Entertainment Earth has made its exclusive Luke Skywalker Glow-in-the-Dark Funko available for pre-order. The figure, based on the stunning appearance of Skywalker in the final episode of Season 2 of The Mandalorian, will ship in February and is listed at $14.99.
Entertainment Earth Exclusive! Dark Troopers stand no chance against this Jedi Master! Inspired by Season 2, Episode 8 of the Disney+ Star Wars: The Mandalorian TV series, the one-and-only Luke Skywalker will make a showstopping entrance into your Pop! Vinyl collection. Don’t miss him! This exclusive figure stands about 3 3/4-inches tall and features a hooded version of the beloved Jedi, complete with a glow-in-the-dark lightsaber. The Star Wars: The Mandalorian Luke Glow-in-the-Dark Pop! Vinyl Figure – Entertainment Earth Exclusive comes in window-box packaging. Quantities are limited, so order yours today!
In just over 2 weeks, Marvel Studios and Sony’s Spider-Man trilogy will conclude in Spider-Man: No Way Home. By the time it’s all said and done, Tom Holland’s iteration of Spider-Man/Peter Parker will have appeared in 6 MCU films stretching all the way back to 2016’s Captain America: Civil War; however, thanks to Amy Pascal, we now know this isn’t the end of the road for Holland as the Web-Slinger’s time in the MCU as Sony and Marvel Studios have extended their deal to collaborate on the character’s solo films. With Pascal indicating the two studios will now be working on another trilogy, its seems like a good time to look ahead and think about when we might see those new solo Spidey films in theaters.
Spider-Man 4: Fall/Winter 2023
Part of the original deal with Marvel Studios and Sony revolved around a solo Spidey film being in theaters every 2 years. This meant that Holland spent a whole lot of time in spandex from 2015 through 2020, but that’s the life of an actor! Sony is scheduled to kick of the 2023 superhero slate with Kraven the Hunter in January and Marvel Studios currently has The Marvels, Guardians of the Galaxy Vol. 3 and Ant-Man and the Wasp: Quantumania spread out from February through late-July with an as yet unannounced film on the slate for November 3rd. That won’t be Spidey 4 because Sony picks those dates, but December of 2023 is currently unclaimed by Marvel Studios, Star Wars or DC. A December 2023 date would mean Spidey 4 wouldn’t need to start filming until late 2022, giving the studio plenty of time to get a script together (if they haven’t already started) and give Holland some time to do some other work as well.
Spider-Man 5: Summer 2025
The first two MCU Spidey films hit theaters in July and 2025 provides the opportunity to do just that, assuming they keep the 2 year gap between films. Marvel Studios hasn’t announced any plans for 2025 as yet, but Lucasfilm currently has a Star Wars film on the books for December of 2025. So, back to summer it goes for Spidey 5.
Spider-Man 6: Summer 2027
It’s hard to fathom talking about a film that could take place in 2027, but here we are. Again, assuming a 2-year gap, we’re looking at Spidey 6 concluding the second trilogy in the Summer of 2027.
Of course, at this point we don’t know much at all about how this will ACTUALLY play out. According to a trade report, the deal Pascal talked about isn’t even finalized yet and as we’ve seen in the past, there’s many a slip ‘twixt the cup and the lip when it comes to these things. However, it’s sure fun to think about.
It’s no secret that live-action comic book adaptations consistently get their inspiration from, you know, comics. But Marvel Studios’ Hawkeye series has made it abundantly clear that Matt Fraction and David Aja’s critically-acclaimed and beloved Hawkeye run may very well be the genetic makeup of the Disney+ series. Each week, we’re going to highlight scenes from the Hawkeye comic that made their way into the live-action Hawkeye.
In the comics, Hawkeye #1 introduced Lucky the Pizza Dog at the very beginning of the run, but his origin with Clint Barton is much more involved and dramatic than in the first episode of Hawkeye. Lucky was owned by the Tracksuit Mafia. Clint feeds Lucky – ironically known at the time as “Arrow” – a slice of pizza. As a result, he later protects Clint from the Mafia by turning against them. After they beat him, the poor dog darts into traffic to be saved at the last minute by Clint instead. Lucky barely survived, but our favorite archer takes the Pizza Dog to a veterinary hospital and keeps an eye on him throughout his surgeries and the loss of an eye. After that, the elder Hawkeye takes in and renames Lucky, who continued to enjoy pizza and befriends Kate. Aja‘s masterful art throughout adds to the intensity, peril, and ultimately relief of Lucky’s origin.
