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  • James Gunn Shoots Down ‘Superman: Legacy’ Casting Rumors

    James Gunn Shoots Down ‘Superman: Legacy’ Casting Rumors

    The only thing James Gunn loves more than making movies about superheroes is shooting down online rumors about those movies. No Hollywood creative is more active online than Gunn, who can often be found responding to tweets about his projects to limit the spread of misinformation. Now the co-chair of the newly formed DC Studios, Gunn will have his hands in almost every DCU project but none more so than Superman: Legacy which he is currently writing and likely to direct. Though that movie isn’t scheduled to come out until 2025, rumors have already begun about casting for the new Man of Steel, which means Gunn was able to get involved.

    The Twitter account DCU Leaks was the latest account to test Gunn and quickly found out that the director isn’t one to mess around. Two minutes after DCU Leaks stated that Luke Eisner was the front-runner for the role of Superman in the new film, Gunn shot down the rumor, calling it “false” and adding that “casting has not begun.”

    https://twitter.com/DCULeaks/status/1621681508791783426?s=20&t=aPC0b-ughfYUM7mI4UAwig

    With Superman: Legacy not slated to release until July 11, 2025, there’s no reason for casting to have begun for the film. Production is unlikely to start until mid-2024, meaning casting for the project probably won’t heat up until late 2023 or early 2024. That’s not to say Gunn may not have actors in mind, but at this point, it’s clear there’s nothing to the rumors of a “front-runner” for the role.

  • HBO’s ‘The Last of Us’ Will Air Fifth Episode Early

    HBO’s ‘The Last of Us’ Will Air Fifth Episode Early

    HBO’s The Last of Us just ended its fourth episode on quite the cliffhanger, but fans won’t have to wait that long to see how it plays out. The broadcasting network has announced that the series’ upcoming fifth episode, titled Endure and Survive, will air early on Friday at its usual time slot, as opposed to its regularly scheduled Sunday programming. This change has been made to avoid competition with the NFL’s Super Bowl, which is currently scheduled to be air through Sunday evening. The Last of Us’ move from Sunday to Friday is, of course, a temporary one, as the show will resume its regular date and time with the following sixth episode.

    The Last of Us, an acclaimed television adaptation of the original 2013 video game, has grown its viewership with each passing episode but is likely smart to step out of the way for a ratings juggernaut like the Super Bowl. This year’s match-up between the Kansas City Chiefs and Philadelphia Eagles is just the latest in a decades-long tradition of the NFL taking over late-night in early February, something most shows have been keen on moving away from since the beginning of its reign.

    The Last of Us stars Pedro Pascal and Bella Ramsey in the leading roles of Joel and Ellie, with Anna Torv, Merle Dandridge, Gabriel Luna, and Nick Offerman as supporting cast. Showrunner Craig Mazin also serves as a head writer alongside franchise creator Neil Druckmann, with Gustavo Santaolalla returning from the games to score.

    Source: Deadline

  • REVIEW: ‘The Last of Us’ Puts An Emphasis On ‘Us’ In Tender Fourth Episode

    REVIEW: ‘The Last of Us’ Puts An Emphasis On ‘Us’ In Tender Fourth Episode

    It’s worth restating every week: The Last of Us, for better or worse, is a love story. In a world full of monsters, it’s easy to forget that the series – HBO’s acclaimed adaptation of Naughty Dog’s original 2013 video game classic – lives and dies with the bond between two people. Pedro Pascal’s Joel and Bella Ramsey’s Ellie are the beating hearts of the franchise, and with the show’s intimate fourth episode, they finally take center stage as the sole beneficiaries of showrunner Craig Mazin’s genius character development plan. While previous episodes have utilized excellent supporting characters as a means of tangentially building Joel and Ellie’s relationship, Please Hold My Hand leaves them all alone for the first time and acts as a much-needed segue into the story’s brutal following chapter.

