The latest episode of Ms. Marvel has arrived and gave us something that mixes a personal story with one of an important part of history. We take a look back into the past that was the Partition, an important milestone in South Asian history that isn’t something many people have come to learn. In this episode, we meet Kamala Khan’s great-grandmother Aisha, who is played by Mehwish Hayat. In an interview with Total Film, she offered some insight into what it was like being part of the MCU.
The experience itself was magical for me being Aisha and being, as a Pakistani actress, launched on such a global platform. It’s Marvel, it doesn’t get any better than that
Mehwish Hayat
Of course, the big part of the story is the exploration of the Partition, which was a big moment in history for South Asians. So, being able to tell that story on a platform as large as Disney+ definitely puts more eyes on the events.
It’s a very important part in the history of South Asians. All of us know about it, and our ancestors have actually gone through the pain, the trouble, and struggle with all that went down. It is a very sentimental episode in our lives and our history. It will be amazing for South Asian people of the younger generation to get a glimpse of that. And also for the Western audiences who didn’t have any idea about this happening in the world, they’re being introduced to this time in our history.
Mehwish Hayat
The big part Hayat adds is how it’ll let others understand “the pain that we went through” and how it’s a historical event that unites people. Hayat praises Marvel for embracing the storyline and not shying away from exploring it.
It will allow them to actually understand the pain that we went through,” she adds. “It just brings people together and I think it creates that bridge between them to understand on a human level that, ‘Oh my god, this is how much they suffered.’ It’s such a beautiful way that Marvel has actually been brave enough, or experimental enough, to incorporate that.
Mehwish Hayat
It definitely was interesting to witness it and it does make you wish they got to spend more time with it. We got a memorable performance from everyone involved, and just seeing history brought to life like this will mean something important for those that passively lived through it through their ancestors.
The Guardians of the Galaxy franchise just wouldn’t be the same without its iconic music. Director James Gunn added a lot of energy to the franchise with his work and made some songs deeply tied to the space-traveling pirates that end up saving the world at random times here or there. With not only a third entry on the horizon but also a Holiday Special, many wondered if both projects may end up getting their own music.
Luckily, James Gunn confirmed that a new Awesome Mix is heading our way with the upcoming Disney+ Holiday Special. There are no details on what songs he might include but given the topic, we might get some fun Christmas and Holiday songs were thrown into the mix that might add something special. Here’s hoping there are even some surprises thrown into the mix that will catch us off-guard.
There’s likely a chance we’ll get a glimpse of the music once the first trailer drops. As it’s definitely heading for a Holiday release later this year, we might not see the official trailer until October given they usually release the first trailer for a Disney+ project around two months in advance. Of course, it’s just a theory but it definitely will be interesting to see how the music for these projects may also differentiate between the Holiday Special and the third entry that’ll follow in 2023.
My pick to helm Marvel Studios’ Fantastic Four film would be Deborah Chow. While someone like Peyton Reed, who has expressed his interest in helming a Fantastic Four film, would seem like a more ideal choice, Chow’s star has rightfully been on the rise in recent years. The director earned her first credit thanks to a short titled Daypass in 2002. She then followed it up with a short titled The Hill in 2004, followed by her first feature with 2010’s The High Cost of Living. It wasn’t until she stepped in to direct an episode of Copper that Chow truly launched her career in television. Like most, she built her resume by directing episodes of multiple CW shows, but once she stepped into the Marvel universe – courtesy of Netflix – Chow really proved that she had the ability to deliver something impressive. One has to imagine it was her work on shows like Jessica Jones and Iron Fist that ultimately led to her being hired to helm episodes on The Mandalorian before landing Obi-Wan Kenobi. Giving Chow the chance to shine on a big feature film such as Fantastic Four would be a pretty fantastic move. Obi-Wan proved Chow has the chops to play in a larger playground, it’s just a matter of giving her the chance to shine on a big-budget feature.
