While it seems that production on Guardians of the Galaxy Vol. 3 is still going to go on for another week, as revealed by James Gunn in a recent tweet, it seems they had a separate wrap gift for the Disney+ Holiday Special. It includes some ornaments featuring all the members of the Guardians, but one particular member sticks out. It looks like one of the ornaments includes Cosmo the Spacedog wearing a reindeer outfit. We haven’t seen the character since his escape from the Collector’s collection in the first Guardians of the Galaxy film. So, this hopefully hints at his return in the upcoming special and maybe even Vol. 3.
Of course, this isn’t a confirmation that he’ll definitely appear but it does add some likeliness considering he’s highlighted. Perhaps the Guardians make their way to Knowhere for a holiday celebration, or Cosmo ends up joining them for an adventure after meeting at a random planet. There are a lot of ways that the character could find his way and here’s hoping we get a lot more of him moving forward. Ever since his initial introduction, he sadly has been a bit absent throughout the MCU’s last few years.
The first holiday special for Marvel Studios is definitely going to be something special, especially with Vol. 3 potentially ending the Guardians of the Galaxy‘s current line-up. James Gunn also has the talent to offer some real emotional gut punches and with rumors hinting at some time being spent on Earth. Perhaps Star-Lord gets one more chance to talk to his family before truly leaving his home planet behind to focus on his intergalactic family of misfits.
In just a few more weeks we’ll get the next Star Wars series on Disney+. While we take a break from The Mandalorian Universe, we take a look back at the pre-A New Hope era in Obi-Wan Kenobi. Ewan McGregor returns to the iconic role, as he also will get one more time to face off against Hayden Christensen‘s Anakin Skywalker. This time around, however, he will return as the fully formed Darth Vader.
In an interview with Total Film, the actor revealed just how surprising it was to face off against Darth Vader. It seems that it left quite an impression on him, especially because he never got to meet the character in the Prequel trilogy. He goes on to say:
I’ve never met Darth Vader. I had rehearsed the scene with Vader, but not with the helmet on or anything like that. When we came to do the scene, when they shouted ‘action’, he had to come from behind me. I turned around, and fucking Darth Vader was coming at me. It was like I was six again. I’d never acted into Vader’s helmet. I’d never looked him in the eye.
Ewan McGregor
It’s great to see just how much of an impression the suit and design left with the actor. Reminds many of the first time they were faced with the imposing force that is Darth Vader and how scary he was for many of us when we saw the force of nature. He even highlighted that it was his first time working off a Stormtrooper as the Clone Troopers were CG at the time.
It scared the shit out of me. I’m not joking. It gave me a proper jolt of absolute fear. I was like, ‘Oh my God, that’s not acting. That’s real. I’m really, truly frightened right now.’ And the same thing would happen with the Stormtroopers. I’d worked with Clone troopers before, but so many of them were CGI. I never worked with Stormtroopers, and, again, I was like seven years old again. Because when you’re actually faced with a Stormtrooper, with a blaster, it’s like: ‘Fucking hell.’
Ewan McGregor
It shows how much has also changed in the productions, as while CG still remains an important part of modern filmmaking, more practical elements are being integrated into the projects. his excitement and “fear” to face off against Darth Vader may hopefully even find their way into the production, as it’ll be the first time that Obi-Wan realizes what happened to his former Padawan.
There, we find Marc and Steven, waking up in a psych ward filled with characters and objects that have found themselves referenced throughout the entire show. From Marc’s wife Layla to other less relevant characters, from Khonshu references to paintings depicting an Austrian village in the Alps, everyone and everything that played a part in the story so far seemed to be there in one way or another. This all worked as an incredible twist since the sequence was designed to present itself after the viewer was already invested in the story through prior events and to set up the third act of the show (the final two episodes) unlike what we get in the comics. There, the same idea (introducing the reader to Marc being stuck in a mental institution) was used to set up the story itself, since it came right at the start of the run. The references were still all there: Crowley, Bobby & Billy, Marlene/Layla, and Dr. Emmet/Harrow but were presented in a way where who they were and what they represented was still something to be figured out. In magic terminology, while in the comics this sequence was the setup as the beginning of The Pledge, in the series it was presented as The Turn, ahead of the upcoming third act, The Prestige.
