As someone who has never read the Moon Knight comics, I found the first episode to be puzzling. For people who are familiar with the comics, the character’s history of multiple personalities is something they bring into the show with them; I was finding out about his personalities as I was watching the show, and they didn’t always make it very clear about what is going on. By the time the episode was over. I was still confused as to which character is which, but the scene of Moon Knight standing over the jackal had me looking forward to more.
As puzzling as Steven Grant The Gift Shop Worker’s story is, Arthur Harrow’s story is very clear. He makes it very clear that he wants to free Ammut, the Egyptian goddess of the underworld, from imprisonment. Harrow’s desire has brought him into conflict with Grant, who happens to have a scarab that will help Arthur achieve his goal. Grant, as it turns out, serves as the avatar of another Egyptian god, Khonshu. As the episode draws to a close, Steven finds out that he is sharing a body with Mark, who seems pretty familiar with Khonshu. Mark convinces Steven to let him take control and then becomes Moon Knight, The Fist Of Khonshu.
It wasn’t until the bathroom scene that I really understood what had been happening through the course of the episode. I finally understood that when Steven would have his blackouts, Mark was coming out and helping him at dangerous times. Moving forward, it’s clear that Steven shares his consciousness with at least one other person, who seems to know a whole lot more about Harrow and this scarab.
Arlyn’s Assumptions
In this next episode I think that Steven is going to have to figure out what is happening and he is going to form a relationship with Mark. There is one other person he is going to have to come to know: Layla. Steven and Mark will have to become better friends in this episode in order to figure out just what’s up with Khonshu and how they can stop Harrow.
A recent casting call from POC Culture shed light on a new, supporting character to be featured in the as-yet-undated Marvel Studios Disney Plus streaming series Ironheart. The report indicated that the production is searching for a Black, Latina or Afro-Latina transgender woman between the ages of 18 and 22 to portray a character described as “smart” and “confident” with a “unique sense of humor.”
As the news made the rounds, one additional bit of information seemed to slip through the cracks just a bit and it’s information that might lend credibility to some previous rumors about the villain of the series. In early January, The Illuminerdi reported that a casting call for Ironheart might indicate that Parker Robbins, aka The Hood, could be villain of the project. That idea has been met with a heavy dose of skepticism by fans because it seems incongruous to have a mystically-enhanced villain going up against a tech-based hero. However, the recent casting call for the transgender woman included an additional description of the character that actually supports the idea of The Hood.
POC Culture’s report included among the descriptors of the character that she also had a “mystical bent.” While this is EXTREMELY vague, it does indicate that Ironheart will include at least some sort of mystical elements. And while this in no way confirms the presence of a character so steeped in mysticism as The Hood, it does raise some interesting points for discussion, not the least of which being that by putting a magic user up against Riri’s powerful tech, Marvel Studios would be going against LONG-established pillars of their stories in which the power sets of the villains match the heroes. By pitting someone like The Hood against Ironheart, Marvel Studios would give Riri a chance to truly flex her genius muscle and separate herself from her armored predecessor. So while this is by no means some sort of confirmation of The Hood, it is interesting food for thought and something to follow over the next couple of months.
Moon Knight doesn’t hit the ground running as a superhero show. There’s certainly supernatural mystery in the air, but it is all very open-ended up until the actual Moon Knight reveal. We didn’t enter the realm of Captain America, Hawkeye, or even Thor, and it feels like the show exists in its own pocket universe within the greater universe. No one thing explains that feeling, but it certainly doesn’t rely on existing structures or even narrative themes and patterns. In that way, Moon Knight, if nothing else, feels fresh. The premiere episode certainly felt like a prologue and an introduction into some sort of outlier corner of the MCU. But the possibilities are practically endless.
This is an episode about Steven Grant. Steven Grant is an awkward, kind of fumbling, lonely, cowardly guy. But he’s also quippy. And the consistent humor Oscar Isaac brings to the role is truly the bedrock of everything that happens around Grant. The funny personality type does sort of feel like the MCU—letting the underlying character shine with or without the suit. Moon Knight in this episode is still a far cry from being as dead serious as the character historically can be. Grant, who does not know what is happening to him here, is like a mirror to a viewer who also is meant to be in the dark. But he will help you laugh a bit too.
But the underlying story is without a doubt serious, and it’s heightened by not only the obvious supernatural evil presence of Ethan Hawke’s Arthur Harrow, but also by the suspense and tension of Grant’s mental state. While Grant’s other personality, Marc Spector, is not revealed until the end of the episode, the screenplay is brilliant to tease out areas where Grant lost control of his body to Marc. Grant sort of reawakens with jarring editing to a similar setting but with violence and bloodshed around him. While more than one personality of the main character will be explored over time, the episode’s focus almost exclusively on Steven Grant gives the series the ability to tell a Moon Knight story without starting from scratch while taking advantage of quite the character piece it has built right in.