Jared Kirschenbaum on Justin Lin
The Fantastic Four can be defined by a single word: family. And if anyone is qualified for the task of ushering Marvel’s first family into the MCU, it’s Justin Lin – the director who made The Fast and the Furious into the massive franchise it is today. Lin helmed 5 Fast and Furious films (The Fast and the Furious: Tokyo Drift, Fast and Furious, Fast Five, Fast andFurious 6, and F9: The Fast Saga), so he knows his way around a big-studio blockbuster. However, it was Lin’s vision for the Fast and Furious films that transformed them from a streetcar racing movie series to a high-stakes global adventure series centered on a multicultural found family. Additionally, if a director’s time on the show Community is any indication of how well they’d do in the MCU, then Justin Lin should have no trouble directing Fantastic Four. Like the Russo Brothers, who are responsible for some of the all time greatest MCU films, Lin found great success on Community. Lin directed 3 episodes of the show, including the first paintball-centric episode “Modern Warfare”, one of the show’s best. With all of that, combined with his work on Star Trek Beyond, which had a vast ensemble acting as a surrogate family and reintroduced the series to its 60’s sci-fi roots of exploration and adventure, Justin Lin almost seems tailor-made to direct Fantastic Four.
Hunter Radesi on The Daniels
The Fantastic Four aren’t your average superheroes, and they deserve a pair of directors who aren’t so average either. The Daniels shocked the world this year with the release of their hit film Everything, Everywhere All at Once, crafting an incredibly entertaining tale about a family surviving their way through the unpredictable unknown. This is more or less exactly what a good Fantastic Four adaptation needs to be. Previous attempts at bringing Marvel’s First Family to life have failed in understanding the group thrives more on adventure than they do super heroics. The best tales typically involve Reed, Sue, Ben, and Johnny exploring the far reaches of space and time on some sort of wacky mission, not fighting thugs on the streets of New York. Kevin Feige and company would be smart to hedge their bets on an indie duo with a mastery in mixing outright weird with downright emotional.
João Pinto on Alex Garland
The upcoming Fantastic Four feature film will undoubtedly shape the Marvel Cinematic Universe (MCU) for years to come. Marvel Studios seems to be taking its time when it comes to the introduction of Marvel’s First Family and that alone shows us just how pivotal the project is set to become. Another aspect differentiating this project from most other recent MCU offerings is that the director’s chair is likely to be given to a more established director within the industry.
2. While no names have surfaced, multiple sources say while it’s a large mix of candidates, Feige and company are taking a lot of shots at some big names.
With the sheer volume of MCU projects that Marvel Studios is putting out each year, it comes with little surprise how Kevin Feige doesn’t want to have to oversee a shoot of this magnitude himself, thus allowing him to pay more attention to several other, smaller scale, projects.
One source close to process, “Kevin doesn’t want oversee entire shoot and after not having to worry about that with Raimi, he is very game to same outcome with this shoot.”
This shortens the list of possible directors, as many big names might not want to focus their energies on a sci-fi franchise, and those who would might not be the most accomplished of the bunch. One name that does come to mind, with an impeccable track record both in terms of writing and directing as well as being immensely versed in high-concept sci-fi, is that of British writer and filmmaker Alex Garland.
Garland, known for his work in Ex-Machina, Annihilation, and the fantastic miniseries Devs (as well as his contributions to 28 Days Later, 28 Weeks Later, Sunshine and Dredd) would surely bring the inventiveness of his approach to science fiction into the MCU, something a Fantastic Four feature film feels like the perfect vehicle for. He has the track record within the industry to be able to lead such a project and the creative freedom Feige is willing to give whoever ends up with the job could perhaps sit well with Garland, that is known to enjoy being in almost complete creative control of his directorial endeavors as he has written all five of them.
