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  • ‘Disney+’s Ad-Supported Model Gets US Release in December

    ‘Disney+’s Ad-Supported Model Gets US Release in December

    The day is coming closer as the ad-supported streaming variations of Disney+ has finally gotten a release date; at least for the United States. According to Deadline, Disney+ will be made available with advertising on December 8th. It’ll cost $7.99 a month rather than its premium model at $10.99. Naturally, they also have various bundles planned such as lower-priced basic plans with ads getting their own combinations for Hulu and ESPN+.

    Disney+ with Hulu would go for $9.99 a month while adding ESPN+ would put it at $12.99. There’s also a basic monthly fee for Hulu with Live TV, which also includes Disney+ and ESPN+ for $69.99. Kareem Daniel, the Chairman for Media & Entertainment Distributions shared the following statement regarding the announcement:

    With our new ad-supported Disney+ offering and an expanded lineup of plans across our entire streaming portfolio, we will be providing greater consumer choice at a variety of price points to cater to the diverse needs of our viewers and appeal to an even broader audience. Disney+, Hulu, and ESPN+ feature unparalleled content and viewing experiences and offer the best value in streaming today, with over 100,000 movie titles, TV episodes, original shows, sports and live events collectively.

    Kareem Daniel

    Disney’s quarterly earnings are just around the corner, which makes this announcement quite interesting and a hopeful grab to get on the good side of Wall Street. Netflix and HBO Max have been hit quite hard as of late due to Netflix’s recent tumble, which may be one of the reasons that the streaming war will continue the way it currently is going. Disney+ is a safe bet to remain but the rest are up for question.

    Source. Deadline

  • REVIEW: Offer Yourself To The ‘Cult of the Lamb’

    REVIEW: Offer Yourself To The ‘Cult of the Lamb’

    In Cult of the Lamb, the devil is in the details. Devolver Digital’s management simulator, where players assume the role of a sacrificial lamb who becomes the leader of a demonic cult, is an ambitious effort to marry the cutesy quirks of Animal Crossing with the comedic morbidity of a Sam Raimi movie. But the game sometimes comes across as overzealous, getting lost in a complicated economy and progression system and a roguelike element that feels like an afterthought. Nonetheless, its great mechanics, visuals, and humor make for a highly entertaining hybrid simulator.

    The game is essentially divided into two parts: the management simulator and the dungeon-crawling roguelike. As the sacrificial lamb turned prophet for the demon The One Who Waits, the fire of the gospel must burn strong through the cult’s disciples. But as the prophet, it too falls on the lamb to slay the Four Heretics who have imprisoned the The One Who Waits.

    Developers Massive Monster spares no expense in giving players a thorough religious experience. Nearly no stone is unturned as Cult of the Lamb incorporates many elements familiar to any churchgoer of any faith. As the leader of the congregation, the player’s job is to keep the cult afloat and rich. Not only do the disciples’ basic needs need to be met but they also must be kept happy and faithful. 

    Easily the best parts of the game are its mechanics. There’s a daily sermon that will modestly fill the cult’s faith meter. Over the course of the game, players will accumulate stone tablets that will serve as doctrines, the rules and beliefs that the cult must abide by. These doctrines are made of active and passive upgrades. The active upgrades, referred to as Rituals, are fun events you can trigger to give your disciples a stat boost.

    Cult of the Lamb‘s greatest source of enjoyment is the variety of ways to torment and reward the congregation. Sadistic players will be glad to know that they can order their adorable disciples to eat their own poop, force them to fast, or sacrifice them to a Chtulu-like monster. There’s a funny ritual to let a disciple’s body and soul ascend to heaven — or so they think. There’s even a ritual to get everyone high on mushrooms. Dissenters can be imprisoned and humiliated to be made an example of. The variety of mechanics at the player’s disposal is surprisingly deep and is guaranteed to make every playthrough different.