Moon Knight #1 (2016)
Moon Knight #1 (2016)
Moon Knight #1 (2016)
Another big difference from the comics is that in the show Marc and Steven get to the psych ward at a time when Khonshu is already imprisoned in an ushabti leaving Spector and Grant’s body without both its powers and its guidance. Here they seemingly can only count on themselves to figure out what exactly are their surroundings (and if they are, in fact, real or not) and how to escape them. As for the Lemire/Smallwood run, Marc is awoken in the ward by Khonshu himself. He’s the one who tells Marc what to do and when to do it to free himself and, in Khonshu’s words “Rise.”
Moon Knight #1 (2016)
And this brings us to a similarity between the show and the comics that might get even clearer in Episode 5, but that is already heavily hinted at by the end of episode 4. As Marc escapes the psych ward’s rec room things get a bit.. off. This gives us signs of how fabricated the reality seems to be. In the show, this is where he and Steven find a couple of sarcophagi and come face to face with the goddess Taweret making it obvious that this was no ordinary Mental Hospital. Something that will surely be confirmed in this week’s episode 5. Similarly, in the comics, it’s when Marc finally decides to follow Khonshu’s will and prepare to escape that he sees the orderlies’ true faces as Death Dogs, Egyptianjackals, something that helps him feel validated in his eerie feelings towards the place.
Moon Knight #1 (2016)
Moon Knight #1 (2016)
Then, as he finds his way through the building looking for a way out, he reaches the roof, where we are presented with one of the most ominous spreads of the entire run: New York City having been invaded by Seth, the Egyptian god of war, chaos, and storms.
Moon Knight #1 (2016)
If Marc and Steven end up finding something similar as they break free from what seems to be an intricate illusion we will surely see it in Episode 5. At the same time, and marking yet another way in which the series and the comic run differ from each other, it’s perhaps fair to say that while in the comics we were presented with a distorted vision of reality, the series will go beyond that and make, what seems to be the awakening following an extremely vivid dream, the dream itself.
Marvel Studios’ Moon Knight Episode 4
Marvel Studios’ Moon Knight Episode 4
Marvel Studios’ Moon Knight is streaming exclusively on Disney+ with episode 5 premiering this upcoming Wednesday, ahead of the series finale on May 4.
The Boys is definitely one of Amazon Primes’ most popular original series. It adapts the comic book series of the very same name written by Garth Ennis. The series’ third season is set to return on June 8th with a three-episode premiere. The rest of the eight episodes will release weekly on the streamer, similar to what they did with the second season. As the debut gets closer and closer, we finally have a synopsis that gives us a bit more context on what to expect this upcoming season.
It’s been a year of calm. Homelander’s subdued. Butcher works for the government, supervised by Hughie of all people. But both men itch to turn this peace and quiet into blood and bone. So when The Boys learn of a mysterious Anti-Supe weapon, it sends them crashing into the Seven, starting a war, and chasing the legend of the first Superhero: Soldier Boy.
When we last left the gang they’d been recruited by the government to do some similar business by the books, keeping the Supes in check. This season will see the playing field a bit leveled as it was previously revealed that Billy Butcher will be getting some abilities of his own. The interesting piece of this synopsis is the “Anti-supe weapon”, which seems like it’ll be causing quite the fuss amongst the characters.
This season will see the debut of many new Supes from the comics like Crimson Countess, Blue Hawk, and the long-awaited arrival of Soldier Boy, who is the very first superpowered individual and is set to be played by Jensen Ackles. Somehow he’s made a mysterious return after being presumed dead. Fans will have to wait just a little longer before what will surely be another bloody good time.
