Last week, a reliable leaker shared the potential naming of Ultron being changed to “Supreme Leader.” It seemed like a fitting name for a version of this character to take ownership of the Infinity Stones and tackle multiversal domination. Yet, now that the episode went online we also got the official Funko reveal. It turns out, it wasn’t the Supreme Leader but rather simply known as “Infinity Ultron.”
So, this naturally opens up the question of who the Funko known as “Supreme Leader” is meant to be. There are still five planned to release in the third series of Pops that are part of this series. There’s a chance that some minor characters will get their time to shine in the finale that didn’t get attention earlier on. As such, they could get some Funko Pops alongside their larger role in the finale. There’s also the chance it still ends up being Ultron, as he may go through some transformations.
In the comments, another well-known Funko leaker pop_freak1 shares that the Supreme Leader is 6” and Amazon shared. As such, it’s larger than the average 4” Funkos. There’s a chance it might be inspired by the brief Galactus moment we got in the latest episode. It could also be a special Funko for The Watcher in the golden armor we saw, as he will most likely lead the Guardians of the Multiverse. Whatever it may turn out to be, it looks like we have a lot more heading our way once the finale airs.
It looks like the second season of CW’s Superman and Lois is already readying up its production, as Deadline announced Teen Wolf’s Ian Bohen is joining the upcoming season. He’ll play Lt. Mitch Anderson, who takes over the DOD and has quite the hatred for the Man of Steel taking things into his own hands. They also reveal he’ll have a multi-episode arc which may build him up as a threat or a new ally once he confronts the resident superhero.
Tyler Hoechlin took over the role of Clark Kent all the way back in 2016. He joined Supergirl‘s second season as Superman and continued to play the character to this day. Yet, he faces a challenge worthy of the Man of Steel, he has to handle a family. Together with Elizabeth Tulloch‘s Lois Lane, they race a young Jonathan (Jordan Elsass) and Jordan (Alexander Garfin) to face a new tomorrow.
It’s funny that the former Teen Wolf star is joined by another alum. Hoechlin famously played the character of Derek Hale in the series before he joined the Arrowverse. It was the film Road to Perdition that put him on the map similar to how Bohen‘s work on the AMC hit show, Mad Men as Roy Hazelitt. Who knows what other Teen Wolf stars might find their way into the series as it continues to grow.
Just recently, we finally got the first poster for this year’s The Book of Boba Fett. The first spinoff of The Mandalorian, which kicked off Disney’s new streaming venture. Its placement did also push back the third season of the Pedro Pascal-led series. There have been various reports regarding its potential production start, but never an official word. At one point, it seemed to be eyeing a late 2021 start so that it can hit its 2022 release.
Just an update on this. They began filming last week at Manhattan Beach studios. They’re filming – they’ve been filming for over a week. No, Pedro isn’t there. They’ll be filming at the train yard sometime in October. This is the way. https://t.co/Zzux95jddy
It’s interesting that they might end up filming at a train yard in October. A public filming spot could lead to set photos finding their way online confirming the production. While it’s not too surprising that Pascal isn’t involved with production just yet, as they’ve filmed big pieces from previous seasons without him, here’s hoping he does join production at some point. The end of the last season hinted that he may take off his mask more often, but who knows if it was just a special moment for Grogu. We cannot wait to see how they might mix things up with the upcoming season.
It looks like a brand new image from the set of Game of Thrones spinoff, House of the Dragon has found its way online. The last time we saw anything from the series, it was our first look at Matt Smith and Emma D’Arcy. The Twitter page @HOTDBr shared a new look at the set, which doesn’t show any of the announced cast directly, especially with the recently expanded cast, but it does highlight our visit back to the time when the Targaryen ruled, which takes place 300 years before the events of the original series.
Acaba de vazar nova imagem das gravações de House of the Dragon em Aldershot 🚨 pic.twitter.com/Ln4PRTfIjx
It’s great to see more of the Targaryen. Sadly, we still don’t have a single tease of when and where dragons will come into play for the story. It’s only natural we’ll see more of them hanging around now that we’re visiting a time where the dragon riders were a common appearance. It’s curious how much budget this series got. Amazon has confirmed their The Lord of the Rings series will have a massive budget of $465M, making it the most expensive season ever produced.
