Alaqua Cox might just be the MCU’s boldest discovery yet. She’s a newcomer with zero experience in acting and performing prior to her supporting role in Hawkeye as Maya Lopez yet Marvel Studios saw it fit to give her a spin-off show in Echo, which was just confirmed this weekend.
I spoke to Hawkeye producer Trinh Tran on what convinced Kevin Feige and Marvel Studios to give Cox her own series based on her performance alone. Tran’s answer was nothing short of exciting:
She is such a badass in this series. She really completely impressed us all with her determination and hard work in wanting to make sure Maya Lopez is the way everybody wants. I have to say there was a bit of nervousness at the beginning because Alaqua hasn’t been a part of the industry. To get somebody brand new and pull her into a character like Maya Lopez, it’s a big deal. But she took it in strides, worked hard, and proved to us that there is a character who’s deaf but is able to be a part of the MCU and be a superhero in her own right.
The Hawkeye trailers haven’t given audiences much Echo at the moment. The first two episodes we got to screen didn’t feature her much either. But the enthusiasm Marvel Studios has for her is nothing short of infectious. The mere prospect of Cox holding her own against rumored Echo co-star Vincent D’Onofrio sounds like a must-watch so we’re hoping to see the full scope of her talent in a few weeks’ time.
One of the most heartfelt scenes in Avengers: Endgame was the exchange between Natasha Romanoff and Clint Barton, as they both try to make the sacrifice for the sake of half the universe. Natasha is the one who takes the leap of faith and leaves behind her closest friend to carry the weight of the Soul Stone in his hand. Her legacy lives on through Yelena Belova, who we were introduced to in the solo Black Widow film and is set to return in Hawkeye. She is confirmed to appear in the upcoming series and it seems like Clint Barton hasn’t quite gotten over the events either.
In an interview with the Evening Standard, actor Jeremy Renner talked about how Black Widow will play into the story beyond just the appearance of Belova. It seems that we’ll also use this series to explore Barton’s grief from losing her, especially as he did it all for the sake of his family that he once again has to leave behind to look after Kate Bishop and her shenanigans.
There are giant reminders of Natasha in this series. Reminders of things that tie into losing somebody and reminders of all that beautiful things that come with a lot of pain as well.
Jeremy Renner
It makes sense that this death would still hang over his head, as he was the one that had to let go when they were hanging from a cliff on Vormir. Belova’s appearance in the series will definitely bring back the dark reality of that moment and once again bring him face-to-face with the consequences.
The post-credit sequence of Black Widow set up the return of Florence Pugh‘s Yelena Belova. We meet her at Natasha Romanoff’s grave where she gets a new mission from the mysterious Val. The reality of the events that took place in Avengers: Endgame was twisted, as she is given the task to take out Clint Barton. Of course, we already knew he was getting his own Disney+ series and her return in the series was already confirmed ahead of time. There was also a report in July that she might even appear in multiple episodes. So, Total Film tried to get a bit more out of Hawkeye director Rhys Thomas, who played coy on her exact role.
I can’t speak to that. But yes, we know their past, and obviously what happened in Endgame. We know in these first two episodes that Clint’s dealing with the fallout of that. But in terms of how they meet, I can’t – I’ll just pretend I don’t know. Imagine it’s a happy meeting, where they talk over coffee and work things out.
Rhys Thomas
Total Film was open about the fact if we’ll see these two at each other’s throats, but the director wouldn’t give anything away. Thomas did tease that “it all connects in some way” and that “the story is its own little world.” So, we can expect callbacks and connective tissue to the rest, but given its smaller scale, we might have a much more intimate story on our hands.
A new piece by Puck from former THR editor Matthew Belloni has offered an update on why exactly Patty Jenkins‘ Rogue Squadron was delayed indefinitely. Initially, rumors had it pushed back until 2024, just a year away from its original release. Shortly after, we got the official word that it was postponed indefinitely and without any word of a project taking its place. The official word is that scheduling conflicts are the main reason, especially with Warner Bros. fast-tracking the third Wonder Woman film. So, Star Wars‘ cinematic future remains uncertain but it looks like there might be more to this story.
