Watch these listings and the jobs board:
Can you actually get cast in House of the Dragon Season 4 — or did that ship sail years ago? The honest answer is better than you’d expect: Season 4 is the show’s final season, it films in early 2027, and its casting director is already on the record about exactly how she finds people. This is a Q&A walkthrough of what we know — who’s deciding, what she’s looking for, which doors are real, and how to position yourself before cameras roll.
Open casting calls — live on Project Casting right now
While House of the Dragon runs its casting through the traditional channels below, real feature-film background and specialty work is posting on Project Casting today:
Yes — and the timeline is unusually legible for a show this secretive. HBO renewed the series for a fourth and final season in November 2025, and showrunner Ryan Condal has said publicly that Season 4 is “essentially written already” (Scriptnotes podcast, July 2026). Prep begins this fall at Leavesden Studios, with set builds and location scouting already underway. Olivia Cooke confirmed in a September interview: “We start filming next spring.”
So: filming starts early 2027, and the season premieres on HBO in 2028 — eight episodes, the final chapter of the Dance of the Dragons. Condal has confirmed the final season introduces new characters, new dragons, and new locations. A final season that adds cast is a season where casting decisions are being made now, not in 2027. That window — between “casting is building its file” and “cameras roll” — is the one that matters for actors. You’re inside it.
Who actually decides who gets cast?
Kate Rhodes James — the casting director who has cast all three seasons of House of the Dragon and is the name on the show’s episode credits (“casting by”). She is the gatekeeper, and unlike many CDs on franchise shows, she’s unusually candid about her process.
Her track record is why HBO trusts her with a franchise: Sherlock, Line of Duty, House of Gucci, Gladiator II. She calls herself a “warrior” for actors — and her House of the Dragon work shows it. Casting Matt Smith as Daemon Targaryen, she revealed, was barely a contest: “We needed somebody that wasn’t obvious.” That’s her casting philosophy in one sentence.
What does Kate Rhodes James actually look for?
This is the part a generic “how to get cast” article can’t give you — it comes from her own interviews about this show:
1. She casts from a family tree, literally. “We had a big board and we had the family tree,” she told IndieWire. Her team worked by asking “who felt Targaryen, who felt Lannister, who felt Valyrian.” Your look — the house you could belong to — matters as much as your reel.
2. Your face has to be identifiable. “Faces really have to be identifiable,” she told Backstage, “because the names are complicated; it can be quite dark. Everyone has to really, really inhabit [their character] physically, as well as creatively.” On a show this visually dense, the camera reads faces before résumés. Distinctive beats conventionally pretty.
3. She finds younger actors on Instagram. For younger roles, James did much of the initial searching through Instagram in the UK and requested self-tapes. Your Instagram is a second casting database for her office — keep it public, current, and face-visible.
4. Temperament and listening skills are her filters. She watches how actors behave in the room or on tape: good temperament, strong listening, responsiveness to direction. On a production this logistically enormous, reliable actors survive casting — difficult ones don’t.
5. She champions the non-obvious. The Matt Smith decision is the template: the choice that makes people re-see the character. If you’re “not the obvious type” for a Westerosi role, James’s office might see that as the point.
Which roles are realistically within reach?
Let’s be blunt about the tiers:
The new Season 4 characters are the real prize. Condal has confirmed new additions to the cast — new court figures, dragonriders, and house members — and none have been announced yet. These supporting and guest roles go through the normal channels: agents, breakdowns, tapes. They’re the reason this article exists.
Co-star and day-player parts. The finale needs smallfolk, soldiers, maesters, courtiers — one-to-three-line parts working actors actually book on prestige TV. These go to actors with UK agents, Spotlight profiles, and recent credits.
Background and creature work. Thousands of background performers filled prior seasons’ battles and courts — cast through UK extras agencies, not James’s office. The most accessible lane: direct registration, no agent, heavy hiring around Leavesden and Wales.
The leads were never open. D’Arcy, Smith, Cooke, Mitchell — negotiated with representation, not auditioned. Anyone charging you for “guaranteed” access to a principal role is running a scam.
How do I get in front of her office?
This is the playbook, in order of leverage:
Step 1: Get on Spotlight (UK actors). Spotlight is the UK industry’s standard casting directory and the channel James’s office sources from. US-based actors pursuing co-star or guest parts need representation on the ground — UK breakdowns go to UK agents first.
Step 2: Make your face findable. Her Instagram-scouting habit makes your social presence part of your casting packet. Clean headshots, current look. Casting directors scroll fast; the identifiable face wins.
Step 3: Register with UK background agencies for the extras lane. Prior seasons staffed crowds through established UK extras agencies — direct registration, no agent, no tape. It’s the lowest-friction way to work on a production at this scale.
Step 4: Build the physical-skills résumé. Horse riding, stage combat, archery, creature movement — the special-skills section is where background coordinators on epics search first. For epic-scale hiring context, see our guides to getting cast in the Harry Potter series (open-call fantasy casting) and Dune: Part Three (epic-scale production hiring).
Step 5: Keep a Project Casting profile current. Platform databases are where casting-adjacent eyes search when they need a type fast. Then create your free profile on Project Casting and check new calls daily — pickup and short-turnaround casting goes out fast, and the first qualified submission often gets the first look.
By the numbers: what background work pays right now
A quick data snapshot from Project Casting’s live jobs board today (October 2026, page 1 of 262 live listing pages): feature-film background work is posting at $110/day for up to 10 hours (the “Copper Head” extras call), while SAG-rate background on a period feature runs $241 for 8 hours (Universal’s “Freefall” police call). Specialty performer calls — like the Warner Bros. “Nasty” gymnast casting — post with role-dependent rates.
The pattern: productions that need real-world types cast them fast, in bulk, through regional casting companies, with same-week deadlines. Being registered and findable is what gets you those breakdowns before they fill.
HBO has confirmed a 2028 premiere window for the fourth and final season — eight episodes concluding the Dance of the Dragons. Filming begins early 2027 after prep starting in fall 2026. No exact date has been announced; any specific date circulating online is speculation.
Who is the casting director for House of the Dragon Season 4?
Kate Rhodes James, who cast all three prior seasons (her credits include Sherlock, House of Gucci, and Gladiator II). Her episode credits read “casting by,” and her publicly discussed method — family-tree boards, non-obvious choices, Instagram scouting for younger roles — is the best intel actors have on what she wants.
Do I need an agent to audition for House of the Dragon?
For speaking roles, effectively yes — breakdowns go through agents, especially UK-based ones. For background work, no: UK extras agencies take direct registrations. Younger roles have been found through Instagram self-tape requests, a genuine agent-free lane — but only if your public presence is findable.
Is House of the Dragon still casting new roles?
HBO hasn’t announced new Season 4 cast members yet, but showrunner Ryan Condal confirmed the final season adds new characters, dragons, and locations. With filming starting in early 2027, supporting and guest-role casting typically builds through late 2026 into 2027 — the file is open now.
The final season of the biggest fantasy show on television is casting in the next few months. Kate Rhodes James has told us, on the record, how she works: the family tree, the identifiable face, the non-obvious choice, the Instagram scroll. Get findable before the cameras roll — and keep an eye on live casting calls while you wait.
Christopher Abbott is officially Marvel Studios’ new Professor X, but the actor says he is still waiting to discover exactly what the MCU has planned for Charles Xavier.
Abbott recently revealed that he has not yet read the script for Marvel’s upcoming X-Men movie. Despite being in the dark about the story, the actor says he is excited to work with director Jake Schreier and the growing ensemble of mutants.
Marvel officially unveiled Abbott as Professor Charles Xavier during D23 in August 2026. The new X-Men movie is currently scheduled to hit theaters on May 5, 2028.
Key Takeaways
Christopher Abbott will play Professor Charles Xavier in Marvel Studios’ new X-Men movie.
