In 2017, the future royal wrapped her work on the show, being written out in the Season 7 finale with a wedding episode. At the time, Meghan was still working on Suits and living in Toronto, with the couple continuing their relationship while Meghan worked. Meghan Markle and Prince Harry first met in the summer of 2016 in London and began seriously dating soon after. Foundation for Women Engagement Interview: 'A New Chapter' The duchess starred in seven seasons of the hit legal drama "Suits" from 2011 to 2018. Meghan Markle photographed in New York City, May 16, 2023. Here, Newsweek looks at what Meghan has said about her future as an actress after leaving Suits and beyond. Meghan has spoken openly about her career in Hollywood, and though she effectively retired from her on-screen acting profession when she left Suits, since the duchess and Harry left the monarchy in 2020 there has been increasing speculation over whether she would make a return, despite her ruling this out in interviews. Meghan first joined the show for its pilot episode back in 2011 and stayed as a main cast member playing the character of paralegal Rachel Zane until 2018, when she left after her relationship with Prince Harry progressed into marriage.Īfter seven seasons, Suits creators wrote her out of the show with an impactful wedding episode which aired just weeks before her own royal wedding at Windsor Castle on May 19, 2018, at which a number of her co-stars were present. It’s rated R.It may have wrapped its final season in 2019, but legal drama Suits has experienced a revival in public interest thanks to streamers, with Netflix joining Peacock last month in offering subscribers the chance to binge watch the show that gave Meghan Markle her big break.įor the viewing period June 19-25, Suits topped the recently published Nielsen streaming rankings with over 2.3 billion minutes of content streamed across Netflix and Peacock, beating out closest rival Black Mirror by over 700 million minutes. Still, in terms of any sort of inspiration or originality, “Kate,” the movie, is every bit as D.O.A. Look, we get it, people are looking for new stuff to watch, mindless escapism included. Netflix’s emphasis on providing original movies has of late included a steady diet of forgettable thrillers with high-profile leads, including “Sweet Girl” and “Beckett,” starring Jason Momoa and John David Washington, respectively. The movie thus becomes one long bout of violence for its own sake, with the inevitability of Kate’s fate only further detracting from any suspense about where the story is heading. Still, there’s not much mystery in the “why” of it all, and nary a beat that doesn’t feel almost wholly predictable. Kate absorbs an enormous amount of punishment and dishes out far more, using guns, knives, fists and when pressed common kitchen appliances. Under the stewardship of French director Cedric Nicolas-Troyan (“The Huntsman: Winter’s War”), a movie like this ultimately boils down to the quality of the action, and it’s both plentiful and particularly bloody. There’s a pinch of “The Professional” and more recently Netflix’s considerably better “Gunpowder Milkshake” in their killer-kid bonding, which doesn’t have much time to develop with so much damage to be done before Kate’s condition becomes unmanageable. Kate’s search for those behind her demise brings her into contact with a teenage girl (newcomer Miku Martineau) who is the granddaughter of a mob boss, and as written proves annoying even by the standards of teenagers in these kind of movies. She delivers the bad news to the boss who raised her, played by Woody Harrelson, who can play this sort of appealing hitman in his sleep. In similar fashion, Kate – a Tokyo-based killer for hire – ingests a slow-acting poison, giving her a day to track down who was responsible, slashing and shooting her way through much of Japan. Mary Elizabeth Winstead plays the movie’s eponymous female assassin, in a mash-up loaded with old-movie ammunition that still comes away firing blanks.Īside from Winstead’s recent role as Huntress in the “Harley Quinn” movie, the most obvious point of reference would be “D.O.A.,” the 1950 film noir starring Edmond O’Brien (subsequently remade with Dennis Quaid) in which a fatally poisoned man spends his remaining hours trying to unravel the mystery of who killed him. Someone must be watching Netflix’s parade of mindless thrillers like “Kate” (never mind why), but even allowing for that, it’s hard to imagine a more bare-boned plot as excuses for stylized violence go.
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