Rachel Brosnahan has offered new insight into the tone of James Gunn’s Superman, describing the highly anticipated film as a hopeful take on the hero that is perfect for the current moment. Comic Book attended a set visit for the upcoming DC Studios movie where the Lois Lane actor spoke about what defines this new version of the Man of Steel. Without revealing specific plot points, she positioned the film’s optimistic message as a powerful and necessary contribution to the comic book movie landscape, suggesting its core philosophy is what makes it “the Superman we need right now.”

“It feels hopeful rather than explicitly comedic to me,” Brosnahan said about Superman. “One of the things I love about so many of James’ movies is that they’re a real shot in the arm of hope. They remind you that the reason people love comic books is because they teach us that superheroes aren’t the only superheroes. They aren’t the only ones with important powers in these worlds. They remind us of the importance of courage, and tenacity, and interest in each other’s well-being. What it means to be in service of the greater good.”

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“I think we could really use a shot in the arm of hope right now,” Brosnahan continued, contextualizing the film’s place in the modern landscape. “A lot of these movies, the Nolan Batman movies, were such a specific representation of these comics at a specific moment in time. I think part of the reason they were so successful is because they felt like what we needed. The hope is that this version is the Superman we need right now.” 

Brosnahan’s comments directly align with the mission statement James Gunn and DC Studios have presented for their new cinematic universe, which aims to launch with a hero who embodies “truth, justice, and a better tomorrow.” By highlighting the film’s focus on the courage of ordinary people, she reinforces the idea that this Superman will be defined not just by his Kryptonian powers, but by the very human world he chooses to be a part of.

The Daily Planet and Superman’s Connection to Humanity

The importance of the Daily Planet and its staff in grounding Superman is a cornerstone of the character’s mythology, and Brosnahan’s emphasis on human tenacity suggests the film will lean heavily into this dynamic. In the comics, the Planet is more than just Clark Kent’s workplace, acting as his anchor to the world he has sworn to protect. It provides him with a vital, street-level perspective that his powers alone cannot offer. As a reporter, he confronts societal ills like corruption, inequality, and injustice, problems that cannot be solved with heat vision or super-strength. This role forces him to engage with humanity on its own terms, reinforcing his empathy and ensuring he never loses sight of the people he fights for. The ensemble cast of the Daily Planet, including Perry White (Wendell Pierce) and Jimmy Olsen (Skyler Gisondo), represents the very best of that humanity, and are expected to play a key role in Superman.

Central to this dynamic is, of course, Lois Lane. Across decades of comic book history, Lois has never been a simple love interest or a damsel in distress. She is Superman’s intellectual and spiritual equal, a fiercely intelligent and relentlessly driven investigative reporter whose courage often rivals his own. Her unwavering pursuit of the truth, no matter the personal risk, mirrors Clark’s own mission to fight for a better tomorrow. More importantly, she falls in love with Clark Kent, the kind, slightly clumsy farm boy, not just the iconic superhero.

Superman is scheduled to fly into theaters on July 11th.

How important do you think the Daily Planet crew and Lois Lane are to crafting a hopeful Superman story? Join the discussion in the comments.

The post Rachel Brosnahan Reveals What Makes New Superman “The One We Need Right Now” appeared first on ComicBook.com.

Since its release in 2016, Netflix’s flagship sci-fi Stranger Things has had a significant impact on the world, but an exclusive revelation from an iconic Hollywood director to ComicBook has just revealed the strangest impact of all. Because, unexpectedly, the Netflix show has inspired the resurrection of a 40 year old movie franchise that looked dead and buried.

England’s loudest and most punctual band of the last 40 years, Spinal Tap, busts back into theaters July 5th (get your tickets here via Fathom), and much to our delight, there’s even more to come from the makers of the iconic mockumentary This is Spinal Tap. The film, released over 4 decades ago, has not only garnered critical praise, but has earned a spot in both the Library of Congress and National Film Registry. Director Rob Reiner detailed what a long-awaited, upcoming sequel will look like to Comicbook‘s Chris Killian, during which he revealed the role Stranger Things played on its existence.

While the idea of another Spinal Tap movie seems “too good to be true”, according to Killian (speaking for all of us), Reiner revealed that initially he and co-creators Harry Shearer, Christopher Guest, and Michael McKean (who all also play the members of Spinal Tap) were reticent to make a sequel. Reiner clamed “No, we’re not going anywhere near it,” was their response to a sequel for decades. Yet, Shearer suing Sony to get the film’s rights back, the real-life death of the actor who played the band’s fictional manager, Tony Hendra, and the resurgence around Kate Bush’s “Running Up That Hill (A Deal with God)” on Stranger Things sparked the idea between Reiner and his collaborators to continues Spinal Tap’s story.

Reiner and his collaborators wanted to play with the fact that the band Spinal Tap had faded into obscurity since we saw them last on their disastrous U.S. tour, and the band members went their separate ways. “They haven’t played together in fifteen years. Let’s say they haven’t spoken to each other in fifteen years,” Reiner posited. “There’s bad blood between them.”

“In reality, their manager…he actually died,” Reiner said, referring to the passing of actor Tony Hendra in 2021. “So we thought, what if he bequeathed a contract to his daughter? And she had in this contract one last concert. But then what’s the point of it? It’s worthless because they hadn’t played in 15 years. Nobody knew about them. They’re done.”

Enter Stranger Things and the now iconic scene in Season 4 where Max plays “Running Up That Hill” to shield her from Venca’s mind-controlling powers. “And then we remembered that Kate Bush, had done a song that they used on Stranger Things, and all of a sudden there was a resurgence.” Reiner shared. “We said, wait a minute…what if, one of their songs, some big rock star or big music star is screwing around at a soundcheck? Does one of their songs somebody films it on on an iPhone, they throw them up on TikTok, goes viral, and all of a sudden they become viable again? That became the idea for the film.”

While audiences and filmmakers alike decry the deluge of sequels, spinoffs, and reboots that now populate the media landscape, the Spinal Tap sequel, with its roots in actual events, feels uniquely of the moment. Reiner went on to share it was that idea specifically that made him and the other filmmakers agree to make a second Spinal Tap film, otherwise they would have “let it be”.

The remastered, remixed, and 4K version of This is Spinal Tap returns to theaters July 5th.

The post Stranger Things Inspired An Upcoming Sequel That Nobody Thought Would Ever Happen appeared first on ComicBook.com.

It’s clear that James Gunn’s Superman pays homage to the Man of Steel’s history on the big screen (see: the use of John Williams’ iconic theme in the trailers), but the reboot also has some nods to DC’s past in the TV medium. In an interview with ComicBook to promote Superman, Gunn shared that he included a major reference to the TV series Smallville. Dating back to the first Superman teaser trailer released late last year, fans have known that the DC Universe’s Lex Luthor is in charge of LuthorCorp, which is a Smallville Easter egg.

“When I was making this movie, I really was taking stuff from all sorts of different comic books and TV shows and movies,” Gunn said. “And I’m a Smallville fan. It was LutherCorp in Smallville and so it is that. But also, first of all, most people don’t name their corporations after their first names, right? So, I believed it more in terms of that. And also, you know, it leaves the door open for, you know, was his father, in any way, ever a part of this, or his mother.”

Though Superman represents the dawn of a new era for the character and DC, Gunn has found numerous ways to pay respect to the character’s rich legacy across various mediums. With its tone and storytelling approach, the film is harkening back to the Christopher Reeve movies, looking to entertain audiences with an optimistic tale. Gunn has also pulled key elements from the comics, such as Clark Kent’s hypno glasses.

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In the DC Extended Universe, Lex’s company was called LexCorp. In Batman v Superman: Dawn of Justice, it’s revealed that Lex’s father, Lex Luthor Sr., had founded it years prior. On Smallville, the company eventually changed its name to LexCorp, but it was introduced as LuthorCorp. Created by Lex’s father Lionel Luthor, LuthorCorp initially focused on agricultural products before expanding its horizons. Biotechnology, weapons, and electronics were among the areas the company added to its portfolio.

Smallville is a huge part of Superman history, earning a loyal, passionate fan base across its 10-season run. Though it’s been off the air since 2011, there’s still interest in seeing some sort continuation; Smallville co-creator Al Gough remains hopeful a planned sequel series will eventually see the light of day. Considering Smallville‘s place in the zeitgeist, it’s nice to see Gunn tip his hat to the long-running TV show. Though this obviously isn’t the same as seeing Tom Welling back in action as Clark Kent, fans will likely appreciate this Easter egg that acknowledges Smallville‘s impact in the overall Superman franchise.

Outside of the Smallville connection, Gunn’s reasoning for going with LexCorp is practical. It’s common for characters/people to use their surnames when naming a company. Marvel has multiple instances of this, including OsCorp (founded by Norman Osborn) and Stark Industries (founded by Tony Stark). So it’s just logical for Gunn and the DCU to run with LuthorCorp. It’ll be interesting to see if Superman dives into Lex’s family history and details whether or not his family have any role with the company.

The post Superman Contains a Major Smallville Easter Egg appeared first on ComicBook.com.

The debut season of Star Wars: Ahsoka featured multiple fan-favorite characters being brought to live action for the first time, though it also featured the introduction of all-new characters, such as Ivanna Sakhno’s Shin Hati. Stars of the series have offered a handful of cryptic teases about the new season in recent months, and with production fully underway on Season 2, Sakhno weighed in on returning to a galaxy far, far away, though played coy about offering any official details about the new season. As fans wait to see Sakhno in Season 2 of Ahsoka, you can see her in M3GAN 2.0, which hits theaters on June 27th.

“We’ve been going quite nonstop, at the moment. We’re in London, so I just flew in a few hours before the premiere and I’m going right back into filming,” Sakhno confirmed to ComicBook about the status of Season 2. “I really wish that I could share anything with you, but I have to be honest, you won’t get anything from me. I just have to say, though, that it’s really exciting. A lot of heart is put into it. We’re trying to honor the world and the story as much as possible and have some really cool fights coming up, hopefully.”

The actor also detailed how, while both Ahsoka and M3GAN 2.0 required her to embrace many different types of combat training, the actual nature of the stunts is quite different.

“There’s definitely, fundamentally, when you do multiple jobs that require lots of physicality, you get to understand your body more and more and understand what it takes to do that. I think that’s something that connects Ahsoka and M3GAN,” the actor confessed. “In general, AMELIA is very different in her movement and these stunts are different, because to wield a lightsaber, it has a lot to do with swordfighting and martial arts, and AMELIA is very much combat training and Krav Maga. She’s using guns and also kung-fu-style movement. But it definitely builds a little bit more confidence in your body and a desire to dedicate yourself as much as possible to do as many of your stunts as you can, as time allows, and safety, as well.”

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With filming currently happening on Ahsoka, we likely won’t get Season 2 until 2026. Luckily, fans can still enjoy Sakhno in another action-packed sci-fi experience with M3GAN 2.0.

M3GAN 2.0 is described, “Two years after M3GAN, a marvel of artificial intelligence, went rogue and embarked on a murderous (and impeccably choreographed) rampage and was subsequently destroyed, M3GAN’s creator Gemma (Allison Williams) has become a high-profile author and advocate for government oversight of AI. Meanwhile, Gemma’s niece Cady (Violet McGraw), now 14, has become a teenager, rebelling against Gemma’s overprotective rules. Unbeknownst to them, the underlying tech for M3GAN has been stolen and misused by a powerful defense contractor to create a military-grade weapon known as Amelia (Ivanna Sakhno; Ahsoka, Pacific Rim: Uprising), the ultimate killer infiltration spy. But as Amelia’s self-awareness increases, she becomes decidedly less interested in taking orders from humans. Or in keeping them around. With the future of human existence on the line, Gemma realizes that the only option is to resurrect M3GAN (Amie Donald, voiced by Jenna Davis) and give her a few upgrades, making her faster, stronger, and more lethal. As their paths collide, the original AI bitch is about to meet her match.”

Stay tuned for updates on Season 2 of Star Wars: Ahsoka. M3GAN 2.0 hits theaters on June 27th.

Are you looking forward to Season 2 of the series? Let us know in the comments!

The post Star Wars: Ahsoka Star Breaks Silence on Returning for Season 2 appeared first on ComicBook.com.

The upcoming automotive action-adventure F1 really captures the reality of Formula One races and the real physical danger drivers put themselves in, as revealed by producer Jerry Bruckheimer. Speaking to Comic Book, Bruckheimer stated “The training you see in the movie, these drivers do it every week, that’s their normal routine. We didn’t make this up, we do an enormous amount of research.” Bruckheimer also spoke of the extreme physical toll of Formula One racing captured in the movie, stating “You’re piloting a rocket, they’re going 220 miles-per-hour. The downforce is amazing. You’re taking five G’s in the corners. Your neck is destroyed, you could throw your neck out for a month unless you’re trained.”

Additionally, Bruckheimer also spoke on the extensive training F1 and driving skills stars Brad Pitt and Damson Idris developed for the movie’s fast-paced racing sequences, and that some of it involved the stars driving during actual Formula 1 races. Per Bruckheimer, “Sometimes we’d be driving in front of 140,000 people. They didn’t know that they were in the car,” with this commitment to Formula One realism really calling upon Pitt and Damson to hone a lot of new driving skills. While the Formula One stunts captured in F1 clearly required a great deal of preparation and planning, Top Gun: Maverick director Joseph Kosinski has his share of experience in that arena that he’s evidently brought to F1.

The Tom Cruise-led legacy sequel to 1986’s Top Gun, Maverick became a crowd-pleasing titan and the biggest hit of Cruise’s career with its $1.49 billion box office haul. Maverick was especially praised for its immersive and exhilarating aerial stunts and action sequences with Cruise’s Maverick and the pilots of the Navy’s “Top Gun” aviation program. Judging from both F1‘s marketing and Bruckheimer’s description of the movie’s portrayal of Formula One racing, Kosinksi and the F1 production team really sought to create a kind of “Top Gun: Maverick on wheels” with F1.

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In F1, Brad Pitt plays retired Formula One racer Sonny Hayes, whose career in the ’90s was brought to an end after harrowing accident. While working as a cab driver and still competing in lower stakes racing events, Hayes is summoned back to the Formula One circuit by his former associate Ruben Cervantes (Javier Bardem), who asks him to help train up-and-coming Formula One racer Joshua “Noah” Pearce (Damson Idris).

The trailers and overall marketing for F1 sell a tremendous amount of heart-racing stunts and race-car action in the movie. Much of the movie’s racing sequences are shown from the perspective of the Formula One drivers themselves, and G-Force speed is clearly the name of the game in F1 as much as it is in actual Formula One racing. Even still, Bruckheimer’s words describing the making of movie illustrate just how much training and planning had to go into bringing Formula One racing to life on the big-screen.

With early reactions for F1 being highly positive (including from ComicBook’s own Charlie Ridgely), it seems like summer audiences could be in for a wild, stunt-filled good time when F1 hits cinema screens. With that said, none of it would have been possible with the careful training and planning that went into F1‘s high-speed and very true-to-reality Formula One racing sequences, with Bruckheimer’s words revealing how crucial stunt coordination is to summer blockbusters like F1.

F1 will be released in theaters on June 27th.

The post Jerry Bruckheimer Reveals Just How Realistic F1: The Movie Really Is appeared first on ComicBook.com.

Blumhouse Productions has delivered a number of compelling and beloved worlds over the years, with one of its most memorable mascots of terror being the titular doll in M3GAN. Even before the movie landed in theaters, the first glimpses of the psychotic robot took social media by storm, with the excitement largely paying off in the film itself. Director Gerard Johnstone continued to push boundaries with his sequel, taking M3GAN 2.0 into even more absurd realms, thanks in large part to the introduction of the all-new killer doll AMELIA, played by Ivanna Sakhno. The actor recently weighed in on what it was like to join this world and how previous experiences helped her embody the android. M3GAN 2.0 hits theaters on June 27th.

“I think it’s a really fun way of continuing M3GAN’s story and I think it has a lot to do with Gerard’s fearlessness, to step into something unknown and understand that it’s a world that has been created and became beloved by people and still being interested in playing around and being unapologetically bananas. That was the reaction,” Sakhno shared with ComicBook. “Just, honestly, pride, as I feel really excited about the film and grateful to be a part of it. And also, in this day and age, with everything going on in the world, I do think that people deserve to come to the cinema and have a few hours to laugh, at the same time, leave with some existential questions that the film offers.”

The new sequel is described, “Two years after M3GAN, a marvel of artificial intelligence, went rogue and embarked on a murderous (and impeccably choreographed) rampage and was subsequently destroyed, M3GAN’s creator Gemma (Allison Williams) has become a high-profile author and advocate for government oversight of AI. Meanwhile, Gemma’s niece Cady (Violet McGraw), now 14, has become a teenager, rebelling against Gemma’s overprotective rules. Unbeknownst to them, the underlying tech for M3GAN has been stolen and misused by a powerful defense contractor to create a military-grade weapon known as Amelia (Ivanna Sakhno; Ahsoka, Pacific Rim: Uprising), the ultimate killer infiltration spy. But as Amelia’s self-awareness increases, she becomes decidedly less interested in taking orders from humans. Or in keeping them around. With the future of human existence on the line, Gemma realizes that the only option is to resurrect M3GAN (Amie Donald, voiced by Jenna Davis) and give her a few upgrades, making her faster, stronger, and more lethal. As their paths collide, the original AI bitch is about to meet her match.”

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Sakhno is no stranger to starring in genre-bending experiences, having previously starred in Star Wars: Ahsoka. While both worlds are entrenched in the sci-fi realm, they required her to embrace different approaches to physical training.

“There’s definitely, fundamentally, when you do multiple jobs that require lots of physicality, you get to understand your body more and more and understand what it takes to do that. I think that’s something that connects Ahsoka and M3GAN,” the actor admitted of the two projects. “In general, AMELIA is very different in her movement and these stunts are different, because to wield a lightsaber, it has a lot to do with swordfighting and martial arts, and AMELIA is very much combat training and Krav Maga. She’s using guns and also kung-fu-style movement. But it definitely builds a little bit more confidence in your body and a desire to dedicate yourself as much as possible to do as many of your stunts as you can, as time allows, and safety, as well.”

M3GAN 2.0 hits theaters on June 27th.

Are you looking forward to the new movie? Let us know in the comments below!

The post M3GAN 2.0’s Ivanna Sakhno on Going “Bananas” for Horror Sequel appeared first on ComicBook.com.

Ahead of the launch of Season 17 of Overwatch 2, the Blizzard team has already confirmed what the next big collab for the game will be, taking fans by surprise in the process. Following in the wake of the Street Fighter 6 and Gundam Wing collabs, Overwatch 2 will roll out another team-up with Hasbro and this time bring the world of G.I. Joe to Overwatch 2. The Overwatch 2 x G.I. Joe collaboration will deliver brand new skins for players to purchase, and like many of their previous collabs it was born from major fans on the Overwatch 2 dev team that wanted to make it perfect.

ComicBook had the opportunity to speak with two key members of the Overwatch 2 team ahead of the official reveal of the Overwatch 2 x G.I. Joe collaboration announcement, where they broke down each of the new skins and the design choices that went into making them. Players won’t be surprised to hear that there’s a lot of attention to detail on display in the Overwatch 2 x G.I. Joe skins, but after this, you’ll know. And knowing is half the battle…

The Overwatch 2 x G.I. Joe collaboration will bring five brand new skins to the shop for players to purchase, including Genji as Snake Eyes, the game’s newest character Freja as Scarlet, with Doomfist as Destro, Widowmaker as Baroness, and Reaper as, who else, Cobra Commander. Overwatch 2 Art Director Dion Rogers noted that this was “the fastest” the team has ever come up with which Overwatch 2 heroes would be getting skins in the collab.

“I’m a huge GI Joe fan,” Rogers said. “And so one day I sent a PDF to Aimee of the heroes I’d like to see be certain characters. And that’s where we began and it stuck.”

Aimee Dennett, the Associate Director of Product Management for Overwatch 2, added: “It was literally a five-slide PDF file with the Overwatch character and the G.I. Joe character and we were like, ‘Oh, ship it. This is great.'”

“A lot of us grew up watching the cartoon and collecting the action figures, so it’s just super fun to do this work,” Rogers added about working on the collab. “It’s inspiring, being able to work with the thing you grew up watching, so it gives a lot of passion to the team for the next thing.”

Overwatch 2 fans may be wondering how characters like Freja becoming Scarlett or Genji becoming Snake Eyes can really work for a collab since their base designs are already pretty close to the physical characteristics of the GI Joe characters to begin with. When it comes to Genji, the secret became really leaning more into the character that he’s cosplaying, Snake Eyes, though some elements of Genji’s base skin had to stay.

“(Genji’s) much less of a cyborg in this rendition of him, he has a lot more human elements to him that lean a bit more on Snake Eyes,” Rogers said. “But we retained his mechanical arms so that he could still do his cool shuriken reload animation and things like that. But that was some of the things when we were looking at some of the heroes, like how much did we need to capture from the G.I. Joe character versus the Overwatch hero.”

When it came to making these decisions for the character’s skins, the Overwatch 2 team had a secret weapon from Hasbro, who have decades of details about all of their characters that are collected. These files detail the pieces of the characters that have made them iconic and what makes them stand out, offering an easy guidepost for what to do. This came in handy especially for making Freja into Scarlett. Though the comparison between the two is easy to immediately identify, red-headed warriors that use crossbows, there’s a key difference in their design that had to be addressed, Freja’s cape. Despite many variants over the years, Scarlett has never worn a cape, so something had to be done

“You’ll see that the cape is actually slightly shorter than what Freja’s base skin would have,” Rogers said. “As you know, silhouettes are important in Overwatch, and a big part of Freja’s silhouette is her cape. But you can see here the design on the cape, especially on the back side. We were able to use a lot of the cues that Hasbro had for Scarlett. The team was able to incorporate that, so it feels like a cape that Scarlett would wear, if she did wear a cape…I think the team did a great job of combining the two.”

Any talk of G.I. Joe is incomplete without their villains, who outnumber the heroes in the Overwatch 2 collab. All three villain skins in the event, like the two heroes, feel perfectly suited for each other, but also show off the attention to detail that the team brought to the collab. Doomfist as Destro for example not only has the COBRA emblem on his actual fist gauntlet, but the logo for M.A.R.S. Industries on his jacket as well, a detail G.I. Joe fans will immediately clock.

“Doomfist and Destro both share a similar personality,” Rogers said. “They’re kind of calm and in a lot of ways like Destro respects G.I. Joe because they’re a pretty strong organization. He’s just like, ‘You waste your talents.’ So Doomfist has a very similar mindset when it comes to what motivates him. So the two of them click really well together and it was super fun to design the fist.”

The Widowmaker as Baroness skin is slightly surprising too as it marks not only the second collab skin in a row for Overwatch 2’s resident sniper, but also her second in a row with a totally different hue than players are used to seeing. Widowmaker’s Baroness skin has the character in a regular skin tone and not her trademark purple. The skin also naturally includes the COBRA branding on her weapon, which players will see modeled on her scope as she prepares to take a shot.

Finally, the Overwatch 2 x G.I. Joe collab will give fans one of the most perfect pairings they’ve ever created, Reaper as Cobra Commander. Players will immediately notice in the trailer that Reaper has a bit of a stylization to his voice for the Cobra voicelines, while this probably could have been done with a filter to give him that trademark Cobra Commander speaking voice, it actually came from Reaper’s voice actor, Keith Ferguson.

“He had fun with it,” Rogers said of Ferguson channeling Cobra Commander in the recording booth. “The characters are cosplaying so we want Reaper, but do a couple of the quips and the funny sayings that Cobra uses in the show. So he’s still actually maintaining how Reaper speaks but layering in Cobra Commander style.”

“A lot of fun Reaper voice lines on this one,” Dennett added. “I would say some of my favorites we’ve ever done. There’s a lot of voice lines in general but I think we gave him the most of those. There’s just so much to work with.”

Players familiar with the previous Overwatch 2 collabs may think that G.I. Joe sticks out somewhat from others that arrived with a large, international appeal. The likes of My Hero Academia and LE SSERAFIM stand out as Overwatch 2 collabs where the fandom is found across the globe. What the Overwatch 2 x G.I. Joe collaboration reveals, and which Dennett confirmed, is that the team is more focused on securing partnerships that feel like a right fit rather than what is the most popular worldwide.

“For every collaboration, it’s not that we’re trying to appeal to the most people possible, sometimes we’ll work with IPs that we know are globally really popular, but the thing that is important to us is that we pick partners that have really passionate fans,” Dennett confirmed. “We want them to feel like if your thing is G.I. Joe, we want you to be the most excited about this than anything ever. So it’s less about how do we appeal to the most people possible and more how do we get these people where this is their thing, make them the happiest.”

Players may also be wondering about the frequency that Overwatch 2 collabs have been happening in recent days. In 2023, when they began, there were only three Overwatch 2 collaborations for the entire year, but in 2024 they grew to about one per season. Now halfway into 2025 the team is averaging two per season. As both Rogers and Dennett point out, this growth year over year was made possible not by the team getting bigger, but just getting better at making the collabs. Currently though the strategy doesn’t dictate a specific amount per season, and comes down to one key factor.

“There’s, of course, a strategy that we want to be doing more than three in a year, the year prior to this we had about one per season. Now it’s really just whatever we think is cool, let’s do it,” Dennett said. “It’s just like anything with the game, if there’s a really cool non-collab game idea, we go for it. Sometimes it works great. Sometimes there’s other stuff that we could have done to improve it. But in this case, we’re certainly doing more, but it’s all still rooted in, ‘Gosh, this is really cool and we want this fandom to get themselves represented.’”

This will end up being very clear for the G.I. Joe fans that dive into the new Overwatch 2 collaboration, as they will find deep cut Easter eggs not only in the skins, but the voice lines, the key art, and the sprays.

“We love putting in more niche references that only like the true big fans would get,” Dennett teased. “There’s a band that Cobra Commander put together called Cold Slither, so we have a Cold Slither spray in the game that I’m particularly fond of.”

The Overwatch 2 x G.I. Joe collaboration will launch in game on Tuesday, July 1 and be available through Monday, July 14th.

The post Overwatch 2 Devs Break Down New G.I. Joe Collab (Including the Hidden Easter Eggs) appeared first on ComicBook.com.

F1: The Movie director Joseph Kosinski breaks down his experience collaborating with Brad Pitt to shape the film’s main character, Sonny Hayes. In an interview with ComicBook to promote the movie, Kosinski addressed the similarities between F1 and his previous project, Top Gun: Maverick. Both movies revolve around an aging legend attempting to prove he still belongs in his respective field. Kosinski discussed how Pitt was one of the actors he always wanted to work with, and when that opportunity presented itself with F1, the filmmaker set out to craft a story and character that would be the perfect fit for Pitt’s talents.

“I always want to work with Brad. He’s on the Mount Rushmore of actors that I want to work with,” Kosinski said. “And, so, I knew he was interested in racing. And when I kind of came up with the idea of wanting to tell a story in this world, he was at the top of the list. So then it’s about coming up with a story that feels kind of authentic to who he is … kind of crafting a character for him … When people see it, I think they’ll see why Brad Pitt makes the perfect Sonny.”

Kosinski also detailed the “track day” he organized with Pitt and Lewis Hamilton, the real-life F1 star who has a role in the film. “It was really a way for Lewis to see what Brad was like in a car,” he said. “I think Lewis wasn’t sure if it was possible to get an actor to drive one of these cars. But when he saw Brad’s natural ability behind the wheel, he thought it was possible.”

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The F1 trailers have established that Pitt’s Sonny is a veteran of the track who gets talked into returning to racing. He’s tasked with mentoring the young, up-and-coming driver Joshua Pearce (Damson Idris), and the two frequently butt heads due to their contrasting styles and mentalities. In our interview, Kosinski described Sonny as an “old-school” character, as evidenced by his impromptu workouts in hotel rooms that don’t require state-of-the-art gym equipment.

Reading over the F1 synopsis, it’s easy to draw comparisons to Top Gun: Maverick, which starred Tom Cruise as an aging fighter pilot who returns to Top Gun to train a new generation of pilots for a dangerous mission. Cruise’s Pete “Maverick” Mitchell can find himself at odds with his students (particularly Miles Teller’s Rooster), but the group finds a way to come together and accomplish their task.

He doesn’t look it, but Pitt is 61 years old. So the role of an F1 legend who comes out of retirement for one last shot at glory seems like the perfect part for him to take on at this point in his career. Much like Top Gun: Maverick, there’s a meta component to F1; Pitt has been a Hollywood A-lister since the ’90s, with several notable credits and accolades to his name. Sonny is out to show he still has what it takes to be one of the best drivers on the F1 circuit, while Pitt is showing he’s still more than capable of leading an old-school summer blockbuster that thrills audiences.

It remains to be seen if F1 can replicate Top Gun: Maverick‘s success on the Oscar circuit, but Kosinski’s latest is shaping up to be another must-see on the big screen. Early F1 reviews have praised the film’s authentic, immersive racing sequences, as well as the performances from Pitt, Idris, and Kerry Condon. By all accounts, Kosinski was right on the money when he came up with this narrative and decided to make Pitt his star. Hopefully, F1 can emerge as a box office hit, paving the way for Kosinski to helm more high-octane projects like a Miami Vice remake or his untitled UFO conspiracy thriller.

The post F1: The Movie Director Details Collaboration With Brad Pitt to Shape His Character appeared first on ComicBook.com.

The struggle for survival is constant in the post-apocalyptic, zombie-infested world of 28 Years Later, and therefore, father-son quality time looks different, too. The much-anticipated sequel to gripping zombie thrillers 28 Days Later and 28 Weeks Later, 28 Years Later examines life decades after the fictional Rage Virus was unintentionally released into the world. The story, which reunites original director Danny Boyle and writer Alex Garland, stars Aaron Taylor-Johnson as Jimmy, a man who, according to Sony’s official description of the film, leaves his small, fortified island of survivors “on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.”

ComicBook spoke in depth with Taylor-Johnson, as well as stars Jodie Comer and Alfie Williams, about the latest installment in the cult-horror franchise. The discussion was particularly focused on Taylor-Johnson and Williams’s father-son relationship, which in a world decimated by the Rage Virus, has become “warped.” Specifically, it pointed to the film’s scene in which their characters, father Jimmy and son Spike, go hunting — not for game — but for the infected. The conversation touched on how the scene demonstrated the high threshold of “accepted violence” in the world of 28 Years Later. Williams agreed that the level of brutality in the world of the film is “normalized.”