Abbott says he has not read the X-Men script yet.
Jake Schreier, who directed Thunderbolts*, is directing the MCU reboot.
The cast includes Sadie Sink, Kit Connor, Inde Navarrette, Maya Boyd, Samara Weaving, Adam Driver and Asa Germann.
Marvel has scheduled X-Men for May 5, 2028.
Abbott previously appeared in Kraven the Hunter as the Foreigner.
The actor says he is excited about the project and is already a fan of the X-Men.
Christopher Abbott Is Ready to Play Professor X
Abbott may have landed one of the biggest superhero roles of his career, but Marvel is apparently keeping story details close to the vest.
Speaking with Entertainment Tonight, Abbott confirmed that he has yet to read material for the upcoming movie.
“I haven’t read anything yet. Nothing,” Abbott said, adding that he wasn’t trying to avoid revealing spoilers.
That hasn’t diminished his enthusiasm.
Abbott praised Schreier and the movie’s cast before expressing his excitement about joining the franchise, saying, “I can’t wait. I love X-Men.”
For Marvel fans, Abbott’s comments suggest that plenty about the MCU’s new generation of mutants remains under wraps.
Christopher Abbott Takes Over as Charles Xavier
Professor X is one of the most recognizable characters in the X-Men franchise.
Patrick Stewart famously portrayed Charles Xavier beginning with 2000’s X-Men, while James McAvoy later played a younger version of the character across the prequel-era films.
Abbott will now have the opportunity to develop his own version of the telepathic mutant leader as Marvel Studios establishes the X-Men within its cinematic universe.
James McAvoy has already publicly wished Abbott and the new cast well following the announcement.
The role represents another major franchise project for Abbott, whose credits include Girls, Poor Things, Catch-22, Wolf Man and Kraven the Hunter.
Who Is in Marvel’s New X-Men Cast?
Marvel’s next X-Men movie is assembling a new generation of actors to portray some of the franchise’s most recognizable mutants.
The currently announced lineup includes:
Christopher Abbott as Professor Charles Xavier
Sadie Sink as Jean Grey
Kit Connor as Cyclops
Inde Navarrette as Rogue
Maya Boyd as Storm
Samara Weaving as Emma Frost
Adam Driver as Nathaniel Milbury/Mister Sinister
Asa Germann as Angel
Most of the core cast was unveiled during Marvel’s D23 presentation in August 2026, while Germann’s casting as Warren Worthington III, better known as Angel, was announced later.
The ensemble gives Marvel an opportunity to establish a fresh interpretation of the mutant superhero team while drawing from characters with decades of comic book history.
Jake Schreier Is Directing Marvel’s X-Men
Jake Schreier is directing the new X-Men movie after previously working with Marvel Studios on Thunderbolts*.
Schreier’s involvement is particularly notable because the filmmaker has already collaborated with some of the writers working on the new movie.
Beef creator Lee Sung Jin and The Bear co-showrunner Joanna Calo have been working on the screenplay. Schreier previously collaborated with both writers and has discussed how the combination of ideology and interpersonal drama found in the comics is important to capturing what makes X-Men distinctive.
That balance could be especially important for Abbott’s Professor X.
Charles Xavier is not simply a powerful telepath. His beliefs about mutants, humanity and coexistence have traditionally been central to the larger themes of the franchise.
Exactly how Marvel’s movie will approach those ideas remains unknown.
What Do We Know About Marvel’s X-Men Story?
Marvel has revealed its cast, director and release date, but major plot details remain closely guarded.
Abbott’s admission that he hasn’t read the screenplay reinforces just how much of the movie remains unknown publicly.
However, the announced characters offer some clues about the direction of the new franchise.
Jean Grey, Cyclops, Angel and Professor X have deep connections to the earliest versions of the X-Men in Marvel Comics. Meanwhile, the presence of Rogue, Storm and Emma Frost expands the lineup with characters from later eras of X-Men history.
Adam Driver’s Nathaniel Milbury also introduces a major threat associated with Mister Sinister. Marvel’s D23 announcement confirmed Driver as Nathaniel Milbury, while industry coverage has identified the character with the longtime X-Men villain.
Fans will likely have to wait for Marvel to reveal exactly how these characters fit together.
Why Christopher Abbott’s Professor X Casting Matters
For actors and entertainment professionals, Abbott’s move into the MCU is another example of how major franchises increasingly look beyond performers traditionally associated with blockbuster films.
Abbott built much of his reputation through television, independent movies and character-driven projects before taking on larger studio productions.
Now, he is stepping into a role previously associated with actors including Stewart and McAvoy.
That kind of career trajectory can be valuable for aspiring performers to watch. A career doesn’t necessarily need to follow one straight path from small projects to blockbuster movies. Building a strong body of work across independent film, television, theater and supporting roles can lead to opportunities in some of Hollywood’s largest franchises.
When Does Marvel’s X-Men Come Out?
Marvel Studios’ X-Men is scheduled to arrive in theaters on May 5, 2028.
With Schreier directing and a major ensemble already confirmed, the movie is shaping up to be an important new chapter for mutants in the MCU.
Abbott may not know everything Professor X will be doing just yet, but his enthusiasm is clear. As Marvel continues developing the movie, more details about the plot, additional cast members, production and eventual filming plans are expected to emerge.
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Aaron Sorkin has revealed more about why Jesse Eisenberg decided not to return as Mark Zuckerberg in The Social Reckoning, the highly anticipated follow-up to The Social Network.
Despite Sorkin spending several days trying to convince Eisenberg to reprise his Oscar-nominated role, the actor ultimately passed on the project. According to Sorkin, even a significant financial offer was not enough to change his mind.
Instead, Jeremy Strong will take over as Zuckerberg when The Social Reckoning arrives in theaters on October 9, 2026.
Key Takeaways
Jesse Eisenberg will not return as Mark Zuckerberg in The Social Reckoning.
Aaron Sorkin said financial incentives did little to persuade Eisenberg to accept the role.
Sorkin spent three days making his case for the actor to return.
Eisenberg has said he is moving in a different direction and no longer wants to be associated with Zuckerberg.
Jeremy Strong has taken over the role of Mark Zuckerberg.
The Social Reckoning opens exclusively in theaters on October 9, 2026.
Mikey Madison and Jeremy Allen White are also among the film’s leading cast members.
Aaron Sorkin Tried to Bring Jesse Eisenberg Back
For Sorkin, bringing Eisenberg back for The Social Reckoning initially appeared to be the natural choice.
Eisenberg delivered one of the defining performances of his career as Facebook co-founder Mark Zuckerberg in David Fincher’s 2010 drama The Social Network. His performance earned him an Academy Award nomination for Best Actor and became closely associated with the film’s success.
Sorkin, who won the Academy Award for Best Adapted Screenplay for the original film, said he did not initially expect Eisenberg to turn down the new project.
He told Entertainment Weekly that he was nearing completion of the screenplay when he encountered Eisenberg at a party and told him he intended to send him the script. After Eisenberg received it, Sorkin began an intense effort to persuade him to return.
Money Wasn’t Enough to Change Eisenberg’s Mind
One of the more unusual details to emerge from Sorkin’s account involves Eisenberg’s attitude toward money.
Sorkin said he knew what the studio was prepared to offer Eisenberg but explained that financial compensation was not a meaningful incentive for the actor.
According to Sorkin, Eisenberg is particularly conscious of how wealth could affect the way he raises his children. Sorkin characterized that outlook as admirable, even while joking about how difficult it made his efforts to persuade the actor.
For performers, Eisenberg’s decision offers an interesting look at how established actors evaluate major roles. Compensation may be part of the conversation, but career direction, personal values and the characters an actor wants to be associated with can ultimately carry more weight.
Sorkin Prepared Arguments to Convince Eisenberg
Sorkin did not give up after Eisenberg initially hesitated.