    But as fun as the management simulator element is, there’s redundancy in Cult of the Lamb‘s economy and progression system that may often lead to confusion. The terms used to label currencies do not come across as intuitive; devotion, loyalty, and faith are essentially synonyms but they serve different purposes in the game. Players may find themselves wondering which is which in the countless tutorial prompts that appear. In the game’s attempt to immerse players with tenets of religion, the economy and progression system is needlessly complicated.

    The Crusades, the roguelike dungeon-crawler aspect, pales in comparison to the rest of the game. While it gives Cult of the Lamb a change of pace, its procedurally generated gameplay fails to remain challenging or engaging. Compared to the uniqueness of the cult builder, the Crusades feel very unremarkable. They serve as the primary way to advance the story as the lamb goes from realm to realm, slaying enemies. Maps are procedurally generated but have little to no difference. Along the way, resources and new followers are to be found. A random weapon and skill are given to the lamb at the start of each crusade. Players can acquire tarot cards to get temporary boosts in each map. Beyond any of these, it’s a very bare roguelike.

    Where the Crusades redeems itself is in its combat. A mix of isometric hack-and-slash and bullet-hell, the combat is beautifully animated and, together with the sound design, has an almost addictive feeling to it. There’s a seamlessness and grace to every frame of animation. The incredibly simple controls are complimented by the game feel; hit stuns feel really heavy and give the combat a nice weight while the dodge button is responsive and sharp. Given the short nature of each crusade, which ranges from 5-10 minutes, the Crusades never feel boring.

    As monstrous as this game allows players to be, at the heart of Cult of the Lamb are visuals that are full of life and wonder. The aesthetic is essentially that of a children’s book with its backgrounds and assets resembling pop-ups. Characters in the game are so expressively drawn. The demons are drawn in the same way children earnestly draw the nightmares they have on paper. They’re terrifying to look at but also inherently childish. It’s hard not to be ensnared by how vibrant everything looks and how well it comes together, even in the face of its minor flaws. In a widening sea of management and social simulators, Cult of the Lamb stands as one of the most creative and eccentric thanks to its core premise, devilish wit, and charm.

  • ‘Nope’ is Jordan Peele’s Third Film to Pass $100M Domestically

    ‘Nope’ is Jordan Peele’s Third Film to Pass $100M Domestically

    It’s a big weekend for the box office, as not only did Thor: Love and Thunder manage to pass $700M but it also looks like Jordan Peele‘s third film has now joined the $100M club. Not every director can claim that his first three films manage to hit that mark, especially in an IP-dominated market with original pictures. Still, in three weeks, the film has managed to pull in $100.32M domestically.

    Overall, the pandemic has hit the box office quite a bit but there are quite a few films managing to still pull in past the $100M mark with original projects. Baz Luhrmann’s Elvis biopic is doing quite well with $137M, Sandra Bullock managed to pull the same with The Lost City and Ryan ReynoldsFree Guy from last year also made an impressive $121M. So, it’s a sign that mid-budget projects still have an important place in the market.

    It should be noted though that Nope faces a similar issue to Thor: Love and Thunder. While the latest Marvel movie is likely to make more than its previous entry, its budget was quite a bit higher according to some sources. Nope also had a higher budget of $68M which is a far cry from Get Out‘s $4.5M and Us‘ $20M. While it’s doing well, it’s unclear if it’ll beat out the previous two entries. There’s still the chance for its international box office to pull in quite a bit as it faces a delayed release but with only a few exceptions, the box office is still recovering in some ways.

    Source: Variety

  • ‘Thor: Love and Thunder’ Passes $700M Worldwide

    ‘Thor: Love and Thunder’ Passes $700M Worldwide

    While it didn’t have the momentum early on, Thor: Love and Thunder has officially passed the $700M mark worldwide. It’s currently on its way to passing the box office of its predecessor if you exclude its Chinese and Russian box office. The original pulled in $850M when it was released back in 2017 but owed $112M alone to China with Russia making up 23M. So, it would “only” need to pass $715M to pull in a higher box office than its predecessor. Not too far away from its current $704M international cume.