RELATED: 28 Years Later Review: A Shot of Adrenaline for Modern Horror

Taylor-Johnson Says Denial and Protectiveness are Behind the Father-Son Zombie Hunting Scene

Taylor-Johnson, a father of four himself, found the scene in which Jimmy takes an impressionable Spike hunting for other humans ironically “kind of funny.”

“You see this moment of a herd of deer and it’s so beautiful and they’re watching there, ‘Wow, that’s amazing,’ but they’re actually out there to teach [Spike] to kill the infected,” Taylor-Johnson mused, regarding the unconventional prey. He then explained Jimmy’s motivations, using the hunting trip to prepare Spike for what survival looks like in a gruesome, dangerous post-outbreak world.

Taylor-Johnson went on to share that behind Jimmy’s protectiveness and desire to prepare his son for the realities of the world in 28 Years Later is a sense of denial about what’s outside the island they inhabit and how they’ve adapted to survive. He revealed that Jimmy taking Spike on the hunting trip is his character’s attempt to “make [killing the infected] feel like acceptance, and dehumanize the infected when really, your moral guidance is telling you that this can’t just be it. There’s something more to that.”

Taylor-Johnson continued, “I’m very much like, this is the way of life, this is how you survive, this is how we’ve done so well. And our community is so perfect. There’s nobody else out there. He’s very sort of in denial, but trying to protect his son, but sort of also holding back.”

Despite Jimmy’s attempts to instill a certain perspective in his son, Spike still challenges his father. While Jimmy may not appreciate it in the film, Taylor-Johnson likes that “Spike’s looking for the answers and the truth in it all,” and not blindly accepting what his father tells him, especially since their hunting trip takes a terrifying, deadly turn in the film.

28 Years Later is in theaters now.

The post 28 Years Later Star Aaron Taylor-Johnson Breaks Down Film’s Twisted Father-Son Bonding appeared first on ComicBook.com.

Even death can’t keep a Thunder God down. Al Ewing is no stranger to comics with the word “Immortal” in the title, after penning The Immortal Hulk to three Eisner Award nominations. Next up was The Immortal Thor, and after 25 issues, the series is about to conclude with Thor’s death. However, this is only the end of Act One, and July will see the Thunder God’s resurrection in Thor #1 by Al Ewing and Pasqual Ferry. However, there are still several mysteries to resolve, such as what happens in Immortal Thor #25 and where we pick things up in Thor #1, on sale July 2nd.

ComicBook spoke to Al Ewing ahead of the releases of Immortal Thor #25 and Thor #1. The prolific writer discussed relocating Thor from Asgard to Earth, what his supporting cast will look like in the new series, new and familiar threats, the differences between launching All-New Venom #1 and Thor #1, what readers can expect in Act Two of his Thor tale, and working with longtime Thor artist Pasqual Ferry. ComicBook can also exclusively reveal a lettered preview of Immortal Thor #25 by Jan Bazaldua, Matt Hollingsworth, and VC’s Joe Sabino, as well as covers and solicits for September’s Thor #2.

ComicBook: Thor is no stranger to death and resurrection, but in Thor #1 you’re taking the action from Asgard and Utgard to Earth. How do you approach changing the landscape up for readers, especially with the added mystery of how Thor is alive again and walking with mortals?

Al Ewing: I’m in a bit of a pickle here because I don’t want to spoil the book, but marketing a comic in the system we currently have means giving away at least a little – we need to show the covers, for example, or most of them – and wrong assumptions build around those little details. I will say that a lot of the questions you think you’ve guessed the answer to will be answered properly with Immortal Thor #25, and once that drops I’ll be in a much better position to talk openly about my thinking and what I’m up to.

But as for this question — essentially, I approach telling sweeping, mythic stories of Asgard one way, and I approach smaller, more human stories set on Earth a different way, using very different storytelling tools. Which tools will I be using for this series? All of them.

What can you tell us about Thor’s supporting cast? Will readers be following Thor as he awakens on Earth, or will there be other characters serving as the reader’s point of view?

There will be issues when we don’t check in on the main character at all — I call those “Tales Of Asgard” issues. But I feel like the real question behind the question is, “Does our protagonist have a potential new love interest?” He does!

I can’t help but think of parallels between this new volume of Thor and All-New Venom, with you bringing the action back down to Earth on a street-level compared to their previous galaxy and realm-spanning adventures. How would you compare and contrast the launches of Thor #1 to All-New Venom #1?

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Honestly, I wouldn’t do — insert the “I reject the question” ponytail guy here — because I honestly don’t think it’d do either story any good at all. But if you put a gun to my head, I’d say that All-New Venom started off with an old-school mystery angle that allowed us to set up an exploration and appreciation of classic solo hero books, using that lighthearted storytelling to mirror the dual protagonists’ choice, conscious or unconscious, of the wise-cracking Peter Parker as their moral yardstick. And the new Thor book isn’t doing any of that at all.

We’re heading into Act Two of your Thor storytelling. What threats will our God of Thunder have to face in this new era as he’s also rediscovering himself post-death?

I’m going to dance around this one a little as well, because it’s based on faulty assumptions, but if you’re asking me to list some bad guys who’ll be in the book — well, the Enchantress is continuing her scheme, although that’s a background simmer for now. More immediately, we have the Sons of the Serpent making their first appearance in the story — and we haven’t seen the last of Cobra, Mister Hyde, Grey Gargoyle and Radioactive Man either.

To wrap up, you’re working with longtime Thor artist Pasqual Ferry. What’s it been like to receive pages from him, and what has he brought to the project that you’re most looking forward to readers seeing?

Pasqual is a genius at his art, there’s no other way of putting it. There’s a real magic in what he does, and having seen it up close, I’m working out the best way to play to his vast and multiple strengths. But he’s bitten into the first issue with absolute gusto and I love what I’m seeing. I know you will too. 

THOR #2

• Written by AL EWING
• Art by PASQUAL FERRY
• Cover by Alex Ross
• Variant Cover by FANYANG
• WHO IS THE MAN CALLED THOR?
• The Thunder Gods were hired to teach a simple lesson – make trouble for Roxxon Construction, and they’ll make trouble for you. Now somebody’s targeting the bike gang where they live. Somebody who won’t give up. Somebody calling himself “Thor.” Somewhere in the city, a man with a hammer is getting to work.
• On Sale 9/24

Are you excited for July’s Thor #1? Let us know your thoughts in the comments below!

The post The Immortal Thor Is Dead, But Al Ewing Still Has Plenty of Plans for the Thunder God (Exclusive) appeared first on ComicBook.com.

Though sequels and franchise films are a dime a dozen currently, the director of 28 Years Later revealed why now was the perfect time to revisit the critically and commercially acclaimed horror series. Oscar-winner and the director of the original 28 Days Later film Danny Boyle spoke to ComicBook in advance of the sequel’s release on June 20th. Boyle pointed to the current state of the world, both on a geopolitical and societal level, as making 28 Years Later feel as relevant and timely as it does now, perhaps more so than the original film did when it was released in 2002.

Speaking with both Boyle and 28 Years Later‘s writer/producer Alex Garland, we asked if there were any specific current events that compelled them to revisit the original film and informed their storytelling in this sequel. Their answer might surprise you.

28 Years Later‘s Danny Boyle Reveals How Horror Movies Become Timely to Audiences Without Intention

“Time is strange because films take so long to make that things come in and out of focus with them. You may focus on individual details around the world and around people’s own experiences on the day. But, you know, six months a year later, they’ve changed,” Boyle mused. He went on, “People read into it, they look at Gaza, they look at the treatment of immigrants, of migrants. You can look at Covid, you can look at Brexit on a small scale political degree to do with British political circumstances at the moment, the isolation of the island, even though it’s an imposed isolation in our story and it’s a chosen isolation in the political (sphere).”

Though there are several threads and themes that feel particularly relevant and immediate in 28 Years Later, Boyle also credits the horror genre as the reason viewers can watch the film and take away so many different messages.

“[Horror] has that flexibility where you can read things into it and it’s transparent at times to another world, and then it closes again. And that’s beautiful.” Boyle explained about the prismatic nature of filmmaking in the genre. “We didn’t set out to make a big political movie. We set out to make a really compelling story, which owed a little to the original, but stood on its own as a moviegoing experience.”

Sony’s official description for 28 Years Later reads: “It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily-defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.”

28 Years Later stars Aaron Taylor Johnson, Jodie Comer, Ralph Fiennes, Alfie Williams, Erin Kellyman and Jack O’Connell. It’s one of three sequels planned in the franchise. 28 Years Later: The Bone Temple is slated for release next year and will feature the star of the original film, Cillian Murphy, reprising his role as Jim. A third film in the 28 Years Later cycle, concluding the trilogy, is also indevelopment.

28 Years Later will be released exclusively in theaters June 20th.

The post 28 Years Later Director Reveals Why Now Was the Perfect Time for the Sequel appeared first on ComicBook.com.

Kanan Jarrus’s gut-wrenching sacrifice in Star Wars Rebels remains one of the most impactful and emotionally resonant moments in the entire Star Wars canon. For fans, the sudden and heroic death of the beloved Jedi (voiced by Freddie Prinze Jr.) in Season 4, Episode 10 – “Jedi Night” – was a devastating shock; a twist that ripped at the heartstrings and left a lasting impression that continues to ripple through Star Wars canon today. Now, years after the episode first aired, the cast of the beloved series has shed new light on this pivotal moment, revealing in an exclusive interview with ComicBook that Kanan’s heartbreaking fate wasn’t a spur-of-the-moment decision, but a carefully considered plan that had been brewing behind the scenes for years. The cast of Pod of Rebellion – the Star Wars Rebels rewatch podcast featuring Vanessa Marshall (Hera Syndulla), Tiya Sircar (Sabine Wren), Taylor Gray (Ezra Bridger), moderator Jon Lee Brody and producer JC Reifenberg – delved deep into their memories of crafting the episode, their initial reactions to the script, and the enduring impact Kanan’s death had on them as performers, fans, and as storytellers.

Their candid discussion unveils a deeper understanding of the choices leading to Kanan’s death and the emotional weight that came along with the making of this unforgettable Star Wars chapter.

The Seeds of Sacrifice Were Sown Early, Though Not Everyone Was Aware of the Looming Tragedy

Looking back at the entirety of Star Wars Rebels, certain lines and character interactions now carry a heavier emotional weight knowing Kanan Jarrus’ ultimate destiny. Tiya Sircar, reflecting on the experience of re-watching the series for the podcast, expressed how the foreshadowing, once unnoticed, now feels like a march towards the inevitable.

“I have been dreading [watching ‘Jedi Night’] since we started this podcast,” Sircar confessed. “In certain episodes, there’s certain lines or exchanges between Hera and Kanan – things that Kanan says, or things that we say about Kanan in the show that are so much more. They hold so much more weight now because when we recorded the first season, we had no idea what was going to happen down the road. So hearing those things now, my heart breaks. I know what’s coming. It’s all foreshadowing that I was complicitly, woefully unaware of back then, on my first watch. It’s going to be painful to relive it.” 

RELATED: Star Wars Rebels Stars Reflect on Reuniting for Pod of Rebellion

Vanessa Marshall echoed this sentiment, anticipating the difficulty of revisiting the aftermath of Kanan’s death, particularly considering the relationship between Hera and Kanan.

“I agree [with Siracar], and also everything after that will be hard to watch,” she stated; a nod to the enduring legacy Kanan’s loss had on the characters and actors. Sircar further emphasized the emotional toll of filming the episode, revealing, “It was really hard to record. That was our last day with Freddie – recording and working with Freddie. And, it was really emotional. We were all really emotional. I think I can speak for all of us when I say that. Our characters were saying goodbye, we were saying goodbye. It was a lot. So, I think [‘Jedi Night’] is going to be a tough one. But also everything that comes after, because then we as characters grapple with the immense loss. And then as actors, we were also grappling with that loss. Obviously not the same loss, but it’s not just the one episode. It’s everything that comes after that, too.” 

When asked about their initial reaction to the script, both Marshall and Sircar confirmed their shock.

“I didn’t see it coming,” Marshall admitted, with Sircar emphatically adding, “I was shocked.” 

Freddie Prinze Jr.’s Foresight and the Inevitability of a Jedi’s Path in the Star Wars Saga

While the on-screen deaths often blindside audiences, the actors revealed that Freddie Prinze Jr., who voiced Kanan, had long foreseen his character’s end. Taylor Gray shared Prinze Jr.’s repeated sentiment, “Freddie was very funny. Freddie would always say, ‘Kill me off the show.’ Not like, ‘Get me out of it.’ But he would always say, ‘The way I have to go is that I have to be killed.’ And I’d always be like, ‘Are you sure?’ But he would always say it.”

Gray also recalled noticing a shift in Dave Filoni’s reactions whenever theories edged closer to the truth, particularly regarding Kanan’s fate.

“I remember at one point, Dave – he had this very cheeky smile when you would get on to something, because we were always throwing out theories of where things are going,” the actor expressed. “And I started to get a sense when we were on to something because he would respond a little differently. And I remember Freddie saying this over and over, and eventually this response came from Dave where I was like, ‘I think Freddie might actually die.’” Sircar shared her own experience with Prinze Jr.’s conviction, “Freddie was adamant that Kanan’s end must be that he has to die. He made no bones about it. And I didn’t think for a second that he was going to get killed off the show.” 

Though tragic, Kanan’s death went on to signify something way larger than a singular sacrifice.

Discussing the impact of Kanan’s sacrifice within the Star Wars universe, Gray said, “Now it makes sense though, right? Star Wars – the theme is the selfless act to ascend oneself and transcend your own needs and desires.”

Continuing on Gray’s heels, JC Reifenberg offered an insightful perspective connecting Kanan’s death to the broader Star Wars timeline and the established lore, “And also just from listening to you guys talk about behind the scenes, it sounds as if, in the recording booth, Freddie was the lore master. And Kanan, the Jedi Knight, cannot exist at the same time that Luke Skywalker is training, which is also why Ezra had to disappear to the unknown regions with Thrawn. Because at that point in the story, Luke needs to be the guy. And Freddie knew because Freddie was the lore master.” 

Reifenberg admitted to anticipating significant character deaths, even considering the possibility of both Kanan and Ezra being killed off, and being particularly interested in how such a dramatic and dark plot point would be handled in a children’s show. Marshall, on the other hand, held onto hope for Kanan’s survival, as Kanan’s Jedi training was never completed.

“I did not see that happening. And because [Kanan’s] not quite a Jedi – he did not finish his training –  I didn’t know that that would apply. So I thought maybe he would live because his Jedi Master was slain and he didn’t finish. So technically, he is not necessarily a Jedi. Why does he have to die?” Marshall pointed out. “I thought there was a workaround. I didn’t know I was going to birth his child.” 

The revelations from the Pod of Rebellion interview gave a fascinating glimpse into the long-term planning and the emotional investment behind one of Star Wars Rebels’ most pivotal and heartbreaking moments, confirming that Kanan Jarrus’ heroic sacrifice was a carefully crafted point of inevitability years in the making.

Pod of Rebellion is distributed by iHeartPodcasts and available on the iHeartRadio app and everywhere podcasts are heard. 

The post Star Wars Rebels Actors Confirm Heartbreaking Death Was Planned for “Years” appeared first on ComicBook.com.

The danger has escalated in Deadpool and Wolverine’s new team-up series. After Deadpool and Wolverine teamed up on the big screen, Marvel launched a new Deadpool/Wolverine comic by writer Benjamin Percy and artist Joshua Cassara. The series has featured X-Men threats from the past like Stryfe and the Legacy Virus, but those were only the appetizers to an even greater threat hidden in plain sight. While Stryfe has been the central bad guy in Deadpool/Wolverine, recent issues revealed that Stryfe has been the host of Apocalypse, who is back to his villainous ways and is using Wolverine and Deadpool as his Horsemen to raze the Earth.

ComicBook spoke to Benjamin Percy ahead of this week’s Deadpool/Wolverine #6. Percy gave some insight on the big Stryfe/Apocalypse reveal, what X-Men stories from the ’90s serve as inspiration for the story arc, how Apocalypse appears to be changing his methods from previous attempts at world domination, Maverick’s role going forward, and much more. We can also exclusively reveal the cover and solicitation for September’s Deadpool/Wolverine #9, as well as four pages from Deadpool/Wolverine #7 and one page from Deadpool/Wolverine #8.

ComicBook: Let’s start with the big Apocalypse of it all. Using Apocalypse’s connection to Stryfe is definitely a deep cut reference that I enjoyed. We haven’t seen Apocalypse since the X-Men: Heir of Apocalypse miniseries, but he’s obviously stayed busy. How did you come up with the idea of using Stryfe as a vessel to keep Apocalypse’s identity a secret? And are we now dealing with Apocalypse inside Stryfe’s body?

Benjamin Percy: This story takes on a different tone than my work on Wolverine and X-Force. It’s more bonkers, over-the-top — and channels the X-Men comics that I gobbled up as a kid in the nineties.

In so many ways — with the Legacy virus, Apocalypse, and Stryfe among them — this storyline tips its hat directly to X-Cutioner’s Song.

Apocalypse always wanted to transfer his essence into Stryfe — that’s the origin story of the character — but it never happened. So we’re carrying on that torch here. Given that so much of the story concerns infection, mind-control, possession… Apocalypse’s occupation of Stryfe fits right in thematically.

In Issue #6, we get to see a bit of Apocalypse’s plan and how he realized he has to change his tactics to succeed. To use his words, he was “sculpting with dynamite,” so he’s now playing the long game. Are we actually seeing Apocalypse change his ways, since he’s raising a zombie army, has giant kaiju, and appears to be gathering Horsemen in the form of Deadpool and Wolverine?

It’s a ten-issue storyline, so to keep things dynamic and interesting, all of the characters are going to run into roadblocks and have to change tactics, Apocalypse among them.

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Maverick has an interesting role as a third party between Deadpool/Wolverine and Stryfe/Apocalypse. What role will he have to play as events and the threat keep escalating?

I love Maverick, and I’ve planted him in stories throughout my time in the X office. He’s a cocky player, a true merc who is out only for himself. He’ll swap sides, depending on where the wind (and money) blows. In this case, he’s lined up with O*N*E, an anti-mutant agency that sprung him from federal prison, so long as he agreed to work against his own kind. Of course that relationship is going to be tested — and he’s now caught up in the middle of this war, and we can’t be sure whose side he’ll be on by the end of it all.

With Apocalypse involved, there is potential for more X-Men characters to show up. We have Maverick, an X-Men-adjacent character, but with Stryfe and Apocalypse as the main bad guys, I can’t help but think that Cable would like to be a part of the party. Is there going to be an escalation point where other characters start to make an appearance, or are you keeping it mostly a Deadpool and Wolverine tale?

Stay tuned. I will say that our goal was to keep this story as evergreen as we could. Even though other mutants are going to show up, we handle their appearances carefully, so as not to rely too heavily on current continuity. That will make this epic craziness feel as relevant ten years from now as it does today.

To wrap up, what can you tell us about where the story is heading in the future, and are there any other massive surprises you’re keeping tucked away for fans?

Joshua Cassara and Robert Gill are bringing the thunder. Every issue asks them to draw impossible scenarios: future apocalyptic visions, kaiju brawls, zombie mobs, soul transfers, wild heist scenes, etc. And they go above and beyond in their visionary delivery. This series has been such a gift to my inbox, because every day I’m treated to their epic, eye-melting art. As the story enters its second half, you can expect us to crush the accelerator and make things even more extreme.

DEADPOOL/WOLVERINE #9

• Written by BENJAMIN PERCY
• Art by ROBERT GILL
• Cover by JOSHUA CASSARA
• THE HORSEMEN OF APOCALYPSE!
• The shocking reveal of the summer pays off as WOLVERINE and DEADPOOL serve as HORSEMEN of the mutant APOCALYPSE! If you missed this revelation, time to catch up here with issue #9!
• On Sale 9/17

What do you think about Apocalypse’s return in Deadpool/Wolverine? Let us know your thoughts in the comments below!

The post Benjamin Percy on Deadpool & Wolverine’s Big Apocalypse Twist and Callbacks to ’90s X-Men Stories appeared first on ComicBook.com.

The Fear Street movie franchise returned to Netflix this year with the standalone Fear Street: Prom Queen. Pulling directly from one of R.L. Stine’s creepy classics, Prom Queen takes the series back to the high school slashers of decades past. It’s a simple premise: Prom Night at Shadyside results in a serial killer roaming the school, killing off candidates of the Prom Court one by one.

Fear Street: Prom Queen plays out like most whodunit slasher movies, keeping viewers on their toes about the killer’s identity and leaving the big unmasking for the film’s final act. Unlike some other movies in the genre, however, not everyone in the cast was completely certain about what would become of their character — and that uncertainty lasted throughout production.

ComicBook recently spoke to Fear Street: Prom Queen stars Suzanna Son and David Iacono about their experience bringing the slasher to life. Son plays Megan Rogers, the loyal best friend of lead character Lori Granger (India Fowler), while Iacono plays Lori’s crush, Tyler. While both appear to be on Lori’s side throughout the film, there’s always a hint of doubt regarding their true intentions, which is something the creative team continued playing with over the course of film.

“I had no idea, I really didn’t,” Son said of her character’s ending. “And especially with the edits and stuff, you never know until the night before, really, what’s happening. So I was pleasantly surprised at how that foiled out.”

Iacono echoed that same sentiment, adding that his character’s relationship to Lori was mysterious enough that there was a lot more room to play with his overall arc. It sounds as though there’s a chance Tyler could’ve ended up being something of a villain in the film, even though that’s not necessarily how it plays out in the final cut.

“And I think the script itself felt very evolving all the time. We were always talking to Matt [Palmer] and Donny [McLeary], the writers, about it,” the actor told us. “It always felt like they weren’t 100% sure where it was going ether, in the best way. They definitely had an end point, but they were so open to collaborating about how everything ended up panning out. I never knew either, but it was really fun to be able to play into that, because not only was Tyler potentially unreliable, but so was I.”

Ultimately, both of characters got endings that the actors behind them seem to be satisfied with.

Fear Street: Prom Queen is now streaming on Netflix.

The post Fear Street: Prom Queen Twists Kept Stars on Their Toes Throughout Production appeared first on ComicBook.com.

Many beloved animated pictures have made the jump to live-action over the years, with How to Train Your Dragon being the next classic to be brought to life in an all-new way. With the original animated films being an adaptation of a book series, those movies were adaptations in their own right, while this new film continues the legacy of the fan-favorite books. Many of these adaptations bring in new creative leadership to helm such projects, though one thing that makes the new How to Train Your Dragon so interesting is that Dean DeBlois, who directed the original trilogy, also directed this live-action experience. The new How to Train Your Dragon hits theaters on June 13th.

“It’s the spirit of [Cressida Cowell’s] book that comes through,” DeBlois shared with ComicBook about continuing the franchise’s journey. “When Chris Sanders and I came onto that first film, we were invited to bring our own story to the mix, keep the essence of the characters, but make make it broader and more expansive, and that just caused the story to head in its own direction, but people who love the movies go to read the books and people who’ve read the books come to watch the movies. I think it’s this cross-pollination that works.”

DeBlois isn’t the only original filmmaker returning for the live-action adapation, as John Powell returns to this world to craft the live-action score.

“He called me very early and I had to prod him into it a little bit. He was a bit nervous and I just said to him that I remember that the first film was incredibly cinematic,” Powell expressed of reuniting with DeBlois. “It felt like if you’d been able to make it live action, you would, so why not do that? Just go with that feeling. He really did. He really, really did. He was very respectful for that original audience, but this is really, I think, almost what he was wanting to make.”

As far as how scoring the live-action experience compared to scoring the animated films, Powell detailed, “This is a very different view on that score from when you were making it the first time. When you’re making it the first time, you have no idea what you’re doing. You don’t know if it’s going to work. You’re just trying to piece it all together. You’re going from zero to something. This time, we go from something that exists to a different version of it that needs to respect two audiences: the audience that liked it 15 years ago and loves animation and the audience that has never seen it. So it’s a real duality. You have to make the score work for both of those groups of people. You mustn’t disappoint the people who are waiting for things, but you also need to make it work as well as it possibly can fit in a way that is deeply emotionally consistent with what is happening on screen or on the level of the story. Not necessarily just what you’re seeing, but the level of the characters. Understanding the characters’ feelings at the time, and then where the audience is on that timeline of understanding the story. It proved to be much harder than I expected.”

Even though the live-action film has some familiar faces making their returns, a new ensemble of talent allowed this new movie to expand on things previously unexplored or put new twists on familiar territory.

“Speaking to Dean, I think it was definitely something to highlight, the reasoning behind all of her actions and her behavior and why she is the way she is. Why is she so ambitious? Why is she so strong? Why is she so determined?” actor Nico Parker pointed out about playing Astrid. “That felt like stuff that we really wanted to highlight and I feel like we did a pretty good job of it. I literally would have played a tree in this movie if they had wanted me to, so the fact that we even got to expand a bit on the character is beyond any of my wildest dreams.”

Gabriel Howell, who takes on the role of Snoutlout in the live-action movie, admitted, “It’s intimidating because I’m a huge fan of Jonah Hill anyway. Growing up, him being him, and he’s so funny in the animation and I think because they could just riff in the recording booth, they’ve just got absolute gold, and that’s perfect. So getting anywhere, or attempting to get near that, would be fruitless. Love Jonah, love the part, love the world, how can I nestle in there as me, and my heart, and my soul?”

Julian Dennsion takes on Fishlegs in the new adaptation and thinks all of his preparation will stick with him, revealing, “I think Fishlegs has this ADHD. He’s obsessive over everything about dragons. I think it’s a lot in my head. I still have the cards at home. I was able to take some home. And also I loved the riders of Berk. You see a lot more of the lore and Fishlegs learning about things. It’s still in there, it’s stuck to my brain. Hopefully when we do more, it stays there so I can scrape it off again and use it.”

While there’s lots of visual effects required to bring the movie to life, the live-action perspective did mean the cast got to immerse themselves in this fantastical world a bit more authentically.

“Toothless was an incredible feat of mechanics. I think he had a few more moving parts than the rest of us. Jealous,” Howell shared. “I think Julian had it tough, because he’s so squat, so his legs were up, whereas Hookfang has a bit of space, so I could … I was strapped in, but I could I could relax, and so I think I had it easy. Cons would be you can’t really get down. If you’re like, ‘Oh, I need a wee,’ or something, they’re like, ‘Yeah, that’s gonna be 25 minutes.’ Once you’re up there, you’re up there.”

Ruth Codd, who plays Phlegma the Fierce, expressed, “They built a whole set, like they built the whole arena, they built the whole Berk, so it was pretty hard not to be immersed in it. You’re dressed up as a Viking, my leg was in the shape of a dagger, so it was pretty, pretty easy to get into character.”

While Nick Frost wasn’t in the original movies, he’s well versed in bringing to life a variety of characters, with the experience of being surrounded by younger performers offering him interesting opportunities.

“The younger cast, they’re not that young, even though we call them the trainees and often we refer to them as the kids,” the actor joked. “It’s like, I think they’re in their 30s. But to me, when you’re 53, it’s like, ‘Oh, they’re our kids.’ But in terms of Mason [Thames], I find myself being quite protective to him all the time because I have children who aren’t much younger than Mason. So I’m like, ‘You all right? Do you want a drink?’ I’m quite fatherly to him. It’s a big deal for him, I know he’d done Black Phone and other little bits and pieces, but this is just an entirely different animal. If he can learn something in terms — I’d never want to teach. I always find, because someone’s younger than you, doesn’t mean you’re a better actor just because you’re older, that’s just nuts, but in terms of, ‘Okay, so Nick turns up on time every day, he knows everyone’s name, he stays to the end, he does lines off camera.’ That’s what you can teach.”

How to Train Your Dragon hits theaters on June 13th.

Are you looking forward to the new movie? Let us know in the comments below!

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The live-action How to Train Your Dragon is only just set to hit theaters this week, but director of the adaptation and of the original trilogy Dean DeBlois is already looking to the future and what he has in mind for the second movie. While star of the original movie Gerard Butler returns to the franchise to play the live-action Stoic, not all of the cast from the trilogy have returned, seeing new talent take on iconic roles. When it comes to the sequel, however, DeBlois confirmed that he hopes to get Cate Blanchett to reprise her role of Valka, though that offer has yet to be accepted. How to Train Your Dragon is set to hit theaters on June 13th.

“Well, I’m wishful as well. It’s still early days,” DeBlois shared with ComicBook at the film’s red carpet premiere. “I think she is probably waiting for a script, but I’ve been knocking on that door. I wrote the character of Valka for her, so I told her it’ll always be hers to turn down first.”

If a new actor ends up taking on the role from Blanchett, Valka won’t be the only one taking on a slightly different look for the sequel, as the beloved dragon Toothless will also have to mature in their on-screen appearance.

“We knew we were going to go there. The idea is that Toothless is roughly Hiccup’s age in sragon years, so he is a juvenile, an adolescent, as well, aging into adulthood,” the filmmaker confirmed. “That is going to alter his design in subtle ways, but mostly it’s going to alter his mentality because he’s a very sentient dragon. He has his own opinions about everything, and he’ll also start to come into his own as a leader of his kind.”

The original How to Train Your Dragon has multiple iconic and beloved scenes, which presented DeBlois not only with exciting opportunities, but also some cinematic challenges. While the sequel is still only in the writing stage, he’s already preparing for the sequences that will require the most effort.

“Certainly in the second movie, tackling the whole idea of Toothless being weaponized and turned against Hiccup and Stoic intervening like that, that’s a pretty heavy moment. It was heavy for animation,” DeBlois admitted. “I think it’ll get even weightier in live action, so I look forward to that, too, because there’s something about the second movie. That, for most fans, is their favorite because it tackles tougher subject matter. It’s a little bit darker and more expansive, so I’m looking forward to it. I’m only writing right now, but I’ll get there. I’ll definitely get there.”