Undead Patrol is a hodgepodge of different elements framed as a zombie flick right off the bat given the title. There’s actually a lot more that goes on throughout the episode which is ultimately positively overshadowed by the zombie elements. It begins by keeping Niles (or just his head) alive and in play for a bit longer. Niles was completely absent for a solid one episode, so feels a bit redundant to yet again have him return. But his ultimate utility in the episode does find a way to fit into the larger story of grief. There’s an obvious irony in that eating Niles’ head cured the team of their undead-ness, whereas Niles had taken advantage of each of them in the past to avoid death. Maybe this is more apt closure on a Doom Patrol level, but it isn’t hard to imagine that cannibalizing the Chief could give them more of a complex over his death.
The episode is again packed with character plotlines and extensions of each’s individual stories. Of note, Larry is dying because of the negative spirit left, Cliff is attempting online therapy, and Rita is genuinely concerned about all of the suspicious and dangerous circumstances they have all been in, but no one seems to actually care yet. But Rita’s self-motivation to become involved is pulling more strings behind the scenes than might be apparent at the moment.
Vic is caught in the seemingly endless cycle of his self-identity crisis as a hero, his responsibilities as such, and his actual “rebellious” actions that depart from what is expected of him. Now, his dad lost his job at S.T.A.R. labs because Vic helped Roni escape, and Cyborg’s systems are shut off. While Cyborg has one of the more interesting arcs of the series, in theory, his constant back and forth with his dad feels stagnant and is beginning to take away from Vic’s journey with the team. It feels like it pulls him out of the show’s general context to a dangerous point where it sometimes comes across as though he doesn’t truly belong. But his constant battle of man vs. machine is no doubt a strong anchor for the character, but it feels stuck at the moment, much like Vic himself who is turned offline.
“Madame Rouge” (she is not named that yet) remains in the spotlight as some sympathetic character at the moment. She has no memory of who she is and only knows that she traveled in time via her underground drill-type time machine to find Niles. Her personality is very hard to pin down, but it works for now. It also arguably makes sense given her shapeshifting abilities that we have been teased that her identity would also be fluid. She and Rita learn from a hidden film that Rouge, actually named Laura DeMille, was previously associated with the mysterious Sisterhood of Dada and convinces herself she is a bird. Still, it appears that the hoped-for savior Niles actually recommended she be killed back in the day for being “insubordinate”. Hopefully, this kickstarts a graceful climb into a place of purpose and power for DeMille.
But yes, amongst all of the above (and more), this episode is, indeed, a zombie episode. The hell demon vomit the characters were sprayed with at the end of the previous episode has caught up to them, apparently kickstarting the undeadening. There ends up being relatively little horror in it, though, and it actually plays out quite hilariously. The zombies are generally just locked out of a room that Kipling and DeMille are plotting in, but the zombie growls and moans are given coherent subtitles with often non-zombie thoughts and apparently, everyone can understand them. But the main benefit we get from their zombification is the big, over-the-top, and violent battle with the butt monsters first seen escaping the Bureau of Normalcy in Season 1. The sheer adrenaline of it all is a reminder that this aspect of the show is truly lacking, if not missing.
Despite the buzzwords/phrases in this episode – zombies, eating Niles’ resurrected head, butt monsters, etc. – the episode also managed to feel slow and sometimes tedious throughout. It certainly kept delivering quirky, small, bizarre elements, and similar moments were thrown into the pot almost non-stop. Overall, the episode felt like one the creators had a blast with, even if their play had a bit of an issue balancing its conventional plot points and story expositions with wild diversions.
It’s hard to know where to start with episode 10. At the end of the day, the episode is as chaotic as Gotham after the water contamination from the end of episode 8. The show not only flubs the villain story but manages to implode the remaining slivers of an overarching, cohesive plot. In fact, the episode seems to decidedly prove that there is no genuine or comprehensible story. There’s certainly no storyline available with a meaningful, consistent, or valid goal or even journey throughout.
Even if Titans has some clue as to what that plot might be, the villains of the show absolutely do not. Apparently, dosing the entire city with the anti-fear (and now crazy zombie-esque?) drug was not really an end goal at all, but simply a throwaway to hype up Red Hood as Gotham’s true savior. All that to take down Nightwing and the other Titans. How this tracks with what the season has provided us thus far is mysterious, to say the least. After non-stop back-and-forth motivations and betrayals by Jason, he winds up at Crane’s side as if nothing ever happened. Crane is still just Crane, defined by mediocracy and unconvincing ever-moving plans and motivations to take over Gotham. At the very end of the episode, they make a toast to “bad seeds”, not knowing he was breaking the fourth wall in doing so.
