10 Marvel Villains Who Could Replace Kang as the Multiverse Saga’s Big Bad- Armessa Movie News

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The rollercoaster ride that is Marvel‘s Multiverse Saga keeps on turning. For, although it looked like the MCU was sticking by Jonathan Majors given his integral role in Loki season 2, it now appears his days as Kang the Conqueror are numbered.

According to a startling Variety report, Marvel execs and creatives recently hotly debated what to do with Majors and Kang at the studio’s annual Palm Springs retreat. Interestingly, despite fans assuming the most likely outcome would be the character getting recast, Marvel is known to be debating removing Kang as the Multiverse Saga’s big bad period and switching him out for a different villain.

If that is the road the studio decides to go down, luckily for Marvel, this universe isn’t short of iconic and/or powerful bad guys to pick from as Kang’s replacement. Here’s a few of the most compelling options.

Doctor Doom

Image via Marvel Comics

Let’s get the obvious one out of the way first. As has naturally got fans talking, Variety confirmed that one of the characters Marvel is considering replacing Kang with is none other than the Fantastic Four’s eternal nemesis, the ruler of Latveria himself, Victor Von Doom. After Fox managed to screw him up twice over, the MCU certainly needs to do Doom justice at long last, and yes, casting him as the all-important chief threat of the Multiverse Saga would be one way to do that. Of course, there’s even comic book precedence for this, given that Victor is the big bad of 2015’s Secret Wars event, in his God Emperor Doom form.

The Beyonder

The Beyonder, Secret Wars villain
Image: Marvel Comics

The big bad of 1984’s original Secret Wars event, meanwhile, is the Beyonder. With everything pointing to Avengers: Secret Wars being a soft reboot of the MCU, it’s likely the movie will borrow from the 2015 storyline (which likewise hit the reset button of continuity) more than the ’84 version. Still, the Beyonder would still easily slip into the MCU’s mythos, given that it’s been introducing more and more cosmic entities of late (e.g. the Watcher and Thor: Love and Thunder‘s Eternity). We even just got a — highly camp and comedic — adaptation of the Beyonder in Disney’s Moon Girl and Devil Dinosaur cartoon.

Strange Supreme

Image via Disney Plus

Marvel has developed a bit of an obsession with Dark Doctor Stranges, with the very similar but distinct variants Strange Supreme and Sinister Strange appearing in What If…? and Doctor Strange in the Multiverse of Madness, respectively. In the latter, we discovered that every Strange across reality is destined to break bad except for the 616 model. Giving Benedict Cumberbatch a pay rise and asking him to step into Majors’ shoes as the Multiverse Saga’s big bad would be a simple way of fixing the Kang problem by making use of pre-established continuity. Alternatively, how about Charlize Theron’s Clea turning out to be the bad’un?

Apocalypse

Apocalypse Marvel Comics
Image via Marvel Comics

OK, so if Marvel is tempted to use a Fantastic Four villain that Fox failed to adapt properly as a Kang replacement, then why couldn’t they do the same with an X-Men villain? One who’s certainly powerful enough to pose a widespread thread is Apocalypse — you don’t get a name like that by being a mere nuisance. As tempting as it would be to have Oscar Isaac pull double duty as Moon Knight and En-Sabah-Nur, an all-new variant of Apocalypse, to distance him from the Fox version, would definitely be the way to go if the ancient mutant did rise up to steal Kang’s spotlight.

Annihilus

Annihilus Marvel Comics
Image via Marvel Comics

It’s easy to mix up Annihilus with Apocalypse for those not too familiar with the comics characters, due to their similar names and character designs, but actually Annihilus has a lot in common with the MCU’s Kang, which could make him a neat choice to fill his boots. Like Kang is the ruler of the Quantum Realm, Annihilus is the ruler of the Negative Zone and craves total domination of the universe. They even both have a thing for purple and green! Marvel could easily retcon him as a Kang variant, perhaps the deadliest of them all, and set him loose on the Avengers in Avengers: Kang Dynasty Annihilation.

Ultron

Infinity Ultron wields the Infinity Stones in What If...?
via Disney Plus

Again, What If…? really could hold the secret to rescuing the Multiverse Saga, thanks to its various multiversal plotlines. We’ve already met Infinity Ultron, a variant of the android who was far more ambitious than Thanos in wielding the Infinity Stones. Get James Spader back, bring him into live-action and, boom, job done — a powerful villain who would hark back to the nostalgia of the MCU’s first two phases. He’d be especially deadly if Miss Minutes ever evolved into Jocasta, the Bride of Ultron, as Loki season 2 has suggested could happen.

Ravonna Renslayer

Photo montage of promotional images from Marvel Studios' 'Loki' and a panel from a Marvel Comics' issue where Kang the Conqueror and Ravonna Renslayer can be seen locking lips.
Images via Marvel Comics/Marvel Studios/Remix by Francisca Tinoco

Speaking of Loki season 2, maybe we’re thinking too hard about this when a totally creditable choice to replace Kang as big bad has already been threaded into the Multiverse Saga’s narrative. In Loki, we’ve learned that Ravonna Renslayer was once Kang’s partner in war, multiverse conquest, and love, until he wiped her memories and trapped her in a TVA desk job. She’s now more furious, vengeful, and power-hungry than ever. Given we’re told she was instrumental in winning the Multiverse War for He Who Remains, she should theoretically be a challenge for the Avengers to beat.

High Evolutionary

The High Evolutionary in Guardians of the Galaxy Vol. 3
via Marvel Studios

Thinking along similar lines, who else is there already knocking around the Multiverse Saga who could easily step up in Kang’s stead? Well, how about the villain of Phase Five’s most acclaimed movie so far, the High Evolutionary? James Gunn has confirmed that the evil scientist is still alive at the end of Guardians of the Galaxy Vol. 3. Seeing how obsessed he was with playing God in the threequel, imagine how much more dangerous the High Evolutionary would get if he discovered the multiverse and teamed up with his variants to make himself ruler of all reality?