    What Mazin and franchise creator Neil Druckmann have been able to do with The Last of Us in an episodic format is nothing short of astounding, and an installment like Please Hold My Hand is a perfect example of why. As previously stated, Joel and Ellie have thus far had a string of semi-friendly faces to help move their time together along. Each one, bottled into its own episode, served a distinct purpose in constructing the series’ foundational connection between its leads. Merle Dandridge‘s Marlene brought one into the other’s life, Anna Torv‘s Tess forced them to work in conjunction, and Nick Offerman‘s Bill reminded them of their purpose. Now, four episodes into the season’s run, the duo needs some time to grow without an escort. Otherwise, when the going gets tough down the open road, their inevitable drama won’t be believable – or worse, it won’t feel earned.

    Luckily, Please Hold My Hand knows exactly what it needs to do, and spends much of its runtime fixating on the little things. At least half of the episode is composed of Joel and Ellie proving how charming they can be as a unit, and viewers are right to eat it up. It’s amazing just how far a short conversation about coffee, or a running gag with a terrible jokebook, can take the characters involved. HBO’s The Last of Us has the luxury of expanding on moments in time that the original game could not, something that has often led to a much more authentic feel on screen, and its fourth episode does so once again to great effect. By giving viewers plenty of time with Joel and Ellie on the road, simply learning to live with each other, the eventual trap door that takes the ground out from under them hits with far more velocity.

    Joel, in a surprise to nobody, very quickly begins to reenter a paternal mindset, and Ellie, looking for someone to care about her, leans into the burgeoning relationship with everything she has. At the start, neither of them wanted the other, but Please Hold My Hand expertly demonstrates the primal nature of humanity and its desperation for tribe and compassion. The episode is, for all intents and purposes, a miniature of the series as a whole. A study of people and their love for one another, as well as the consequences that come with that deeper, complex emotion. It’s genuinely beautiful to watch, and for a brief instant, it seems as though Joel and Ellie have found some sort of temporary bliss. Unfortunately, as should be apparent by now, nothing good lasts forever in a world ruled by nightmares.

    The keyword of the episode – people – has already been used multiple times. Notably, this is the first entry in the series not to feature any infected, and thematically speaking, that feels as though it must be purposeful. Please Hold My Hand introduces the show’s first real human antagonists, a violent group of Kansas City survivors led by Melanie Lynskey‘s Kathleen, not long after Joel makes it clear to Ellie that people will be the biggest threat standing between them and their goal. Thankfully, however, these characters aren’t just one-note ravagers. Instead, they appear to be a group haunted by what they perceive as wrongdoings of the past, much like the protagonists themselves. More humans were broken by their love, and are now driven to commit heinous acts because of it. The episode makes an effort to portray the “Hunters” (as they’re called in the game) parallel to Joel, blurring the line between hero and villain and hammering home the point at hand.

    Joel, as it’s shown, is someone who has done very bad things and would do them again. Ellie, as it now seems, is on her way to matching that sentiment. Please Hold My Hand does an incredible job of getting in the legwork necessary to make the next few episodes all the more impactful and ends on a note that should be familiar to longtime fans of the game. The next few weeks promise to be a non-stop, brutal ride through the apocalypse, so viewers should cherish the tender moments they receive here. They won’t be the last, but they might just be the most important.

  • RUMOR: ‘Netflix’s ‘One Piece’ Series Eyeing Late August Release

    RUMOR: ‘Netflix’s ‘One Piece’ Series Eyeing Late August Release

    We’ve only recently got our first look at the upcoming live-action adaptation of One Piece and while the Internet is trying to figure out its thoughts on the project, we may already have our first hint at a potential release date. Netflix tends to focus on advertising its projects through short bursts, normally around two months ahead of a release like with Cowboy Bebop. But, it seems they are playing the long game this time around.

