As Marvel Studios looks to completely overhaul how it produces its streaming series, one of its most anticipated projects is getting a complete creative retooling. According to a new report from THR’s Borys Kit, the creative team behind Daredevil: Born Again, which was announced at SDCC ’22 and began production earlier this year, will be entirely replaced.
THR’s report explains that the lengthy shutdown caused by the WGA and SAG strikes gave Marvel Studios One Above All, Kevin Feige, and the executive producers of Daredevil: Born Again time to evaluate the work that had been done on the show and come to the conclusion that the direction it was headed in wasn’t one in which they wanted to continue. As a result, head writers Matt Corman and Chris Ord were cut loose along with the directors of each episode. While it’s expected that some of the completed footage will be used, the retooling will be significant and Marvel Studios is on the look for new writers and directors. The hope is that the new team will align better with the original intent behind all Marvel’s projects which is to respect the source material.
In a surprising move, The Spiderwick Chronicles has found a new home on the small screen. Originally ordered to series by Disney+, the upcoming series will now move to Roku. The news comes courtesy of Deadline with the outlet reporting that Roku has picked up the U.S. rights to the adaptation of the beloved books by Tony DiTerlizzi and Holly Black.
“It is an honor to bring The Spiderwick Chronicles, a spectacular adventure-filled story led by the incredible Christian Slater and Joy Bryant, exclusively to The Roku Channel,” Brian Tannenbaum, Head of Originals at Roku Media said in a statement to the press. “We cannot wait to introduce this exquisitely crafted series, imagined by a world-class creative team, to millions of streamers.”
The Spiderwick Chronicles will serve as the biggest title for Roku to date. As Deadline notes, to date, the Roku channel has mainly been the home to former Quibi content it acquired in 2021 after that service shut down. The series is produced by showrunner, Aron Eli Coleite, director Kat Coiro, Tony DiTerlizzi, Holly Black, Ellen Goldsmith-Vein, Jeremy Bell, D.J. Goldberg, Julie Kane-Ritsch and Grace Gilroy.
The series, which consists of eight episodes, hails from Paramount Television Studios and 20th Television. It stars Joy Bryant and Christian Slater and is expected to debut on Roku in early 2024.
It looks like the god of mischief remains a major player for Disney+ even if The Mandalorian still holds the crown. The streaming service is highlighting that the second season of Loki pulled in 10.9m views worldwide in its first three days. As such, it managed to have around 512M minutes watched. While Ahsoka was touted with 14M views recently, those numbers were a five-day tally which means that Loki is only behind The Mandalorian in 2023’s big number game.
The first season still remains one of the most-watched series on the streaming service and the anticipation for a sequel season was quite high even if marketing was a bit more subdued. Though that is likely still more reflective of Marvel not trying to rock the boat too much given people’s ongoing discussions of fatigue surrounding the genre and franchise, but that didn’t seem to stop Loki one bit going into its sophomore season.
At the end of the day though, it’s always difficult to say if these shows are breaking any records. The reactions to Loki have been more positive when compared to The Mandalorian’s third season. So, who knows if the coming weeks might help the show grow? There’s definitely potential and we still don’t know how big Secret Invasion was earlier this year outside of third-party analysis pointing to it being a smaller release when compared to others. So, we’ll see if Disney is willing to share any more data moving forward.
After debuting in 2022’s Black Panther: Wakanda Forever, Dominique Thorne’s Riri Williams is set to take on her own solo adventure in the Disney Plus streaming series Ironheart. While a new listing at the U.S. Copyright Office points to it being quite a while before that series hits the streamer, some new information about the series has come to light.
Though it’s not set to stream for another 2 years, a new synopsis for Ironheart–along with some additions to the main cast–provides a little more insight into what to expect. The series is described as one “in which charming teenage super genius Riri Williams (Dominique Thorne) returns from MIT to her hometown of Chicago in her iron suit and begins to unravel threads that bring danger and adventure to her doorstep.” While it doesn’t give away much, the synopsis does at least place the setting of Ironheart AFTER the events of Wakanda Forever, clearing up a subject about which there had been some debate.
