Rest In Power, Chadwick Boseman. 1976 – 2020

Chadwick Boseman
theatlantic.com

In 2018, during the press tour for Marvel’s upcoming release Black Panther, the film’s star Chadwick Boseman gave a heartfelt interview with SiriusXM Radio during which he shared with viewers a story from his time filming the Afrofuturist superhero epic, which would go on to become a cultural milestone and a critically acclaimed celebration of Black pride and joy. The story was that of two young boys, named Ian and Taylor, both suffering from terminal cancer, whom Boseman had exchanged letters with: the boys were trying to hold out long enough to see Black Panther finally come to life onscreen, but tragically they passed before they had the chance. Boseman broke down in tears while telling the story, but used the moment to talk about the larger cultural impact of Black Panther and the ways in which movies and media can help to empower and inspire communities that often never see themselves represented onscreen in sympathetic roles.

At the time, none of us in the general public knew that Chadwick Boseman had himself been diagnosed with colon cancer just two years prior to that touching conversation. We found that out the hard way last night, when it was announced by Boseman’s family that the star, aged 43, had passed away after an exhausting four-year long battle with the disease, during which he had never ceased in his fight to change Hollywood from the ground up. Last night, we lost a true legend, a man who “radiated power and peace”, whose talent for acting was rivaled only by his talent for effortlessly spreading love, happiness and a sense of pride and dignity to marginalized communities around the globe. As Simu Liu, who would have been his Marvel co-star starting next year, put it: “Without Chadwick, and what he gave to his character, there is no Shang-Chi. Period.”

He was T’Challa, the poised, elegant King of Wakanda that audiences first fell in love with after his thrilling Marvel debut in Captain America: Civil War. But he was also baseball pioneer Jackie Robinson in 42, a role that cemented him as one of the great actors of our time. He was Supreme Court Justice Thurgood Marshall in 2017’s Marshall. He was the “Godfather of Soul”, James Brown, in Get On Up. He was the fictionalized, almost god-like Vietnam War-era soldier “Stormin'” Norman in Da 5 Bloods. He would have been the African samurai Yasuke in an upcoming biopic about the 16th Century warrior. To embody so many of Black history’s most celebrated figures in so little time takes a special kind of dedication and determination – two virtues with which Chadwick Boseman was blessed, beyond a doubt.

Chadwick Boseman
indiewire.com

It’s been hard for me to process the grief I feel over losing Boseman so early – far too early – to a disease as malignant as cancer, when he clearly had so many years left in him, so much art and talent he still could have shared with the world. But processing this pain has been made easier by seeing the genuine joy that Chadwick Boseman inspired, especially in children who looked up to his persona as the Black Panther, but also in Black audiences of all ages and all walks of life, who saw in that groundbreaking character something so much more than just a Marvel superhero with a flashy suit. Reading the tributes to Boseman from Black individuals for whom Black Panther revitalized their interest and pride in their cultural heritage (whether that expressed itself in the action of wearing traditional African clothing or studying Afrofuturistic philosophies, or anything else in between) has been both powerful and humbling.

In the absence of Boseman’s commanding presence, we are left with the legacy he leaves behind and with the urgent opportunity to carry on with that legacy, thus ensuring that future generations will remember Chadwick Boseman as a true king, an honor he deserves after the hard work he put into each and every one of his performances. At the same time we are left with his incredible body of work, which we must preserve so that it may continue to inspire future generations as it did us. We are also left with a sobering reminder to be kind: several months ago, although it wasn’t known at the time that Boseman was battling cancer, the actor appeared in public for a photo that quickly went viral for all the wrong reasons, with people on social media making jokes about his dramatic weight loss. Words have power, no matter how well-intentioned. It never hurts to be kind.

Chadwick Boseman
etonline.com

After winning the Screen Actors Guild Award for an Outstanding Ensemble Cast, the cast of Black Panther, led by Chadwick Boseman, took the stage; and Boseman spoke passionately and eloquently in the space of just a few minutes about the experience of being “young, gifted and Black” in Hollywood at such a crucial time, and how special, how life-changing it was for him to be able to work alongside so many other gifted Black professionals in the business and to give something back to pop culture, something that ultimately redefined the film industry in more ways than he would have ever thought possible. The background music signaling that his speaking time was up played too soon, cutting him off midway through his speech – but Boseman kept talking, refusing to allow that rare, unique, powerful moment to pass until he had made his point loud and clear.

But now, his life and career have been cut short, and he, despite his best efforts to fight colon cancer, is gone too soon: it is understandable and entirely acceptable that many (especially in the Black community) will feel devastated, and will need time for self-care. I cannot and will not dissuade you from taking as much time as you need to absorb this news and process it however you please. But we can’t allow this rare, unique, powerful moment in which we live to pass by either: our world – our society – is at a point where we need to firmly and unequivocally repeat that Black Lives Matter (in our writing, in our speech, in our actions most importantly) until they actually do in the eyes of the law and the institutions that constantly resist that simple statement, or worse, actively seek to violate the freedoms of Black people around the globe, through acts of violence and intimidation. Don’t let the moment pass. Don’t let the music play until we’ve said what has to be said, until we’ve done what needs to be done. Instead, let us all continue to do what Chadwick Boseman would have done: fight to protect Black lives, and fight to see the Black community represented in the media we consume by consuming that media responsibly and uplifting Black voices wherever and whenever possible.

Chadwick Boseman
bbc.com

Rest In Power, Chadwick Boseman.

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“Agents Of S.H.I.E.L.D.” Season 7, Episode 11 Review!

SPOILERS FOR AGENTS OF S.H.I.E.L.D. AHEAD!

Thanks to Hurricane Isaias and a poorly-timed power outage, this review is several days late – but still just in time to get out before the Agents Of S.H.I.E.L.D. finale this Wednesday: a hotly-anticipated two-hour long farewell event that will bring seven seasons worth of intricate storytelling to a close…and hopefully tease further adventures with certain characters in the Marvel Cinematic Universe down the line. Fingers crossed.

Agents Of S.H.I.E.L.D.
mcuexchange.com

But before we start looking ahead, let’s break down everything that went on last Wednesday, in the penultimate episode of Agents Of S.H.I.E.L.D. – the episode serves mostly as finale set-up, moving characters into place like chess-pieces ready for battle, but it still manages to get a lot done: particularly when it comes to strengthening the relationship dynamics between our main cast. Daisy Johnson (Chloe Bennet) and Daniel Sousa (Enver Gjokaj) have a chance to clumsily – but adorably – rekindle the romance they started during the turbulent time-loops a week or two ago, while Daisy’s long-lost evil sister Kora (Dianne Loan) establishes a fragile bond with both Daisy and Melinda May (Ming-Na Wen), which quickly breaks down after she learns of the death of her mother, Jiaying – an atrocious act committed by Kora’s partner-in-crime, Nathaniel Malick (Thomas E. Sullivan), which she nonetheless blames on S.H.I.E.L.D. because Malick is apparently so precious to her that by the end of the episode they’re locked in a passionate embrace, kissing while Chronicom warships blow S.H.I.E.L.D. bases to smithereens from space. There’s a lot to unpack here.

Obviously the most urgent issue at hand is the captive state of Jemma Simmons (Elizabeth Henstridge), whom Nathaniel Malick and his crew of mercenaries snatched away from S.H.I.E.L.D. headquarters week before last, with the intention of probing her memories and discovering the location of Malick and the Chronicoms’ arch-nemesis, Leopold Fitz (Iain De Caestecker, appearing only in flashback sequences). By the end of the episode, despite Malick doing everything in his power to ransack Simmons’ mind and emotionally torture her, Fitz’s locations remains a mystery. Add onto that the fact that Simmons apparently doesn’t even remember who Fitz is anymore, and we have ourselves a big problem: the Fitzsimmons ship, which I listed as the most romantic coupling in the Marvel universe, is in real danger of not becoming endgame. Fitzsimmons is known for the emotional trauma it inflicts on all of us, but this episode really outdid itself – through flashbacks, we bore witness to the moment Simmons had to say goodbye to Fitz, screaming through her tears that she didn’t want to forget him or the life they had together. Would it be possible for her to share her memory-suppression technology with the rest of us, so we too can forget that painful scene ever happened?