    According to What’s on Netflix, they heard we may see the release of One Piece at some point in August. Surprisingly, they even shared a rather specific release date as the series is eyeing a potential drop on August 31st, 2023. That would mark a Thursday, which isn’t uncommon for a big Netflix series though Wednesday released, fittingly, on November 23rd, a Wednesday. It also is exciting to know that they are promoting a show almost seven months, as we’ve heard more about this series than even the live-action Avatar: The Last Airbender series which started production ahead of this adaptation.

    The series sees original mangaka Eiichiro Oda as an executive producer with co-showrunners Steven Maeda and Matt Owens spearheading the project. If the release date is true, we might have to wait a bit until we find out as they commonly don’t confirm any specific release windows until shortly before. Plus, anything can change between now and then so we shouldn’t take it as a definite. Still, a late August release seems like a fitting way to end the summer season with a pirate adventure like no other.

    Source: What’s on Netflix, Twitter

  • ‘One Piece’s Sandal Debate & the Live-Action Adaptation Rabbit Hole

    ‘One Piece’s Sandal Debate & the Live-Action Adaptation Rabbit Hole

    It’s nothing new that any live-action adaptation of anything has drama surrounding it, but there’s something “special” about the discourse of a manga or anime being brought to the West. We’ve long lived in an era where adaptations have been a pipedream as in the early days of Hollywood they’d simply adapt something for the sake of its popularity, such was the case with Avatar: The Last Airbender or Dragonball Evolution. Those involved seem to have a surface-level understanding of the property and simply rushed out a product that doesn’t reflect the thing most of us grew up with.

    Netflix hasn’t been that innocent either with their very Americanized Death Note and the recent Cowboy Bebop adaptation, which tried to take an existing property to create something a little more streamlined. Even the anime’s creator, Shinichiro Watanabe, openly spoke out about it was “clearly not Cowboy Bebop” due to a lack of involvement with the project. Even with the existence of actual good adaptations like Alita: Battle Angel, the Rurouni Kenshin movies, Blade of the Immortal, Speed Racer, and others, we still tend to hold on to that Dragonball Evolution comparison even to this day.

    The sad thing is that this focus kind of develops this overall negativity surrounding any discourse. Projects are “dead on arrival” long before we’ve seen anything that actually gives us a good feeling of what exactly we can expect from an adaptation. The same has now happened with the One Piece series with the first look at the Straw Hat crew. We’ve seen a variety of reactions as while there’s a good positive surrounding it, there are also quite a few reactions focusing on some curious details.

    The biggest may be the fact that Monkey D. Luffy, played by Inaki Godoy, does not wear his usual sandals but rather has shoes. Surprisingly no one has pointed out that Nami isn’t wearing her usual high-heels but the debate is if the sandals are a “must” for the character’s carefree attitude. Nami actress Emily Rudd even had to publicly point out that sandals aren’t safe for bringing the stunts to life, especially as they tried to do their own stunts throughout production.

    It’s understandable that people are protective of projects they love, especially something that has been running for 25 years. Yet, the main focus has been on the entire project falling apart and being terrible due to Luffy not wearing sandals. This “Sandalgate” sadly generally reflects a discourse on how the Internet generally handles any live-action adaptations nowadays. In the era of The Last of Us, Marvel films, and so much more, we have gotten quite spoiled by what is and isn’t possible.

    Yet, we see a lot of discourse of the most minute details as a “make or break” for any project. Moon Knight was highly discussed because it wasn’t “comic-accurate” enough but may be one of Marvel’s most diverse characters with a long history behind it. Even Thunderbolts are currently being scrutinized based on who is part of the team and we haven’t seen any footage of it so far. In the digital era, we have access to so much information that it also becomes a challenge to be part of the discourse.

    It’s also a showcase of how often certain groups reflect the same talking points. The Last of Us is praised for recreating specific shots but also dragged down for an episode that takes a character in a new direction, even going as far as having it review-bombed to make a point. Even with the creator’s strong involvement, it’s not something people focus on as we work with what we get. We create content and reactions to be part of the discourse, which subsequently leads to repetition.

