Steven Soderbergh
“Magic Mike” leaned into grimy sex appeal and “Magic Mike: XXL” embraced pelvis-throbbing R&B—and Backstreet Boys. “Last Dance,” meanwhile, has perfume-ad vibes and a kid narrator.
For the male dancers taking it off and gyrating each night at the live production inspired by the films, “Magic Mike” changed their lives in ways they could never have imagined.
Ten years ago, the “Magic Mike” director traded body oil for a prescription pad, skewering the reluctance to discuss mental health in an unforgettable psychological thriller.
It’s easy to understand why a certain demographic flocks to theaters for another look at Channing Tatum dancing and his washboard abs. But its allure is far greater than that.
The director reveals what convinced him that there was one last striptease left in the Channing Tatum franchise and what he hopes will shock people about the movie.
The final installment of the Channing Tatum-starring trilogy has eroticism in spades, thrilling dance numbers, and a brilliant farewell storyline. (Yes, the plot matters!)
The tireless, endlessly innovative filmmaker talks about his new pandemic-set tech thriller “Kimi,” revisiting “Magic Mike,” the state of Hollywood, and much more.