    Naturally, many would assume that the influx should be higher, especially with the presumed $250M budget this film is standing on. Still, with a B+ CinemaScore and a more mixed critical reception, it still surprised many when it started picking up momentum. The second and third weekends seemingly had a stronger drop but it was during the week when things would pick up for the fourth Thor entry of the Marvel Cinematic Universe.

    The film won’t be making a massive profit for Marvel Studios as it likely will break even but a fourth entry making as much or even more than its predecessor is also not a common thing in the market. Thor: Love and Thunder proves that Marvel Studios still has a good hold on the market and $700M is a great win for any production nowadays; Top Gun: Maverick is the exception that may be overlooked in the more fragile market we have right now.

    As of now, the film is likely to pass the first’s overall box office run and even reach around $750M+. There’s still a chance it could go higher if it legs out even with its 45-day window on the horizon; something that may be facing a change sooner rather than later. Still, the film is not a flop as many would make you believe and it’ll b interesting to see how Black Panther: Wakanda Forever performs later this year.

    Source: Twitter, The Numbers

  • HBO Max’s ‘Pennyworth’ Season 3 Gets a Curious New Subtitle

    HBO Max’s ‘Pennyworth’ Season 3 Gets a Curious New Subtitle

    It’s still crazy to think that not only do we have a Pennyworth series focused on the famous butler that would go on to take care of the Wayne family, but it’s also lasted for around three full seasons. While it’s moving to a new home, Pennyworth is also getting a new title. HBO Max has decided that they can’t entirely sell a Batman prequel series without the name in the title, which is now titled Pennyworth: The Origin of Batman’s Butler.

    It’s kind of a bizarre title choice, which seems like it was made to give that series an additional level of promotion. Plus, it might be their way of trying to make the third season stand out for those that haven’t seen the original when it premiered on Starz. It does seem like the series isn’t going through any major changes and sticking t its guns from previous entries, but the fact they had to find a way to shove Batman into that title is definitely more a marketing ploy than something creatively.

    There’s no word if they might end up finishing the series with the birth of Bruce Wayne, which may be the inspiration for that title. We’ll see if the series might end up finding a strong audience on the new streaming home and could potentially go on for another season or two. So, perhaps the origin of Batman’s butler will remain a staple as Warner Bros. Discovery continues to figure out their franchise.e

    Source: Twitter

  • HBO’s ‘The Last of Us’ Finds its Sam and Henry, Reveals Major Story Change

    HBO’s ‘The Last of Us’ Finds its Sam and Henry, Reveals Major Story Change

    The Last of Us cast is expanding in a big way. IGN is exclusively reporting that brothers Sam and Henry, who play an important role in the original video game’s story, will be played by Keivonn Woodard and Lamar Johnson, respectively. Set photos of the pair with Pedro Pascal’s Joel and Bella Ramsay’s Ellie circulated the internet a few months back, but no confirmation of the actor’s identities could be made at the time. In addition to Woodard and Johnson, the live-action adaptation has also cast Graham Greene and Elaine Miles as new characters Marlon and Florence. This duo is an entirely new creation for the show and did not play a part in Naughty Dog’s virtual series of post-apocalyptic adventures.

    The report says Woodard and Florence will be portrayed as a married couple living alone in the Wyoming wilderness, a state familiar to gamers as the home of Gabriel Luna’s Tommy and the basis of his survivalist community. Interestingly, the press release that came with the casting announcements included a bit of information that reveals a major story change for the HBO series. In the video game, Joel and Ellie meet Sam and Henry while on the run from a group of deadly scavengers in Pittsburgh, but in the show, they will instead meet the brothers while hiding from a revolutionary movement in Kansas City. While the movement itself remains unnamed, the group will supposedly be “seeking vengeance” when they encounter the protagonists on their cross-country journey.