Mephisto

Mephisto
Photo via Marvel Comics

Weirdly enough, it feels like the shadow of Mephisto has been hanging over the Multiverse Saga as much as Kang, even though he has yet to appear on screen. Starting with WandaVision, folks have been convinced Marvel’s answer to the devil can’t be far away. And it is heavily rumored that Sacha Baron Cohen’s mystery character in Ironheart could be the horned hell lord himself. It would be a seriously impressive example of the power of fandom if everyone’s hunger for the character resulted in Mephisto becoming the big bad of the whole saga.

Thanos

thanos avengers endgame
Image via Marvel Studios

No, I’m serious. Hear me out…

We know Marvel’s desperate to recapture the glory days of the Infinity Saga, yes? It’s even tempted to bring back Robert Downey Jr. and the other OG Avengers. But let’s extend that line of thinking for a moment and ponder the question… What if Thanos replaced Kang as big bad? Either bring in an even deadlier variant or reveal that he never actually died when Iron Man dusted him, as has been heavily theorized.

There’s a reason Star Wars keeps coming back to Darth Vader over and over. Try as Lucasfilm might, he’s impossible to top. Likewise, Thanos is Marvel’s greatest villain and it’s not going to be able to recapture the impact he made on audiences and pop culture alike. So maybe it’s time to stop fighting that and embrace it.

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Is Marvel in Trouble? The 10 Most Shocking Revelations About the MCU’s Multiverse Saga, Explained- Armessa Movie News

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“Is Marvel in trouble?” That seems to be the question that’s been asked over and over again ever since the Multiverse Saga began, but some fresh fuel has been added to the fire to make fans ask the question with even more immediacy and anxiety.

Variety has shared a jaw-dropping exposé about Marvel’s, well, honestly kind of catastrophic 2023, reporting various shocking behind-the-scenes developments concerning everything from Jonathan Majors’ future in the franchise to the state of The Marvels. Here’s the 10 biggest revelations that are making us realize if Marvel really is in trouble.

1. Marvel doubted Jonathan Majors as Kang even before his arrest

via Marvel Studios

Marvel’s creatives held their annual Palm Springs retreat this September and, according to Variety, what to do with Jonathan Majors was apparently, and unsurprisingly, the big discussion point. Interestingly, though, it’s claimed that the studio has been doubting whether to stick behind Jonathan Majors as the focal point of this saga since Quantumania massively underperformed, before the actor’s legal problems began.

2. Marvel is considering promoting Doctor Doom to big bad

Doctor Doom Marvel Comics
Image via Marvel Comics

When it comes to replacing Majors as the Multiverse Saga’s big bad, generally the conversation has revolved around which actor could take over the role of Kang. One alternate option that Marvel discussed at the retreat, however, was ditching Kang altogether for a different main villain. Doctor Doom, in particular, was touted as a potential pick, although it’s unclear how popular this idea was.

3. Marvel is considering resurrecting Iron Man and Black Widow

Screengrab via Marvel Studios

Marvel is desperate to recapture its glory days, that much is clear, and that might even involve convincing its old stars to return to the fold. The studio is reportedly unafraid to break the bank and invite Robert Downey Jr. back as Tony Stark, not to mention Scarlett Johansson as Black Widow. As you’d expect, the multiverse would be the reason how these heroes could return following their deaths in Avengers: Endgame.

4. The Marvels required a hefty 4 weeks of reshoots

Captain Marvel and Monica Rambeau in The Marvels
Image via Disney/Marvel Studios

Reshoots are nothing to write home about when it comes to Marvel productions, but the fact that The Marvels had to undergo an entire month of extra filming in order to get it in usable condition is still more than a little eyebrow-raising. Marvel is believed to have felt the film was suffering from a “tangled storyline” after principal production, hence the hefty reshoots. Unfortunately, test audiences still only gave it a “middling” reception.

5. Director Nia DaCosta exited The Marvels during post-production

Nia DaCosta
Photo by Corey Nickols/Getty Images for IMDb

In further alarming The Marvels updates, director Nia DaCosta is said to have ditched her big MCU debut during post-production. The filmmaker supposedly stepped away in order to start work on her indie drama film, Hedda, starring Tessa Thompson. “If you’re directing a $250 million movie, it’s kind of weird for the director to leave with a few months to go,” said an insider source.

6. She-Hulk was even more exorbitantly costly than Secret Invasion

Tatiana_Maslany_She_Hulk_Attorney_at_Law
Image via Disney Plus

Remember when Secret Invasion came under fire for sporting a budget of over $200 million? Well, it turns out She-Hulk: Attorney at Law earned an even bigger price tag, costing around $25 million an episode and $225 million in total, making it $10 million more expensive than SI. The blame is being rested squarely at Kevin Feige’s door by those in the know, thanks to creative overhauls that required VFX to be redone late in the day.

7. Kevin Feige is being “spread thin” as Marvel piles on the projects

Kevin Feige at SDCC 2022/Anthony Mackie as Sam Wilson in 'The Falcon and the Winter Soldier'
Image via Daniel Knighton/Getty Images/Marvel Studios

Speaking of Feige, the Marvel president has always been viewed as the studio’s golden goose with his hands all over every single product that comes out the pipeline, but lately it’s felt like certain films and shows have been missing his magic touch. It seems that’s because there are just too many productions coming out for Feige to give each one the attention he’d like. “These days, he’s spread thin,” was the ominous warning given by Variety‘s source.

8. Bob Iger was furious over Quantumania‘s VFX troubles

MODOK in Quantumania
Image via Marvel Studios

In the wake of Quantumania‘s release, Marvel’s VFX artists came forward about the toxic working conditions they faced on the film, which ultimately led them to unionize. Disney’s comeback kid CEO Bob Iger is said to have been “apoplectic” about the bad PR fallout from this and was looking for someone to blame for why Marvel’s “quality control” was “plummeting.” Insiders say this was the real reason long-term producer Victoria Alonso was fired, as a “scapegoat.”