The larger sequence where Grant finds himself awakened in a foreign place, where he meets Harrow, emphasizes how important Grant’s mental narrative is to the show. While Harrow’s background and goals are still a mystery, using Grant as the lens into this particular moment of the story gets rid of the origin story lag. It also is designed to make the viewer question what is and is not real in the show, and that is an exciting bucket of worms that is so characteristic of the character in his comic book history. And while this episode still has to lay some groundwork, the series has the potential going forward to have some phenomenal pacing and tell a story without skipping a beat. While the costumed Moon Knight only makes a very brief appearance at the tail end of the episode, the quick transition to him and the final shot being him on the move does quite a lot in terms of setting up the rhythm of the series.
Despite being fronted as an MCU superhero adventure, at this point, the series looks like a story about an unstable man who happens to find himself surrounded and overwhelmed by a foreboding evil plot involving Egyptian gods. The first episode of Moon Knightcertainly shows off that it has the potential to be a very intriguing, suspenseful, and fresh story for the MCU. It can pretty much move in any direction, and that is not something a lot of comic book series can boast—it’s exciting.
The new MCU series Moon Knight seems to be taking a somewhat unique path to introduce and explore the titular character. We see nearly the entire first episode through Steven Grant, who knows nothing of the conflict among the Egyptian gods happening around him. So far, Moon Knight is not tracking any particular comic run, so predicting what comes next is not easy. But the first episode did supply an interesting Easter egg that might have legs to be more than just a nod to the comics.
When Steven discovers what turns out to be Marc Spector’s stash, he goes through the flip phone and sees countless missed calls from Layla. Placed amongst all of those missed calls was a “Duchamp.” A Moon Knight comic reader might recognize that name as Jean-Paul Duchamp, otherwise commonly called “Frenchie.”
Marvel Studios’ Moon Knight
Duchamp made his first appearance alongside Moon Knight himself in 1975’s Werewolf By Night #32. In that way, Duchamp is actually older in the comics than Marc Spector or Steven Grant. Like Moon Knight, Duchamp has a long and colorful history in Marvel comics. He is an ex-member of the French Foreign Legion and met Marc Spector while they were both mercenaries. Duchamp became, most notably, a close friend of Marc’s as well as a sort of sidekick to Moon Knight, and he was a long-time pilot of the Mooncopter.
Marc Spector: Moon Knight
But was Duchamp’s name on the phone simply an easter egg or could the character make an appearance in Moon Knight? Simply having the name listed somewhere a fan could spot seems like one-off reference territory, but the shot curiously lingered on the name for longer than you would expect it to if it didn’t pack more meaning. The episode barely introduces Marc, so there is plenty of room down the line for Marc’s character to be developed. That could include not only his personality and relationship to Khonshu and Moon Knight but also the other relationships–like Layla–that identity has made throughout his life.
From the little the first episode showed, it looks like Moon Knight has been around for some time. Steven seems to have had control over his own life for a significant period of time, meaning that Moon Knight may have been established or created potentially years ago. That is plenty of time for Marc to have a network around him. What’s more, it looks like Steven is scrolling through relatively recent missed calls on Marc’s phone, meaning Duchamp may have tried to reach out recently. This could suggest that they are still in contact or that Duchamp is at least trying to get involved. Perhaps he had been helping Marc carry out his Moon Knight activities, or maybe he is just a close confidant. If the classic character makes it into Moon Knight, by all guesses he would not have the screen time to truly develop. But there could be plenty of room for Marc Spector and his classic supporting cast to be explored more in the future.
We’ve still got quite some time ahead of us until the live-action adaptation of One Piece hits Netflix. The team has been hard at work bringing the manga to life, as we even saw some set photos find their way online. We’ve gotten glimpses at ships being worked on and even a first look at their take on the Marines’ design. They offered our first look at some of the tweaks and changes that will result from the new medium. Of course, it opens the question what else might change and I thought I’d give it a shot to theorize what aspects of the original East Blue Saga that might get adapted from the original manga.
Nami’s Anime-Inspired Introduction
Just like how the live-action Cowboy Bebop introduced Faye Valentine in its first episode, we can probably expect the same with Emily Rudd‘s Nami. Alvida’s ship was one of the first to be spotted on set, and she was the first to share a photo from the set. Plus, her character arc is at the core of the East Blue Saga, as Arlong technically acts as the “big bad” before they set out to the Grand Line. Her early introduction alongside a potential set-up for the later part of the season would work to also establish a few plot points that you usually see introduced in the pilot episode
Ironically, this wouldn’t the first time that Nami gets an earlier introduction, as it happened in the anime. While in the manga we first meet her in Orange Town, the first animated adaptation took a different approach. We meet her earlier in the story, as she’s looting one of Alvida’s ships. There’s even a chance that we’ll see her lurking in the background in Shells Town, as Luffy makes his way to recruit Zoro and face Captain Morgan. Taking inspiration from the anime would work to switch up the opening of the manga, which was still finding its footing at the time with each island acting like a self-contained story.
