Mahershala Ali‘s Blade made his debut much earlier than we initially expected. At the tail end of the Eternals, a voice can be heard talking to Dane Whitman as he tried to touch the Ebony Blade. Director Chloé Zhao confirmed that it was actually the Vampire Hunter actor, who provided the voice-over. After a bit of silence, Ali has opened up on tackling the role for the first time without being physically present.
It was scary. Because, you know, you’re talking before you’re filming it. I’m pretty particular about my choices, like most actors, and so having to make some choices – even with a line, vocally – this early on, it brought up some very real anxieties. And it made the job real. It’s like, ‘Okay, this is happening now’, you know, and that’s exciting.
Mahershala Ali
He was also asked about what it felt like to finally bring the character to life after the announcement all the way back in 2019’s San Diego Comic-Com. Even better, Ali teases that they might finally start work on the project very soon.
That Marvel world is obviously the biggest in film, and just to get my little introduction to that – starting with the Comic Con a couple years ago, and now the very early stages of stepping into the shoes of that character – it felt special and really cool. I’m excited to get going and do more. We’re getting there. We’re getting close.
Mahershala Ali
The last update we got on the project was when they added Mogul Mowgli‘s Bassam Tariq as the film’s director, but there’s been little on the project since. Still, his appearance in Eternals might offer a hint on where this take on the character is heading, especially with the film’s writers teasing a curious connection between vampires and the Ebony Blade. So, we might see him again ahead of his solo film outing.
In a huge announcement just ahead of Marvel Studios Disney Plus Day, GWW revealed that Marvel Studios is producing a continuation of X-Men: The Animated Series. The original series, which is available on Disney Plus, ran from 1992 until 1997 and introduced a generation of kids to the X-Men. It was one of Marvel’s most famous animated ventures alongside the Spider-Man: The Animated Series. So, this report comes at a perfect time, especially as Marvel Studios is eyeing more animated projects in the future, it almost seemed like the perfect recipe to revisit the mutants
Rumors about the revival have been swirling since last year when original series director and producer Larry Huston revealed he’d had discussions with Disney. Recently, KC Walsh of GWW teased that he’d heard something about the show as well. So, it’s great to finally get a clearer picture of what he’s heard on the project. He does point out he’s unsure if this is a revival or a new series, but believes it is closer to the latter.
The series is rumored to go into production in 2023 and we could learn more about the potential series tomorrow at Disney Plus Day. So, here’s hoping that we don’t have to wait long until we get an official announcement from Marvel. It’ll be interesting if this new animated project is also tied into the MCU, as their last venture, What If…?, was considered canon.
Last month, Netflix officially ordered XO Kitty, a spinoff from the To All the Boys… films, to series. While the books are based on the bestselling series by author Jenny Han, XO Kitty appears to be an original series that came about because of the movies and their popularity. Han is the TV series creator and co-wrote the pilot script with fellow author, Siobhan Vivian.
XO Kitty stars Anna Cathcart, who reprises her role as Kitty Song Covey from the hit Netflix films. While little is known regarding XO Kitty, we here at Murphy’s Multiverse can confirm production will kick off in March of 2022 and go through May 2022 in South Korea. We can also confirm that the series is looking to fill six main roles.
First up is the role of Dae. The character is a 17-year-old Korean male who speaks fluent English and Korean. He does, however, have a slight accent when speaking English. Dae is Kitty’s long-distance boyfriend and is described as being cute and smart.
Next up is Jina Han. The character is described as a Korean female in her mid-40s. She is the matriarch of the Han family, and reputation means everything to her. Han is devoted to her husband, a CEO, and makes sure not to overindulge. She is the Principal of the International Korean high school. The role is a series regular role with the character appearing in seven out of ten episodes.
The series is also looking to cast the roles of Min Ho, Q, Alex Park and Professor Lee. Min Ho is described as a 17-year-old Korean male or Korean expat. He’s handsome, confident and a millionaire playboy. He is afraid of commitment and can appear standoffish. This is a series regular role, with the production seeking an actor 18-year-old or older for the role.
Next up is Q, a 17-year-old male from Afraid or the Middle East. The character identifies as Queer and is fluent in English, although he has an accent. He’s sociable, tall, muscular and athletic with a winning smile. Physically an alpha, but extroverted in every other sense. This is for a series regular role. The production is seeking an actor 18-year-old or older for the role who can authentically portray LGBTQ+.