9. ‘Bizarre’ Blade screenplay sidelined Mahershala Ali’s antihero

Mahershala Ali in a purple suit faces the left while Blade from the Marvel comics looks fiercely to the right.
Images courtesy of Marvel

Remember Blade? The Mahershala Ali reboot was announced over four years ago and it’s seemed to be spinning in place ever since. Various scripts have come and gone, with one “bizarre” rendition reportedly female-led and filled with “life lessons,” with two-time Oscar winner Ali reduced to the “fourth lead.” As things currently stand, Logan‘s Michael Green is the latest screenwriter and its budget might be shrunk to less than $100 million.

10. It all rests on the arrival of the X-Men and the Fantastic Four

2015's Fantastic Four/2000's X-Men
Image via 20th Century Fox

With the Multiverse Saga definitely not going as Marvel hoped so far, the studio looks to be banking it all on the incoming arrivals of two lucrative Fox IPs, the X-Men and the Fantastic Four. With exciting new characters and brands entering the fray all the time, then, Marvel might not be in as much trouble as it appears. Like one expert that Variety spoke to put it, “Writing the Marvel obituary would be ill-advised.”

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Josh Hutcherson’s Spider-Man Audition Video Resurfacing Sparks Calls For MCU Multiverse Casting – Armessa Movie News

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An audition video of Josh Hutcherson as Spider-Man has resurfaced, sparking calls for a multiversal appearance from the actor in the MCU.

This article covers a developing story. Continue to check back with us as we will be adding more information as it becomes available.

Summary

  • Josh Hutcherson’s audition video for Spider-Man has resurfaced, sparking speculation about his potential role in the MCU amid the concept of the multiverse.
  • Hutcherson’s success in the Blumhouse adaptation of Five Nights at Freddy’s has brought attention to his Hollywood past, including his audition for Peter Parker in The Amazing Spider-Man.
  • The audition video shows Hutcherson performing a stunt test where Peter Parker fights off bullies, leading fans to call for him to revisit the role that ultimately went to Andrew Garfield.


An audition video of Josh Hutcherson as Spider-Man has resurfaced online, leading many to wonder if a role in the MCU could await through the concept of the multiverse. Given that Hutcherson is the star of the highly successful Blumhouse adaptation of Five Nights at Freddy’s, the actor is currently in the pop-culture spotlight. This has led several aspects of his Hollywood past to resurface from his compelling turn as Peeta Mellark in The Hunger Games to a period in which he flirted with becoming Marvel’s iconic Web-Slinger.

One such video has appeared online via Blurayangel which highlights a long-forgotten video of Hutcherson auditioning for the role of Peter Parker. The video comes from the early 2012’s when director Marc Webb was searching for an actor for what became 2012’s The Amazing Spider-Man. The video shows Hutcherson engaging in a stunt test involving Peter Parker fighting off a group of bullies which, in light of the ever-expanding MCU multiverse, has sparked calls for the actor to revisit the role that eventual went to Andrew Garfield.

Source: Blurayangel

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LEGO Marvel Avengers: Code Red – Trailer – In a multiverse threatened by the enigmatic Red Phantom, Lego Marvel Avengers unite with quirky counterparts to stop reality chaos.- Playlists

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LEGO Marvel Avengers: Code Red – Trailer – In a multiverse threatened by the enigmatic Red Phantom, Lego Marvel Avengers unite with quirky counterparts to stop reality chaos.

LEGO Marvel Avengers: Code Red | Official Trailer | Disney+

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Brining Back Harry Styles is Marvel’s Best Chance to Save the Multiverse Saga- Armessa Movie News

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I know what you’re thinking. Why on God’s green earth am I suggesting the MCU character almost everyone rolled their eyes at should return after appearing in the movie everyone unilaterally agrees is one of the franchise’s worst?

Poor critical reception or not, Eternals is still a player on the Marvel chessboard, and the Multiverse Saga’s storyline depends on the storylines it teased. Case in point: Harry Styles as Eros aka Starfox aka Thanos’ brother in the movie’s post-credit scene. 

On paper alone, the brother of the Big Bad who terrorized Earth’s Mightiest Heroes in the Infinity Saga feels like the perfect follow-up to headline the subsequent saga. As we know, that hasn’t happened, and probably for the best as Kang is — again, on paper — the better villain to see the MCU through the next several years of its evolution. Still, there’s a Harry-style-sized hole in the MCU that speaks to a greater problem plaguing the cinematic franchise. 

Image via Marvel Studios

If you recall, we have been teased a number of characters and storylines throughout phases four and five that remain so firmly stuck in limbo it’s starting to feel like they’re in purgatory. You have the homing beacon inside the Ten Rings that still hasn’t been explained; you have Starfox and the Ebony Blade arc in Eternals that has gone nowhere; you have Clea coming to Doctor Strange at the end of Multiverse of Madness; Hercules and Love from Thor: Love and Thunder; Toussaint from Black Panther: Wakanda Forever; and Phyla-Vell aka Quasar from Guardians of the Galaxy Vol. 3

Doctor Strange in the Multiverse of Madness
Screengrab via Marvel Studios

That’s not even an exhaustive list of the storylines that have gone nowhere — that’s just from post-credit scenes alone. Sure, the Infinity Saga had its fair share of dead-end plot points, but the Multiverse Saga is piling them up with concerning efficiency. 

At this point in the Infinity Saga — 10 movies in — we were at Guardians of the Galaxy and fully comprehending the gravity of the Infinity Stones and the danger they posed should they wind up in the wrong hands. The only semblance of an overarching plot thus far in the Multiverse Saga has come from Kang and his dynasty of variants in the post-credit scene of Ant-Man and the Wasp: Quantumania. Everything else along the way has been left to fizzle so long they’re turning flat before our very eyes. 

Hercules in Thor: Love and Thunder
Photo via Marvel Studios

If there’s a through-line in the Multiverse Saga, it’s buried beneath the carcass of long-forgotten characters and plots. At present, Black Widow is the only Multiverse Saga movie that paid off its post-credit scene; watching Valentina Allegra de Fontaine show Yelena Clint Barton’s photo knowing the two will cross paths in Disney Plus’ Hawkeye is actually quite refreshing.