Morgan’s Expanded Role
Speaking of Captain Morgen, I do believe he’ll likely have a bigger role in the live-action adaptation. Not only did we get a glimpse of Garp’s ship, where he was arrested and then fled from, but it’s not uncommon for adaptations to combine characters. Morgan has ties to Kuro and was one of the reasons the former pirate captain was able to pull of his scheme. Yet, he doesn’t really factor into the story after that, but there is one potential role expansion he could get. We later meet a Marine captain named Nezumi during the Arlong Park Arc. It was a new character that pretty much also solidified the corruption within the Marines.
Even after fleeing, Morgan could still be in his uniform with some corrupted soldiers that stuck by his side. Perhaps he tries to find refuge at Arlong Park, where the Fishman uses the opportunity to make use of the fleeing Marine. As Nami wasn’t directly involved with his arc, she might have no idea who he is. So, him arriving and taking her treasure away, forcing her to start over, would fit within story and add an extra layer of connectivity between the East Blue. Plus, we won’t need an additional character introduction while also further fleshing out what was once a one-sided villain.
Garp’s Increased Role
Garp’s ship being built is a potential tease that we’ll get Coby and Helmeppo’s training arc sprinkled throughout the series. It’s unclear how much time it’ll take up, but there’s a potential to include them as a showcase of the aftermath that the Straw Hats leave in their wake. We get a few more moments with characters otherwise would’ve left behind and see how this pirate crew influences the world around them. Lieutenant “Double Ironfist” Fullbody could even be part of his Marine group that ended up going ahead to the Baratie, which might even work as a little reference early on if Garp shows up in the pilot episode.
We also learn in the manga that he wants Luffy to join the Marines. So, it wouldn’t be too surprising for him to arrive in Windmill Village hoping to recruit him before he goes his pirate ways only to be too late. It isn’t until later that we find out that’s the only reason he’s in the East Blue to begin with, as everyone is confused why he’s so focused on a small-time pirate. Plus, his inclusion is a great move to also show the two-sides of the Marines. We want to root for Coby joining the group, but mostly meet very corrupted captains throughout the East Blue. In a way, he a perfect counter balance that there is more to this group, especially to set up Smoker’s apperance in Loguetown.
Less Islands, More Ships
This change is something I thought off during our recordings of Den Den Murphy, which you can listen to the latest episode by clicking here. We’re seeing a lot of big ships being built and it would seem strange to do so if they are only set dressing. Just like in the anime, I do believe that Alivda’s storyline will be directly on her ship rather than a random island. It works well for the story and adds a nice flair to the series, as it’s odd how little we spend on boats given it’s a pirate story. Yet, I do believe it’s not the only time and would even argue they’d cut one of the bigger islands in addition to the one Gaimon is stuck on, and move it to a ship.
I went back-and-forth on this a lot, but my theory would be that we might skip Straw Hats’ time in Orange Town. Not the storyline, but them taking on Buggy on the island. The only important landmark is the pet store protected by Chouchou. The Buggy pirates could have already destroyed it in the series, and the little dog is trying to retrieve the only thing that remains of his owner. As such, he chased the the circus-inspired crew to their ship where the story takes place. Recent set photos by the South African President revealed a circus tent, which was part of Buggy’s ship named Big Top. It would work as a creative backdrop and mix the story up as we mostly traveled from one town to another in the original.
More Foreshadowing
As you’ll likely notice, most of my theories on the changes are based on building more connectivity. The East Blue Saga is the most “independent” storyline as each arc doesn’t necessarily built into the next. Seeing them interweave some minor plot points that build or or connect to later makes a lot of sense to grab viewer’s attention across its first season. Morgan referencing his capture of Kuro before we realize what truly happened, people discussing Don Krieg being the first in a long-time to attempt the Grand Line, and so much more could be sprinkled throughout to add some foreshadowing.
Yet, I’d also go one step further and say that I do think they might add elements from later storylines that are hinted at before they even enter the Grand Line. References to Sanji’s real backstory and the Germa 66 would make sense as a small indication, even if it’s just him reading the comic “Sora, Warrior of the Sea.” Zoro being confronted by a member of Baroque Works makes sense, as it is referenced in the manga but never got to see it happen. Even just thinking about the infamous execution of “Gold” Roger opens up so many possibilities.