‘Hawkeye’ #1 (2012)
‘Hawkeye’ #1 (2012)
‘Hawkeye’ #1 (2012)
‘Hawkeye’ #1 (2012)
Like the comics, the very first episode of the series introduces the already-fan-favorite furry friend. In the show, however, Kate Bishop is the one who comes across Lucky. She finds the already one-eyed puppy standing outside the gala she was attending. After this, the episode takes strong cues from Fraction and Aja. He runs off behind the hotel and attacks members of the Tracksuit Mafia who were breaking into the hotel’s cellar. Fleeing the Mafia, Lucky runs away into a crowded street and is rescued from oncoming traffic at the last minute by Kate. She decides to bring him to her apartment and offers him the only food she has around: pizza. There’s no doubt that Lucky’s origin here is lighter and lacks the depth of the original, particularly since he avoids the violent attack from the Mafia. Still, it’s interesting that live-action Lucky has already lost an eye and seems to maybe have some connection with the Mafia. Perhaps some of his classic origins is embedded in his history in the show.
Marvel Studios’ ‘Hawkeye’ Episode 1
Marvel Studios’ ‘Hawkeye’ Episode 1
The comic run has plenty more Lucky adventures, including an entire issue dedicated to the Pizza Dog’s point of view. Time will tell how the live-action Hawkeye explores the fluffy favorite in more detail, especially with how he seems focused on the item that the Tracksuit Mafia were out to steal from the auction. Perhaps there’s more to this story we are about to uncover throughout the remaining episodes for Marvel Studios’ last Disney+ series of 2021.
Mary Maerz: Iron Man 3(2013) Kiss Kiss, Bang Bang (2005)
I actually hate Christmas movies, so I’m going to go with two movies set at Christmas time (with little to no other Christmas connection) and hopefully combining the two says “Christmas”. But I’m a big fan of both Iron Man 3 and Kiss Kiss, Bang Bang. Clearly, the combination of Shane Black and Robert Downey Jr. speaks to me somehow, and the dry, quippy humor in both is what makes these films for me. Kiss Kiss \, Bang Bang is, to be fair, a comedy, but the similar style of humor in Iron Man 3 completely defines that movie for me. Because of that, combined with action and/or thriller components, these two films are extremely comforting for me and have high rewatch value. Nothing says Christmas more than Val Kilmer’s ‘Gay Perry’: “Merry Christmas, sorry I fucked you over.”
Joao Pinto: Gremlins (1984)
I only got to see Gremlins a few years after its initial release (what are you gonna do, things took their time crossing the Atlantic back in the 90s!), but even though, by then, the puppeteering might have seemed a bit outdated given the advances the industry had gone through in terms of visual/special effects, the movie still managed to win me over by its heart. And by heart I mean Gizmo.
A bit like Baby Yoda a.k.a. Grogu captured the hearts of so many in late 2019, Gizmo was that for me back then. But instead of using the Force to save people he cared about, Gizmo inadvertently managed to put everyone who cared about him in jeopardy, before rising to the occasion and saving the day, the entire town of Kingston Falls, the country, and the world! I still remember the song Gizmo hummed by heart and in my mind it’s one of the most beautiful things ever. Just not quite as much as his final line: “Bye Billy”. Just don’t remind me that was Howie Mandel’s voice.
On a side note, there’s a Scottish post-rock band called Mogwai after Gizmo’s species. A remix of their song Tracy was a faithful companion of mine on many all-nighters throughout college. Check it out, it’s pretty chill.
Nathan Miller: The Muppet Christmas Carol (1992)
The definitive Christmas film is The Muppet Christmas Carol. It is also the best adaptation of Charles Dickens’ source material. Michael Caine embodies Scrooge the miser and the sincerity of the lessons he learns with a touch of cockney charm. The cast of Muppets are brilliant in their chosen roles. Kermit is a brilliant Bob Cratchit. Miss Piggy’s headstrong attitude turns into a fury, matched by the viewer, for Scrooge’s miserly ways. Statler and Waldorf are the definitive portrayal of Marley’s ghosts. Gonzo as the Narrator and Rizzo as the chorus imbue the audience with the spirit of the holidays. The songs are enough to wilt the most cynical of hearts, and the lovable Muppet humour saves any cringe. It’s not only a childhood classic but it holds up incredibly well decades later as the best Christmas film.