In a new piece on the site Puck, they report that a significant lack of Star Wars films is mainly due to the company behind them, Lucasfilm. According to their sources, Jenkins couldn’t agree on a script with the executives, which naturally drags out any talks. The issue sadly isn’t uncommon in the industry but seems to have especially become an internal one with Lucasfilm. They cite that the new trilogies that were in development, one by Game of Thrones‘ David Benioff, and Dan Weiss as well as one by The Last Jedi‘s Rian Johnson‘s, both got shelved due to the same issues.
The article highlights Kathleen Kennedy‘s role in the company’s current development. She’s the president of the company and has an important role in keeping the machine running. Yet, it seems that their hands-on approach is damaging their relationship with directors and talent within the industry. Phil Lord and Chris Miller famously kicked from their own production only for Ron Howard to take over directing duties. So, it opens up the question of what this direction for Lucasfilm might mean for the franchise if one of the hottest properties in the industry is burning bridges.
Marvel Studios Eternals is now in theaters and the Marvel Legends Eternals wave is readily available in stores and online. Previously, we took a look at the 6″ Marvel Legends Makkari and the Deluxe 6″ Marvel Legends Kro. Now, we’ve gotten our hands on a 6″ Ikaris and are ready to have a look!
Of the Eternals in the film, Ikaris is the really the only one whose powers could translate to a collectible figure of this nature. While Makkari’s super-speed looked amazing in the film, it’s not something that can easily be simulated for a Marvel Legend. Ikaris, on the other hand, has the ability emit energy blasts from his eyes and that is nicely teased here with an alternate head complete with some energy effects. So while, as mentioned in the Makkari review, the wave is one of Marvel’s most minimalist, this figure does allow for collectors to recreate one of the film’s iconic moments and one Ikaris’ most iconic comic book poses:
It seems like store shelves are pretty well-stocked with the Eternals wave, so should you be a completist collector of MCU-inspired Marvel Legends, you should have no problem adding Ikaris to your collection. If you’re buying to complete the wave’s BAF, Gilgamesh, Ikaris is not a necessity, as he doesn’t include a piece, but the figure is probably the most impressive of the line.
The Eternals are a race of immortal aliens from a distant planet who arrived on Earth thousands of years ago to protect humanity from a race of alien predators called Deviants. The Eternals were alerted to the Deviant threat by the Celestials, a race of cosmic builders whose fingerprints are on the very building blocks of life itself. Ages 4 and up.
The upcoming Disney+ series Hawkeye takes many visual and story beats from the popular Matt Fraction and David Aja‘s run on the character. My Life as a Weapon took a more personal approach with the character, as he took care of an apartment building from a local gang called the Tracksuit Mafia. Of course, he’s not superhuman and gets injured quite a bit on the way. So, he also relies on his protégé, Kate Bishop. Hailee Steinfeld will join the MCU in the iconic role. It looks like Fraction did more than just offer the inspiration, but revealed in an interview with The Ringer that he was also part of the production as a consulting producer.
I am, I think, credited as consulting producer, though, I’d have to check with my agent and probably just read the credits, but it’s the best because I get to take all the credit. And I get to cast glory and David and Annie and hope none of the blame. I read scripts and offered thoughts. And that was in sort of throughout the process.
Matt Fraction
In the same interview, he revealed that he also was supposed to play a member of the Tracksuit Mafia during production, but it ended up getting cut due to the pandemic making things a bit difficult.
I was supposed to be a tracksuit. It was gonna fit, but between COVID, [this] was before shots were really happening and my immunocompromised mother lives with us and traveling was kind of a thing. And we got a pandemic puppy. So between quite feeling cool to travel and a puppy, I didn’t get to be a tracksuit. So I was this close to being a tracksuit. Other than that consultant producer.
The most important thing that Amazon Prime’s Hanna gets across in its third and final season is the reality that our titular protagonist needs to face. It’s perfectly summed up when Hanna points out that “even if you gave me the life I wanted, I wouldn’t know what to do with it. I only know how to fight.” Esme Creed-Miles’ performance continues to carry most of the show, as she gives us a character that is world-weary and on her way to completing her mission once again. Yet, it seems the story has forgotten that along the way.
The show’s first two season’s explored the dark tale of human trafficking and how the government corrupts young women by turning them into soldiers. They are trained to carry out deadly missions while integrating into society seamlessly. Up until now, the bureaucrats behind these missions were faceless but with a clear objective: eliminate perceived threats at all cost may they be for political or tactical reasons. In this six-episode final season, the modus operandi still applies yet now we have a face behind the bureaucrats.