The filing also fills out the series’ cast a bit more though it’s not quite as revealing as a similar filing that was made for Daredevil: Born Again. Solo: A Star Wars Story’s AldenEhrenreich is listed as Joe McGillicuddy which is almost certainly an alias or throwaway name as it’s widely believed the actor had been cast as Ezekiel Stane, the son of Jeff Bridges‘ Iron Man villain, Obadiah Stane. Manny Montana (Cousin John) and Shea Couleé (Slug) look to be members of the crew of Anthony Ramos’ Parker Robins with Couleé likely a version of Marvel Comics Ulysses Lugman and Montana a version of John King, the actual cousin of Robbins.
Anji White looks to be portraying Riri’s mother, Ronnie, while Lyric Ross looks to be taking on the role of Riri’s best friend, Natalie, who was shot and killed in front of Riri when she was 13. The Many Saints of Newark actor Matthew Elam is listed as Xavier Washington, who seems to be an original character and may end up as a love interest for Riri. Interestingly enough, Regan Aliyah, who joined the cast in August of 2022 and was rumored to be set to portray Zelma Stanton, is absent from the cast list.
Despite their efforts to conceal his identity here, there’s really no mystery to Sacha Baron Cohen’s “mystery man” as it’s been widely reported he will be portraying Mephisto. His presence–and that of the Hood–sets up Ironheart as a unique magic vs. science that should thrill fans when it arrives in 2025.
The recently resolved WGA strike and the yet-to-be-resolved SAG strike have taken a toll on Marvel Studios’ streaming plans. Streaming series such as Daredevil: Born Again and Wonder Man were forced to shut production down which began a game of dominoes with the once robust slate of programming. Without a solid idea of when series would resume production, much less complete it, the studio began to reshuffle its plans to make sure consumers would have something to consume in 2024. As a result, Echo, a finished product, was bumped out of November 2023 and into January 2024 and other series’ release dates, such as those for Agatha: Coven of Chaos and Ironheart, faced some serious uncertainty. Now, as the future of production schedules begins to become a bit clearer, some clarity around the release of these projects may have gained some clarity as well.
According to multiple filings with the US Copyright office, originally found by @ScarletWitchUpd, Marvel Studios has begun to plan out their 2024 and 2025 streaming schedules a little more specifically.
While these dates must certainly continue to be taken as tentative for the time being, it seems the current plan is to release the first episode of Agatha: Darkhold Diaries on September 29, 2024, the first episode of Daredevil: Born Again in January 2025 and the first episode of Ironheart on September 3, 2025. The late 2025 release date for Ironheart comes as quite a shock considering principal photography on the series wrapped in November 2022 and a good deal of footage was shown off at D23 2022 in Anaheim.
If these dates should hold–or even be relatively accurate–it also speaks volumes about Marvel Studios plans for series such as Wonder Man and Vision Quest. As it stands, it would seem that neither of those two series would be on the books before 2026. Given the studio once had eight unannounced series (of which Wonder Man and Vision Quest were two) set to stream between the Fall of 2024 and the Summer of 2025 it will interesting to see just how much fat has been trimmed from the slate since Bob Iger returned.
In the wake of the widely panned Secret Invasion and the shuffling of Echo into 2024 and Ironheart into who knows when, Marvel Studios’ hopes for streaming success in 2023 rest squarely on the shoulders of the second season of Loki. While it’s foolish to judge an entire series by its first episode, if “Ouroboros” is any indication of what to expect this season from the creative team of writer Eric Martin and directors Justin Benson and Aaron Moorhead, who previously teamed up with Marvel Studios on Moon Knight, Marvel may be able to rest easy.