The live-action How to Train Your Dragon hits theaters on June 13th. The sequel is set for a June 11, 2027 release.

Are you looking forward to the sequel? Let us know in the comments!

The post How to Train Your Dragon Director Teases the Future of the Live-Action Franchise appeared first on ComicBook.com.

Talking to screenwriter/producer Jeremy Slater is like one big, beautiful geek session. During a Zoom call, it’s easy to see his room littered with artwork and life-sized Star Wars statues such as R2-D2, but it’s his impressive resume that further speaks volumes. A comic book afficionado, Slater penned 2015’s Fantastic Four film and created the Moon Knight TV series. He also wrote and executive produced Netflix’s The Umbrella Academy. Slater has dipped into the horror genre with The Lazarus Effect movie and The Exorcist TV series. And he was initially attached to Coyote vs. Acme. As if all that wasn’t enough, Slater channelled his inner gamer for this fall’s Mortal Kombat II feature film.

While the filmmaker already has enough credits in his career to cement his legacy among genre fans, it sounds like the filmmaker is only just getting started.

ComicBook caught up with Slater to discuss the original blueprints for Coyote vs. Acme, his take on the Fantastic Four and where it derailed, cranking up the action for Mortal Kombat II, and Moon Knight’s second season.

ComicBook: Once upon a time, you were attached to Coyote vs. Acme. At what point in development did you come on board?

Jeremy Slater: I did the very first draft. Basically, what happened is James Gunn had the idea to take Ian Frazier’s one-page, short story from The New Yorker. James had pitched that to Warner Bros. and said, “Hey, you should actually turn this article into a movie. There is a story here.” I was friends with James, so he brought me on board to write the first draft. I had a blast doing it. I grew up on the Looney Tunes. Getting to write your own sequence … There’s a little bit of cartoon-stuff that in the movie that is classic Coyote chasing the Road Runner. Some of that is my only contribution that survived to the actual movie, but getting the chance to sit down and write your own Road Runner/Coyote cartoon and gags was surreal. It was so incredibly fun. I had a great time writing the script.

Then, we handed it in and it just wasn’t what they were looking for at that time. They didn’t respond to the script, which happens all the time and you go on with your life. Eight years later, they were like, “Guess what? They are making Coyote vs. Acme.” I was like, “Jeez, that thing is still alive?” “Yeah, it’s gone through a half-a-dozen different writers.” The final draft doesn’t have a lot of stuff from my draft, but they did a good job of capturing the spirit, emotion, and central relationships that were important to us right from the beginning. Those were all preserved in the new draft. I haven’t seen the actual movie itself. I had a chance to see it, but I had a conflict of interest. I thought, “I’ll probably just see it next week when it comes out,” and as you know, it never came out. I’m very excited to see the final product like everyone. I did get to read the shooting script and I thought Samy Burch did a terrific job rewriting it.

When James Gunn approached you about this concept, did it make sense to you? What is so compelling about Wile E. Coyote as the central figure in this narrative?

We bounced a lot of different versions around. We had a lot of conversations. I want to be careful to not take credit for something that wasn’t mine because this was 10 years ago. One thing, whether it was originated by James or whether it came out of my discussions with them, was there is a version of this story that is just a live-action cartoon. It treats everything as a gag. There have probably been some Looney Tunes movies in the past that have fallen in that category, that are much more gag focused. What we both creatively responded to was the idea of, “Let’s have the fun stuff. Let’s make this a movie for Looney Tunes fans, with all the comedy and the visual-sight gags that are expected. But, can we also add some heart to this? Can we actually make you care about the Coyote and fall in love with him, instead of just making him the butt of the jokes, which he always sort of is.”

He is a loveable loser in all the original cartoons, but both James and I are both big dog people. We are obsessed with our dogs. Especially in our first drafts, there was a lot of our story beats that came from that idea. You are telling a Looney Tunes story, but it’s still a story about the Coyote wanting to eat the Road Runner. But, at the same time, it really is a story about a man getting a dog for the first time and how it changes your life and how unexpected bonds form and you can fall in love of these scraggly little creatures. That was what was most exciting to me and to James, as well. I think they did a great job at preserving that level of heart.

Coyote doesn’t speak in the cartoons. Did he find his voice in your iteration?

In my draft, he didn’t speak at all. We treated him like a real coyote, who just happened to be smart enough to order and assemble gadgets, but we never had him break the fourth wall and speaking to anybody. We wanted him to feel like your dog back home. We wanted people to recognize their own pets in that character. As soon as he starts giving speeches or speaking in a British accent, that goes right out the window.

Coyote and Road Runner are front and center, but the Looney Tunes pantheon is full of colorful, iconic characters. Are there any other ones that you geeked out over writing for?

There are a lot of fun cameos in the final movie. I don’t want to spoil any of them. This was 10 years ago and there were other Looney Tunes projects back then that never wound up happening. And there were other projects that later happened that weren’t even in the conceptual phase back then. So, there was a little bit of, “You can have this character and this character. These ones are kind of off limits.” But we got to work the Tasmanian Devil into my script and use him as an antagonist, where he is just this terrifying force and once he gets unleashed, everyone is running for the hills.

It was a way to use Taz, who I love so much, as a fun new version, where he is a little bit like a honey badger. He is just this pure ball of aggression. I don’t know how much of that is in the final thing, but he was the one gimme where I was like, “I’m okay not having Bugs. I’m okay not having Daffy. Please let me play with Taz a little bit. We need a monster for this sequence of the movie.” And if you can have the Tasmanian Devil be that monster, why wouldn’t you?

This year marks the 10th anniversary of your 2015 Fantastic Four film. What do you love about that team?

Ben Grimm is in my top-five comic book characters. I am obsessed with The Thing. He was one of my favorites since I was a child. What I love about the Fantastic Four is they are so malleable. Every Daredevil story is kind of the same, to some degree. Every Superman story. Every Green Arrow story. Every Spider-Man story. Spider-Man is always acting like Spider-Man. He’s swinging around and fighting his colorful villains. If you look at the difference between Mark Waid and Matt Fraction’s run on Fantastic Four vs. Jonathan Hickman’s run on Fantastic Four. Ryan North, right now, his relaunch of Fantastic Four is brilliant. It’s some of the best comic book writing done, period, regardless of whether it is in the superhero genre.

But all three of them are radically different takes on how funny the characters are, how cool they are. Are they adventurers? Are they scientists? Are they cosmic explorers? Are they freaks? Are they family? They really are this blank canvas. You see it in comics and you see it in film. You see how different every iteration of this team has been. But because there is so much history there, and because the books are so creative and the characters are so much fun, I feel the characters are so much more flexible. You can take creative swings or reimagine them in a way that is much easier than reimagining Spider-Man.

Which comic book runs or issues inspired you when tackling the script?

At the time, I believe this was pre-Hickman, Mark Waid and John Byrne were my two big goal posts. Mark Waid, in particular, his second collection where Doom becomes a sorcerer, is f-cking great. That was a book I remember giving to director Josh Trank, who was not a comic book reader. “You are going to love this story because it is tinged with horror. It is emotional based. The artwork from Mike Wieringo.” It was just a perfect comic book. That was one of those early ones that I remember loaning him, my copy of that graphic novel and being like, “This is what Fantastic Four can be. It’s flexible enough that we can dabble in the worlds of horror. We can dabble in hard science fiction.” If I really have to tip my hat in terms of what became most influential, my guess would be that Mark Waid run.

Fans criticized the campiness of the first few Fantastic Four movies. What was your vision for the tone, the look, and the team itself?

Honestly, my biggest tonal reference was The Avengers. It had just come out, either that same summer or the summer before. I f-cking loved it. I thought Joss Whedon did the impossible with that movie and balanced all these tones. I still remember, in the theater, the first time Thor spun his hammer and used it to launch into the sky. It’s just a background gag and I made this uncontrollable squeak. It was just something from my childhood that I never thought I would see in live action.

I was like, “Look — audiences love this movie. The box-office numbers don’t lie.” I thought we could really do something similar in terms of real scale and some giant, fun set pieces. But, let’s also not forget the secret sauce of that movie, which is the relationships. It’s Natasha and calming down Bruce. And it’s Clint joining the team. It’s Cap and Tony butting heads. That’s the reason that movie works, is because you like the characters and them bouncing off each other. That was always the North Star. “Man, if we could do what Marvel is doing right now, this is clearly what audiences want to see in a comic book movie.”

Ultimately, that was fundamentally the disconnect. Josh and I probably just saw different movies. I was more of an Avengers guy and, I don’t want to put words in his mouth, but he was more of a Batman Begins, like ultra-grounded, dark and gritty guy. The comic book nature of something like The Avengers, that I had been absorbing and loving my entire life, he didn’t have those same touch points, so that movie wasn’t landing for him the way it landed for me. The other thing is Avengers was a very expensive movie. Our budget was constantly shrinking as the project kept going. It’s easy to say, “Yeah, let’s go do Avengers,” but it’s hard to actually do it. I think the script I was writing, and the movie I was seeing in my head, was much closer to that Phase 1 of what Avengers was doing at the time than it was anything else.

The trailer for the new Fantastic Four has been released. What were your thoughts on it and the direction it seems to be going in?

I’m excited. I like the fact that they are taking a big creative swing. They are telling a multiverse story, with a different world and a different set of heroes. It looks like they are bringing them in collision with our Marvel Cinematic Universe. I think that is a smart angle. I think they are getting Galactus right. I wanted to make him our big bad and there was some internal push back. First, he was our big bad. Then, he was just going to appear in one scene. Then, he was only appearing in the post-credits scene. Coming off the Galactus cloud from [2007’s Fantastic Four:] Rise of the Silver Surfer, which I was one of those fanboys probably bitching on Ain’t It Cool News back then about how he was a f-cking cloud, I was excited to bring back a classic Galactus and have that Jack Kirby design. It looked like they’ve accomplished that, so I can’t wait to see him in real life.

Next on your plate is Mortal Kombat II, which hits theaters this fall. What’s your history with the video game?

I’m a huge gamer and Mortal Kombat was one of those games where I had to beg my parents to buy me a Genesis. In the Genesis version, there is actual blood. And in the Super Nintendo version, when you punch people, white sweat flew off of them. I was like, “You have to have the blood.” I pumped so many damn quarters into that machine.

It was genuinely surreal. I wasn’t there for the filming, but I managed to go down to Australia last year. They did a couple of days of reshoots and, luckily, almost the whole cast was there in costume. Look through my phone and there’s pictures of me next to Raiden, Kitana, and Baraka. You always say, “If I could go back in time to that 13-year-old me, who is standing in that Pizza Hut with his roll of quarters, waiting to put his quarter down for the next game and be like, ‘Someday you are going to be taking pictures with the real-life versions of these characters and be a small part in bringing them to life…,’”

It’s a tremendous honor and incredibly cool. It was one of those days where you are just pinching yourself. “Wow, I just had a full conversation with Liu Kang, in his warrior robes.” Then, you watch him walk out and beat the ever-loving sh-t out of someone with the craziest moves you have ever seen.

I am so excited for people to see the movie. It’s been done for a while. We’ve been waiting for the right release date and waiting for the right window. I have been to those test screenings, which are full of Mortal Kombat fans, and watching them react to it the way I reacted to Avengers: Endgame. They were cheering and jumping out of their seats. Every joke is landing and they are loving it. It’s one of the greatest moments of my life. That’s why you get into this business.

What did you want to pull from the game for this sequel, but also bring to the narrative that was fresh?

The nice thing about a franchise like Mortal Kombat is you go into the arcade, put in your quarter, you choose a different character each time and you have a different adventure each time. In a lot of ways, Mortal Kombat lends itself to having new protagonists and new stories, in a way other franchises don’t. We came in with certain guide posts that were already in place.

The previous movie promised there was a tournament coming and that Johnny Cage was going to be part of the story, somehow. Those were the two things we knew we had to work with and around. I was adamant that we had to have this tournament in the movie. We can’t make people wait another movie and then be like, “Come back for the finale.” It was finding a structure to make the tournament as satisfying as you want it to be because this had years of build-up. It’s figuring out who the individual matches are going to be, which characters do you pair off for maximum emotional impact, but also for the most dynamic fights. Then, also, what is the larger story you are telling between the tournament.

A lot of kung-fu movies and martial-arts tournament movies, a lot of it is sitting around waiting. Then, there’s a big fight scene and then you go back to sitting around waiting. It’s killing time between stages and I was very cognizant of that, that we need to be telling a story on the margins where there is just as much exciting stuff happening outside of the tournament as inside of the tournament, so you are never bored and both of these stories are moving the movie forward.

Then, which are the characters that were serviced in the last movie and got a lot of screen time and probably had a completed arc and don’t need quite as much versus the characters coming in? It’s a cast of 20 people. It’s very easy for these things to become three-to-four-hour, sprawling epics, so you always have to be judicious in cutting things down and what’s the emotional story we are telling and what is the story the audience cares about. Then, making sure when you get to those moments that matter — the fights, the fatalities, the surprises, the deaths — that they land and they are as satisfying as everyone wants them to be. I think we nailed it. They had the best stunt team in the business working on this thing. The actors are phenomenal. It’s so much funnier and bigger than the first movie.

A big draw to Mortal Kombat are the fight sequences. When scripting those, do you map everything out or do you leave it up to the choreographers?

That’s a great question. The way I write fight scenes is if you sat down and tried to transcribe an actual martial-arts fight, it would be a page of, “He punches. She blocks. She kicks. He blocks.” Your eyes would glaze over. What we tried to do on the page is sell the emotional story and then sell the big beats.

I know in my head, “Here’s the big gags. Here’s the gore gags. Here’s the part where the audience thinks it is going to go this way and we are going to flip it on its head.” You track it out there and you come up with your own gags. Some of those gags that I came up with made it into the movie. Some of them are the process of them handing the two-pages of script off to the stunt team, and the stunt team start imagining. They start coming up with new ways of, “Oh, wouldn’t it be cool if this guy used his powers here. Maybe he bounces off this guy.” They wear their homemade costumes and they go into the warehouse full of boxes. They start building these fight scenes of them mining, “Here is what it could look like.”

I was lucky enough to watch the progression of those scenes and see how director Simon McQuoid would take these building blocks they were giving and see how they would refine them. “These parts are awesome. We are keeping this. We need a little bit more here.” Each time the stunt guys would just come back with something bigger and crazier. The stuff that was on the page I was proud of, but the stuff that is in the finished movie is so much better, and so much better and more epic than what I came up with.

Actor Lewis Tan, who portrays Cole Young, excels at martial artist and there are other cast members that are well-versed in that department. Do you take that into consideration when writing scenes?

I didn’t have to do much. So much of the groundwork was laid by Simon and the casting that was done on the first movie. Guys like Lewis, Ludi Lin, who plays Liu Kang and Max Huang, who plays Kung Lao, they are actually world-class martial artists. They are the best of the best and they can also act. And they are really nice guys and embody their characters. It freed me up in the sense that I didn’t have to go, “Oh, this guy can fight, but he can’t act. This guy can act, but he can’t fight.” It was a group that could do everything. That’s really freeing as a writer because it lets you write the best story for those characters and for those moments. You just trust that a guy like Lewis is talented enough to pull off whatever you need him to do … and he always was. That guy is awesome.

Circling back to superheroes, any update on a second season for the Moon Knight TV series?

Oh, God, I have no idea. If we do, I probably would not be involved. I am trying to launch my directing career. I am hoping to shoot in August. We are out to an Oscar-winning actor right now and waiting on his response, so it’s very exciting. TV takes you off the board for two or three years. If there is another Moon Knight, the ball is in Kevin Feige and Oscar Isaac’s court. I don’t know the details of their contract. Once Kevin figures out the best way to use that character, what is the right story and who are the right storytellers to bring that to life, I would be shocked if we didn’t see him again at some point. But, that’s me speculating as a fan. I have no inside knowledge. I haven’t talked to anyone at marvel in a couple of years.

Was there anything you didn’t get to do with the character?

The finished show is very different than the initial show I wrote. There was quite a bit that me and my team of writers envisioned and tried to bring to life. Ultimately, they went in a different direction and the director put together his own team of writers. They made the show they wanted to make and I was long gone from the project at that point. So, yeah, there was definitely stories I wanted to tell, but that’s the nature of collaborating on these big things.

You know when you are coming in to play in such a big sandbox that you are not going to be the driving, creative vision. You are borrowing someone else’s toys to play with for a short amount of time and, at the end of the day, they don’t belong to you. You know that going in, so it wasn’t a surprise at all, but I think my version of Moon Knight would have certainly been different, but I don’t know if it would have been better or worse. I don’t know if the fans would have liked it more or less. It’s one of those hypotheticals that is never going to exist.

Can you name a specific story that you wanted to tell?

This wasn’t something that came about because of the turnover, this was something we just couldn’t figure out in the room, but we really tried to make Bushman work as the principal antagonist for the first couple of drafts. The goal was if Marc Spector was the Avatar of Khonshu, we were going to take Bushman and make him the avatar of a different Egyptian god and let them duke it out.

The problem we kept running into was Black Panther had just come out and Michael B. Jordan was so damn good as Killmonger in that movie, that he casts such a big shadow. Because Bushman doesn’t have superpowers, his skill is he is a very good mercenary. He is a great fighter. He is lethal with any sort of weapon and he has this tactile-military training. He is incredibly smart, but all of that also describes Erik Killmonger. That was sort of the problem is that we were trying to make a movie about a big purple alien after Thanos debuted. Killmonger casts such a large shadow that everything we wrote wound up feeling a little derivative. “This is fun, but it reminds us of how much fun that other guy was.” But we had a cool storyline where the two of them were going to go to war beneath a pyramid in a bunch of old booby-trapped burial chambers, and a series of them trying to murder each other in the dark. I always thought that would be a dynamite episode. I think you could probably get away with Bushman now, but at the time, it was so close to that performance that we just couldn’t get out from under his shadow. That’s why we ultimately pivoted towards a different villain.

The MCU keeps expanding by introducing new characters and teams. Is there anybody you would really like to get your hands on?

How much time do you have? I think my days at Marvel are sadly over. Once you quit one of their projects, I don’t think they bring you back for others. The one I always wanted was Excalibur. Excalibur came out right around the time I was comic book collecting and that was my number one read. My military base always had issues of Excalibur, Spider-Man, and Fantastic Four. Then it had the Claremont Uncanny reprints. X-Men Classic, I think it was called.

Those were my only comics growing up and Excalibur was the weirdest and the most creative. It’s such an insane book. Nightcrawler and Kitty Pryde are my two favorite X-Men, so the idea of doing something with the two of them and setting it against this multi-versal backdrop of the Warwolves … and they had a great villains roster. They were creative and unafraid to be weird. And the soap-opera dynamics of the characters were really fun and really juicy.

I felt like Excalibur wouldn’t work as a movie, but as an ongoing TV show, it could have been something so special. That’s always the one that got away for me.

Mortal Kombat II is set to hit theaters on October 24th.

The post Filmmaker Jeremy Slater Talks Moon Knight, Mortal Kombat II, and More appeared first on ComicBook.com.

When one hears that writer/director Mike Flanagan (Doctor Sleep, The Fall of the House of Usher) is adapting a Stephen King short story, they probably assume he would be tackling one of the prolific author’s horror tales. However, his upcoming film, The Life of Chuck, is a fantastical, life-affirming, extraordinary story about an ordinary man, Chuck Krantz (Tom Hiddleston). Flanagan is a master at infusing genuine, heart-wrenching emotion into even the scariest series, so it’s no surprise that The Life of Chuck received rave reviews and won the People’s Choice Award at last year’s Toronto International Film Festival.

When speaking with ComicBook, Flanagan revealed that wanting to make a movie for his children served as a major influence on his process of crafting The Life of Chuck.

“It kind of informed why I wanted to make it to begin with. I had first read the story in April 2020, so it was right as as the Covid shutdown had hit, and having to kind of explain to my kids what was happening in the world, and trying to kind of hide from them the degree to which I felt anxiety and dread and keep them optimistic and keep them hopeful. I didn’t know how to do that.” Then Flanagan revealed, “The story that Stephen King wrote did that for me.”

RELATED: The Life of Chuck Director Says Stephen King Was Very Involved in the Movie Adaptation

Flanagan Credits Lack of Studio Input for The Life of Chuck‘s Personal Touch

With The Life of Chuck’s star-studded cast, Hiddleston, Chiwetel Ejifor (12 Years a Slave), Karen Gillian (Avengers: Endgame), and Mark Hamill (Star Wars: A New Hope), and its A-list creative team, the film has all the trappings of a studio’s award season darling. However, The Life of Chuck was made independently, which Flanagan claims is why he could keep the idea of making the movie for his children so close to him throughout the process.

“I was so moved by [the story]. It immediately struck me as, I want there to be a movie that can do this for my kids the way I felt when I read it,” Flanagan confirmed. “So, they were always kind of the engine for it, and it informed every, every creative choice. My audience was them, for the longest time. And we didn’t have a studio kind of involved to point me any other way. So it got to stay pure that way.”

The film’s purity has served it well thus far. Pre-release, The Life of Chuck already has an 88% positive score from critics on Rotten Tomatoes, with many of them praising Flanagan’s earnest and sincere storytelling. The ability to make such a strong film in such a different genre than what he’s celebrated further cements Flanagan as one of the strongest filmmakers working today.

Horror fans needn’t fret, however. Flanagan will reteam with King back in the horror space next on Amazon’s Carrie remake series. He also promised that The Dark Tower series is still coming along. Flanagan told ComicBook he’s been “moving it forward“, however the scope of the project demands a slow, steady pace of execution.

The Life of Chuck opens in select theaters on June 6th, then everywhere on June 13th.

The post The Life of Chuck Director Mike Flanagan Reveals Surprising Influence on His New Stephen King Movie appeared first on ComicBook.com.

Star Wars fans are looking forward to seeing Rey (Daisy Ridley) continue her journey in the upcoming movie New Jedi Order, but Ridley’s sequel trilogy co-star Mark Hamill was unaware such a project was in development. In an interview with ComicBook promoting his new movie The Life of Chuck (out in select theaters June 6th and nationwide June 13th), Hamill was asked if he would be up to appear as Luke Skywalker’s Force ghost in New Jedi Order. Before explaining why he believes it’s better if he doesn’t return to the Star Wars franchise, Hamill seemed surprised to learn New Jedi Order is on the way.

“In what?” Hamill inquired when asked about his potential role in “the Rey movie.” When told that it’s one of the future Star Wars films that’s been officially announced, Hamill responded, “Oh, I don’t know about that.”

Along with James Mangold’s Dawn of the Jedi and Dave Filoni’s New Republic movie, New Jedi Order was one of the Star Wars films revealed during a panel at Star Wars Celebration Europe 2023. While director Sharmeen Obaid-Chinoy has been attached from the start, New Jedi Order has cycled through several writers over the past couple of years. The Bourne Ultimatum scribe George Nolfi is the latest to take a stab at it, drawing from George Lucas’ political influences.

[RELATED – Daisy Ridley Provides Star Wars Update (and Promises the Story is Good)]

Though New Jedi Order does not have a release date as of this writing, it remains in active development. It was one of the many films Lucasfilm highlighted when outlining its future movie slate during a presentation at Star Wars Celebration Japan in April. The next two Star Wars movies due out are The Mandalorian & Grogu in 2026 and Star Wars: Starfighter in 2027.

It shouldn’t come as a surprise Hamill was seemingly in the dark about New Jedi Order; he isn’t involved with the film behind the scenes, and outside of Ridley, there haven’t been any casting announcements. Even if Hamill was game to come back as Luke’s Force ghost, actors are typically among the last to know about certain projects that are in development. That Hamill was unaware of New Jedi Order indicates that Lucasfilm hasn’t reached out to him about a possible return. If a role for Luke was on the table, the studio might have contacted the actor to gauge his interest about reprising the part before doing too much work on the script. It would present problems if there was a finished screenplay and Hamill turned down an offer.

Things could change down the line, but seeing that Hamill is ready to move on from Star Wars, the odds are Luke won’t appear on screen whenever New Jedi Order opens. Ridley has spoken about how one of the challenges for her will be acting alongside a new supporting cast, implying Rey might be one of the only (the only?) familiar face audiences see in the film. Because of their history together, Rey and Luke will forever be linked, but it’s time for Rey to embark on a journey on her own. This time, she’s the mentor figure looking to guide others. While it’s true it’s never too late to teach an old Jedi a new lesson (see: Yoda’s scene with Luke in Star Wars: The Last Jedi), Rey can still call upon Luke’s teachings without actually interacting with his Force ghost.

The post No One Told Mark Hamill Star Wars 10 Was Happening appeared first on ComicBook.com.

Mike Flanagan sheds some light on his Clayface script and confirms he was inspired by the character’s portrayal on Batman: The Animated Series. In an interview with ComicBook to promote his new film The Life of Chuck (out in select theaters June 6th and nationwide June 13th), the filmmaker discussed his work on the upcoming DC Universe movie, which drew from the two-part episode “Feat of Clay.” While Flanagan is passionate about Clayface and Batman: The Animated Series, he pointed out that the screenplay is going through some revisions. He hopes the foundation he established is still intact when the film hits theaters.

“Of course it was. I mean that is the perfect [story],” Flanagan said when asked about his Batman: The Animated Series inspirations. “‘Feat of Clay,’ Ron Perlman, to me, that’s it. That two-parter knocked me out. The short answer is that is absolutely what inspired my script. That is the world I wanted to live in. Batman: The Animated Series when I was growing up was my Batman. As much as [Michael] Keaton was my Batman, The Animated Series really was my Batman.”

Flanagan then shared his thoughts on Clayface‘s development. “I don’t know what they’re doing with Clayface. I’m not directing it, and that filmmaker will need to make it their own,” he said. “I know that they’re doing work on the script. I’m off doing other things now, I really hope it remains true to the spirit of what I wanted it to be. But it’s not my movie, so I’ll be in the audience with you, anxious to see how it comes out.”

[RELATED – Clayface Has Been Around for 85 Years and I Think This is Still His Best Story]

The fourth and fifth episodes of Batman: The Animated Series Season 1, “Feat of Clay” is a two-part story that details the origin of Clayface. His real name is Matt Hagen, a famous actor who was horribly injured in a car crash. Businessman Ronald Daggett offers Matt the experimental substance Renuyu, which allows Matt to physically transform into anyone he desires. Matt develops an addiction to the Renuyu and is forced to become a pawn for Daggett so he can keep getting his fix.

Clayface is planned as the third feature film in the DC Universe franchise, securing a September 2026 release date. The Woman in Black helmsman James Watkins signed on as director back in February. As Flanagan alluded to in our interview, the Clayface script is currently being reworked by Hossein Amini, whose previous credits include The Wings of the Dove, Drive, and Obi-Wan Kenobi. No casting announcements have been made, but the plan is for Clayface to start shooting later this year.

Previous reports detailing the Clayface movie story had parallels to “Feat of Clay,” as the film has been said to follow a B-movie actor who takes the substance that turns him into Clayface in order to stay relevant. Flanagan’s comments shed additional light on what he had in mind. His Clayface script probably wasn’t a direct live-action adaptation of the Batman: The Animated Series episode, but “Feat of Clay” gave him a strong foundation to draw upon. Perhaps Flanagan’s version of Clayface had a role for Daggett (or a similar character), someone who takes advantage of the situation to manipulate Clayface into a tool for their doing.

Batman: The Animated Series is widely hailed as arguably the best Batman adaptation, so hopefully Amini doesn’t completely discard those influences. There’s potential for Clayface to be a unique comic book adaptation, thrilling audiences with an R-rated story that leans heavily into body horror elements. In a lot of ways, it sounds like it could be DC’s take on The Substance, which earned a considerable amount of praise for its exploration of similar topics. Flanagan has proven himself as one of his generation’s best horror filmmakers, and while he isn’t directing Clayface, ideally his voice will still be present in the screenplay. Clayface could be an emotional, tragic story about a man who becomes a monster.

The post Clayface Movie Inspired By a Fan-Favorite Batman Animated Series Story appeared first on ComicBook.com.

Rey’s (Daisy Ridley) journey in the Star Wars galaxy is set to continue with the upcoming movie New Jedi Order, but fans shouldn’t expect to see her mentor Luke Skywalker (Mark Hamill) make an appearance. In an interview with ComicBook to promote his new movie The Life of Chuck (which opens in select theaters June 6th and nationwide June 13th), Hamill was asked if he would return as Luke’s Force ghost in New Jedi Order. Though the actor is forever grateful he played such a meaningful role in the Star Wars franchise, he believes it is time for Lucasfilm to move past the legacy characters and focus entirely on the younger generation.

“I am so grateful to George [Lucas] for letting me be a part of that back in the day, the humble days when George called Star Wars ‘the most expensive low-budget movie ever made,'” Hamill said. “We never expected it to become a permanent franchise and a part of pop culture like that. But my deal is, I had my time. I’m appreciative of that, but I really think they should focus on the future and all the new characters.”

Hamill then made a joke about another reason why he wouldn’t return to Star Wars. “And by the way, when I disappeared in [The Last Jedi], I left my robes behind. And there’s no way I’m gonna appear as a naked Force ghost.”

[RELATED – John Boyega Has the Perfect Response to Rey’s New Star Wars Movie]

After starring in the original Star Wars films, Hamill reprised Luke in all three installments of the sequel trilogy. His biggest role in those movies came in The Last Jedi, where a jaded, more cynical Luke teaches Rey in the ways of the Force. Hamill did make an appearance as a (fully clothed) Luke Force ghost in The Rise of Skywalker, coming to Rey at a time of need and encouraging her to fight against Emperor Palpatine.

Set to be directed by Sharmeen Obaid-Chinoy, New Jedi Order picks up roughly 15 years after The Rise of Skywalker, following Rey as she ushers in a new era for the Jedi. While the film has encountered numerous hurdles since it was first announced, it remains in active development. During a panel at Star Wars Celebration Japan in April, New Jedi Order was one of the many Star Wars movies mentioned when Lucasfilm outlined its plans for the future.