    Luffy wearing shoes instead of sandals is sadly a strong reflection of that very discourse. In the end, it has no bearing on the quality of this series and serves a practical purpose. We know that live-action adaptations have to make changes due to the fact of it having real people involved, a different structure, and a media format to work with. To some degree, it feels like people want to be mad about something and don’t have a lot to go off from.

    At this point, it sometimes feels like people want to be upset. To some degree, it’s understandable, as most experiences people have had with live-action adaptations of anime and manga haven’t been the greatest. It also involving Netflix adds to that very concern. So, no matter the quality of the show, the online discourse is very likely going to be a nightmare; something Marvel fans might be familiar with given how each project ends up being discussed. We don’t know if it’s going to be good, especially not going off of a poster alone.

    It becomes even more depressing once you enter the discussion points surrounding Nami, who proclaim that she doesn’t “match Eiichiro Oda‘s original vision” given she doesn’t share the same body type as Who Framed Roger Rabbit‘s Jessica Rabbit. Not only is it an impossible standard to set but given Oda‘s heavy involvement, it creates a similar discourse like how people co-opt Stan Lee to reflect how they personally feel about whatever Marvel Studios is doing they don’t like.

    We’re sadly not learning our lessons but continuing to fall down a deeper rabbit hole. Based on a poster, we have no idea how One Piece will turn out. Some will be more optimistic than others, but there’s a certain level where the discourse becomes absurd. Is it a shame that Luffy doesn’t have his sandals? Yes, but we don’t know if there are scenes where he might still have them on but don’t involve any action.

    Even Netflix’s Cowboy Bebop fell victim to it due to the oversaturated reactions regarding Eden Perkins‘ performance as Edward or even just Daniella Pineda‘s take on Faye Valentine not being “revealing” enough like in the anime. The show had its faults but that is more in how it simply struggled to revive that unique spark that the anime offered us in our childhood back in 1998. It was less episodic and embraced the Bebop we know and love, but it wasn’t the cast.

    John Cho was a great cast Spike Spiegel, even if an older take on the character. Mustafa Shakir gave us an iconic Jet Black on top of it all. Pineda had her moments to shine even if her character was a bit of a departure from the original. Cho gave a heartfelt statement on losing out on the show given he was heavily injured shooting the series and was forced to take a year off. In our discourse, we tend to forget real people are working on these projects.

    Yet at the end of the day, we’ll always tend to jump the gun as fast as possible to be that trendsetter. Instant gratification can feel good and we get swept up by it all. Sadly, we don’t give chances like we used to, which creates a higher barrier of entry for any new project trying to establish itself. One Piece has a chance to do what The Last Of Us, Arcane, The Cuphead Show, and many more did for video game adaptations. But if we draw the line at sandals, we may have never deserved the projects we got.

    Source: YouTube

  • Up Next: The Annihilation Saga

    Up Next: The Annihilation Saga

    Marvel Studios is only one-third of the way through its Multiverse Saga and with the onset of Phase 5, fans will soon learn the true nature of the saga’s big bad. Though the Multiverse Saga won’t wrap up for another few years (if it keeps its current pace), Disney has already planted flags for four post-Secret Wars theatrical projects meaning, to nobody’s surprise, that they plan to continue phasing and saga-ing beyond the Multiverse Saga. Whatever that new saga holds, it will ultimately have to culminate in a major event worthy of drawing heroes from every corner of the universe to help save the day and while any number of comic book events could be adapted to provide such a threat, an epic multi-event run from the late 00s and early 10s might not only be the best bet but also already be in the earliest stages of being established in the MCU. It’s possible that Marvel Studios could be teeing up Phases 7-9 to become the MCU’s Annihilation Saga.

    What is Annihilation?