My only hope is The Marvels’ post-credit scene (because we know there will be one) holds off on introducing anyone or anything brand new unless there are immediate plans to pay it off in Deadpool 3, Captain America: Brave New World, or Ms. Marvel season 2 (even that feels a tad too long). Marvel’s best bet would be to use the post-credit scene in The Marvels to answer a question instead of posing a brand-new one. 

Something tells me we might never see Harry Styles in the MCU again. That’s just me. If so, don’t let this Grammy Award-winning singer’s selfless sacrifice be in vain, Marvel. However, if Marvel does intend to get the Multiverse Saga back on track, bringing back Harry and all the other post-credit scene victims is a great place to start.

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5 Times the MCU Made Us Miss Iron Man in the Multiverse Saga- Armessa Movie News

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Iron Man is dead. Yes, we know, he died back when Avengers: Endgame released in May 2019, but now reality has caught up with fiction as Oct. 17, 2023 is canonically the date of Tony Stark’s heroic self-sacrifice. The Marvel fandom is missing the Armored Avenger all over again, then, proving that the years haven’t dulled the pain of the daddy of the MCU’s demise. And that’s no surprise given that the Multiverse Saga’s many slip-ups have meant we’ve never been able to forget him.

On top of the character continually being referenced throughout Phases Four and Five, whether that be through Riri Williams taking up his legacy as Ironheart in Black Panther: Wakanda Forever or Loki recalling the events of The Avengers in Loki season 2, multiple MCU outings since 2020 have only made us miss Iron Man all the more because we can’t help but feel they’d have been infinitely better (even Infinity Saga-level better) if Robert Downey Jr. had turned up.

Black Widow

Photo via Marvel Studios

The Multiverse Saga had us crying out for Iron Man as soon as it started in Black Widow. Why? Well, if you can cast your mind back that far, there were some serious rumors when the Scarlett Johansson vehicle was shooting that Robert Downey Jr. was going to drop by for a cameo — BW is set in between Civil War and Infinity War, remember, so it wouldn’t have broken canon. Unfortunately, that didn’t end up happening, but even a walk-on part from Tony would’ve livened up this middling start to Phase Four.

Eternals

Makkari, Gilgamesh, Thena, Ikaris, Ajak, and Sersi in 'Eternals'
Image via Marvel Studios

Eternals has its fans, for sure, but the fact Marvel seems entirely embarrassed by this enterprise and has been trying to sweep it under the rug ever since says it all. We all know Marvel’s addiction to quippy dialogue is an albatross around its neck at this point, but the 156-minute long mythological epic would definitely have been more palatable if Tony Stark could’ve dropped by to add some charm and levity to proceedings. A bit of Iron Man magic might’ve stopped Eternals from feeling like a Zack Snyder DCEU movie masquerading as a Marvel film.

Spider-Man: No Way Home

Benedict Cumberbatch as Doctor Strange in 'Spider-Man: No Way Home'
Image via Marvel Studios

Spider-Man: No Way Home is spectacular, amazing, and any other superlative associated with Spider-Man you care to mention, I’m not denying that, but it definitely could’ve used some of Tony’s touch. I’m sorry, Doctor Strange, but you seriously pale in comparison to Iron Man in the department of being a good mentor to Peter Parker. If Stark was still around, Spidey could’ve got some helpful advice about how to deal with living in the spotlight instead of leaving a sorcerer, who really should know better, to mess up the multiverse.

Ant-Man and the Wasp: Quantumania

ant-man and the wasp quantumania
Photo via Marvel Studios

Not to steal the limelight from Paul Rudd’s Scott Lang, but imagine how much more epic Quantumania would’ve been if it was Iron Man 4 instead of Ant-Man 3? The previously beloved Ant-Man franchise wouldn’t have been blown out of shape to accommodate the MCU’s new big bad and pitching Kang against the MCU’s number one hero would’ve ensured he was seen as a formidable foe right off the bat. And, honestly, it’s criminal that Hank Pym and Tony never shared any screentime. We needed Hank to realize the Starks ain’t all bad!

Secret Invasion

secret invasion
Image via Marvel Studios

Well, this one just speaks for itself, doesn’t it? Secret Invasion was an Avengers-level comic book event, so naturally the ultimately dismal Disney Plus series would’ve been a whole lot more entertaining if some of the Avengers had actually shown up. Especially Iron Man. He might’ve been the man who brought together those remarkable people in the first place, but Nick Fury was truly ineffectual in SI, leaving the Skrulls in a much worse place than he found them. Even Tony, not known for his diplomacy skills, could’ve done a better job. And, besides, if Iron Man was around to fight Gravik we wouldn’t have had to endure that awful, nonsensical Super-Skrull battle in the finale.

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Forget Thanos, MCU Phase 5’s Multiverse Villains Just Made The Snap Look Insignificant – Armessa Movie News

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Warning: This article contains SPOILERS for Loki season 2 episode 2


Summary

  • Marvel’s Phase 5 has introduced new villains who have killed more victims than Thanos, with a genocide on a devastating scale.
  • The TVA’s mission to prune branches in the timeline resulted in the destruction of entire universes, wiping out 100% of existence, and not just half.
  • The TVA’s mass killing mission is arguably more evil than Thanos’ plan for universal balance, as it is based on a rigid agenda and lacks randomness or consideration for the potential good in variants.

Forget Thanos, Marvel’s new Phase 5 villains have just killed the most victims in MCU history, and it’s not even close. If you thought the murder of millions using the Infinity Stones in Avengers: Infinity War‘s ending was the most devastating loss of life the MCU will ever see, Loki season 2 will make you think again. The genocide witnessed in the name of saving the multiverse from itself is as devastating in scale as its simplicity was terrifying.