Hanna is once again fighting for something bigger than herself. Yet, she’s pushed by something she hasn’t been in the past, love. That very thing will have her acting irrational and sloppy in ways we haven’t seen to this point, which is a jarring change in comparison to the last few seasons. It’s quite the departure from a character who’s had a very clear-cut goal in mind only to fall back on something only recently introduced. Hanna’s romance at times brings the show to a halt. The character was already strong on its own merits and it feels like the entire plot point was unnecessary. It’s a narrative that you’d wish wasn’t there at all times.
The final season surprisingly cut its episode length down to six rather than the usual eight. Until now, the main issue was it didn’t feel like there was enough story to carry viewers throughout its run. You could make a comparison to many Netflix shows including unnecessary filler episodes. Yet, this season is the opposite, as you’ll end up wishing for more time to spend with Hanna and her relationship with Marissa (brought to life once again through a strong performance by Mireille Enos). Of course, there’s time spent between them but it should’ve been given more focus. It is the show’s core built throughout the last few seasons that seemed sidelined as a result.
Hanna and Marissa face a very capable foe this time around in Ray Liotta’s Gordon Evans. His intimidation of Marissa drudges up some memories from her past that offer a look into her childhood and how long they’ve stuck with her. It offers some insight into her main motivation throughout the series and why she is so attached to Hanna. Plus, Liotta brings it aggressively here and proves to be dangerous in a way neither of our protagonistsTactically he’s one step ahead and personally, he’s in one of their heads. He’s a welcome addition to the cast as an uncompromising adversary.
As the season progresses it becomes more apparent that there could’ve been more time spent with some of the supporting cast, especially Sandy (Aine Rose Daly) and Jules (Gianna Kiehl). They’re victims of UTRAX just like Hanna. So, while they play into the conclusion, it feels like they were undercut. The ongoing rivalry between Sandy and Hanna at least gets a conclusion, there could’ve been more time devoted to it. We never spend enough time on why Sandy despises her and continue to build on their relationship, especially with how this season manages its international espionage. In the case of Jules, it feels like she’s shoehorned her into the closing conflict. These are two supporting characters that have seen a lot of development so far yet ended up as afterthoughts.
Still, the action in this show remains sublime and very enjoyable. The abbreviated season gives actions more weight and allows it to explore an overall darker theme. It also continues to build on its greatest strengths, such as the international locations offering a wonderful viewing experience. If you’re a fan of Hanna, this is a conclusion that fits the bill of who the character is. It’s not without its faults, especially in how some elements felt underutilized, but still offers a fitting end. Much like the show itself, you can’t have everything you want but you enjoy the time you have.
It looks like UK viewers are in luck, as Digital Spy has confirmed that the next Sony-Marvel Studios collaboration will hit UK theaters early. Spider-Man: No Way Home is going to release on Wednesday, December 15th while the US and other territories are still scheduled for a December 17th release. The announcement comes at a perfect time, as we’re about to get a second trailer tomorrow that’ll be revealed in a fan event. It’s uncertain what exactly we can expect and when it might find its way online, but there is hope we get an announcement sometime today.
It’s not uncommon for a Marvel film to release early in the UK or even Europe. There’s no word if this will also expand to other European countries, but it’s not uncommon in these countries to have an early preview on Wednesdays. Austria generally has early blockbuster releases on Wednesday to better split viewership over a few days, especially with fan screenings. They even timed the release of Avengers: Endgame that Infinity War ended on midnight of the US release to start the film. So, it’s not too uncommon but great to see it openly confirmed by Sony.
Note: The below review contains no spoilers for the Netflix adaption, only mentions of plot points from the anime.
Cowboy Bebop is often considered one of the best animes. A rag-tag group of misfits that seek to find someone among one another? It’s a common trope, but one the original anime executed perfectly. The idea of seeing that in live-action was exciting, especially with John Cho leading the way. Unfortunately, however, the live-action adaption of Cowboy Bebop often feels rushed and as though it’s unsure of how to bring about this group of misfits.