Hamill wouldn’t need to have a ton of screen time in New Jedi Order; Force ghosts typically show up for a scene or two to dispel wisdom at a crucial point in the plot. However, it’s easy to see where the actor is coming from. After all these years and portraying the character at various points in his life, Hamill feels there isn’t much left for him to do in future Star Wars movies, so it’s better to just not bring Luke back at all. And New Jedi Order might be better served if it didn’t feature any legacy characters. To varying degrees of success, the sequel trilogy juggled continuing the storylines of original trilogy heroes while introducing fresh faces. New Jedi Order should be Rey’s movie through and through. This isn’t to say a Luke Force ghost cameo would be distracting, but it would be nice to see Rey be the focus of a story where she doesn’t have to share any of the spotlight with icons from the past.

Rey will almost certainly keep Luke’s teachings in mind as she starts her Jedi Order, so the Skywalker legacy will still be felt throughout the film — even though Luke won’t appear on screen. While it would be fun to see Hamill back as his classic character, New Jedi Order is a golden opportunity for Lucasfilm to bring even more new figures to the forefront as their story begins. Luke is undoubtedly a highly important part of Star Wars, but his story has ended. If Star Wars is to thrive in the future, there has to be a willingness for filmmakers to move on. It’s a big galaxy, and there’s no shortage of tales to tell.

The post Mark Hamill Reveals Why He Won’t Return for Star Wars 10 (& Fans Might Agree) appeared first on ComicBook.com.

It turns out that even the folks who make Pixar movies can’t resist the tear-jerking moments the studio’s famous for. ComicBook’s Chris Killian spoke with the creative team behind Disney/Pixar’s latest film, Elio, about their inspiration and influences bringing the story of a young space fanatic on a cosmic misadventure to life. ComicBook also asked Team Elio which movie from Pixar’s catalogue wrecked them emotionally, whether they worked on it or not. Out of the twenty-eight films from the iconic animation studio, one was the obvious winner. While there are plenty of heartfelt Pixar films to choose from, Coco was the answer that most members of the Elio team gave as the movie that wrung the most tears out of them.

Elio director Madeline Sharafian said, “You know what’s funny is that I worked on Coco, and I would see every screening of it as I was storyboarding on it, and I cried every time. It didn’t matter how many times I’d seen it and how much I knew it was coming.”

Coco Was the Most Popular Answer Among Pixar Employees

Elio production designer Harley Jessup also worked on Coco, but says the movie still gets to him. “The end of Coco, I worked on it, and, you know, [when I’m] giving presentations about it, I learned do not play the last sequence, because I’ll just be all choked up and crying.”

RELATED: Coco 2 Confirmed by Disney & Pixar (But Fans Will Have to Wait)

Jessup confessed, “There’s something so cool, beautiful, touching about the ancestors all being together.” Given that an animated movie takes several years to complete and how closely Sharafian and Jessup’s roles had them working on the project, that’s high praise for Coco‘s ability to emotionally resonate with not just its audience, but with its creators.

Up and Inside Out Also Hit Pixar’s Filmmakers Hard

Unsurprisingly, Up, specifically the opening sequence set to composer Michael Giacchino’s moving piece “Married Life,” was also mentioned more than once. Elio producer Mary Alice Drumm and lighting art director Ernesto Nemesio cited the montage from Up as particularly heart-wrenching.

Domee Shi, one of Elio‘s three directors, had a specific scene from Inside Out that still gets her every time, even though they worked on it as a story artist. “It’s not the Bing Bong scene,” Shi said. “It’s the scene after where [Riley’s] crying in front of her parents. That always gets me, because it feels very real. Her voice is so soft and vulnerable, and it just feels like a very real, well-observed moment between a kid and a parent.”

Coco, Inside Out, and Up are only three films from Pixar’s pantheon of enduring animated movies. The fact that older films like Toy Story or Finding Nemo didn’t come up demonstrates Pixar’s commitment to storytelling excellence and ensuring each new release tugs on our collective heartstrings.

But will Elio do the same? The story follows a young boy obsessed with space and with an active imagination. When Elio finds himself on a cosmic adventure, he must form new bonds with alien lifeforms, navigate a crisis of intergalactic proportions, and somehow discover who he is meant to be. Production designer Jessup believes Pixar’s latest offering will have “a strong emotional effect.”

Elio hits theaters on June 20th.

The post These Are the Pixar Movies That Emotionally Wrecked People Who Work at Pixar appeared first on ComicBook.com.

Benicio del Toro’s take on the Collector quickly became a Marvel Cinematic Universe fan favorite, but the actor hasn’t been invited back to the franchise since the Infinity Saga ended. In an interview with ComicBook to promote his new movie The Phoenician Scheme (out in select theaters May 30th and nationwide June 6th), del Toro addressed his possible future in the MCU. When asked about reprising his role in the upcoming Avengers: Doomsday, del Toro cast doubt that such a development is in the cards. However, he would be open to the opportunity if one ever presented itself.

“I don’t know. I mean, it’s like, you gotta get invited to play in that international tournament, and I’d love to play in it, but fingers crossed that’ll happen soon,” del Toro said. “I haven’t been invited yet for a second round.”

Del Toro made his MCU debut back in 2013’s Thor: The Dark World, appearing in a mid-credits scene where Volstagg and Sif give the Collector the Aether in an effort to keep it separated from other Infinity Stones. The Collector returned in Guardians of the Galaxy and most recently was seen in Avengers: Infinity War, when Thanos travelled to Knowhere to retrieve the Reality Stone. Del Toro also voiced the Collector on an episode of What If…?.

[RELATED – The Fantastic Four: First Steps Is More Important for the MCU Than You Realize]

Avengers: Doomsday is currently in production. In late March, Marvel Studios put together a record-breaking livestream event to announce 27 actors who are in the film. Shortly after, Kevin Feige confirmed there are additional Doomsday casting announcements that will be made at a later date. No actors who are primarily associated with the Guardians of the Galaxy franchise were confirmed as part of the Doomsday ensemble.

As fun as it would be to see del Toro back as the Collector, it’s hard to find a natural place for the character in the Multiverse Saga. As mentioned in The Guardians of the Galaxy Holiday Special, he sold Knowhere to the Guardians, and his whereabouts are currently unknown. The Collector isn’t a superhero, so he isn’t going to get called into service to help in the fight against Doctor Doom. He was always more of a supporting player, and given his connection to the cosmic side of the MCU, the Collector likely wouldn’t appear again unless there was another Guardians of the Galaxy-related project. Though Star-Lord has a future in the franchise, it’s unknown if Marvel will ever move ahead with Guardians of the Galaxy 4, so audiences might have seen the last of the Collector.

That doesn’t mean del Toro can’t have a Marvel future himself. If Robert Downey Jr. can return years later to play Doctor Doom, anyone can play multiple characters in the MCU. An Oscar winner, there’s no shortage of roles del Toro would be a strong fit for, so if the right part emerges, Marvel would be smart to keep the actor in mind. Perhaps after Avengers: Secret Wars and the X-Men become the focus, del Toro will get another call.

The post Fan-Favorite Avengers Star Admits They Haven’t Yet Been Invited Back to the Franchise After Endgame appeared first on ComicBook.com.

Star Wars: Ahsoka star Rory McCann opens up about taking over the role of Baylan Skoll for the show’s second season. In an interview with ComicBook to promote his new film Tornado (which is out in theaters on May 30th), the actor shared his thoughts on replacing the late Ray Stevenson and continuing the character’s journey on Ahsoka Season 2. He also discussed his lightsaber training, crediting his experience portraying the Hound on Game of Thrones with helping him prepare for sword fighting in the galaxy far, far away. McCann is excited about joining the franchise.

“I think it’s the right decision to carry on his storyline, not just cut it off,” he said about playing Baylan Skoll. “We’ve done it before with other things. I hope the fans embrace it and I’ll do my best. I’m just starting now, so I’m just trying to be in the right zone for doing it. It’s pretty bloody exciting. I mean, I remember being a kid with my dad, going to the first one probably in the late ’70s and ’80s. Now I’m training with a lightsaber at night, so it’s pretty exciting.”

McCann then shifted gears to his lightsaber training. “Thrones has really helped with that. Same kind of moves, same blocking,” he said. “Doesn’t have the same sexy sound though. Oh, my God … Lightsabers are lighter, but having said that, the Thrones swords were stunt swords and you’ve got to pretend that they’re three times heavier than they are. But it’s all pretend, really. It’s all very exciting.”

[RELATED – Every Star Wars Rebels Character Confirmed for Ahsoka Season 2 (And Where You Last Saw Them)]

Stevenson portrayed Baylan on Ahsoka Season 1, which was released shortly after the actor’s passing. Many fans considered Baylan to be one of the show’s most compelling characters. Back in January, it was reported that McCann had been cast to take over the role, a development that was confirmed during Star Wars Celebration Japan in April.

While Ahsoka Season 2 does not have a release date yet, it is currently in production. Star Rosario Dawson has been teasing fans with behind-the-scenes glimpses that tease her physically demanding performance. Official details about what’s in store are being kept under wraps, though it has been confirmed that Hayden Christensen is once again reprising Anakin Skywalker.

Stevenson gave a memorable performance as Baylan, but McCann is correct in saying it’s the best decision to continue the character’s story. Ahsoka Season 1 left Baylan’s arc unresolved. He parted ways with his apprentice Shin Hati to follow his own path on Peridea, locating statues of the Mortis gods in the finale. That was clearly a tease for future storylines involving Baylan, and it would have been strange if the thread was dropped entirely. Recasting the role was the way to go, and McCann seems like an inspired choice to play the character. It’s clear he understands the magnitude of following Stevenson’s footsteps and will do everything in his power to deliver a captivating performance.

As fans wait to see what the Ahsoka Season 2 story will entail, McCann’s teases about his lightsaber training indicate Baylan should be involved in action sequences in some capacity. Characters such as Ahsoka, Sabine, and Shin are also on Peridea as Season 1 concludes, so there’s no shortage of potential duels Baylan could have (or perhaps he faces a different threat on his new quest). It’ll be fascinating to see how Baylan factors into the narrative and what role the Mortis gods play. Hopefully, McCann is able to put his stamp on the role and carve out his own legacy in the galaxy far, far away.

The post Star Wars: Ahsoka’s Rory McCann Breaks Silence on Taking Over Baylan Skoll appeared first on ComicBook.com.

Guy Busick enjoys getting his hands bloody — perhaps a little too much. The screenwriter chronicled Ghostface’s reign of terror in 2022’s Scream and then in Scream VI. He blew up a Satan-worshipping family to smithereens in Ready or Not. Plus, he locked a ragtag gang of kidnappers in a mansion with a vampire ballerina in Abigail. But Busick’s most bizarre and gory killing spree arguably transpires in Final Destination Bloodlines. A box office smash, the sixth installment of the franchise once again finds Death picking off victims who had previously avoided an untimely fate. This time around, however, it is a whole family’s bloodline at stake.

The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice — Final Destination Bloodlines. Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle — her grandmother, Iris — and save her family from the grisly demise that inevitably awaits them all.

ComicBook caught up with Busick to break down Death’s grand design, those gruesome kills, his wishlist for future chapters, Sidney’s role in Scream 7, Tara and Sam’s absence, as well as shattering the Ready or Not universe.

ComicBook: Before landing on this high-rise restaurant tower disaster in Final Destination Bloodlines, what were some other ideas that you bandied around? And in what ways did this one check off all the boxes for you?

Guy Busick: There was actually a scripted version that was a river boat. That was the original idea that Jon Watts had pitched. We went through the development process with the river boat and had some real fun kills. It was like a clandestine gambling den. It was the high-class gamblers and then the crew. Our character was a last-minute addition, working in the gambling parlor. A friend had dragged her along. It was a fun thing.

I believe it was when directors Adam [B. Stein] and Zach [Lipovsky] came onboard and we were rattle-testing everything. Their feeling was the opening disaster, in all these movies, is something that is a universal experience. We can all be afraid of a plane crash or a traffic pileup or a roller coaster and a bridge. Maybe not NASCAR, but even then, it’s a sporting event. They felt the river boat was something that maybe not so many people had experienced. There was the fear of water and the fear of drowning, which were relatable. But they really pushed to find something more universal in terms of human experience. We settled on heights and not just heights, but being trapped in a high place when something was going horribly, horribly wrong. Co-writer Lori Evans Taylor and myself, Zach and Adam and the whole team were all brainstorming. There were a few other ideas that I am sure came and went. But, when we found this, it clicked and we all latched onto it and decided this was the way to go, kind of a Space Needle-type restaurant, where something goes wrong and people can’t get down. Chaos ensues.

The restaurant boasts a glass floor. It could have simply broken and attendees consequently fall to their death. The movie version was more elaborate than that. How much trial and error, and mapping the beats out, did this sequence require?

It took a minute. I give all the credit in the world to Lori. She did a lot of the heavy lifting, so to speak, on this sequence. I think we talked a lot about it conceptually. She took the first run on the pages and I was blown away. I didn’t have to do much, which is nice when you are a writing team. When you look at something and you are like, “Oh, this is already great. I could just add a little bit of gravy here.” But I think we landed on the penny pretty early.

There is this little brat and that he would dig a penny out of the fountain, and the penny would cause all the problems. I know we had a piano pretty early and I know we had a fire component pretty early. The rest of it wasn’t trial and error, in so much as, “Let’s just keep raising the bar. Let’s keep adding another wrinkle. Let’s turn over another card.” I think some of it we were able to bring over from the river boat. I know that there was a woman that caught on fire and started an explosion. There were a lot of people being rushed by things. This is why it’s a dream project to write because these are the fun days of just sitting on a Zoom, or sitting in person, with Lori and I just going, “How do we kill people in a really fun and gross and creative way?” It was a long process, but the big pieces came very quickly.

Where did the idea come for starting in the past and targeting this family in the present day?

That was all Jon Watts. My first connection with this project, and Lori’s as well, was we were invited to participate in a roundtable where Jon and his producing partner Diane had pitched this idea of the family line. He was a fan of the franchise and came in and said, “I don’t think I can write or direct this. I have too many other commitments, but here’s an idea.”

New Line, of course, loved it because it’s brilliant. Then, Lori and myself and a few other horror writers were invited to read the treatment that Jon had given to New Line and pitch on it. “Here’s the structure of the thing or the big idea. Now what would you do with the movie?” A lot of it was just kill sequences and kill order and what the rules were this time and what the deal is with Tony Todd’s character. “Let’s finally get into that.” That was something Jon was always curious about and so was I. We had a really fun day of horror writers just pitching ideas. Then, she and I were contacted separately. “Hey, would you like to pitch on this to write it?”

Lori and I both had a bunch of other commitments at the time. But, like you, I am a huge fan of the franchise. I remember every time I saw each of these for the first time. The franchise was influential on me. We were like, “Oh man. We are both so busy, but it’s Final Destination and we don’t want to let it go.” We decided to team up and pitch together, so we could share the load. We had never written together. We had just been friends for a long time, probably about 20 years. We trusted each other, but when we came in, Jon had carved a path for us. All we were hired to do was flesh it out, figure out the rest of the beats in the movie and just go write it. But it was Jon’s brilliant idea to start in the past and then when we pull out of the eyeball this time, it’s decades later. “Hey, that’s a twist. We haven’t seen that before.” The challenge was how to make it make sense.

Did you have a reason for why Iris was the one with the premonition? Did you craft a backstory where she was also the descendent of a tragedy, as well? Was there an explanation why she specifically had it?

No, we didn’t overthink that. The premonition character in the previous five movies just sort of had it. I love that [Final Destination 5] was a prequel to [the original]. I feel like the more you explain that, the less fun and interesting it is. It’s Final Destination language that you have a character that has this ability to see five seconds into the future and realize that something terrible is going to happen.

Now, in a future instalment, I would love somebody to answer that. Where do the premonitions come from? We talked about that a lot, but it felt like, “No, let’s just go with it because we already have one big change,” which is the time jump. If you start taking on too much exposition, it can start to feel a little bit too loaded with rules and explanations. It’s basically like if Devon Sawa’s character in one was successful in trying to death proof that cabin. What if he had succeeded for decades? This is that movie.

Why was it important to delve into Tony Todd’s character Bludworth and tie him into the film’s mythology?

We just love that character and we love the actor so much. It is such a cool and mysterious character, who just pops up in most of these movies, has some wisdom, says some ominous stuff and fades into the background. But it’s Tony Todd. He has a wonderful presence and that voice … He’s such a wonderful actor. It was really special that we got to craft his origin story. Jon and Diane asked, “What’s the deal with this guy?”

There were a lot of conversations about whether he is a manifestation of Death. Is he a messenger for Death? What is his connection to these disasters? It just felt really nice and organic and simple to say, “When he was a little boy, he was involved in one of these and somebody saved his life.” That was a primal and emotional starting point for the character that felt right. From there, it was like, “Oh, we know Todd is not in the best of health and we think we can get him for this.” We took such great care in writing this because we knew it was probably the last time he would be reprising the Bludworth character. And that character is so important to fans and was so important to us, that we were like, “We have to get this right.” I get emotional just thinking about it, but seeing Todd in that scene and his final words that he improvised. “What would you like to say to the fans?”

He came up with that last bit. It’s so beautiful. I feel honored to have written for that character and to be a part of the contribution to figuring out where he came from.

You go into a Final Destination movie and believe there’s a by-the-book formula. There’s definitely twists and turns in this one. How essential was it to switch up the rules for Death, specifically if you kill somebody it can extend your life expectancy?

Well, in all of these movies, part of the juggling act is you have to figure out a clever way for the characters to figure out the order, so they can try to prevent it before the clock runs out, essentially. The other thing is what are the rules in terms of, “Is it something you can stop?” Final Destination 2 and 5 were our reference points. In 2, Kimberly is able to survive past the end of the movie. Her and the cop character make it to the end credits. That’s the only time that happens in the whole franchise.

Then in 5, they introduce through Tony Todd’s Bludworth the idea that if you were to take someone else’s life, you would get that time for yourself, but you don’t know how much it is. I’m a big fan of continuity. I’m a comic book nerd. With the Scream franchise, my co-writer, mentor, and friend James Vanderbilt and me approached that as fans. We were like, “All of that happened. Every one of these movies happened. And all these characters exist.” It’s okay to reference that. You don’t want to make it a burden for the viewer, like you have to have seen all the previous entries. You want it to be a full meal. But for the fan, like you and me and the comic book nerds, it’s nice to reference those things.

I always loved it when I was reading a comic and it’s like, “Remember in issue #241…” And I would be like, “Oh, I didn’t read that. Now I am going to go get it.” It’s just really cool and fun. So, we were like, “2 and 5 explain how you can stop it, so let’s use that.” When they finally make it to Bludworth and he says, “There is only one person that I know of that ever survived,” and it was the protagonist of Final Destination 2. But there’s also this other thing I sent these people off on, this errand in 5. So, giving the characters that information late in the game was fun because you have these two knuckleheads, Erik and Bobby, who are like, “Okay, Bobby is next. Let’s go rogue. And we are going to be heroes because we are going to stop this whole thing. We are going to save everybody else.” And it’s like, “Oh no, no. Death is already ahead of you. He’s been ahead of you this whole time.” They ask him. “Why wouldn’t everyone have done that?” He basically says, “Because it’s too risky. You never know what is going to happen.” That’s why Iris didn’t do it. That’s why JB isn’t going to do it. It’s too risky.”

It’s a guilty pleasure for viewers to watch Death dispatch his victims in creative and gory fashion. Besides the opening sequence, what demise stands out for you in Bloodlines?

It’s hard to choose. I would have to go to the MRI machine. It’s another universal thing. We’ve all had some experience, whether it’s personal or someone who has done it. We all know it’s a big magnet and these things happen in real life. When Lori and I were looking into it, there have been horrible accidents and tragedies that have happened around these machines. And I just find it so fun to rope Erik back in. Even though he’s not part of the bloodline, it was his hubris of, “Oh, I can outsmart Death,” that roped him into the whole thing.

And then poor Bobby with the peanut allergy. That was something I pitched in the first roundtable. “What if somebody had a peanut allergy and then they intentionally triggered it so they could die and come back?” I might be remembering that wrong. I think it was me, but it’s such a scary thing. I don’t have any allergies like that, but I know people who do and they always have their EpiPen. But I love that whole sequence. It came together beautifully.

One thing I should say is, my gosh, the way Adam and Zach shot these things, it’s some of the best kills in the franchise. It’s not just what was on the page, but the way they elevated it. The way they shot and cut it is so much fun. Kudos to those guys. I think they are brilliant directors.

Death seems to have more personality. How intentional was that?

Kudos to the directors for putting that on the screen. I know Lori and I looked at the other movies and a lot of times there is water. Water seems to almost creep on its own, especially in that first movie. It was important to us. Even with the Iris character, we had the opportunity to create “a person” that she could talk to for the last 20 years in the cabin. This was her only companion. So, she anthropomorphizes Death to be a person, in a way, that she can have conversations with. She looks insane, but is she because Death is a being in these movies. That is really fun. We like the idea that she is talking to Death as if it’s her only friend.

In a genre where we root for the final girl or guy, why kill everybody off? Why does that work for this franchise?

That was a debate for all of us throughout. Is there a way to let Stefani and Charlie live? I’m a big softie, so that is always my preference. “Well, we did it in 2. Why can’t we have a connective character maybe go into the next movie?” But it just feels the big lesson these characters learn by the end of the movie is you just can’t cheat Death. There really isn’t a way out, aside from Kimberly. That is why everybody eventually does die.

I like the idea that through the penny, this was all part of Death’s design. And Death used Stefani to go and knock off Iris, so he could finally check the names off the list that he hadn’t gotten to. Ultimately, I love the moment where it’s like, “Yeah, he brought me back to life.” And the doctor character goes, “Well, no. You didn’t actually die and come back. Your heart stopped. That’s all.” You just know it is going to come full circle and then it does. I feel it’s the right way to end most of the movies in the franchise. I would love to be in the audience for another installment and see that person live and carry on for a few movies. That would be really cool, but I understood why it needed to happen.

Next on your plate is the highly anticipated seventh instalment of Scream. What does having [Neve Campbell’s] Sidney return allow you to explore in this movie?

I don’t want to give anything away about the reason this had to be a Sidney movie because there’s a really cool reason. In all these movies, you have to ask, “Why now? What is the thing Scream is commenting on now?” Scream is always in a conversation with the audience about the state of movies, the state of horror movies and in particular, franchises. There is a really specific reason why Sidney is in this movie. I will say there is a reason and we were happy with it when we cracked it. We went to Neve Campbell and said, “This is why. This is why Sidney now.” Neve was like, “Oh, I get that.” I pitched Kevin [Williamson] this first, too. He got it and then I pitched the studio. I came up with the story with my co-writer on 5 and 6, James Vanderbilt.

The last Screams were based around [Melissa Barrera and Jenna Ortega’s] Sam and Tara, but they aren’t coming back. How did that alter the blueprint from the original script?

It was a completely different thing. We weren’t able to use what we had in the previous iteration for this one. It was literally you just had to start from scratch, which was a bummer. We were excited about what we had for that movie. We wanted to do one more “Core Four” movie. We know the fans love those characters. We love those characters. We created those characters. I would love to see, in some universe, the continuation of their characters, in some way. But we weren’t able to port over the stuff from the other story. It was like, “Okay, here is what the universe dealt us.” We always wanted to do a Sidney movie and so it was like, “All right, let’s get into it and why now and why this one?”

The Core Four is no more. What does that mean for [Jasmin Savoy Brown and Mason Gooding’s] Mindy and Chad?

I believe it was James that came up with it. I want to give credit where credit is due, but it was an organic way why they would be in this movie. I don’t want to spoil anything, but I will say it’s through [Courteney Cox’s] Gale. She’s the connective tissue in 5 and 6 and she’s in this. New York was obviously a big part of that. She bonded with those four and there’s a reason why these two come to this town where the action is happening.

How long after the last Scream does the new one take place? And is it in New York City again?

It’s not New York. I don’t want to be the one to spoil where it is. It’s an unspecified amount of time. I might get contradicted by other people, but in my mind, more than two years. I would say at least two years. It could be two years, but I would say two years plus.

Regarding the upcoming Ready or Not: Here I Come, the original felt like a complete story. How did you go about avoiding the dreaded sequel curse for this one?

It was kind of what we did between Scream V and VI, which is throw out the rule book and just go nuts. For us, it was a complete meal. It was a one-and-done. We were all really proud of the movie. We love how it turned out. We love the fact that it did resonate in the horror community. It was the most special to make and I got to write it with my childhood friend, Ryan [Christopher Murphy]. When Searchlight said, “We want to do another one.” We were like, “Okay, we have to make sure there is a reason. It can’t just be to do this again.”

Ryan Christopher Murphy and I sat down at his place, at my house, and we were racking our heads going, “What’s the crazy one?” Things that we reference … Radio Silence, the producers, Ryan and myself … over and over again are Aliens and Terminator 2. How do you blow it up in a way that isn’t even the same genre, but hits all the notes and has the same DNA? Here I Come is a horror movie with humor, just like the first one. But what’s the crazy, bigger world of it?

Ryan and I came up with a pitch and we took it to everybody. We all just got excited and went, “There is a reason for this to exist, that isn’t just to do another one.” It’s so big and fun and strange. More than that, we love the character Grace so much. We love actress Samara Weaving. That is one of the best characters I’ve had a hand in creating. Her performance is so iconic. Samara is such a brilliant actor. We were like, “We want to do it again with her. We just have to make it make sense.” When we hit the idea, we were like, “Yes, we get more Sam. We get more Grace.” It’s been so rewarding. Ryan and I both went up to set this last week and just got back yesterday. We chose that week for a reason. There’s a set piece at the end of the movie — and you will know it when you see it — that had been in our heads for almost six years. We were like, “We have to be there when they shoot.” That set is so cool.

What can you tease about where we meet Grace after the prior events? How is she processing everything that has happened to her?

She hasn’t had a chance to because the movie picks up the second after the first movie ends. Grace wakes up in the hospital. No time has passed for her. The last thing she remembers is her in-laws exploded, including her new husband. They exploded in front of her and covered her in blood. She went outside and had her cigarette. The EMTs and fire department came. The credits roll and it picks up right there. So, when she wakes up, no time has passed. She hasn’t processed any of it and then she’s thrust immediately into another weirder, bigger game that she doesn’t understand … and that we don’t understand at first. There’s a weird kind of logic to it. Because she survived that adventure in the first one, something has now been triggered and has thrown the entire world into disorder.

The sequel encapsulates worldbuilding. Why was that so crucial going into this second chapter?

Worldbuilding was important to us in that even in the first one, we were asking ourselves, “The Le Domas aren’t the only family that has done that.” There’s another family referenced in the first movie, where everyone is asking each other, “Is this real? What would happen if we didn’t kill her? Did our ancestor actually make a pact with the devil or is all this just crap?” Tony references the Van Horns and says, “You know what happened to the Van Horns?” The Fitch character was like, “Didn’t they die in a house fire?” And he was like, “Well, that’s what they told you.” We were like, “Okay, there is a bigger story. So, who are the other families and are they connected? Could there be a network of families that have made these Faustian bargains with the mysterious Le Bail character? And what would that look like?” Those questions just became a lot of fun to chase.

Finally, do you have any thoughts on an Abigail sequel?

Oh boy. I would love to go back to that world. I really love that movie. I think it’s really special. Again, just in case, I don’t want to say what the thing would be, but in the early days, I went and pitched one of the Universal execs, “Here is what I would want to do next.” Probably not a big surprise, but it involves the father, Mr. Lazar.

Final Destination Bloodlines is in theaters now.

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The highly anticipated sequel to the 2019 horror hit Ready or Not is taking shape, and producer James Vanderbilt has offered some tantalizing teases about how the new film will delve deeper into the Le Domas family mythology. Speaking with ComicBook in an exclusive interview for his current film Fountain of Youth, now streaming on Apple TV+, Vanderbilt revealed that the creative team was incredibly careful in their approach to expanding the story, ensuring the follow-up, titled Ready or Not: Here I Come, both honors the original and offers something fresh. The focus for the sequel is to broaden the disturbing lore surrounding the deadly game without over-explaining its enigmatic elements, aiming for the “right amount of worldbuilding” coupled with a compelling emotional narrative for returning star Samara Weaving’s character, Grace.

“There are a couple of different ways we are doing it,” Vanderbilt explained about the sequel. “I don’t want to give anything away. It’s so early, and there is so little out there. What I will say is one of the reasons it has taken a minute to make this sequel was that we were really hard on ourselves on not just repeating what the first movie was, but also, not losing the sauce of what the first movie was.” According to Vanderbilt, the goal of Ready or Not: Here I Come is to build upon the foundation of horror and dark comedy of the first movie, ensuring fans will get a meaningful expansion of the franchise.

[RELATED: Ready or Not Directors Tease an “Absolute F-cking Banger” of a Sequel]

“It’s interesting because there’s a debate all the way through as to what is real and what is not,” Vanderbilt stated, highlighting the challenge of moving forward from the original’s definitive ending. “That is answered at the end of the first movie, so you can’t put that Le Bail back in the bottle. What Guy Busick and R. Christopher Murphy do in this script is incredibly smart. As soon as they pitched it, it was, ‘Of course that’s what it is. That’s a great idea.’ It’s such a great way to tell this story. I am so excited for people to see it.”

“I think it’s safe to say we expand the mythology without explaining the entire mythology,” Vanderbilt emphasized the sequel’s narrative goals.  “I don’t know if that sounds exciting, but it’s exciting to us. I think it’s the right amount of worldbuilding, while still telling an amazing emotional story. We felt so privileged that people embraced that movie, that we didn’t want to revisit it if it was going to kinda be like, ‘Oh, look. They did it again.’ We were all okay leaving it be if we didn’t come up with something that we felt added to it, or in some ways, topped it. We are all really excited about what it is going to be.”

Everything We Know About Ready or Not: Here I Come

Searchlight Pictures officially greenlit Ready or Not: Here I Come in October 2024, signaling a commitment to continue the harrowing tale of Grace Le Domas. Fans of the original will be pleased to know that the core creative team is returning to ensure continuity in vision and tone. In addition to Busick and Murphy, the writers who penned the first film, directing duo Radio Silence, comprised of Matt Bettinelli-Olpin and Tyler Gillett, are also back at the helm of the sequel. Their expertise in blending horror, comedy, and suspense was a hallmark of the original Ready or Not and has since been demonstrated in films like SCREAM, Scream VI, and Abigail.