Much of the conversation surrounding Moon Knight Episode 4 is no doubt focused on that twist ending. But the moments before Marc Spector wakes up in what looks like a psych ward may have been inspired by the events of Marc Spector: Moon Knight#27 and #28, which have surprising parallels to Marc’s death by Arthur Harrow in the live-action series. There is a chance Moon Knight could show a resurrection of Marc Spector that involves a new understanding and acceptance of his role as the Fist of Khonshu. In essence, even though we have not witnessed the actual origin of the character in the series, Episode 4 could have just set up Moon Knight’s“true” origin in the MCU.
‘Marc Spector: Moon Knight’
Towards the end of Episode 4, Arthur Harrow shoots and presumably kills Marc Spector, who floats down through water in the tomb for quite some time. Eventually, we see a light ahead of him and he wakes up in the psych ward. While the mental hospital aspect shows a lot of similarities to the Lemire-Smallwood run in the comics, the moments before are suspiciously reminiscent of the Scarlet Redemption arc in Marc Spector: Moon Knight. In it, Moon Knight is fatally stabbed, and he falls into some water. His body spends virtually the entirety of the next issue sinking deeper into the water in a visual that has undeniable comparisons to Episode 4.
In Marc Spector: Moon Knight #28, an explicitly-dead Marc Spector sinks down through waters while passing through memories that seem to haunt him, including his past as a murdering mercenary. That’s not all, as also present are visions of his father. He was a rabbi, and Marc thinks through his relationship to the values of his youth and how he strayed from them. He ultimately realizes that his father’s teaching of goodness, love, and redemption were things he should not have completely turned against.
‘Marc Spector: Moon Knight’
By the end of the issue, Moon Knight comes to “understand” that Khonshu wanted him as his Fist of Vengeance for more than just his violent skills from his life as a mercenary. He believes that he also chose him for the influence his father had on him and what mental lessons he took away from being the son of a rabbi.
It is one of the first major moments in Moon Knight’s comic history that emphasizes and explores Marc Spector’s heritage, as well as his connection to Judaism. Whether Moon Knight goes into this more in the next few episodes is yet to be seen, but Marc Spector’s personal epiphany in this issue of the comics may be absolutely crucial to understanding what comes next in the live-action series.
Marc Spector, of course, was first resurrected by Khonshu in a tomb when Marc was killed by Bushman—his traditional origin story. In Marc Spector: Moon Knight #28, Khonshu resurrects Marc Spector a second time, and Moon Knight is very much reborn. He emerges from the water sure of his newly realized role as more than a fist of vengeance—he is also a beacon of hope.
‘Marc Spector: Moon Knight’
While the psych ward arc in Moon Knight will surely play out in its own unique way, it is very possible it could include a look back on Marc or Steven’s lives before they took on the mantle. It might end up with all personalities embracing, accepting, and redefining the Moon Knight mantle. In that way, the Disney+ series could be seen as a traditional origin story in and of itself. While the first “origin” may have been in the past, the series may have built itself around this second resurrection which could serve—for all intents and purposes—as the origin of the Moon Knight we come to know in the MCU.
Michael Waldron has been quite busy as he’s promoting his latest Marvel project, the upcoming release of Doctor Strange in the Multiverse of Madness. He made quite the splash after working on the first season of Loki that he was swiftly attached to write up the script for the film. In an interview with The Playlist, he shared his thoughts on the new directing duo Justin Benson and Aaron Moorhead, who is taking over for Kate Herron, who gave us the iconic first season.
Benson and Moorhead, I know those guys. They’re great. They’re brilliant in their own right. You know, I think they’re going to come in and they’re going to do what everybody on this project does, which is to elevate, you know? Then they’ll take what was great about it and fit it with their own awesome instincts and everything and hopefully will make something even better
Michael Waldron
The directing duo left an impression with Marvel Studios after their work on Moon Knight, and they have teased that they are excited to bring their experience from that series to this new project. It’s also the first project of Marvel Studios to get a second season, which creates an interesting scenario on how exactly it might fit as a sequel to the first series from 2021 and fit into the ever-growing MCU.