Charles Murphy on Steven Spielberg
As they’ve expanded from 3 movies per year to 4 movies and 3-4 streaming projects per year, Marvel Studios has had to learn on the fly. As it should be, learning is continuous and one lesson learned by Kevin Feige over the last year is that unlike Evelyn Quan Wang (now you see why this one falls in line after Hunter’s!), he cannot be EVERYWHERE all at once. Feige learned that lesson by finding someone he felt comfortable relinquishing some day-to-day control to on set in Sam Raimi. And that discovery has emboldened Feige to shoot for the stars as he looks to replace Jon Watts on Fantastic Four. If Feige is looking for a seasoned, successful person to usher the First Family into the MCU, he need look no further than Steven Spielberg. Spielberg can wear all the hats required to keep a production up and running, has proven his mastery of the sci-fi, action and humanistic genres and is comfortable working with any mix of practical effects and CGI.
Spielberg is a big fan of superhero films, with Marvel Studios Guardians of the Galaxyapparently at the top of of list (at least at one time). He was keen on working with DC on an adaptation of Blackhawk, but while the project is reportedly still alive, Spielberg’s attachment to it is now unclear. Imagine a high-concept sci-fi film (Minority Report) that captures a sense of adventure (Raiders of the Lost Ark) and explores the unknown (CloseEncoutners of the Third Kind) while keeping the focus on family (The Goonies) and you have what a true Fantastic Four film should be. And if you don’t think big name actors won’t be lining up to work with Spielberg on a Marvel Studios project, you aren’t paying attention.
MTF III on Rian Johnson
In Rian Johnson, Marvel wouldn’t just be getting a director with an art house sensibility who has experience within a mega-franchise, were they to choose him for Fantastic Four. The Star Wars: The Last Jedi director has demonstrated both the sci-fi bona fides (see Looper) and the ability to juggle a large ensemble with a wide range of character types (see Knives Out and its forthcoming sequel). And while we don’t know yet who will be cast to play Reed Richards, Johnson’s previous work with Joseph Gordon-Levitt (one of my top choices) shows that he can offer audiences a more cerebral protagonist than the standard wise-cracking square-jawed lead.
His Fantastic Four would have a smart, brisk script, visual flourishes (who could forget the Holdo Maneuver shot or the salt planet battle in The Last Jedi), and emotional depth, while still slipping in physical and situational humor. Admittedly, it wouldn’t be saccharine and sweet, as Johnson is always aware of and in dialogue with the genres he employs. He wouldn’t replicate the 1960’s-style exploratory science fiction of a Lost in Space or Doctor Who without also infusing it with self-awareness and recognition of how their familiar tropes have been employed, so that he can subvert them. And in my opinion, the key to a truly great Fantastic Four project in the 2020s will be a willingness to interrogate and subvert well-worn and traditional archetypes, so that modern audiences can engage with them on a deeper level. Johnson has shown the ability to do that, all while still making crowd-pleasing blockbusters.
Torbjorn Frazier on Peyton Reed
Something to consider for the Marvel Cinematic Universe’s Fantastic Four is that Kevin Feige and co. may want to play it safe with what could become the MCU’s flagship franchise and go with a more conventional take on the team for the first film. And with that in mind, Peyton Reed would be a logical choice to direct. First and foremost, it is known that Reed was involved with the creation of a Fantastic Four film in the early 2000s that never made it past development hell, so he at minimum has some sort of vision for these characters. Before discussing his involvement with Marvel Studios already, Reed’s direction of the season two finale of The Mandalorian showed that he has the ability to showcase characters and moments with great pathos that resonates greatly with audiences. And when it comes to the Ant-Man films, Reed has shown the ability to create relatable family dynamics that rank among the best in the MCU. Above everything else, Fantastic Four needs to establish the team as Marvel’s First Family, and I fully trust Peyton Reed to do that. And with Ant-Man and The Wasp: Quantumania releasing in less than a year, we will finally get to see what Reed can do in a high-scope and high-concept project that could be critical for the future of the MCU. While not the most appealing to fans at first blush, I truly believe that Peyton Reed would be a serviceable pick for the first Marvel Studios-produced Fantastic Four film.