Joining Weaving is a cast that promises to elevate the sequel’s stakes and expand its world. For starters, Ready or Not: Here I Come stars Kathryn Newton, known for her roles in Abigail and Ant-Man and the Wasp: Quantumania. Plus, in a highly anticipated return to the genre, Sarah Michelle Gellar, iconic for her role in Buffy the Vampire Slayer, is also part of the cast. The ensemble is further bolstered by genre veteran Elijah Wood, recognized for his work in The Lord of the Rings trilogy and more recently in Yellowjackets. One of the most talked-about new cast members is legendary director David Cronenberg (The Fly, Crimes of the Future), who will be stepping in front of the camera for a rare acting performance. Kevin Durand, who previously worked with Radio Silence on Abigail, has also been confirmed for the sequel, teasing a role that is the “polar opposite” of his character in the vampire film.

Searchlight Pictures has not yet announced an official release date for Ready or Not: Here I Come.

What are you most hoping to see in the expansion of the Ready or Not mythology? Let us know in the comments!

The post Ready or Not Producer Teases How Sequel Expands the Disturbing Mythology appeared first on ComicBook.com.

The filmmakers behind Pixar’s Elio open up about the delicate balance between crafting an entertaining family-friendly film and exploring some heavy themes. In an interview with ComicBook promoting Elio (which is out in theaters June 20th), co-directors Domee Shi and Madeline Sharafian discussed the titular character’s loneliness and how that presented challenges for them during development. It was key for them to figure out a way to portray Elio’s lighter side before diving too deep into more serious subject matter, allowing audiences to become enamored with his sense of wonder. There were also conversations about how much information viewers had to know regarding Elio’s backstory.

“We’re always very careful to do our research,” Sharafian said. “We talked to experts, we talked to loneliness psychologists about children’s loneliness and grief in particular. What is important about Elio is that there are layers to him, so when you first meet him and he’s trying to get abducted on the beach, you don’t get to see that lower layer. You just see that tenacious, curious, determined kid and you love him for that. You love that light side of him. So when you finally are able to dig in a little deeper to his vulnerabilities … I think you’re ready for a bit more heaviness.”

“We did a lot of trial and error,” Shi added. “We boarded whole versions of ‘how far back do we start the movie? How much do we actually see? How much information does the audience need?’ We would write it up … me and Maddy would quickly storyboard and cut it up and be like, ‘This is really heavy to start a family movie.'”

[RELATED – Pixar Chief Explains What They Want Out of Sequels]

The latest original film from Pixar, Elio is a sci-fi adventure about a young child who is having trouble fitting in. Desperate to find his place in the world, Elio wishes to be abducted by aliens — a wish that’s fulfilled when he’s picked up by a spaceship and finds himself on a mission to stop the villainous Lord Grigon from conquering his newfound home. Along the way, he befriends the alien Glordon, who is Lord Grigon’s son.

In both story and character design, Elio takes heavy inspiration from the Steven Spielberg classic E.T. – the Extra-Terrestrial, which similarly revolves around the unlikely friendship between a lonely boy and an alien. Elio’s name is an homage to E.T. protagonist Elliott.

Pixar has never been afraid to tackle serious topics in its films (see: the opening sequence of Up). It’s one of the reasons why the studio’s works resonate with audiences of all ages. Adults can appreciate the thoughtfulness Pixar puts into crafting its stories. There’s plenty of light-heartedness and humor that runs throughout Pixar films, of course, but the best ones are elevated by the emotional, poignant moments that strike a chord. It sounds like Elio is cut from the same cloth. Pixar’s research into grief indicates Elio is trying to process some sort of tragedy, which could explain some of his behavior seen in the film’s trailers. Given the delicate subject matter, it’s nice to see the Elio creative team went the extra mile to make sure what they were doing was accurate.

Elio is going to have its work cut out for it at the box office, opening just one week after the live-action How to Train Your Dragon remake (and roughly one month after Lilo & Stitch‘s record-breaking debut). It’ll be interesting to see how it fares since it’ll be facing such stiff competition for its target demographic. Considering how much work went into putting Elio‘s affecting narrative together, there’s a good chance the film generates positive word of mouth. If the reviews are strong, Pixar could have another hit original film on its hands.

The post Elio Directors Reveal How Hard It Is to Make a Kid’s Movie About Grief & Loneliness appeared first on ComicBook.com.

Everybody loves a globetrotting adventure; not only do they unfold in exotic settings, but the narrative is often packed with action, peril, villains and the unknown. Apple TV+’s Fountain of Youth delivers on all that and more. The movie follows two estranged siblings — Luke (John Krasinski) and Charlotte (Natalie Portman) — embarking on a worldwide quest to find the mythic fountain of youth, but they aren’t the only ones willing to do anything to get their hands on the prize. The epic project allowed prolific screenwriter and producer James Vanderbilt – whose credits include Zodiac, White House Down, 2022’s Scream, and Murder Mystery – to play in an epic new genre that harkened back to his childhood.

Apple TV+ describes the movie, “Fountain of Youth follows two estranged siblings who partner on a global heist to find the mythological Fountain of Youth. They must use their knowledge of history to follow clues on an epic adventure that will change their lives … and possibly lead to immortality.”

ComicBook caught up with Vanderbilt to discuss treasure hunting, crafting astonishing action sequences, sibling rivalry, Sidney’s return to the Scream universe, and more Ready or Not insanity.

ComicBook: Fountain of Youth definitely has this Indiana Jones/Romancing the Stone/National Treasure vibe to it. What’s fun about playing in this globetrotting action arena?

James Vanderbilt: What’s not fun about playing in it? For me, personally, Raiders of the Lost Ark was the movie that made me want to make movies. When I was 8 years old and discovered it on VHS or maybe BETA, my parents let me rent it every weekend. It was the movie where I went, “Okay, what is this opening sequence? How does this work?” It made me start thinking about structure at the age of 8, because I was a nerd. So, I have always loved these kinds of movies. They are all the genres in one. There is romance, there is mystery, there is action. It is all of the good stuff. I think being able to write a movie like that and indulge the inner child within me, which is not that deep within, and actually go out and shoot in all of these incredible places … It’s like, what’s better than that?

So much of this movie was filmed on location around the world. How does that work? Do you plot it in the script and hope those spaces are available?

Absolutely. When I was writing it, and maybe to my detriment, I did not start going, “Oh, I wonder if we could do this or that.” I justwent, “The sky is the limit and they will tell me when to stop and they will tell me when they can’t get it done.” Also, selfishly, I wanted to go to all these places. I was like, “Clickety-clack, Pyramids of Giza. Clickety-clack. Thailand.” Then, I ended up directing a movie in Budapest at the same time we were shooting, so I didn’t get to go to any of them. I kept getting selfies. I think having Apple, Skydance, and [director] Guy Ritchie making the movie … Nobody said no. It’s amazing. They really shot that at the Pyramids of Giza, which was incredible to me.

If Romancing the Stone was an inspiration, the two lead Fountain characters would have been romantic rivals. What was more interesting about making them siblings instead?

It was the thing that cracked it open for me. The way the movie came about was Tripp Vinson had this idea of doing something about the Fountain of Youth, but he didn’t know what it would be. He came to us at Project X — because we had done Murder Mystery together at Netflix and had known each other for a long time — to produce it and were actually looking for writers. I wasn’t going to write it. Ultimately, in a Thanos-like moment of, “I’ll do it myself,” the thing that cracked it open for me was I wanted to tell a story about two siblings. I have three kids and I see sibling rivalry every day. I have a brother. And, as soon as I went, “It’s not the man and the woman and the tension between them, and it’s a brother and a sister who annoy the sh-t out of each other,” it felt like the chocolate going into the peanut butter. I was like, “Oh, this is what makes it interesting and different and exciting.” From that, those two characters, the whole thing spun out of my head really fast together. That was the key in the lock, for me.

Guy Ritchie is a director with vision. What kind of notes or input did he give you regarding the script?

He was very specific about it. The thing about Guy, too, is he has so many opportunities and does so many things that he is not looking to develop, develop, develop. If he reads something, he either wants to make that movie or he is not going to make that movie. He is not going to spend three years building something from the ground up.

Guy came into this thing and it was a very quick process between the two of us. And he is a writer, as well, and I’m a director. When you both speak that language, it becomes very shorthand. He got it immediately, what it was. He had some very specific things and changes that were really easy to execute and really smart in terms of the characters, in terms of the pacing of the movie.

In the original script, they go down to the Titanic and raise the Titanic. I got a call and it was like, “We don’t want to do the Titanic because of the movie stuff. Have you ever heard of this ship, the Lusitania?” “Have I heard of the Lusitania? My great-grandfather died on it.” That’s how that came into the movie. So, I was like, “I am going to write you something about the Lusitania that is so true…” It was things like that. It was character stuff, but also technical stuff.

One of the wonderful things about him is he has worked in so many genres, but he has been doing this for so long. He knows what he wants and he knows how to get it. It’s great to work with a director like that.

Another fun facet of these types of movies is how they contain nuggets of truth. It’s almost like a historical lesson behind them.

One of the things that I loved about this movie, and I really try to do, is as crazy as some of the stuff is and the mythology we come up with, I try to root as much of it in actual historical fact as possible. When you are talking about the paintings in the movie, those are all real paintings. When you talk about the one that got stolen from the Gardner Museum in Boston, that painting was actually stolen from the Gardner Museum. When you talk about the Lusitania and Alfred Gwynne Vanderbilt, that’s a real thing. There is a biblical thing later on in the movie that refers to an actual misprint that happened. All of that stuff is real. I think you love learning in movies about stuff and not in a history lesson way, but just in a way of, “That’s really cool. I didn’t know that.”

There’s plenty of jaw-dropping action sequences. Two stand out. One involved a sinking ship, the Lusitania. How did that confrontation evolve from page to screen considering how difficult it is to work with water?

It was one of those things that, God bless them, they never really blinked at. It was incredible. I loved the idea of raising a sinking ship and then having a fight on a sinking ship that is sinking again. That was a cool way of doing it. I think there was a version where it didn’t come all the way up and they bubbled it underwater. In a later draft, I was like, “No, no, no. Let’s bring it all the way to the surface.” But, in terms of stuff like that, everybody was really excited to do all of the action. I never got a call which said, “Water is really hard to work with.” Everybody was like, “That’s the special sauce of this sequence or that sequence.” You are lucky to have a great director and an incredible stunt team and people who plan it out, and build it on tanks and gimbals and all of the great fun toys. Everybody put their backs into it and made it work, which is wonderful as a writer.

Another stellar fight unfolds in the library between Luke and Esme. Why did you take a more whimsical approach with that one?

You mentioned it earlier, this central relationship with the siblings, but we get to do the flirty good guy/bad guy stuff with Luke and Esme. First of all, trying to have a quiet fight in a library was interesting to me. Then, the idea of it’s almost a dance of seduction. They are flirting as they fight. It’s a physical conversation between them. That seemed really fun. We have seen, 100 times, the choreography where people are trying to kill each other. The idea that this was more of a dance, and more of a flirtation, to me, was more interesting. I love that relationship. Whenever you can take something and physicalize it … It’s show, don’t tell in screenwriting.

John Krasinski said he was injured during a stunt. How game was he for everything? Was there anything you had to pull back on?

There was nothing we had to pull back on in terms of what he was game for. It’s when he was running for the train, which is nothing you would think … Listen, he and I are around the same age. I can sleep wrong and hurt myself. The fact that John is able to do all this stuff is incredible, but no one ever told us to try less hard or stop or make it easier. It was all about, “Oh, that is really cool. How do we do that?”

John was as game as everybody else was for it. He is a guy who is self-effacing and very funny, but you look at what he’s been able to do in his career and how he has gone from someone who is known for being the funny guy on a sitcom to a full-blown action hero, that’s not somebody who shies away from stuff. That is someone who jumps right in. We are very lucky to have him as Luke.

There is so much real estate left to mine with these treasure chasers. Which artifacts are on your wish list for them to hunt down next?

It’s funny, I have thought about a few things. I will keep them to myself. One of the things I try to do on the movies I work on is … I grew up in a time when sequels were never an assumption or you plant things in the first movie. God bless Marvel and people who do, but I love a full meal. I love a movie you can sit down and watch from start to finish and get a full story. I think Fountain of Youth is that in a really great way. That doesn’t mean I wouldn’t be thrilled to do it again. I love spending time with these characters in my head and characters on the screen. The journey is more important than the prize, as they say in the movie, but there are plenty of great prizes out there.

This is a movie the whole family can sit down and watch, but let’s touch on a few of your projects that are not as family-friendly. Looking at Scream 7, it’s no secret that [Neve Campbell’s] Sidney has a family. What does having a daughter allow you to explore with Sidney that we’ve never seen before?

That’s a great question. I am going to answer it by not answering it. When you become a parent, your life changes because you are no longer the center of the universe. Neve is a parent. I am a parent. We talked a lot about what this movie is. I am really excited for people to see what that is.

The core four is no more. What does that mean for [Jasmin Savoy Brown’s] Mindy and [Mason Gooding’s] Chad?

I think you just have to see. That one is not only close to the vest, but it’s under the vest.

It’s been reported Stu, Roman, and Dewey will return in some capacity. Fans theorize Randy and Jill are still alive. What other names were thrown in the mix at one time or another?

There is no way I am going anywhere near that. I love the question, I appreciate it. All will be revealed February 26th, 2026. I can’t wait for you to see it. What I will say is that watching Kevin Williamson work with Neve Campbell on the set of a Scream movie is one of the most incredible things. Just as a nerd, for myself, and I already made two Scream movies … It’s one of the most incredible moments of my life to see. All will be revealed.

Let’s shift to Ready or Not 2. Grace survived the game “Hide and Seek.” Obviously, you do not want to repeat what has been done before. How do you feel you are shaking things up for this sequel?

There are a couple of different ways we are doing it. I don’t want to give anything away. It’s so early and there is so little out there. What I will say is one of the reasons it has taken a minute to make this sequel was we were really hard on ourselves on not just repeating what the first movie was, but also, not losing the sauce of what the first movie was.

It’s interesting because there’s a debate all the way through as to what is real and what is not. That is answered at the end of the first movie, so you can’t put that Le Bail back in the bottle. What Guy Busick and R. Christopher Murphy do in this script is incredibly smart. As soon as they pitched it, it was, “Of course that’s what it is. That’s a great idea.” It’s such a great way to tell this story. I am so excited for people to see it. I’m so excited it’s Radio Silence. It is literally making movies with friends. It’s the same costume designer. It’s the same production designer. It’s the same DP. It’s like a family getting together again and getting the whole band back together again, with Samara [Weaving] as our leader. And it’s such an amazing cast.

How important do you feel it is to go into a sequel and expand the mythology that has already been established, whether it’s exploring the games or these Faustian deals?

I always like learning new things and it’s the process of discovering. At the same time, I feel you don’t want to over explain things, too. “Oh, that was such an interesting, mysterious thing that is now in the sequel and has been given five minutes of exposition explaining it into the ground?” It’s not so interesting or mysterious anymore. That is something we always talked about. What is the line you don’t want to cross over?

I think it’s safe to say we expand the mythology without explaining the entire mythology. I don’t know if that sounds exciting, but it’s exciting to us. I think it’s the right amount of worldbuilding, while still telling an amazing emotional story. We felt so privileged that people embraced that movie, that we didn’t want to revisit it if it was going to kinda be like, “Oh, look. They did it again.” We were all okay leaving it be if we didn’t come up with something that we felt added to it, or in some ways, topped it. We are all really excited about what it is going to be.

The tagline “Ready or Not: Here I Come” is so on the nose. Did you have any other discussions regarding other titles?

No. From five years ago, Guy and Ryan were like, “This is what we are calling the sequel and we will fight anyone who tries to stop it.” “No, we like it.”

What other games would you like Grace and company to play?

God, I don’t know if I want them to play any more games. I love Grace and company. Again, I don’t want to get into any spoilers or not spoilers. It’s a pretty good time.

Fountain of Youth is now streaming on Apple TV+.

The post Fountain of Youth Writer James Vanderbilt Unpacks the Globetrotting Adventure appeared first on ComicBook.com.

Elio co-director Madeline Sharafian confirms that aspects of the upcoming Pixar film were heavily influenced by Steven Spielberg’s classic movie E.T. – the Extra-Terrestrial. In an interview with ComicBook to promote Elio (which is out in theaters on June 20th), the trio of Sharafin, co-director Domee Shi, and producer Mary Alice Drumm was asked if the titular character’s name is meant to be an homage to Elliott from E.T. Sharafin confirmed that definitely is, and she revealed that a smaller detail about Elio’s character design was also intentionally chosen because of similarities to E.T.

“That’s 100% odds,” Sharafian said in response to the Elliott/Elio connection. She then elaborated on other E.T. influences in the movie. “There’s even a teeny little … this is the most nerdy [thing] … I remember when we were choosing the coloring for his socks and shoes, we were like, ‘This is the color from at least one scene in E.T.‘ … We were hugely inspired by E.T. and Spielberg films in general.”

Elio is the latest original film from Pixar. The sci-fi story follows the eponymous character, a young boy who dreams about being abducted by aliens. As seen in the Elio trailers, his wish becomes a reality one day when he’s scooped up by a spaceship. Befriending the alien Glordon, Elio embarks on a mission to stop Glordon’s father Lord Grigon from conquering the universe.

[RELATED – Pixar Chief Explains What They Want Out of Sequels]

Back in February, Disney pushed back Elio‘s premiere by a week so it wouldn’t have to open directly against the live-action How to Train Your Dragon remake. The studio is hoping the shift gives Elio‘s box office prospects a boost. Last summer, Pixar’s Inside Out 2 became one of the biggest hits of the year, earning over $1 billion worldwide.

One doesn’t have to look too hard to spot the parallels between Elio and E.T. In some ways, the former is essentially the inverse of the later. Rather than an alien being lost on Earth, Elio sees a human boy attempt to get home after traveling to a mysterious alien civilization. Elio and Elliott are also very similar in terms of characterization; both are lonely kids trying to find their place in the world who find companionship from the unlikeliest of places. Elio and Glordon look to have a dynamic reminiscent of Elliott and E.T., which likely means Elio will serve up plenty of emotional moments by the time the credits roll. Their back and forth should be very entertaining to watch.

Decades after its release, E.T. remains a pop culture touchstone as one of the most acclaimed and beloved films of all time. Drawing from that seems like a good idea when crafting another poignant sci-fi fale. When Elio hits theaters, it will be interesting to watch Pixar put its spin on that classic formula, and hopefully the E.T. influences help Elio make an impact with audiences. Pixar made a name for itself with a slew of creative, original films that struck a chord with audiences of all ages. Elio looks like it has the potential to be the next chapter of that ever-growing legacy.

The post Elio Director Confirms the Movie’s Major ET Inspirations (And One Is Hidden) appeared first on ComicBook.com.

Given that the fantastical worlds of the Harry Potter series are all fictional, it’s hard for any fan to truly grasp the scale of such a reality. Actors James and Oliver Phelps and Warwick Davis, however, starred in the original Harry Potter films and have a better idea than most of what it felt like to be immersed in the Wizarding World. With James and Oliver playing Fred and George Weasley, respectively, and Davis playing Filius Flitwick and Griphook, even the trio was impressed and overwhelmed by Universal Epic Universe’s new attraction The Wizarding World of Harry Potter – Ministry of Magic and its sense of immersion.

“It’s just awesome because I keep noticing myself, and I did it in the Universal Islands of Adventure, as well, because I’m used to the sets, I literally find myself knocking it to see if it’s hollow or not,” James shared with ComicBook at Epic Universe’s grand opening. “So I was going around the Ministry earlier and it was, ‘Yeah, that’s real. That’s real. That’s real.’ Respect for the guy who grouted all those quarter of a million times.”

Oliver added, “They’re definitely all real and they’ve done so much detail to it. So I think that’s one thing that brings the fans back so much because they love that level of detail. They’ve done it so well.”

In The Wizarding World of Harry Potter – Ministry of Magic, guests will journey from a Muggle park in Paris into the breathtaking spectacle of 1920s Place Cachée – a hidden, bustling shopping district in wizarding Paris. Within Place Cachée, guests will find numerous dining venues like Café L’air De La Sirène, chic shopping options like Les Galeries Mirifiques, a live, full-scale theatre experience, Le Cirque Arcanus and more. They’ll also journey from wizarding Paris to the British Ministry of Magic to witness the long-awaited trial of the infamous Dolores Umbridge in the thrilling ride, “Harry Potter and the Battle at the Ministry.”

[RELATED – Epic Universe Reveals Official New Looks at Harry Potter, Super Mario, and Dark Universe Attractions]

Similarly, Davis understood that the Ministry of Magic is an incredibly immersive experience that can be appreciated in the most minute of details.

“I used to go to Disney years ago and think, ‘Wouldn’t it be nice to be part of one of these theme park rides?’ You see characters in them, and, lo and behold, I’ve achieved that several times now and been involved with these openings here at Universal. It’s great,” the actor admitted. “I’m in the Gringotts ride at Universal, as well. It’s been just lovely. To be invited to open it and speak on behalf of the Universal team who designed this, I just want to tip my hat to them now, because what we see around us now is the culmination of many, many man hours, blood, sweat and tears, designing all of this, building it all and creating what we see before us. Because, look at it, it’s a three-dimensional piece of art. It’s incredible.”

HBO is currently in the process of developing a TV series inspired by Harry Potter, and while some figures involved in the original films have expressed their willingness to return to that world, the Phelps brothers are focused on one of the franchise’s ancillary projects.

When asked if they’re keeping an eye on TV series news, James admitted, “Not too much. We’re just going to enjoy it as fans, but we’re currently just about to start shooting The Wizards of Baking Season 2.”

Universal’s Epic Universe is now open.

Are you looking forward to checking out The Wizarding World of Harry Potter – Ministry of Magic?  Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Harry Potter Stars Gush Over the Ministry of Magic at Epic Universe appeared first on ComicBook.com.

The Universal Monsters have been icons for nearly a century, with figures like Dracula, Frankenstein’s Monster, the Wolf Man, The Mummy, and more striking fear into the hearts of audiences and inspiring countless creatives. While various years of Halloween Horror Nights at Universal Studios parks have paid respects to the characters, Epic Universe’s Dark Universe is taking things to an all-new level, as the attraction takes guests to Darkmoor for rides, photo ops, themed food, and more. In honor of the official opening of Epic Universe, a number of icons in horror assembled to pay their respects to the origins of horror cinema.

ComicBook was in attendance for the event, allowing us to get answers on who these creatives love most from the beloved roster.

“I like them all. Come on, I love Dracula, Frankenstein, and of course, Creature [from the Black Lagoon]. Hard to beat Creature. Oh, Wolf Man. Obviously, Wolf Man, as well,” filmmaker James Wan shared. Rick Baker noted, “Frankenstein’s Monster is what made me do what I do. That film inspired me to become a makeup artist. What I liked about it so much was that I am like Frankenstein. I create life, only it’s out of rubber.”

“I was always a Dracula kid growing up. We went on [Monsters Unchained: The Frankenstein Experiment] six times yesterday. It is the greatest ride I’ve ever been on in my life, to be a lifelong Universal Monster fan,” The Exorcist TV show creator Jeremy Slater pointed out. “And Creature from the Black Lagoon, they’re neck and neck, and just to see them brought to life and have them trying to kill you, lunging at you, it is incredible. There’s so much love and so much attention to detail just poured into every square inch of this park. It blew us away, it really did.”

The Exorcist actor Melissa Russell confirmed, “[Frankenstein’s Monster is] my favorite Universal Monster. He just wants a friend.”

[RELATED – Epic Universe Reveals Official New Looks at Harry Potter, Super Mario, and Dark Universe Attractions]

Composer Danny Elfman helped compose music for Dark Universe, causing him to reveal the unexpected reason he felt a connection to Dracula.

“It’s hard to say, other than the one that I feel like I’m actually related to, which is Dracula, because I was told as a child that we have vampire in the family, which is why we can’t go in the sun, and neither can my children,” the composer detailed. “So I told them the same thing, and then they’re telling that to their children. So my grandchildren, everybody, every Elfman is told that we, definitely from the old country, have vampire [in us] and that’s why none of us can go in the sun. And it’s true. Vlad, on the mother’s side, back in Lithuania.”

The filmmakers also went on to share the projects they’ve been involved in that would make for the best theme park attractions.

“I think Saw would be pretty fun. Saw would be fun for everyone involved. Fun for the whole family. Young and old,” Wan joked. Baker teased, “Well, the Wolfman actually is here. The Wolfman looks very much like the Wolfman I did [from 2010]. So yeah, I don’t know. I mean, all of them. It is epic. I’ve got to say, I’ve been blown away. I’m not easily impressed, and I’ve been blown away by this.”

Slater noted, “Well, an Exorcist theme park would be incredibly disturbing and sad and no one would go to it. Umbrella Academy could be fun, could be weird. Mortal Kombat comes out in a couple of months and it is the most fun you’re going to have in a movie theater this year. It is such a good time. I really think a Scorpion-themed roller coaster would be killer.”

Elfman teased one of his various collaborations with Tim Burton, naming, “Who wouldn’t love a Beetlejuice world? I would be the first one to go to Pee-wee Land.”

The Universal Monsters are undeniably timeless, coming back to life over and over again. Baker and Slater had mixed reactions when asked about which of these monsters they’d want to put their own spin on.

“The Boris Karloff Frankenstein’s Monster is so ingrained in me, I don’t think I could do a better makeup than that. To me, that’s Frankenstein’s Monster. I’ve actually, a couple of times, was going to try and I chickened out,” the artist revealed. Meanwhile, Slater offered, “I would take any Universal Monster, happily. I think Creature and Dracula are the two who are crying out to be reintroduced. We just had a Wolf Man, I think Guillermo del Toro has Frankenstein, and I can’t wait to see what he does with that. So I would say Dracula. I’d throw my hat in the ring for that one.”

In Dark Universe, guests will explore the shadowy village of Darkmoor – home to Universal Monster legends like Dracula, The Wolf Man, Frankenstein’s Monster, and more. The icon of this ominous world is Frankenstein Manor, where guests will venture deep into its catacombs and face a horde of enraged monsters on Universal Orlando’s most chilling attraction ever – Monsters Unchained: The Frankenstein Experiment.

Universal’s Epic Universe is open now.

Who is your favorite Universal Monster? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post James Wan, Rick Baker, and More Share Universal Monsters Love at Epic Universe appeared first on ComicBook.com.

How to Train Your Dragon is the latest beloved animated film to be adapted into live-action, but part of what makes the upcoming movie so interesting is that Dean DeBlois directed both the original adaptation of the 2003 novel by Cressida Cowell and also the upcoming live-action take on the material. As evidenced by the upcoming movie’s trailers, the live-action film looks to be an authentic tribute to the source material, and it’s already confirmed that How to Train Your Dragon 2 will also be coming to live-action. During the grand opening of Epic Universe in Orlando, Florida, DeBlois confirmed that there’s also a chance of getting all-new live-action movies that aren’t adaptations of previously released adventures.

Speaking to the chance of live-action spinoffs, the filmmaker confirmed, “I think there is, of course, yeah. The nice thing about it, especially revisiting it in live action, is casting a wider net in terms of the overall mythology and the world-building of it. So it does allow for, every direction we go, you could be just meeting new cultures, new dragons, so it does lend itself to that.”

He added, “[But] I’m not very good at predicting the future. I’ve got [my] hands full with Dragon 2.”

The new movie is described, “On the rugged isle of Berk, where Vikings and dragons have been bitter enemies for generations, Hiccup (Mason Thames; The Black Phone, For All Mankind) stands apart. The inventive yet overlooked son of Chief Stoick the Vast (Gerard Butler, reprising his voice role from the animated franchise), Hiccup defies centuries of tradition when he befriends Toothless, a feared Night Fury dragon. Their unlikely bond reveals the true nature of dragons, challenging the very foundations of Viking society. With the fierce and ambitious Astrid (BAFTA nominee Nico Parker; Dumbo, The Last of Us) and the village’s quirky blacksmith Gobber (Nick Frost; Snow White and the Huntsman, Shaun of the Dead) by his side, Hiccup confronts a world torn by fear and misunderstanding. As an ancient threat emerges, endangering both Vikings and dragons, Hiccup’s friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader.”

[RELATED – How To Train Your Dragon IMAX Trailer Recreates All the Best Moments From Original Movie]

DeBlois wasn’t merely in attendance at the opening of Epic Universe to celebrate his new film, as the park has also debuted the Isle of Berk. Upon entering the larger-than-life world of How to Train Your Dragon – Isle of Berk, guests will be captivated by a real-life version of the iconic sweeping vista straight from the wildly popular How to Train Your Dragon films. As they take in the vast sparkling lagoon, two 40-foot-tall Viking statues, and an energetic village perched above churning seas, guests can embark on a variety of Viking adventures inspired by the beloved film series — including experiencing what it’s like to fly on a dragon on Hiccup’s Wing Gliders, competing to outscore and out soak fellow guests on Fyre Drill, posing for a photo with Toothless, and so much more.

“It’s surreal. I’m still getting my head around it,” DeBlois shared of his reaction to witnessing his creation come to life. “I had a camera in my face, so I was self-conscious of my emotional reaction. I think back to when I worked for Disney and we finished making Mulan, we thought the measure of success of an animated movie is if you get a Disney on Ice show, and Mulan got one. We thought, ‘OK, we made it.’ But now it’s a theme park — if you can get a theme park, then your movie has penetrated the zeitgeist and it’s become something that’s beloved.”

He continued, “And the attention to detail in Isle of Berk is incredible. It is the second movie come to life. They didn’t skimp, they really did their research. It’s fantastic.”

Universal’s Epic Universe is now open. How to Train Your Dragon is set to hit theaters on June 13th.

Are you hoping we get live-action spinoffs? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post How to Train Your Dragon Director Teases More Live-Action Expansions of the Franchise appeared first on ComicBook.com.

Disney’s The Nightmare Before Christmas landed in theaters on October 29, 1993, and for the past three decades, the movie has been celebrated every September through December. While the themes of the movie make it an appropriate watch for both Halloween and Christmas, fans have drawn a line in the sand over whether the movie is more appropriate for one holiday than the other. While speaking with ComicBook at the grand opening of Epic Universe in Orlando, Florida, Danny Elfman, who provided Jack Skellington with his singing voice and composed the music for the movie, entered the debate by saying the movie was meant for both holidays, but he thinks its true heart is in Halloween.