Alex Park is a Korean-American male expat in his late 20s. He is handsome and the brand-new chemistry teacher at the International Korean high school. Park serves as the dorm advisor and quickly gains a reputation as a cool, mellow teacher. He serves as a mentor figure to Kitty. While he’s a beloved teacher, Park has ulterior motives for taking the job at the school. Series regular role to appear in seven out of ten episodes.
Finally, there’s Professor Lee who is a Korean male or Korean expat. He speaks both Korean and English and is in his early 40s or 50s. He’s a stuffy, by-the-book literature teacher who insists students abide by the rules. He’s a perennial bachelor who has lived on the campus for the last twenty years. Series regular role to appear in seven out of ten episodes.
XO Kitty focuses on teen matchmaker Kitty Song Covey who thinks she knows everything there is to know about love. But when she moves halfway across the world (Korea) to reunite with her long-distance boyfriend, she’ll soon realize that relationships are a lot more complicated when it’s your own heart on the line. Han, the author of the To All the Boys… books, will serve as co-showrunner alongside Sascha Rothchild.
As of now, XO Kitty does not yet have a release date on Netflix.
It looks like Disney Plus Day got started a day early. After recently revealing that they’d make 13 of their films available with in IMAX format on November 12th, it looks like they pushed the button a bit early and made 12 of those films available today!
Marvel Studios fans can now watch the following films complete with a larger aspect ratio and DTS sound:
Iron Man (2008) Guardians of the Galaxy (2014) Captain America: Civil War (2016) Doctor Strange (2016) Guardians of the Galaxy Vol. 2 (2017) Thor: Ragnarok (2017) Black Panther (2018) Avengers: Infinity War (2018) Ant-Man and The Wasp (2018) Captain Marvel (2019) Avengers: Endgame (2019) Black Widow (2021)
2021’s Shang-Chi and The Legend of The Ten Rings will join the IMAX enhanced parade tomorrow as it makes its streaming debut on Disney Plus…on Disney Plus Day.
The upcoming Disney+ series Olaf Presents features the Frozen franchise’s famous Olaf the snowman sidekick retelling classic Disney movies like The Little Mermaid, Tangled, and The Lion King. While Olaf Presents’ main goal seems to be to get a laugh through less-than-two-minute-long shorts, it highlights the collaborative power of the Disney+ streaming platform.
While Disney is always free to allow collaboration among its different projects and properties, Disney+ might make it easier. At a press conference for the upcoming series, Producer Jennifer Newfield spoke about being able to build on pre-existing Disney tales:
“It’s nice to [be able to build] off of ourselves as Disney, like using some of the tales that we’ve told that are so familiar, and which are building off of fairy tales that existed even before the time of Olaf…so the self-referential piece [] almost like grows with [Olaf’s] knowledge and self-awareness…”
Jennifer Newfield
When audiences have the ability to seamlessly move back and forth from projects like Olaf Presents to the actual films that are presented in the series, it changes the way content is produced and what kind of content is produced. Newfield went on to say:
“Because I think as a lot of people probably noticed the common collective idea of that sequence in Frozen II…we kind of knew that something needed to get bigger and become a bit of some films being integrated. And so [Director Hyrum Osmond] knew that there were other people in the studio, who also had that same thought…[there was] an insane amount of collaborative ideas as we went through every script together.”
Jennifer Newfield
As a relatively young platform, Disney+ is likely only just beginning to realize the new opportunities it has when all of its properties are housed together. Olaf Presents starts streaming on the platform on Disney+ Day on November 12.
The title of the Doom Patrol Season 3 finale is more relevant than usual. Amends Patrol is all about redemption. Redemption here is most literal—making amends—and figurative. Our main characters finally make definitive choices as to who they are and who they want to be, taking control of their often-rocky narratives and owning up to the insecurities and flaws that have held them back for three seasons. As is typical for the series, redemption happens on an individual level for the characters, but perhaps the most exciting part of the finale is that we also get a major transformation on a group level. It is still abundantly obvious that Doom Patrol keeps finding ways to be successful in ways that most superhero or comic book shows cannot. It succeeds by refusing to yield to convention or by taking an easy story-telling route. It has consistently paid off for the series, but this episode is one of the finest examples of the series’ talent.