The writer-director spent three days trying to convince him to return, even preparing an outline of the arguments he wanted to make.
That preparation was unusual for Sorkin, who said he typically does not outline his movies in the same way.
His pitch emphasized the strength of Eisenberg’s previous performance and the dramatic opportunities the new screenplay would offer him.
The effort came close to working.
Sorkin said Eisenberg acknowledged that their conversations brought him closer to reconsidering than he had expected. Ultimately, however, the actor maintained his decision not to return.
Why Jesse Eisenberg Turned Down The Social Reckoning
Eisenberg has offered his own explanation for declining the project.
Speaking with Variety in June 2026, the actor praised Sorkin and described their conversations about the movie in positive terms. However, he said he was moving in a different direction in his life.
Eisenberg later made his feelings about playing Zuckerberg more explicit, saying he no longer wanted to be associated with the character.
His decision was not presented as criticism of Sorkin’s screenplay or the quality of the new movie. Instead, Eisenberg indicated that his reasons were personal and connected to his changing relationship with the role.
It’s a notable career decision considering how closely The Social Network remains connected to Eisenberg’s rise as a leading dramatic actor.
Jeremy Strong Takes Over as Mark Zuckerberg
With Eisenberg stepping away, Succession star Jeremy Strong will portray Mark Zuckerberg in The Social Reckoning.
Strong’s casting gives the film a new interpretation of Zuckerberg rather than attempting to recreate Eisenberg’s original performance.
The actor has reportedly approached the role with extensive research. Strong told GQ that he studied Zuckerberg’s public appearances, interviews, congressional testimony and social media history while preparing to play the Facebook founder.
For actors, the recasting also provides an interesting example of how performers can inherit recognizable roles while developing an interpretation of their own.
What Is The Social Reckoning About?
Sony Pictures describes The Social Reckoning as a companion piece to The Social Network rather than simply a recreation of the original movie’s story.
The film shifts the timeline forward and focuses on Facebook whistleblower Frances Haugen and Wall Street Journal reporter Jeff Horwitz.
Mikey Madison plays Haugen, while Jeremy Allen White portrays Horwitz. The story follows their efforts to expose closely guarded information about Facebook and the revelations that became known through reporting surrounding the Facebook Files.
Sorkin both wrote and directed the film, taking over directing duties from David Fincher, who directed The Social Network.
The cast also includes Wunmi Mosaku, Betty Gilpin, Billy Magnussen and Bill Burr alongside Strong, Madison and White.
The Social Reckoning Release Date
The Social Reckoning is scheduled to open exclusively in theaters on October 9, 2026, according to Sony Pictures.
The movie arrives 16 years after The Social Network introduced audiences to a dramatized version of Facebook’s beginnings.
This time, Sorkin’s story explores a dramatically different stage of the social media company’s history, with a new cast tackling real-world figures connected to one of the technology industry’s biggest controversies.
For actors and filmmakers, the project is also a compelling example of how established film properties can evolve through recasting, new perspectives and stories inspired by events that occurred long after the original movie.
Rose Byrne and Jenna Ortega to Star in ‘Nasty’ for Warner Bros. Clockwork
Rose Byrne and Jenna Ortega are teaming up for Nasty, an upcoming sports drama directed by Mary Bronstein. The film is set to be released through Clockwork, Warner Bros.’ new independent film label.
With production expected to begin this fall, Nastybrings together an impressive cast and creative team for a story set inside the highly competitive world of Olympic gymnastics.
Outline
What Is Nasty About?
Rose Byrne and Jenna Ortega Lead the Cast
Mary Bronstein Directs Nasty
Who Wrote Nasty?
LuckyChap and Jenna Ortega Produce
When Does Nasty Start Filming?
Who Are the Casting Directors for Nasty?
Nasty Casting Calls and Auditions
Warner Bros. Expands Clockwork
How to Find Nasty Casting Opportunities
What Is Nasty About?
Nastyis a sports drama following an athlete fighting for a coveted spot on the Olympic gymnastics team.
As the competition intensifies, the athlete begins to realize that her greatest opponent may not be another gymnast. Instead, the conflict centers on her coach, creating a story that could explore ambition, pressure, competition, and the complicated relationship between elite athletes and the people responsible for training them.
Additional details about the characters, including which roles Byrne and Ortega will play, have not yet been revealed.
Rose Byrne and Jenna Ortega Lead the Cast of Nasty
Rose Byrne and Jenna Ortega are set to star in Nasty, bringing together two acclaimed performers with extensive film and television experience.
Byrne is known for movies including Bridesmaids, Spy, and Neighbors. Her television credits include Damages, Mrs. America, Physical, and Platonic. She also earned a Tony nomination for her performance in the revival of Noël Coward’s Fallen Angels.
Nasty also reunites Byrne with director Mary Bronstein following their collaboration on If I Had Legs I’d Kick You.
Ortega is best known for starring as Wednesday Addams in Netflix’s hit series Wednesday. Her film credits include Scream, Scream VI, and Beetlejuice Beetlejuice. She is also set to appear in Klara and the Sun, the adaptation of Kazuo Ishiguro’s novel directed by Taika Waititi.
Mary Bronstein Directs Nasty
Mary Bronstein is directing Nasty, continuing her creative partnership with Rose Byrne.
Bronstein previously worked with Byrne on If I Had Legs I’d Kick You. Their reunion on Nasty puts the filmmaker at the center of a project combining competitive sports with a potentially intense character-driven story.
Who Wrote Nasty?
The screenplay for Nasty was written by Isabella Jarosz.
The script was previously featured on the Black List, the annual survey highlighting highly regarded screenplays that have not yet been produced.
Nasty also marks Jarosz’s first screenplay sale, making the Warner Bros. project a significant career milestone for the writer.
LuckyChap and Jenna Ortega Produce Nasty
Jenna Ortega will have an expanded role behind the scenes as a producer on Nasty, in addition to starring in the movie.
LuckyChap, the production company behind projects including Barbie and Saltburn, is also producing the film.
The combination of LuckyChap, Ortega, Bronstein, Byrne, and Warner Bros.’ Clockwork label gives Nasty a high-profile team as the movie moves toward production.
When Does Nasty Start Filming?
Production on Nasty is expected to begin this fall.
Additional production details, including filming locations and the complete supporting cast, have not yet been announced.
As the project moves closer to filming, additional casting and production information could emerge.
Who Are the Casting Directors for Nasty?
Caballero Casting is one of the casting directors working on Nasty.
Casting directors are an important part of the filmmaking process, helping productions identify performers who match the creative vision for individual characters and scenes. Depending on the needs of a production, casting teams may work on principal, supporting, featured, background, or specialized talent.
With Nasty preparing for production, performers interested in potentially working on the movie may want to keep an eye on casting announcements connected to Caballero Casting and the production.
Project Casting will continue to share information about Nasty casting calls and auditions as opportunities become available.
Nasty Casting Calls and Auditions
Looking for an opportunity to work on Nasty?
Casting opportunities connected to the production can be added below as they become available.
“Nasty” Starring Jenna Ortega Casting Call for Gymnasts
Female Gymnasts Casting Call for Warner Bros. Feature Film
Job Description
An upcoming Warner Bros. feature film starring Jenna Ortega and Rose Byrne is seeking experienced female gymnasts for multiple roles. Filming will take place in Louisiana, and the production is looking for skilled gymnasts with varying levels of experience and specialization. Talent should be local to Louisiana or able to work as a local hire.