Joseph Aberl: The Nightmare Before Christmas (1993)
To this day, I keep finding myself rewatching The Nightmare Before Christmas almost every year. While it’s a mish-mash of Halloween and Christmas, there’s something about it that just makes it a perfect Holiday film for me personally. Perhaps it’s the music that I can’t stop listening to throughout the year (especially when Oogie-Boogie makes fun of Santa that always makes me crack a smile) or just the loveable characters in general. The 1993 classic is always the film I fall back on if I don’t know what to watch during the holidays and I don’t see that tradition ending anytime soon.
Dalbin Osorio: The Night Before (2015)
For me, it’s The Night Before. I’m a sucker for ugly sweaters, so the poster takes the cake out the gate. As a person who has friends spanning decades, I love how it captures that aspect of brotherhood. I love how it mirrors the things most dudes go through, where the person you used to be when you first became friends isn’t who you are as you’re getting older. Seth Rogan is hilarious, Anthony Mackie is the truth, and Joseph Gordon-Levitt delivers an understated performance. Lizzy Caplan is always a gem, but it’s Michael Shannon as Mr. Green that really takes the cake. It’s hilarious and makes me miss the friends I chose as family, and I always watch it during the Christmas season.
Charles Murphy: Scrooged (1988)
About a dozen Christmas movies are in the annual Murphy family rotation. The SantaClause films, Elf, Jim Carrey’s How the Grinch Stole Christmas, Gremlins and Die Hard (yes, we’re those people) all get a yearly rewatch. And then, there’s National Lampoon’s Christmas Vacation, which gets watched about once a week during December. However, as much as I enjoy revisiting all those films, the one that really gets me year after year is Scrooged. Released near the end of Bill Murray’s decade-long run of incredibly rewatchable films, Scrooged gives us a very different Murray. This is probably one of the more nuanced performances of his career. Yes, his Frank Cross is funny, but he’s also angry and sad and an asshole while also being sweet and loveable. Modernizing Dickens’ A Christmas Carol is nothing new, but this one really worked. The ghosts were equal parts terrifying and hilarious-with David Johansen’s cabbie being particularly traumatic- and the way it shined a light on the tragedy of the working class (through Alfre Woodard’s Grace and Bobcat Goldthwait’s Eliot) makes it tough to watch at times. And that’s why the movie is so good: as the audience experiences these things through Frank’s perspective, Murray and legendary director Richard Donner (yes, the director of Superman made this film) make the audience feel them, too. Every scare, laugh, cringe and hug comes through the screen, right up until that amazing ending when Frank leads the crew of his TV show in singing “Put a Little Love in Your Heart.” A great film, a great Christmas film and a great Bill Murray film.
Also, bonus points for Lee Major’s film-within-a-film, The Night the Reindeer Died. Someone should make that, like they did with Machete.
There are spoilers of the final season of Hanna in this feature. Only continue at your own risk if you haven’t yet seen it.
Hanna explores a world where the government is training young girls into becoming deadly weapons. That was until Joel Kinnaman‘s Erik Heller broke into a facility to save a young baby from that fate. He raised her hidden in the forest into a strong warrior that could take on anything in case the organization he stole her from found them. After she is set out into the world, we learn that the facility, UTRAX, was still active in the world and a new generation of girls was being trained to do the government’s bidding. Everything culminated in the second season about finally ending its existence. Yet, the third season seems oddly disconnected as a “final season.”