Where the episode ends highlights just how far the group has come. Where revelations and breakthroughs have come in the past, they are sometimes undone or overshadowed by the next conflict. Interestingly, they were often not accompanied by physical changes even though a lot of the internal struggles were pretty connected with the physical abilities or burdens of the characters. Here, there is no ambiguity—through all the turmoil, they seem to have settled into the new mental and physical places that they couldn’t previously access.
Season 3 made the decision to take its 10 episodes to genuinely develop and play out the characters’ arcs. The show could have easily turned the group into a formal super team at the end of the first or second season. In fact, it’s arguably bold that it avoided this very expected and anticipated element for as long as they did. But the result is a slow but rewarding burn that makes the “Doom Force” moment all the more exciting and meaningful.
The episode begins with most of the group in the last episode’s bus wreckage after Kay/Jane screamed and Larry’s parasite baby essentially blew everything up. While Rita is still obsessed with continuing on to find Laura, Larry and Vic are done following her after it became obvious that the whole situation is based on Rita’s selfish interests, which eclipse any concern she might have had for her teammates. Vic, who had been the biggest proponent of the super team concept, breaks and yells at Rita that they are absolutely not that. The Fog shows up as well to call out Rita. She tells her that neither Rita nor Laura are completely lost.
This sets up a make-or-break moment for Rita as a character, which was foreshadowed at the very beginning of the season. Will she take her newfound confidence and self-identity to pursue revenge and her own personal interest, or will she figure out how to direct it to something bigger? Not surprisingly, she ultimately makes it clear that she’s not truly evil, notably by coaxing the Brain into thinking she will help him only to kill him with boiling water. Her presence as a leader is finally realized in a positive way at the end of the episode as she seems to take on that type of role with the newly minted super team. If you remember the Rita of season one, it’s amazing how seamlessly and gradually she’s made it here.
Laura—definitively known as Rouge now—ends up a member of the Doom Force after she used the time machine’s amnesia to help herself make amends to the main group. Rita, for her part, decides at the last minute not to kill Rogue, further establishing that Rita will move forward.
Larry has a pretty straightforward path to “redemption.” The larva, a negative spirit named Keeg, needs to merge with Larry or it will die. He struggles with the decision of whether he can let himself go through it all again. Vic reminds Larry that he decided during the eternal flagellation to try and let love in. Larry ultimately takes in the negative spirit, saying “I swear I will try my best to do right by you. Always.” We later have a moment of glorious negative spirit flight and action before it suddenly fails and falls to the ground unceremoniously. He’s trying.
Jane’s decisions are less clear. She has been in constant conflict with the other personas over her beliefs on Kay’s growth. It turns out the personas fled the Underground and are living in the Fog because they are afraid they will disappear as Kay evolves. Yet they are still dying. Apparently, Dr. Harrison is the persona behind the scheme, only looking for control. Jane makes a deal with her that if she helps the personas return and rebuild the Underground, Dr. Harrison can be primary. It seems to suggest that Jane’s redemption is geared towards the personas now, not Kay. With all the previous focus on “the girl” with last season’s Miranda plot, Jane spent this season alienating and ignoring the concerns of the other personas in order to focus on Kay. By sacrificing potentially quite a lot in both the Underground and on the surface, Jane manages to make amends to the personas—it’s unclear if this will undermine some of her journey with Kay.
Cliff is the one who embraces making amends directly. Laura winds up early on putting his brain in a giant robot that the Brotherhood of Evil had thrown out at some point. He then convinces Laura to stop her rampage toward Rita, telling her that she’s, essentially, not completely evil. This is seemingly confirmed as Laura cannot bring herself to kill Cliff, and flies off instead. He then goes to Clara’s to genuinely apologize for being a terrible father.
The ultimate conflict of the finale ends up being Cliff, who has Parkinson’s, losing control of the giant robot which is stampeding into Cloverton. Jane, via Flit, teleports into the robot to try and help Cliff, and they have a tender moment while thinking that they are both about to die. Ultimately, Rita grows into the size of the new Cliff and stops him. It’s a very dramatic moment for her that speaks to a level of control over her powers that we have absolutely not seen before.
Later, the group reacts to what they had accomplished. Rita is particularly proud that they saved a town, even though Larry reminds her that they were the only threat in the first place. They finally agree to be a super team, with Cliff hilariously proclaiming them to be the “Doom Force.” It’s going to be a wild ride because the episode ends with the team labeling themselves and making a to-do list to fight a monster that they are using the time machine to get to.