Job Responsibilities
Perform gymnastics skills as required for assigned scenes
Work closely with the production team to execute movements safely and accurately
Follow on-set direction and choreography as needed
Maintain professionalism throughout filming
Be prepared to demonstrate gymnastics abilities appropriate to the assigned role
Requirements
Female gymnasts ages 18 and older
Must have gymnastics experience
Various gymnastics skill levels and areas of specialization are welcome
Must be local to Louisiana or able to work as a local hire
Must be comfortable performing gymnastics skills for a feature film production
Compensation
Rates vary depending on the role and skill requirements
Nasty will be released through Clockwork, Warner Bros.’ newly launched independent film label.
The label is led by former Neon CMO Christian Parkes and has already assembled a slate of high-profile filmmaker-driven projects.
Other projects lined up for Clockwork include The Brigands of Rattlecreek, a Western featuring Matthew McConaughey, Austin Butler, Pedro Pascal, and Tang Wei and directed by Park Chan-wook.
Clockwork is also behind Ti Amo!, filmmaker Sean Baker’s follow-up to Anora.
Adding Nasty to the lineup further expands the label’s growing slate of independent-minded films featuring established and emerging creative talent.
How to Find Nasty Casting Opportunities
With Nasty expected to begin production this fall, actors and entertainment professionals interested in the project should watch for official casting announcements.
Depending on the production’s needs, opportunities could potentially become available for actors, background performers, stand-ins, doubles, and specialized talent. Because the movie centers on competitive gymnastics, performers with gymnastics or athletic experience could also be relevant if such roles are announced.
No specific roles should be assumed until official casting notices are released.
For the latest Nasty casting calls, auditions, movie casting opportunities, and entertainment jobs, visit Project Casting.
Ready for your next opportunity? Explore the latest casting calls and auditions on Project Casting and apply for roles that match your experience.
Netflix’s Myron Bolitar: Cast, Story, Production Updates, Casting Directors, and How to Find Casting Calls
Netflix is expanding its successful partnership with bestselling author Harlan Coben by adapting one of his most beloved literary franchises, Myron Bolitar. Based on Coben’s long-running series of 12 novels, the upcoming drama follows a former basketball star whose life takes an unexpected turn after a career-ending injury.
Unable to pursue his NBA dreams, Myron reinvents himself as a sports agent, founding MB Sports to represent talented but often overlooked athletes. As he works to protect and advocate for his clients, Myron frequently becomes entangled in dangerous mysteries, criminal investigations, and high-stakes situations that test both his intelligence and loyalty.
Combining sports, suspense, and crime drama, Myron Bolitar is expected to deliver the same gripping storytelling that has made Harlan Coben’s previous Netflix adaptations global hits.
Who Is in the Cast of Myron Bolitar?
Netflix has assembled an impressive cast to bring the iconic characters to life.
Colin Woodell as Myron Bolitar
Colin Woodell, known for Pulse and The Continental, takes on the lead role of Myron Bolitar. Once a standout college basketball player, Myron channels his competitive spirit into building MB Sports, where he fights for athletes who deserve a chance while navigating increasingly dangerous situations.
KJ Apa as Win Lockwood
KJ Apa (Riverdale, The Map That Leads to You) stars as Win Lockwood, Myron’s closest friend and trusted business partner. Despite coming from extraordinary wealth, Win chooses to build his own path alongside Myron and serves as the person Myron relies on whenever clients find themselves in trouble.
Diane Guerrero as Esperanza Diaz
Diane Guerrero (Orange Is the New Black, The Lincoln Lawyer) plays Esperanza Diaz, a former professional wrestler who now serves as Myron’s indispensable right hand at MB Sports. Her determination, intelligence, and sharp wit make her one of the agency’s most valuable assets.
Who Are the Casting Directors for Myron Bolitar?
One of the casting companies working on Myron Bolitar is Waldron Casting.
Casting directors are responsible for finding the right actors to bring each character to life. They collaborate closely with producers, directors, and showrunners to cast lead actors, supporting performers, recurring characters, guest stars, and background talent that best fit the creative vision of the series.
For a character-driven mystery like Myron Bolitar, casting is especially important. Every role contributes to the suspense, emotional depth, and chemistry that define Harlan Coben’s stories. Waldron Casting’s involvement helps ensure the production finds performers capable of delivering compelling and authentic performances throughout the series.
As production continues, additional casting announcements may be made for supporting and background roles.
The Creative Team Behind the Series
Myron Bolitar is led by an experienced creative team.
The series is co-showrun, written, and executive produced by David E. Kelley, whose credits include Big Little Lies and Margo’s Got Money Troubles, alongside Kyle Long, known for Suits and Unsolved: The Murders of Tupac and the Notorious B.I.G.
Additional executive producers include:
Harlan Coben
Matthew Tinker
Rick Muirragui
Greg Yaitanes
Greg Yaitanes will also direct multiple episodes of the series.
Harlan Coben’s Expanding Netflix Universe
Myron Bolitar continues Netflix’s long-running collaboration with Harlan Coben, whose novels have become some of the platform’s most successful mystery adaptations.
Previous adaptations include:
Fool Me Once
Safe
The Stranger
Run Away
Stay Close
The Woods
The Innocent
Gone for Good
Hold Tight
Missing You
Just One Look
Caught
I Will Find You
The continued partnership demonstrates Netflix’s confidence in Coben’s suspense-filled storytelling and globally popular characters.
How Does the Casting Process Work for Myron Bolitar?
Like many major Netflix productions, the casting process typically begins with securing the principal cast before expanding to recurring roles, guest stars, featured extras, stand-ins, photo doubles, and background performers.
As production progresses, casting directors may release additional opportunities depending on filming needs and production schedules. While official casting announcements are made through authorized channels, entertainment professionals often monitor trusted industry resources to stay informed about new auditions.
Where Is Myron Bolitar Filmed?
Netflix has not yet officially announced the primary filming locations for Myron Bolitar. Production details, including filming schedules and locations, are expected to be revealed as the series moves further into development.
When Does Filming Begin?
Netflix has announced the series and its principal cast, but an official production start date has not yet been publicly confirmed. More information is expected as pre-production advances.
Where Can You Find Myron Bolitar Casting Calls and Auditions?
If additional roles become available, aspiring actors can stay informed by following Project Casting for the latest casting news, audition notices, and entertainment industry opportunities.
Netflix’s ‘Myron Bolitar’ Casting Call for Tennis Fans and Staff
Myron Bolitar Casting Call for US Open Tennis Fans and Staff
Job Description
Harlan Coben’s Myron Bolitar is seeking non-union background talent to portray people attending and working at a professional tennis event in Flushing, Queens. The production is looking for talent to portray US Open tennis fans, coaches, stadium workers, security personnel, spectators, trainers, and other background roles for exterior summer scenes.
Job Responsibilities
Portray tennis spectators, fans, coaches, stadium workers, security personnel, trainers, or other event attendees and staff.
Participate in exterior scenes depicting a professional tennis tournament.
Follow direction from the production team while filming.
Maintain professional behavior throughout the production.
Requirements
Non-union talent.
Must be able to work in Flushing, Queens.
Comfortable working in exterior summer scenes.
Able to portray a realistic tennis fan, spectator, coach, stadium employee, security professional, trainer, or similar role.
Netflix ‘Myron Bolitar’ Casting Call for Basketball Players
Netflix’s Myron Bolitar Casting Call for Tall Women to Portray WNBA Players
Job Description
A paid casting opportunity is available for Netflix’s Myron Bolitar. Casting directors are seeking tall women to portray WNBA players in the upcoming series. This is an exciting opportunity for athletic talent and basketball players to appear in a major Netflix production filming in Manhattan, New York. If you have the height, athletic presence, and confidence to portray a professional basketball player, this role could be a great fit.
Job Responsibilities
Portray a professional WNBA player in scenes for the Netflix series.
Follow direction from the production team during filming.
Perform athletic movements naturally on camera.
Maintain continuity and professionalism throughout production.
Requirements
Women with a tall, athletic build.
Able to convincingly portray a professional WNBA player.