“Well, technically, it’s both. But for me, it’s still a Halloween movie because I’m a Halloween baby. Halloween is my favorite night of the year,” Elfman confirmed. “I did voice Jack Skellington, who is Halloweenland, and even though Jack loves Christmasland, and I love singing about and writing songs about Christmasland, in Jack’s heart, he’s still the king of Halloweenland, come on now. He’s the Pumpkin King, not the Christmas Tree King.”

With the film exploring how Jack feels as though his creative talents are being wasted on Halloween and how he has a lot to contribute towards Christmas, it allows the experience to put a creepy and macabre spin on Christmas iconography. Jack’s acceptance of being the Pumpkin King can be seen as his acceptance that his heart will always belong to Halloween, which can be seen as confirmation that the movie is a tribute to Halloween.

[RELATED – Tim Burton Explains Why He Won’t Make More Sequels to His Movies After Beetlejuice 2]

Chris Sarandon, who provided Jack with his speaking voicing, previously shared with ComicBook in 2019, “I know that there are a lot of fans who come up to me saying, ‘We watch it every Halloween,’ and I have fans that come up and say, ‘We watch it every Christmas,’ I have fans who come up and say, ‘We watch it at both Christmas and Halloween.’ What’s the debate? It’s what pleases the people who watch it most, the audience, that’s what’s important. It’s the fans. It’s the people who it had a profound effect on over these years.”

Director Henry Selick similarly thinks the movie is a great fit for either holiday, having shared with ComicBook in 2024, “At the very beginning, when Tim Burton came up with this original idea in the ’80s at Disney, when it was intended to be a half-hour TV special in stop-motion, at the very beginning, I saw it as a mashup, that it’s both … Then subsequently, when we actually made the film as a feature, I might have tended to answer one way, but I’ve arrived at the original feeling. It is a mashup. It is a perfect collision between those two holidays. So there’s no better answer than both. It is both, and it’s its own thing. It’s a great celebration of Halloween that can last all the way into Christmas.”

Elfman was in attendance at the grand opening of Epic Universe, as he helped contribute music to the park’s Dark Universe. In Dark Universe, guests will explore the shadowy village of Darkmoor – home to Universal Monster legends like Dracula, The Wolf Man, Frankenstein’s Monster, and more. The icon of this ominous world is Frankenstein Manor, where guests will venture deep into its catacombs and face a horde of enraged monsters on Universal Orlando’s most chilling attraction ever – Monsters Unchained: The Frankenstein Experiment.

Epic Universe is now open in Orlando, Florida.

Do you think The Nightmare Before Christmas is a Halloween or Christmas movie? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Danny Elfman Weighs in on Heated The Nightmare Before Christmas Debate (And He’s Right) appeared first on ComicBook.com.

The directors behind Bring Her Back are detailing why they had to step away from a live-action Street Fighter movie. Danny and Michael Philippou made a name for themselves as filmmakers with entertaining YouTube content. Their lives changed forever when their 2022 supernatural horror film, Talk to Me, became a rousing success. It was their directorial debut, and A24 acquired and distributed Talk to Me after a bidding war broke out during its Sundance premiere. Next up for the Philippou Brothers is another horror film, Bring Her Back, but first, they’re looking back at why they had to step away from Street Fighter.

ComicBook spoke to Bring Her Back directors Danny and Michael Philippou, as well as the cast of the movie. We asked the filmmakers about Street Fighter to learn what they had planned, as well as their reasons for stepping away from the project.

“We were having so much fun developing it. I was traveling around Thailand, looking for the real Sagat, going to muay thai camps, training with people while writing. We had ideas,” Michael Philippou said. “We had a solid outline. We were developing the fight sequences. We can’t say too much as to what they were. It was just a scheduling thing. The timing just didn’t line up, but we love Legendary, and they’re still going ahead with it, so we’re excited to watch it.”

[RELATED: Talk to Me Director Offers Sequel Update (And Fans Won’t Be Happy)]

Street Fighter is indeed moving forward, with reports this week stating that the movie is looking to add Jason Momoa (Aquaman), WWE star Roman Reigns, Noah Centineo (Warfare), and Andrew Koji (Bullet Train) to the cast. Their roles haven’t officially been revealed, though Sean Ross Sapp of Fightful said that he’s heard that Reigns is set to play Akuma. As far as who the other actors could be playing, Andrew Koji could be a great fit for Ryu, while Noah Centineo would play a great Ken. As for Momoa, his physique would make him a great fit for someone like Blanka, a role not unlike his upcoming take on Lobo in Supergirl: Woman of Tomorrow. 

Jason Momoa was just in A Minecraft Movie, another video game adaptation, that was a massive hit at the box office. During the press tour, he noted that Ryu and Blanka were his favorite Street Fighter characters, so it’s possible he is playing one of those two characters, but Blanka seems like the most plausible of the two.

After the departures of Danny and Michael Philippou, Street Fighter tapped Kitao Sakurai as the new director. He has video game experience on his resume, directing multiple episodes of Peacock’s Twisted Metal. In addition to Twisted Metal, Sakurai directed the Netflix film Bad Trip, and was both director and executive producer on The Eric Andre Show.

Legendary’s Street Fighter will be the third attempt by Hollywood at adapting the Capcom fighting game franchise. In 1994, Universal Pictures released the first Street Fighter movie, which was directed by Steven E. de Souza and starred Jean-Claude Van Damme, Raul Julia, and Ming-Na Wen. The movie was a critical flop, but has gained greater appreciation in recent years. In 2009, a second attempt at Street Fighter was released in theaters, titled Street Fighter: The Legend of Chun-Li. That film was panned by critics and audiences alike.

Bring Her Back opens in theaters on May 30th.

The post Original Street Fighter Movie Directors Reveal Why They Left (& What They Had Planned) (Exclusive) appeared first on ComicBook.com.

Shredder makes his triumphant return in his very own Teenage Mutant Ninja Turtles solo series. The most feared villain in the Turtles’ rogues gallery is Oroku Saki, aka Shredder. The Heroes in a Half-Shell are currently starring in a relaunched series at IDW Publishing, but as the story of the four brothers reuniting continues to play out, another side of the TMNT Universe will be explored in TMNT: Shredder by writer Dan Watters (Batman: Dark Patterns) and artist Michele Bandini (Spider-Man: City at War). The comic follows Shredder, who is removed from the Foot Clan, as he returns to New York to face a former protege who has their own rival clan. Shredder will also have a new look, designed by fan-favorite TMNT artist Mateus Santolouco.

ComicBook spoke to Dan Watters and Michele Bandini about TMNT: Shredder to find out what the duo has planned for the infamous villain. They discussed what it’s like working on a comic featuring a bad guy as the lead character, exploring new parts of the TMNT world, their favorite parts of the new Shredder designs by Santolouco, and much more. We also have an exclusive quote from Mateus Santolouco, as well as his new Shredder design art featuring the full costume and close-ups of the helmet.

ComicBook: Where do we find Shredder when the series begins? Has he been keeping up with what the Turtles have been up to during their time separated?

Dan Watters: Shredder was last seen in another dimension guarding an imprisoned demon, so he’s had his hands rather full. How he got from there to where he is at the beginning of our series is a mystery we’ll be digging into in the first arc. In which we find him back in New York, alone, with nothing and no one. Utterly unmoored. Which means he also has nothing to lose- so when he’s messed with, he’s ready to unleash hell. He may have been on the side of the angels of late, but he’s still the Shredder at heart- still a warrior soul with centuries of experience under his belt, which is all about to come into play in a major way.

It’s unlikely the turtles will be particularly thrilled if and when they do find out.

How do you tackle crafting a solo comic for a villain like Shredder compared to heroes like the Turtles?

Dan Watters: Thinking about it, I guess that often characters deemed villains are those with more inflexible world views. Rather than being moulded by their environment, they do their best to break it and cow the universe to their will. The storytelling becomes about uncovering what makes them tick and seeing exactly how far they’re willing to go — what sacrifices they’ll make of themselves and others — in support of that. There’s a magnetism there, and probably a little bit of wish fulfilment. Few of us have ever strapped cheese graters to our arms to battle our enemies, but I know I’ve wanted to every now and then.

Michele, you’re working with the new Shredder designs by longtime TMNT artist Mateus Santolouco. What have been your favorite elements of Shredder’s new look? And were you allowed to bring your own unique style to the classic villain?

Michele Bandini: Mateus is a terrific artist, so the new Shredder look was an instant blast for me. I really liked the new helmet and color choices!

I’m gonna do my best to pay tribute to his work on the character and this new design, and also to bring to life Dan’s vision of this revenging villain. I had the chance to choose a couple of solutions for his new outfit and draw a disguise suit version of Saki, which is going to appear in future issues.

The description of the series says Shredder is going against a former protege who has formed a rival clan. Is this a case where Shredder may wind up recruiting a new clan separate from the Foot Clan? And what guest stars should fans look forward to seeing? This sounds like it has all the makings for a gang war-style conflict in future issues of TMNT.

Dan Watters: Does it? I guess we’ll have to wait and see. It’s certainly true that others besides the turtles are going to be very displeased to see Shredder back in action.

I’m looking forward to us walking some slightly more untread roads with our story, developing and exploring some corners of the world that haven’t been seen too much so far in the IDW books. And though Shredder isn’t currently working with the Foot Clan, his history is so entwined with theirs that they can’t help but continue to impact his story. We’ll be digging into some of that history in a way I think readers will really enjoy.

[RELATED: Peter Laird’s Lost TMNT Comics To Finally Be Reprinted by IDW (Exclusive)]

In my head, I’m imagining a lot of fight sequences with Shredder exacting revenge against those who have wronged him. Are there any works you looked to for inspiration when plotting out these types of pages and panels in TMNT: Shredder?

Michele Bandini: I’m a HUGE fan of the trilogy Merantau — The Raid — The Raid 2: Berandal. These movies are my instant inspiration for urban fights, close combat with blades, and martial arts with a realistic approach.

It will be challenging to bring something like that on pages, but I love to draw fights and kinetic scenes, so I’m ready: challenge accepted!

I also love manga for their dynamic solutions. I’m a long-time fan of Takeiko Inoue and Kentaro Miura. Recently, I discovered a couple of manga like Gatchiakuta and Kagurabchi looking for cool fight scenes.

What’s something fans wouldn’t think about when it comes to illustrating a comic featuring a villain as the main character?

Michele Bandini: Villains are always interesting characters, often even more than heroes.

Shredder had a ton of charisma since the beginning, so it’s impossible not to root for him, but at the same time I want to make him look terrifying, like someone who came back from hell indeed. I’m always thinking how I would feel about going through all the same stuff and discovering everyone betrayed you and took advantage of your absence. I would be really pissed off, and I’m not a badass ninja master, so can you imagine how dangerous and ferocious he can be? Ok, now multiply it 100 times. That’s the Shredder I will try to bring to life.

How different will Shredder’s status quo be by the end of the series?

Dan Watters: He’s going to finally open that puppy sanctuary upstate he’s always dreamed of. Off the beaten path, but close enough to town that he doesn’t feel too isolated; that he can pop in for a latte at his favorite spot when the mood takes him, as it does once or twice a week. The barista has a warm smile and always calls him “honey”, which he quite likes, though he’d never admit it.

Unless I’m lying about all that, of course.

“Shredder is without a doubt my favorite villain in the TMNT lore and also a huge part of my professional story with the Turtles. So, obviously, I was thrilled with the opportunity to go back to the character and create a new look for his return to the IDW comic run,” Mateus Santolouco said.

“The thing I like the most about this redesign is how we’ve manage to, at the same time, streamlining the more modern renditions of the character, bringing a more urban ninja vibe, and still pay homage to the classic Shredder from back in the day, making him look brand new but still easily recognizable.

Hopefully the fans will enjoy the new visual as much as I have.”

TMNT: Shredder #1 goes on sale August 13th, but the first issue can be pre-ordered before July 7th to guarantee your copy.

The post Shredder Creative Team Reveal Details on TMNT Spinoff Series and New Costume (Exclusive) appeared first on ComicBook.com.

The galaxy’s most infamous archaeologist is back. One of the breakout stars of Marvel’s run of Star Wars comics set during the Original Trilogy was Doctor Aphra. An original character created during Kieron Gillen and Salvador Larroca’s Darth Vader run 10 years ago, Doctor Aphra became so popular that she eventually headlined her own solo series. Marvel recently relaunched its Star Wars line of comics, and Doctor Aphra will once again put her unique skills to the test in a new book that takes place after the events of Return of the Jedi and the Battle of Jakku.

ComicBook spoke to writer Cherish Chen (Radiant Red) about Star Wars: Doctor Aphra – Chaos Agent, her new series with artist Gabriel Guzman. We asked Chen about Doctor Aphra’s status quo when the book begins, the secret mission she’s undertaking with Luke Skywalker, the artifact Aphra is hunting for, new and returning Star Wars characters, and what it’s like getting to be the second Star Wars series to launch in Marvel’s new era of storytelling. We can also exclusively reveal interior pages from Star Wars: Doctor Aphra – Chaos Agent #1.

ComicBook: What is Doctor Aphra’s status quo when we find her in the first issue? Is she enjoying life under the New Republic?

Cherish Chen: Aphra’s status in Issue #1 is very, shall we say, typical of her character — she’s still the Aphra we know and love, sometimes against our better judgment — but I think fans may be surprised by the unexpected consequences she’s had to deal with in the aftermath of the Empire falling apart. “Enjoyable” is not how I would describe things at the moment for the good doctor.

From what we know of the series, Doctor Aphra joins Luke Skywalker as they go in search of a mysterious artifact. Why is Luke so interested in finding it?

Readers are going to see the effect of this artifact very quickly in Issue #1. What I can say is that it is an amalgamation of the old and the new, and you’ll see quickly that it’s quite dangerous. Its power is mysterious, even to Luke, and that’s why he’s so invested in getting it, understanding it, and keeping it safe.

[RELATED: Star Wars Reveals Updated Official Timeline of Every Movie & TV Show]

What type of threats and bad guys will fans get to meet? And what about any returning characters from previous runs of Doctor Aphra?

Oh, so many threats, so many bad guys across the first arc. We’ve whipped together some truly wild characters that I’m personally very excited to introduce. There are also a lot of new or previously less explored environments Aphra will be visiting, which has been very fun. And yes of course, we’re going to see many familiar faces from both the bigger Star Wars galaxy and those from Aphra’s former affiliations. We’re pouring a lot of our efforts into keeping Aphra connected to the familiar aspects fans will hopefully be excited to see while also expanding the realm of possibilities within this truly vast galaxy.

Working on the side of the New Republic offers some fresh storytelling opportunities. Does the “Chaos Agent” part of the comic’s title mean Aphra will still wind up in some sticky situations?

This era we’re working in is a very, very different heat. As mentioned earlier, some things never change for a messy disaster fiend like Aphra but the context she’s operating under now is less mobile than when she worked under the Empire. I’d say “Chaos Agent” is a very intentional title choice that infers Aphra’s new reality and that the sticky situations are only compounding for her.

Getting to be the second Star Wars ongoing series to debut after the franchise relaunch is no small feat. What are you most excited for fans to experience in your opening story arc?

I’m excited for fans to experience more of what makes Aphra so great — intense adventure, unexpected twists, ridiculous amounts of fun, all jam-packed into this clever, emotional, morally fascinating gremlin of a character — but now within the context of this newly defined post-Jakku era of Star Wars. It’s an exciting time to be working within because there is an incredible amount of room to explore. The first issue delivers a lot of the spirit of what we’re trying to do across this first chunk of stories so I hope readers find it exhilarating and fun. We’re definitely taking Aphra into new territory with this series!

Star Wars: Doctor Aphra – Chaos Agent #1 goes on sale June 18th. Let us know your thoughts on the series and the first look in the comments below!

The post Star Wars Writer Sets the Stage for Doctor Aphra’s Post-Return of the Jedi Series (Exclusive) appeared first on ComicBook.com.

Tim Miller is one of the creators of the hit animated anthology Love, Death + Robots, which premiered its new season on Netflix on May 15, but does he foresee death for creators by AI? While speaking with Comicbook.com, the Deadpool director and owner of animation outfit Blur Studios had a measured answer when asked about A.I. and filmmaking.

Killian asked Miller, “How do you personally feel about AI in animation? Could you ever see it being utilized responsibly in future seasons [of Love, Death + Robots]?” Miller known for directing hits both in live-action and animation, replied: “For sure. I think like a lot people in the industry, I’m both terrified I’m excited about it. But I mean, first of all, you can tell by my love of science fiction that I’m very interested in the future and technology in general…and so I’m definitely not a Luddite.”

RELATED: Love, Death + Robots Team Reveal Influence David Fincher Has on Netflix Series

Miller, who was a freelance illustrator early in his career, went on to clarify that he views A.I. as a tool that can help an artists or animator’s workload, rather than replace them altogether. The filmmaker was quick to add, “I don’t want to replace the artists in the process. I want to empower the artists in the process so that we can do more things.”

Miller Believes Responsible Use of A.I. Can Bring Animators Closer to the Art

For Miller, the responsible use of A.I. revolves around lessening grunt work for artists, and facilitating bigger, bolder projects that currently demand unfeasible budgets.

“It shouldn’t take $100 million to make a movie that that really is beautiful with high quality, and it does cost that, or it can cost that, I should say…there’s stories that I can’t tell right now that I love because they’re prohibitively expensive,” Miller claimed. An artist himself, he was quick clarify his want to protect animators and keep them as part of the creative process. “If we can get a little bit of that [grunt work] out of the way and get closer to the art, I think it’ll be better for everybody in the long run.”

Miller’s comments are a steadying, well thought-out addition to the volatile discourse in the entertainment industry around the use of A.I. in storytelling. Incorporating A.I. protections and language in contracts for performers and writers were major tenets of both the actors and writers strike that went on for months in 2023. Though both unions won protections for their members at the strikes’ conclusion, much anxiety still lingers in Hollywood regarding how the technology will impact the already struggling industry.

Miller is the rare studio head who is a creative himself, one who unabashedly advocates for responsible use of artificial intelligence. The technology being used in an ethical manner isn’t a promise across all the studios in entertainment. Come to think of it, animators plagued by existential dread and being made obsolete by A.I. could make for a compelling episode of Love, Death + Robots. Especially if Miller is the one directing it.

The post Love, Death + Robots’ Tim Miller “Terrified and Excited” by Potential for AI Use in Animation appeared first on ComicBook.com.

The creative minds behind Netflix’s acclaimed animated anthology Love, Death + Robots have pulled back the curtain on executive producer David Fincher’s significant artistic influence on the series, which just premiered Season 4 at Netflix. In an exclusive interview with ComicBook, series creator Tim Miller and supervising director Jennifer Yuh Nelson shared insights into Fincher’s distinct directorial philosophy and how his meticulous approach elevates the entire production. Their comments reveal a deep respect for Fincher’s vision, describing his input as a continuous learning experience that shapes the visual language and storytelling of the boundary-pushing shorts of Love, Death + Robots. This collaborative dynamic, where Fincher imparts his seasoned wisdom, has become a cornerstone of the series, impacting everything from camera placement to the fundamental understanding of filmmaking for the diverse teams involved in crafting each unique episode.

“Mostly it’s me learning how much better a director he is than I,” Tim Miller told us regarding his extensive collaboration with David Fincher. “That seems to be the general theme I learn. David, and lots of people who work with him would say this, he sends you little haikus of knowledge all the time. Like ‘FILM IS ABOUT THE EXPANSION AND THE COMPRESSION OF TIME’ or ‘THE MAIN JOB OF A DIRECTOR IS WHERE TO PUT THE CAMERA AND FOR HOW LONG.’ They are always in all caps, and they are great. Just reading his notes… it really is a class in directing to watch him give notes on works in progress and do shots.”

[RELATED: 7 Best Shows to Binge on Netflix in May 2025]

“He has an incredible photographic eye for what he wants,” Nelson, who did storyboards for Finch’s “Bad Travelling” episode in Love, Death + Robots, added. “And how he describes it, it’s already done. It’s literally already done, and he’s just trying to communicate it to you. I learned so much about setting up the camera and lensing from him. Just listening to him talking about how he wanted these shots up. Every department at Blur that was working on his short basically said it’s a masterclass in whatever they were doing with him. Because it was always an interesting way of approaching light, and camera, and storytelling. It was just beautiful.”

“In one of our screenings, he said the other day, which I thought was interesting, ‘THE DIRECTOR IS THE ONLY ONE WHO’S WORKING BACKWARDS IN TIME BECAUSE THE DIRECTOR SEES THE FINISHED PRODUCT,'” Miller recounted. “Which is not true in my case, but it is in his case. He sees the finished product, and you are just trying to get everyone to the place you’ve already been, so you go backwards in time and pull them forward with you. Which is a really interesting way to look at it. I feel that it’s mostly an evolution, but I think it’s because I don’t think I have everything figured out. And you see opportunities along the way to make things better. They work out differently from what you thought they were on the page. But that’s just me.”

David Fincher’s Imprint on Love, Death + Robots

David Fincher’s working relationship with Tim Miller and his animation/VFX house, Blur Studio, predates Love, Death + Robots, notably including the creation of the striking main title sequence for Fincher’s 2011 film, The Girl with the Dragon Tattoo. This collaboration laid the groundwork for their partnership on the Netflix anthology, where Fincher has served as an executive producer since its inception in 2019. Beyond high-level guidance, Fincher directed the critically lauded Season 3 episode “Bad Travelling,” a harrowing tale of a shark-hunting ship besieged by a giant, intelligent crustacean. This episode, praised for its photorealistic animation and atmospheric storytelling, is a prime example of Fincher’s signature style translated into the world of animation.

Season 4 of Love, Death + Robots includes another Fincher-directed short titled “Can’t Stop,” a visually unique piece featuring the Red Hot Chili Peppers as marionettes performing their hit song, showcasing the director’s willingness to experiment with different styles within the Love, Death + Robots framework. The impact of his “masterclass” approach, as described by Nelson, resonates through the various animation styles and genres the series bravely tackles, from cyberpunk and cosmic horror to dark comedy and surreal fantasy, ensuring a level of quality and artistic intent that has garnered the show multiple Emmy Awards.

Love, Death + Robots Volume 4 is now streaming on Netflix.

What are your favorite episodes in Love, Death + Robots so far? Let us know in the comments!

The post Love, Death + Robots Team Reveal Influence David Fincher Has on Netflix Series appeared first on ComicBook.com.

The Final Destination franchise was, at one point, a major force in the world of horror, as the first five entries were all released within the span of 11 years. Despite the series still having a large following, it’s been 14 years since fans have gotten a sequel, leaving many to think a new entry is long overdue. All that is set to change with Final Destination Bloodlines, though, which hopes to deliver everything audiences have come to expect from the franchise, while also injecting some new perspectives into the experience to draw in all-new viewers. Final Destination Bloodlines is set to hit theaters on May 16th.

“It started with Jon Watts’s idea, which was both opening in the past and having the mystery of why, in the present, as well as centering it around a family. Those two things really allowed us to take the formula for Final Destination and, while still servicing it, slightly shifted just enough that both gave it a procedural mystery, why is this happening, as well as making it emotionally grounded because it was happening to a family,” producer Craig Perry shared with ComicBook of why the time was right for a sequel. “Those two things are the things that made us realize there’s a pathway now that makes a lot of sense, and there was a lot of things that happened in between our release date coming up and shooting with COVID and strikes. And, also, it’s the natural evolution of the movies, but once those things landed conceptually, we knew that there was a movie to chase, and we chased hard.”

While there are assuredly horrifiying sequences, Bloodlines might offer audiences more laughs than ever before.

“I think they added a lot of comedy to this movie … It’s probably the funniest Final Destination,” producer Tim Wynn confirmed. “I couldn’t take my eyes off [Kaitlyn Santa Juana’s] Stefani, Richard [Harmon’s character], all the actors that were on it. I thought everyone did a brilliant job.”

Director Zach Lipovsky added, “I think a lot of Death’s humor comes from how clever he is. Death is there to have fun. Death could just kill these people quickly. Even Death, to some degree, maybe is the reason that they got away in the first place, and he’s coming for them again, just so that he can have some fun. So he likes doing these long-game setups and payoffs and misdirects, because that’s what keeps things interesting for him.”

The filmmakers didn’t entirely attempt to reinvent a winning formula, but found ways to put their own mark on the series’ tried-and-true formula.

“I think the Rube Goldberg machines are really the hallmark. For us, that was the most exciting part because as filmmakers, you don’t have a villain coming at you with a knife,” director Adam Stein shared. “The villain is the filmmaking. These insert shots, closeups of objects building this mousetrap, so that was really fun to do. Like Zach was saying, the hallmark of death marking these people and figuring out the order of who’s next is part of all the movies, but we really wanted to figure out a way to keep that unpredictable, where you think you know the order, but then you don’t because there are secrets that haven’t been told, so that it fits within the rules, but also kept you guessing.”

“We were fans, so we trusted our gut when it came to what to do with this movie and we knew that Final Destination is awesome because of its structure, its formula,” Lipovsky detailed of bending the rules of the franchise without breaking them. “That’s why everyone’s coming, but at the same time, we love making movies where you can’t predict what’s gonna happen next. And with Final Destination, you know, ‘Okay, a bunch of people are gonna be marked for death and they’re gonna die.’ We wanted to make sure that even the diehard fans were gonna be thrown for a loop as far as, ‘Wait, this is different than what I’m expecting. What is gonna happen here?’ We wanted to do that with the premonition, even, in and of itself, so that you’re wondering, ‘How does this even fit within the canon?’ But then slowly, as the movie unfolds, you realize that it does and it follows all the rules we love, just to always create that feeling of unpredictability. We tried to do that even with the set pieces themselves, create set pieces that don’t follow the same structure of the set pieces we’re used to, where, normally, you cut to one person alone in a location they shouldn’t be. We kept trying to play with that structure all the way through.”

Speaking of their fans, the pair also made sure to inject Bloodlines with plenty of callbacks to the franchise’s past, some of which even they are still discovering.

“There are tons of Easter eggs, whether it’s license plates, things written down in the books, things hidden in the walls. We wanted to chock full it with Easter eggs,” Stein teased. “There are even some that we’re still discovering because we told the crew, ‘Fill this with Easter eggs, don’t even tell us you’re doing it, but do it in a way that new fans don’t feel like they’re left behind if they don’t get the reference.'”

Lipovsky added, “My favorite Easter egg in the movie is actually one of the characters who’s covered in tattoos. As he’s ripped to pieces, his skull tattoo is revealed and metal comes piercing through his body, mirroring exactly the poster from [Final Destination 5], which I was just so proud that we were able to pull that off.”

With how much time has passed since the last entry in the saga, the filmmakers had access to a variety of new tools, though also didn’t want to push the film’s effects into unwanted territory.

“We wanted to explore how to create that fear of heights in the audience, on the big screen. On an IMAX screen, how do you make them feel they’re 400 feet in the air? We used the LED volume technology to create a wall outside the Skyview to give the view. We wanted to do that so it wouldn’t be blue screen or green screen or whatever. It would have the real light coming through the glass and reflecting off the set to give you the feeling that you’re really there. It brought a lot more realism,” Stein recalled. “And then we also used interesting VFX techniques to stretch the view in the background to give you that vertigo feeling. We didn’t want to just do the classic Hitchcock push-pull dolly zoom because that’s been done so many times before. We tried to find other ways to stretch the view, make you feel unbalanced, and really add to the suspense.”

Wynn continued, “Zach and Adam, the directors, they did a great job of doing practical effects from the beginning. That’s why it feels so real. If you look at some of the other Final Destination movies, there’d be like an ax or something that would cut off someone’s head and come out of nowhere. This one, everything is pretty much real. One of the things that they did was lit on fire the oldest woman of all time. She was a stuntwoman, 71 years old. When I saw that, it was awesome, it was amazing.”

Final Destination Bloodlines lands in theaters on May 16th.

Are you looking forward to the movie? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Final Destination Bloodlines Filmmakers Break Down Their Fresh Spin on Death appeared first on ComicBook.com.

Since its inception, the Final Destination franchise hasn’t entirely had a strong rate of survival for any of its characters. While audiences hope they can connect with the characters in each film, these connections make it all the harder to say goodbye, but if characters manage to escape Death, it almost feels like a disappointment. With Final Destination Bloodlines, audiences are getting not only a fresh batch of faces who attempt to avoid Death, but we also get insight into Death’s design, both for this film and for its predecessors. Final Destination Bloodlines is set to hit theaters on May 16th.

“People were very excited about mine,” Anne Lore shared with ComicBook about the film’s deaths. “People were excited to see mine because of how many contraptions they made for it.”

She added, “Well, when you read something like that in a script, you’re like, ‘Oh, the writers were just having a fun time writing stuff.’ I’m going to sit here and think about what it would feel like … You just sit there and really imagine, ‘So what are the emotions? How fast is it happening?’ and think through it. So, a little traumatizing.”

Of the death she was most looking forward to witnessing, Brec Bassinger noted, “Because I’m in what we call ‘Movie A’ — there’s Movie A and Movie B, because I never acted with my fellow Final Destination actors — and there was one day in particular, I wanted to go to set because I wanted to see how they were going to do it. I’m so glad I did because I’m worried, when I watch the film, like it’s still gonna give me the heebie-jeebies, but had I not known how it was filmed, I don’t think I would have been able to watch it. It’s related to an MRI machine. While we were filming, I had to go get an MRI just for this random thing. I didn’t think I was gonna be able to do it. I was having a full-on panic attack in the MRI machine. They’re like, ‘It’s fine. Why are you this scared?’ I’m like, ‘You don’t even know. You don’t know what I’ve been through.’ So I know that’s gonna connect with people and give them the fear of MRI machines. It’s gonna be the new log truck, I’m calling it now.”

In a sense, it’s a badge of honor to get to have a memorable death in the series, with Alex Zahara expressing his acceptance over his on-screen death.