Amends Patrol is undoubtedly one of the best episodes of the season. It leaves you excited for the next season while managing to be an engaging and compelling episode by itself. While Doom Patrol seems to finally make itself about the Doom Patrol, it’s also clear that the series is not going to be any more predictable. Yes, we now have an official team. But Vic isn’t Cyborg, Jane may not be primary, and Cliff is a giant robot. Larry still hasn’t mastered his new negative spirit, and Rita and Rogue have a tense relationship. And, of course, they are inducing amnesia to go fight monsters with all of these defects. But somehow, this episode ends in one of the most optimistic places Doom Patrolhas ever been. The series is not taking the easy way into the superhero plot, which is what makes this show so unique. The individual character grind over the past three seasons made this space better and more meaningful than it could’ve possibly been had the series jumped into the super-team quickly. After this season, there’s every reason to believe that this show will only get better.
The Archies are coming to life thanks to director Zoya Akhtar.
Per Variety, Akhtar will direct a live-action musical take on The Archies that takes place in 1960s India. The project will be produced by Akhtar and Reema Kagti for Tiger Baby and Sharad Devarajan for Graphic India. Plans for ‘Archie in Bollywood’ adaptions were first announced in 2018. This will mark the first of those projects to come to fruition.
For Akhtar, the chance to adapt The Archies is exciting. “I am super excited to have the chance to bring ‘The Archies’ to life. It was a large part of my childhood and teenage years,” she explained. “The characters are iconic and globally loved, which is also why I am a little nervous. I have to make sure the film stokes the nostalgia of a generation that grew up on the comic and yet resonates with the young adults today.”
The Archies will mark the first international comic to be translated for Indian screens. As it stands, the project is still in the early stages and a release date has not yet been unveiled. The live-action film will reimagine classic characters like Archie, Betty, Veronica, Reggie, Moose and Jughead with an Indian cast, while still featuring elements of the comics.
“We are supremely excited to partner with the great team at Graphic India to bring Archie and his friends to Bollywood,” Jon Goldwater, Archie Comics CEO, said in a statement to Variety. “Archie’s lasting and growing presence in India made this move the logical next step as our stellar library of characters continues to expand into other media. It’s a major moment for Archie and its fans around the world.”
Like bandits who never learn, people still insist on reviving the Home Alone franchise in the year of our Lord 2021, replete with the same abject cruelty inflicted by children upon adults as per Christmas tradition. This time, though, feels different, as this latest installment, the cornily titled Home Sweet Home Alone, dares to show some actual Christmas kindness for once and asks: what if we cared about the thieves this time?
Director Dan Mazer relinquishes some of the raunchy comedic chops that he’s become known for, courtesy of Da Ali G Show and Dirty Grandpa, to deliver a family-friendly affair that’ll keep Disney+ investors happy. Mazer likely succeeds in keeping the Disney+ folk happy but ultimately drops the ball in celebrating the 30-year legacy of one of the most beloved holiday franchises in pop culture.
Ellie Kemper and Rob Delaney play this installment’s sympathetic heisters, a married couple in debt and searching for a very expensive heirloom they believe was stolen from them. When they realize that a British kid in their neighborhood is the likely culprit, they hatch a plan to get it back to avoid losing their home. True to franchise form, a lot of painful traps are set off during their heist, with each one so much more agonizing than the last that could they give the cast of Jackass a run for their money.
You’d be forgiven for thinking that Kemper and Delaney are the protagonists of this traditionally child-centric Christmas tale because the movie makes a compelling case for it. Their struggles as parents and breadwinners of their household serve as the heist’s impetus as they face the prospect of losing their home. And were it not for the Home Alone DNA, you’d also be forgiven for thinking that Max Mercer, a snarky rich British kid, is the true big bad of this tale. Perhaps the milking of this franchise was always bound to try new things but positing a financially struggling family as the butt of a rich kid’s pranks might not be the best spin on the material. The aforementioned Christmas kindness on display feels all for naught.