Then there’s the question of how to rescue Simmons from the Zephyr One, which Malick hijacked and flew straight into the cold void of outer space. Deke Shaw (Jeff Ward) makes a half-hearted attempt that goes wrong very quickly, and gets tortured by Malick alongside Simmons. The last we saw of him, he was alive, but bruised, bloodied, and very confused. Thankfully, Daisy, Daniel Sousa and S.H.I.E.L.D. director Al “Mack” Mackenzie (Henry Simmons) are on their way to the Zephyr One‘s coordinates in their own spacecraft, and they share the most memorable scenes in the episode: Mack tries to play matchmaker for the awkward couple (I wasn’t too fond of them before, but Mack’s teasing – paired with his very serious warning that if Sousa does anything to hurt Daisy, he will face the wrath of the entire S.H.I.E.L.D. team – did a lot to warm me up to the unconventional pairing), and Daniel just can’t get over the fact that Daisy’s superhero nickname is “Quake”, a moniker he finds laughably ridiculous. Personally, I’ve always found “Quake” to be a very cool and fitting name, and I wish Daisy used it more often, but I will admit that Daniel’s suggestion to Daisy that she get a giant “Q” stamped on her utility belt (poor Daniel, with his outdated notions of superhero costuming!) was extremely funny.

Agents Of S.H.I.E.L.D.
appocalypse.co

On the ground, Kora spends most of the time locked away in a S.H.I.E.L.D. holding cell at the Lighthouse, until a confrontation with Melinda May leads to her unleashing her…weird golden glowing fist-punch thing…instantly knocking out all the electricity at the base (too soon, Marvel, too soon), including the computer system’s firewalls – in turn allowing the disembodied Chronicom Sibyl to creep into the Lighthouse’s computer systems, where she starts wreaking havoc immediately. Luckily, Phil Coulson (Clark Gregg) is himself mostly robotic at this point, and spent a good deal of time trapped inside a computer in the 1980’s, giving him an acute knowledge of coding that keeps him…well, not exactly one step ahead of Sibyl, but maybe, like, just one or two steps behind her? He doesn’t manage to stop her from turning every other S.H.I.E.L.D. base around the globe into a heap of burning rubble, but at least he was able to figure out her evil plan a few seconds before she actually went through with it. That’s got to count for something…right?

With the power out, Kora also obtains her freedom. Despite Melinda May’s best efforts to turn the homicidal Inhuman into a force for good, Kora simply doesn’t want to change. She does genuinely offer her services to the S.H.I.E.L.D. team, but her offer involves murdering a baby (though, that baby is the future Grant Ward, which doesn’t make it right but also doesn’t make it entirely bad), so Coulson turns it down. Enraged, Kora escapes back to Malick, and that’s where we get the whole kissing-while-the-world-burns nonsense. Honestly, it’s hard to visualize an outcome where Kora is redeemed by the end of this: her treachery hasn’t earned her any love from the Agents Of S.H.I.E.L.D., and Daisy is already hell-bent on erasing her from history. But, according to Kora, the Agents Of S.H.I.E.L.D. are already living in an alternate timeline and the only way to make things right is to start killing off the people who shouldn’t be alive in the present day – cut to the time-displaced Daniel Sousa, who is definitely treading on very thin ice heading into the finale. Will he, like most of Daisy’s previous love interests, meet a horrible fate, or could he be the lucky one that gets away?

Agents Of S.H.I.E.L.D.
denofgeek.com

Heading into the finale, the world is currently under attack from the Chronicoms, who have an entire fleet of warships that are just occupying the earth’s atmosphere; Daisy, Mack and Daniel are about to collide violently with said fleet; Nathaniel Malick is no longer interested in finding Fitz, and has instead generously offered Simmons and Deke first-row seats to the end of the world; Kora is on her own, having alienated everyone who tried to care about her; Coulson, May and “Yo-Yo” Rodriguez (Natalia Cordova-Buckley) are stuck at the Lighthouse, which is probably going to be the Chronicoms’ next target; and Jiaying is still dead, which is a disappointment.

I have no idea what’s coming next. There are hints and rumors going around that some kind of MCU crossover will happen in the finale, with the Agents Of S.H.I.E.L.D. possibly setting the timeline right only to get snapped out of existence by Thanos, and it’s entirely possible there are still some major cameos planned for this last episode. Fitz is going to turn up somewhere, somehow – I’m hoping and praying he’s actually on Nick Fury’s secret S.W.O.R.D. base from the Spider-Man: Far From Home post-credits scene, but I’m not betting on it.

It’s been a wild ride, and I can’t wait to reach the end of the road. I’m also extremely grateful that my power was restored so I’ll be able to watch the finale and not wait almost a week to review it. Sorry about the delay, dear readers.

Episode Rating: 8.9/10

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“She-Ra” Season 5 Review! No Spoilers!

Would it be too much of a hot take to say that everything Avengers: Infinity War and Avengers: Endgame did, the fifth and final season of She-Ra And The Princesses Of Power did just as well – if not better in several instances? I’ll let you decide.

Now, to be fair, She-Ra has the advantage of being a Netflix series, with up to thirteen-episode seasons, so it’s probably not entirely right to compare it to any movie, even ones that are three hours long. However, considering that She-Ra‘s final season, whether intentionally or coincidentally, lifts a great deal of material straight from the closing chapters of the Infinity Saga, it seems fair enough to compare the two storylines, and how they are executed, and how the Netflix/Dreamworks cartoon sometimes gets it right where the Marvel Studios blockbusters falter.

She-Ra
ew.com

But first, a little background. I was not a She-Ra fan until Friday morning, when I decided it was high time I watched the entire series as quickly as possible, in order to catch up with the final season which had just dropped on Netflix. I had tried once before, several months ago, but I never even got past the opening credits. I forced myself through on this occasion, however – and before the first episode was over, I was already very thankful for that decision, because….wow. But don’t even get me started on the four previous seasons. This is strictly a Season 5 review.

Though I do think a little bit of Season 4 finale recap is in order – if you haven’t caught up, be warned: SPOILERS for that season up ahead! In the aftermath of Queen Glimmer (Karen Fukuhara) recklessly deciding to use the Heart of Etheria – a magical superweapon which lies embedded deep within the core of the planet – a great many things have changed in the status quo: first of all, Etheria itself has been carried through a portal out of its empty pocket-dimension and back into the larger universe; Adora (Aimee Carrero) has lost her connection with the ancient warrior She-Ra, and the Sword of She-Ra is broken and useless; and Hordak (Keston John), once the greatest enemy of the Princesses of Power, has been revealed to be nothing more than the puppet and defective clone of a far greater evil – Horde Prime (also Keston John), an alien overlord who has now launched a massive invasion of Etheria, and has simultaneously captured Glimmer, Hordak, and Hordak’s former second-in-command, Catra (AJ Michalka).

She-Ra
comicbook.com

Season 5 picks up after a small time jump. Horde Prime’s invasion is well underway now, and Adora, the archer Bow (Marcus Scribner), and all the remaining Princesses of Power are leading a futile rebellion against him. But on Horde Prime’s flagship, Glimmer and Catra are forced to establish a delicate trust bond with Prime and with each other as they plot a way to escape from imprisonment. Prime is essentially Thanos, and with less clever writing he might just have been that: his agenda (to destroy worlds across the universe in order to achieve cosmic balance and bring about a lasting peace) is much like the Mad Titan’s plan to end world hunger by wiping out half of every planet’s population; even more specifically, he too is the long-awaited mastermind behind the plans of an earlier antagonist in the franchise, who arrives on a gargantuan starship from the depths of space, whose army of mindless bodyguards start almost all their speeches with the word “Rejoice”, and who also has a tendency to meaningfully snap his fingers. Like Thanos, he has arrived on Etheria with the intention of claiming a superweapon that just so happens to come in the form of a magical link between a set of multi-colored crystals.

But unlike Thanos, Horde Prime has time to elaborate on his plans, and the characters have time to get to know him, to witness firsthand his strengths, and to begin to understand his weaknesses while they wander his ship. His special abilities, cloning and mind-control, aren’t anything we haven’t seen before, but they do also differentiate him from Thanos. And in one of my favorite scenes from early in the series, we get a chilling look at the devastation Horde Prime has wrought when he serves Glimmer and Catra a dinner consisting of various rare delicacies from worlds he destroyed in the past. Being the last person in the universe to know an entire planet’s recipes may not seem too dramatic, but it instantly makes the fight to save Etheria more personal, and conveys the horrors of Horde Prime’s conquests far better than any war-torn planet or battlefield.