With still some time until we even get a trailer for the adaptation, it’s fun to speculate and theorize how they might adapt Eichiiro Oda‘s famous manga. There’s a whole community that has built around this series and if you’re interested you can check out the Discord by clicking here to share your thoughts on the project.
The future slate of Marvel Studios is more fluid now than it’s ever been. With the industry STILL being impacted by COVID to some degree, a backlog of projects that could be shuffled in and out of any date at any time, and the interesting lack of a 2022 press preview kit from Disney, fans are left frivolously hypothesize, predict and speculate when to expect their most anticipated MCU projects. And we’re here to help you with your favorite addiction. This isn’t our first attempt to pin down 2023’s projects; you can check out V1 here and V2 here to compare notes.
As much as everybody wants to see the Samuel L. Jackson/Nicky Fury-led Secret Invasion, the 2022 schedule seems to be complete without it. While we still don’t know very much about the plot of either Secret Invasion or The Marvels, it does seem like the two could share some sort of narrative bridge that would be well-served by them debuting relatively close to one another.
By the time The Marvels hits theaters, it will have been in the can for nearly a year and a half. That’s part of the backlog of projects created by the pandemic, which really changed the well-established production paradigm that Marvel Studios had followed for well over a decade. That means a lot of time to breathe for the characters in between appearances which creates a lot of anticipation…and you know Marvel Studios likes that.
After a little bit of a delay to the start of its production, Echo looks like it’ll be up and running in Georgia in April of 2022 and permits have been filed around Atlanta for the month of May. Given the “grounded” nature of Maya and the types of characters being cast in supporting roles, it doesn’t sound like this one is going to be a VFX showcase, so it should be ready to stream on Disney Plus in March of 2023. Of course, the question on fans’ minds is how much will Daredevil and Kingpin be involved and how might this series dovetail into the Daredevil solo project in development at Marvel Studios. Here’s to hoping Maya remains the focus of this series as there’s plenty of room for Daredevil to explore on his own.
At some point in the first half of 2023, Ahsoka, a highly-anticipated, live-action Star Wars streaming series, will hit Disney Plus. We now know that Disney Plus is not opposed to streaming live-action Star Wars and Marvel Studios’ projects simultaneously, but if Ahsoka rolls out sometime in early May, X-Men ’97, which is on track for a 2023 release, could stream concurrently with that and fill the Marvel Studios streaming void until June, leaving some live-action stuff for later in the year.
James Gunn’sthird Guardians’ film might well be his last Marvel Studios’ project. By the time this comes out, it’ll have been over a decade since Gunn started work on Guardians of the Galaxy and as we’ve seen through his recent work on The Suicide Squad and Peacemaker, he’s really on top of his game. This one sounds like it’ll be something really special and emotional, with Gunn saying goodbye not only to Marvel but to some characters he’s really grown to love.
With the production of Season 2 of Loki on track to begin in June of 2022, it should be ready to roll out in June of 2023. While it isn’t clear whether or not Secret Invasion provides a direct runway to the events of The Marvels, it seems VERY clear that Loki Season 2 and Ant-Manand The Wasp: Quantumania share a narrative canvas and that the former can easily hand off a storyline to the latter.
2023 could end up being the Summer of Kang. Jonathan Majors thrilled audiences with a tease of what to expect when the character returns, and it looks like when he does it’ll be a much heavier dose. Ant-Man and the Wasp: Quantumania will feature some version(s) of the character fresh off of what’s expected to be a major role in Season 2 of Loki. Of course, Kang’s not the only villain fans can look forward to, as M.O.D.O.K. is also reportedly making his live-action debut, played by Corey Stoll. Should the schedule fall this way, it would represent a great example of the type of synergy Marvel Studios can pull off thanks to a parent company that has its own streaming service and total control over the release schedule.
While a lot of fans are expecting this to be tied into Armor Wars, all the early evidence suggests it is essentially a follow-up to Riri Williams adventures in Black Panther: WakandaForever. That’s not to say that Riri might not show up in Armor Wars or that the events of Ironheart might not lead into the Don Cheadle-led streamer, in fact it would make a lot of sense if she did, but Riri will be busy enough on her own following her huge role in Wakanda Forever.
When V2 of the 2023 Hypothetical Calendar was published, Agatha: House of Harknesshad only just been revealed by the trades a few days before and the official Disney Plus Day announcement was about a week away. Now, it really does look like it could make the 2023 release slate given the tentative October 2022 start of production. It seems like the perfect Spooky Season release for Marvel Studios, so slotting it here seems a no-brainer.
