After a two-and-a-half year wait following its debut, Season 2 of Amazon’s animated Invincible came out of the gate strong…and then took a four month hiatus before finishing on a somber note. Mid-season delays have become more common in the streaming era and with animated series already taking longer to produce, fans began to wonder just how long it might be before they could enjoy all of Season 3. Now they have the answer.
After a leaked version of the Season 3 trailer made the rounds over the weekend, the studio decided to share the real thing complete with a release date and a promise that the new season won’t take a break!
Season 3 of Invincible will make its way to Amazon Prime Video on February 6, 2025
Welcome to Burger Mart! Please enjoy a hot BM with Mark and Cecil, along with update on Season 3 of… pic.twitter.com/bPVqXrPzDs
As promised by show runner Simon Racioppa, the wait between Seasons 2 and 3 is significantly shorter than the 30 month wait fans had after the breathtaking Season 1 finale.
No new episode this week, so how about an everything we know about Season 3 so far post pic.twitter.com/xklLt65ePf
We’re an hour long animated show which is very unusual, but we have so many characters and so many settings, even in just one episode that we’re really kind of pushing the limits of what can be done in animation. So it takes a long time to make it. But it has also taken a long time to learn how to do it and figure it out because we’re doing a lot of things that you don’t necessarily do in animation.
–Invincible creator Robert Kirkman
The quick turnaround is encouraging not only in that it will allow for a much shorter gap following the devastating second half of Season 2 but also holds potential for further seasons of the adaptation of Robert Kirkman’s graphic novel to start to roll out in shorter order as well. With Kirkman hoping the series runs for seven or eight seasons, that isn’t only good news, it’s also quite necessary.
After a long wait following its first season, Carnival Row returns to Amazon Prime Video for ten final episodes to conclude the story. The titular city continues to escalate its boiling tensions built around prejudice towards the immigration of mythical beings. After an extended hiatus, the audiences should be curious to follow if the conclusion to the epic fantasy series will be worthwhile. Having seen the entirety of the second season, the conclusion of Carnival Row will likely be well-received among already-existing fans of the series. However, there are noticeable faults that will hold back the quality for anyone who may be on the fence about one of Prime Video’s marquee series.
Something worth discussing in season two of Carnival Row is how the pandemic adversely affected its production. Filming for the show faced multiple extended pauses following its start in November 2019 which meant it didn’t fully conclude until September 2021. With that information in mind, one can understand how the narrative pacing issues came to be, though as time passes, it will be harder for audiences to use this notion as a crutch for some faults with the show’s ending.
A potential silver lining for the extended production time is that the visual effects for Carnival Row are top-notch. The creative team behind this season put what was likely an extremely high budget from Amazon Studios to optimal use. This is especially the case with the mysterious monster who quickly should rise to the ranks of great fantasy villains for audiences.
One major credit that Carnival Row deserves is its high-quality acting. Across the board, the ensemble cast predominately provides strong performances that help level the characters for the audience despite the fantastical nature of the story. In particular, Karla Crome soars as Tourmaline Larou in an elevated role from season one that places her right in the heart of the main plot throughout the ten episodes. The pairing of David Gyasi and Tamzin Merchant’s Argeus Astrayon and Imogen Spurnrose also provides many highlights for season two of Carnival Row. And one would be remiss not to mention how well Darius Sykes, played by Ariyon Bakare, fits in a supporting role to elevate his scene partners. This is especially the case in providing Orlando Bloom’s Philo with a stronger sense of relatability throughout his story.
Even though Carnival Row is home to various great acting performances, the writing and directorial teams struggle to unify these performances into what feels like a cohesive television season. The most predominant flaw in these ten episodes is how disparate most plot threads are for most of the runtime. The issue is especially the case with Argeus and Imogen’s characters who are geographically and narratively distant from anything of significance to the main story for more than half of the final season.
And even for the storylines based directly on the location of Carnival Row, the two protagonists in Orlando Bloom’s Philo and Cara Delevigne’s Vignette seldom connect for most episodes. The separation between the two plays into themes of issues between the reunited relationship, but there are critical moments in the plots for both characters that would’ve been resolved if Philo or Vignette simply communicated more often about their plans. Anyone who enjoyed the developed relationship between Philo and Vignette in season one is likely to be disappointed in this component of season two.
In addition to the disparate nature of various storylines, their pacing is another issue season two of Carnival Row faces. Multiple important threads move slowly for the first three-fourths of the season but reach radical turning points towards the endgame that don’t appear in line with what got set up in earlier episodes. Audiences also will find a critical component of Philo’s character set up to be an important lynchpin ignored throughout most of the conclusion. It ultimately leads to a notion of if Carnival Row was always meant to only last two seasons. The scripting for the show would’ve been better served if the creative team divided the show into a solitary second season followed by a concluding third.