She-Ra Catra
etonline.com

And that’s the thing: whenever She-Ra strays dangerously close to imitating the Marvel films, it immediately veers away again with the help of some clever, quirky twist that makes it feel fresh and invigorating. The final season may have all the same scope, scale and – occasionally – story-beats as Endgame, but it puts its own unique spin on that story. There is only one instance I can think of where this isn’t the case, when several of our heroes (I won’t say which) are left stranded in space on their way to Etheria, but the fuel they need for their own ship is actually crystals in the exact shape of Captain Marvel’s eight-pointed star – Captain Marvel being the one who rescued Tony Stark from being stranded in space after his ship ran out of fuel – so they touch down on a desolate planet only to run into a motley crew of space pirates led by a woman called Starla (Melissa Fumero) and a bald purple cyborg woman with trust issues, in an interaction that plays out almost identically to a similar meeting between Tony Stark and Star Lord’s motley crew of space pirates – which also includes a bald purple cyborg woman with trust issues – in Avengers: Infinity War.

But there’s a not-so-secret weapon at the heart of She-Ra, and that’s the series’ core cast of characters and the relationships between them, which are constantly evolving in new, unpredictable directions. Avengers: Infinity War‘s greatest problem, in my opinion, is how it sacrificed character for plot: it’s a problem that unfortunately carries over into parts of Endgame – but She-Ra doesn’t have that problem: every major character has room to grow, and all their development happens onscreen, so it doesn’t need to be exposited to the audience. The cast is also small enough already that everyone can get a meaningful role: whereas in Endgame, it sometimes felt like certain characters had only survived the Infinity War snap so they could provide comedic relief.

She-Ra
theverge.com

The story’s focus is still on Adora and Catra, as the couple navigates their fragile relationship with some difficulty. But for the first time, it’s not Adora putting in all the effort: Catra, for her part, is finally trying to stop pushing people away from her every time they show her any affection – though, much like Marvel’s Loki, she still plans on exploiting the current chaos for her own advantage, even if it means hurting others. Their relationship goes through some very surprising ups-and-downs this season. Separately, they’ve both changed as well – Adora is busy over-exerting herself as she tries to match the strength and stamina she possessed when she could turn into She-Ra, while Catra is a quieter, less aggressive shadow of her former self.

Catra’s reluctant interactions with the imprisoned Queen Glimmer are also surprisingly fun to watch, as Glimmer too has to make an effort to trust her former enemy, the woman responsible for her own mother’s death. Glimmer has had a rough time these past couple of seasons, losing people she loves and watching as her close circle of friends gives up on her when she needs them most – something which is partly her own fault, as her stubbornness manifests itself in increasingly dangerous decisions. Much like Catra, she is descending into a dark place, and it’s both thrilling and scary to join her on that journey.

Back on Etheria, Bow has also made some changes to his own lifestyle – though not quite enough to make him give up crop-tops, which he still wears proudly even in circumstances where one would think it impossible: such as the crushing void of space. His arc in this season is more understated than others, but it gives him a number of deeply satisfying revelations about his purpose in life, and also briefly reunites him with his two dads, who are still just as charming and witty as ever.

She-Ra
syfy.com

My personal favorite character in the series, the geeky tech-genius Entrapta (Christine Woods), is given plenty of material to work with (quite literally) this season. Lost and lonely without her lab partner Hordak to turn to, she once again has a hard time reminding herself that she can’t just join the bad guys because they have cooler technology.

The other Princesses each get more time to shine, especially now that She-Ra herself isn’t around to steal the spotlight from them in action sequences. Shy, sensitive Scorpia (Lauren Ash), having just recently regained her Princess status after living her entire life severed from the powers of her Runestone, is the most compelling to watch – but then, she’s always been compelling. To no one’s surprise, she gravitates most toward Princess Perfuma (Genesis Rodriguez), who is battling her own insecurities and finds a kindred spirit in Scorpia’s gentle personality. The two more brusque Princesses, Frosta (Merit Leighton) and Mermista (Vella Lovell) have smaller roles this season: though the latter does get some very interesting development later in the season, and, as always, has adorable banter with the boisterous pirate captain, Sea Hawk (Jordan Fisher). A pleasant surprise is the upgrade of guest stars Spinnerella (Noelle Stevenson) and Netossa (Krystal Joy Brown) to recurring characters: they’ve come a long way from the time when Bow couldn’t even remember what their powers were.

Several villains find themselves joining with the Rebellion against Horde Prime’s power – the Horde itself has dissolved, while Hordak is trapped between his loyalty to his maker, and fidelity to his friend Entrapta (is there something more to their peculiar relationship? You’ll just have to watch and find out). Shadow Weaver (Lorraine Toussaint), meanwhile, still maintains that she is loyal to Queen Glimmer, even though her meddling with dark magic, which resumes early in the season as the Rebellion runs out of other options, makes her vulnerable to the temptation of evil.

She-Ra
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The dark magic itself is still fairly vague, but it is used in a greater capacity than ever before, and there are several fights which utilize it very well – especially those which also involve Glimmer’s father Micah (Daniel Dae Kim), who has had a little time to regain his strength since his decades-long sojourn on Beast Island. All in all, the action has been upgraded significantly this season: in particular, the fight scene which closes out Episode 5 is appropriately epic, and another fight soon after has one character literally leaping across an asteroid belt and blowing up starships with their bare hands. That’s all thanks to the incredible animation, of course.

A She-Ra review wouldn’t be complete without a shout-out to the series’ commitment to diversity – an area in which it wipes the floor with Endgame. While that film mustered up one nameless gay background character, She-Ra ends queerbaiting critiques once and for all with definitive, powerful LGBTQ+ representation.

For me, She-Ra beats out Endgame because of how undeniably right the payoff for every story thread and character arc is in the end. While Endgame leaves room for argument and debate over several characters’ fates, She-Ra ties everything up neatly, in a way that is brave but satisfying – at least for me. There’s no room for the sort of unending, roundabout discourse that plagues other fandoms. This feels like a conclusive, fitting ending for characters I only just met yesterday and for whom I would already sacrifice everything.

Series Rating: 10/10

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A Live-Action “Hercules” Is In Development At Disney!

A lot of people complain about the recent deluge of Disney live-action remakes, and, despite the fact that I personally have liked almost all of said remakes (with the glaring exception of The Lion King), I can understand the reasoning behind these complaints. More often than not, Disney has rigidly insisted on remaking all of their most beloved classics – films like Aladdin, Cinderella, Beauty And The Beast, The Jungle Book…films that are already so good or at least iconic, that it’s hard to add anything new to the story. That’s why I’m so happy that, at long last, the studio is looking to remake a couple of its more niche or less popular films. Films like Hercules (oh, and also Robin Hood).

Hercules has a huge cult following, to no one’s surprise. The film is a lot of fun, it’s got some pretty good songs, and the characters are hilarious and endearing – especially the villainous Hades, and the snarky princess Megara. But thanks to a poor box-office performance, Hercules is often neglected by both the studio that made it and general audiences: not quite as much as, say, Atlantis: The Lost Empire or Treasure Planet, but enough that neither Hercules nor Megara are considered official Disney royalty, despite being the prince and princess of Olympus and its huge pantheon of gods. Incredibly unfair, if you ask me. But thankfully, the film will now get a second chance to prove its worth, in the form of an upcoming live-action remake (special shout-out to the folks at The DisInsider for obtaining this awesome new scoop).

Hercules image
people.com

Along with the news that the film is being remade for a theatrical debut and a hint that it will be a musical like the original (unless, I suppose, the non-musical Mulan remake does so well that Disney rethinks that strategy), there’s also several rumors of possible directors for the coveted project. Jon Favreau is probably the most obvious choice on the shortlist thanks to his work on the massively successful The Jungle Book and The Lion King remakes, but, from a creative standpoint, he seems like a weak option: perhaps The Lion King was just a fluke, but it’s also indicative of a mentality I personally don’t want to be applied to Hercules – adapting one of Disney’s more niche properties should be an opportunity for a more unique, creative vision, and Favreau’s has…not been that. And look, I’m not going to sit here and say that Bill Condon brought anything revolutionary to Beauty And The Beast, or that Guy Ritchie was able to leave his own distinct mark on Aladdin, but at least they added new material to the plot and expanded on some things, however small: The Lion King really didn’t do anything to widen the world or broaden the scope of the story. Then again, Favreau has proved to be a great producer on The Mandalorian, so I wouldn’t be averse to him having a role behind the scenes – but I don’t think he’d be the best choice for director.

The other names currently being floated are Gore Verbinski and the Russo Brothers. The former you will recognize as the director of Disney’s original Pirates Of The Caribbean trilogy (which, incidentally, I just watched a few days ago, and have been meaning to review), and the latter as the directing duo behind Marvel’s Avengers: Infinity War and Avengers: Endgame. Now, I really like the Russo Brothers – despite some gripes I have with Endgame, I think the Russo’s are both extremely talented directors. But Verbinski…he’s the one I want helming the Hercules remake. His skill with action scenes and his eye for detail would help to make the film visually stunning, atmospheric, and appropriately epic for an adaptation of an ancient Greek myth.