Netflix ‘Myron Bolitar’ Casting Call for Skateboarders
Netflix’s Myron Bolitar Casting Call for Athletic Skateboarders
Job Description
A paid casting opportunity is now available for Netflix’s Myron Bolitar. Casting directors are seeking athletic skateboarders with unique, standout looks to portray interesting characters in the upcoming series. Filming will take place in Manhattan, New York, making this a great opportunity for experienced skateboarders looking to gain on-set experience in a major streaming production.
Job Responsibilities
Portray an athletic skateboarder in scenes for the Netflix series.
Perform skateboarding naturally and confidently on camera.
Follow direction from the production team during filming.
Maintain professionalism and continuity throughout the shoot.
Requirements
Must have an interesting and distinctive look.
Strong skateboarding skills with an athletic appearance.
Netflix’s ‘Myron Bolitar’ Casting Call for Dog Walkers
Dog Walker with Multiple Dogs for TV Series
Job Description
A television production is seeking a SAG background actor to portray a dog walker for scenes filming in Manhattan, New York. This paid acting opportunity is ideal for performers who own and are comfortable handling three or more dogs on set. If you have experience walking multiple dogs and want to appear in a major television series, this is a unique opportunity to showcase both your skills and your pets.
Job Responsibilities
Portray a dog walker in background scenes.
Walk three or more dogs safely during filming.
Follow directions from the production team.
Maintain professionalism and control of the dogs throughout the shoot.
Requirements
SAG performer.
Must own or have access to three or more dogs.
Comfortable handling multiple dogs on set.
Must be available to work in Manhattan, New York.
Ability to work with animals in a production environment.
Competition for Netflix productions can be intense, so preparation is essential. Here are a few tips to improve your chances:
Keep your headshots and résumé current.
Build a professional demo reel showcasing your strongest performances.
Follow audition instructions carefully and submit requested materials on time.
Practice self-taping with clear lighting and professional audio.
Monitor reputable casting platforms like Project Casting for verified opportunities.
Final Thoughts
Netflix’s adaptation of Myron Bolitar is shaping up to be another exciting addition to Harlan Coben’s growing collection of hit mystery series. With Colin Woodell leading the cast, supported by KJ Apa and Diane Guerrero, plus an accomplished creative team and Waldron Casting helping bring the characters to life, the series has generated significant anticipation among fans of the books and crime drama enthusiasts alike.
As production moves forward, more details about filming, additional casting, and release plans are expected. Actors hoping to become part of the series should stay alert for future casting announcements.
Find the Latest Netflix Casting Calls on Project Casting
Looking to break into film and television? Project Casting is your destination for the latest Netflix casting calls, movie auditions, television roles, background acting opportunities, and entertainment industry jobs. Create your profile, browse verified casting opportunities, and apply for roles that match your experience to take the next step in your acting career.
Walton Goggins Joins Michael B. Jordan and Austin Butler in ‘Miami Vice ’85’
Miami Vice is heading back to the big screen with an increasingly star-studded cast. Walton Goggins has joined Michael B. Jordan and Austin Butler in Universal Pictures’ upcoming Miami Vice ’85, directed by Joseph Kosinski.
The new film will return the franchise to the glamour, danger, and corruption of mid-1980s Miami. With production expected to begin in 2026 and a theatrical release scheduled for May 19, 2028, the project is also one for actors and entertainment professionals to watch for potential casting opportunities.
What Is ‘Miami Vice ’85’ About?
Miami Vice ’85 is a new interpretation of the classic NBC crime series Miami Vice, which originally followed undercover detectives James “Sonny” Crockett and Ricardo “Rico” Tubbs.
The upcoming movie is inspired by the original television show’s pilot and will explore the glamour and corruption of Miami during the mid-1980s. Unlike a modern-day reimagining, the film is returning directly to the period that helped define the original series.
Dan Gilroy wrote the screenplay based on characters created by Anthony Yerkovich, while Eric Warren Singer worked on an earlier draft. Joseph Kosinski is directing and producing alongside Dylan Clark. The movie is also being developed for IMAX presentation.
Walton Goggins Joins the ‘Miami Vice ’85’ Cast
Walton Goggins is one of the latest actors to join Miami Vice ’85.
According to reporting attributed to Deadline, Goggins is expected to portray a henchman working for the cartel boss played by John Leguizamo. That specific character detail has been reported through unnamed sources rather than formally announced by Universal.
Goggins’ involvement reportedly depended on coordinating his schedule with Season 3 of Prime Video’s Fallout. Once those scheduling issues were resolved, his deal to join the movie was completed.
The role adds another major project to Goggins’ schedule as he continues his work on Fallout and other film and television productions.
Michael B. Jordan and Austin Butler Lead ‘Miami Vice ’85’
Michael B. Jordan and Austin Butler are among the major stars leading the new Miami Vice movie.
The upcoming film brings the franchise back to its 1980s roots while assembling a new generation of performers for the crime story.
The pair will be joined by an expanding ensemble of established and rising actors as Universal moves the project toward production.
Who Is in the ‘Miami Vice ’85’ Cast?
The Miami Vice ’85 cast currently includes several established and rising performers:
Michael B. Jordan
Austin Butler
Walton Goggins
Whitney Peak
Alden Ehrenreich
Camila Morrone
John Leguizamo
Danny Ramirez
Additional roles and character details are expected to become clearer as the production moves forward.
Who Is Directing ‘Miami Vice ’85’?
Joseph Kosinski is directing Miami Vice ’85.
Kosinski is also producing the movie alongside Dylan Clark. The project will be filmed for IMAX, giving the filmmaker an opportunity to bring the style, nightlife, cars, action, and atmosphere associated with Miami Vice to a large-format theatrical production.
The screenplay comes from Dan Gilroy, with Eric Warren Singer responsible for an earlier draft. The characters are based on those created by Anthony Yerkovich for the original television series.
Who Are the Casting Directors for ‘Miami Vice ’85’?
The casting team behind Miami Vice ’85 is particularly important for actors interested in following potential opportunities connected to the production.
Cindy Tolan is among the casting professionals associated with the project. Her extensive casting career includes work across major film and television productions.
Elizabeth Hay is also involved in the casting department for Miami Vice ’85. Hay has worked in casting across a range of film projects, contributing to the process of finding and organizing talent for major productions.
Casting TaylorMade is also involved with casting for the project. The casting company is known for working with productions on talent needs, including background performers and other casting categories.
For actors following Miami Vice casting calls, knowing the casting professionals and companies associated with the movie can make it easier to identify legitimate opportunities as they become available.
Different casting teams may handle principal performers, supporting roles, background actors, stand-ins, photo doubles, and specialty talent. Actors should carefully review each casting notice to determine the specific requirements and casting office responsible for the opportunity.
“Miami Vice” Starring Michael B. Jordan Open Casting Call
Miami Vice Movie Background and Specialty Talent Casting Call
Job Description
An upcoming Miami Vice feature film is seeking local South Florida talent for background and specialty roles filming in Miami. The production is looking for authentic Miami personalities, performers, professionals, and unique local talent who can help capture the city’s culture, nightlife, history, and iconic 1980s atmosphere.
Job Responsibilities
Appear as background or specialty talent in scenes for the Miami Vice feature film.
Portray authentic Miami locals and characters based on production needs.
Follow direction from the casting and production teams while on set.
Participate in costume fittings when required.
Bring relevant professional skills or specialty abilities when cast for a specific role.
Requirements
Must be local to South Florida.
Seeking real Miami personalities and authentic 1980s-inspired looks.
Open to locals, big personalities, unique looks, beachgoers, nightlife types, hospitality professionals, first responders, domino players, jai-alai players and fans, roller skaters, musicians, and classic or exotic vehicle owners.
Specialty roles may require specific skills or experience.
Must be professional and able to follow direction on set.