Waldron being excited certainly adds to what the future may have in store for us, especially with the cliffhanger from the first season teasing the arrival of Kang the Conqueror. It’ll likely closely connect to the upcoming Ant-Man and the Wasp threequel. So, we’ll see if we might see some familiar faces pop up.
The last few days have been rough for Netflix. Not only did they publicly have to acknowledge that they lost subscribers for the first time in over ten years, but they’ll face 2M more jumping ship by the next quarter. Subsequently, investors are furious and fearful as their shares have dropped by a scary amount. Many find themselves wondering what exactly has led to this sudden shift within the market, as streaming was seen as this bottomless potential with billions of subscribers. What seems like they have potentially reached their limit, may showcase a general trend that has been waiting to show its fangs over the years.
One thing is for sure, it’s not a good look for Netflix and there are many discussion points that can be made on what led to this current downward spiral. Netflix will still hold on to its top spot and we’re already seeing it with the decision to add an ad-supported version at a cheaper price. Yet, there’s one aspect that seems worth exploring and that is Netflix’s obsession with quantity. They are investing a lot of money in originals, which leads us to get a diverse selection of projects. Yet, it also led to the new perception of the streamer becoming a safe haven for canceled projects but sadly a new trend has arisen.
Oddly enough, they’ve become obsessed with swiftly canceling projects. While some select projects manage to have some sense of longevity, they manage to drop franchises that have even proven to be quite successful. When Bright was first released in 2017, it was one of their most-watched films. Yet, somehow the sequel was buried at one point without any fanfare, and we got a prequel Anime spinoff that had little to no marketing push. There are projects where we do get some news ahead of its release, but there’s a trend that a lot of it is creator-driven.
The biggest example of Netflix’s modern marketing approach was their live-action Cowboy Bebop series. While production did face quite the delay and an adaptation of such a cult classic was definitely going to face some backlash, it just suddenly arrived. Its release date was announced on August 23rd and would hit the streamer on November 19th. At the time we didn’t get a trailer to build up the excitement and it wasn’t until the 19th of October that we got a mini-episode titled The Lost Session. we wouldn’t get the actual trailer until the 27th with only a few more weeks before it hit Netflix.
By the time we got any actual promotion or the series, people’s opinions have already been made on what to expect and a new audience had barely any time to relate to it. Considering it was released on the 19th of November, it barely even got a few weeks before Netflix just dropped the axe on the series on December 9th. Early reports indicated that the production was going in expecting multiple seasons and it was cut short before it even got started. The issue is also we don’t know what exactly the metric is that they are going for, especially with newly established franchises. They seemingly banked on the addition of the anime which may have hurt the release more than anything else.
It almost creates this belief that existing IPs will always draw in an audience no matter what. Yes, Cowboy Bebop has an extensive following but it’s also quite a bit more niche than some might expect, especially given Netflix’s focus on worldwide viewership. They are currently working on two other projects with Avatar: The Last Airbender and One Piece that have strongly established audiences but would still require a certain amount of marketing to ensure fans that this will be a faithful adaptation while pulling in new audiences.
There’s also a strange inconsistency with how much marketing a project ends up getting. As we were speaking of building upon existing IPs, there is the series Human Resources, the spinoff of the animated series Big Mouth, that got released on March 18th. The series actually got the first teaser back on October 4th. Even if it was short, it had the strict advantage of building upon an already established franchise on the service even if the naming wouldn’t hint at a connection. Its official trailer dropped in January, which gave it multiple months of momentum ahead of its release. The Season 2 renewal wasn’t until a full month before an announcement was made.