    Much like the Infinity Saga and the Multiverse Saga, the Annihilation Saga wouldn’t be the direct adaptation of one of Marvel Comics’ major events or any particular run, but rather inspired by several different runs and centered on a threat worthy of large-scale team-up films on the level of Avengers: Infinity War, Avengers: Endgame, Avengers: The Kang Dynasty and Avengers: Secret Wars and while there’s no shortage of such threats, one might be closer to making his way into the MCU than the rest: Annihilus.

    Originally introduced as a Fantastic Four villain, Annihilus has grown in power over the years and has become a threat to the existence of the entire universe. The ruler of a pocket dimension known as the Negative Zone, Annihilus, with the power gifted to him by wielding the Cosmic Control Rod, set his sights on conquering Earth and then the entire “positive” galaxy. Thus, in 2006, Annihilus was the main antagonist of the Cosmic crossover event, Annihilation, in which he lead his Annihilation Wave out of the Negative Zone and wreaked havoc on the galaxy as he attempted to extinguish all life within it. Should the MCU wish to make The Living Death That Walks the main antagonist of its next saga, Annihilation would be cornerstone content for it; however, a significant amount of groundwork would need to be done ahead of time and it looks like Marvel may already be pouring the foundation.

    The Fantastic Four

    Matt Shakman‘s Fantastic Four will introduce the First Family to the MCU along with opening the door to hundreds of characters and settings closely associated with them. No details about the film but the Fantastic Four have such a rich history with Annihilus and The Negative Zone that it would be a shame to allow the character to be introduced any other way. That said, there’s no reason for the First-Born Son of Oblivion to be introduced in the 2025 film when there’s plenty of time over Phased 7 through 9 for him to make his debut.

    Galactus and His Heralds

    A Silver Surfer solo project is heavily rumored to be headed to Disney Plus at some point in the Multiverse Saga and while the Sentinel of the Spaceways would certainly be a major player in an Annihilation Saga, his master and the horde of heralds who served him over centuries were a major part of the Annihilation event as Annihilus coveted the Power Cosmic. Rumors of Galactus’ presence in 2025’s Fantastic Four have recently heated back up and it’s been said that the Silver Surfer project would stream prior to Galactus’ appearance. Marvel Studios could use that solo project as a way to deliver the rich and complex history and mythology of Galactus and his heralds ahead of Fantastic Four which would allow for those characters to move smoothly into their roles in the Annihilation Saga. While his former heralds served as soldiers in the war against Annihilus, the “Galactus event” turned the tide of the war.

    Nova

    There was no greater hero in the war against the Annihilation Wave than Richard Rider and it was Rider who ultimately ended the war by killing Annihilus. Xandar, home to the Nova Corps, was one of the first planets to fall to the Annihilation Wave. Rider survived and allowed the Xandarian Worldmind to merge with him while also agreeing to host the entirety of the Nova Force. With the help of many friends and heroes, Rider formed the United Front which brought members of some of the galaxy’s fiercest civilizations together in the fight against the Bug King. Though it’s currently unclear what format it will ultimately take, a solo Nova project is in the works at Marvel Studios which means Rider could be introduced and set up just in time for Annihilus to give him the push he needs to become Marvel’s greatest Cosmic hero.

    Adding these characters to the mix during the Multiverse Saga would allow them to join forces with whichever Guardians of the Galaxy survive Guardians of the Galaxy Vol. 3 and Earth’s Mightiest Heroes to defend both the galaxy and Earth against an incredibly powerful threat.

    How Would It Take Shape?

    As has been the case through the first two sagas, not every second of every project needs to serve the endgame of that saga. While there are sure to be connections in nearly every project, what’s important is that the characters get put in the right places in time for the main event and that’s just a matter of smart scheduling. Following (or even prior to) the events of Avengers: Secret Wars, the concept of the Negative Zone could be introduced in any number of ways. Reed Richards discovered it and its anti-matter properties in the comics and could easily do so here. Having the Fantastic Four visit the Negative Zone and be perceived as a threat by Annihilus, however, is a pretty simple first step. All Annihilus has ever desired is to conquer all there was, so upon learning of there being more to conquer other than the Negative Zone, the wheels are set in motion.