“[Directors] Adam [Stein] and Zach [Lipovsky] told me I was dying in the movie pretty soonish. It’s obvious because of the bloodline that goes by, but my character’s a bit of the emotional backbone of the film,” Zahara noted. “He’s really trying to bring the family together to have the good times that he didn’t have as a child, or the sister and he, didn’t have. I knew it was coming, but my death is essential. My character’s death is essential. Because after my mother, I’m next, but it helps the whole thing get going, and helps get the whole storyline rolling. I do represent the family coming together, and now death is a threat of tearing it apart.”

Dying on screen is easier said than done, with some of the performers breaking down that practical process of filming such scenes.

“I had the effects team, they were really, really good,” Owen Patrick Joyner shared. “They were able to throw stuff on really quick and make it look great, but it was pretty brutal. I knew I was going to have it on for two days, like 12 hours apiece, and it was brutal. It would keep my eyes shut, so I couldn’t really see, so I tried to just go into a sweet place and listen to smooth jazz or something. Something to keep me calm. And then I thought we were all done, and they were like, ‘Oh, we didn’t get one shot. Do you mind if we put you…?’ And, of course, you had to go right back into it. I had just torn it off.”

Bassinger added, “I think when you’re looking at someone — even though in your brain you know they’re fine, they’re safe — when you see someone who’s actually on fire, everything goes out the window, and you’re like, ‘Fear, scared, scream, run.’ So any time they were practically putting people on fire, there was no acting involved.”

The stars of the sequel also expressed what the process was like bringing their diverse characters to life, as they all seem to be facing their own challenges and cope with them in different ways.

“Well, it’s so funny because I noticed that, she’s so down all the time,” Kaitlyn Santa Juana admitted of playing a character who is stressed out from nightmares and visions from the film’s start. “What was interesting is between takes, we would just immediately be laughing and chumming it up on the side. So I still had a blast, and it was great. It was hard, but everybody in the crew, everybody on the set just made it so easy.”

Lore and Richard Harmon play siblings, along with Joyner, who are a bit more antagonistic about everything going on around them.

“I’m not thinking about not being obnoxious. So any non-obnoxiousness is just happenstance, I think. I find motivated ways to be obnoxious,” Lore pointed out of finding the right tone for her character. “I think I’m protective of my brothers. Their relationship’s really specific. I’m very loyal to them, and I think [Juana’s] Stefani is talking crazy to me. She’s bringing all this stuff about death, and I’m rolling my eyes at the whole thing.”

Harmon joked, “I feel like I never intended him to be antagonistic, I think that’s just my face.”

Joyner’s character, on the other hand, went through a bit of a transformation from what appeared on the page.

“If Bobby wasn’t just a total — he’s a little bit of a wuss. I think it’s how everyone feels. He’s so anxious. He needs someone to hold his hand through the whole process,” the actor expressed. “In the original script, Bobby was supposed to be like a full-on jock, pumping iron in the driveway. There was a scene where we were pumping iron, there was a scene where I was calling Stefani into the house for a beer, so Bobby certainly morphed as time went on.”

In Bloodlines, Rya Kihlstedt plays the mother of Juana’s Stefani and Teo Briones’s Charlie, with her own mother’s ominous warnings of death causing her to leave her family behind.

“I think that the trauma that Darlene grew up with, with a mother who became so super focused only on death and obsessed with it, and the ruined childhood. If anything, there is terror and fear that my daughter is actually closer to my mother, and that is one thing that she never hoped for, wanted, would wish on anybody,” Kihlstedt admitted of her character’s complex backstory. “But I also think it made it really clear, I think Darlene understood that this is real. Because it was real for her mother, and now it’s real for her daughter, so clearly this is a real thing. This is not my mom’s just crazy, and so is my daughter, because I know you’re not.”

Despite the long legacy of the series, not everyone was a fan before getting involved in the production.

“If I’m honest, I hadn’t seen any of them. I missed that window,” Kihlstedt confessed. “I was 30 when the first one came out, and having babies and staying at home. And horror is a hard genre for me, so when I got this, I then sat down with a girlfriend who loves them, and we made bowls of popcorn and for two days sat down and watched all of them. So I had a crash course.”

Lore continued, “I actually didn’t watch the films until I booked the movie, so shame on me. I remember the rollercoaster. That was the big one when I was younger. Everyone, they’ve seen this rollercoaster, there’s a rollercoaster accident. I was like, ‘Oh, my gosh,’ but I didn’t watch a lot of horror growing up. I saw The Eye with Jessica Alba, and I was like, ‘That’s the scariest movie I’ve ever seen.’ That was the peak for me.”

She added, “The nice thing about this movie is that it’s not people doing bad stuff to each other. The gore is like, ‘Oops!’ So it’s a little bit easier to watch. It’s not vindictive or anyone’s trapping anyone, so it’s fun.”

Final Destination Bloodlines hits theaters on May 16th.

Are you looking forward to the movie? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Final Destination Bloodlines Stars Talk Tackling Death’s Plan in the Franchise Revival appeared first on ComicBook.com.

Final Destination fans have had to wait 14 years since the last sequel to get Final Destination Bloodlines, while the first five films were all released within 11 years. Directors Adam Stein and Zach Lipovsky have helmed this latest chapter, and while audiences might hope that this can result in the franchise being entirely revived, the duo doubts they will be returning for a sequel. Not only do they doubt more Rube Goldbergian deaths in their future, but they think that they’ve elevated to bar of absurdity so high, they “can’t imagine” seeing any other filmmaker topping what they’ve brought to the table. Final Destination Bloodlines hits theaters on May 16th.

“We left every single idea we had on the field on this one. It’s really challenging because we didn’t want to repeat anything that had been done in a previous Final Destination movie, so that takes a huge amount of things off the list,” Lipovsky confirmed to ComicBook. “All the key deaths have all-new stuff, and it’s incredibly difficult to come up with cool, amazing, little surprising details that are relatable, that are terrifying, that haven’t already been done by all the amazing people that have made Final Destination movies in the past. I can’t imagine how they’re gonna make another one because we’ve scoured every idea that we could think of. God bless whoever has to do that.”

Luckily, this duo’s approach to the franchise seems to have paid off, as Bloodlines has earned the franchise its best reactions from critics. With the movie set to hit theaters this weekend, fans will have to see how it performs at the box office to get a real idea of how long we might have to wait for another entry.

[RELATED – Final Destination Bloodlines – Tony Todd’s Touching Farewell to Fans Broken Down by Producer]

The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice — Final Destination Bloodlines. Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle — her grandmother, Iris — and save her family from the grisly demise that inevitably awaits them all.

Final Destination Bloodlines stars Kaitlyn Santa Juana (The Friendship Game, The Flash), Teo Briones (Chucky, Will vs. The Future), Richard Harmon (The Age of Adaline, The 100), Owen Patrick Joyner (Julie and the Phantoms, 100 Things to Do Before High School), Anna Lore (They/Them, Gotham Knights), with Brec Bassinger (Stargirl, Bella and the Bulldogs), and Tony Todd (Final Destination franchise, Candyman). The film is directed by Adam Stein (Freaks, Kim Possible) & Zach Lipovsky (Freaks, Kim Possible). The screenplay is by Guy Busick (Ready or Not, Scream) & Lori Evans Taylor (Cellar Door, Bed Rest), and the story is by Jon Watts (Spider-Man: No Way Home, Cop Car) and Guy Busick & Lori Evans Taylor. It is based on characters created by Jeffrey Reddick (Final Destination franchise).

Final Destination Bloodlines hits theaters on May 16th.

What do you hope to see in the franchise’s future? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Final Destination Bloodlines’ Sequel Chances Get a Disappointing Update From Horror Directors appeared first on ComicBook.com.

For better or worse, James Gunn is hoping to create a more unified DCU than what fans had seen previously, and that includes setting movies and TV shows in the same reality. In some cases, former DC actors are even reprising their roles from prior projects, but in the case of Stargirl‘s Brec Bassinger, she’d prefer to return to DC to take on a villainous role. The actor might not currently have a specific villain in mind, though if she were to take on a more malicious character, it would surely spice up whatever fans thought they knew of the DCU. Before then, fans can see Bassinger in Final Destination Bloodlines, which hits theaters on May 16th.

When asked by ComicBook about a potential return to DC, Bassinger confirmed, “I love superheroes. Obviously I’m biased, but being Stargirl was one of the greatest things I’ve ever gotten to do. I think she is such a light. I think it’d be really fun to do the opposite and be a dark villain. So yeah, I’ll manifest that for sure.” When pressed for a specific villain, Bassinger admitted, “Not necessarily. I’m just gonna keep my options open.”

To say that the landscape of DC TV shows has been complicated over the last few years would be a bit of an understatement, and Stargirl is no exception. In 2012, The CW debuted Arrow, which kicked off the “Arrowverse” of interconnected shows, which included The Flash, Supergirl, and Legends of Tomorrow. In 2013, though, Man of Steel hit theaters, establishing a different, darker take on DC.

The big-screen DC Extended Universe ran parallel to the Arrowverse for years, though things got a bit more complicated in 2018 with the launch of the streaming platform DC Universe. This platform was the exclusive home to titles like Titans, Doom Patrol, and Swamp Thing, as well as Stargirl. While Swamp Thing would be cancelled after one season, Titans and Doom Patrol would pivot to HBO Max while Stargirl headed for The CW. In early 2021, DC Universe transformed into DC Universe Infinite, a home exclusively for DC books, while all original programming pivoted to other platforms.

Stargirl ran for three seasons and was seemingly one of the many casualties of Warner Bros. and DC attempting to find a fresh start after their cinematic adventures failed to generate as much excitement among audiences as they hoped.

[RELATED – The CW’s Superhero Universe Is Ending But It’s Impact Can’t Be Overstated]

While waiting for Bassinger’s potential DC return, you can check out Final Destination Bloodlines.

The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice — Final Destination Bloodlines. Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle — her grandmother, Iris — and save her family from the grisly demise that inevitably awaits them all.

Final Destination Bloodlines stars Kaitlyn Santa Juana (The Friendship Game, The Flash), Teo Briones (Chucky, Will vs. The Future), Richard Harmon (The Age of Adaline, The 100), Owen Patrick Joyner (Julie and the Phantoms, 100 Things to Do Before High School), Anna Lore (They/Them, Gotham Knights), with Brec Bassinger (Stargirl, Bella and the Bulldogs), and Tony Todd (Final Destination franchise, Candyman). The film is directed by Adam Stein (Freaks, Kim Possible) & Zach Lipovsky (Freaks, Kim Possible). The screenplay is by Guy Busick (Ready or Not, Scream) & Lori Evans Taylor (Cellar Door, Bed Rest), and the story is by Jon Watts (Spider-Man: No Way Home, Cop Car) and Guy Busick & Lori Evans Taylor. It is based on characters created by Jeffrey Reddick (Final Destination franchise).

Final Destination Bloodlines hits theaters on May 16th. Stay tuned for possible updates on Bassinger’s return to DC.

The post DC Star Reveals Her Surprise Condition for Returning to James Gunn’s Rebooted Universe appeared first on ComicBook.com.

Tony Todd cemented himself as a horror icon with 1992’s Candyman, and while he returned to that franchise for multiple sequels, his legacy extended far beyond that series’ limits. Back in 2000, Todd debuted as William Bludworth in Final Destination, a role he would go on to reprise in two sequels, and he is now appearing posthumously in the upcoming Final Destination Bloodlines. With both Todd and the filmmakers behind the sequel knowing that this would be the actor’s last time appearing in the series, Craig Perry confirmed that the scene was always intended to be a sendoff to Bludworth and that Todd himself had a hand in crafting his franchise goodbye. Final Destination Bloodlines hits theaters on May 16th.

While speaking with ComicBook about whether the plan was always to say goodbye to Bludworth, franchise producer Craig Perry confirmed, “Yes. We did tailor it a little bit as we were going into it, because we realized that things were happening, that there was a lot of weight in the room … But Tony was great. He was happy to be there, and the opportunity came to allow him to improv the lines on the way out, and really speak to the fans from the heart. And that authenticity, I think, shows up in the performance, and I think in how it’s received, because it is so poignant. We all knew that this was gonna most likely [be] Tony’s last movie, and we wanted to make the experience special for him, and I think he made the performance special for his fans.”

The original Final Destination explored what happened when someone had a premonition of their own death, causing them to get off an airplane with a handful of other characters, thus avoiding disaster. Death, however, had a different agenda and began to catch up with the survivors, killing them off in complex and shocking ways. Bludworth served as the local mortician, sharing insight about Death’s plan, seemingly having one foot in the world of the supernatural and one foot in reality.

Bludworth’s final appearance in the franchise doesn’t betray the mysterious nature of the character or of the concept, yet still finds a way to pay respects to the iconic performer.

[RELATED – Final Destination’s Future After Bloodlines Addressed by Longtime Producer]

The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice — Final Destination Bloodlines. Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle — her grandmother, Iris — and save her family from the grisly demise that inevitably awaits them all.

Final Destination Bloodlines stars Kaitlyn Santa Juana (The Friendship Game, The Flash), Teo Briones (Chucky, Will vs. The Future), Richard Harmon (The Age of Adaline, The 100), Owen Patrick Joyner (Julie and the Phantoms, 100 Things to Do Before High School), Anna Lore (They/Them, Gotham Knights), with Brec Bassinger (Stargirl, Bella and the Bulldogs), and Tony Todd (Final Destination franchise, Candyman). The film is directed by Adam Stein (Freaks, Kim Possible) & Zach Lipovsky (Freaks, Kim Possible). The screenplay is by Guy Busick (Ready or Not, Scream) & Lori Evans Taylor (Cellar Door, Bed Rest), and the story is by Jon Watts (Spider-Man: No Way Home, Cop Car) and Guy Busick & Lori Evans Taylor. It is based on characters created by Jeffrey Reddick (Final Destination franchise).

Final Destination Bloodlines hits theaters on May 16th.

Are you looking forward to the upcoming sequel? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Final Destination Bloodlines – Tony Todd’s Touching Farewell to Fans Broken Down by Producer appeared first on ComicBook.com.

In just eleven years, the Final Destination franchise earned five entries, but it’s taken 14 years for the sixth entry, Final Destination Bloodlines, to land in theaters. The latest entry is already earning positive reviews from critics, which could signal a comeback for the franchise, but as far as what producer Craig Perry thinks about the future, he believes it’s a bit too early to tell what the next chapter for the saga could be. Understandably, even if the movie resonated with critics, filmmakers will have to see how audiences at large respond to the sequel before determining its future. Final Destination Bloodlines hits theaters on May 16th.

“Just talk to me in a few weeks,” Perry confirmed with ComicBook about what the big-screen future could hold for the franchise. “I’ve been fortunate. I don’t sit there on the second movie thinking about the sixth one. We really have to deliver the goods and earn the right to even have the conversation, so we’re just grateful that we had the chance to make Final Destination Bloodlines, that it seems to be working, that fans are responding, and if that’s the case, then we can continue the conversation, but at the very least, we just want the fans to be happy, and to see Final Destination Bloodlines.”

The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice — Final Destination Bloodlines. Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle — her grandmother, Iris — and save her family from the grisly demise that inevitably awaits them all.

Final Destination Bloodlines stars Kaitlyn Santa Juana (The Friendship Game, The Flash), Teo Briones (Chucky, Will vs. The Future), Richard Harmon (The Age of Adaline, The 100), Owen Patrick Joyner (Julie and the Phantoms, 100 Things to Do Before High School), Anna Lore (They/Them, Gotham Knights), with Brec Bassinger (Stargirl, Bella and the Bulldogs), and Tony Todd (Final Destination franchise, Candyman). The film is directed by Adam Stein (Freaks, Kim Possible) & Zach Lipovsky (Freaks, Kim Possible). The screenplay is by Guy Busick (Ready or Not, Scream) & Lori Evans Taylor (Cellar Door, Bed Rest), and the story is by Jon Watts (Spider-Man: No Way Home, Cop Car) and Guy Busick & Lori Evans Taylor. It is based on characters created by Jeffrey Reddick (Final Destination franchise).

[RELATED – Will Final Destination Bloodlines Answer This 25-Year-Old Franchise Mystery?]

The franchise’s roots are in the world of TV, as the core premise was initially a spec script from Reddick for an episode of The X-Files. Over the years, rumors have claimed Final Destination could pivot to TV, though Perry now doubts that’s in the card for the series.

“If you’ve seen the movie, you know as well as anybody that this is a movie that needs to be seen in a theater, the biggest theater possible, and hopefully in IMAX, because it is such a huge palette that we have created to see this movie, and to have that shared communal experience, both for the laughs, and the cringe, and the shocks, and all that stuff, it just makes for a fun time at the movie,” the producer confirmed. “So until that experience is no longer an option, I think that we’re gonna stick with the theatrical experience, because it’s the best place to experience Final Destination.”

Final Destination Bloodlines hits theaters on May 16th.

What would you like to see in the franchise’s future? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Final Destination’s Future After Bloodlines Addressed by Longtime Producer appeared first on ComicBook.com.

From Silo to Severance to Foundation, Apple TV+ is cementing itself as the go-to destination for compelling sci-fi stories. While those aforementioned projects are a bit more straightforward in their premises, the upcoming Murderbot, as implied by the cheeky title, veers off into entirely unexpected realms in a fictionalized future. Based on the series of books by Martha Wells, the adaptation stars Alexander Skarsgård as the titular character as he explores a life in which he is tasked by humanity to take on dangerous tasks, despite how his priorities are in an entirely different realm. Murderbot debuts on Apple TV+ on May 16th.

“I don’t know if Murderbot hates humans. I think it’s just in many ways, it’s indifferent to humans. It just doesn’t quite get humans and is at least initially, not even interested in exploring that, what that is. In the opening scene of the opening episode, you see how Murderbot is normally treated by humans, so you can understand why it has zero interest in interacting with humans,” Skarsgård explained to ComicBook. “It’s a piece of equipment. It’s being treated like a commodity. I didn’t want to lean into hatred towards humanity. I don’t think that was it, either. I think it was just, this is what it is. I am a security unit, and I’m here to protect these idiots from mostly themselves. And that’s what it is. I don’t find them interesting or intriguing at all. So it’s not until Murderbot has hacked, it’s given a module and gained free will and it finds itself surrounded by humans that are completely different — this group of space hippies that it’s been assigned to protect are warm and caring and loving and want to bring Murderbot in and embraces Murderbot in a way that it has never experienced before.”

He added, “That is scary and is, as an actor, a lot of fun to lean into and explore that awkwardness of what that would be like for someone who’s going through a lot. Because, again, of the hacked government module, it’s for the first time able to tap into its humanity and to explore that, but that’s also very scary.”

While it might not have actually been “scary,” the actor admitted that one part of the project gave him a bit of discomfort.

When describing his costume, Skarsgård joked, “It was uncomfortable. In that rubber, it didn’t breathe, so I felt like I was wearing a human-sized, really thick condom. I was hot and sweaty for six months. I really cherish those breaks because there are obviously a bunch of scenes where Murderbot is not in the suit. [There are] a couple of scenes where Murderbot is completely naked or wearing, like, a nice loungy robe or sweatpants, and those days were phenomenal. But that said, other than complaining about it being uncomfortable, I really liked the look of Murderbot because I thought it was a nice contrast to Murderbot’s personality. The fact that it looks badass — it’s a security unit. It can actually hold its own and fight, and I thought that was a fun contrast to the character who’s like, super socially awkward and zero amount of testosterone and just wants to be left alone to watch its space soap operas. I thought that contrast was a lot of fun.”

Murderbot is a sci-fi thriller/comedy about a self-hacking security construct who is horrified by human emotion yet drawn to its vulnerable clients. Murderbot (Skarsgård) must hide its free will and complete a dangerous assignment when all it really wants is to be left alone to watch futuristic soap operas and figure out its place in the universe.

The ensemble cast also includes Noma Dumezweni (Presumed Innocent), David Dastmalchian (Oppenheimer), Sabrina Wu (Joy Ride), Akshay Khanna (Critical Incident), Tattiawna Jones (The Handmaid’s Tale), and Tamara Podemski (Outer Range).

With seven books’ worth of backstory to dive into, the rest of the cast recalled how the source material impacted their contributions to the series.

“Everything we needed was in the script, but why would you not? It is an award-winning series. I had to, I just wanted as much as possible. I have seven books [and] just inhaled them. They’re perfectly sized. They’re very easily digestible and you just need to know the next thing. That’s what I love about them, I needed to read them,” Wu expressed. Dumezweni continued, “I didn’t know about the Murderbot Diaries. I didn’t know Martha Wells had written this series of books. I had the joy of meeting Paul and Chris Weitz in an audition, reading the script, and [thought], ‘This is fabulous.’ Based on something, it just didn’t click at that moment. I’m just realizing, it didn’t click at that moment. And then when I got the gig, I was like, ‘What? It’s based on a book?’ Go in. You have to go in because that’s your source material. If an actor doesn’t go to the book that they’re part of being, you’re losing out on a lot of texture. The art of adaptation that Paul and Chris, for me, was the winning thing. The filling up of a universe, visually — because with the books, it’s always from Murderbot’s point of view, but in the book you do get worlds, which I absolutely love. You have to meet them, so I’m very happy to have met the series.”

Understandably, diving deep into the books came with some unexpected revelations about the project.

“I thought the script, certainly, is a whole entity in and of itself, but I think that script, too, draws heavily from this series of books, so when I got the audition and throughout the audition process, I discovered the books. Sci-fi is not necessarily a genre that I specifically reach for right away, but because of this project, I read all seven books. I read the first, I thought, ‘Okay, I’ll read as much as I can,’ and I got lost. I just went headfirst into the series. I couldn’t not,” Jones reflected. “I was just like, ‘Have to read the other one. Have to read the other one.’ I started talking about it like my new favorite television. ‘Oh, and then this happens.’ No one knew what I was talking about because none of my friends had read the books. ‘But you gotta see — and then this happens and then that happens.’ But I think that the show does such a beautiful job of highlighting some of the things in the book, a lot of the things in the book, I think it does a great job of staying true to a lot of the elements in the book, as much as is possible in two mediums that are so different. I know especially Arada is an amalgamation of a couple of characters in the book, and so with that background of reading the books, and collaborating with Chris and Paul, we were really able to create a unique Arada for the series that still pays homage to Arada and the other characters that she is an amalgamation of.”

Podemski added, “I definitely think of the show as like, All Systems Red expansion pack because the books are quite short and now you get to get a better sense of some of the side characters and, you’ve seen it, there’s some new characters that expand upon the world, but it still keeps the ethos of the series. I’ve read All Systems Red, and I read Artificial Condition, and then I got halfway through Rogue Protocol, but it was while we were on set and I was like, ‘This is too weird.’ I’m hearing Noma and Akshay and all the other actors in my own home and I was like, I need to just put it down for a second, just because I was like, ‘I’m in this now? No.'”

With so much source material to draw from, the Weitz brothers already have an idea of what a follow-up season could explore.

“The plan would be to have a mash-up of the future books because I think that, hopefully, like audiences, we fell in love with the characters, of the team in the first book, and we wouldn’t want to do a season without them,” Chris Weitz confirmed. “So it would be some combination of maybe [books] two, three, and four, I think, would be a second season.”

Murderbot premieres on Apple TV+ on May 16th.

The post Murderbot’s Cast and Crew Talk Bringing the Fan-Favorite Books to Life for Apple TV+ appeared first on ComicBook.com.

The Runaways are about to run afoul of Emperor Doctor Doom. The Marvel Universe is currently embroiled in One World Under Doom, a publishing event that finds Doctor Doom taking over the world. While the main conflict plays out in the One World Under Doom event series, several one-shots and miniseries are spinning out of the event. One of these is a new volume of Runaways by award-winning novelist Rainbow Rowell and Eisner Award-winning artist Elena Casagrande. Rowell is no stranger to Runaways, having penned the comic from 2017 to 2021. The run featured bold new directions and shifted dynamics for your favorite Runaways, evolving the group from mere children of supervillains. The next step for Runaways will come during One World Under Doom.

ComicBook spoke to Runaways writer Rainbow Rowell about her return to the series. We checked in to find out what the Runaways have been up to since we last saw them in 2021, why Doctor Doom has chosen now to collect his wayward Doombot, the Runaways’ thoughts on Doom taking over the world, working with Elena Casagrande, and more. We can also exclusively reveal five pages from Runaways #1, as well as the cover and solicit for August’s Runaways #3.

ComicBook: One World Under Doom seems like the perfect time to bring the Runaways back, especially since they count a Doombot as one of their members. What’s the status of our team since you concluded your last Runaways comic in 2021?

Rainbow Rowell: The last issue of Runaways, back in 2021, was pretty dramatic: Chase got yanked into the future; Karolina left for space and took Nico’s magical Staff with her; and we saw that Alex had assumed the mantle of Doc Justice.

So the remaining kids are still dealing with those shocks. Nico is especially reeling. With Chase gone, she’s solely responsible for all the younger Runaways — and she doesn’t have her magic to help or protect them.

Doombot — seeing that his best friend, Victor, and the other kids are floundering — has decided that they need an adult in the house. Him.

I can’t help but wonder why Doom would take interest in one random Doombot? Does he have a problem with it being a Runaway and breaking free of its programming? Or does Doom have other ulterior motives?

Hmm. This is hard to answer without spoiling. But I can say that Emperor Doom dislikes chaos and messes. Which the Runaways excel at.

What are the Runaways’ thoughts on Doom taking over the world? I can see their opinions being split, with some siding with the Avengers/FF and wanting Doom stopped, while others may see Doom’s point of view.

The Runaways have always seen themselves as apart from the rest of the Marvel Universe. They resent being dragged into hero business. They’re allergic to the idea of “teams.” They don’t trust anything an adult tells them … even if that adult is Captain America.

I think the kids also feel really dragged along by adult decisions — and powerless. So Doom taking over feels like more BS that they didn’t ask for.

Victor, who genuinely wants to be a hero, is the most upset about the situation. But his pal Doombot is Doctor Doom’s No. 1 Fanboy.

[RELATED: Marvel Teases Doom’s Dark Secret (and a Fantastic Four Member Knows It)]

What has the collaboration with Elena Casagrande been like? Are there any cool redesigns in the stars for some of our Runaways?

Elena is an incredible storyteller. She really gets the scope of a story and is drawing in a cinematic way from the very first panel. I think she’s done a great job of making the characters her own, while still honoring their history, and especially the work of Kris Anka and Andrés Genolet. She draws with remarkable style and expression. Her Doombot is genius. He’s a hard character to draw with personality — the mask — but she nails it.

I’ve also loved seeing Dee Cunniffe’s take on Elena’s pages. Dee worked on the previous run, too. Both Dee and Elena have really alive styles. Like, Elena’s inks feel like they might move. And Dee’s colors feel like they might breathe. (I’m not sure I’m explaining this well. You’ll have to look at the book!)

While this volume of Runaways takes place during One World Under Doom, it’s a safe bet to assume that you’ll continue pushing the team dynamics in unique ways. What sort of drama can longtime Runaways fans look forward to in this five-issue series?

The internal relationships have been the beating heart of this book since Brian K. Vaughan and Adrian Alphona created it. What I love about writing Runaways is that every character has a specific dynamic with every other character. There are the romances — Chase and Gert, Gert and Victor, Nico and Karolina; Nico and Chase’s domestic partnership; Gert and Nico’s spiky friendship; Chase’s insecurity around Victor; Karolina’s nurturing of Gib … No matter who is on the page, there are big, messy, ongoing dynamics.

Without spoiling, I can say that this is a big series for Nico. She is reckoning with who she is without Karolina, and who she is without magic, and whether she is enough to lead the team on her own.

We’re also going to see the consequences of Gert conspiring with her future self to kidnap Chase. Gert has never felt like she was enough to hang with the other Runaways.

Both of these young women walk through the fire in these five issues.

RUNAWAYS #3 (OF 5)

• Written by RAINBOW ROWELL
• Art by ELENA CASAGRANDE
• Cover by STEPHANIE HANS
• Variant Cover by MIRKA ANDOLFO
• DOC JUSTICE, KAROLINA DEAN… AND THE WILL OF DOOM!
• Doctor Doom will not be disobeyed! Doombot struggles with a major decision when there is an attack on the Runaways in even greater force! Will an (un)happy reunion save them? And what happens when it’s the last straw for Nico Minoru?!
• On Sale 8/20

The post Rainbow Rowell Returns to Runaways to Steer the Team Through Doctor Doom Drama appeared first on ComicBook.com.

Filmmaker Joe Johnston cemented himself in cinematic history thanks to his contributions to the original Star Wars trilogy, but his credits don’t end there, as he also directed the original Jumanji, Jurassic Park III, and the 2010 The Wolfman. Going even further beyond that, he directed the 1991 action-adventure movie The Rocketeer and also brought Steve Rogers to life for the Marvel Cinematic Universe, having helmed Captain America: The First Avenger. Despite the passionate followings of both of those movies, Johnston hasn’t returned to those worlds, with The Rocketeer remaining a cult classic that has yet to earn a live-action continuation. Johnston himself confirmed he’s open to returning to either of these narratives, though he hasn’t found the right story that resonated with him. The filmmaker recently directed Season 2 of Light & Magic, which is now streaming on Disney+.

When asked by ComicBook about his interest in reuniting with these fan-favorite series, Johnston confirmed, “Well, it would depend on the story, it always does. I’ve been offered a couple of projects that were associated with those films, and the stories didn’t grab me. I’m not a writer. I wish I was, but the story is the foundation of every good motion picture and I’m always looking for something interesting.”

In regards to the various attempts to revive The Rocketeer, the director confessed, “They’ve been talking about a sequel to The Rocketeer or reboot, whatever you want to call it, for 20 years or more.”

Johnston was joined in the interview by Ahmed Best, who played Jar Jar Binks in the Star Wars prequel trilogy, who made a compelling pitch for a continuation of The Rocketeer.

“I got one: you could do the Rocketeer Corps. I think it’s not the Rocketeer, it’s the Rocketeers,” the actor pitched. “That’s how you move The Rocketeer forward. Everybody wants to do reboots, but I think there’s another section of The Rocketeer where you can have a bunch of Rocketeers and be really great. That’s just my pitch.”