After a couple of production delays, Bladeis looking at a Fall 2022 start of principal photography, which makes it the best candidate for the currently unfilled November 3, 2023 release date, especially with production on Captain America 4 officially delayed until 2023. It doesn’t hurt, of course, that it’ll come out right around Halloween and feature a vampire hunter, and it wouldn’t be entirely surprising to see this date slide back a week earlier where nothing major is currently scheduled for any studio.
Armor Wars, like Agatha: House of Harkness, is on track for a late-2022 start of production. While a 2023 debut is by no means set in stone for Armor Wars, there is a nice end-of-the-year window for it, should it be completed and ready to stream. We know very little about the project, but Kevin Feige seems to enjoy playing with the idea of having some streaming series thematically tied to the seasons in which they are released, so maybe, like Hawkeye, Armor Wars could be set during the holidays. After all, is there any better present than Stilt-Man?
In addition to producing live-action streaming series that are a part of the DCEU, Warner Bros has begun development on a few DC films that will be exclusive to the streaming service as well. Batgirl, which will introduce Barbara Gordon to the DCEU, is currently the first of what is presumed to be many HBO Max exclusive DC films, but recent shifts in the DC film release slate may have given it a window of opportunity for a theatrical release.
Substantial changes to many upcoming DC film release dates were part of a cascade begun by Black Adam being pushed back from its July release date to October 21st, 2022. Shazam: Fury of the Gods jumped forward on the calendar, taking the December 16th, 2022 slot previously held down by Aquaman and the Lost Kingdom, knocking the sequel into March of next year. Also moving into 2023 is The Flash, streaking to June 23rd, 2023, 7 months later than previously scheduled. Following the release of Blue Beetle on August 18th, 2023 there is nothing set moving forward, meaning Batgirl would have a perfect window to release in late 2023.
The Flash being delayed means Batgirl’s reported 2022 release is highly unlikely as the events of that film directly lead into the The Flash, reintroducing Keaton as the main Batman of the DC Extended universe. So what should Warner Brothers do with this new opportunity? Move Batgirl to a late 2023 release date and give the film the opportunity for a theatrical release instead of only putting it on HBO Max.
We’ve seen quite a bit from the set of Batgirl and we know the film is set during the holiday season with the set in Glasgow being covered with a ton of Christmas decorations. Instead of creating another Shazam! situation, where a film centered around one season is released in the opposite, the film could thrive with a a theatrical release during the 2023 holiday season.
Blue Beetle was originally set to be an HBO Max exclusive film but was moved to a theatrical release, so its possible for Batgirl to get the same treatment. Batgirl is an instantly recognizable character for many people and has had prominent roles in many DC projects. This move seems like a no-brainer for Warner Brothers, who could bring in more money with a more strategic release. It would also give the film additional time during production, as it always seemed a bit risky to shoot and release a film in the same year.
Batgirl’s release date is still unknown as production on the film continues in Glasgow. The film will be directed by Adil El Arbi and Bilall Fallah with Leslie Grace in the titular role. Alongside Grace will star J.K. Simmons, Michael Keaton, Brendan Fraser, Ivory Aquino, Jacob Scipio, and Rebecca Front.
For the past year, it seems the only Marvel projects anyone has talked have been the smash-hit Spider-Man: No Way Home and the upcoming Doctor Strange in the Multiverse of Madness. This is with good reason, of course, as both films were surrounded by whispers of insane cameos and exciting character reveals. However, fans shouldn’t be so quick to forget about an entirely different MCU project that also looks to have it’s hands full in the guest department. She-Hulk is set to debut on Disney+ later this year, and the 10-episode “comedy” series is rumored to be just as jam packed with surprise appearances as it’s higher-profile siblings.
The difference is that, aside from some previously established stars like Benedict Wong‘s Wong and Charlie Cox‘s Matt Murdock, most of the rumored cameos will supposedly be from characters even hardcore Marvel fans may not know. A recent Reddit post named a handful of C-Listers as potential guests on the show, and gained a bit of credibility when an audition tape for one of those characters, Mr. Immortal, seemingly leaked online. If you’re not sure who that is, have no fear. Articles like this one exist to keep people informed. Read on to discover a few more of the relative unknowns, and learn about their brief comic book histories.
Mr. Immortal
Craig Hollis, better known as Mr. Immortal, made his biggest impact on the Marvel Universe as a founding member of the Great Lakes Avengers. As a child, Hollis was visited by a cosmic entity calling itself Deathurge, which often attempted to put him in life-threatening situations. After a tragic event which resulted in the death of his father, Craig learned that Deathurge had granted, or cursed, him with immortality. Every time Hollis dies, he is immediately resurrected. In his adult years he would decide to put this ability to good use and become a costumed superhero, creating a team of similarly mediocre do-gooders operating out of the Great Lakes region.
