Every day, it feels like we get one piece at a time of the puzzle which is Netflix’s live-action adaptation of One Piece. After dropping a first look with a poster just a few weeks ago, the project has once again gone silent. It is, admittedly, more than you’d get with other shows from the streaming service this long before even a release date is set, but it does seem like we continue to grasp for straws on whatever information we get.
Luckily, it seems the project is slowly moving towards the finishing line, as the WGA, short for Writers Guild of America West, has been updated for the upcoming series. It includes seven episodes so far but lists up to eight episodes for the season. This isn’t the first time it gave us a full writers list, as the same happened for Moon Knight last year in February ahead of its release. Going by the WGA entries, it seems that the writers for the upcoming episodes are the following:
Episode 1 – Teleplay by Matt Owens & Steven Maeda
Episode 2 – Written by: Ian Stokes
Episode 3 – Written by: Matt Owens & Damani Johnson
Episode 4 – Written by: TBA
Episode 5 – Written by: Laura Jacqmin
Episode 6 – Written by Steven Maeda and Diego Gutierrez
Episode 7 – Written by: Tiffany Greshler & Ian Stokes and Allison Weintraub & Lindsay Gelfand
Episode 8 – Written by Matt Owens and Steven Maeda
Matt Owens and Steven Maeda are the showrunners of this live-action adaptation. It’s interesting they write the finale and pilot, which is called a “teleplay” in comparison to the rest. They also are involved separately again in the third and sixth episodes. Owens has quite the track record of having worked Luke Cage as a writer and was even a story editor on Agents of SHIELD and The Defenders.
Maeda has quite a history with series like The X-Files, Lost, Lie to Me, CSI: Miami, and more. They are joined by Ian Stokes, who also was a writer on Luke Cage, Teen Wolf, Warehouse 13, and Iron Fist. Episode 3 writer Damani Johnson worked on Salvation, Major Crimes, Star Wars: The Bad Batch, and more.
Laura Jacqmin has some gaming experience with Minecraft: Story Mode – A Telltale Game Series, The Walking Dead: A New Frontier but also worked on We Broke Up and was a story editor on Grace and Frankie. Diego Gutierrez worked on series like V, Buffy the Vampire Slayer, Dawson’s Creek, The Shield, Warehouse 13, and more.
Episode 7 had quite a few writers working on it including Helix and Underground writer Tiffany Greshler. Allison Weintraub has worked on series like The Umbrella Academy, Prince of Peoria, and Supergirl. Last but not least, Lindsay Gelfand is also a fellow The Umbrella Academy and Supergirl alum, but also worked on Manhattan Love Story.
So, the series has quite a variety of talented writers on board to help bring the Straw Hats’ adventures to live-action. It’s interesting that the fourth episode is seemingly still missing, but that may get updated at a later point.
It was first rumored by Knight Edge Media just yesterday that the upcoming live-action Netflix series Avatar: The Last Airbender may have alredy found its composer in the talented Takeshi Furukawa. Now, it seems that he has officially confirmed it himself by taking to his personal Twitter account to share that he is working on the series.
Not just that, he also highlights that he is honored to “receive stewardship of the incredible themes from the original series.” As such, it seems safe to assume that we’ll very likely see a soundtrack for this new adaptation that takes a lot of inspiration from the original. Something that is surprisingly rare for most live-action adaptations given just how unique they try to make it completely their own. Though, it seems they may also re-use the original as well.
It’s a good start for the drought that we’re having with one of Netflix’s biggest adaptations. They’re putting a lot of money into bringing those series to life but seemingly have not promoted any of it if they are still hoping for a 2023 release. While they’ve rushed out high-budget projects with a three-month announcement window like Cowboy Bebop, it does seem odd they aren’t pushing it harder.
The series started producing quite a bit of time before One Piece did, but they already gave us a key visual for that adaptation to kick off the year. So, we don’t know what exactly Netflix’s plan is for its major releases this year and when exactly we can expect both series to find their way to the service without competing with each other. Maybe this will finally kickstart more announcements.
Netflix has a strange habit of finding random success with projects and then taking quite a bit of time to get their franchise plans rolling. This is mainly due to them waiting if a show even seemingly has potential rather than risking it. The only exception was The Witcher, which got renewed ahead of its release, but there have also been some big surprise hits that ended up getting expanded as a result.