Ironically, a project that already has a well-established audience is given more time than a project that only a select few really are aware of. The odd decision to drop many animation projects as a result of the current development creates this odd disconnect of what exactly Netflix’s end goal is. They seemingly are dogpiling project after project that get no more than one or, if they’re lucky, two seasons.
Even those that seem like sure-fire franchises to build upon are killed off before they even get a chance to get going. The life and death of a series, or even an entire franchise, ends faster before it even has a chance to start. With the amount of growing competition, it’ll get more and more difficult for this model to survive by only giving spinoffs time to grow and just wait and see if a new series, even if based on a new IP, will somehow end up becoming successful.
Once a show drops with every episode, there’s hard to no additional marketing at play to keep it alive. They pretty much just bank on the show living on their own without putting in the work to keep it so. Disney+, Amazon Prime, Peacock, and more are slowly leaning towards weekly releases as it keeps these series alive way more than a single release. Yes, viewers are complaining about it but it’s a sign of how these continued marketing attempts build up the momentum as we get more impatient for what lies at the end. Perhaps Cowboy Bebop could’ve had some more attention given to it if it was a weekly release, especially as it moved away from the more disconnected storylines of the original.
Yes, Squid Game technically was one of the most talked-about series for weeks but that was a lightning in-the-bottle moment. If Netflix is hoping to keep that kind of series as their ongoing pillar, they are putting all their eggs into a single basket. Competition is rising, the demand is higher than ever and growth can no longer be the only focus. Some people subscribe to their service for specific series and franchises. If they have the feeling it barely sticks around, they won’t either. Word-of-mouth depends if the series is a game-changer and only rarely do we see that happen.
We’re seeing a new era of television, as Netflix’s original model is potentially reaching its limit. We’re either going to see more hybrid models moving forward, as we slowly step back into elements that made broadcast television work. As legacy companies are getting their hands back on their projects and Netflix is more dependent on its originals to keep people watching, they might require the number of reasons that remain as binge-able as The Office, Friends, and more. As they are losing their usual library and may soon no longer have all the bit IPs they usually had available, investments will only continue to grow moving forward.
People come to watch The Ozark, but they stay to watch their favorite comfort show. At some point, they became so dependent on existing series, that the demand for newer ones has reached some rather questionable highs if they keep canceling shows out of convenience. perhaps shifting to more long-form storytelling with various stories unfolding and growing audiences across multiple seasons will benefit them moving forward. With Netflix’s Geeked Week on the horizon, perhaps we’ll see a new shift in how they tackle their projects moving forward.
Here’s an interesting revelation, but it looks like the upcoming Star Wars Disney+ series Andor was already mapped out ahead of production on its first. While we still have no release date, the Director of Photography, Adrian Goldman, revealed in an interview with TVCultura that the series was originally mapped out with five seasons in mind. Now, it seems that they have decided to go with three instead. It’s uncertain why exactly the change was made, as he doesn’t elaborate on it. The full quote, as translated by Bespin Bulletin, is as follows:
The series I worked on was supposed to be five seasons long, but I think it’s not happening. It will now have three maybe.
Adrian Goldman
Bespin also adds that they’ve heard that multiple seasons were planned and the timing of it taking place five years ahead of Rogue One was quite deliberate. They may have noticed it is difficult to fill out a story for each year and adapted it depending on what stories they wanted to tell. They also are seemingly focusing on filming the seasons back-to-back so they will get these out at a decent pace over the coming years. It’s certainly exciting to know that many more Star Wars series are heading our way and Disney+ is also continuing to offer a balance between long-running shows and mini-series.
When Disney purchased 21st Century Fox in 2019, Marvel Studios gained access to the live-action rights of a treasure trove of Marvel Comics characters. The X-Men. The Fantastic Four. Doctor Doom. Galactus. The Silver Surfer. Annihilus. The list goes on…and it really goes on. However, 3 years after the deal was sealed, we’ve only seen a Variant of Kang the Conqueror and some Skrulls, which were already kinda-sorta useable anyway, while Marvel Studios carefully constructs their plans for the mutants and The First Family.