There are few things that are certainties: death, taxes and the escalation of superhero movie villains. No sooner was Loki dusting himself off after his failed invasion of Earth in The Avengers than Thanos was winking at the camera in the post-credits scene. And even as the Mad Titan’s dust pile was still smoking on a field outside New York after Avengers: Endgames‘ ending, plans were already afoot to bring Kang to the MCU. Or, more relevantly, thousands of Kangs. Even now, the conversation of what bigger threat comes after Kang is happening among fans: Galactus? Ahhihilus? The crushing weight of expanded continuity? Before any of that becomes a reality, Loki‘s newest villains have made Thanos’ universal genocide look like a real blip.

Related: Thanos’ Complete MCU Timeline Explained

Loki’s TVA Just Killed Way More People Than Thanos

In Loki season 2 episode 2, General Dox (Kate Dickie) delivers on her plan to “fix” the multiversal mess Sylvie created by killing He Who Remains (Jonathan Majors) in Loki‘s season 1 finale, by leading a rogue faction of TVA hunters on a mission to destroy every branch destabilizing the Sacred Timeline. In a move designed for the Greater Good, Dox’s loyalists planted bombs on countless branches, destroying them in an effort to avoid a total multiversal meltdown. Shockingly, the mission succeeded, wiping out innumerate branches in a matter of minutes, as the hunters jumped from one to another.

As pointed out by Hunter B-15 (Wunmi Mosaku), the mass pruning of branches by the rogue TVA hunters killed billions, but the true scale of their genocide was underplayed by Loki season 2 episode 2. Every bombed branch represented an entire universe, and billions upon billions of lives on every planet, eclipsing the scale of Thanos’ Infinity War snap multiple times over. Thanos wiped out half of existence, but the TVA just wiped out 100% of existence in any number of entire universes. The scale of those victims is almost impossible to imagine.

Related: Loki Movie & TV Inspirations Behind The TVA Explained

Why The TVA Are More Evil Than Thanos (For 2 Reasons)

Jonathan Majors as He Who Remains in Phase 4's Loki

Like Thanos, the TVA believe their mission is for the Greater Good. Even Loki himself acknowledges in episode 1 that He Who Remains made the most difficult decisions to avoid an even worse future: the Multiversal War that He Who Remains had already won against his variants. Thanos’ endgame was obviously universal balance, making the difficult choice to wipe out half of existence so the other half could thrive. In both cases, there’s certainly an element of right to their plans, but there’s also complex moral questions too: not least, who appointed the killers gods to decide the fate of everyone else? Arguably, the TVA are also more evil in their mission of mass killing than even Thanos.

The Mad Titan’s plan was at least random in the interest of balance: in both iterations of the TVA (He Who Remains and Dox’s faction after his death), there is nothing random. Every branch is decided to be rogue because they deviate from the approved timeline He Who Remains decided was the Sacred one. Every variant, every imperfection, and every outsider – like Sylvie and almost every other Loki – were unacceptable, detouring the prescribed path of the Sacred Timeline in defiance of He Who Remains’ agenda for self-preservation. In among the villainous Kang variants, though, there could be good that would be destroyed in the name of cruel, uncaring order. That is not balance, it’s tyranny, and Loki confirms the devastating cost of it.

New episodes of Loki season 2 release every Thursday on Disney+

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An MCU Director Dodged a Dismal Sequel a Decade Before the Multiverse Saga Began as ‘Fantastic Four’ Toes the Party Line- Armessa Movie News

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So many filmmakers have flirted with Marvel without taking the plunge and diving in that we don’t even know about, and in certain cases they can circle back around years later to finally sign on and prove their previous reticence to be entirely justified.

That was proven to be the case very recently by a cinematic universe veteran who dodged a ghostly bullet, but that’s not all to have been going on in the weird and wonderful world of the MCU. Elsewhere, the Fantastic Four reboot has been dropping hints, but they’re exactly the same hints we’ve heard dropped dozens of times before.

Not only that, but Loki sure seems keen to remind everyone that it exists in a multiverse that’s not even the best the industry has had to offer since it became the new in thing.

Doctor Strange director made smart call skipping out on the dire Ghost Rider sequel

Screengrab via YouTube/Furious Movies

Nicolas Cage playing a vengeful supernatural superhero with a skull made of fire is awesome on paper, but the Ghost Rider duology was anything but. That being said, the original looked like a masterpiece compared to Spirit of Vengeance, which was turned down by a certain Scott Derrickson.

The filmmaker revealed that the script he read could have quite possibly ended his career, and it turned out to be a savvy move in the long run when he was announced as the mastermind behind Doctor Strange just a couple of years later.

Fantastic Four director calls it the MCU’s version of the ‘I’m not like other girls’ meme

fantastic four 2005
Image via 20th Century Fox

Every time a new MCU feature begins the arduous process through development and ultimately onto the big screen, we’re told almost without fail that it’s going to be unlike anything we’ve ever seen from the long-running franchise before.

If you can believe it, Fantastic Four director Matt Shakman trotted out that very line during a recent interview teasing whatever morsels he could, but the proof will be in the pudding considering his reboot will be the team’s fifth feature-length outing with a fourth different lineup.

Loki sticks to the Ke Huy Quan everyone knows and loves, for better of worse

loki season 2
Image via Marvel Studios

The comeback king has cemented his incredible phoenix-like rise from the ashes by following his Academy Award win for Best Supporting actor with a pivotal backing role in the biggest franchise in the business.

And yet, there’s a growing belief Ke Huy Quan’s OB is a little too much like Everything Everywhere All at Once‘s Waymond Wang, hardly ideal considering the Best Picture winner is a vastly superior multiverse story to anything Marvel Studios has told since the start of Phase Four.

That’s it for another week of all things Marvel, but as always, be sure to check back tomorrow when the touchpaper gets lit again.

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THE FLASH Review: More Multiverse, More Madness – Armessa Movie News

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In stop-start development for a decade in its most recent incarnation (and longer still in others, not including multiverse variations), The Flash, the DC comic-book character co-created by Robert Kanigher and Carmine Infantino in 1956, arrives in multiplexes across the country as the last, inevitable gasp — or one of them, anyway — of the ill-conceived, ultimately poorly received DCEU (DC Extended Universe).