“Ouroboros” comes out of the gate swinging. Opening in the moments immediately after the Season 1 cliffhanger, the episode quickly dismisses the most prevalent fan theory about where Loki ended up when Sylvie kicked him through the time door. Whereas the belief was that Loki was transported to an alternate TVA, the first quarter of the episode establishes that he has in fact been transported to the same TVA in the past…and what an interesting past it was. By grotesquely “time slipping”, Loki learns that He Who Remains once openly ruled the TVA before installing the Time Keepers and slipping away to the Citadel at the End of Time. Taken in concert with the recent revelations that all TVA employees are Variants who were ripped from their lives, the very foundations upon which they believed the TVA stood are now entirely reframed as the implications of He Who Remains’ actions become crystal clear. These people’s minds have been wiped repeatedly in the service of the TVA and anything and everything they think they know about themselves is just a fraction of their actual lives.
Once the episode moves forward under those implications, finding a solution to Loki’s time slipping becomes the central focus of the episode. Finding a solution to that problem leads Mobius and Loki to one of the second season’s key new members in Ke Hey Quan’s Ouroboros. The march to find OB, the TVA’s resident tech guru, not only allows for an exploration of some of the unseen nooks and crannies of the TVA but also time for the series’ marquee characters, Loki and Mobius, to shine. Much of the success of Season 1 came from the chemistry between the two and even under the direction of a new creative team, the pair continues to cook. Tom Hiddleston continues to be so wonderfully charismatic and catalytic as Loki which means that it’s nearly impossible for him to share an awkward scene with anyone and so as funny as his scenes with Owen Wilson continue to be, his split-time scenes with Quan’s OB are equally brilliant. By working together, Loki and OB come up with a solution to Loki’s issue but in attempting to solve that issue, the larger mystery of Season 2 is revealed.
In pursuit of curing Loki’s time slipping, OB discovers that the Time Loom, an object which he explains is used to refine raw time into physical timelines, has been overloaded as time broke free following the death of He Who Remains. The second half of the episode ends up being some of the MCU’s best hardcore sci-fi to date as it attempts to address the madness erupting in the multiverse. The back half is full of imaginative set designs and mumbo jumbo jargon (a dial on the ceiling keeps track of the chronons being emitted per hour) that allow for the audience to have some footing in what’s actually taking place. Sci-fi, time travel and mulitversality have never been for everyone but the writing team, lead by Martin, did an admirable job of making it palatable and as relatable as possible under the circumstances.
While “Ouroboros” solves Loki’s time slipping issue and resolves the Season 1 cliffhanger, it ends on one itself. In the absence of Ravonna Rennslayer, the headless TVA is now subject to the whims of an interesting group of folks led by General (Paradox), Judge Gamble and another fellow with all the energy of Ray Winstone’s Dreykov. Just as Loki is pulled back from the time stream, several brigades of Hunters are seen taking off through a series of time doors into the newly created branches in search of Sylvie. While her location is unveiled in the show’s post-credit scene, the actions of these Hunters and are sure to have some pretty heady consequences for the show and set up one of two ongoing plot points for the season.
Though in many ways it feels like more of the same (great writing, great characters and timey-wimey mysteries), the opening episode of Season 2 also gives the MCU something brand new. While Loki’s glorious purpose, established over a decade ago in the MCU’s timeline, seems like old news to the audience, it’s important to remember that this Loki Variant was plucked from 2012 where he only very recently attempted to kill the Avengers and sought to rule all of humanity. “Ouroboros” give this Loki room to grow into a new glorious purpose: becoming the hero of all time. From the moment he first appears on screen, Hiddleston plays the part with a distinct desperation we’ve never really seen. Even in the Season 1 finale, there was some hesitancy to become the hero but now, having been Lokied by another Loki, this Loki now seems fully committed to an all-new, all-different path. And maybe, just maybe, the sun will shine on Loki and his brother again at the end of it. If you thought there wasn’t room for more Loki in your life, “Ouroboros” did its level best to make you think twice and set up one hell of a first two-thirds of a season of streaming TV at its best. In an increasingly entropic MCU, Season 2 of Loki seeks to return order and remind us all what’s always been so great about this shared universe.