Hercules Disney image
insidethemagic.net

As with any remake, there’s an opportunity for Disney to both honor the animated classic while updating the story with more modern sensibilities: due to the fact that Hercules has a smaller fanbase than the studio’s big hits, there’s probably an even greater likelihood that this remake could feature a number of changes – if I had to guess, I’d imagine that Megara will get a larger role, and probably won’t be subjected to the satyr Philoctetes’ unwanted advances, which, in the original film, quickly crossed a line into what would be considered harassment. And I’d love to see the remake draw more heavily from actual Greek mythology – the animated film was not very faithful to the Hercules myths, which means there’s a lot of room to improve on that front: though I’m 99% certain we still won’t see the actual Hercules origin story onscreen, as it involves Zeus cheating on his wife by disguising himself as the husband of a mortal woman.

There’s no word yet on who will be cast in the remake, though the internet is already abuzz with theories – the general consensus is that the Muses should be played by some of pop culture’s most talented black performing artists, from Beyoncé to Lizzo to Janelle Monaé, while singer Ariana Grande, coming off a strong and well-received recent performance of Megara’s ballad “I Won’t Say I’m In Love” appears to be the top choice to play the princess. As for Hades, I still maintain that Jeff Goldblum would be the ideal candidate for the zany, campy role, but I’m open to suggestions.

So what do you think of a Hercules remake? Who would you like to see come onboard as director? Who should star? Share your own thoughts, theories and opinions in the comments below!

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Five Ways Black Widow Could Come Back To The MCU!

Last night, I had the chance to watch Avengers: Endgame again for the first time in a while. As on previous rewatches of the film, I found myself appreciating most of the first act of the movie (where, SPOILER ALERT I GUESS?, the Avengers kill Thanos), and most of the third act (where the Avengers kill Thanos a second time). I even liked a lot of stuff in my least-favorite part of the movie, that troublesome second act that has the team split up across different timelines and try to steal Infinity Stones from history.

Black Widow
cinemablend.com

But I still cringed at the absolute worst part of Avengers: Endgame – the scene in which Natasha Romanoff, the legendary Black Widow, sacrifices both her life and years of character development in exchange for the mysterious Soul Stone, willingly leaping from that accursed cliff on the godforsaken planet of Vormir to her very certain death. Cue the outrage. Natasha Romanoff, Marvel’s first (and for a long time, only) woman Avenger, was sacrificed in much the same way as another woman a year earlier: Gamora, who was tossed from the cliff by her own father. As womens’ bodies continue to pile up at the foot of that stupid cliff, fans (and especially, female fans) asked Marvel one simple favor: could you please stop fridging women?

Natasha Romanoff’s death is doubly infuriating because it came just before her long-awaited solo movie, Black Widow, which is supposed to explore an adventure in her past, before the events of Avengers: Endgame. But many are still clinging to a desperate hope that the Widow is still somewhere out there, either alive on earth or fighting to get back home. So let’s take a look at a couple ways Natasha could come back to life in the Marvel Cinematic Universe.

5: It Wasn’t Really Her.

Yelena Belova
hitc.com

This theory is a bit preposterous, but still worth noting: the idea is that Natasha Romanoff’s “sister”, Yelena Belova, who will make her debut in the Black Widow film, actually traded identities with Natasha before Avengers: Infinity War, or at some other point before Avengers: Endgame. There’s a little bit of evidence that supports this: Natasha wearing Yelena Belova’s jacket in Infinity War; a shot from a recent Black Widow trailer that shows Yelena Belova on a surgical table with a strange scar around her forehead, as if her face had been removed or changed. This option is undoubtedly the least appealing, not only because it would mean that the rest of Natasha’s awesome character beats in Endgame weren’t her own, but because this only changes the identity of the woman victim. As Infinity War Captain America would say: “We don’t trade lives.” Nonetheless, expect the super-spy sisters to swap identities frequently in the Black Widow film.

4: Multiverse Shenanigans.

Gamora
reddit.com

As I mentioned previously, Gamora was the first person to lose her life on Vormir – but she has since returned, thanks to the time heist in Avengers: Endgame. Coincidentally, it was when Black Widow, Nebula, Hawkeye and War Machine traveled back to 2014 to retrieve the Power and Soul Stones that a 2014 version of Gamora was able to slip through into the present Marvel timeline, along with the 2014 Nebula and Thanos. If the Avengers wanted to bring Natasha back, they could simply find a version of her from another timeline – but that poses a whole bunch of other problems.

3: Bruce Resurrected Her.

Hulk
looper.com

One of the plot-lines left over from Avengers: Age Of Ultron that went nowhere was the love story between Natasha Romanoff and Bruce Banner a.k.a. The Hulk. The two characters both regarded themselves as “monsters” (let’s not even get into the reasons why), and bonded over that. But after Bruce went missing for two years and the Avengers films switched directors, that story was mostly left unfinished. Except for the fact that, when Bruce Banner finally got his hands on a fully-operational Infinity Gauntlet at the end of Endgame and snapped his fingers to bring back the people that Thanos had dusted, he also tried to bring back Natasha. This is only mentioned in a throwaway line in the film’s final few minutes, but it’s still intriguing – could Bruce have been successful? How would he know? Natasha would presumably be resurrected on Vormir where she died, meaning she’d have to find her own way home.

2: Captain America Came To Bargain.

Captain America
screengeek.net

At the end of Avengers: Endgame, Captain America takes it upon himself to go back in time and return all the Infinity Stones the Avengers had taken from time. The Space Stone went back to New Jersey, the Time Stone back to the Sanctum Sanctorum, the Reality Stone…I don’t even want to know how he somehow injected it back into Jane Foster without her knowing. But the Soul Stone is the most interesting one: to bring it back, Captain America would have to return to Vormir, to the exact moment of Natasha’s death, and hand it over to…Red Skull, I guess. But does returning the Stone mean that Natasha’s life is also returned? If Natasha is to be brought back to life, this is by far the most likely explanation as to why.

1: Natasha, Daughter Of Ivan.

Druig
en.wikipedia.org

And then we come to my theory. I’ve always believed that there’s a reason the Black Widow solo film is supposed to kick off the epic, cosmic events of Marvel’s Phase 4. But what business does the decidedly human heroine have in this universe of gods, aliens and mythical lore? Well, my theory is rooted in comic lore and a very intriguing name that gets dropped minutes before Natasha’s death. Red Skull calls her “daughter of Ivan”, and Natasha comments that he must be telling the truth, because she didn’t even know her father’s name. But who is Ivan? While there are any number of Ivan so-and-so’s associated with Natasha in the comics, there’s also another character who goes by that name, who has a connection to the events about to unfold in the MCU: Ivan Druig is the alias that Druig, an Eternal (who will be played by Barry Keoghan in The Eternals), takes when he impersonates a sadistic Russian KGB officer and the leader of a small Soviet state named Vorozheika. If “Ivan” is Ivan Druig, and Natasha is Ivan’s daughter, that makes her a demigod – similar to how Peter Quill was revealed to be the son of a living planet. Druig might have an interest in resurrecting his daughter, maybe even giving her new powers in the process. If this were the case, Natasha could hold her own in the next phase of the MCU, while her film would have a major tie-in to The Eternals that would help to get audiences excited for that film.

What do you think of these theories? Do you even want to see Natasha brought back, or were you happy with her sacrifice? Share your own thoughts, theories and opinions in the comments below!

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The 92nd Academy Awards: Review!

Last night’s Oscars ceremony was on the brink of teetering off the edge and into the dustbin of history when suddenly, after a long string of tired and predictable winners took the stage to repeat virtually the same speeches they had been using all throughout awards season, the event righted itself and took a wild turn: with the shocking upset victory of Parasite in both the Best Director and Best Picture categories, the 92nd Academy Awards were able to make a groundbreaking advancement in movie history.

As we knew going into the ceremony (which got off to a bad start, with the frigid temperature and heavy rain-showers forcing the celebrities into the building at breakneck speed), the field of candidates was dominated by white men – though the long list of snubbed women directors still managed to attend the ceremony, as names embroidered on Natalie Portman’s dress. But in some categories, the few diverse nominees were able to sneak in some surprising wins: Matthew Cherry took home a long-awaited Oscar for the adorable animated short Hair Love, which celebrates natural black hair; and Taika Waititi became the first indigenous filmmaker to win an Oscar, claiming the award for Best Adapted Screenplay for his anti-fascist satire, JoJo Rabbit. Bong Joon-ho and the crew of Parasite also won Best Original Screenplay and Best International Film, giving the South Korean drama a total of four wins: the most of any film last night.