    Any number of events either during or after Secret Wars could be used to explain how Annihilus locates The Crunch, the physical meeting point of the 616-universe and the Negative Zone and the portal through which he launches the Annihilation Wave. Should the first Nova project be one of Marvel Studios Special Presentations, it could tell the tale of how Xandar fell to Thanos, how Richard Rider became Nova and how Xandar was rebuilt. Depending on how grand their plans are for the character, Marvel Studios could use use the next project, Nova: Annihilation Day, to show how Annihilus grew in power and the sheer might of the Annihilation Wave.

    Marvel Studios seems to love two-part conclusions to their sagas and that’s where the creatives at the studio could get…creative. Thanks to the heroics of Richard Rider and the United Front, the Annihilation Wave never reached Earth in the comics but Annihilus attempted to conquer and/or destroy the planet plenty of other times. The Fantastic Four and Adam Warlock played a hand in stopping Annihilus in several of those stories and could team up with Nova and The Avengers, respectively, to stop The Lord of The Negative Zone in the two-part finale to the Annihilation Saga: Avengers: Annihilation and Avengers: Annihilation Earthfall. It’ll all come together much better when talented people get involved.

    Of course, there are any number of other major villains and events that could shape the next saga, including the impending arrival of the X-Men, so don’t start etching this in stone just yet. However, Annihilus is one of a handful of villains whose means, motive and opportunity have been on par with those of Thanos and Kang in the comics, putting him at least on the list of possible big bads set to star in his own saga.

  • M. Night Shyamalan’s Latest Dethrones ‘Avatar 2’ After 7 Weeks

    M. Night Shyamalan’s Latest Dethrones ‘Avatar 2’ After 7 Weeks

    Avatar: The Way of Water has enjoyed quite the free range at the box office. No one wanted to even get close to what was definitely one of the biggest releases in 2022 and as it nears the global take of Titanic, it seems the film has finally been dethroned. The interesting part is that the one to do so was Knock at the Cabin by M. Night Shyamalan. His film opened at $14.2M in 3,643 theaters but also marks the lowest opening for a Shyamalan film.

    It seems like audiences aren’t quite enjoying the film as it has received a C CinemaScore, which is slightly below Old‘s C+ just a few years ago., which opened with $17M. So, Knock at the Cabin hasn’t had that big momentum that you’d hope to have to go into the weekend, but it still managed to dethrone a massive blockbuster so that’s something. Globally, it also opened to a soft $7M though these kinds of films normally leg out with a C CinemaScore may hold back.

    That wasn’t all this weekend as an experiment to slash ticket prices to attract older audiences has seemingly paid off with 80 for Brady pulling in $12.5M and taking the second spot. You read that correctly, Avatar: The Way of Water dropped down to third with a still impressive $10.8M in its eight weeks after holding on to the #1 title for seven weeks in a row; something only the previous Avatar entry managed.

    It should be noted that the 80 for Brady film also had more viewers than Knock at the Cabin at 1.3M. While it’s lower at the box office due to the lower ticket prices, it’s a promising showcase of one of the struggles that cinemas have nowadays. The tickets are continuing to get more expensive and audiences are becoming pickier to make sure it’s worth their run. So, reliable films like a Marvel Studios entry or something with strong word-of-mouth tend to pull in audiences.

    Source: The Hollywood Reporter

  • RUMOR: Retailer Lists ‘Pikmin 4’ For a May Release Date

    RUMOR: Retailer Lists ‘Pikmin 4’ For a May Release Date

    It’s a big year for gaming, as after a long wait Nintendo is pushing out some new entries of their popular franchises. The Legend of Zelda: Tear of a Kingdom has been on everyone’s radar for quite some time after it continued to get small teasers. Even now, we’re still wondering where any of the promotion for that game is, but it seems it may not be the only game set for a release in just a few months.

