Amazon Studios is looking to adapt Eight Billion Genies. The news comes courtesy of The Hollywood Reporter, with the outlet revealing Amazon has picked up the rights to the comic book series by Charles Soule and Ryan Browne. While the streamer is looking to craft a feature adaptation of the comic, its plans for the property go well beyond just a single movie.
The Hollywood Reporter has revealed Amazon is hoping to make feature films, series and more involving the limited comic book series. Amazon hopes that the property will serve as an “expansive cross-media universe” starting with a feature film. Soule and Browne are on board as executive producers on the project. As of now, a director is not yet attached to the project.
Eight Billion Genies is an eight-issue limited series from Soule and Browne that officially hit stores in May. It asks the question, what would happen if every single person on the planet was granted a genie and one wish. After every person is granted a genie, the world is ultimately transformed forever, as people wish for varying desires that include receiving superpowers and bringing back lost relatives.
This is the second title from Soule and Browne to be receiving the adaptation treatment, as their other series, Curse Worlds, was optioned for the small screen.
Amazon Prime Video has been building quite the rapport with Chris Pratt. Not only did he bring in quite the success during the pandemic with The Tomorrow War, but he’s now also working on a series adapting the novel by Jack Carr, The Terminal List. The series follows the story of James Reece, who after facing the loss of his entire Navy SEALs platoon starts to question his own memories and loses grip with reality as the story around him starts to unravel, which may endanger the ones he loves. Can the premise also deliver with this new series?
One thing is for sure, the base premise is quite a promising one. Especially in the first two episodes it starts to play with the viewer’s understanding of what is and isn’t true. Audio clips and flashbacks start to intertwine in ways that make you wonder what exactly is real or isn’t. Pratt sells the performance as Reece, and it does push you to question what exactly is going on. The dramatic turn of these earlier episodes also adds some weight and further solidifies the difficulty of discussing topics like posttraumatic stress disorder in combat veterans.
Yet, the series slowly devolves into a rather simplistic plot of vengeance with some political turmoil. There are some interesting ideas at play, but it does continue to throw in new characters and unravels the “bigger picture” at the expense of what was the initial personal drama that gave the series an amazing hook. It’s not bad mind you, but it does feel like a missed opportunity as its strongest moments still remain with elements from that core concept that help develop Reece as a character.
There’s a lot of gray in this series, and no person is truly good. Some are definitely more corrupt than others, but it does become a boiling point where if you can’t go with Reece’s vengeance, you may lose interest in the series as that’s the main driving force. Chris Pratt gives a great performance and it is always strange to see comedic actors take on some rather dark roles. In a way, this is Pratt‘s Breaking Bad in a way, as he tackles a complex and broken character. It simply hinges on if you are going to join his journey or not to truly invest in this eight-episode series.
There is a strong supporting cast here,e especially Taylor Kitsch’s Ben Edwards who plays a vital role in supporting Reece throughout his journey. Though Constance Wu may be a personal standout in this series as journalist Katie Buranek alongside Jeanne Tripplehorn‘s Lorraine Hartley. Though, I can’t help but highlight the hilarious twist on casting Jai Courtney as a war-loving multi-billionaire CEO given his perchance of action roles. The way they play with his character was probably the one thing I least expected from the series and it worked in its favor.
The series is, at its core, a military conspiracy drama and works quite well as such. When they pull out their action sequences, they are great and you can see the influence of director Antoine Fuqua‘s experience with Training Day and Equalizer at play here. Though Ellen Kuras also offers some strong work here, especially echoing her work on projects like Ozark and The Umbrella Academy. Action is tight and purposefully dramatic when it needs to be, even if it does pull its inspirations from various military and gun-focused projects.
You can tell this was a passion project for Pratt, who also was an executive producer on the series. The series hits its stride when it comes to emotional moments, as Reece is pushed further and further throughout the story, especially as he starts to have a hard time connecting what is and isn’t real. And, as a personal taste in what could’ve been shouldn’t overshadow what the series is going for, it should be praised for what it delivers. There’s an interesting intrigue at play that caught me off-guard even by the end, as sometimes the camera would play with us on where certain characters stand.
There’s a middle section where the series seemingly takes a brief detour to introduce new characters that don’t have a stronger play into the overarching story. It was interesting as it added a new perspective on some characters, but it felt like the aspect of this story could’ve easily been tightened for the adaptation, as it pretty much feels like a brief detour in the middle of the story.
