Here’s an interesting surprise. As the first The Mandalorian spin-off, we all assumed that The Book of Boba Fett will also run for the usual eight-episode season. Yet, it turns out that the upcoming Disney+ series will have a shorter run, as the official Star Wars account just revealed it’ll consist of seven episodes once it premieres on December 29th. It’s great to see that the shows aren’t going to be clustered by a specific length and we’ll see how jam-packed the upcoming episodes will be with a shorter runtime. It’s curious though they’d just sneak this information into a tweet. Yet, it certainly got our attention alongside the amazing character posters for Boba and Fennec Shand.
While the trailers offered a tiny glimpse into what the spinoff series has to offer, it’ll be interesting to see Boba Fett’s conflict in his new role. We’ve always associated him as a badass bounty hunter, but never as a true leader. While he can certainly kick-ass, it doesn’t mean he can keep Tatooine’s underbelly at bay. So, while he can take on anyone that wants to steal his throne, he’s likely going to face quite the uphill battle.
We’ve all been waiting for some more news on the upcoming Aquaman sequel that’ll explore the mysteriously lost kingdom. James Wan has still remained coy on what exactly the film’s title is hinting at and what the future of the franchise has in store for us. We did learn that Dolph Lundgren would reprise his role back in October, as he shared an Instagram post with part of his wig already on from the set. It was an interesting surprise due to his role as King Nereus and it opened up many questions about how he might tie into the story.
In an interview with THR, the actor didn’t quite give away any details on what to expect but did tease that we can expect quite a bit of an upgrade from the previous entry. The films take place in Atlantis and it was no small task filming everyone in a way that makes them feel like they’re truly underwater. According to Lundgren, the effects have already come a long way to make that effect even easier and praise Wan‘s involvement.
That whole picture is just a class act. I think [Aquaman 2] is better. I think the script is stronger and it’s more exciting. The technology has moved forward in four years, so I was really pleased to be a part of it. James Wan is just going to blow everybody away again by this tremendous world that he creates. He’s involved in every little detail, even every little piece of every weapon, and I think it’s going to be great.
He’s certainly excited about the upcoming sequel and it’ll be interesting to see how the new technology may have changed elements from the production. We’ll likely not spend all the time underwater due to the adventure-vibe the first film gave off. With the first photo teasing an icy location, we’ll get quite a few new locations to explore in the sequel. If it’s anything like the first film, we’re in for a great time.
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.
It looks like Tom Holland may just be stuck playing Spider-Man until he’s 30 after all. In an interview with Fandango, Sony Pictures producer Amy Pascal revealed that Sony and Marvel Studios have plans to continue to work together on a new trilogy of Spider-Man films, saying “Marvel and Sony are going to keep going together as partners.“
Tickets for Spider-Man: No Way Home went on sale last night and caused chaos. With press screenings for the film set for this week, the press cycle has officially kicked off and Pascal told Fandango that not only is No Way Home not the end of the road for the unprecedented deal, but that the two studios are planning another trilogy:
This is not the last movie that we are going to make with Marvel – [this is not] the last Spider-Man movie. We are getting ready to make the next Spider-Man movie with Tom Holland and Marvel. We’re thinking of this as three films, and now we’re going to go onto the next three. This is not the last of our MCU movies.
It’s unknown what further collaboration between the two studios will look like, but with Tom Hardy’s Venom crossing over into the MCU it’s possible that future could include Holland’s Spidey coming face-to-face with the symbiote.
We’ll continue to cover this story as it develops.
The first episodes of Hawkeye shot onto our streaming screens last week with aplomb. The confidence with which the show mixed character moments within the shared storyworld of the Marvel Cinematic Universe is worthy of a bullseye. The story feels contained so far in connecting to Clint and Kate while also allowing for small flourishes of a wider world. One of the show’s directors Rhys Thomas spoke to The Ringer-Verse podcast about how Kevin Feige and Trinh Tran managed to help the show create that contained yet subtly expansive quality.