Joker, the dark and dour supervillain story that danced into the ceremony with a whopping eleven nominations, only walked out with two wins, both in categories where it was expected to win: Best Lead Actor went to Joaquin Phoenix, thus making him the second actor to win an Academy Award for his portrayal of the Clown Prince of Crime; and Best Original Score was presented to Hildur Guðnadòttir.

Elton John and Bernie Taupin’s joint work on “I’m Gonna Love Me Again” from the Elton John biopic Rocketman made them clear winners in the Best Original Song category, but the other contenders put on a good show: Idina Menzel, AURORA, and several Frozen II voice actresses from around the world sang “Into The Unknown”, while Cynthia Erivo and a chorus of back-up singers delivered a rousing rendition of “Stand Up” from Harriet. Then there was Randy Newman, with whatever the song was from Toy Story 4 (which somehow won Best Animated Feature in a year when Netflix’s Klaus was showing off the simple beauty of 2D animation). Three other musical numbers, unaffiliated with any film, were sprinkled throughout the ceremony: Janelle Monae and Billy Porter opened the night’s proceedings with a rousing, sparkly cover of “It’s A Beautiful Day In The Neighborhood”, which also featured dancers dressed as characters from some of the past year’s snubbed films, including Us and Midsommar; Eminem made a surprise appearance to perform “Lose Yourself” to an audience who clearly had no idea how to react – and those that did, namely Idina Menzel and Martin Scorsese, soon found themselves trending for their shocked and disturbed expressions; and finally, young Grammy-winner Billie Eilish performed a moving cover of “Yesterday” while the In Memoriam tribute video played – a video which, as expected, left out a couple of notable deceased celebrities.

Politics were briefly addressed, with Brad Pitt throwing jabs at the U.S. Senate in his acceptance speech for Best Supporting Actor in Once Upon A Time In Hollywood (one of only two awards the critical darling picked up, the other being Best Production Design), and Joaquin Phoenix making time for a warning about the dangers of climate change, and the importance of environmentalism. But many of the winners and presenters were more concerned with poking fun at their own business – there was no more scathing example of this than when James Corden and Rebel Wilson, two prominent members of the cast of the box-office flop and movie monstrosity Cats, ironically had to present the award for Best Visual Effects to 1917 while wearing cat-suits and making sarcastic puns.

The major categories were looking like a straight-up copy-and-paste of the Golden Globes winners (to nobody’s surprise, Renée Zellweger won Best Leading Actress for her transformative role as Judy Garland in Judy, while Laura Dern closed out her award-season romp with a Best Supporting Actress award for her fan-favorite role as a divorce lawyer in Marriage Story: Netflix’s only consolation prize for being snubbed and soundly defeated in every other category), right up until Best Director. The award had been expected to basically throw itself into the arms of Sam Mendes, whose continuous-take gimmick for 1917 has been a subject of much debate this awards season (and had, just moments before, won Roger Deakins a Best Cinematography Oscar), but there was also room for Quentin Tarantino to eke out a surprise victory: but it was Bong Joon-ho who claimed this award, and then led South Korea to its first ever Best Picture win – Parasite, a drama about class divides and economic crisis, also made history as the first non-English feature film to win the highest honor at the ceremony. Bong Joon-ho’s fanbase, who call themselves the “BongHive” on social media, celebrated the film’s success around the world, while Joon-ho himself finally got to have the drink that he kept asking for throughout the night.

Was it a perfect ceremony? No. The event was downright predictable for most of its extremely long runtime, and there was a tired aura in the air: perhaps brought on by the bad weather, or an unmemorable red carpet walk. But did it also break new ground and pave the way for a greater acceptance of international filmmaking in Hollywood? Let’s hope so.

Ceremony Rating: 7.9/10

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Sebastian Stan Vs. “Avengers: Endgame” Explained!

Ah, the drama. Earlier this morning, Marvel Cinematic Universe star Sebastian Stan made headlines by seemingly expressing his disappointment with the ending of his Marvel character’s story arc in Avengers: Endgame (and was welcomed by Star Wars star John Boyega into the small but steadily growing community of actors unhappy with how they were treated in the final installment of their respective franchises). I say “seemingly” because it’s kind of unclear whether or not Stan’s vague, single-emoji response to an angry fan’s social media post was an expression of sympathy or not. But since Stan hasn’t clarified his position, and the internet is having a field-day with this story, let’s assume for a moment that Stan really doesn’t like the conclusion to the long and tumultuous history of Bucky Barnes, a.k.a. The Winter Soldier, in the MCU.

Sebastian Stan Vs. "Avengers: Endgame" Explained! 1
popsugar.com

First of all, we have to take a look at the post which stirred up all this controversy and drama. The tweet, itself a response to an official Marvel post about Bucky’s relationship with Steve Rogers, a.k.a. Captain America, read: “Together until the end of the line. Or until bad, inconsistent, out-of-character writing turns Steve Rogers into his own anti-thesis. Shouldn’t it be “together until the end of the lie” now?” The author’s harsh condemnation of certain Avengers: Endgame plotlines would have been controversial regardless of whether it was spotted by a certain Marvel actor (who doesn’t even have Twitter, which makes the whole situation even weirder), but the fact that Stan posted a single wide-eyed emoji (which, according to the internet, could mean anything from shock to embarrassment), is what’s got everyone talking. Why is he angry about this whole “end of the line” business anyway, and what would he have preferred to the ending we got?

Before we go any further, let me make it clear that I don’t necessarily disagree with either Stan or the fan, but that doesn’t mean this post is going to devolve into an embittered, anti-Endgame tirade. I like Endgame: I like it less now than I did upon first viewing, because I’ve identified many of the film’s flaws, and I’m not entirely satisfied with the many of the film’s decision, especially with regards to the final choices of characters like Tony Stark, Natasha Romanoff, and, yes, Steve Rogers, but I still really like it. I don’t think the Russo Brothers are bad directors, or that Disney/Marvel are evil for not creating the perfect movie, or that anybody has to be “cancelled” by the MCU fandom. I’m not the type to start unnecessary drama (though, if you’d like me to, I could start by saying that Avengers: Infinity War is a complete and utter mess: but I won’t). No, I just want to discuss what I feel is one of the most uninspired and uncomfortable decisions made by the Avengers: Endgame writing team.

Which just so happens to be the conclusion to Steve Rogers’ and Bucky Barnes’ relationship.

In the MCU, these two characters, more than probably any other duo (with the exception of Thor and his brother Loki), have constantly been paired up in increasingly dramatic and thrilling situations that have tested their loyalty to each other time and time again: and yet, despite everything, they’ve always found a way back to each other’s side. Steve gets frozen in the Arctic Ocean for seventy years? No biggie. Bucky is horribly maimed in a wartime accident and becomes the brainwashed servant of a malicious organization operating deep within the most secure counter-intelligence group in the world? Not a problem. Their relationship was important to the plot of Captain America: The First Avenger, crucial (obviously) to Captain America: The Winter Soldier, and pivotal to Captain America: Civil War, in which it was a dispute over Bucky’s safety that led Steve to disobey the Sokovia Accords and start a conflict with Tony Stark that led to the titular civil war which broke up the Avengers, which in turn led to Steve and Bucky going on the run, which in part contributed to Thanos’ victory in Avengers: Infinity War, which set in motion all the events of Avengers: Endgame and thus everything that will happen in the MCU for decades to come. It’s not like Bucky is some side-character: he’s a really big deal.

And then, suddenly, he wasn’t.

At the end of Civil War, Bucky was sent to the African nation of Wakanda to recuperate from his injuries, and since then has shown up a handful of times onscreen, spoken a couple lines of dialogue, and has acted as little more than an extra in fight-scenes. In the post-credits scene of Black Panther, he’s not even that – he wakes up in Wakanda and gets the title of “White Wolf”, which seems to forebode big developments down the line. In Infinity War, he is gifted a seriously cool new vibranium arm that seems designed to wreak havoc on the battlefield but…doesn’t; and then, after being dusted by Thanos, he disappears for five years until the Endgame finale, where he has little more than a cameo as the guy standing silently but supportively behind Steve as he, Steve, makes some of the stupidest decisions of his unnaturally long life. And yes, he’s now getting his own Disney+ series (in which he will co-star alongside Anthony Mackie’s Falcon), but that can’t erase the fact that the conclusion of his relationship with the most important person in his life amounted to a brief exchange using dialogue recycled from their first movie. Meanwhile, Steve gets to enjoy a fairytale ending while everyone else in the MCU suffers irreversible pain and hardship; he goes back in time and unabashedly robs a strong, independent woman of her own agency and story arc, just so he can make good on a promise he made twenty-something movies ago. Was it so absolutely necessary that he have his dance with Peggy Carter, thereby creating his own alternate universe in which she never remarried after his disappearance, or had her own family, or moved on with her life?