Compensation
Filming rate: $212 for 12 hours.
Some specialty roles may receive a featured rate or additional compensation.
Production on Miami Vice ’85 is expected to begin in 2026.
As a large-scale studio feature moves through production, casting needs can extend beyond principal actors. Depending on the production, opportunities may include supporting performers, day players, background actors, stand-ins, photo doubles, and specialty performers.
Not every category will necessarily be hired through public casting calls, so performers should rely on verified casting notices for specific opportunities.
When Does ‘Miami Vice ’85’ Come Out?
Miami Vice ’85 is scheduled for theatrical release on May 19, 2028.
That gives the production an extended filming and post-production period before the new interpretation of Miami Vice reaches theaters.
What Actors Should Know About ‘Miami Vice’ Casting Calls
Actors hoping to find a role in Miami Vice ’85 should be prepared before new opportunities become available.
Keep your acting profile, résumé, headshots, and other professional materials current. Carefully review location requirements, availability, union status, compensation, and role specifications before applying.
Actors should also be cautious about unofficial casting notices that claim an association with a major production. Legitimate casting information should clearly identify the requirements and submission process.
Why ‘Miami Vice ’85’ Is a Project to Watch
The return of Miami Vice brings together a major ensemble for Universal Pictures.
Michael B. Jordan and Austin Butler lead a cast that also includes Walton Goggins, John Leguizamo, Whitney Peak, Alden Ehrenreich, Camila Morrone, and Danny Ramirez.
With Joseph Kosinski directing, an IMAX presentation planned, and the story returning to the franchise’s signature 1980s setting, more information about the production is expected to emerge as filming progresses.
For actors and entertainment professionals, that also means keeping an eye on legitimate casting announcements connected to the movie.
Looking for your next acting opportunity? Explore the latest movie, TV, commercial, and entertainment casting calls on Project Casting and apply to roles that match your profile.
Chris Pratt is looking back at the Marvel casting decision that transformed his career—and thanking Kevin Feige for seeing something in him that others may not have seen at the time.
Pratt paid tribute to the Marvel Studios president during a Will Rogers Motion Picture Pioneers Foundation event honoring Feige as Pioneer of the Year. During his speech, Pratt reflected on his repeated attempts to join the Marvel Cinematic Universe before eventually landing the career-defining role of Peter Quill, or Star-Lord, in Guardians of the Galaxy.
His story is particularly relevant for aspiring actors because Pratt didn’t land the first Marvel role he auditioned for—or even the next one.
Instead, a series of unsuccessful auditions eventually helped lead to one of Hollywood’s biggest casting breakthroughs.
Chris Pratt Auditioned for Marvel Multiple Times
Long before becoming Star-Lord, Pratt said he had auditioned for Marvel repeatedly.
During his speech honoring Feige, Pratt joked that he had auditioned for the Marvel executive “probably 7 or 8,000 times,” according to The Hollywood Reporter.
Those auditions reportedly included an attempt to land the role of Captain America and consideration for a supporting role in Thor.
Neither opportunity worked out.
Chris Evans ultimately became Steve Rogers/Captain America, while Pratt continued building his career elsewhere.
At the time, Pratt was widely recognized for playing Andy Dwyer on NBC’s Parks and Recreation. The comedic character helped establish Pratt as a television star, but it didn’t necessarily position him as the obvious choice to lead a massive science-fiction action franchise.
That would eventually change.
Chris Pratt Nearly Stopped Auditioning for Marvel
By the time Marvel began casting Guardians of the Galaxy, Pratt said he had become discouraged by his previous experiences auditioning for the studio.
He recalled reaching a point where he was effectively finished pursuing Marvel projects.
But the Guardians of the Galaxy opportunity proved different.
Pratt credited Feige, director James Gunn and the Marvel Studios team with recognizing qualities in him that could work for Peter Quill—even though his public image at the time was primarily associated with comedy.
“It took someone with real vision to look at me and say, ‘Yeah, that’s a guy who could guard the galaxy,'” Pratt said, according to The Hollywood Reporter.
Pratt also joked about his physical appearance during his Parks and Recreation years, explaining that audiences weren’t necessarily looking at Andy Dwyer and imagining the next major Hollywood action star.
Marvel’s casting team saw another possibility.
Kevin Feige and James Gunn Took a Chance on Pratt
Pratt credited both Feige and Gunn with helping him make the transition from television comedy to blockbuster leading man.
The decision was significant.
Before Guardians of the Galaxy, Pratt had already appeared in movies including Moneyball, Zero Dark Thirty and Her. However, Peter Quill gave him the opportunity to lead a major studio franchise.
The first Guardians of the Galaxy arrived in theaters in 2014 and introduced audiences to Pratt’s version of Star-Lord alongside Zoe Saldaña as Gamora, Dave Bautista as Drax, Bradley Cooper as the voice of Rocket and Vin Diesel as Groot.
Pratt would go on to reprise the character throughout the MCU, including additional Guardians movies and major crossover films such as Avengers: Infinity War and Avengers: Endgame.
The role also helped cement Pratt’s status as a blockbuster leading actor.
He subsequently became the face of another major franchise as Owen Grady in Jurassic World.
What Chris Pratt’s Marvel Story Can Teach Actors
For working and aspiring actors, Pratt’s experience illustrates why a failed audition isn’t necessarily wasted.
Casting professionals may remember performers even when they aren’t right for a particular character.
An actor could deliver a strong audition and still lose the role because another performer better matches the director’s interpretation, physical requirements, chemistry needs or overall creative vision.
That doesn’t necessarily mean the audition was unsuccessful from a career perspective.
Pratt’s experience demonstrates several important realities about professional casting:
One audition can lead to another opportunity. Casting teams often encounter the same actors across multiple projects.
Being wrong for one role doesn’t mean you’re wrong for the company. Pratt wasn’t Captain America, but another Marvel character ultimately became his breakthrough.
Typecasting isn’t permanent. A performer known primarily for comedy can potentially transition into drama, action or other genres.
Casting is about potential as well as résumé credits. Producers and directors sometimes need to imagine what an actor can become in a role rather than simply casting based on previous performances.
Persistence matters. Multiple unsuccessful auditions can happen before the right character and performer align.
For actors submitting to casting calls, this is an important distinction. Not booking a job doesn’t automatically mean the casting director disliked the audition.
Sometimes the right opportunity simply hasn’t arrived yet.
Pratt Calls Star-Lord the “Role of a Lifetime”
During his tribute, Pratt thanked Feige for giving him an opportunity when casting him as a blockbuster action lead wasn’t necessarily an obvious decision.
He described Star-Lord as the “role of a lifetime” and credited Feige with seeing and supporting talent.
Pratt also praised Feige personally, highlighting their friendship and the Marvel executive’s reputation within the entertainment industry.
The appearance wasn’t the first time Pratt publicly supported the longtime Marvel producer.
In July 2024, Pratt attended Feige’s Hollywood Walk of Fame ceremony alongside numerous Marvel stars, including Chris Evans, Brie Larson, Simu Liu, Kathryn Hahn, Sebastian Stan, Ke Huy Quan and David Harbour.
Chris Pratt’s Casting Journey Shows Careers Can Change Quickly
Pratt’s journey from Parks and Recreation to Guardians of the Galaxy has become one of the clearest examples of how unexpected casting can transform an actor’s career.
It also highlights the role producers, directors and casting teams play in looking beyond an actor’s established screen persona.
For entertainment professionals trying to break into film and television, there’s a practical lesson behind Pratt’s story.
Actors can’t control whether they’re ultimately selected for a role. They can control their preparation, professionalism and what they bring into the audition room.
A role you don’t book today could still introduce your work to someone who remembers you when a better opportunity appears tomorrow.
For Pratt, several unsuccessful Marvel auditions eventually led to Star-Lord—and a role that changed the trajectory of his career.