In their finite wisdom, Warner Bros.’s executives handed creative control of the DCEU to Zack Snyder (Justice League, Batman v. Superman, Man of Steel) after the seemingly unstoppable success of Marvel’s cinematic universe. The borderline nihilistic, grim-dark result alienated far too many fans, casual and otherwise, to continue as a viable standalone universe.

The Flash, with his singular ability in his comic-book incarnation to bend and reshape time, create alternate timelines, and thus, a multiverse of creative possibilities, was ready-made for Warner Bros.’ brand-salvage project, ending the DCEU proper with whatever flourish or excitement a seemingly endless series of writers and directors could provide while resetting, if not outright rebooting the DCEU for the incoming CEO duo of James Gunn and Peter Safran. Gunn and Safran will decide whether this incarnation of Barry Allen / The Flash (Ezra Miller) will continue or whether he’ll be not just recast with another actor, but given a top-to-bottom makeover.

What happens next, though, remains speculative at best. This particular version of Barry Allen / The Flash has spent his minimal DCEU time purely in a supporting role, stepping in when needed for the occasional nervy quip or CGI-heavy speed run to help the older, better known DC superheroes (Batman, Superman, and Wonder Woman, aka DC’s Holy Trinity).

Here, at least, he’s front-and-center from the get-go, trying unsuccessfully to get a much-needed caloric intake at a local cafe in Central City before Alfred Pennyworth (Jeremy Irons) calls him up to help with a collapsing hospital in nearby Gotham City. Allen’s mentor and part-time friend, Bruce Wayne / Batman (Ben Affleck), can’t help as he’s otherwise indisposed chasing down minor-league villains with big-league aspirations (i.e., the theft of a super-secret biological weapon).

That, in turn, leaves the Flash to use his time-altering ability to save an entire maternity ward’s newborns before they plunge to their deaths from the collapsing hospital. Under Andy Muschietti’s (It: Chapter 2, It: Chapter 1, Mama) mostly assured directorial hand, the resulting sequence doubles as both a highlight — possibly the film’s most memorable highlight — and a sizzle reel for the numerous effects teams who contributed to the set piece. Overflowing with visual gags, puns (“baby shower”), and comical cheekiness, it reintroduces the Flash as a anti-grim-dark superhero, better attuned to current and near-future audience expectations.

Unfortunately, that lightness of tone almost immediately gives way to Snyder-style melodramatics as Allen, still scarred by the loss of his mother, Nora (Maribel Verdú), to a violent home invasion, and his father, Henry (Ron Livingston, replacing Billy Crudup), jailed for her murder, finds himself contemplating the unthinkable: Turning back time and saving his mother. While Wayne warns him against time travel and its potential, unintended effects, Allen can’t help himself, giving into fantasy wish-fulfillment and saving his mother, thus ensuring a personal future without loss or heartbreak. Or so he imagines.  

The remainder of The Flash’s running time (no pun intended) turns on Allen’s decision to unmake time: The “new” past he creates saves his mother, but also erases meta-humans from existence, leaving only a college-age, pre-superhero Allen and an alternate timeline Bruce Wayne / Batman (Michael Keaton) to save the world when General Zod (Michael Shannon) and his army of disgruntled Kryptonians arrive on Earth, looking for a certain, long-lost Kryptonian and promising violent retribution if said Kryptonian hasn’t been returned to Zod and his minions for judgment, imprisonment, or worse.

The Flash provides an in-alternate universe rationale for the Bruce Wayne/Batman swap-out, the lack of meta-humans, and two Barry Allens existing simultaneously, but whether audiences buy into what Muschietti and the lone credited screenwriter, Christina Hodson (Birds of Prey, Bumblebee, Shut In), offer — something involving multiversal spaghetti and unchangeable pivotal events — but it matters far less than the overwhelming hit of nostalgia audiences will experience when Keaton puts on the cape-and-cowl again. Later, much later, the Flash, stuck in a stadium-sized time-sphere inside the so-called “Speed Force,” watches intently as different iterations, past, present, and otherwise, of their favorite superheroes make cartoonishly awful appearances, one after the other (ad infinitum and ad nauseum in egregious fan service run amok).

An absolute low for the film and the soon-to-be-defunct DCEU, that particular sequence eventually, thankfully ends, but not before souring what should have been a semi-triumphant standalone story featuring the “Fastest Man Alive” using all of his meta-human abilities, along with Barry Beta, Keaton’s returning Batman, and a monosyllabic, underused Kara Zor-El / Supergirl (Sasha Calle), to save the world, a universe, and even the multiverse he inadvertently sent into a self-destructive spiral. It’s almost enough to create the desire to see the Flash, this Flash, in another superhero adventure.

While much can be said about the variable visual effects work, an all-too-standard expectation nowadays given rushed production schedules and at least in this case, multiple reshoots, they’re generally excusable, if not exactly forgivable. Here, they range from near-best to all-time-worst, though some might confuse quality with top-down decision-making (i.e., cartoonish alternate worlds Barry briefly sees).

Still, story and character matter most and at least here, Barry’s inability to get through his grief, while standard issue for superheroes and thus worthy of a moratorium, does, in fact work. It works as a crucial plot point, an emotional pivot, and thanks, surprisingly enough to Miller’s layered performance, a reminder of what superhero storytelling can deliver beyond visual pyrotechnics.

The Flash is now playing in movie theaters throughout the world, via Warner Bros.

THE FLASH - FINAL TRAILER

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Armessa Movie News

The Multiverse Saga Delays Could Be What Saves It as Harrison Ford’s Reason for Joining the MCU Isn’t Complicated- Armessa Movie News

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Image via Marvel Studios

Marvel fans, you doing OK?