As Stranger Things 4 remains in the cultural zeitgeist for some more time past its recent release, news is beginning to circulate about new projects within the universe that will be in the works down the road. Firstly, The Duffer Brothers are officially launching Upside Down Pictures, a subsidiary production company under Netflix. The notable duo has hired experienced television executive Hilary Leavitt to run the organization. In a statement, The Duffer Brothers discussed their excitement for her to have an active role in their company.
It didn’t take long into our first meeting with Hilary, where we bonded over films like Jaws, Home Alone and Speed, to know we had found a kindred spirit. Hilary’s passion for storytelling is perhaps matched only by her passion for the storytellers themselves, for whom she is fiercely protective. No wonder so many writers and directors are drawn to working with her. She is a rare talent indeed, and we feel extremely grateful to have her at our side as we build Upside Down Pictures.
The Duffer Brothers
With the formation of this production company, news of the first batch of projects under their banner is being unveiled. Namely, a live-action Stranger Things spinoff series also created by The Duffer Brothers is in development. Not much is known about who and what will be covered in this new series. And with the large ensemble of characters still around, it’s hard to determine main contending options (assuming that the series will directly follow any of the current main cast of characters).
As well, Upside Down Pictures will follow the footsteps of the Harry Potter franchise, as a stage play set within the world, and the mythology of Stranger Things is currently in the works. Director Stephen Daldry of The Crown, Billy Elliot, and The Reader fame will be helming this project. It certainly will be fascinating to see if this universe and franchise can be successfully transposed into the stage medium. And overall, it will be a story worth following to see if these ancillary Stranger Things projects will have legs to stand on, especially when the series ultimately reaches its near conclusion.
It looks like Netflix isn’t quite done with Stranger Things or Death Note, as the Duffer Brothers‘ newly founded Upside Down Pictures is now involved with a new production. Orphan Black and Ozark’s Hilary Leavitt joined the production house to run it and they are actively working on another attempt at a live-action Death Note series for the streaming giant.
There are no details on how they might be tackling this adaptation outside of it definitely being a series, unlike the 2017 film adaptation. There’s no word if they are only in a producing role or if they might even be showrunning the project, as they will also be busy on adapting Stephen King and Peter Straub‘s The Talisman. It’s Netflix’s second attempt at the franchise created by Tsugumi Ohba and Takeshi Obata.
In 2017, Moon Knight writer Jeremy Slater alongside director Adam Wingard gave their shot at bringing the franchise to life. Supposedly, a sequel was even in development by Greg Russo back in 2021 but this new series may be a hint at that project having been scrapped at some point. The concept does lend itself more to a serialized format, yet even a Japanese production broke the first half of the original manga into two films back in 2006. Whatever they have planned, Willem Dafoe is still the perfect Ryuk. So whatever they may end up going, they should still bring him back if he is game to bring the Shinigami back to life.
Sony has been busy preparing work on their upcoming Madame Web film, which will see an all-star cast consisting of Dakota Johnson, Sydney Sweeney, Emma Roberts, and Isabela Merced. Jessica Jones‘ S.J. Clarkson will spearhead the project and direct the film based on a screenplay by Kerem Sanga, Matt Sazaa, and Burk Sharpless. Now, it seems that The Walking Dead cinematographer Duane Charles Manwiller has not only confirmed his involvement but added someone else’s as well.
Manwiller has seemingly added to his Instagram account that he is actively working on the latest Spider-Man spinoff film from Sony that will likely not feature the webhead. After Venom, Morbius and the still in-production Kraven the Hunter, Sony has been trying to get its own franchise running. Yet, which might surprise many, Manwiller may have hinted that Marvel Studios is also involved with the production.
There have been rumors that Olivia Wilde‘s unconfirmed Spider-Woman film would also be co-produced by Marvel Studios, as she hinted at Kevin Feige‘s involvement. Perhaps he’s started taking a more active role in these projects, but there’s no real confirmation on how the project will come together. If it is indeed under Marvel studios’ umbrella, we’ll likely get the logo included with the official reveal. Yet, there’s also a chance he simply added it in as it seemed to be part of the co-production that Tom Holland is leading.