[RELATED – 3 Comic Book Movie Flops That Later Became Fan Favorites]

After Chris Evans debuted as Steve Rogers in The First Avenger, he went on to appear in Joss Whedon’s The Avengers and his next solo movie, Captain America: The Winter Soldier, was Joe and Anthony Russo’s first effort in the MCU. Thanks to their successes with Winter Soldier, as well as Captain America: Civil War, Marvel Studios seemed to be in no rush to replace the duo to bring back Johnston.

As far as The Rocketeer is concerned, the movie similarly replicated the adventure and excitement of the late 1930s, yet it didn’t make as much of a splash upon its initial release. Since then, though, various talks have emerged about a new movie being developed, with some of the latest updates being that David Oyelowo claimed a script was in the works in December of 2023.

While waiting for Johnston’s possible return to these belowed franchises, you can check out Light & Magic Season 2, which is a three-part series that follows Lucasfilm’s visual effects company, Industrial Light & Magic, as it enters its most challenging and revolutionary period: the dawn of digital. From creating the first fully realized CG character to solving the challenge of digital water, it is an era that finds ILM scaling new heights of innovation despite dramatic setbacks.

Light & Magic Season 2 is currently streaming on Disney+. Stay tuned for updates on The Rocketeer and Captain America.

Would you like to see Johnston return to these series? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Joe Johnston Weighs in on Returning to The Rocketeer or Captain America (Exclusive) appeared first on ComicBook.com.

An all-new season of Light & Magic has arrived on Disney+, which dives even deeper into the prolific history of special effects company Industrial Light & Magic. Not only does the series chronicle some of the most iconic cinematic experiences in history, but it also brought together important components of those projects, both in front of and behind the camera. While Joe Johnston directed all three episodes of this new season, he also sat down with actor Ahmed Best to discuss the way he changed cinema forever with his performance of Jar Jar Binks in the prequel trilogy. Season 2 of Light & Magic is now streaming on Disney+.

Light & Magic Season 2 is a three-part series that follows Lucasfilm’s visual effects company, Industrial Light & Magic, as it enters its most challenging and revolutionary period: the dawn of digital. From creating the first fully realized CG character to solving the challenge of digital water, it is an era that finds ILM scaling new heights of innovation despite dramatic setbacks.

ComicBook caught up with Johnston and Best to talk the new season, their contributions to the Star Wars saga, and more.

ComicBook: Since you’re so selective about the projects that you direct and what you’re investing your time, what was it about Season 2 of Light & Magic that made you want to commit all this time and effort and heart into?

Joe Johnston: Well, they offered to pay me, for one thing.

I thought it would be an interesting project. I left ILM in 1985, so virtually everything that happened around that period and the present day, I was not there, but I knew most of the people, and the ones that I didn’t, I hadn’t met, a lot of them worked on projects that I brought back to ILM. The films that I directed. I had a loose association with them, so it was nice and really interesting and informative on my part to be able to talk to these people. I learned a lot about visual effects. I have this reputation as a visual effects person, which I’m not. I was always a designer, and my designs got used in visual effects shots, so everybody thought, “Oh, you must be an effects wizard.” I am not, on any level. I always need to make that clear. But yeah, it was fun reconnecting with some of my old friends and coworkers, and it sounded like a fun project to me.

Going back to your work on the prequel films, Ahmed, you’re directly collaborating with George [Lucas], you’re directly collaborating with your co-stars on set. What was the relationship like between you and the visual artists who were actually bringing Jar Jar to life like? Were you just focused on, “I’ll do what’s here, what’s in front of me, what’s on set,” and not even worry about what the artists are going to do? Or was there a close collaboration there?

Ahmed Best: We were connected at the hip. There was no Jar Jar without me being a part of the team at ILM, and I’ve said this often: It felt like this really wonderful startup, at the time, where you had George Lucas at the helm. This amazing trust that he had in this team to make the impossible possible, and I felt like part of the team.

I worked on [Star Wars: The] Phantom Menace for two years, so principal photography was just a few months, and then crafting Jar Jar happened just as much at ILM as it did on set during Phantom Menace. So for me, there is no me in Jar Jar, it is a “we,” and we are Jar Jar, ILM, and I’m a part of that team.

Well, as far as the filming process goes, whether it was on set or it was in the studio, working more closely with the digital effects artists, was there a particular scene or sequence that, when you look back on it, whether it was a spectacular sequence or something incredibly mundane and minute, was there a memory of a specific, most challenging scene or sequence to pull off?

Best: There are three. Probably the first scene that I’m in with Qui-Gon walking across the forest, introducing myself. That was a challenging scene, because that was the first walk-and-talk dialogue scene and that was the first time that I just had the courage to really believe that I was part of the team, and that was thanks to Liam Neeson, who forced me to give George an idea. George went along with it.

The second challenging one was the Otoh Gunga scene with Boss Nass. Nobody really knew what the rest of the Gungans were going to look like, and I was the only one in a suit, which felt a little bit like a prank, because [Boss Nass actor] Brian Blessed was just wearing a sweatshirt, and I was like, “Well, if he can just wear a sweatshirt…” But it was challenging because only a third of that set was built. The rest was blue screen and it had to do with a lot of moving parts and a lot of levels, and we were underwater. So that was a challenging one because there were all of the elements to put together, as well as being able to do the live action and the animated acting together.

And then the third one was probably the battle scene, which was mostly done at ILM, and that one felt more old school, poor man’s process filmmaking, because we worked with real props, but those real props also were tracked with the mo-cap dots so they could be eventually replaced. There was a lot of really specific slapstick comedy that was supposed to happen in there, so a lot of it was George just really pushing us into the Buster Keaton, Jackie Chan world, and trying to make that real and believable amongst all of these battles. Those were probably the three ones that were the most challenging and the most fun, to be honest.

Joe, you’ve done so many awesome things in your career, you worked on the original trilogy. When you look back at that original trilogy, is there a specific contribution you made to those movies that you’re particularly proud of? Whether it be a major character design or just a trickier effects shot that you helped bring to life?

Johnston: Well, a lot of what I did on the original trilogy was sequence design, which was the more challenging and rewarding aspects of what that job was. The design stuff, that was — we handled all that stuff within a few weeks. George would toss out an idea of some new piece of hardware or a character or something, that process. We went through that fairly quickly, but the sequence design was actually a lot more fun. As I’m sure Ahmed noticed in the prequel scripts, sometimes it would just say, “Luke and Leia jump on the back of a speeder bike and take off in the woods,” and there’d be a gap, and George would say, “And this is where the whole rocket bike sequence goes,” and then it would end with, “And the Imperial trooper crashes into a tree,” so we’d have to go back.

Sometimes it would be storyboards, start with storyboards, but then it’d be animatics. Constantly revising the process of deciding what this action sequence is going to be. So that was a lot of what the job was in all three films. That was really the most challenging aspect of it and the most rewarding. I think that’s what gave me — a lot of what contributed to later, what I did in directing, because working with George, George is very generous with his knowledge, and when he would analyze a sequence, he would explain why we don’t need this shot, but we need another one over here, and you can throw this out. It was really interesting, it was both directing and editing at the same time.

I credit George with a lot of what I did after I left ILM, mostly because he sent me to film school after [Indiana Jones and the] Temple of Doom.

One of the themes of Light & Magic Season 2 is George being this innovator, and always not only wanting to develop the most cutting-edge technology, but also revisiting some of his older films, like the Star Wars Special Editions, and applying the then-cutting-edge effects to his older works. Seeing how far visual effects have advanced, have you ever wanted to go back to some of your earlier films and add some of those effects, or wish you had those technologies available to see what something like The Rocketeer would look like with 2025 visual effects?

Johnston: Yeah, it would be great to do that, but I try not to go down that rabbit hole because you always see something. “God! I wish I hadn’t done that shot! I wish I’d have done another take to improve that.” So I try not to get into that, but the technology of the times forces you to be as creative as you can be. I think that that’s one thing that I notice in some films today, is that it’s almost like there are visual effects for the sake of visual effects. I think that effects are a tool to tell a story, and the story should always be the most important thing. I don’t want to get bedazzled by the visual effects, because then I’m not paying attention. I’m not being engaged in what the actual story is, so just because you can do it, doesn’t mean you should.

Ahmed, the second episode of this season is very powerful, and over the last few years, I’ve really admired your vulnerability, opening up about what some of those initial reactions were to Jar Jar and how those perceptions have evolved and changed. Was there a specific moment or specific encounter that you had, maybe with a fan, that really let you know that the tide was turning and that the perception of your character was different than maybe that initial critical reception? Or was it really just a sum total of so many different reactions along the way?

Best: I think it was more the sum total of the different reactions. I remember having a phone call with George in Washington Square Park right after the movie came out where he told me, he said, “20 years from now, this is all gonna be different.” And at the time, I didn’t believe him, because it was really affecting me now. And it’s hard to come to the realization that this wonderful moment in your life is the end of your life, at 26 years old, and as future-forward as George was at the time, I couldn’t see a future; not just for me as an artist, but for me as myself. And as an artist, it’s all I ever wanted to do. It’s all I ever wanted to be, and I turned into this poison that nobody wanted to be a part of.

Even when I started auditioning for things that were not motion captured, it was like the baggage [from] Phantom Menace came along with [me]. Nobody wanted to touch me, so I couldn’t find anything. I couldn’t do anything, and so it was very difficult for me to actually, even as time passed, it was difficult for me to see the change.

It really wasn’t until I told my story, after holding onto it for 20 years, that people started coming out and saying different things to me. It was almost as if all the people who love Jar Jar now had permission to say something. Everybody seemed really quiet up until that point.

The hardest part of it, as well, was the fact that Jar Jar was a piece of film history. I remember being in film school and somebody came in from another vfx house, and they were talking about how The Lord of the Rings was the first movie to do what Phantom Menace was [actually] the first movie to do, and I was in the room. They had no idea who I was or what they were saying, or how that was going to impact the history books.

I remember thinking two things. I remember thinking, one, that’s not accurate. As genius as Andy Serkis is, there was a movie that came before it, and I was a part of that. And then the other thing is the fact that I’m sitting in this room as a part of this legendary collaboration of film history, and this person has no idea — it’s a problem — which is why I said what I said in Light & Magic 2 about erasure. I’m really glad, Joe, that you kept that in, because it’d be very easy to leave that part out, and it’s very, very important that the record is correct when it comes to not only my involvement in this thing, and as a team member of ILM, but The Phantom Menace as a movie, and George Lucas’s position in history.

And the wonderful thing about Light & Magic 2 and what Joe has done with this film is the record is now corrected, and it’s out there, and it’s something that people can point to. And for all of us who are in the future space, it gives all of us two legs to stand on and hope for the future.

Johnston: Sitting in that classroom, were you tempted to say something?

Best: I was. Yeah, I really was, but it was difficult, because I didn’t really know. Number one, it was very emotional. It hurt a lot that I was forgotten about. It hurt a lot that I was sitting in that classroom, and I had no other opportunities to move the motion-capture technique forward. It was frustrating that the industry writ large decided to just sweep the problem under the rug and not deal with it. If you think about how we moved motion capture forward after Phantom Menace, it was Lord of the Rings, then it was King Kong, and then it was Planet of the Apes.

Now, Gollum, I could have done. But King Kong and Planet of the Apes — the backlash writes itself. So it really didn’t … I didn’t really have the opportunity to continue with this work and working with ILM is transformative. It’s transformative, because the unknown and the impossible? That’s every day. And if you’re an artist, tackling big questions is the game, and when you’re in that environment — everybody at ILM looks at big questions and goes, “Bring it on,” and it’s infectious, and it’s what you want to do every single day.

Joe, I would be remiss if I didn’t bring up the fact that you’ve worked on so many incredible franchises, like The Rocketeer is a seminal film. And now what Jumanji has become, Jurassic Park, Captain America — they’ve become these juggernauts of pop culture. Would you be interested in ever returning to one of those major franchises, given what they’ve become in pop culture?

Johnston: Well, it would depend on the story, it always does. I’ve been offered a couple of projects that were associated with those films, and the stories didn’t grab me. I’m not a writer. I wish I was, but the story is the foundation of every good motion picture and I’m always looking for something interesting.

Best: I think you can revisit The Rocketeer.

Johnston: Well, they’ve been talking about a sequel to The Rocketeer or reboot, whatever you want to call it, for 20 years or more.

Best: I got one: you could do the Rocketeer Corps. I think it’s not the Rocketeer, it’s the Rocketeers. That’s how you move The Rocketeer forward. Everybody wants to do reboots, but I think there’s another section of The Rocketeer where you can have a bunch of Rocketeers and be really great. That’s just my pitch.

Johnston: I’ll give you Bob Iger’s number, you give him a call.

Best: Bring him! I’ll call Iger, I’m not afraid.

Ahmed, do you want a producer credit or you do you want one of the Rocketeer roles?

Johnston: You have to have a role, come on.

Best: I definitely want to role, but if you know anything about me — I helped write the Yoda fight [from Star Wars: Attack of the Clones] which they put in Light & Magic 2, and I didn’t get credit or paid for that. I just wanted to see something wonderful. So that’s my entire impetus. I just want to see something great on screen.

Johnston: Don’t we all?

I have to say, that whole thing at the end [of Light & Magic Season 2] was never intended to be in the show. It was the closing party of ILM and Nicole [Pusateri], the line producer, insisted that we bring a camera. And so none of that would have been in the film without Nicole’s input.

That’s interesting, because that’s what I was wondering when they were scraping the name off of the door of the old offices, I thought, “There’s no they would just randomly be timing it to capture that footage.” So knowing that it was, “Hey, we need to record this for posterity,” that confirms it.

Johnston: The reason we wanted to do it was because there was a tour of the old ILM building which is now vacant, of course, and it was Rose Duignan who was saying, “This is where the model shop was, and this is where the front office was,” and all that stuff. But the actual party was not intended to be part of the show, but you know what? It worked out.

Light & Magic Season 2 is now streaming on Disney+.

This interview has been edited for length and clarity. You can contact Patrick Cavanaugh directly on Twitter or Instagram.

The post Light & Magic’s Joe Johnston and Ahmed Best Talk Season 2, Star Wars, and More appeared first on ComicBook.com.

Forget Pennywise, move over Art the Clown. There’s a new contender for the title of horror’s most terrifying painted menace, according to actor Kevin Durand. Speaking exclusively with ComicBook about the upcoming slasher film Clown in a Cornfield, Durand made a bold claim about the film’s antagonist, the menacing Frendo the Clown. The actor, known for roles in Locke & Key and Kingdom of the Planet of the Apes, confidently asserted that Friendo stands above the rest in the pantheon of killer clowns. Directed by Eli Craig and based on the popular young adult novel by Adam Cesare, Clown in a Cornfield generated significant buzz after its premiere at South by Southwest, promising a bloody mix of slasher thrills and sharp humor. Durand’s declaration only adds fuel to the fire, suggesting Frendo possesses a uniquely horrifying quality audiences won’t soon forget.

“I had received an offer from my manager, it was really funny,” Durand told us about how he joined the movie. “She was like, ‘I don’t know about the title, it’s called Clown in a Cornfield.’ I was like, ‘I have to read that. What is this?’ And I read it and I was like, ‘Oh, wow, this is so much more than I had thought it would be.’ It’s just so perfectly executed on the page. The humor was the thing that was probably the most attractive to me about it. Eli Craig just does this masterful job of relieving pressure every once in a while with a really great chuckle, and I just feel like, honestly, when I saw it at South by Southwest, I was like, ‘This is so far beyond what I hoped it would be.’ And people were just falling out of their chairs, terrified, and just slapping each other, laughing. It was fantastic.”

[RELATED: 7 Movies to Watch After Terrifier 3]

“I did read the book,” Durand explained about his preparation for Clown in a Cornfield. “But I didn’t exactly let that influence my performance a whole lot. I just went off of what I had on the page, in the script, because the script was very clear for me. The books are fantastic, I’m into the second one now. It’s just so entertaining. But it’s cool how Eli brings his humor to this, to these stories, and I’m definitely more drawn to being able to unearth those moments of humor to relieve the pressure from time to time of the fear that we will put in people’s souls.”

For our interview, Durand was also asked to rank Frendo among other evil clowns, such as Pennywise and Art. “I’m obviously a little sided,” he stated. “I’ve gotta put Frendo climbing to the peak of the group. I can’t divulge why. People are going to have to go to the theater on May 9th and figure out why I think he’s at the peak. He’s the pinnacle. Bring it on.”

What Is Clown in a Cornfield About?

Adam Cesare’s Clown in a Cornfield novel, which won the Bram Stoker Award for Superior Achievement in a Young Adult Novel in 2020, tapped into contemporary anxieties while delivering classic slasher thrills. The story centers on Quinn Maybrook (played by Katie Douglas in the film), who moves with her father (Aaron Abrams) to the struggling Midwestern town of Kettle Springs. The town is deeply divided between adults clinging to a nostalgic past after the local corn syrup factory shut down and teens eager to escape what they see as a dead end. This generational conflict boils over when Frendo the Clown, the factory’s eerie former mascot, begins a murderous rampage targeting the town’s youth. Cesare’s novel and its sequels (Frendo Lives, The Church of Frendo) blend sharp social commentary on cultural divides with the gore and suspense expected from the genre.

While Frendo is a one-of-a-kind killer, Durand did detail that there is some commonality among all villainous characters he plays, which is largely that none of them actually think of themselves as villainous.

“I never see them as bad guys, they’re just human beings who have beliefs that are different than the beliefs of the narrative that’s being told. They’re on the opposite end of the narrative, so I find that if you just play the human being, what they’re passionate about and what they want and what they enjoy and whatnot, then the story does the work for you,” the performer detailed. “If you concern yourself with playing the bad guy, then the bad guy is not very interesting. I remember when I was doing this show on Broadway, the director was saying, ‘Wait a second, wait a second, you’re supposed to walk and talk like a bad guy.’ And I was like, ‘What does that even f-cking mean?’ Me and that director had very different views about that, but luckily, my view has garnered me this very — I’m very lucky to get to play all of these characters, because I I have a lot of people coming up to me and saying, ‘Hey, I wanted you to win in the end.’ And that’s what would happen on the Broadway show. People come out and say, ‘I wanted Joe to win.'”

He added, “I love that because it’s just another human being who has a different way of looking at things, thinking about things, and that’s all we are. We’re all good guys in the world, but we’re also all bad guys compared to how someone else perceives us, right? We’re all good and bad, baby.”

Director Eli Craig, known for the 2010 horror-comedy Tucker & Dale vs. Evil and Little Evil, teamed with co-writer Carter Blanchard to bring Cesare’s Clown in a Cornfield to the screen. Durand portrays Mayor Arthur Hill, representing the town’s adult authority. The film carries an R rating for bloody horror violence, language throughout, and teen drinking, signaling a direct translation of the novel’s intense slasher elements within the Kettle Springs setting.

Clown in a Cornfield is scheduled to hit theaters on May 9th.

Where do you think Frendo will ultimately rank among horror’s killer clowns? Let us know in the comments!

The post Kevin Durand Explains Why Clown in a Cornfield’s Frendo Is the Scariest Killer Clown Ever appeared first on ComicBook.com.

Eric Pearson knows his Marvel. After emerging from the Marvel Writers Program, the screenwriter worked on multiple short films for the Marvel One-Shots series before penning episodes of the Marvel’s Agent Carter TV series. Pearson became further immersed in the world of superheroes and the Marvel Cinematic Universe with the feature films Thor: Ragnarok and Black Widow. However, it’s the recently released Thunderbolts* that he sounds the most proud about. The movie finds some of Earth’s mightiest losers banding together to battle an omnipotent threat while confronting their own personal demons.

In Thunderbolts*, Marvel Studios assembles an unconventional team of antiheroes—Yelena Belova, Bucky Barnes, Red Guardian, Ghost, Taskmaster, and John Walker. After finding themselves ensnared in a death trap set by Valentina Allegra de Fontaine, these disillusioned castoffs must embark on a dangerous mission that will force them to confront the darkest corners of their pasts. Will this dysfunctional group tear themselves apart, or find redemption and unite as something much more before it’s too late?

During a spoiler-filled interview with ComicBook, Pearson spoke about alternate Thunderbolts members, Sentry’s villainous turn, The Fantastic Four: First Steps, and more.

ComicBook: What was the mandate going into Thunderbolts*? What corner of the MCU did you want to explore?

Eric Pearson: No mandate. I came up with this on my own. There was no plan for a Thunderbolts movie. I found I had this window to make a movie. I had been doing Black Widow and had been able to be there, firsthand, to witness the rise of Florence Pugh and the great chemistry she had with David Harbour. I started talking with our producer, Brian Chapek, about future stuff. The Thunderbolts came up and I came up with a pitch to bring to Kevin Feige, which failed. I came up with a different pitch, which is essentially the version of this movie that exists now.

Some things have changed, some major moments have changed. One character changed quite a bit, but it was the same with Valentina wanting to dispose of all of her evidence. There is human evidence. She’s locking them down in this bunker and they are going to kill each other, but, wait, they figure it out. They have to work together and it doesn’t go so smoothly until they have to make an emotional decision to defeat a villain, who is actually not that bad. That’s what makes me so proud of this one, that it was a blank page. I loved Ragnarok. I loved Black Widow, but those things existed and were in motion. This was from a full stop to going.

How much leeway did you have over which members to include in the roster?

I don’t think there was anybody I asked for that we didn’t get. There was a point where I wanted Red Hulk to be the villain and they said, “No.” I was annoyed and now I’m happy. The Sentry is the perfect person. Any time you think you have it figured out and they tell you that you can’t do it, you are annoyed. There was a draft or two where Bucky was not involved. And there was a draft or two where Bill Foster was involved. Laurence Fishburne, Ava’s surrogate father, he comes in with [a role] bigger than a cameo and has a Goliath kind of moment and joins the team towards the end.

I think there was something with two old guys, him and David Harbour, who are not exactly fathers, but acting as fathers. I forget why that was pulled out. Probably because he didn’t have the same background trauma that these other characters had, which was the unifying theme.

Director Jake Schreier wanted Man-Thing on the team. Were there any characters that you kicked around that didn’t make the final cut?

Jake was very excited about doing Man-Thing. The other one was Zemo. Let’s get Zemo in there. We talked about it a lot. It wasn’t, “No, let’s deny the audience these people or deny our director this character that he wanted to use.” It was more like, “Let’s talk about it and find a way that doesn’t break the story we are trying to tell.”

What was very important to me is I found a story that wasn’t just a rehash of Suicide Squad. We have had two Suicide Squad movies recently and the last thing I wanted to do was, “Hey, we are going to put a team together.” Not because it’s a bad story, but it’s just because it is a story audiences are familiar with. They sit in there and say, “Oh, I know the moves of this story.”

Man-Thing, being an agent or some evidence that Valentina wanted to destroy… He is such an unpredictable creature. It kinda didn’t fit and we couldn’t figure out a way that made sense. And you look at Man-Thing and you are like, “What the hell is that?” We already had Bob, who was, “What the hell is that?” If you are dealing with Bob, why the hell is this normal-looking guy here versus this swamp monster? You are going to spend a lot of your time looking at the swamp monster as opposed to Bob, who needed a lot of attention because we needed to use that real estate between Bob waking up and Bob realizing he is the strongest thing that exists in the universe. That’s when you get to know the real Robert Reynolds, the one who has all this baggage and is trying to be a good person, but is held down by all his negative thoughts before he becomes too powerful.

We probably debated “capital N” versus “lower-case N” in New Avengers for hours. Every idea is talked about, but what we knew is we had a story that we liked, that had a theme that was cohesive and we didn’t want to break that just for a visual, fun character.

What kind of conversations did you have regarding Taskmaster’s death and the purpose that would serve?

Zero at all. That was the one biggest change. When they started shooting, I was back in Burbank working on Fantastic Four. When I saw the cut, the biggest change from my draft to later was Taskmaster’s death. Taskmaster lived out the movie in the last draft that I left them. I was as shocked as you were. I can only speculate, because I haven’t really talked to Jake in depth about this… Yeah, we did talk a little about this. He wanted to raise the stakes and have a shock moment, which also says, “This is a dangerous world.” We say these are bad people, but we see them be good quite a bit in this movie. Having a moment where it’s like, “They are coming from a moment where they have done heartless things…” But I did not make that call and I was quite surprised when I saw it.

How did you land on Sentry as the big band?

The pure Forrest Gump dumb luck. I guess you could say luck is being prepared and in the right place. When I was in the Marvel Writers’ Program in 2010 and 2011, you read a bunch of stuff. One of the things that I read was a Sentry comic. We had tried a couple of versions of the Thunderbolts* script where I always knew I wanted this thing to end with a hug, with a villain they cannot defeat. Ultimately, they are not that spectacular in their powers. That is not what makes them special. So, there is a physical villain they cannot beat. I wanted them to have an emotional breakthrough and end it with a hug.

There are a couple of versions where part of Valentina’s manipulation of them, for John Walker, she convinced him that his Super Soldier Serum was deteriorating and he needed updates. He needed updates. He needed to have monthly shots. What she was actually doing was implanting a “Hulk Bomb” or I think she even called them “A Bomb,” which is a very obscure character from the comics. But if she needed to create an event, she could set him off, so he would rage out into this big monster. It was fine, but it didn’t work the same. It was fun to make Walker detestable and then make him the person they had to save and have that be his big breakthrough of, “Oh, my God. What an asshole I’ve been.” At that point and realizing this wasn’t working after a couple of times, I just had this, “Wasn’t there a comic where Superman was blonde and he had Satan as his alter-ego?” I went back and read the comics and I was like, “Yeah, The Sentry is pure good and The Void is pure evil.” I was like, “What if it’s less vague as that and it’s more self-esteem and heroic ambition versus depression and self-loathing and isolation and loneliness?” That’s all our characters’ journeys lumped into one villain, one person, who can be their antagonist. It gave everything we wanted.

We didn’t want to deny the audience superhero-movie stuff because that’s part of why you see Marvel movies. So, what you get is instead of a big fight, is what I call… and it’s a wrestling term… “the Squash Match,” like when, “We have to introduce a new villain.” They bring him out and have him fight the nobody. In two minutes, he just demolishes them. We get to see The Sentry display these godly powers of, “Oh, my God. No one can beat him.” They are so screwed. And we get to have that fun Marvel action. Also, because the whole movie has been about trying to move beyond your past and making connections to people, not just judging them and rejecting them, it’s them being forced together. They slowly notice, “Oh, man. We are so similar.” That gives Yelena enough information and she has the courage to walk into the void, searching for him. It was luck that I had been in the writer’s program. Weirdly, Bob and The Void were a hard sell, at first. People were trying to cut him out for a while. They just had it be goons like Valentina’s soldiers. I was like, “No, this guy is the guy. He is the core of the movie.”

This movie serves as Sentry’s origin story. How did you want to present him?

The comic-book idea is very comic-book. “I’ve existed forever. All of you know me, but I am so powerful. My dark side is so powerful that I had to erase myself from all of your memories.” That’s way too big of an idea to get into one movie that’s not entirely about The Sentry. Taking some things from it – his memory loss and being able to play with it – felt like wanting to get to know Bob as a damaged person, who is dealing with so much.

Everyone can relate to feeling great sometimes and feeling like total trash some other times and really blaming themselves, and not thinking they are worth it. The idea of giving superpowers to that felt like a really fun way to explore all of our characters in the way they are going to handle their own personal traumas.

Do you view Thunderbolts* as a redemption story? Did the characters come out of this as better people?

I think so, for sure. I don’t think they are different. I think they are processing things better. I think that they have people who… The end credit scene is great. I didn’t write that. I’m jealous of it. I love that they are not a well-functioning team. They remain the Thunderbolts, even though they are called the New Avengers. They are bickering. They still feel inadequate. They are complaining about not being involved and branding and stupid stuff…. But they are together. I feel like that’s the big thing that is moving them forward, that they are able to take some pride in work. I still think that they are the same kind of complainy-ass people, which I love. I am so much more interested in taking the people no one is interested in and trying to do something fun and cool with them. It’s easy to take the Glengarry leads and make a sale. It’s harder to do that with your John Walkers and Ghosts.

Comic-book enthusiasts love to see heroes clash. That is what made Captain America: Civil War such a blast, where the Avengers duked it out with each other. What kind of rivalry does that ending set up between the two Avengers teams?

If you were to put a gun to my head, I don’t know if I could name the roster of the other team. You are talking about Sam Wilson and his own Avengers. I thought you were going to say Fantastic Four. It is interesting that all these groups are springing up. If there is going to be an Anchorman war at some point, where all the different news teams see each other in an alley and fight it out … It is a classic thing in Marvel and even in [Avengers:] Infinity War, where the Guardians of the Galaxy fight Tony and Doctor Strange and Spider-Man. I don’t want to say anything like that is going to happen because I don’t know what is going to happen. If they are going to do it, I want to watch it. It seems like a great device for a villain to succeed, when the heroes are distracted by petty sh-t. That is a villain like Victor Von Doom will take any advantage. If he sees you bickering amongst each other, he is going to move on you. So, yeah, I wouldn’t be surprised.

Even though you didn’t pen that end credit scene, it introduces the Fantastic Four into this universe. You also worked on the Fantastic Four: First Steps screenplay. What do you love about Marvel’s first family?

It’s interesting. When I came on, I had a lot of catching up to do. I had never really known them or understood what was great about them. It was really “Life Story” that got me. I believe it’s five different books, probably six issues per trade. It’s ’60s, ’70s, ’80s, ’90s, and 2000s. Each character has a main POV. I believe the first one is Reed, where he somehow goes and sees Galactus is coming and there is nothing they can do to stop him.

For me, what I loved about that was this story about a world that looked up to these people, specifically as their saviors. Reed is the smartest man in the universe. Sue has the biggest heart in the universe and is this political problem solver. Johnny is so cool. Ben is the rock. And, then the idea of dread… that Galactus is coming and Reed has no plan. And spending time in that dread and the world reacting and how the heroes react to being the people who are supposed to save us, and not being sure how they are going to do it. The dynamics of that were, “We are supposed to know everything. Now, we are faced with this formidable problem.” I love that pinch of fear I had. We are all scared. I hope the movie still lets that breathe, that time of dread.

Thunderbolts* is in theaters now.

The post Thunderbolts* Writer Eric Pearson Opens Up About the MCU’s Latest Adventure appeared first on ComicBook.com.