Jimmy Kimmel’s future at ABC remains uncertain as Disney evaluates the changing economics of late-night television.
Dana Walden, president and chief creative officer of The Walt Disney Company, addressed the future of Jimmy Kimmel Live! during Bloomberg’s Screentime conference in October 2026. While she praised Kimmel’s performance and acknowledged the show’s improving ratings, Walden stopped short of confirming that the long-running ABC program would continue beyond Kimmel’s current deal.
Her comments come only weeks after ABC pushed back against a report claiming the late-night show would end in 2027.
For actors, producers, writers, crew members and other entertainment professionals, the situation offers a revealing look at how television networks are balancing traditional broadcast audiences with streaming, YouTube and on-demand viewing.
Dana Walden Addresses Jimmy Kimmel’s ABC Future
When asked about Kimmel’s future, Walden emphasized the broader challenges facing late-night television.
“The truth is, it’s a very challenging daypart — late night,” Walden said during the Bloomberg event.
She also emphasized that Kimmel continues to perform well, noting that his ratings have increased even as the overall number of people watching traditional broadcast late-night programming has declined. Walden declined to make a formal announcement about whether Kimmel would remain with ABC beyond his existing agreement.
That distinction is important: Disney has not announced that Jimmy Kimmel Live! is ending.
Instead, Walden’s comments suggest Disney is still assessing whether the show’s audience, production costs and revenue model make sense in an entertainment landscape increasingly dominated by streaming and digital platforms.
Digital Views Are Changing the Late-Night Business
One of Walden’s most notable points involved the difference between online popularity and traditional television economics.
Clips from Jimmy Kimmel Live! can attract millions of views through YouTube and other on-demand platforms. However, Walden indicated that those digital audiences do not necessarily generate enough revenue to support the costs associated with producing a premium late-night television show.
“We’re trying to make sense of the business while also honoring a deep partnership,” Walden said.
The challenge extends well beyond Jimmy Kimmel Live!.
Television audiences have become increasingly fragmented as viewers divide their attention between broadcast networks, subscription streaming platforms, social media, YouTube and short-form video.
For entertainment professionals, that shift can affect far more than ratings. It can influence production budgets, staffing, episode orders, hiring decisions and where new entertainment jobs are created.
A show may have significant cultural reach across social media while still facing questions about whether its traditional television business model remains sustainable.
Jimmy Kimmel Live! Ratings Remain Strong
Despite those industry pressures, ABC’s latest ratings figures show that Jimmy Kimmel Live! has recently gained viewers.
According to ABC, the show averaged 2 million total viewers during the 2025-2026 television season, making it the program’s most-watched season in eight years.
Among adults ages 18-49, the show averaged a 0.18 rating, ranking No. 1 across late-night programming and delivering its strongest performance in that demographic in four years.
The program also started the 2026-2027 season strongly.
During the week of September 21, Jimmy Kimmel Live! averaged 2.29 million total viewers and a 0.21 rating among adults 18-49, ranking No. 1 across late-night in both categories, according to ABC’s Nielsen-based figures.
The numbers demonstrate the complicated position facing networks: a television program can improve its performance compared with competitors while operating within a broader category experiencing structural change.
ABC Denied Reports That Jimmy Kimmel Live! Is Ending
Speculation about Kimmel’s future intensified after Page Six reported on September 8, 2026, that his show would reportedly not continue beyond its current deal.
The outlet cited an unnamed source claiming Kimmel’s contract would not be extended and reported that his current agreement runs through May 2027.
ABC disputed the report.
A network spokesperson told Page Six that the information was inaccurate and that reports about the show’s future were “purely speculative.”
Walden’s subsequent comments have not changed that official status.
As of October 2, 2026, ABC has not publicly announced either a renewal or cancellation of Jimmy Kimmel Live! beyond the current agreement.
Disney’s Dana Walden Takes on a Bigger Creative Role
Walden’s comments carry additional weight because of her expanded position inside Disney.
She officially became President and Chief Creative Officer of The Walt Disney Company on March 18, 2026, reporting to Disney CEO Josh D’Amaro.
Her responsibilities include Disney’s streaming, film, television, gaming and digital entertainment businesses, putting her at the center of decisions about how Disney distributes and monetizes entertainment across multiple platforms.
That broader strategy is particularly relevant to the Kimmel discussion. Disney is no longer evaluating television shows based solely on traditional ratings. Programs can now create value through streaming, digital clips, social engagement, advertising and broader brand visibility.
The challenge is determining whether that value justifies production costs.
Jimmy Kimmel Is Expanding Beyond Late-Night TV
Kimmel’s career also extends well beyond his role behind the desk at Jimmy Kimmel Live!.
He continues to work as a producer through Kimmelot, his production company.
Kimmel is an executive producer on Netflix’s upcoming documentary SCTV: The Greatest Show You’ve Never Heard Of, which is scheduled to premiere on October 30, 2026. The documentary explores the history and influence of the Canadian sketch comedy series and features performers including Catherine O’Hara, Eugene Levy, Rick Moranis and Martin Short.
Kimmel is also an executive producer of Netflix’s SCHOOLED!, a kids and family competition series hosted by former NASA engineer and creator Mark Rober.
The series, produced by Rober’s CrunchLabs in partnership with Kimmelot, puts young competitors through science-based challenges designed around creativity and problem-solving.
What Jimmy Kimmel’s Future Says About Television
The uncertainty surrounding Jimmy Kimmel Live! represents a much larger transformation happening across entertainment.
Traditional television success can no longer be measured by broadcast ratings alone. Networks are increasingly examining how content performs across streaming services, social platforms, YouTube and other digital channels.
For actors, writers, producers and production crews, that transformation creates both challenges and opportunities.
Some traditional television formats may face increased financial pressure. At the same time, networks and streaming companies continue developing new documentaries, competition shows, digital-first programs and other projects designed for audiences who increasingly watch entertainment on demand.
For now, Jimmy Kimmel Live! remains on ABC, and Kimmel’s latest ratings demonstrate that the program still attracts a significant late-night audience.
What happens after his current agreement remains undecided.
Disney and Kimmel now appear to be working through a question facing much of the television business: how do you preserve successful premium programming when audiences are increasingly watching it somewhere other than traditional television?
Prime Video’s Cross has become one of the streaming service’s standout crime thrillers. Created by Ben Watkins and based on James Patterson’s beloved Alex Cross novel series, the show combines gripping murder investigations, psychological suspense, and emotional family drama into a compelling television adaptation.
The series premiered on November 14, 2024, and stars Aldis Hodge as legendary detective and forensic psychologist Alex Cross. Before its first season even debuted, Prime Video renewed the series for a second season. Following the success of Season 2, the show was officially renewed for Season 3 in March 2026.
Produced by Blue Monday Productions, Skydance Television, Paramount Television Studios, and Amazon MGM Studios, Cross continues to attract viewers with its cinematic storytelling and outstanding performances.
What Is Cross About?
Alex Cross is one of Washington, D.C.’s most brilliant homicide detectives. As both a detective and forensic psychologist, Cross has an extraordinary ability to understand the minds of killers, allowing him to solve complex crimes that others cannot.
While investigating dangerous murder cases alongside his longtime partner, Detective John Sampson, Cross also struggles with personal grief following the death of his wife and works to protect his family from the dangers surrounding his profession.
The series blends psychological profiling, detective work, political intrigue, and emotional storytelling, making it much more than a traditional police procedural.
Cast of Cross
The series features an impressive ensemble cast led by Aldis Hodge.