Cowboy Bebop is a story of a rag-tag team of bounty hunters in the year 2071, approximately 50 years after an accident that made Earth nearly uninhabitable. The series focuses on Spike Spiegel, Jet Black, Faye Valentine, Edward and Ein as they try to build their futures while running from their pasts. As the anime will tell you, though, this is not a happy story, and the live-action adaption does not try to turn this into a story with a happy ending.
Trying to adapt a title for live-action is a hard task. Writers are expected to pay homage to the original, if not mirroring it closely, while still making the story feel fresh and unique. It’s a fine line that even the best of writers often fail to maneuver. This is Cowboy Bebop‘s biggest issue. Rather than try and make the live-action take feel unique, the writers often pull from the anime, leaning on the original far more than needed. An action that would have been fine had the writers adequately used the anime as a reference for the series. Instead, it feels like a mishmash of highlights from the anime being adapted with a slight alteration here and there. It never quite feels like a proper adaption, yet it never feels like its own story, either. There was a chance to make a new story with Spike and crew here, one that could still capture the spirit of the original, yet become its own entity.
In the end, though, Netflix’s Cowboy Bebop wanted to try and replicate the anime too much; a decision that would ultimately be its downfall. While it’s not terrible, the series does not capture that spark and excitement of the anime. A fair amount of the episodes drag, and some of the performances feel subpar. John Cho, however, gives his all in the role of Spike and steals the spotlight every moment he’s own screen.
The family dynamic between these characters we all know and love is nearly nonexistent in early episodes. Once the gang does get together, though, the banter flows almost naturally. It’s just a shame it takes so long to reach this point. With just 10-episodes for its first season, Cowboy Bebop often feels as though it’s trying to rush through callbacks to the anime while failing to fully flesh out its characters.
The final episode of Cowboy Bebop‘s first season is where things completely fall apart. The episode pulls from “Ballad of Fallen Angels,” the fifth episode in the original series, even going as far as to see Vicious and Spike battle in the church. It’s stunning just how well the set production captures the look and feel from the anime. However, what follows is such a departure from the source material that it’s hard to understand what the writers were trying to do.
Perhaps the episode wanted to right some of the wrongs in the anime, it’s hard to tell. It’s as though, at the very end, the creatives decided to finally try to make the story their own by drastically altering some of its main characters. It ends up feeling as though Netflix’s Cowboy Bebop doesn’t understand its source material at times.
Overall, the live-action take on Cowboy Bebop isn’t terrible. In fact, despite all of its flaws, there are some positives in this take on Cowboy Bebop. Episode six, for example, is a well-written episode that truly captures the feel of its predecessor while still feeling fresh. And while not all of the episodes are as strong, there are fun moments sprinkled throughout.
It’ll be interesting to see where a second season goes, as the first season did pull bits from the anime across numerous episodes. One thing seems certain, this is not the last time we’ll see Spike and company.
With Charlie Cox’s return to the role of Matt Murdock in Spider-Man: No Way Home just over a month away, a leaked casting grid seems to indicate that Marvel Studios is in the earliest stages of developing a solo project for the character.
The grid, shown above, gives no additional information about the potential project but is in line with early grids for other projects. Cox, who is also rumored for a multi-episode arc in 2022’s Marvel Studios’ streaming series She-Hulk, has denied any knowledge about a potential return, but has been a little more forthcoming in recent weeks about what he’d like to see if he were to return as Murdock/Daredevil, saying he’d like to see a “reimagined, upgraded version of the character” in any potential revival/reboot.
With rumors also pointing to Vincent D’Onofrio returning soon as Wilson Fisk in the Marvel Studios’ streaming series Hawkeye, fans are both thrilled and left to debate if these characters will pick up where they left off in the Netflix series or if we’ll be getting all-new, all-different versions of the characters with the same actors. In the cases of Cox and D’Onofrio, it’s hard to imagine replacing one without the other given the depth of the onscreen dynamic they developed over the 3 season of Netflix’s Daredevil. D’Onofrio recently indicated that if he were to return in the role, he’d want to eventually take on Spider-Man, giving fans hope that they might see the Kingpin, who debuted as a Spidey villain, return to his comic book roots.
Unfortunately, the leaked screenshot doesn’t indicate if the Daredevil project is a film or intended for Disney Plus, nor does it give any timeline as to when we might expect it. With so many projects already in development, it might be a while before we get any concrete updates on this one. In the meantime, we can all start imagining what that upgraded version of the character might look like.
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