    Greek retailer Game Explorers may have seemingly leaked the release date for Pikmin 4 online, as they have added the game for a May 26th, 2023 release. This would fall on a Friday, which is the usual M.O. for Nintendo releases. Of course, it may also be a mistake given that sometimes this information is just rushed out but it does give us a sense that perhaps Pikmin 4 may release sometime this year.

    Pikmin 4 was first announced back in September to the surprise of many, as while the game has been hinted at for quite some time, it almost felt like one o those entries that’ll likely never see the light of day. The last entry was released all the way back in 2013, which also took quite some time to release with the second entry hitting shelves in 2004.

    At this rate, it seems that each new entry takes more and more time. Yet the May release isn’t definite and we’ll have to see if that’ll be confirmed in an upcoming Nintendo Direct, which has been rumored to return in February; a usual time for Nintendo to make some announcements.

    Source: Game Explorers via Go Nintendo

  • ‘Thunderbolts’ Villain Rumored to Be Fueled by a Dark Entity

    ‘Thunderbolts’ Villain Rumored to Be Fueled by a Dark Entity

    Though production in Marvel Studios Thunderbolts won’t begin for several more months, the film’s plot is starting to take shape. Credible rumors suggest that the team assembled by Julia Louis-Dreyfus‘ Valentina Allegra de Fontaine will find themselves up against one of Marvel Comics’ most powerful characters: Robert Reynolds, aka Sentry. Now, a new rumor from one of YouTube’s most popular sensationalists adds a little extra seasoning to the rumored rumble between Sentry and the Thunderbolts.

    The rumor packs a pretty meaty claim about what it is that makes the Sentry such a dangerous character; if it’s accurate (and I have every reason to believe it is), Marvel Studios has chosen to go a route with the character that seemed improbable. According to the new information, Robert Reynolds will have a relationship with the malignant entity known as the Void.

    In the comics, the Void is an ancient being of unspeakable evil whose origins seem to predate the reign of Pharaoh Ramses II. The entity attached itself to Sentry, slowly driving him mad and driving him to commit unimaginable atrocities. Over the years, the Void’s true nature has been reconned and added to but the reality remains that its inclusion in the MCU portends very bad things for the Thunderbolts.

    Since rumors of the Sentry’s role in Thunderbolts first surfaced, fans have theorized that the team of Super Soldiers and spies probably didn’t stand much of a chance against the Superman analog. With the all-but-certain addition of a dark entity fueling Sentry’s rage, it’ll be interesting to see how the group holds up to a being with the power of a million suns who is possessed by an evil being.

    Thunderbolts is tentatively slated to land in theaters on July 26, 2024.

    Source: YouTube

  • ‘Stranger Things’ Season 5 to Start Production in May; 2024 Release in Question

    ‘Stranger Things’ Season 5 to Start Production in May; 2024 Release in Question

    There has been a lot of speculation on when we can see the final season of Stranger Things. The fourth season just released and the wait has been a long one, but it was surprising to find out that the Duffer Brothers and their writing staff haven’t even tackled the fifth season’s scripts once the fourth season was released. So, it seemed like the wait might take quite a bit longer than expected and according to Finn Wolfhard, it may have gotten just a bit longer.

    In an interview with GQ answering fan questions, he reveals that Stranger Things will start filming in May. Yet, he also hints that the time the series is likely to release might not be until 2025; a far cry from a late 2024 release everyone might be hoping for. Given that the series is only starting production in a few months and will be quite effects heavy like the previous one, it would make sense that the wait is going to take a while.

    He does jokingly state that Netflix and himself would love to milk it with a return in ten years; not a bad idea to see the Upside-Down once again seep into the world and get a chance to see these characters having grown older. The series has struggled a bit with an aging cast as productions continued to get postponed. If they are only filming now, perhaps we’ll get a time jump going into the fifth and final season. There’s also a spinoff being prepared which may also be set up with this final season, but much is unknown about when to expect it.

    You can check out the full interview here:

    Source: YouTube via Twitter