Among them was the Korean smash hit Squid Game, which was released back in 2021 and ended up as a massive success story during the pandemic. It seems though that the wait for the sequel might finally be over sooner rather than later, as actor Lee Jung-jae has revealed that the second season is set to start filming this summer.
The actor is quite busy working on the upcoming Disney+ series, Star Wars: The Acolyte series. Yet, it seems he won’t have much of a break after, as he’ll be then joining the production of Squid Game at some point this summer, as he will likely wrap up work on his current project around March or April of this year.
It’s probably safe to assume that. As we all saw at the end of season 1, the main plot of season 2 will be revenge, and the key figure who controlled the workings of the games in season 1 was Lee Byung Hun sunbae, so it seems that the two of us will be the central figures of this next story. This is the first time that I’ll be working with Lee Byung Hun sunbae, actually. Well, we worked on a drama called ‘White Nights 3.98’ back in the day, but we didn’t have any scenes together. Anyways, ‘Squid Game 2’ will begin filming in the summer and the filming will likely last for about 10 months. We were working on season 1 for about 10 months as well, but that was with delays caused by COVID-19. But seeing as season 2 will be bigger in scale, it will probably take longer to complete.
Lee Jung-jae
The tease of a “bigger” Squid Game with a revenge story does make you wonder if we’ll even see the games from the iconic project. Perhaps his character will just go on a straight-forward revenge spree but if they will start filming for ten months, it is hard to say if the series will even still release in 2024 considering how much post-production work it’ll require. At least we now know that it’ll definitely start filming soon.
After a long wait, we finally got our first look at the upcoming live-action adaptation of One Piece. While the posters only give us a glimpse, it means we’re about to see more from it as the months go by for this adaptation. People are still nervous, as with any live-action adaptation of a popular manga or anime, but there is something promising about this offering, especially how enthusiastic the already existing fanbase is.
@OP_Netflix_Fan and@OPLAfandomhave seemingly uncovered a variety of set props that hint at different locations that’ll be featured in the live-action adaptation. Among these various props, the one that stands out the most is the Tangerine signs for Nami’s hometown, Coco Village. In the anime, it was known as Cocoyasi Village but shortened to Coco Village in the VIZ manga adaptation and the infamous 4Kids dub. It may still be named Cocoyasi but shortened for the adaptation.
The next are two signs that are supposedly from Loguetown. One is a caffé and a pizzeria. The interesting thing here is the name “Dei Nuovi Inizi” which translates to “Of New Beginnings” fitting for Loguetown which acts as a prologue and epilogue to those journeying from and to the Grand Line.
Possible signs for Loguetown shops in One Piece Live Action –– New Beginnings Café and Pizza in the Square pic.twitter.com/TgucUwci1Y
Last but not least, we have a familiar location already teased during last year’s Geeked Week. We saw the neon sign for Party’s Bar situated in Windmill Village, the hometown of Luffy. It’s run by Makino and plays a big part in Luffy’s origin story. While the image of the Cocktail menu doesn’t reveal anything, if you look closely you’ll see they are using the Berry symbol, which confirms it’ll keep the in-universe currency for the adaptation. It’s a bit hard to make out but you can see the top of the same symbol used in the manga.
It’s definitely exciting to get a little glimpse behind the scenes as we continue the build-up toward the official release. We’ll have to see how long the wait will be until we get another glimpse at the project, but you can explore our feature on when the promotion might truly kick off by clicking here.
A new rumor has hit the web, hinting that Netflix’s upcoming live-action adaptation of One Piece may not release until August 31st. The news dropped just a week after we got our first official look at the adaptation, which gave us a simple tease of the main cast from behind; a perfect way to hint at what’s to come. The biggest confirmation from the first look was also the fact that we’ll be getting the series at some point in 2023. Now, with a new rumor hinting at when it might release, maybe some old releases may help point to when we can expect more news throughout the years.
Our first actual footage of the show arrived on October 19th with the “Lost Session” teaser. In retrospect, it was a great little teaser that was closer to what Cowboy Bebop feels like than the actual show itself, which had a much slower pace in comparison. Ironically, we still wouldn’t get an actual trailer of the show until October 27th; only 21 days before the actual release.