The episode moves into emergency territory with much of Gotham affected by the drug, the city put in full lockdown and quarantine, and general crime is causing generic chaos throughout the city – it is reminiscent of the episode as a whole. However, the true sacrifices to this setup are unfortunately our Titans, whose grand plan first involved showing up in random spots in the city to fight drugged criminals rather unsuccessfully. With that failure in plain sight, they somehow concoct the brilliant plan to turn themselves in as a group “for show”, with the idea being that they would post bail and then disappear. As a quick aside, the notion that these people – accused and arrested for poisoning and attacking an entire whole city – would be granted bail is just absolutely ridiculous to the point it almost hurts.
Shocking, however, is that this plan did not work out. Not because they were not granted bail, but because some Gotham City police are in cahoots with Red Hood and the attack the Titans. Now they are simply in hiding—a large group of (depending on the day) highly superpowered individuals up against the occasional handgun did, in fact, run away from the situation. Again, how this squares with the first nine episodes that portrayed the group as a very confident, dedicated to Gotham unit is anyone’s guess. It’s probably safe to assume that separating the group in this sort of war zone atmosphere of Gotham would, in fact, give it more of a gritty war zone sensation. However, it’s not only completely arbitrary but flat-out disingenuous to any premise laid down thus far.
If the episode felt bold with its general Gotham story decisions, it undoubtedly felt more empowered to make some bold character-specific moves. It could be compared to the brief allusions to a chess match between the Titans and Red Hood early in the season, except the Titans – and Jason Todd honestly – are making completely random moves without any rhyme or reason. Hence, this episode.
We can start with Dick, who is given the most attention as always. While he just suffered some head trauma and is having occasional visions of the bat symbol, he otherwise comes across as mentally competent. While sane as he might be, his character is not consistent in the slightest. If he’s seeing bats, that would suggest he’s probably leaning into the “bad Batman” route some more, and one would expect that it would lead him to be more dark and batty, quite frankly. Here, though, he’s just lukewarm at best and making terrible, selfish decisions without the added necessary mental components to make it believable or understandable. The hardest pill to swallow is his line, “Gotham is on its own.” I mean, come on. Even in a “baddest Batman” situation, Gotham is very much attended to.
Other characters can be looked at more briefly because the absurdity speaks entirely for itself. Blackfire somehow sustained a deadly gunshot wound through her Tamaranian armor. Starfire attempts to heal (really?) her with her fire, but her sister merely absorbed it and takes it from her. Moving past how all of that is bad, we are yet again at a space where Starfire’s character and powers are just wrecked. Shockingly, the admittedly evil and traitorous Blackfire appears to be following her passion. It might be worth harping on how this storyline has a negative amount of reasons to take place within the Gotham story. It’s hard to even care at times when it’s treated like it’s some mild sisterly squabble among the “real stuff”.
Donna and Lydia’s interactions were so unnecessary. Of course, the show feels the need to tie Donna’s just-came-back-from-the-dead issue in a very shoddy knot. But Lydia sneaking around in a potato sack outfit acting a bit crazed, the two “fighting” for four seconds in mystical woods only for Donna to be told she is the greatest of everyone just didn’t need to happen. Her arc within episode 9 was plenty enough to redeem and re-hype her character, and this only brought it down.
To end on a high note, the random never-before-seen police station GCPD officers/workers that gave Commissioner Gordon the rundown on the situation and advised her what to do actually provided some solid acting. While the (what felt like) 23 seconds of that scene at the very beginning go the episode left more to be desired, it was solid.
After a long wait, we finally got a poster and release date for Star Wars‘ next Disney+ series, The Book of Boba Fett. It’s been a while since we visited The Mandalorian‘s part of the galaxy far far away, but luckily it won’t take much longer. There’s still some uncertainty about when we can expect the third season featuring Din Djarin, but it looks like the streaming service and the House of Mouse has big plans for the franchise. In a recent report by The Hollywood Reporter, they’ve shared that Disney is currently eyeing 11 Star Wars series to release in the upcoming years.