As fast as Hanna infiltrates the group of girls, the series sends them all out into the world to take on various goals. We spent the last season building up to the moment that Hanna is forced to join them and questioning her place in it. There was a great emotional growth throughout that season, as most of the series so far was about Hanna finding a “home.” Most of the first season explored that with the question surrounding Heller’s parentage. His death capped off her question of finding an identity, especially after being rejected by most girls who were part of the program when she tried to save them. Clara, the only one to join her, was a showcase of her goal
In the third season, we had a clear goal: take down UTRAX and everything involved with it. The big mystery remained around who exactly was running the facility. Marissa Wiegler, who had a somewhat motherly obsession with Hanna, is the catalyst for that development. So, the show titled Hanna isn’t about Hanna but rather Marissa’s ties to the organization. Outside of her father, our actual protagonist lost her role in the story the moment all the girls got sent out into the world to take down their targets, which happens early in the season. For a final season, it’s an incredibly dangerous undertaking to disconnect plot elements and scatter them across the world.
Yet, that is handled quite well even if they conveniently find their way to the same location in the final view episodes. The issue lies in the fact that Hanna is “given” a reason to be involved in this story through a new love interest. He’s her first target and she starts developing feelings for him. It’s not a terrible idea, as it adds a personal level to the actions she takes, even making some harsh errors throughout. What makes it stand out negatively is that his existence takes her agency. She serves to protect this character rather than to follow through with the initial plan. There’s no direct conflict between these worlds, as most of her actions are mainly to serve other characters.
It’s quite the departure from her rebellious actions in the first season kicking off the events that would unravel everything. Yes, she still has moments where she takes action but it feels like she became a side character in Marissa’s story. The “end goal” is even simplified to offer a clean cut for the series to end on instead of weaving more of this world’s darkest corners. Hanna was a point of hope, as she believed in the good of people. Helping Clara finds her mother was a clear indication of that. Yet, once she leaves the Meadows, it seemed that goal was completely forgotten.
The character of Sandy is never truly given a chance of redemption after she takes quite a lot of screentime throughout the second season. Jules’ turn isn’t even true given time to develop but rather is a sudden twist in the story that Hanna has no direct influence over. That’s kind of the issue at the end of the day, she’s not an active participant in the story outside of the new romantic subplot introduced early in the season. While I adore that it doesn’t end on the note that you’d expect, it doesn’t make up for an entire season moving further away from what the series was about. The series didn’t end on a strong note but doesn’t undermine what came before either. It just felt like Hanna was noticeably absent within this story and it’s a shame given Esme Creed-Miles continued strong performance in the series.
What was thought to be the final installment in the Revelations series has seemingly been flipped on its head, as the final moments unveiled the return of the leader of the Horde, Hordak. The Motherboard cult, which was teased in the first part, infects and mechanizes Skeletor to showcase the change in power moving forward. We don’t get his actual appearance in the series outside of a very familiar logo, but it does open up one question: are we going to see the arrival of She-Ra in the sequel?
It would certainly add some interesting drama for Princess Adora, better known as She-Ra and the twin sister of Prince Adam, to make a sudden return. She-Ra was kidnapped shortly after her birth by Hordak, who took her to the realm of Etheria and made her one of his underlings. Eventually, she would break free from his army to lead a group of rebels to fight the Horde to defeat him once and for all.
Many have become much more familiar with this story thanks to Netflix’s 2018 reboot of the series, She-Ra and the Princesses of Power. The series was an extensive retelling of the character and reimagined for a modern-day audience. It brought back Adora alongside her extensive supporting cast that includes Catra, Glimmer, Bow, Catra, Entrapta, and, of course, Hordak. However, that series was confirmed as a standalone story and doesn’t rely on any pre-existing Masters of The Universe lore.
It’s very likely Kevin Smith and his creative team will add their own spin to the story and build upon the revelations of the latest entry of the series. We don’t know if She-Ra and Hordak are a known presence in this take on the classic franchise. So, perhaps Adora is the revelation that the title is hinting at, as she helps Adam and Teela against this new threat aiming to end Grayskull once and for all.
Kevin Smith brought us back to the world of Eternia. Masters of the Universe: Revelation resurrected the childhoods of an entire generation in a modernized take on the iconic franchise. It was assumed that the series would serve as a two-part finale to the original, as it would explore the final battle between He-Man and Skeletor. With the release of Part 2,Smith and his team may have found a way to catch us off guard and keep the door open for an additional part.
In the first part, we are introduced to a cult that follows the Motherboard and took over Snake Mountain after Skeletor’s dissapearance. The group rose to power following the loss of magic in Eternia through its tech-based sludge that upon ingestion would turn those who’ve consumed into weaponized cyborgs. They make their return in the final minutes of Part 2’s finale, as a bitter Skeletor attempts to destroy the Motherboard idol.