No. It was, in my opinion, blatant fan-service that makes little to no sense given everything that has happened to Steve over the years. His entire arc has been one of trying to survive in the modern world, to find purpose and meaning in an era that no longer requires his antiquated morals and services, trying to adapt to society. At first, he fought with tooth and nail and Frisbee-shield: he pined after Peggy and he clung to Bucky, and he shook his head at newfangled customs. But he was beginning to change, to evolve, when Endgame happened – in Winter Soldier, he was forced to take a good long look at the government he had blindly followed into battle for decades, and in Civil War he actually fought back against all forms of government, becoming a rogue anarchist. He even had a new love-interest (albeit one who was related to his former love-interest, which made the whole situation highly disturbing and awkward). And then, after all that development, what does he do, first chance he gets? Hops in a time-machine and fills out an entire lifespan with Peggy Carter, thereby shattering any hope that he would move on with his own life, and stealing Peggy’s own opportunity to do so. And for Sebastian Stan and many other outraged viewers, the worst part of this was that it prevented Steve from having any time to interact with Bucky, a friend he had actually known for some time in both the past and present, and with whom he had a complex, meaningful relationship – for whom he had fought the entire world, for whom he had risked his own life countless times: a friend he had believed in when no one else would.

Steve’s ending is uninspired because it does nothing new with the character, but instead harps back on what made him interesting ten years ago: it reverses years of development in an attempt to make his story come full-circle. And unfortunately, this is similar to what happens to many other Avengers in the same movie: Tony Stark, who spent much of his life wondering how he would die and how many people he could save while doing it, died saving the entire world; Natasha Romanoff, whose every waking moment was spent giving thanks to her family and wondering when she would have to sacrifice everything for them, sacrificed everything, including her life, for them; Clint Barton, who just wanted a boring, middle-American family and a farmhouse in the middle of nowhere, got all that after briefly turning into a bloodthirsty ninja and exacting vengeance on all the Asian crime-lords who had absolutely nothing to do with his family getting dusted by Thanos. Each of those endings tries to employ the full-circle trick, but they almost all fail because the full-circle trick doesn’t always work, and isn’t always that interesting, for the same reason why most people like the concept of free will more than fate – the idea that your destiny is predetermined is, honestly, kind of boring. There’s no surprise, no tension.

I can’t claim to understand what went into the making of Avengers: Endgame, or why the screenwriters and directors chose to do what they did with the story: but one thing that most Marvel fans have noticed (and have already speculated could explain the sudden disappearance of Bucky Barnes) is that soon after The Winter Soldier‘s release, a vocal division of the fandom rose up to demand that Steve and Bucky’s relationship go an extra step further and develop into a romantic dynamic. While both actors, Chris Evans and Sebastian Stan, were very supportive of the idea, it seems that higher-ups at Marvel were nervous even to acknowledge the idea of a Steve/Bucky love story, and tried to backpedal: they gave Steve a new, temporary female love interest, and even wrote in a conversation between the two where they talk about the extremely-straight-and-not-at-all-gay relationships that they had back in the 1940’s. And it didn’t take long before Bucky suddenly started vanishing from the movies and getting less and less screen-time. Maybe this is because of cowardice, or maybe it’s simply because the Russo Brothers didn’t want another gay character distracting from that crucial five-second cameo from the Unnamed Gay Man in Avengers: Endgame, but either way it does seem to have had a negative impact on how Marvel treated Bucky Barnes.

Now, we don’t know if this is why Stan doesn’t like the ending to Steve and Bucky’s relationship (technically, we don’t even know if he doesn’t like their ending). A single emoji can say a lot, but in this case it’s vague enough that I’m basing most of my assumptions off the original tweet, which said the Endgame plotline was “bad” (which is entirely subjective), “inconsistent” (which I’ve argued is an accurate assertion), and “out-of-character” (there’s no good answer to this one: after all, Steve is the character who rebelled against the very political structure that created him, but he’s also the same character who couldn’t even find a prospective date outside of his 1945 girlfriend’s immediate family). Now I leave it up to you, my dear jury, to decide for yourselves who’s right and who’s wrong in this debate. In my personal opinion, I have to agree with many of the claims made in the original tweet, but I’m also not going to sit here and say that Avengers: Endgame is poorly-written, as if it didn’t masterfully handle the extraordinarily large cast of characters across several timelines and in multiple parallel realities, right up until that iffy ending.

So what do you think? Is Sebastian Stan well within his rights to raise his voice, despite still being employed by Marvel (even John Boyega waited until after he was done with Star Wars to give them a piece of his mind), or does he come off as merely disgruntled? What do you, personally, think of the ending to Steve and Bucky’s story, and if you could rewrite it, would you? Share your thoughts, theories and opinions in the comments below!

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“Loki” Could Expand Gender Diversity In The MCU!

While the Marvel Cinematic Universe has had an often uncomfortable relationship with the LGBTQ+ community (and recently, specifically the transgender community), things are looking up for the future, as new reports suggest that the upcoming Loki Disney+ series could feature not only a gender-fluid star, but a transgender supporting character. This would be a groundbreaking step forward if either rumor is accurate, and could pave the way for more diversity in future Marvel films and TV properties.

"Loki" Could Expand Gender Diversity In The MCU! 2
express.co.uk

The Loki series recently began production, with star Tom Hiddleston (who, of course, plays the traditionally male trickster god and sorcerer, Loki) sharing a brief video of himself performing some high-flying stunts for an action sequence. In the MCU, Loki has only ever been a male, but while you may think that Loki’s comics-canon gender-fluidity is something that would have come up in the movies already if it were also film-canon, there have been multiple rumors that suggest Loki could shift back and forth between genders throughout the duration of the show, with Hiddleston portraying their male side, and an actress (possibly Yesterday‘s Sophia Di Martino) taking on the role of Lady Loki. It’s worth noting that the Loki we’ll see in this show is the Loki who escaped into an alternate universe during the events of Avengers: Endgame, armed with the Space Stone and possibly a method of time-travel – this isn’t the same Loki we’ve grown accustomed to in the years since 2012’s The Avengers: this is an almost completely different iteration of the character, one who might be more comfortable with their gender-fluidity, and/or more likely to come out. The show, which is also rumored to include magical Marvel villains like Amora the Enchantress, could pose a problem that requires Loki to switch between genders in order to get out of harm’s way. Who knows? There’s any number of reasons why this crucial aspect of Loki’s character is only just being seen onscreen now (and there’s still no official confirmation that it is), and we’ll just have to wait and see which one Marvel decides upon.

As for the other rumor, that a transgender actress will play an openly transgender character in the series, this is one that has been tossed around for a while: the character in question, a transwoman named Sera, was initially rumored to make her MCU debut in Thor: Love And Thunder, but new updates suggest that she will, instead, have a major supporting role in Loki – Sera is one of only a handful of transgender characters in Marvel comics, and her story is one that’s always been linked to Marvel’s Norse pantheon: born a male angel in the kingdom of Heven, Sera transitioned at a young age and was rescued from her dismal life by Thor’s long-lost sister Angela, who soon became Sera’s girlfriend. Considering that we’ve already had one of Thor’s long-lost sisters show up in the MCU, it seems a bit of a stretch to assume that we’re now going to introduce another one, which leads me to believe that either (a) Angela will not appear, and Sera’s storyline will be very different from the comics, or (b) Marvel will replace Angela with Hela, and have the popular villain return, only to find true love. That might sound absurd, but Sera does have a connection to Hela in the comics that, with a lot of just a little tampering could be the base for a solid love-story, I guess? I mean, it’s not like Hela tortured and imprisoned Sera or anything, right?

*she totally did, by the way*

Sera’s inclusion in the series is said to be the stepping stone towards a role in future MCU movies, which probably includes Thor: Love And Thunder, where, completely coincidentally, she’d likely cross paths with the bisexual Queen of Asgard, Valkyrie (who, completely coincidentally, is said to be looking for a partner in the film). So maybe instead of falling for any of Thor’s sisters, heroic, villainous or otherwise, Sera will end up with a very different but no less iconic member of the Thor mythos.

The other notable thing about this is that Sera is said to be played by a transgender actress – meaning that all that controversy earlier this year about Marvel president Kevin Feige tip-toeing around the subject of transgender representation, confirming it and immediately walking it back, could have a happy ending. All that being said, none of this is yet confirmed by Marvel or Disney. So keep your expectations measured, at least for right now.