To date, very little is known about said plans. At SDCC ’19, Kevin Feige announced that a Fantastic Four film was on the way and teased the arrival of the mutants. Since then, however, other than announcing that the new FF film would be helmed Jon Watts, whose recently completed Spider-Man trilogy integrated the Sony-owned Webslinger into the MCU, there has been no official news. Word did come that Marvel Studios was seeking pitches on The Mutants and minor tidbits have surfaced here and there about the Fantastic Four, but nearly 3 years later fans are still in the dark. And that’s ok. It’s ok because, as Feige well knows, Marvel Studios has to proceed carefully with both properties because, simply put, they have to get it right.
As with Spider-Man, the Fantastic Four and X-Men have had previous and relatively recent films. In the case of the FF, the most recent attempt to bring the characters to resulted in one of the most despised superhero films of all times; in the case of The X-Men, Fox’s love affair with Wolverine and inattention to continuity left some of the best characters on the bench, some others poorly adapted and fans feeling fairly frustrated with the end result. As Marvel Studios attempts to reboot these properties, fans are going to carry their experiences with these previous iterations with them into the new projects. In a way, that means Feige and the Parliament are starting in a hole they didn’t dig, but if they don’t get it right out of the gate with these projects, they’ll bury what should be two different properties that could each generate a decade’s worth of stories.
As mentioned previously, fans will be be wary of these MCU reboots as they carry the trauma of the previous versions with them into theaters. If the MCU versions of these properties start to follow familiar arcs or feel similar to what Fox did, fans will find themselves triggered and the aforementioned decade of projects will be DOA. In this case, doing it right almost certainly means they need to do it very differently to separate the MCU versions from the Fox versions as much as possible. That’s no easy task, given that both the Fantastic Four and The X-Men franchises have each been “rebooted” once already, however, Feige and The Parliament could find some inspiration in an already established property that has been incredibly successful: Doom Patrol.
The three properties are a great example divergent evolution in comics, so while their modern day iterations don’t seem to be incredibly similar, Doom Patrol, the X-Men and the Fantastic Four are fairly inexorably entangled and have been for nearly 50 years. The group of metahuman misfits that came to be known as Doom Patrol first appeared as The Legion of the Strange in the pages of 1963’s My Greatest Adventure #80. Just 3 months later, TheX-Men #1 introduced comic readers to the world of mutants whose strange powers kept them from being accepted by society. If the similarities of a team of weirdos being led by a wheelchair-bound doctor/professor hadn’t ever occurred to you, they certainly did to Doom Patrol creator Arnold Drake, who once stated his belief that his plans for the team somehow made their way to X-Men creator Stan Lee, allowing him to launch his book shortly after the Doom Patrol first appeared. While Drake’s stance on “insider trading” softened over time, the reality is that other than some superficial similarities, the books didn’t truly have much in common. The X-Men dealt with themes of social injustice while Doom Patrol found themselves caught up in the incredibly strange types of adventures that fans of the HBO Max streaming series have come to know and love. And in that regard, it’s another group of Marvel heroes that have much more in common with Doom Patrol than the X-Men really ever did.
As Marvel Studios prepares to bring the First Family to the MCU, they could certainly take a few cues from the way that DC has brought Doom Patrol into live-action. Most importantly, Jon Watts and the creatives behind the project should embrace the strangeness that really defined the early days of The Fantastic Four and has made Doom Patrol a streaming hit. The Fantastic Four has been drastically redefined over the years, but their roots grew through stories about Mole Man and Monster Isle, Skrulls being turned into cows, traveling through time and having Ben Grimm be mistaken for Blackbeard, meeting the Impossible Man and many more ludicrous adventures that often take a back seat to Doctor Doom.