Yet, he ends up restrained by Trapjaw and Triklop, as the technological menace latches its wires into his body. As Skeletor is mechanized the idol projects a hologram revealing a familiar face to fans of the franchise. It signals the return of Hordak, leader of the Horde and Skeletons old master. He also was famous as the main antagonist in the spin-off series, She-Ra: Princess of Power, and continued that role in the 2018 remake.
The ending certainly hints at Revelations returning for a third part as Hordak may have set his sights on Castle Grayskull and the heroes that protect it. Skeletor was once a protégé of Horda, before eventually banishing him to the realm of Etheria so that he may begin his own conquest of Eternia. It’ll be interesting to see how the newly introduced Motherboard connects to his origin and what the future has in store for Skeletor as a minion of his former master.
After a long wait, the first two episodes of 2021’s last MCU Disney+ series have finally been released. Hawkeye introduces the world to Clint Barton’s protégé Kate Bishop played by Hailee Steinfeld. While we spend quite a bit of time with the Tracksuit Mafia, the second episode ends with the introduction of Alaqua Cox‘s Echo in very familiar red lighting. Yet, as hilarious as they are, the Tracksuit Mafia aren’t big enough bad guys to really be the big threat in this series. Perhaps a single line in the first episode could be our first real hint at a kingpin pulling the strings in the shadows.
I’ve got powerful friends, too. The kind you don’t want to mess with.
This quote, delivered to Eleanor Bishop by the elder Duquesne, would seem innocent enough except throwaway lines aren’t given this much attention normally. We also are teased with an evil side with Eleanor’s future husband, Jack Duquesne, who might also have close ties with these “powerful friends.” The murder that Bishop Ronin got framed for is our first real hint that something sinister happening in NYC’s high society.
There is one iconic figure that has always had a powerful hand in these actions, especially with the first episode featuring a black market deal for dinosaur bones and the Ronin’s costume. Of course, the inclusion of his adoptive daughter, Echo, in the second episode’s ending is enough points to set up the appearance, or rather reappearance, of Wilson Fisk.
If there is anyone that is running the New York City underbelly and has close ties to the rich and famous, it’s very likely Fisk. There are enough rumors pointing to Vincent D’Onofrio‘s return as the iconic character and with Charlie Cox‘s return as Daredevil in Spider-Man: No Way Home. We may only have to be patient for a little bit longer until the true man in the shadows reveals his face.
Will she or won’t she? Until Murphy’s Multiverse got the first look at Hailee Steinfeld on the set of Hawkeye last year, nobody knew if the actress was really going to play Kate Bishop or not. Now we know and it’s clear that Hailee Steinfield is a good representation of the Kate Bishop in the comics, so good, in fact, she’s not only an anchor point for this series but could be one for the future of the whole MCU.
Through the first two episodes of Hawkeye, Hailee Steinfield portrays Kate Bishop as a determined, outgoing, 22 year old. She has grown up idolizing Hawkeye because he saved her life in the battle of New York. Ever since then, she has been protective of her mother. Over the course of the first two episodes, you see Kate openly reject any attempts by her mom’s fiance, Jacque Duquesne, to bond with her while attempting to force herself into Clint’s life.
While her relationship with Clint is very similar in the comics, the death of her father is a change to the story that allows for her to connect with Clint on an even deeper level. If the Battle of New York would have never happened and her father wouldn’t have died, she wouldn’t have gotten so into archery and self-defense. The absence of her father has left her searching for someone to fill that role. While Jacque is all to happy to force himself into the role, Kate is more interested in forcing herself into that relationship with Clint. Daughters seek the acceptance of their fathers, but they don’t just want to be accepted without reason; they want to prove that they are worth accepting. This is what we see from Kate in the first two episodes: the refusal of one father figure’s empty gestures, in exchange for having to prove to Clint that she is worth accepting. Steinfeld is super believable in both those relationships, to the point where she could almost be playing two different characters.