Main Cast
Aldis Hodge as Alex Cross
Isaiah Mustafa as Detective John Sampson
Juanita Jennings as Regina “Nana Mama” Cross
Alona Tal as FBI Agent Kayla Craig
Samantha Walkes as Elle Monteiro
Caleb Elijah as Damon Cross
Melody Hurd as Jannie Cross
Jennifer Wigmore as Chief April Anderson
Ryan Eggold as Ed Ramsey (Season 1)
Eloise Mumford as Shannon Witmer (Season 1)
Jeanine Mason as Rebecca (Season 2)
Wes Chatham as Donnie (Season 2)
Johnny Ray Gill as Bobby Trey
Matthew Lillard as Lance Durand (Season 2)
Ethan Embry joins the cast beginning in Season 3.
Recurring Cast
Additional recurring cast members include Matt Baram, Mercedes de la Zerda, Stacie Greenwell, Dwain Murphy, Siobhan Murphy, Jason Rogel, Sharon Taylor, Karen Robinson, Deidrie Henry, Rene Moran, Michelle C. Bonilla, Carlos Solórzano, Ron Perlman, and several others.
Season Overview
Season 1
The first season follows Alex Cross as he investigates the murder of a Black Lives Matter activist. What begins as a politically charged homicide quickly evolves into the hunt for a calculating serial killer whose crimes reach into Washington’s highest levels of power.
Season 2
Released in February 2026, Season 2 introduces a new investigation involving billionaires connected to human trafficking while continuing Alex Cross’ personal journey and expanding the series’ emotional stakes.
Season 3
Season 3 officially entered production in 2026 with new cast members Ethan Embry and Ron Perlman joining the expanding world of Cross.
Where Was Cross Filmed?
Although the story takes place in Washington, D.C., production is based in Ontario, Canada.
Major filming locations include:
Toronto
Hamilton
Surrounding Ontario communities
Hamilton serves as one of the show’s primary filming locations, doubling for numerous Washington, D.C. neighborhoods throughout the series.
Development and Production
Development on Cross began in 2020 as Amazon partnered with Skydance Television and Paramount Television Studios to adapt James Patterson’s bestselling novels for television.
Ben Watkins serves as creator, showrunner, and executive producer, while Aldis Hodge also serves as a producer in addition to starring as the title character.
The series has steadily expanded since its debut and continues to be one of Prime Video’s flagship crime dramas.
Critical Reception
The series has earned increasingly positive reviews.
Season 1
Rotten Tomatoes: 76%
Metacritic: 62/100
Critics praised Aldis Hodge’s commanding performance and the show’s psychological approach to detective storytelling.
Season 2
Season 2 received even stronger reviews.
Rotten Tomatoes: 95%
Metacritic: 63/100
Many reviewers cited improved storytelling, stronger character development, and higher emotional stakes.
Awards and Recognition
Cross has received recognition from several major awards organizations.
Notable honors include:
NAACP Image Award for Outstanding Drama Series (Winner)
NAACP Image Award for Outstanding Writing (Ben Watkins)
Multiple acting nominations for Aldis Hodge and Isaiah Mustafa
Black Reel Awards nominations
Gotham TV Awards nomination
Canadian Society of Cinematographers nomination
Leo Awards nomination
Golden Trailer Awards nomination
The show’s growing list of accolades reflects both its critical success and audience popularity.
Who Are the Casting Directors for Cross?
One of the reasons Cross features such a compelling ensemble cast is the talented casting team behind the series. Kim Coleman Casting is one of the primary casting companies involved in the project. Led by Emmy-nominated casting director Kim Coleman, the company is recognized for assembling exceptional casts for acclaimed television series including Lovecraft Country, American Crime, Dear White People, Snowfall, and The Good Doctor. Kim Coleman’s expertise in dramatic television helped shape the talented lineup of actors who bring James Patterson’s iconic characters to life.
Another casting company working on the project is TMH Management. The company collaborates with the production team to help cast principal, recurring, and supporting roles throughout the series. Their experience in television casting contributes to the authentic performances and strong ensemble that have become hallmarks of Cross.
Together, Kim Coleman Casting and TMH Management play an important role in finding the performers who make Cross one of Prime Video’s most engaging crime dramas.
Amazon Prime “Cross” Casting Call for Adult Family Members
Adult Family Members for School Track Meet Scene
Job Description
A paid production is seeking adult background actors to portray family members attending a school track meet. This background acting opportunity is open to performers who can authentically portray supportive parents and relatives in an outdoor sports setting. The production is looking for a diverse cast, with a strong representation of Black/African American talent.
Job Responsibilities
Portray family members at a school track meet.
Follow direction from the production team.
Perform natural background interactions during outdoor scenes.
Maintain continuity throughout filming.
Requirements
Adult performers.
Open to all ethnicities, with a strong need for Black/African American talent.
Amazon Prime “Cross” Casting Call for Adult Family Members With Vehicles
Adult Family Members With Vehicles for School Track Meet Scene
Job Description
A paid production is seeking adult background actors with their own vehicles to portray family members attending a school track meet. This role is ideal for performers who can provide their own car and authentically portray parents or relatives at a community sporting event.
Job Responsibilities
Portray a family member attending a school track meet.
Provide your own vehicle for filming if requested.
Follow production direction throughout the shoot.
Maintain continuity during background scenes.
Requirements
Adult performers with access to a personal vehicle.
Open to all ethnicities, with a strong need for Black/African American talent.
Amazon Prime “Cross” Casting Call for Track Athletes
School Sports Scene
Job Description
A paid production is seeking young performers to portray track athletes in a school sports scene. This background acting opportunity is open to youth who can convincingly portray student athletes. No track or athletic experience is required.
Job Responsibilities
Portray a student athlete during track meet scenes.
Follow direction from the production team.
Participate in background sports activities.
Maintain continuity throughout filming.
Requirements
Ages 12–16.
No athletic experience required.
Open to all ethnicities, with a strong need for Black/African American talent.
Amazon Prime “Cross” Casting Call for Youth Family Members
Youth Family Members for School Track Meet Scene
Job Description
A paid production is seeking child background actors to portray family members attending a school track meet. This role is perfect for young performers who can naturally portray siblings or relatives cheering on athletes during outdoor scenes.
Job Responsibilities
Portray a young family member at a school track meet.
Follow production direction during filming.
Participate in realistic family background scenes.
Maintain continuity throughout production.
Requirements
Ages 9–12.
Open to all ethnicities, with a strong need for Black/African American talent.
Amazon Prime “Cross” Casting Call for Coaches and Team Staff
Coaches and Team Staff for School Track Meet Scene
Job Description
A paid production is seeking background actors to portray coaches and team staff at a school track meet. This opportunity is ideal for performers who can authentically represent athletic coaches and event personnel in a realistic sports environment.
Job Responsibilities
Portray a coach or team staff member during filming.
Follow production direction on set.
Participate in realistic sports event background scenes.
Maintain continuity throughout production.
Requirements
Adult performers.
Open to all ethnicities, with a strong need for Black/African American talent.
Professional appearance suitable for coaching or athletic staff roles.
Cross stands apart from many crime dramas by combining psychological suspense with emotionally driven storytelling. Aldis Hodge delivers a powerful performance as Alex Cross, portraying a detective whose greatest strength is understanding the minds of criminals while struggling with his own personal loss.
With compelling mysteries, excellent performances, cinematic production values, and continued expansion into future seasons, Cross has become one of Prime Video’s must-watch original series.
Whether you’re a longtime fan of James Patterson’s novels or discovering Alex Cross for the first time, the series offers an exciting blend of crime, suspense, and character-driven storytelling.
Find the Latest Cross Casting Calls on Project Casting
Looking to work on productions like Cross? Project Casting is your destination for the latest casting calls, background acting opportunities, film and television jobs, and entertainment industry news.
Whether you’re an actor, filmmaker, or aspiring entertainment professional, Project Casting connects you with new opportunities from major productions happening around the world.
Visit Project Casting today to discover the latest Cross casting calls and apply for your next opportunity.