While speaking to The Ringer, Thomas was asked about whether Marvel Studios gave those working on the show existing characters and storylines they had to integrate into the story. He goes on to say, while there were some natural elements like that, a lot of the show is created without knowledge of the storyworld. Knowledge of other MCU projects would only arrive through pitching something similar to what was being produced at the time.
There’s sort of these character packets and some storylines, but they do, interestingly, I think, allow the shows to kind of exist within their own little sandbox for, you know, for quite a while. And sometimes the only way you find out about what might be happening in another show is just when you come in excitedly in the morning and pitch an idea, only to discover that it’s already happening somewhere else. And, again, that happened multiple times, where in the middle of the night, like, ‘Oh, my God, this is it. This is the thing that’s gonna fix the thing.’ And then you come in, and they’re like, ‘No, we can’t do that.’ Sometimes Kevin will be the only one that knows that. So you might even get a few tiers in and finally pitch it. And then it’s like,‘No buddy.’ That’s what you’re relying on is Trinh and Kevin. They will come in with certain things, whether it’s a character crossover, but I wouldn’t necessarily say it was always there at the beginning. That’s what’s kind of amazing about what they’re doing. It’s such a vast enterprise now, in terms of all the shows, and that, I think, it’s kind of a moving target. And they do allow room, I think, for the show’s to evolve.
Rhys Thomas
It’s fascinating that the shared storyworld aspect of the MCU is marshaled by the producers. While Trinh Tran focused on guiding Hawkeye’s writers, directors, cast and crew to make the best show it can be in a self-contained way, it’s also clear she and Kevin Feige are looking out for project crossovers. There are clearly some elements of the story that Rhys Thomas pitched that were also happening in other projects so those ideas didn’t move forward beyond. Even more fascinating still, is that some of these ideas might have made it past an initial pitch with Trinh Tran before Kevin Feige revealed something similar was happening elsewhere in the MCU. There are some interesting levels of secrets to crossover aspects of the Marvel Cinematic Universe! It’s intriguing to think about how Marvel Studios’ producers keep that shared momentum up, as well as what aspects of Hawkeye could exist elsewhere in the upcoming MCU.
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.
Disney+ series has quite the flexible runtime from episode to episode. Not only do we have to take into account that there are also quite a few minutes included for credits, but each series doesn’t force each episode to follow a specific runtime structure. The first two episodes of Hawkeye were quite extensive and it looks like the next two entries might be going for a shorter runtime.
Insider Amit Chaudhari has shared a new tweet hinting that the next two episodes will run for around 80 minutes combined. That is quite a bit different from the first two, which ran for 50 and 52 minutes. Keep in mind, these are not the full length of the actual story but also include the credits. So, the actual story part might be closer to around 35 minutes each. Of course, it’s uncertain how exact these numbers are and it could just be a general hint rather than the exact runtime.
While Marvel Studios has set a benchmark for their different types, such as dramas focusing on one-hour episodes and comedies moving closer to 30-minutes, they never forced a specific runtime on their talent. So, it’s great that they try to make each episode work at its own speed and we’ll see if the short runtime might be a hint at more action taking place. We already got a tease in the Disney+ Day MCU special. So, we’ll see how the episodes build upon each other.
The numbers are finally in for the weekend, as Encanto has taken the top spot for the weekend with $40.3M over 5-days. It’s noticeable that 52% of its cume is from Latino and Hispanic audiences. Internationally, the animated Disney film kicked off with $70M. Ghostbusters: afterlife was the film’s biggest competition with a strong $35.3M weekend. As Deadline points out, their audiences had a strong crossover and may have taken a bite out of each other’s success over the weekend.