Given we got the first poster before even a cast image, it seems like One Piece is getting more attention than the previous Tomorrow Studio collaboration. Given it was only truly promoted for less than three full months, it almost seems like Netflix was desperately trying to hide the show and it never got a chance ahead of its cancelation on December 9th.
The Sandman’s Drag-Out
So, there’s another major release and adaptation that may offer a hint at how we can expect the release window for the future. Taking a glance at The Sandman, however, it seems like some marketing ploys can even drag out a bit longer than one might expect. We got our first look at the adaptation back in 2021; September 25th to be exact with a variety of character posters and first footage as part of Geeked Week of that year.
Yet, we wouldn’t really get anything else out of the series until a new key art poster was released on June 6th that confirmed a release on August 5th. We also got a few new character posters. So, we got the exact release date around two months ahead of its premiere with the trailer following on July 24th. So, Netflix once again held onto that full look at the series until the last possible second even as we already got footage the year before.
https://www.youtube.com/watch?v=83ClbRPRDXU
Netflix really likes to keep a more intense promotional window for a series shortly before its release. There are some similarities with One Piece given that we got some behind-the-scenes footage for the new series during Geeked Week on June 6th, 2022. So, the early showcase isn’t too different but this time we had to wait half a year before we got any key art for the adaptation.
Wednesday’s Balance
The Sandman isn’t the only major 2022 release, as we also have the massive success of The Addam’s Family remake focusing on Wednesday Addams. Ironically, Wednesday has the perfect balance between the two with a shorter promotional window but adding quite a few smaller snippets to promote the adaptation before we get our first actual teaser or trailer.
Back in May of this year, we got a poster for the series hinting at a Fall 2022 release that gave us a tease of what to expect with a caricature of Wednesday Addams. That was swiftly followed by a teaser on June 1st giving us our first look at Thing before Jenna Ortega was unveiled just five days later. It was our first look at the series and was given quite the highlight during Geeked Week with a still image and small teaser video. We would have to wait until August 17th before we got a teaser trailer.
The fact that we had a trailer without a specific release window is quite curious as we wouldn’t find out its release date was November 23rd with the second poster that was released on September 23rd. So, the two-month window is still there for the release date but this time we saw footage around three months before. This time around we didn’t get any character posters until November 2nd though, as the focus was mainly on Wednesday; it’s titled after her.
It’s no surprise that the series would go on to break viewership records, as the series had the most stretched-out advertising campaign with a steady build-up towards its release and giving viewers a bit more time to build up interest in its release. It’s curious how that release date confirmation is always around two months ahead of its release and something that Cowboy Bebop surprisingly unveiled the earliest out of all projects with the shortest marketing campaign.
One Piece’s Potential
So, we have very distinct pieces of a puzzle to potentially connect when we may expect a release for One Piece. As it stands now, we only know that the series will “set sail in 2023” and we got not one but two key visuals for the live-action adaptation. There is one similarity with The Sandman stretch-out as we got a first tease all the way back in 2022 just as they were filming the project, but it wasn’t as extensive.
Of course, any of this is just speculation based on behavior partners on how Netflix promotes its series. There’s a lot of optimism if a series is given time to breathe ahead of its release, as rushing it out and not giving anyone time to really take it all in like with Cowboy Bebop just dooms a project from the get-go. It’s why many movie trailers drop six months in advance and we don’t hear anything until we’re actually closing in on the release date.
The best comparison is likely Wednesday with the teaser poster releasing early and no confirmed release date. While it would’ve been nice to get a “Summer 2023” inclusion, it does seem that Netflix wants to keep some flexibility on when exactly it’ll drop but with the rumored release date, we may have some potential wiggle room on when we could expect something.
There is one major anchor that gives us some orientation on when we can expect a major drop for the series and that is Geeked Week. It has taken place at the beginning of June 2021 and 2022. So, it may be safe to assume it’ll once again take place around that same time window and Netflix will definitely want to promote one of its biggest releases during that event.
Wednesday had the benefit of having its first poster drop around the time Geeked Week took place, so for that time window we’d have to consider the time window is a bit longer but not as out-there as The Sandman was. Still, it makes it challenging to figure out just how much they’ll plan around that event and try to keep everything for the “big reveal” during Geeked Week or not.