They haven’t specified if this also includes repeat seasons, which are only confirmed for The Mandalorian and The Bad Batch. If these are excluded, we are currently only aware of Obi-Wan Kenobi, Ahsoka, Andor, Lando, A Droid Story, and Acolyte. If the Boba Fett-centric story isn’t included in the list, there are five unannounced series heading to Disney+. Disney+ Day won’t feature a showcase of their future projects, but we may get a few teases of the already announced projects.
So, we’ll likely get future announcements if Disney holds another Investor’s Day this December. Keep in mind, this also doesn’t include potential films or specials as they use the wording “series” specifically. It’s great to see how much potential Disney sees in their streaming service, as they continue to expand. Hopefully, we’ll get a clearer picture of what their future releases entail as we enter 2022.
Netflix may have found its next big hit, as the South Korean drama known as Squid Game introduces us to a rather dark and twisted look at classic children’s games. Whoever wins six games will garner the massive cash price to pay off their debt. Yet, it makes you question how much worth your life truly has in such a dark and twisted game. Its unique visuals and dark twist on childhood games put it on the map. As it’s Netflix’s new rising star, it’s the perfect time to explore the stories that inspired it.
The script by HwangDong-hyu was first written back in 2008 before he scrapped it for some time. He shared that he was inspired by the mangas Liar Game by Shinobu Kaitani, and Nobuyuki Fukumoto‘s Gambling Apocalypse: Kaiji (Tobaku Mokushiroku Kaiji). They center around a similar storyline where unsuspecting people are brought into dangerous games to pay their debts. The former even got a South Korean TV series back in 2014. Kaiji was so popular it expanded into five additional series that offers a dark glimpse into the world of gambling.
While the name and games are inspired by the Korean children’s game by the same name, there was some controversy due to the similarity to one rather specific manga by Muneyuki Kaneshiro titled As the Gods Will (Kami-sama no Iu Tōri). In this series, high schools are suddenly infiltrated by Daruma dolls that force students to play the game. If they fail to stay by the rules, they end up dying. The worst part, it isn’t just one game. In 2014, it was adapted into a live-action film, which has been brought up in comparison by critics.
Yes, the concept of a children’s game leading to death is quite similar but the basis is different. As the Gods Will doesn’t give its players anything to win, they are simply unwilling pawns in a game of death. In reality, all these series have one shared origin in the Japanese novel Battle Royale by author Koushin Takami. It explores a fictional world where high schoolers are forced to kill each other on an island for the amusement of a fascist government. It famously got adapted into a film in 2000 that inspired many similar stories. Dong-hyu‘s tale of desperation isn’t a new concept but builds upon almost two decades of storytelling while adding a unique twist on the concept.
With What If… ?’s season finale just around the corner, it’s a good time to look at the future of the series and where it can go from here. While the show has certainly given us what it promised – and arguably even more in cases like the Doctor Strange episode and the recent penultimate Ultron episode – but What If… ? hasn’t always stuck the landing. A leading cause for this is the restraints the series has received, whether by design or for practical reasons. Breaking free of these would take What If… ?‘s second season to another level.
What If… ? is a unique venture for Marvel Studios, so it certainly comes across at times as though the writers and producers were testing the waters rather than jumping straight into its full potential. Part of why they may have felt so restricted is the uncertainty around the debut of their first animated series that’s also their first exploration of the multiverse, and, on top of all of it, being canon to the rest of the MCU.
The creators likely did not have the full green light to go wild with the series from the start, as that arguably could have lost too many casual viewers. Those fans who are not particularly invested or knowledgeable in every facet of the universe could have felt lost or left out fairly easily. By easing us into familiar stories and using them as strong baselines for virtually every episode, it’s more accessible.
But these restraints can make it feel stale, too familiar, and not the greatest use of what the What If… ? concept has to offer. As always, “there was an idea” to explore universes beyond our own and expose us to theoretically unlimited situations. Situations that could not only provide meaningful additions to the MCU. Not just that, but also entertain viewers with new ways that characters and stories could be used to show off Marvel’s painstakingly-grown universe and honestly throw out some fan fiction-type bait. Hopefully, the series can grow into a much more complex set of storylines and themes apart from what can come across to some with Season 1 as sort of the bare minimum. There are obvious ways that What If… ?’s Season 2 can grow and evolve from the series’ debut.