The usual sentiment that comes with every remake/sequel that features a new cast rings true here: Home Sweet Home Alone just doesn’t have the same magic as the original. The new cast is mostly harmless and, through no fault of their own, are restricted from doing any remarkable work by Mikey Day and Streeter Streidell‘s script. The mother, played Aisling Bea, is painfully set aside to provide no drama as she merely books a flight home from Tokyo, a stark contrast to Catherine O’Hara‘s woeful journey home through the lonely winter of 1990.
Kemper and Delaney do their best to be the defacto baddies of the piece, but there’s a striking dissonance between the movie’s sympathetic portrayal of their backstory and Mazer’s direction. The movie tries to make it seem like they’re as dumb and mean as the Wet Bandits and therefore deserving to be the recipient of a child’s Christmas wrath when they’re clearly not. Hearing their agonizing screams isn’t as fun anymore.
Archie Yates is this holiday’s Kevin McAllister. Yates is fine in the role, but the sweet naivete he emanated in 2019’s Jojo Rabbit would have added a needed warmness to the coldness of the writing. It’s not the star-making performance that turned McCulley Culkin into a superstar overnight, but Yates carries with him the confidence of a great young actor, and at the very least, this movie wears that on its sleeve.
There’s also a stacked crew of supporting comedians the film has at its disposal, but they all end up beleaguered. Kenan Thompson shows up for a few gags that go nowhere. That his fellow sketch greats Chris Parnell and Andrew Daly are robbed of doing what they do best in a film that sorely needs some holiday cheer is a travesty. Also a travesty is Pete Holmes hogging all the scenes better left to his funnier co-stars.
There’s a decent new Home Alone movie deep within the floorboards of this franchise, but a dull vision and cheerless script are ultimately what keep it from the light of day. Should there be more plans of continuing this increasingly wistful holiday tradition, a Christmas miracle might be needed to make up for Home Sweet Home Alone.
As the pandemic continues to impact the movie industry, we’re seeing a constant shifting of release dates. This is partly due to studios wanting to maximize profits by releasing a film at a better time. This had caused many studios to vacate release dates claimed years ago, as profits have diminished significantly due to COVID-19. The latest studio to make a massive shift in release dates is Paramount.
On Tuesday, Paramount shifted both Transformers: Rise of the Beasts and an unnamed Star Trek film back on its release calendar. Transformers, which stars In The Heights star Anthony Ramos and Judas and the Black Messiah star Dominique Fishback, has been moved a full year from June 24, 2022, to June 9th, 2023. It is now set to go head-to-head with an unknown Sony/Marvel film, and serve as both Ramos and Fishback’s next salvo in their ascension into the upper ranks of the best actors of their generation.
The unnamed Star Trek film vacated the June 9th date now held by Transformers, and will now release on Dec. 22, 2023. Interestingly enough, the move comes after it was recently announced director Patty Jenkins‘ Star Wars movie, Rogue Squadron has been delayed. Rogue Squadron was originally set to hit theaters on Dec. 22, 2023. While Jenkins’ film still retains its 2023 release date, is not expected to enter production in 2022, indicating the film will move on Disney’s calendar in the coming months.
The John Wick series has been a critical and commercial success, with a collective haul of $587 million and critics raving about the action and star Keanu Reeves‘ performance. As is the case in Hollywood, if a title is popular, it often leads to spinoffs and sequels. Not only is John Wick 4 happening, but the John Wick series is also getting a spinoff on the small screen.
A spinoff focusing on the Continental, the famous Hotel for Assassins, was announced in 2018. Since then, news on the project has been rather sparse until last month when it was revealed Mel Gibson would star in the three-episode miniseries. Gibson will play a character named Cormac, who is notably not the younger Winston Scott (Ian McShane‘s character in the films) that the miniseries will follow. While we await the casting of our protagonist, we do have news today of three new roles that have been filled.
Thanks to Variety, we have learned that Peter Greene, Ayomide Adegun and Jeremy Bobb have joined the cast with the aforementioned Gibson. Greene will play Uncle Charlie, who is the younger version of the character as played David Patrick Kelley in the films. He’s a cleaner and a body man, as fans of the films know.
Adegun will play the younger version of Lance Reddick‘s character Charon, who is the concierge of the Continental Hotel in the films. While Jeremy Bobb is joining the series as an original character named Mayhew. The 40 year old actor is best known for playing Herman Barrow in The Knick.
The cast is starting to shape up, as we await news on who is filling the shoes of a young Ian McShane. We’ll have more as we learn more.
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