The biggest shake-up to the MCU’s upcoming slate since the pandemic hit has just taken place, ensuring every movie coming from the studio after 2023 has had its release date altered. While this drastic rescheduling is naturally an outcome of the writers’ (and possibly actors’) strike, it’s just possible that this is the thing that might just save the much-put-upon Multiverse Saga. Elsewhere, Harrison Ford has explained what made him sign up to join the franchise himself, and it’s surprisingly sweet for Hollywood’s greatest curmugeon.

The writers’ strike causes Marvel’s entire Phase Five and Six slate to fall like a house of cards, but maybe it’s for the best

Shocked Deadpool
Image via 20th Century Fox

On paper, it’s hard to swing the Great Multiverse Saga Delay as a good thing — Avengers: The Kang Dynasty and Secret Wars have been held up a year apiece, for instance. And yet there are actually numerous benefits to the rejigged slate. Deadpool 3 jumping forward six months, a more fitting release window for Captain America: Brave New World, and maybe even giving Marvel more time to work out what it’s going to do with Jonathan Majors’ Kang. Strangely enough, the WGA strike forcing the studio to hit pause on everything it’s working on, and take stock of how things are shaping up, might be the best thing that could happen to it.

‘I want some of this!’ Harrison Ford had one straightforward reason for wanting to follow most of Hollywood into the MCU

Harrison Ford
Photo via Lucasfilm

Who else is still struggling to get their head around the fact that Harrison Ford, Han Solo and Indiana Jones himself, is about to enter the MCU? And not just as any old character either, but as Thaddeus “He’s Definitely Going to Become Red Hulk” Ross himself. So why did Ford decide to join the ever-growing superhero genre after all this time? In a somewhat surprising revelation, the actor admitted that he saw his colleagues and friends “having fun” so he wanted in on the action himself. And this is coming from the man who said that making Captain America 4 was only “work” and not “fun fun.”

Sorry to tell you this, but the Sony Spider-Man spinoff no one’s excited for has landed a production start date

venom let there be carnage
via Sony

Just when you thought it was safe to be hopeful for the future of Sony’s Spider-Man Universe, a spinoff we all thought dead and buried has come back to life. Yes, somehow, El Muerto has returned. Although it seemed the bizarre Bad Bunny vehicle was destined to miss its release date on Jan. 14, 2024, it looks like Sony is doing its best to make it as the film has now been confirmed to start shooting this August. Some kind of delay seems highly likely, but it actually appears that the most obscure comic book character by far to get their own movie might make it to the big screen next year after all. And yet we have to wait until 2027 for Secret Wars. To quote Disney’s Scar, life’s not fair, is it?

The Marvel universe becomes a little madder every day — like Blade officially being a Valentine’s Day date movie — so stay tuned for more from the House of Ideas.

About the author

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Christian Bone

Christian Bone is a Staff Writer/Editor at We Got This Covered and has been cluttering up the internet with his thoughts on movies and TV for a full decade, ever since graduating with a Creative Writing degree from the University of Winchester. He can usually be found writing about anything Marvel or DC. And yet, if you asked him, he’d probably say his favorite superhero film is ‘The Incredibles’.

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DC’s Trip Into Multiverse Is Wild, Weird, Wearying – IndieWire – Armessa Movie News

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The release of DC’s “The Flash” comes at a particularly complicated time for the superhero outfit — there’s the myriad documented concerns, both potentially criminal and definitely personal, that have plagued star Ezra Miller, plus the issues that have pushed DC Studios into a moment of change and upheaval — but perhaps the most immediate worry is that the film arrives on the heels of another superhero blockbuster that covers similar ground, and does it better by nearly every metric. 

That other film is, of course, last week’s smash hit “Spider-Man: Across the Spider-Verse,” which marks a high-water mark for both Marvel and the superhero sub-genre dedicated to the multiverse movie. Just two weeks after that film’s release, here comes “The Flash,” already a tenuous bet, and now forced to directly compete with the best example yet of what this sort of feature can accomplish.

Yet, taken on its own merits, Andy Muschietti’s film has lots to offer, and frequently shows flashes (apologies) of brilliance that set it a cut above most of its existing DC Universe brethren. In its best moments, the film is funny, ambitious, and heartfelt, but it’s also frequently buried under iffy effects, convoluted storytelling, and a been-there-done-that familiarity that’s hard to shake. Just days after so many superhero fans were reminded of the possibility of the genre, “The Flash” mostly feels like a great example of a dying breed of blockbuster joint. It’s, somehow, already dated.

The rise of the multiverse is nothing new in the entertainment world — it’s not even new to DC, which has toyed with the concept throughout its many television offerings, including its very own nine-season “The Flash” series — but Muschietti’s film marks the first time the studio has gone all-in on this brand of storytelling in cinematic form. The screenplay, from “Birds of Prey” and “Bumblebee” screenwriter Christina Hodson (with story credits to Joby Harold, John Francis Daley, and Jonathan Goldstein), is a literally classic one, spinning off the iconic “Flashpoint” comic book storyline into DC’s first-ever standalone feature dedicated to The Flash / Barry Allen (Miller). Miller’s Flash has already appeared in a trio of other DC films, but Muschietti’s feature offers the character (perhaps this is a good time to note that, while Barry Allen is male, Miller identifies as non-binary and uses they/them pronouns) the chance to fully inhabit his own story for the first time.

A high-energy opening sequence steeps us in Barry’s everyday life, from the necessity of a high-caloric breakfast (and a natty smartwatch that tells him when his energy is running low) to the high levels of popularity he enjoys when he’s in his super suit (he’s basically a nobody when he’s out of it), as the speedster is dispatched to help Batman (Ben Affleck) and Alfred (Jeremy Irons) during a Gotham-set hospital disaster. It’s a wonderful kick-off, showing off The Flash’s prodigious powers and his wily sense of humor, as he cracks wise about being the Justice League’s janitor while also saving a pack of babies in increasingly ingenious ways.

The Flash
“The Flash”Warner Bros.