In order for Marvel Studios’ Fantastic Four to be successful, it has to be different from its predecessors. Embracing the weirdness of the Puppet Master, The Red Ghost and His Indescribable Super Apes, the Mad Thinker and his Awesome Android ensures that nobody will mistake this iteration for one of Fox’s attempts. Doom Patrol has provided a template for doing so successfully, not just because of the weirdness, but because the series has captured something that is also central to the story of the Fantastic Four: a family.
Sure, Doom Patrol isn’t a family in the same sense that the FF are, but they share a sense of tragedy and loss and loneliness that unites them. Over the course of several seasons, the characters of Doom Patrol have come to know, care for and rely on one another as a result of their crazy adventures and this idea is, at its core, what Marvel Studios could-maybe even should-do with their Fantastic Four. A family of explorers going on the type of weird adventures not previously seen in the MCU, but in the DCEU.
Amazon Prime has entered the fantasy genre with its latest adaptation in the form of The Wheel of Time. Agents of SHIELD and Chuck writer Rafe Judkins is showrunning the series and revealed during a panel at JordanCon 2022 that they’ve added Killing Eve‘s Ayooola Smart to the cast of the upcoming second season.
She’ll take on the role of Aviendha, a Wise One of the Nine Valleys sept of the Taardad Aiel. Not only that, but she’s also one of the three lovers of Rand al’Thor. Her role is planned as a recurring role and joins after the castings of Guy Roberts, Gregg Chillingirian, and Arnas Fedaravicius.
The actress made a splash with her work as Audrey in the third season of Killing Eve. She’s also appeared in 2018’s Juliet, Naked, the Death in Paradise series, and Smother. She joins an extensive cast that includes Rosamund Pike as Moiraine, a member of a female organization called the Aes Sedai, who embarks on a dangerous journey to uncover who will become the Dragon Reborn, who will have the fate of humanity in their hand.
Currently, Uta Briesewitz, who also acts as an executive producer on the series, is set to direct the first two episodes. Pike also has a producing role with Harriet McDougal and Brandon Sanderson attached as consulting producers.
We use cookies to improve your experience on our site. By using our site, you consent to cookies.
This website uses cookies
Websites store cookies to enhance functionality and personalise your experience. You can manage your preferences, but blocking some cookies may impact site performance and services.
Essential cookies enable basic functions and are necessary for the proper function of the website.
Name
Description
Duration
Cookie Preferences
This cookie is used to store the user's cookie consent preferences.
30 days
These cookies are needed for adding comments on this website.
Name
Description
Duration
comment_author_email
Used to track the user across multiple sessions.
Session
comment_author_url
Used to track the user across multiple sessions.
Session
comment_author
Used to track the user across multiple sessions.
Session
Statistics cookies collect information anonymously. This information helps us understand how visitors use our website.
Google Analytics is a powerful tool that tracks and analyzes website traffic for informed marketing decisions.
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
90 days
__utma
ID used to identify users and sessions
2 years after last activity
__utmt
Used to monitor number of Google Analytics server requests
10 minutes
__utmb
Used to distinguish new sessions and visits. This cookie is set when the GA.js javascript library is loaded and there is no existing __utmb cookie. The cookie is updated every time data is sent to the Google Analytics server.
30 minutes after last activity
__utmc
Used only with old Urchin versions of Google Analytics and not with GA.js. Was used to distinguish between new sessions and visits at the end of a session.
End of session (browser)
__utmz
Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
__utmx
Used to determine whether a user is included in an A / B or Multivariate test.
18 months
_ga
ID used to identify users
2 years
_gali
Used by Google Analytics to determine which links on a page are being clicked
30 seconds
_ga_
ID used to identify users
2 years
_gid
ID used to identify users for 24 hours after last activity
24 hours
_gat
Used to monitor number of Google Analytics server requests when using Google Tag Manager
1 minute
Marketing cookies are used to follow visitors to websites. The intention is to show ads that are relevant and engaging to the individual user.
Pinterest Tag is a web analytics service that tracks and reports website traffic.