But even with a rushed ending, audiences will greatly feel the stakes of the conclusion once it begins to be set into motion. While pacing for numerous threads is inconsistent, they all are successful in building towards an epic conclusion by the final few episodes. And the issues of disparate storylines are erased by the time of the last few episodes. The close of the series provides some truly unexpected moments through its willingness to kill off lead characters as needed for a robust ending.
The process of setting up the finale is ultimately emblematic of Carnival Row’s final season as a whole. There are noticeable issues in how audiences reach their destination, but there are equally enough dynamic elements that it shouldn’t be considered a bad ending. Season Two of Carnival Row earns its stripes as a landmark Amazon Prime Video series.
A new wrinkle into the Spider-Verse is taking place at Amazon Prime. It has been revealed that a live-action series for Spider-Man Noir is moving forward at the streaming servicewith Oren Uziel is set to serve as a writer and executive producer for the new project. In addition, Phil Lord, Chris Miller, and Amy Pascal have worked on developing the project and will also be working as executive producers.
The new Spider-Man Noir series is part of the partnership between Sony Pictures and Amazon Prime Video to create shows based on Spider-Man characters currently owned by the former. It will be the second of its kind with Silk: Spider Society well into development under showrunner Angela Kang.
The series will be based in 1930s New York City and follow a grizzled version of Spider-Man. Not much is currently known in terms of narrative details for Spider-Man Noir, though according to sources with Variety, the main character of this series will not be a Peter Parker variant. This assumedly eliminates any connection from Spider-Man: Into the Spider-Verse, as Nicolas Cage played the Peter Parker version of the Noir-themed Spider-Man.
Spider-Man Noir will be notable as the first project in Sony’s Spider-Man Universe to have a live-action version of the titular character, even if it’s based in a separate universe. This comes after being built around an array of Spider-Man’s villains thus far.
No word has been given on when audiences should expect Spider-Man: Noir to release on Amazon Prime Video.
Hours after it was announced that Amazon’s Prime Video was developing a Tomb Raider television series with Fleabag‘s Phoebe Waller-Bridge penning the scripts, it appears there’s more in store for Lara Croft. The Hollywood Reporter has revealed that Amazon has won the film rights to Tomb Raider and is also developing a new film.
Per the outlet, Amazon seems to have teamed up with Dmitri M. Johnson’s dj2 Entertainment to secure the film rights for Tomb Raider. It was previously announced in December that Amazon would also publish the next video game entry within the franchise. Amazon’s plan is to reportedly build out a connected world, much like with the Marvel Cinematic Universe, through television, film and video games. While financials regarding the deal are unclear, it’s thought that the deal is “among the largest commitments at Amazon after Lord of the Rings.” (Refresher: That deal ultimately cost Amazon $250 million just to secure the rights.)
THR was able to confirm that, while Waller-Bridge is penning the television series, she does not look to be involved with the film or video game. The film seems to still be in the very early stages and as of now has no writer, director or talent attached to the project.
The New York Times bestselling Inspector Armand Gamache novel series from author Louise Penny is what I would call a perfect winter read: cozy mysteries set in the fictional village of Three Pines, inhabited by a colorful, but lovable group of people who have found both friendship and refuge in each other, away from the bustle of surrounding Quebec. Imagine a quaint, wintry village where you can just as easily ice skate on the frozen pond in the square as you can enjoy a gourmet dinner and lively book discussion in front of a roaring fire at the local bistro. It’s easy to imagine Penny took her inspiration for the Three Pines from a Thomas Kinkade painting–if his paintings just happened to be filled with a whole bunch of murderers.
Alfred Molina as Chief Inspector Armand Gamache
Amazon Prime Video’s adaptation of the series, The Three Pines, promises all the coziness of those charming mystery novels, sure to delight fans of Agatha Christie and Hercule Poirot. But while the novels balance a delicate line of calculating thrill and disarming charm, the show suffers from pacing that is practically rocket-speed by comparison—every two episodes tackles the plot of one novel. That said, The Three Pinesis a brilliant introduction to Inspector Gamache and viewers need no prior familiarity with Penny’s books to enjoy a series that’s perfect for your wintry evenings.
The series opens with Chief Inspector Armand Gamache (Alfred Molina), head of Homicide for the Surêté du Québec, arriving in the Three Pines to investigate the murder of the incredibly unlikable CC de Poitiers. While this is surely meant to be a sort of punishment for the Head of Homicide after a recent dispute with superiors, Gamache seems nonplussed by the slight and dives into the case with his familiar team, Jean-Guy Beauvior (Rossif Sutherland) and Isabelle Lacoste (Elle-Máijá Tailfeathers). Bumbling, accident-prone Yvette Nichol (Sarah Booth) challenges the team’s patience as the local rookie detective. Molina is particularly likable as Gamache, whose level-headedness and insightful observations require a measured approach. Molina is incredible at depicting both empathy and patience onscreen, traits so unique to Gamache that he is often called a coward for his failure to react. But in a time when both the United States and Canada are plagued by overreactive police, it’s rather understandable to see how this makes Gamache an outlier.