I repeatedly caught myself wondering if that was the end until realizing I was only halfway through the series. It does come at the expense of dragging at times and making me wonder if they may have had to pad out the eight-hour run, but it was still interesting to see how the series continues to just escalate. It also has something to say about PTSD and how strongly it affects soldiers. It doesn’t paint a pretty picture of the military; not even a little bit. It doesn’t indulge in the violence but adds a visceral aspect that forces you to keep watching.
For what the series is, The Terminal List pulls off what it’s trying to be. While I still wished it played a bit more with its audience, there’s something genuine at play here and it could’ve played a bit more morally grey on some character decisions. Yet, your enjoyment of the story strongly depends on how you feel about Pratt‘s character and his emotional journey throughout. There’s a strong supporting cast and while it has some moments where it could’ve tightened the plot, the series still has something to say that was worth telling.
Over the course of two seasons, Prime Video’s The Boys has quickly become one of the best superhero series on the small screen. It achieved this not only due to its stellar cast, which is led by Karl Urban‘s Butcher, but also the willingness to play into campiness and gore. So, it’s not entirely surprising that Season 3 of The Boys decided to push the limits even more. Perhaps there are no moments nearly as memorable as a self-pleasuring Homelander as seen at the end of Season 2, but the series manages to successfully make use of its eight episodes in ways most shows could only hope to do.
Following the events of Season 2, The Boys kicks off its third season still dealing with the aftershock of Stormfront. Naturally, her true nature has divided fans of the Seven – those that agree with her, aka Nazis, are upset over what happened to her. While others are glad to see her go. The person struggling the most, however, isn’t Stormfront. It is evident he loved her, but as this is Homelander, there’s also a sense of arrogance as he struggles to deal with his feelings. He’s very much still the unpredictable man-child we’ve seen before, and it seems Stormfront’s predicament has only made him worse. He’s more volatile than usual, and is no longer keen to be the poster boy of Vought.
As entertaining as his shenanigans can be, they do quickly become tiresome, though. Thankfully, the creatives seemed to understand it was time to introduce a new character to focus on because as great as it is to see the boys eager to takedown Homelander, the story can become stale at times: Enter Jensen Ackles‘ Soldier Boy. Perhaps the most developed character in the series, Soldier Boy brings with him a much-needed energy boost to the latest season.
His story is set up perfectly to weave a new and exciting tale that ultimately ties together with the Boys and their original mission with ease. More importantly, though, Ackles‘ Soldier Boy plays off of Urban‘s Butcher perfectly. When the two are together on screen, it’s hard to look away, which is saying something given Urban‘s onscreen chemistry with his team members. These two are dynamite.
Those that are eager to see the series move away from trying to takedown Vought should be excited to know that The Boys Season 3 finally gives its secondary characters time to shine. This isn’t just a story about Butcher and his journey of revenge anymore. It’s not all about Robin and Becca. And while Ryan is an essential character this season, this isn’t a story that’s centered around him either. The overall theme seems to be that of family and self-discovery, and it’s the best dang decision the writers made this go-round. Heroes that viewers might’ve hated before? They’re given the chance to flourish. While others that the audience might’ve liked before? Well, there’s a good chance viewers will be rethinking their favorites by season’s end.
One of the most exciting parts of The Boys has always been its willingness to poke fun at other comic book properties. Yes, there are moments of predictability, but Season 3 has largely moved away from those moments. It’s chaotic in the best type of ways and is a hell of a ride that’ll leave viewers smiling by the season’s end. As for what lies in store for Season 4, it’s clear the writers still have plenty of stories left to explore, and it seems likely the crazy train is a ways off from stopping.
Overall: The Boys Season 3 is a bumpy ride full of chaotic twists and turns and a hell of a performance by series newbie Jensen Ackles.
It was announced today that production on the second season of The Wheel of Time has officially wrapped. The Amazon Prime original was renewed for this second season months before the first season had even been released. However, it ended up being a logical decision based on the generally positive response from audiences towards the fantasy series. As well, there is ample ground for the franchise to cover thanks to the 14-novel series written by Robert Jordan that the series is based upon.