The creators should move on from testing the waters and dive right into the deep end. With the multiverse at play, there is literally nothing stopping writers from going wherever they want. It doesn’t matter if it’s recognizable or entirely new. They can do away with their reliance on existing MCU movies as starting points, and simply start stories from scratch. Being able to tell stories beyond an audience’s wildest dreams is precisely the power the series can wield, particularly given its canonicity. It absolutely can be a franchise of its strength, but it needs to own it and strut it.
Season 1 held viewers’ hands through the concept and lightly introduced everyone to arguably one of Marvel Studios’ most ambitious and risky entries to date. We respect and thank you for that, What If… ? but even some of the more beginner viewers already now have a strong taste for what the series is giving them and what the series could be giving them. We’re ready to take off the training wheels and take a much more exhilarating ride with the series.
Lastly, What If… ? can distance itself from some of its technical or practical constraints and crutches. While this certainly falls into the categories above, it’s worth a mention. For starters, the half-hour runtime truly crams what essentially is a remix of two-hour films into thirty minutes. The episodes can undoubtedly feel rushed, and there can be wasted opportunities to dive into some interesting aspects in each universe that are often alluded to or just plain curious. The T’Challa Star-Lord episode benefited the most from being completely disconnected from any existing property outside of its initial pitch.
Moreover, it is unclear how important having the original live-action voices are to the making of the show. While it certainly helped with the training wheels, it arguably sacrifices the quality of the storylines and sub-plots when certain characters seem to be reintroduced in ways that don’t make the most sense within the context they are added to. Yet, there’s undoubtedly a “cool” aspect to bringing back well-known and even minor characters with the original actors in an animated adaptation. To be fair, it also adds to the series’ current overall practice of mixing and matching familiar elements into new(ish) stories. Still, breaking free from any dependence or preference on that to put the focus entirely on the stories themselves could prove valuable.
What If… ? has delivered a solid series thus far. While plenty of the episodes suffer from some of the restraints noted above, there were undoubtedly standout episodes that hinted at the series’ future ability and intention to go bigger and bolder. If Season 2, off the heels of what looks to be a promising Season 1 finale, can look to the vast open space of the multiverse and its endless possibilities as the future, while looking at its reliance on the pre-existing MCU as the past, the future of What If… ? could be breathtaking, wild, weird, and a blast.
The upcoming Secret Invasion series on Disney+ will explore the invasion by the Skrulls. We got our first introduction to the alien species during Captain Marvel, and they’ll take center stage once more in the upcoming Secret Invasion series. We’ve recently shared details that Ben Mendelsohn‘s Talos won’t be the only Skrull, and some don’t share his more peaceful mindset. So, we’re going to witness an invasion by the shape-shifting aliens soon, and potentially even beyond the Disney+ series. As such, it opens up the path to explore the life of Skrulls hiding amongst modern suburbia. So, the perfect sequel series would be an adaptation of the 2019 Meet the Skrulls.
The comic series explored the life of the Warner family. They’ve lived a suburban life on Earth. Well, if you ignore the fact that they are Skrulls preparing Earth for an invasion. Robbie Thompson and Niko Henrichon brought a simple concept to life that took a look at aliens trying to fit in with humanity while keeping to accomplish their mission. Marvel Studios is no stranger to exploring a strange suburbia life with their first Disney+ venture of WandaVision. Yet, it explored a sitcom version of that kind of life, and now it’s time for Marvel Studios to embrace it.
Skrulls living in the suburbs while following their mission might seem simple, but it could also help flesh out the MCU. Why not have the parents work at Stark Industries or the WHIH news. That way, we can see the world that the bigger projects don’t normally share with us. This Disney+ series isn’t like Solar Opposites, where they are living as aliens in plain sight, but rather a group of Skrulls, who are paranoid of getting caught. It opens up to some comedic moments of them misunderstanding things, trying too hard to hide, or even letting loose at a party. Especially giving us insight into teenage Skrulls adjusting to life could bring out some dangerous situations.
Of course, there’s also the drama of it taking place post-Secret Invasion. The world is aware of their presence and is on the hunt for the last splinter cells. So, the build-up to seeing what S.H.I.E.L.D.’s existence means to them. At one point, they are uncovered and have to survive an infiltration of their home. In a way humanizing the alien species that simply believed in their mission was for a good cause. Not only would we get a look from a more grounded perspective in the MCU, but also fully understand the motivation of the aliens. Perhaps they didn’t know they were just pawns but believing in something to keep their race alive. Can you truly trust everything you see and know?
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