Mr. Immortal was rumored to appear in She-Hulk asking Jen to help with a divorce from his wife, something the leaked audition tape supported when it’s dialogue involved the character mentioning both a failed marriage and a failed suicide attempt. In the leaked video, actor Tom Archdeacon is trying out for the role, but he isn’t the first person to go for the red-and-blue tights. Derek Theler, of Baby Daddy fame, was once attached to play Hollis in a loose adaptation of New Warriors for the Freeform channel. A pilot was filmed, but never released, opening the door for a new performer to possibly take the role for Disney+.
Man-Bull
Another rumor from the same Reddit leak claims that Tim Roth‘s Abomination will at some point set up a mountainside retreat for “various low-tier villains and other side characters”. Among those named as inhabitants of the retreat is Man-Bull, a lesser known antagonist from the pages of Marvel’s Daredevil comics. William “Bill” Taurens (a clever last name) was a low-class thug hired to round up human test subjects for a mysterious scientist’s new experimental serum. The serum was seemingly designed as an enhancer, taken from the genetics of a bull, and Taurens was forced to undergo the procedure himself after Daredevil prevented him from kidnapping anyone else. Transforming into a large, bull-like creature, Taurens took on the name Man-Bull and sought his revenge.
He would go on to clash with Daredevil on multiple occasions, though he never managed to rise to arch-villain status. Man-Bull’s story would get more interesting in later appearances, coming into conflict with characters like Hulk, the Scarlet Witch, and Hercules. He even once found himself infused with extra power, becoming a version of the Minotaur from ancient Greek legend. Unfortunately, it’s likely none of this will come to pass if he shows up in She-Hulk, where Man-Bull is an odds-on candidate for comic relief.
Porcupine
Alongside Man-Bull at the mountainside retreat is purportedly Porcupine, who has had a few iterations in the comics. The original character to don the identity was actually a member of the United States Army, one Alexander Gentry. A weapons designer, he crafted a military battle suit inspired by the abilities of a porcupine. Anyone wearing the armor would be coated in a layer of powerful quill-like weaponry, which doubled as self-projectiles or tubes to fire other ammunition such as poisonous pellets, gas, fire, and other objects of the sort. Obviously, things with the army didn’t go as planned, and Gentry instead used his invention to turn to a life of crime. His first superhero opponents were the original Ant-Man and Wasp, but he would also eventually come into contact with other big name heroes like Captain America, Moon Knight, and the Fantastic Four.
Over time, a man named Roger Gocking would also begin using the Porcupine suit. Though he lacks an established background, he did follow in his predecessors footsteps by joining a variety of supervillain teams to support his own middle-of-the-road status. Around the same time as Gocking’s emergence, a mutant teenager named Billy Bates would develop porcupine-like powers and take the name for himself. It’s unclear which alias of Porcupine is allegedly scheduled to appear in She-Hulk, but Bates’ mutant origin may knock him from contention.
Baron Blood
Perhaps the most interesting claimed constituent of Abomination’s little club is Baron Blood, who actually has sort of a long history in Marvel’s comics. Blood, born as English aristocrat John Falsworth, originally came to prominence as an adversary of The Invaders during World War II. He is the younger brother of longtime Invaders feature Union Jack, who, after losing his fortune to the elder Falsworth, travels to Transylvania to pursue his love vampirism. An encounter with Dracula turns John into an undying bat-like vampire, which apparently also results in a lapse of moralism as the newly-christened Baron Blood sides with the Nazis and begins battling his brother’s super heroic allied forces.
Blood’s importance in the comics has diminished since his early appearances, but he has continued to surface occasionally and cause trouble for his former World War rivals. Other versions of the character have been introduced in later stories, like an undead version of Doctor Strange’s brother and John Falsworth’s great nephew Kenneth Crichton, but it’s most probable the original is who might appear in She-Hulk. His brother James is already canon to the MCU, having been portrayed in a minor role by JJ Feild in Captain America: The First Avenger. Maybe Blood’s rumored cameo will allow more World War II stories to be told in the future of the MCU, or even establish an unexpected connection with Marvel Studios’ upcoming reboot of the Blade franchise.
Amazon recently released its very first The Boys spin-off, Diabolical. In the same vein as the popular Disney+ experiment Star Wars: Visions, the project is an anthology series made up of animated shorts from a wide range of creative teams and directors. As a result, no two episodes are exactly the same. In fact, more often than not, they are shockingly different. The short stories, likely non-canonical and clocking in at around twelve minutes each, range from grand spectacle pieces to small, personal tales set within the context of The Boys‘ universe. Those working behind the scenes on each installment were seemingly given a fair amount of freedom, allowing for multiple unique explorations of Vought International, the Seven, Compound V, and their collective impact on the world at large.