While the eighth and final episode of Ahsoka left no doubt that there are more adventures in store for the former Jedi, the lack of an immediate announcement of a second season left fans wondering where those adventures would unfold. With creator Dave Filoni also tapped to bring the New Republic era of stories to the big screen, it’s reasonable to wonder if the cliffhangers from “The Jedi, The Witch and The Warlord” were meant to be resolved in the “Heir to the Empire” film and if Ahsoka would be a one and done. While it’s possible much of what went on in Ahsoka might be addressed in the film, it now seems a second season is a very realistic possibility as well.
According to Deadline’s Anthony D’Alessandro, though nothing is “locked yet”, due at least in part to the lengthy WGA strike, a second season of Ahsoka seems pretty likely and is “in the conversation” about what project is up next for the main cast of characters. If that’s the case, it seems more foundation needs to be laid before Filoni’s film, which is said to be the capstone of the Mando-verse projects, hits theaters.
Lucasfilm’s Star Wars streaming series Skeleton Crew is thought to be the next New Republic-era story headed to Disney Plus though there seems to be some uncertainty when that will stream despite it having previously been announced as a late-2023 drop. Beyond that, it’s believed that a fourth season of The Mandalorian is ready to head into production as soon as possible after the resolution of the SAG strike. If filming were to get underway in 2023, it’s possible it would be ready for release in the Spring of 2025. While it hasn’t been officially announced yet, it seems as though Lucasfilm is angling for Filoni’s film to hit theaters in 2026 so it’s possible that a second season of Ahsoka might have some space carved out for it in 2025 or early 2026.
All episodes of Ahsoka are streaming now on Disney Plus.
With a dense eighth and final episode directed by Rick Famuyiwa, the first season of Ahsoka has come and gone; however, much like seasons of its animated prequel series, Star Wars Rebels, just as much as–if not more than–was left in limbo for the next adventure as was resolved. In many ways, “The Jedi, The Witch and The Warlord” feels much like the second acts in each of the Star Wars trilogies (Attack of the Clones, The Empire StrikesBack and The Last Jedi). Tough choices are made, heroes are separated and there’s a strong sense the bad guys won though a glimmer of hope remains. And so perhaps, given creator Dave Filoni’s deep understanding of the style, structure and rhythm of Star Wars, Ahsoka will eventually be seen as the second act of the New Republic era of stories that Filoni and Jon Favreau have been crafting for Disney Plus and which will eventually culminate in an as yet undated theatrical release. However, as is true about nearly every Star Wars project, its place in the even larger narrative is incredibly relevant as well.
Taken as a complete series, Ahsoka seems to fill three roles. It serves–potentially equally but certainly simultaneously–as a sequel to Star Wars Rebels, the second act of the New Republic era of stories and a prequel to the sequel trilogy or, at the very least, the Rise of the First Order. Set around 11 ABY, Ahsoka takes place roughly 10 years after the events of Star Wars Rebels and, coincidentally, roughly 10 years before the establishment of The First Order which makes the series–and perhaps the character–the fulcrum on which the fate of the galaxy pivots. Given its equidistance (and there’s no way any of that is coincidental) between the before and the after, it was requisite that it service both the before and the after and the finale did just that. Thus the Talzin Sword, the Mortis gods, Morai and any other Rebels callbacks were just as front and center as Thrawn’s next step in becoming heir to the Empire, the open-endedness of what awaits Ahsoka, Sabine, Baylan and Shin on Peridea and any other foreshadowing of the next story in the New Republic timeline. So just as The Empire Strikes Back is the second act of the original trilogy and the original trilogy is the second act of the Skywalker Saga, Ahsoka finds itself as the second act of a second act because as begun by George Lucas and continued by Filoni, Star Wars stories will always fit a role in a familiar pattern.
Despite falling into that pattern and feeling very much like the Star Wars fans around Filoni’s age grew up with, Ahsoka also feels like something brand new and all its own. The finale continued Filoni’s career-long crusade to expand the nature of the Force. Sabine finally tapped into the Force (is it stronger there than in the “home” galaxy?), Thrawn and the Great Mothers set a course for Dathomir (what exactly is in that cargo hold?) and Baylan’s last scene teased a potentially monumental deep dive into the origins of the Force through a further exploration of The Ones (is Peridiea where they left The Mother when they went to Mortis?). It also left Sabine, Ahsoka, Baylan and Shin in a galaxy far, far away from THE galaxy far, far away allowing for the potential for stories (past, present and future) to be set there. In that way, and taken as a whole, Ahsoka feels expansive both within the framework created by Lucas and outside of that same framework where it seems Filoni is becoming more comfortable carving his own path. And just as it seems the right path for Ahsoka–as the appearance of Morai indicate–to explore Peridea and all its strange unknonws, it seems the right path for Filoni, as well.