Technically, Encanto made $27M over three days. That is a tight race for the top spot if you discount the early release for the film. The positive aspect is that it proves families are slowly entering theaters more and more again. Universal and Illumination have high hopes for the upcoming December release of Sing 2 that has a similar audience structure. Still, it was a mellow weekend overall which was down quite a bit in comparison to pre-pandemic numbers.
Still, House of Gucci was the first drama to really find an audience over the weekend, as it had the highest opening for a drama with $14.2M in three days, even growing to $21.8M in five. For comparison’s sake, as Deadline points, we haven’t had a strong drama opening since 2910’s Little Women over Christmas. We’ll see if this is a sign that they will also see more recovery in the coming weeks.
The show does love keeping us from actually spending time with all three of our main cast members. Luckily, we get some fun interactions between Faye and Spike while Jet is off taking care of some business. It’s strange the show still refuses to stick to what makes the core concept work, but we do get a great film noir-inspired episode involving why Jet got his metal arm. Will it fumble with the separation, or push forward?
Mustafa Shakir‘s Jet is our main character this time around and we get to explore his time as a cop alongside an old friend. The episode mainly takes from “Black Dog Serenade” but continues an interesting trend this Netflix show seems obsessed with. It avoids keeping stories ins pace or on space ships outside of the Bebop. Instead of keeping Udai Taxim in the visually interesting environment of a floating prison ship, but at a cliché noir dock.
Ignoring that, the noir-tinted lens adds an extra layer to the story even if it doesn’t come close to what the original managed to accomplish. While it’s mainly the same and as a viewer of the anime lacks a true surprise, it does feel like the first time Jet having a daughter played into the story. Chalmers is their main suspect throughout and it adds a personal reason for his suspicions. The twist in the story is given more weight as Jet becomes his undoing and there’s a kindness by the one he originally blamed.
I will say, this episode seems a bit too early in the story. There’s no real connective tissue that leads into a reason for this story taking place, as outside of a short discussion surrounding his arm, we already know he’s a cop. For a show that tries to build up many story threads, this one seems. a bit random given it is a much later addition in the original. Still, what they do with the episode is enjoyable and I like his dynamic.
It does seem to exist primarily for Spike and Faye to build a report with each other. Here’s a play on the original entry that works, as instead of all the convicts still being on the same ship as Udai, they become a catalyst for some fun banter. While I do wish they went out to hunt one of them down, we get some fun interactions between the duo. Yet, I do wish we saw more than one flashback for a bounty to get a feeling for how they got their scars rather than just words. It’s a running gag they are terrible at capturing actual bounties, and it was a fun way to also have Faye get swept up by Spike’s laid-back tempo.
Overall, Jet steals the show and we get some fun noir-style storytelling even if it feels a bit early for this particular flashback. Faye and Spike’s exchange is a fun element for the episode to add a distraction. Sadly, it does highlight that the show’s 40+ minute runtime makes it difficult to tell specific stories without adding some fluff. It’s probably the biggest challenge of this adaptation due to its unique format from the original. It’s just still a tough decision to constantly keep this cast apart throughout the series 10-episode runtime. We’ll see if they get a better feeling for it with future episodes.
I’m not going to tell you the answer to that. You’re going to have to ascertain for yourself. I’m a member of three goddesses: Lucy Liu as Kalypso and the third goddess played by Rachel Zegler, who will be a huge star in a very short space of time. So there are three of us together, and that was really a great experience because it’s so infrequent that you get to spend a whole of a movie with two other women. So often you’re the only woman in the cast. Here we were a trio, and that was great. I loved it.
Helen Mirren
What doesn’t help the confirmation by Mirren is that Rachel Zegler took to Twitter and had a very curious reaction towards the statement shared by @ShazamNews that adds more fuel to the fire on her being the third sister.
So, it is safe to say that our story was on the money with her role. The reason she is still being kept a secret might be due to her role of going undercover. We saw her alongside Jack Dylan Grazer‘s Freddy Freeman. We’ll see if there’s a curious twist not only surrounding her identity but also her alliance moving forward.
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