Potential Marketing Roadmap
So, after all that deduction: here’s a potential timeline based on previous projects on when we might expect teases to promote the One Piece series:
January – Teaser Poster & Key Art
April/May – New Poster, First Full Look at Cast
June – First Trailer and Release Date (Geeked Week 2023)
July – Second Trailer, Character Posters
August – Release on Netflix
It’s a very rough estimate but it’s hard to say if we’ll see anything before May, even if it would be great to drip-feed at least something. Still, an optimistic look would be to see a photo of the cast in their outfits around April, as they start promoting the series through a variety of interviews with showrunners, and the cast. Perhaps we’ll even have a statement from Eiichiro Oda; whose support may push this series into the spotlight it needs. The time window would also match the two-month wait between Geeked week and the first trailer. Still, it doesn’t seem likely we’ll get any real information for a few months given there’s no time window included with the posters.
Where the optimism comes in is the expectation to really see the ball rolling as of May with something new hitting every month if they truly are going for that 31st August release date. A series based on pirates is perfect for a summer release and with their two-month rule, we’ll likely see a trailer around June. What is in June? Geeked Week, of course, if they remain consistent with the last few years. So, we may get a poster either shortly before to promote its appearance or worst case alongside the trailer.
If we get any tease for One Piece in June, we can safely bet on an August release. Netflix really likes building around that event and it would seem fitting if they get their own segment and plenty of promotion. Wednesday‘s success may also play a factor in their hopes to replicate that same momentum to break more records with a series that is based on the most popular manga.
Of course, this isn’t something one should take as a definite time window, as anything related to the project could shift any of these predictions. They are mainly based on what has come in the past and how Netflix seemingly operates with its biggest releases. One thing is certain: this isn’t another rushed drop like with Cowboy Bebop and Netflix may be wanting to make this as big as they can to ensure its success to establish the next Stranger Things level series.
We’ve only recently got our first look at the upcoming live-action adaptation of One Piece and while the Internet is trying to figure out its thoughts on the project, we may already have our first hint at a potential release date. Netflix tends to focus on advertising its projects through short bursts, normally around two months ahead of a release like with Cowboy Bebop. But, it seems they are playing the long game this time around.
According to What’s on Netflix, they heard we may see the release of One Piece at some point in August. Surprisingly, they even shared a rather specific release date as the series is eyeing a potential drop on August 31st, 2023. That would mark a Thursday, which isn’t uncommon for a big Netflix series though Wednesday released, fittingly, on November 23rd, a Wednesday. It also is exciting to know that they are promoting a show almost seven months, as we’ve heard more about this series than even the live-action Avatar: The Last Airbender series which started production ahead of this adaptation.
The series sees original mangaka Eiichiro Oda as an executive producer with co-showrunners Steven Maeda and Matt Owens spearheading the project. If the release date is true, we might have to wait a bit until we find out as they commonly don’t confirm any specific release windows until shortly before. Plus, anything can change between now and then so we shouldn’t take it as a definite. Still, a late August release seems like a fitting way to end the summer season with a pirate adventure like no other.
It’s nothing new that any live-action adaptation of anything has drama surrounding it, but there’s something “special” about the discourse of a manga or anime being brought to the West. We’ve long lived in an era where adaptations have been a pipedream as in the early days of Hollywood they’d simply adapt something for the sake of its popularity, such was the case with Avatar: The Last Airbender or Dragonball Evolution. Those involved seem to have a surface-level understanding of the property and simply rushed out a product that doesn’t reflect the thing most of us grew up with.
Netflix hasn’t been that innocent either with their very Americanized Death Note and the recent Cowboy Bebop adaptation, which tried to take an existing property to create something a little more streamlined. Even the anime’s creator, Shinichiro Watanabe, openly spoke out about it was “clearly not Cowboy Bebop” due to a lack of involvement with the project. Even with the existence of actual good adaptations like Alita: Battle Angel, the Rurouni Kenshin movies, Blade of the Immortal, Speed Racer, and others, we still tend to hold on to that Dragonball Evolution comparison even to this day.