Steinfeld’s talents as an actress allow this to resonate with the audience. There is a subtleness to her hatred towards Jacque even though she loves her mother. On the other hand, there is an over eagerness to her attempts to make Clint like her. In the first two episodes of the show, Hailee presents a character that is funny and outgoing. Even though her mom warned her to stay out of trouble, Kate’s stubbornness has gotten her into exactly that kind of trouble, which ironically involves her mom’s fiance and his family. Her stubborn determination led her into the scene of the murder of Armond and right into the crosshairs of the Tracksuit Mafia. In the end of episode two, Kate is in some serious trouble and we will have to wait and see if her personality traits will do anything other than get her in deeper and deeper trouble.
Even though her story has been changed from the comics, the stubborn determination the character has in the show comes straight from the pages of the Allan Heinberg and Jim Cheung’sYoung Avengers and Matt Fraction and David Aja’sHawkeye. In the YoungAvengers Kate is always trying to help people and get things done efficiently. In Hawkeye, she is always curious and wanting to learn something new. Almost from the moment they meet, Hailee portrays the character as trying to learn from Clint, much to the displeasure of her unwilling mentor. In doing so she nails one after another of Kate’s key character traits. Steinfeld was a great choice for this role because, in my own opinion, she is very likeable and has a wide range of talents. I am looking forward to seeing Steinfeld continue to bring Kate to life in the MCU and become a key player in it.
After Kate’s bungled rescue attempt of Clint left both of our heroes hostage at the hands of the Tracksuit Mafia, Episode 2, “Hide and Seek”, briefly introduced a woman, dressed in black and surrounded by booming speakers, before abruptly ending. Who was that woman and what does she have to do with the bigger picture of the season of Hawkeye? Read on true believers.
During the black market auction that serves as the inciting moment for much of the plot of the first 2 episodes, the auctioneer mentions that “the Ronin decimated the criminal underworld” of New York, “almost completely annihilating the status and power of the head of organized crime.” As fans of the comics know, that “head of organized crime” is very likely Wilson Fisk, aka the Kingpin, who has long been rumored to appear in Hawkeye with VincentD’Onofrio reprising the role he first played over 3 season of the Netflix’s Daredevil. As the episode unfolds, it becomes clear that the Tracksuit Mafia, who can barely stay out of their own way, are foot soldiers who answer to someone else-the someone else Clint set out to see when he allowed himself to be captured by the Bros. The closing moments of the episode lead the audience to believe that boss is the mysterious woman in black, but that’s almost certainly a very clever misdirect on the part of director and executive producer Rhys Thomas. The woman in black is Maya Lopez and while she’s not the big boss, her comic book counterpart is directly linked to the man that most likely is.
Maya Lopez, aka Echo, is played by newcomer Alaqua Cox, and will spinoff into her own Marvel Studios streaming series which will probably stream in 2023. While we don’t get to see much of Lopez in episode 2, her presence (accompanied by a killer beat) seems to imply bad things will be coming for Barton and Bishop. First introduced in 1999’s Daredevil, Vol. 2 #9, Lopez was raised by and worked for the Kingpin…after he murdered her father. Marvel Studios isn’t big on direct page-to-screen adaptations of stories or characters, so the dynamic and history seems like it’ll be a little different here with Lopez seeming to serve as a lieutenant for the Kingpin, getting her hands dirty so he won’t have to.
To that end, Lopez has an impressive skill set that will almost certainly be sampled in Episode 3. Born Deaf, Lopez displayed what the comics called “photographic reflexes” from an early age. Simply put, Lopez demonstrated the ability to watch someone do something and then repeat is at an expert level. This ability allowed her to master musical instruments, despite not being able to hear them, drawing, dance and, relevant to her position as someone who kicks ass for the Kingpin, martial arts.
The end of the episode gives us just enough information to know that the MCU iteration of the character is Deaf and, like in the comics can read lips, and is to be feared as a physical threat (one of the Tracksuits ominously says “you’re in trouble now, Bro”, before cutting to our first look at Lopez-which is a really funny and self-aware comment because he realizes that Barton was never “in trouble” before despite being surrounded by half a dozen bros). We also know that her father, played by Zahn McClarnon, will appear in the series (see this old, exclusive set video of ours which shows her visiting her father’s residence), so it’s important to note that we are just at the beginning of Lopez’s journey. While Lopez may start the series in the employ of the “head of organized crime”, it’s highly unlikely she finishes it that way and even more unlikely she’s on good terms with “whomever” that is.
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