Arisawe (Georgina Lynn Lightning) and Kara Two-Rivers (Isabel Deroy-Olson) with other protestors at the MMIWG protest.
Indeed, the series tackles some rather bold societal issues head-on. Years of systemic abuse towards Indigenous Peoples by Christians and the Canadian government forms the overarching mystery spanning all eight episodes. The series opens with the shouts from a protest by First Nations people who’ve gathered outside the Police Headquarters. They are calling for intervention in the cases of hundreds of Indigenous girls who go missing each year that see no resolution. Blue Two-Rivers (Anna Lambe) is one of those girls and it’s here Gamache meets her mother, Arisawe Two-Rivers (Georgina Lightning). Gamache and Lacoste, a Native herself, are haunted by the mother’s anguish and the seeming dead-end case. Georgina Lightning is powerful in this role as a fearless mother taking on the entirety of the Surêté du Québec. While the series might have been focused on monochromatic—read: White People—problems and centered entirely on the idyllic village of Three Pines, here it lifts its head towards a larger picture, aware of its own problematic Quebecois backyard and the longstanding racial troubles plaguing it. It’s this mystery that is perhaps the most compelling and with the highest stakes, and reason enough to binge all eight episodes.
Chief Inspector Armand Gamache (Alred Molina) and Jean-Guy Beauvoir (Rossif Sutherland) interrupt a meeting of the Three Pines book club.
That said, it’s the quirky and delightful villagers who will endear you to Three Pines, all of whom are suspects in the rather awful CC de Poitiers’ death: psychologist-turned-bookseller Myrna, strongly opinionated and fiercely protective played by Tamara Brown; sweet and sensitive artiste Clara Marrow (Anna Tierney); Olivier and Gabri, the oddly-matched gay couple who own and operate the bistro (Frederic-Antoine Guimond and Pierre Simpson); Bea Mayer, the indigenous art gallery owner (Tantoo Cardinal); and the delightfully obscene and strange reclusive poet Ruth Zardo, brilliantly played by Clare Coulter. Louise Penny has said she yearned for a sense of belonging and an end to loneliness, and so it makes good sense that The Three Pines is a sort of safe harbor for this found family, “only ever found by people lost.” The immediacy of the murder introduced in Whiteout Part One and Part Two (episodes 1-2) is also its challenge; it’s hard to connect to a bunch of murder suspects who all appear to be hiding secrets. But by episode three Gamache (and viewers) are part of the fold and the sense of magic that envelops the village.
Ruth Zardo (Clare Coulter) and Myrna Landers (Tamara Brown) at the annual Three Pines curling match.
The Three Pines is a compelling watch made even more likable by its own social awareness. Indeed, the case of the missing Blue Two-Rivers is echoed throughout each episode with haunting art installations in Be Calm, Bea Mayer’s art gallery. In one, striking red dresses hang from empty tree limbs, each one representing a missing Indigenous girl or woman. It’s hard not to draw comparisons to the striking visuals in Handmaid’s Tale. But where the latter is often heavy and difficult to watch with its dystopian vision, The Three Pines manages to balance its reality with a sense of hope. It’s an easily bingeable, enjoyable mystery series with a talented cast, perfect for cozy fireplace viewing. The first two episodes are available from Amazon Prime on December 2, with two new episodes released weekly until the finale on December 23.
Louise Penny’s latest novel in the Inspector Gamache series, A World of Curiosities, is due out November 29.
Black Adam‘s Hawkman is set to return. Well, at least Aldis Hodge is, as he has already nabbed his next high-profile project in the adaptation of James Patterson‘s Alex Cross. Amazon Prime Video has ordered the adaptation to the series with Hodge attached as its main lead. It’ll be titled Cross and has seemingly been in the works since January 2020. Amazon’s Head of Global Television, Vernon Sanders, shared his excitement about the series.
James Patterson is among the best at captivating audiences with his undeniably enthralling novels and we are confident that with Ben Watkins’ artistic vision, Cross will do the same for our global customers. We are proud to work with James and Ben alongside Paramount Television, Skydance, and the extremely talented Aldis Hodge, who we know will do an exceptional job of bringing Alex Cross to life.
Vernon Sanders
Ben Watkins is attached to write and executive produce the series as its showrunner. Hodge is not only taking on the leading role but is also set to act as a producer. Patterson joins as executive producer alongside Sam Ernst, Jim Dunn, and Craig Siebels. Skydance Television is set to produce with Paramount Television Studios and James Patterson Entertainment attached.
In Variety’s announcement, they teased that the series’ take on Cross hints at him being “brilliant, flawed, and full of contradictions. A doting father and family man, Cross is single-minded to the point of obsession when he hunts killers. He is desperate for love, but his wife’s murder has left him too damaged to receive it.”
It’s great to see the actor nab a big project after one of fall’s biggest releases. There’s still no word if we can expect a Black Adam sequel starring Hodge in the near future, or if Hawkman might get his own spinoff at some point, but the actor will certainly be quite busy moving forward.
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