The sad thing is that this focus kind of develops this overall negativity surrounding any discourse. Projects are “dead on arrival” long before we’ve seen anything that actually gives us a good feeling of what exactly we can expect from an adaptation. The same has now happened with the One Piece series with the first look at the Straw Hat crew. We’ve seen a variety of reactions as while there’s a good positive surrounding it, there are also quite a few reactions focusing on some curious details.
The biggest may be the fact that Monkey D. Luffy, played by Inaki Godoy, does not wear his usual sandals but rather has shoes. Surprisingly no one has pointed out that Nami isn’t wearing her usual high-heels but the debate is if the sandals are a “must” for the character’s carefree attitude. Nami actress Emily Rudd even had to publicly point out that sandals aren’t safe for bringing the stunts to life, especially as they tried to do their own stunts throughout production.
It’s understandable that people are protective of projects they love, especially something that has been running for 25 years. Yet, the main focus has been on the entire project falling apart and being terrible due to Luffy not wearing sandals. This “Sandalgate” sadly generally reflects a discourse on how the Internet generally handles any live-action adaptations nowadays. In the era of The Last of Us, Marvel films, and so much more, we have gotten quite spoiled by what is and isn’t possible.
Yet, we see a lot of discourse of the most minute details as a “make or break” for any project. Moon Knight was highly discussed because it wasn’t “comic-accurate” enough but may be one of Marvel’s most diverse characters with a long history behind it. Even Thunderbolts are currently being scrutinized based on who is part of the team and we haven’t seen any footage of it so far. In the digital era, we have access to so much information that it also becomes a challenge to be part of the discourse.
It’s also a showcase of how often certain groups reflect the same talking points. The Last of Us is praised for recreating specific shots but also dragged down for an episode that takes a character in a new direction, even going as far as having it review-bombed to make a point. Even with the creator’s strong involvement, it’s not something people focus on as we work with what we get. We create content and reactions to be part of the discourse, which subsequently leads to repetition.
Luffy wearing shoes instead of sandals is sadly a strong reflection of that very discourse. In the end, it has no bearing on the quality of this series and serves a practical purpose. We know that live-action adaptations have to make changes due to the fact of it having real people involved, a different structure, and a media format to work with. To some degree, it feels like people want to be mad about something and don’t have a lot to go off from.
At this point, it sometimes feels like people want to be upset. To some degree, it’s understandable, as most experiences people have had with live-action adaptations of anime and manga haven’t been the greatest. It also involving Netflix adds to that very concern. So, no matter the quality of the show, the online discourse is very likely going to be a nightmare; something Marvel fans might be familiar with given how each project ends up being discussed. We don’t know if it’s going to be good, especially not going off of a poster alone.
It becomes even more depressing once you enter the discussion points surrounding Nami, who proclaim that she doesn’t “match Eiichiro Oda‘s original vision” given she doesn’t share the same body type as Who Framed Roger Rabbit‘s Jessica Rabbit. Not only is it an impossible standard to set but given Oda‘s heavy involvement, it creates a similar discourse like how people co-opt Stan Lee to reflect how they personally feel about whatever Marvel Studios is doing they don’t like.
We’re sadly not learning our lessons but continuing to fall down a deeper rabbit hole. Based on a poster, we have no idea how One Piece will turn out. Some will be more optimistic than others, but there’s a certain level where the discourse becomes absurd. Is it a shame that Luffy doesn’t have his sandals? Yes, but we don’t know if there are scenes where he might still have them on but don’t involve any action.
Even Netflix’s Cowboy Bebop fell victim to it due to the oversaturated reactions regarding Eden Perkins‘ performance as Edward or even just Daniella Pineda‘s take on Faye Valentine not being “revealing” enough like in the anime. The show had its faults but that is more in how it simply struggled to revive that unique spark that the anime offered us in our childhood back in 1998. It was less episodic and embraced the Bebop we know and love, but it wasn’t the cast.
John Cho was a great cast Spike Spiegel, even if an older take on the character. Mustafa Shakir gave us an iconic Jet Black on top of it all. Pineda had her moments to shine even if her character was a bit of a departure from the original. Cho gave a heartfelt statement on losing out on the show given he was heavily injured shooting the series and was forced to take a year off. In our discourse, we tend to forget real people are working on these projects.
