We Speak Music
Eugenia Caruso appears opposite Fred Armisen and Jenna Ortega in the new season of Netflix’s ‘Wednesday’
It is fitting that British-Italian actress Eugenia Caruso is joining the second season of Tim Burton’s ‘Wednesday’, given that she is used to acting in dark comedy and horror films. She previously appeared in the 2020 film of ‘The Witches’ alongside Anne Hathaway; the horror series ‘The Baby’; and a number of horror films directed by Peter Strickland. You may have also seen her in ‘The Crown’ or the sci-fi comedy ‘Avenue 5’. Here she talks about her love of the stage, why she loves making people laugh, and ‘Wednesday’ being a dream come true.
How did it feel to step into the world of ‘Wednesday’, working under the genius direction of Tim Burton?
“I loved the first season of Wednesday, so I was very nervous, but it was an amazing experience.”
“I am a long-time fan of Tim Burton’s, so this was a dream come true.”
What was your reaction when you found out you’d been cast?
“I screamed a little out of excitement!”
Tell us a bit about your character in the series.
All I can say at this point is that it was quite a transformation I had to go through! I love this role – a real Tim Burton gem – and I was over the moon to play it.

How did you get started in acting?
“I’ve pretty much loved every role I’ve played. I began on stage – my first paid job was playing an isolated 17-year-old girl in a play directed by Chris Rolls. That role gained attention from The Stage and earned me an award at the Edinburgh Fringe. Two years later, I started working on screen, thanks to Peter Strickland. I remember watching Peter’s first film, ‘Katalin Varga’, and thinking it was great. So when I heard they were casting Italian-speaking actors and Peter was directing, I was ready to beg for a meeting – luckily, I was called in!”
What was it like working with Peter Strickland?
“My first film with Peter was ‘Berberian Sound Studio’ (starring Toby Jones), followed by ‘The Duke of Burgundy’ and ‘In Fabric’. I was also cast by Peter in two radio plays – ‘The Stone Tape’ and ‘The Len Continuum’ – the latter also starring Toby Jones. Peter is a fantastic director who knows how to get the best performance from his actors. His writing is also incredible – so vivid and full of depth and humour. Berberian has shaped a lot of my career. In fact, when Berberian was adapted for ‘The Donmar Playhouse’ by Joel Horwood, I was lucky to be cast in the stage version as well, this time directed by Tom Scutt.”
How did you get into acting in comic roles?
“I love dark comedies, and comedy in general. Series like ‘Avenue 5’ by Armando Iannucci and ‘The Baby’ by Lucy Gaymer and Siân Robins-Grace, were gifts. I enjoy working with timing and, when possible, improvising a little around the script. I’ve also worked with the brilliant Robert Zemeckis, whose films I love, and early in my career with Paolo Sorrentino, who remembered every single take from my audition tape for ‘Youth’. I’ve also worked with some truly talented up-and-coming independent directors including Julio Maria Martino, Christopher Brown and Daniel Florencio.”

What about more dramatic roles?
“A very dramatic role was that of Mrs Santorelli in ‘The Alienist’ (season 1), directed by the brilliant Jakob Verbruggen. I had to emotionally prepare, research the period, and push myself into the bleak reality of that character’s life.
Other recent projects?
Most recently, I’ve appeared in ‘The Crown’, voiced a character in the latest ‘Garfield’ movie, and joined the ‘Sniper’ franchise.”
“Playing Ana Costa – a Bond-style villain – was new for me, so to get into the role I watched ‘Full Metal Jacket’ on repeat.”
What’s next for you?
“I’m currently editing my first short film. And I just shot a couple of projects but I can’t yet talk about them! My short is very homemade – but I hope all the more charming because of that!”
‘Wednesday’ Season 2, Part 1 has just been released on Netflix; Part 2 airs from 3 September.
Featured photo credit: Netflix
We Speak Music
Vinyl Floor’s Balancing Act Proves That Honest Rock Still Matters
“Balancing Act” by Vinyl Floor is a real treat. It is the sixth record from brothers Daniel and Thomas Charlie Pedersen sounds like it was made for right now and how they blend the ’60s and ’70s with modern elements never feels forced.
The production is clear and thoughtful. Every string, every horn, every vintage keyboard has space to exist. “Puppet Laureate” opens strong with real energy, while “The Swan of Eileen Lake” catches you off guard with folk warmth. “Adelaide” might be the best track, built on a lovely piano line with vocals that cut through cleanly. No hiding behind effects here.
The title track closes things out with the reflection the album’s been working toward. The core idea of finding hope in a fractured world could tip into despair easily, but Vinyl Floor stays honest about it. They’re not offering false comfort, but they’re not drowning either.
Progressive rock this restrained is rare. The arrangements serve the songs instead of overshadowing them. If anything, some moments could use more breathing room, but that’s small in a record made by people who clearly care about what they’re saying.
This is for anyone who wants rock that actually wrestles with real ideas. It counts for something.
You can listen here.
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