The first season of the show followed the tale of Moiraine Damodred (portrayed by Rosamund Pike) on her quest to find the Dragon Reborn, who is prophesied to either save the world from the evil that currently consumes it or be the harbinger of its destruction. In addition to Rosamund Pike, the series stars Daniel Henney, Zoë Robins, and Madeline Madden among others. Dónal Finn will be replacing Barney Harris in the role of Mat Cauthon in season two. As well, it was previously announced that Killing Eve’sAyoola Smart would be joining the cast for the second season. Rafe Judkins serves as the showrunner and executive producer.
While it is not officially announced when the second season will air, the first season concluding production in May 2021 could lead to the assumption of a return to a November release for Wheel of Time Season 2.
Sissy Spacek and J.K. Simmons are two remarkable acting powerhouses, and for most of its eight episodes, Amazon Prime’s latest science-fiction offering Night Sky feels designed specifically to point that out. The slow-burn series from creators Holden Miller and Daniel C. Connolly centers around elderly couple Irene and Franklin York, played by the aforementioned Academy Award winners, who live a seemingly normal life in a small Illinois town. Of course, normality isn’t what qualifies the show as science-fiction, so there is one major twist – the couple are hiding a mysterious portal to another planet in the ground under their shed. They manage to maintain a fairly dull life despite this shocking secret, until a strange young man emerges from the otherworldly doorway and turns everything they thought they knew upside down. From that point, it’s mostly just really good acting.
The show’s premise will draw people in, but Spacek and Simmons will be the reason they stay. Although the written synopsis may appear to promise moments of visual awe and pulse-pounding discovery, that type of storytelling is actually fairly sparse for most of the series’ runtime. Aside from a handful of truly beautiful cosmic scenes and a subplot involving cult-like bounty hunters, the majority of Night Sky is actually a long-form drama about the endless, overwhelming love shared by Franklin and Irene. In fact, it becomes apparent partway through the season that the whole “space door” plot point, and the ancient organization associated with it, are more so catalysts to challenge and examine the York’s marriage than they are real developments of their own.
This works almost exclusively because the show’s leads are so good at what they do. The series’ writing is very well done, but its pacing is far slower than expected. While the front and back of Night Sky are filled with exciting progress, the middle chunk of episodes suffer from a frustrating lack of life that could leave some viewers in a position of wanting to change the channel. Truthfully, Night Sky does not seem to be structured with the binging model in mind. Most episodes are dense enough that they could use that old-fashioned week of processing and analysis between installments. Attempting to take in more than a couple of episodes at a time could prove to be a bit much, so the recommendation here is to slow your roll and appreciate independent episodes for what they are.
Once the season gets cooking, however, it has a lot of really intriguing things to say. The main point of tension in the York family is the lingering death of their son, Michael, who passed away decades before the start of the show. His loss of life has caused Irene and Franklin to struggle finding meaning in theirs, with their care for each other as the only thing still keeping them around. The sudden arrival of Chai Hansen‘s curious Jude into their lives threatens to rupture the relative peace Franklin has procured for himself and Irene in recent years, but it means something else entirely for his wife, who sees the situation as an opportunity to experience something real again. Much of the personal conflict that follows revolves around the duo’s differing outlooks on how Jude will change their future and affect their views of the past, and makes for a rather compelling relationship drama from a demographic not seen as frequently on television.
The other main plotline in the series follows Julieta Zylberberg’s Stella and her teenage daughter, Rocío Hernández‘s Toni. Without getting too far into spoiler territory, the pair spend much of the show’s first season on a cross-country road trip that forces both to confront questions about themselves they’ve been avoiding for most of their lives. As expected, this drama comes to a head around the same time Franklin and Irene resolve their comeuppance. The common theme shared between the two plots is simple, yet effective. Both pairs of family members spend too much time running in circles, desperately trying to avoid the inevitable. They do so because they are scared, and because change, especially immense change, is a terrifying thing to face head-on. It isn’t until they accept fate and embrace change that they realize how glorious life can be.
The most impressive thing about Night Sky is that it consistently makes you forget there’s a big space portal in the protagonists’ backyard. Where most science-fiction shows tend to bury character drama beneath cool special effects, Amazon’s newest does the exact opposite. The beauty of the series does not come from the infinite universe in which it takes place, but instead from the hearts and souls of the characters that inhabit it.
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