    This is a departure from the events of The Last of Us Part 1, but it does sound a lot like the Washington Liberation Front from The Last of Us Part II. Perhaps this change was made to better connect the stories for a potential second or third season. It could also be that this revolutionary movement is a branch of the Fireflies, who play a large role in both games and may have reason to want revenge on Pascal’s Joel.

    Source: IGN

  • Walter Hamada Was Planning ‘Crisis On Infinite Earths’ Film Event

    Walter Hamada Was Planning ‘Crisis On Infinite Earths’ Film Event

    The hierarchy of power at Warner Bros. Discovery is changing, and the future of DC Films will never be the same. As has been widely reported over the last week, new WBD CEO David Zaslav has been busy making a series of drastic alterations to the company’s film slate. Batgirl, along with several other potential projects, received an unexpected axing, and nothing that’s been previously announced is still set in stone. According to The Hollywood Reporter, this includes projects that were never publicly revealed but planned as major announcements by DC Films President Walter Hamada. Perhaps the biggest idea that will likely not see the light of day? An adaptation of Crisis on Infinite Earths, which was reportedly being staged by Hamada before Zaslav changed the game.

    One of the most popular comic book tales to ever exist, Crisis follows the heroes of the DC multiverse as they come together to prevent its destruction at the hands of the all-powerful Anti-Monitor. The series concluded with the defeat of the Anti-Monitor, and resulted in the entire DC multiverse condensing into a single Earth. It seems likely this event could have been Hamada’s plan to converge the many tones and timelines presented throughout DC’s most recent films. With Zack Snyder’s original vision for the DC Extended Universe not panning out, the success of Joker and The Batman proving stand-alone worlds could still be profitable, and The Flash set to introduce the multiverse concept to the franchise, a Crisis-type situation did feel like a natural solution to all the chaos. After all, the comic is notable for its willingness to kill off characters and reset storylines for the sake of audience understanding.

    It’s worth noting that Marvel Studios just announced an adaptation of Secret Wars in its plans for the Multiverse Saga, the 2015 version of which is pretty similar in concept to Crisis. While this is entirely conjecture, it does make one wonder if Zaslav wanted to avoid comparison and opted for the hard, sudden reboot instead. For those who would still like to see a Crisis adaptation, The CW produced one a few years back with a major crossover of all its Arrowverse television series. That was well-received by fans and should be able to quench the Crisis thirst until a film is inevitably made in the apparently not-so-soon future.

    Source: THR

  • EXCLUSIVE: Sony Moving Ahead with New ‘Karate Kid’ Film

    EXCLUSIVE: Sony Moving Ahead with New ‘Karate Kid’ Film

    Sony is looking to move ahead on a new Karate Kid film.

    We here at Murphy’s Multiverse can exclusively reveal that Sony is looking to cast a teen lead for a new Karate Kid film. Sony is looking for a 17-year-old male, Chinese actor who speaks both Mandarin and English. The character is referred to as Li and is said to be small for his age, but tough, smart and scrappy. He is said to be a skilled fighter and a student in Beijing who finds his life uprooted after his mother moves them to Brooklyn, New York.

    Li is said to be struggling with a past tragedy, which drives a wedge between him and his doctor mom, who has managed to handle the same tragedy in her own way. After Li meets Mia, a student from his high school, and her father, Victor, at a local pizza restaurant, he’ll soon find his life has changed yet again – for the better. Li soon finds himself training Victor in the art of Kung Fu, despite his mother’s stance against violence and fighting, and ultimately back in the ring himself.

    The film does not yet have a director attached, but Rob Lieber (Peter Rabbit) is attached to pen the script. A start date has also yet to be revealed for the film’s production.

    News of a new Karate Kid film comes after it was revealed back in December 2021 that Sony Pictures TV renewed its contract with Cobra Kai creators Josh Heald, Jon Hurwitz, and Hayden Schlossberg. The deal is said to run for four years and allows for the expansion of the Cobra Kai and Karate Kid franchises. This new film looks to be its own entity separate from that deal as it is a feature film.