In typical penultimate episode fashion, Ms. Marvel’s “Time and Again” spends the thrust of its runtime in 1940s India following the mysterious Aisha. On some level, the episode did what was somewhat expected of it—the viewer got to see the entire “last train to Karachi” story that the series had been hinting at since the second episode. So much of Kamala’s story and super-origin rest on Aisha and her death, so watching it play out resonated on another level than dealing with it through exposition. While every moment of the episode had the potential to reveal an answer to a major question, it was almost surprising how little the audience’s understanding has changed by the end of Episode 5. The episode is another prime example of phenomenal storytelling by the series, but it is the first time it has felt somewhat frustrating in the lack of details and foundation. The rushed Clandestine demise also opened up the door for a very uncertain and unpersuasive final adversary for Kamala. Considering Marvel Studios’ Disney+ track record, the fact that so much is seemingly left for Ms. Marvel’s finale is as nerve-wracking as it is exciting.
And the larger flashback sequence was beautifully human, even with freckles of Najma and bangle treachery sprinkled in. It invoked pure warmth and love between Aisha and Hasan, and the family stronghold of Ms. Marvel has proven once more to be one of its most expertly crafted elements. Not only was the human element noteworthy, but Marvel Studios took a (relatively) bold step into depicting the real historical world events of Partition. While Captain America: The First Avenger certainly brought a campy, sanitized, and fantasized version of World War II to the table, Episode 5’s portrayal of Partition and the events surrounding it is a far cry from what the Marvel Cinematic Universe has been willing to acknowledge before.
Even though “Time and Again” undoubtedly tread the path of resolving the underlying mystery of Kamala’s powers, it somehow left even more questions to be answered. Most significantly, Kamala clearly did some version of time traveling to lead Sana back to her father. Such an act has countless and far-reaching potential consequences in the MCU, yet it is not explicitly confirmed or further explained in the episode. It potentially answers the question as to where the second bangle is—Kamala brought her own into the past—but that still is far too uncertain. Sana’s comment that, while everyone would love to know what is going on, is simply just the product of two people in love making something bigger than themselves, is a bit concerning for those wanting answers. That note almost seems to signal that the finale does not intend to fully flesh out the inter-dimensional elephant in the room, which is frustrating.
The “veil” breakdown toward the end of the episode, unfortunately, fell a bit flat for a similar reason. The Noor Dimension had been built up as the driving plot device and, in a way, adversary. It seems to have come and gone quickly with little explanation for why it opened up a portal in the first place. Moreover, Najma having the ability to close it and transfer completely out-of-nowhere powers to Kamran also invokes far more questions in a series that previously felt like it carried just the right amount of secrets.
Still, the ups and downs of Episode 5 were genuinely entertaining. While Ms. Marvel has not reinvented the MCU wheel, the edge-of-your-seat feeling during the train station scenes and the longing for answers is a happy consequence of the series’ ability to tell a moving, gripping, and intriguing story. While this penultimate episode maybe did not provide the number of surprises expected or hoped for, the thrill of the ride thus far is, for the most part, unmatched in the MCU.
Overall, “Time and Again,” is immensely enjoyable as its own story, but it manages to be frustrating in how much it holds back. The MCU series are notorious for rushed and forced-feeling finales, and where this episode leaves off is not particularly encouraging in that context. It is unclear if the ultimate villain is supposed to be Damage Control (which we have not seen do anything of substance or character since Episode 2), or if Kamran will keep the Clandestine adversarial line afloat. Either way, neither of those two options make much sense going into the finale, particularly since Kamran’s status has been so consistently fluffy as to have no real impact.
The Ms. Marvel finale certainly has a lot of work to do to wrap up what has so far been a very satisfying series. If a second season lingers, it would make sense that so much still feels unsettled. But if Kamala’s bangle and powers are not legitimately explained in the final episode, the series will be leaving itself a hole considering the gradual reveal has been the most enjoyable part of the series’ plot by far.