As the finale of an eight-episode season, “The Jedi, The Witch and The Warlord” did plenty to resolve what was unquestionably the biggest question: will Ezra get home? He did and got to wear his favorite disguise in doing so; however, given Ezra’s eturn went hand-in-hand with the inevitable return of the Heir to the Empire and where the galaxy is bound to end up in a decade, his happy reunion with Hera and Chopper will certainly be short-lived. But Ahsoka’s role in the larger narrative, while still to be fully realized, is clearly greater than one season’s worth of stories but if the first season is any measure of what to expect from more, fans should be excited. If, in fact, Ahsoka is the fulcrum upon which the fate of the galaxy pivots, the finale just tipped the scales: up is headed down and down is headed up and balance will be elusive if not impossible for everyone along for the ride…including you.
Though it’s undoubtedly at least partially revisionist, Marvel Studios has a history of success that seems strongly weighted by the Infinity Saga. The internet is full of talking heads who will tell you that following Avengers: Endgame, the MCU just hasn’t been the same and that the quality of the projects, both theatrical and streaming, has fallen off drastically. 2023 has added fuel to the fire with projects such as Ant-Man: Quantumania and Secret Invasion failing to impress the majority of fans–and even fewer critics–leading to an even louder refrain of “The MCU is dead” than ever before. Leave it to the ultimate agent of chaos and the most entropic entry in the Multiverse Saga to date to restore order to the Marvel Cinematic Universe. The God of Mischief has heard your concerns and Season 2 of Loki answers them authoritatively.
Picking up directly where Season 1 left off, Loki quickly reframes what fans thought happened in the prior season’s cliffhanger and puts Loki up against the clock. As the MCU builds towards an adaptation of Jonathan Hickman’s 2015 Secret Wars, the first episode–and then again the first four–certainly have the feel of the Time Runs Out prelude Hickman weaved through his Avengers and New Avengers titles. While Season 2 of Loki is certainly no adaptation of those–indeed it seems not to be an adaptation of any particular comic run or set of stories but rather an original idea from the production/writing team of Michael Waldron and Eric Martin–the first four episodes are fast-paced, intense and make it very clear that time is running out for all time. Getting down to brass tacks, the premise of Season 2 is this: the death of He Who Remains has created a multiverse that the TVA simply is not prepared to manage.
Starting with but certainly not limited to that premise, it’s amazing just how often these first four episodes of Season 2 of Loki work as an allegory for the criticisms faced by Marvel Studios. As He Who Remains’ death allowed the timeline to break free and grow into something far too large and chaotic for the TVA to handle, so has the Multiverse Saga opened the doors to criticism about Kevin Feige and co. potentially adopting a quantity over quality approach with, at one point, 8 projects planned in a calendar year. The technological MacGuffin of the first four episodes, a Multiplier that allows the Temporal Loom to be able to collar and manage the new timelines, provides the impetus for Loki and Mobius to take a trip through time and allows for the introduction of Jonathan Majors‘ Victor Timely. As the buddy cop duo sets off to find a Variant of the man who built the TVA to restore it to its rightful status as a timespace behemoth, so has Bob Iger returned from retirement with a renewed focus on curating and managing projects and characters amid jeers that there’s simply too much content for fans to consume. And as an all-new, all-different Loki is mocked, reminded that he’s a villain, not a hero, and told to stick to what he’s always done, so too do the critics hammer away at Marvel Studios for breaking away from the “Marvel formula.” Much as the future of Marvel Studios seems up for grabs, the first four episodes of Loki’s second season end with a truly shocking cliffhanger that will leave fans suspended in uncertainty…but not before a return to form and a reminder of what these streaming series should be.