Yet at the end of the day, we’ll always tend to jump the gun as fast as possible to be that trendsetter. Instant gratification can feel good and we get swept up by it all. Sadly, we don’t give chances like we used to, which creates a higher barrier of entry for any new project trying to establish itself. One Piece has a chance to do what The Last Of Us, Arcane, The Cuphead Show, and many more did for video game adaptations. But if we draw the line at sandals, we may have never deserved the projects we got.
There has been a lot of speculation on when we can see the final season of Stranger Things. The fourth season just released and the wait has been a long one, but it was surprising to find out that the Duffer Brothers and their writing staff haven’t even tackled the fifth season’s scripts once the fourth season was released. So, it seemed like the wait might take quite a bit longer than expected and according to Finn Wolfhard, it may have gotten just a bit longer.
In an interview with GQ answering fan questions, he reveals that Stranger Things will start filming in May. Yet, he also hints that the time the series is likely to release might not be until 2025; a far cry from a late 2024 release everyone might be hoping for. Given that the series is only starting production in a few months and will be quite effects heavy like the previous one, it would make sense that the wait is going to take a while.
He does jokingly state that Netflix and himself would love to milk it with a return in ten years; not a bad idea to see the Upside-Down once again seep into the world and get a chance to see these characters having grown older. The series has struggled a bit with an aging cast as productions continued to get postponed. If they are only filming now, perhaps we’ll get a time jump going into the fifth and final season. There’s also a spinoff being prepared which may also be set up with this final season, but much is unknown about when to expect it.
Disney+ was a big venture for Disney with a strong focus on creating a singular hub for everyone loving any of their properties. They went out of their way to purchase 20th Century Studios to ensure they could expand their library in a way that would allow them to do exactly that. Yet, the losses taken throughout the last few years under new management of Bob Chapek didn’t truly shape an optimistic outlook on streaming’s future.
With the return of Bob Iger, we’re seeing some traditional directions for the company such as an increase in movies hitting theaters in future years and it seems they may be back peddling on some decisions. As part of their Disney+ venture, Disney pulled back on a variety of external licensing deals for their films and television series. This consequently added to their overall loss and made it more difficult to truly showcase the potential of streaming.
Now, it seems they are once again exploring selling their library to their rivals by establishing new licensing deals. It’s a strategy that has worked quite well for Sony Pictures, who have actively avoided sinking their cash into building their own streaming service. They’ve managed to create a deal with Netflix and Disney+ to offer their expanding library to multiple services in a layered rollout.
It makes sense and it might become a new standard moving forward for many of streaming services. We might not see Moon Knight or Percy Jackson on Netflix for quite some time but the various Marvel movies are likely to hit streaming services in a few years. If they play their cards right they’ll keep exclusivity rights for at least a year and then expand their offerings. It’s a double catch and very likely the future direction for the entire streaming industry. Streaming won’t go away anytime soon but the market landscape is surely going to change once again.
It looks like the 90s never fall out of style, as Netflix has renewed its newest comedy series with an announcement on Twitter. That ’90s Show has seemingly wowed the audiences and Netflix to return for a second season. The show was a direct continuation of the popular That ’70s Show with many of the original cast even making a return throughout its season.
While Kurtwood Smith and Debra Jo Rupp returned as the admirable Red and Kitty Forman, the series is mostly focused on a new young cast during 1995. Eric and Donna’s daughter Leia (Callie Haverda) was the main focus as she started to meet a variety of new kids that live in Point Place, Wisconsin. The season renewal arrives via the official Netflix Twitter account yet no details on what we can expect from the second season.
Showrunner Gregg Mettler shared his excitement in the following statement in regard to the season renewal:
All of us at That ‘90s Show were beyond excited by the warm, enthusiastic response to our first season. We can’t wait to return to Point Place for another summer of laughs and surprises. Hello 1996!
Gregg Mettler
Co-creator Lindsey Turner also shared her excitement in the following statement:
We owe the fans, old and new, for taking the trip with us in the first season – and we can’t wait to be there with them in the second season.
Lindsey Turner
The second season will return with a bigger episode order, as it’ll consist of 16 episodes. The show was in the Top 10 across 35 countries and garnered around 41M hours viewed since it premiered.
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