Unfortunately, despite a fairly strong first season overall, not every episode can be a home run. While no entry is entirely bad, some are definitely better than others. Which episodes are better, of course, is subjective, and will ultimately be up to the viewer. However, that fact hasn’t stopped me from compiling my own ranked list of the episodes. So, without further ado, here is The Boys Presents: Diabolical, ranked for Murphy’s Multiverse from worst to best:
8. Boyd in 3D
This might end up being a controversial last-place pick among fans, but I’m sticking to it. Boyd in 3D was conceived by sibling Broad City alums Eliot and Ilana Glazer, and directed by DreamWorks’ Naz Ghodrati-Azadi. The story, which focuses on an insecure man using experimental new Vought facial cream to land the girl of his dreams, is designed to comment on superficiality and popularity in the age of social media. Maybe it’s because there are already countless versions of this story in existence, but something about the episode just isn’t all that engaging. Aside from a nice little twist at the end, it’s mostly predictable and cringe-inducing. Though, bonus points for using a traditionally family-friendly animation style to tell a rather adult story.
7. One Plus One Equals Two
One Plus One Equals Two is perhaps the only episode of the season that could potentially be viewed as canon, and that’s exactly its biggest problem. Helmed byAvatar: The Last Airbender director Giancarlo Volpe,alongside veteranBen 10 animator Jae Kim and Invincible writer Simon Racioppa, the short acts as a sort of origin story for Homelander’s time as Vought’s poster boy. The problem is that, while it would probably make for a good sequence in the mainline series, it misses the point of Diabolical altogether. It’s essentially just a lot of stuff we’ve seen before placed at the tail end of an otherwise inventive season. A handful of fascinating scenes between Homelander and the mysterious Black Noir are the only reason it’s not ranked lower.
6. I’m Your Pusher
I’m Your Pusher, the second directorial effort from Volpe, largely suffers from the same problems as One Plus One. With art ripped straight from The Boys comics and a script from franchise creator Garth Ennis himself, I had pretty high hopes for this one. Sadly, it doesn’t have much to offer aside from some truly hyper-violent antics and the short-lived excitement of seeing Simon Pegg‘s Hughie come to life. It only ranks this high because it dares to try something fun and charming with its presentation.
5. Laser Baby’s Day Out
This is where things start to get really fun. Laser Baby’s Day Out is an ode to Saturday morning cartoons and a parody of, as the title implies, the 1994 John Hughes‘ film Baby’s Day Out. The straightforward and comedic story comes from series producers Seth Rogan and Evan Goldberg, and is directed by Futurama‘s Crystal Chesney-Thompson and Phineas and Ferb‘s Derek Lee Thompson. It concerns a downtrodden Vought scientist stumbling after a super-powered baby he helped escape, causing immense violence and chaos along the way. It’s the perfect first episode for the show, an entertaining example of how concepts from The Boys can be displayed in new and original ways. It’s ranked in the middle of the pack strictly because of its simplicity.
4. Nubian vs Nubian
Nubian vs Nubian, the better relationship episode from the season, comes from the mind of Aisha Tyler and Young Justice‘s Matthew Bordenave. Dissecting the fake realities conjured by Vought, the story revolves around a young girl attempting to save her parents’ failing marriage by way of their former nemesis. It’s a genuinely interesting look behind the curtain of Vought’s staged, WWE-like heroes and villains, and how fulfillment on paper doesn’t always translate to the real thing. Its ranking is also helped by an excellent performance from voice acting legend John DiMaggio.
3. BFFs
There is no doubt this will be the most divisive episode of the season. Its ranking was frequently moving up and down in my head before it finally landed near the top. Written by Awkwafina and directed by Madeleine Flores in her signature Star vs. the Forces of Evil style, BFFs is about a lonely teenage girl who gets her hands on Compound V and is granted the power to bring poop to life. No, that is not a joke. The ensuing shenanigans, which put her at odds with Chase Crawford‘s The Deep, are wholly original and often hilarious. Once you get past the shell-shock of the premise, you realize it’s actually exactly the sort of thing Diabolical promised to deliver. High marks.
2. John and Sun-Hee
The emotional tour de force of the season, John and Sun-Hee packs a heavy punch and is sure to be ranked highly on nearly every list. In what feels like a surprise reveal, the episode was written by comedian Andy Samberg and directed by Voltron: Legendary Defender maestro Steve In Chang Ahn. Done in the style of a classic anime, the story sees a humble Vought janitor steal Compound V to save his dying wife, only for her cancer to take on a life of its own. It’s a surefire tearjerker, combined with some striking visuals that make it must-watch television. It was very close to taking the number one spot on this list.