  • Development Has Been Halted on ‘Static Shock’ and ‘Supergirl’

    Development Has Been Halted on ‘Static Shock’ and ‘Supergirl’

    Warner Bros. Discovery might be moving full-steam ahead with The Flash, however, a new report from The Hollywood Reporter suggests plenty of other DC projects have been shelved – at least temporarily.

    In a new piece breaking down the status of projects in varying stages of development at Warner Bros. Discovery and DC, THR has suggested a slew of projects haven’t necessarily been canceled, but development has slowed. Per the outlet, Supergirl, Green Lantern Corps, Static Shock and a Superman film from writer Ta-Nehisi Coates have all seen their development come to a halt with no directors attached to any of the projects.

    Reports that Supergirl hit a speed bump first surfaced last week, with Rolling Stone stating the Flash spinoff was no longer moving forward. This report from THR suggests the project isn’t necessarily canceled, but rather, not a priority at the moment. That could potentially change depending on how The Flash is received upon release next year. As for Static Shock and Coates’ Superman, this marks the first news regarding the projects since they were initially announced, so it’s not entirely surprising that development has stalled on both.

    A Static Shock movie was first teased in August 2020 as part of DC’s FanDome event, with news coming a few months later that Michael B. Jordan would produce the project for Warner Bros. along with Reginald Hudlin on the film. The project looked to be gaining steam after hiring Randy McKinnon in March 2021 to pen the script. Unfortunately, that was the last bit of movement on the project since its initial announcement – the same goes for Coates’ Superman film with producer J.J. Abrams.

    With Warner Bros. Discovery viewing Superman as a viable franchise for its DC brand, it remains to be seen whether or not the studio opts to bring back Henry Cavill or opt to introduce a brand-new Man of Steel. Either way, it seems likely Superman will fly again, it just remains to be seen which Superman it’ll be.

    Source: THR.

  • Brett Goldstein Comments on Reactions to Hercules Cameo and His Uncertain  Future in the Role

    Brett Goldstein Comments on Reactions to Hercules Cameo and His Uncertain Future in the Role

    A major talking point coming out of Thor: Love and Thunder was the surprise cameo in the film’s first post-credits scene. In it, actor Brett Goldstein was revealed to have been cast as Zeus’s son, Hercules.

    Goldstein is well-liked for his role as Roy Kent in the acclaimed Ted Lasso series. His brief appearance in the credits of the fourth Thor film was likewise well-received by general audiences. In an interview with The Playlist, Goldstein opened up about his feelings about fans’ positive reactions. He stated:

    It would be a real bummer if people weren’t interested. Of course, I care. I have to say I was surprised and delighted, as in it seemed to get a real positive response. And that, it’s amazing. I just, I’m not in charge of what they’re doing or what they want to do. And in a way, that was an experience that I hadn’t had for a long time, where I had no involvement in the behind-the-scenes of it. Look, you’re in f**king good hands. They make really good shit. You know what I mean? And Taika Waititi’s fucking brilliant, so it was like, ‘I’m in the best hands possible.’ But, it’s amazing. Who knows if anything will come of it, who knows, but it was a fun thing to do, and I’m pleased that people seem to have enjoyed it… I’m going to eat 30 chickens a day from now on; it will be fine.

    Brett Goldstein

    While there is no official news on how Goldstein or Hercules will contribute to the Marvel Cinematic Universe in the future, there is little doubt that Marvel Studios has plans for the character after the exciting cameo and reveal. Still, the actor stated that “who knows if anything will come of it,” which will continue to stir up rumors about where Hercules might appear next. Goldstein, like many actors and creators in the MCU, may very well be completely in the dark just like the rest of the world. Or, perhaps the actor has already mastered Marvel Studios’ secrecy in interviews.

    Thor: Love and Thunder is currently playing in theaters.

    Source: The Playlist