What do you think? Will Loki and Sera be gender-fluid and transgender, respectively, in the Loki series, and how do you think the Marvel fandom will take this news, if it turns out to be true? Share your own thoughts, theories and opinions in the comments below!

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“Captain Marvel 2” In The Works At Marvel!

To nobody’s surprise, the wildly successful Captain Marvel, released last March, is getting a sequel: the cosmic superhero film, Marvel Studios’ first to be headlined by a female hero, crossed into the billion-dollar club within a couple weeks, and introduced audiences to star Brie Larson as the sassy, headstrong Carol Danvers a month before her small but pivotal role in the mega-hit Avengers: Endgame. And while a tiny, toxic group of angry moviegoers complained that Larson and Danvers were “ruining Marvel”, most people simply ignored the loud discourse that surrounded the film’s release, and found Danvers and her supporting cast to be perfectly likable and fun: her movie was enjoyable, the writing was average (with a couple outstanding exceptions that I will defend to the death), and the directing was fine. Turns out, Carol Danvers was absolutely no different from many of her male Marvel co-stars – in that her debut movie was a strong, if safe, jumping-off point into future installments of her solo saga.

But now, with a new setting, a new screenwriter, and new directors, the Space Stone-powered heroine’s sequel movie could be something truly extraordinary: something that could prove once and for all why Danvers is the perfect candidate to lead the Marvel Cinematic Universe into the new decade. So let’s discuss everything we now know about Captain Marvel 2.

"Captain Marvel 2" In The Works At Marvel! 3
reddit.com

It appears that Carol Danvers’ sequel will shake things up by giving us a change of scenery: while her origin movie was set in 1995, a couple years after the young fighter pilot was abducted by Kree aliens after absorbing the powers of an Infinity Stone, her second solo outing will take place in the present day (or, rather, the future day), after the events of Avengers: Endgame (which is set in the year 2023, in case you’ve forgotten). That means the Carol we see next will be an older, wiser Carol, a Carol who will have spent almost three decades traveling the stars, helping end wars across the galaxy. There’s no indication yet of who she’ll interact with in her sequel: will her best friend Maria Rambeau still be around to help her? Most importantly to comic-book fans, will Maria’s impressionable young daughter Monica have matured into the superhero known as Photon?

Considering who the sequel’s screenwriter is going to be, I’d guess the answer is “yes”. Megan McDonnell is supposedly set to write the scripts for Carol’s upcoming follow-up film, and her current credits include WandaVision, the hotly-anticipated Disney+ streaming series that will introduce a grown-up version of Monica Rambeau. Considering everything we now know about WandaVision, from the fact that it’s been fast-tracked for a late 2020 release, to the fact that its writers are now being moved into other key positions at Marvel, it looks like the series, which will star Elizabeth Olsen as a dangerously unbalanced Scarlet Witch, is going to be a big hit for the studio, and everybody involved with its production will probably leave with their heads held high.

Captain Marvel directors Anna Boden and Ryan Fleck, on the other hand, may not be able to walk away from their tenure at Marvel with such honor – the directing duo are suspected to be moving on to other projects, and will not be helming Danvers’ sequel: Marvel is supposedly searching for a female director to take on the project, and guide it to its projected 2022 release date. Honestly, while I bear no ill will towards Boden and Fleck, I don’t think this is necessarily a bad idea: they didn’t do a bad job directing Captain Marvel, but they also didn’t do anything particularly new or invigorating – though, as I mentioned, I think the film does have some really good elements, including on-point humor, a subtly campy 90’s vibe, and strong performances. The sequel can do whatever it wants with that: it can go all Thor: The Dark World (a bad decision: don’t do that, Marvel) and double down on everything from the first film, or it can try for a more Thor: Ragnarok approach and branch out in a new direction, test the waters, give us a surprisingly fresh perspective on the character. Personally, I’d love to see Carol spend more time in space in her sequel, rather than moving about undercover on earth – that would also allow her to take on opponents her own size, and face some real challenges: since there’s probably very few villains on Earth who are going to stand a chance against her laser-punches and indestructible, fiery aura.

So what do you think? Carol’s story will have major changes both behind the scenes and in front of the camera, but will all turn out well? Where do you want to see her go next? Should she spend more time in space or on Earth? Share your thoughts, theories and opinions in the comments below!

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Robert Downey Jr. Passes On Oscar Opportunity!

As the 2020 Oscars race heats up, and more and more actors throw their hats into the ring for a chance to take home the gold, we can be assured of one thing: Robert Downey Jr., the star of Marvel Studios’ Avengers: Endgame, won’t be among the contenders at next year’s ceremony.

RDJ has been one of the most talked-about and hyped-up candidates for the Best Actor award, but despite the anger and outrage of fans, despite all the petitions in the world, the veteran actor has made it clear that he is not going to make a move for the prize: in a recent interview with Howard Stern, Downey rather vaguely suggested that he didn’t feel it was the right thing to do. “There was some talk about [an Oscar campaign], and I said, “let’s not”.”

Robert Downey Jr. Passes On Oscar Opportunity! 4
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Downey didn’t give any specific reasoning for his choice, and it seems particularly surprising given how hotly anticipated his campaign already was in the media: Avengers: Endgame directors Joe and Anthony Russo, along with Iron Man director Jon Favreau, had both publicly given Downey their support in the race, and millions of Marvel fans were completely behind the idea. Whether or not the Academy Awards would have recognized Downey’s position as the figurehead of one of Hollywood’s biggest and most fortunate film studios for the past decade is a question we now have no way of answering: but why? What could have inspired Downey to back away from the finish line when it seemed so close?

Well, obviously, his choice could be entirely personal. It’s possible he has better things to do with his time than try to win a shiny gold trophy. But it’s also possible that Downey recognizes an unfortunate trend in modern Hollywood, and has made his choice to avoid courting controversy and stirring up trouble: what I’m trying to say is that the Academy Awards simply might not want to give such a prestigious award to the star of a superhero movie.

The discussion we are having now has been the subject of a great number of essays, articles and opinion pieces in the past few days: it started a long time ago actually, but acclaimed director Martin Scorsese’s recent comments have made everyone sit up and take notice yet again. While promoting his new film The Irishman, Scorsese claimed that, despite having never watched a Marvel movie (he “tried”, to be fair), he believes that the films are “not cinema”, adding that “Honestly, the closest I can think of them, as well made as they are, with actors doing the best they can under the circumstances, is theme parks. It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being.” Scorsese’s controversial comments quickly riled up the internet – Marvel directors and actors responded in various different ways, from James Gunn being “saddened” to Samuel L. Jackson bluntly pointing out that “Everybody doesn’t like his stuff either”. As for Downey himself, he was cool about the whole subject, saying that, while Scorsese’s insult “makes no sense”, he still respects and appreciates the director’s opinion. But he’s also not going to intentionally upset the other filmmakers and Academy members who agree with Scorsese, by campaigning for an Oscar. Because there are others: many others, in fact. And The Hollywood Reporter has turned a spotlight on them in a fascinating new article published just today.

The article has nothing to do with Robert Downey Jr., or even Scorsese: instead, it’s about another comic book movie making headlines right now – that being Joker. A gritty, realistic approach to the genre (and unabashedly inspired by the works of Martin Scorsese, in fact), the supervillain origin story has generated plenty of Oscar buzz already, with critics praising Joaquin Phoenix’s intense performance. But today, Academy Award voters were asked to anonymously contribute their opinions on the film, and on the genre as a whole: and their responses confirm that Scorsese is not alone in his beliefs. Several stated that comic book movies hold zero interest for them, with some even pointedly referencing Scorsese’s comments in their rebuttals of the film – and as for the one who said that we live in an age of “sanitized, shrink-wrapped cinema”, well, I don’t know if he was referring specifically to comic book movies, but I can’t imagine his opinion of those is good. Some of them didn’t even have plans to see the film at all, or were reluctant to see it for a variety of reasons; some logical (security concerns), or illogical (comic book movies suck).

And these are Academy voters: the men and women who will decide who takes home the biggest awards in the entertainment industry. Are they biased? Yes, some of them are undoubtedly biased. A large number of them might be voting against movies that they haven’t even watched. Are they right in their condemnations of modern cinema – do superhero movies deserve to be called cinema at all, or are they nothing more than flashy merchandising ploys? That’s for you to decide. But imagine if Robert Downey Jr. were to step into this arena and even try to launch a campaign for Best Actor. There’s a strong chance he wouldn’t win, and his efforts would most likely be laughed at behind his back – the fact that Joker is still considered by many to be an Oscar darling, even after the reactions from those voters, just goes to show how badly superhero movies are usually treated by the industry. As frustrating as it is, the Academy’s electoral process is not fair; not by a long shot. Downey is probably better off steering far clear of all these shenanigans, and instead focusing on the things that matter to him – such as his plan to help clean up the environment using high-tech robotics.