1. An Animated Short Where Pissed-Off Supes Kill Their Parents
This one may be unbeatable. I won’t retype that title, but it’s a pretty self-explanatory plot synopsis. A group of “Supes” with ridiculously terrible powers team up to exact revenge on the parents that left them behind as children, with results that are somehow both extremely grotesque and sidesplittingly funny. Of course, this balance could only be achieved by the writing team of Justin Roiland and Ben Bayouth, known for their work on Rick & Morty and Blark and Son, and director Parker Simmons, of Mao Mao fame. It’s everything that makes The Boys great, wrapped in an exceedingly clever bow. It remained ranked at the top spot from my first viewing through my last, and will likely stay there for its sheer rewatchability.
There is no shortage of cartoonish absurdity in Amazon Prime’s latest animated offering, The Boys Presents: Diabolical. The series, an anthological spin-off of the streaming service’s hit live-action comic adaptation The Boys, has everything from boob-faced killers to poop-throwing heroines. No limit appears to be in sight for the creatives behind the show, and as a result, most of the short story installments come across as probably non-canonical. This is why it’s so surprising when the season’s final episode, One Plus One Equals Two, offsets everything by feeling so in line with the show it’s based on. In fact, it feels so in line that it might just take place within the same continuity, and if so, it could have major implications for the franchise’s future.
The story, brought to life via animation is less dramatically stylistic than some other episodes, revolves around Homelander’s earliest days in the employ of Vought International. While there are many hints of his mental instability, the character is actually portrayed as slightly more innocent than viewers may be used to seeing him. It appears as though he genuinely wishes to do good in the world, even if his methods eventually descend into vile madness and destructive chaos. The Boys has given us glimpses into Homelander’s past, showing his early life as a child test subject and discussing his reasons for turning to violence, but this is the first real look fans have gotten into his first days as a celebrity superhero. He is shown to be less cynical, and incognizant of the ways his reactive nature can hurt people.
After being introduced to the public at an official Vought-sponsored event, Homelander gives his first big televised speech and wiggles his way into the hearts of the American people. A momentary lapse in the façade comes when the mysterious Black Noir, a fellow member of “The Seven,” is brought on stage to help welcome the new Vought inductee. This sets up an arc of distrust between Homelander and Black Noir, egged on by handler Madelyn Stillwell, who insists Noir has been assigned to ensure the former remains subservient to Vought’s planned schemes. A small surprise for Homelander comes in the third act of the episode after the twisted hero’s attempt to save civilians at a chemical plant ends in accidental slaughter. Noir arrives, and after a brief conflict in which Homelander is unable to put his teammate down, the mute avenger reveals his support for Homelander’s antics and aids him in covering up any misdeeds.
One Plus One is perhaps the most the relationship between the two characters has been explored outside of the comics. The lack of interaction in Eric Kripke‘s adaptation has always been an interesting move, as Black Noir and Homelander are the crux of The Boys’ biggest plot twist within the pages of Garth Ennis‘ books. There, it is famously revealed that Noir is actually a clone of Homelander created by Vought as a fail-safe should they ever lose the authority of their original experiment. Unfulfilled by Homelander’s apparent self-control, Noir orchestrates all of the events that eventually lead to Homelander’s self-destruction and the formation of “The Boys” to give himself a reason for existence. There has been little-to-no indication of this happening on the show, which seems content to milk the inner workings of Homelander’s mind instead. However, Diabolical looks to be the first place any potential seeds of this have been planted. It may not end up being a canon story, but there is some evidence that it may have an impact on future seasons ofThe Boys.
The strange thing about this episode is how casually it breaks from the rest of the season’s main premise. While the grand majority of Diabolical episodes don’t directly contradict anything from The Boys, the events therein often seem big enough that they likely would have been mentioned on the flagship series had they really happened. Furthermore, they often use their creative freedom to come up with outlandish plots or make drastic departures from the confines of Amazon’s designed world. One Plus One instead makes an effort to abide by The Boys‘ established rules, with series stars like Antony Starr and Elisabeth Shue returning to their respective roles and character designs adhering closely to their live-action counterparts. It almost feels as though the episode was intended to be a departure, segueing viewers from the outlandish identity of Diabolical back to the relatively grounded essence of the mainline project.
It’s just a theory, but maybe The Boys’ third season will begin taking a look into the psyche of Black Noir in relation to Homelander, and One Plus One will age well in regards to setting it all up. After all, the title of the episode is a hint in and of itself. “One” and “One” could stand for Homelander and Black Noir’s equivalency, being put together to make two of the same. It is possible none of this comes to pass, and this is all just a massive reach, but remember this idea should Noir ever be unmasked in a future season finale of The Boys.
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