Like its predecessor, Season 2 of Loki allows Tom Hiddleston all the room in the Multiverse to explore the nooks and crannies of the title character. Hiddleston has filled the godly shoes for well over a decade now and as easy as it might be to question what else there might be left to do with Loki, the first four episodes–and Hiddleston’s continued brilliance in the role–provide plenty of answers. Keeping in mind that this particular Variant of Loki, Variant L1130, was created when he escaped with the Tesseract in the aftermath of the 2012 Battle of New York during a botched effort by the Avengers during their time heist, allows the audience to truly see the realtime (sort of, since it technically takes place out of time) evolution of the character. Not far removed from seeking to subjugate all of humanity, Loki now seeks glorious purpose in keeping them free and, as such, Hiddleston finds space for an empathic Loki who recognizes the true beauty and power of humanity–a truly heroic version of the character, though thanks to some fun plot devices is able to get back to some fun magical mischief.
However, Season 2 is not simply the Tom Hiddleston show. So much of what made Season 1 work so well was the chemistry between Hiddleston and his co-stars, specifically Owen Wilson and Sophia Di Martino and, thankfully, a new creative team did nothing to change that. The Loki-Mobius dynamic is just as strong as always and the fractured relationship between Loki and Sylvie allows for an even deeper exploration of both characters. The brilliant addition of Ke Huy Quan as TVA tech guruOuroboros will rightfully draw plenty of praise as Quan is an absolute joy in his surprisingly extended role; however, don’t underestimate Rafael Cassl’s saucy X-5/Brad Wolfe who ebbs and flows throughout the first four episodes as an agent of chaos in his own right. Majors‘ brings a definite strangeness to Victor Timely, who isn’t exactly what you think he might be and returners Wunmi Mosaku, Gugu Mbatha-Raw and Tara Strong all get more to do to the benefit of the project as a whole.
As is always the case with pre-release screenings of Marvel Studios projects, critics and press have not seen the whole series which makes a true analysis of Season 2 of Loki impossible. Simply put, no matter how entertaining the first four episodes are, if the last two drop the ball, the project won’t be seen as a success and that’s not something Marvel Studios can afford at the moment. However, what can be said is that for four episodes, Marvel Studios leaned on one of their strongest and most veteran talents to put together what is unquestionably their best effort–theatrical or cinematic–not only of 2023 but of the entire Multiverse Saga. A combination of strong creative work behind the scenes by writer Eric Martin and the directing duo of Aaron Moorhead and Justin Benson and an enormously talented cast make Loki a fun sci-fi mystery that will fill the Void-sized void you may have been feeling.
Lucasfilm’s latest Star Wars streaming series, Ahsoka, has by and large been one of the studio’s most consistently strong efforts. Led by a stellar cast including star Rosario Dawson and Ray Stevenson as Baylan Skoll, the series has served as both a continuation of Star Wars Rebels and an effective next chapter in the New Republic era of stories being spun by Jon Favreau and Dave Filoni. Now, with the series finale just two days away, a new report from a reliable source has emerged and gives fans an idea of how long the eighth and final part of the series will run.
Cryptic HD QUALITY, who has reliably reported on runtimes for episodes of Marvel Studios and Star Wars series in the past, has shared that the finale of Ahsoka is set to run 46 minutes and 25 seconds with 42 minutes and 43 seconds of that before the credits roll.
Even before the show debuted on Disney Plus, rumors swirled that the series finale would put the heroes in a tough spot and end on an Empire Strikes Back-esque cliffhanger. Part 7 certainly laid the groundwork for such an ending by reuniting the Ahsoka, Ezra and Sabine just in time to take on Grand Admiral Thrawn and Morgan Elsbeth while separating Skoll from his apprentice Shin Hati. It’s likely that most of those 42 minutes will be spent on some pretty intense action scenes before setting up the next chapter in the Mando-verse.
The final episode of Ahsoka streams Tuesday, October 3rd, at 9 PM ET/6 PM PT.
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