Welcome to Wednesday, teammates! The Morning After Huddle is bringing you all things NFL. Buying the Seahawks will cost you a mere $3.5 billion and if you have the time to wait, the price is worth it.
Here’s what you need to know:
Rumors are running wild about the Seahawks being sold. However, Seahawks chair Jody Allen says don’t hold your breath. The team is apparently not for sale, but…could be in the future. Jody explains, “estates of this size and complexity can take 10 to 20 years to wind down. There is no pre-ordained timeline by which the team must be sold.” Save your pennies, folks.
Former NFL player Demaryius Thomas’ family says the last year of his life was full of twists and turns, including increasingly erratic behavior, paranoia, and memory loss. The story gets a bit more muddied as Thomas was posthumously diagnosed with stage 2 CTE, but exactly how he passed away remains to be seen. Doctors suspect that Demaryius most likely died of suffocation after a seizure. As previously reported, Demaryius had a number of seizures since 2019.
A fairly quick huddle today, but we appreciate you stopping by to break down all things NFL with us. Join us tomorrow for your Thursday news and more topics you want to know.
There have been quite a few rumors surrounding the upcoming Echo series. Not only would it continue the storyline of the character introduced in Hawkeye, but also potentially add even more screentime for Charlie Cox’s return as Daredevil. Now, a new rumor has hit the web from the folks over at Weekly Planet. During the Hot Scoop or a Shot of Poop segment, James Clement hinted at what he heard about the upcoming appearance of the Man Without Fear.
While the series is still set to focus on Alaqua Cox‘s character, it does seem like Daredevil will be featured in around three episodes. Vincent D’Onofrio is also set to return and will be around for four of the total six episodes. He may be wearing an eye patch from his last meeting with his adoptive daughter. The big reveal, however, is that Charlie Cox‘s Daredevil is actively seeking his fellow Defender, Jessica Jones.
Yep, Daredevil is in it for three episodes, as in Charlie Cox. Kingpin, Vinnie D’Onofrio is in four. The Kingpin storyline is building up to him running for mayor of New York City. Apparently, he’s going to be wearing an eye patch because he was shot in the head in Hawkeye… Daredevil is also going to be rocking a red and black suit and is looking for Jessica Jones.
James Clement
There have been rumors that Krysten Ritter was potentially going to make a return in one of the upcoming Disney+ series. Her arrival in the Echo project would be quite the surprise and could hint at a cameo. The question is also why he’s actively looking for her. Perhaps she has some dirt to take down Fisk once again, or a Defenders reunion is in our future?
Disney+ did recently change the title of the Netflix series to A.K.A. Jessica Jones, which further hints at some kind of major plan for the character with a potential new series. We might have to wait a little longer until we truly find out but if this rumor turns out to be true, Echo could be climbing people’s must-watch lists.
When Natalie Portman moved away from the Marvel Cinematic Universe after her work on Thor: The Dark World had seemingly ended her working relationship with Marvel Studios. At least, that’s how the world viewed her exit from the franchise for many years. Many were surprised when she walked on stage to take on the mantle of Mighty Thor for Thor: Love and Thunder and it seems that Marvel Studios president, Kevin Feige, never saw it as a split.
Kevin Feige highlighted in the interview with Empire that the external perspectives of Natalie Portman having exited the Marvel Cinematic Universe “didn’t feel that way to [him].” He goes on to highlight that “it was [his] impression that if it was an interesting role, she would be game.” There also wasn’t truly a story that seemed like the perfect time to bring her back, which wouldn’t be until
Director Taika Waititi pitched the idea directly to Natalie Portman and was a big part of bringing her back to the franchise. It also wasn’t something he set out to include initially, but just developed while writing the story. So, we’re lucky that he had the inspiration o bring back the iconic character and give Portman‘s Jane Foster another run to give her something to work with. Here’s hoping it may also et up many more stories to come in the future giving us a look at how Mighty Thor finds her place within the MCU.
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