So that’s that: Downey has made his choice. The Academy will probably end up nominating Joaquin Phoenix for Best Actor in his stead, but it’s not a sure bet that he’ll win either. Avengers: Endgame, which is up for several other awards (including Best Picture and Best Director) is also an underdog going into this highly competitive fight to the death. And so we have to consider whether or not Black Panther, which won a considerable number of Oscars at this year’s ceremony, really was a fluke after all: did it signal a change, as we all thought at the time, or was it merely a cheap publicity stunt?

I leave the question for you to answer: how biased is the entertainment industry against comic book movies? Could RDJ have won an Oscar, if he had run? Leave your thoughts in the comments below!

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All Of Marvel’s Disney+ Reveals!

Do I even have time to talk about anything that’s not Marvel on this blog? Probably not. Probably never. Certainly not with the amount of Marvel content that’s just been announced for Disney’s new Disney+ streaming service.

(Don’t worry: I will certainly talk about some of the other Disney+ reveals that were dropped at tonight’s D23 panel in California, possibly even that AWESOME trailer for The World According To Jeff Goldblum; but basically, it’s Jeff Goldblum being himself, and that’s all you need to know).

So let’s break down all the Marvel content you’ll be seeing on Disney+ in coming years, starting with The Falcon & The Winter Soldier, which should air in fall 2020. The main cast, including Anthony Mackie, Sebastian Stan, Emily VanCamp and Daniel Brühl, were all confirmed, as well as one surprising addition: Wyatt Russell will be joining the show as the probable antagonist John Walker, a US agent who, in comics lore, is genetically modified to become a super-soldier of comparable strength to Captain America – Walker is an extremist/basically terrorist who is endorsed by the United States government, leading to a confrontation between him and Falcon. There will certainly be a lot of ruminations on what it means to bear the mantle and shield of the iconic hero in the upcoming series, as both characters fight for the honor of being the one true Captain America.

Next up was Loki, about which we learned almost nothing new. It will be six episodes long, air in spring of 2021, and link the events of Avengers: Endgame and the upcoming film Thor: Love And Thunder, by exploring what happened to the god of mischief after he vanished into an alternate timeline with the Tesseract. No cast has been officially confirmed, though I’ve been seeing rumors that Idris Elba’s Heimdall will be returning for the series, as well as a new character played by legendary actor Ian McKellen (another clear indicator, if true, that Marvel will be ignoring Fox X-Men continuity). Michael Waldron will helm the series.

WandaVision was also confirmed at the panel for a summer 2021 release date: one of the weirdest upcoming Marvel projects, the show does not yet have a director attached, but it does have a screenwriter in Jac Schaeffer (who is also writing Marvel’s Black Widow), and a large and surprising cast: alongside Elizabeth Olsen’s Scarlet Witch, and Paul Bettany’s Vision, the following have been confirmed: Teyonah Parris will play a grown-up version of Captain Marvel‘s Monica Rambeau; Kat Dennings will return to the role of Darcy, a fan-favorite last seen in Thor: The Dark World; Randall Parks will reprise the role of Agent Jimmy Woo, a lovable and humorous cop; and Kathryn Hahn will play an unnamed “nosy neighbor”, in what was described by Marvel president Kevin Feige as a mix between an epic MCU adventure and old episodes of 50’s sitcoms. Honestly, that sounds amazing: the show will apparently also include some horror elements, and will be absolutely bizarre.

For some reason, absolutely nothing was said about the Hawkeye show. That can’t have been an accidental omission, but it’s surprising nonetheless.

The What If? animated series planned for summer 2021 teased a series of 23 episodes for each existing Marvel movie; episodes in which there will be drastic changes to current MCU canon, resulting in alternate realities. Almost all of the main Marvel cast will be lending their voices to the series: Hayley Atwell has been receiving the most attention, however, since she gets to portray a version of Peggy Carter who took the super-soldier serum during World War II and became Captain Britain. Variations on Captain America and Star Lord were also shown.

Following that were three of the night’s most startling and crowd-pleasing reveals. A Ms. Marvel series documenting the origins of Kamala Khan, one of Marvel’s only Muslim superheroines was already widely rumored, and actress Mindy Kaling had supposedly approached the studio with ideas for the show: the rumors were officially confirmed today, and it looks like Khan will not only be the star of a Disney+ series, but will also make appearances in MCU movies going forward (probably Captain Marvel films, since the teenage heroine from Jersey City is known for being a Captain Marvel fangirl). Comedian Bisha K. Ali will produce the show.

Next, a Moon Knight series was confirmed, and received probably the best Disney+ title logo so far. Marc Spector, the Moon Knight, is a very complex character who some thought might have been better suited for a Hulu series, where he could have been darker, grittier, and more risque. Well, we’ll see. I have faith in the series, if only because its logo is actually awesome. No director or cast is attached.

Finally, She-Hulk, a.k.a. Jennifer Walters, is confirmed for a series: one of Marvel Comics’ most beloved heroines, the quick-witted lawyer retains her human personality when she transforms into a female equivalent of Bruce Banner’s Hulk, meaning she’s “the brains and the brawn” right from the get-go, whereas Banner had to progress through several films before reaching that point in his transformation. No director or cast is attached, but fans are already rallying for the series to be a superhero action/courtroom drama crossover.

So…what do you think of Marvel’s upcoming slate of shows? Personally, each and every one sounds awesome, and I can’t wait for a chance to sit down and try to figure out more about them: expect many more theories and predictions in the days ahead!

Until then, go watch the trailer for Jeff Goldblum’s new show. You’ll thank me.

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“Eternals” Filming Begins?

With Marvel’s Eternals now officially confirmed for a November 2020 release date, and assembling an impressive all-star cast, it seems only a matter of time before cameras actually begin rolling and we start seeing behind-the-scenes photos, footage, etc. There was even some hinting at San Diego Comic-Con over the weekend that filming had already begun, a little earlier than anticipated. Now, we might – possibly – have a clearer idea of what’s going to happen in the film, and which characters might have yet to be cast.

According to one source, sets are currently being built for the Eternals film over at Pinewood Studios in England, where production is slated to begin in September. The set, which appears to be a large pyramidal temple with ornately-carved statues, was initially believed to be intended for Star Wars: The Rise of Skywalker reshoots set on the iconic Yavin IV planet from the original trilogy, but closer examination shows that the site, and especially the statues are probably intended to look Aztec in origin, rather than…Yavini? Yavinese? Yavinish? I don’t know. I mean, ignoring the basic fact that any Aztec site built in England is going to look very different from a Mesoamerican jungle until CGI and fake tropical plants are used, the set does look like an Aztec temple.

"Eternals" Filming Begins? 5
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Why, though, would an Aztec temple be built for Eternals? Well, there’s one very good reason I can think of: the entire Eternals comic book history begins in one such temple, all the way back in 1976. In Jack Kirby’s The Eternals #1, archaeologists Daniel Damian and Margo Damian traveled to Central America to uncover ancient Aztec ruins, only to discover that they had actually stumbled upon the Tomb of the Space Gods. Naturally, the Tomb was opened, a whole bunch of extremely weird stuff happened, and eventually Margo Damian was turned into a Deviant and killed, because that’s what tended to happen to female characters in old comic books. I highly doubt that a modern adaptation of the story would allow Margo to die off so quickly, but it does seem that she (or, at least, a fully fleshed-out character loosely-based on the cardboard cutout that previously held the name) will appear in the upcoming Eternals film: though she wasn’t one of the characters revealed at San Diego Comic-Con, there are still reports going around that the film’s lead will be a human female archaeologist with the codename of “Karen”. These new images, possibly unveiling a first look at the Tomb, give credence to this theory.

And just because we got a whole bunch of casting announcements at Comic-Con doesn’t mean there’s not many more to come. If Disney is to be believed, what we’ve seen already is just the tip of the iceberg: the D23 event next month will apparently give us even more food for thought, including confirmation of several more Marvel films, more casting, and possibly some early footage from Black Widow (though we’re also getting a first look at Black Widow on the Avengers: Endgame Blu-Ray release at the end of this month, so stay tuned for that!). It wouldn’t be shocking if more people joined the Eternals ensemble cast at D23, considering that there are a whole bunch of roles which might still need to be filled – including Sersi, the Damians, Elysius, Zuras, Druig, Eros and maybe Hercules. Some of these roles might have been written out of the script since they were initially reported early this year, but these new set images indicate that the Damians, at least, are still in for the time being.

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