But, as is so often the case with our most powerful superheroes, Barry is haunted by his past, which includes a) a dead mother and b) a father who was convicted of her murder and has been in jail ever since. How haunted is Barry? So haunted that even a grizzled Bruce Wayne (Bruce Wayne! the world’s most haunted superhero orphan!) basically tells his young charge to move on, a hard lesson Barry is in no way ready to take to heart. And why should he? Because when Barry puts on that suit, cycles through some heartbreaking memories of his mother’s demise when he was just a kiddo, and runs fast enough, he discovers something wild: he can turn back time.

“The Flash” opts for an ambitious — and, we’re guessing, potentially divisive — way of showing off Barry’s time-turning powers: when he runs fast enough, he lands in a massive amphitheater (eventually referred to as the “Chronobowl”) in which every iteration of Barry’s life, every possible universe, flows up and out. All he has to do is run fast enough and far enough, and he can pick which moment to pop back into. Like, oh, perhaps the moment his mother forgot to buy a can of tomatoes, which ultimately led to her death in the Allen family home all those years ago? Barry, for all of his smarts, can’t deny what his heart wants: to save his mother, to save his father, to save himself.

If you’ve seen even one other time travel movie, you know where this is going, though with a bit of a twist. Barry goes back in time, pops the can of tomatoes into his mother’s shopping cart, and then zips ahead to rejoin her in his current timeline. Except, it’s not his current timeline (he’s about a decade too early), and when he arrives back at the Allen casa, he’s met with a happy mother (Maribel Verdú), a happy father (Ron Livingston), and a very confused younger Barry (also Miller, now sporting a floppy haircut and a laidback attitude). But while Barry did save his mom, he also upended just about everything else in the process, to the extent that there’s no longer a Justice League, and thus, no one there to save Earth when Michael Shannon’s evil General Zod (last seen in 2013’s “Man of Steel”) arrives, World Engine and all. The butterfly effect, heard of it?

a still from The Flash
“The Flash”Warner Bros.

Other things have changed, too, flourishes that run the gamut and are often quite funny and clever — this timeline includes everything from a fast casual joint named “Bananabee’s” to a “Back to the Future” franchise that really did star the originally-cast Eric Stoltz (Michael J. Fox? Isn’t he the guy in “Footloose”? Kevin Bacon? No, no, he’s the star of “Top Gun”!) — original enough choices that add real pop to an otherwise heady storyline. But Barry (and, yes, Other Barry) have too many problems to really enjoy them, including yet another major roadblock: Other Barry doesn’t have powers, and when he finally gets them, our original Barry is left without them. Sounds like a fun fight for General Zod.

Enter: Michael Keaton, kinda-sorta reprising his Batman here, this time(line) rendered as a hermit who turned away from public life after his Gotham got healed up. Still, he’s a bonafide superhero, and a bit of a genius when it comes to unpacking the complex time-travel concepts and ideas at play here — many of them explained by Keaton and a fresh bowl of spaghetti, actually one of the film’s most clear-eyed metaphors — and the Barrys really need him. (Soon enough, they’ll get another pal, too: Sasha Calle as a stern Kara Zor-El, aka Supergirl.) But as the wacky foursome embark on their quest to save the planet, defeat Zod, and (maybe) set things right, “The Flash” lands on its most compelling element, which also happens to provide a thrilling counterpoint between DC and Marvel’s unfurling and competing multiverses. 

(Small spoiler alert for “Spider-Man: Across the Spider-Verse” here.) In “Across the Spider-Verse” the breaking of “canon” — changing the core events that are duplicated in the life of every Spidey, from being bitten by a radioactive spider to losing a close compatriot who happens to be a police captain — is so dangerous that it has the power to rip the very fabric of the multiverse itself. Changing these key plot points is so horrifying that it’s basically forbidden, but it is possible. In “The Flash,” the concept of canon events is flipped on its head: Bruce calls them “inevitable intersections,” essential moments that occur in every timeline, no matter how many tweaks Barry (or whoever) tries to throw at them.

a still from The Flash
“The Flash”Warner Bros.

Trying to change these key plot points is indeed scary, but it’s not forbidden, mostly because it’s not possible. Some pieces are malleable — like, for instance, how old Bruce Wayne is or what he looks like (read: which big star is playing the role, Ben Affleck to Michael Keaton, and maybe more) — but there’s still always a Bruce Wayne, there’s always a Batman. That essential stuff, that canon cannot be broken, even if Barry believes he has the tools to do so. And that concept is pushed and pulled — or, in the parlance of one of the film’s most eye-popping and brain-breaking sequences, “collided and collapsed” — throughout the course the film’s big! scary! final! battle! It’s exciting and weird, until it’s repetitive and tiring. It’s wild, until it’s wearying. And it’s original enough, until it simply starts cannibalizing itself.

Part of the problem: the way this all looks and moves. This particular story doesn’t work without two Barry Allens and Miller, for all their off-screen troubles, does turn in wonderful, funny, soulful performances in both iterations, but this ambitious idea isn’t entirely supported by the technology at hand. Once you start seeing the seams, the moments when Miller’s face is obviously stitched on another body, when these two superheroes are clearly not in the same room (of course such a thing is not possible, but what of the possibility of movie magic in tricking us to think it?), when the artifice of this entire outing is lost to fuzzy effects, it’s all too easy to fall out of the feature.

And then? You can’t help but see more seams, more problems, more cracks. And, as is the case with most time travel stories, the less time you spend trying to understand and untangle how it all works, the better. Once that veil is lifted, it’s hard to fall back into the film (to say nothing of the itchy feeling inspired by its ending, probably once very fun and tongue-in-cheek, but that now feels utterly played out and exhausting).

“Don’t live your past, live your life,” Affleck’s Bruce Wayne tells Barry early on, a forward-thinking mantra the entire superhero machine would do well to follow. In its best moments, “The Flash” touches on something new and exciting, but too often, its the past that tugs on, keeping it from speeding ahead.

Grade: B-

Warner Bros. will release “The Flash” in theaters on Friday, June 16.

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– Armessa Movie News

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