Nuclear energy is set to light the Middle East and North Africa’s roads and cities. We look into the growing use of these power sources, and ask if it’s time to stop …
Nuclear energy is set to light the Middle East and North Africa’s roads and cities. We look into the growing use of these power sources, and ask if it’s time to stop …
Fans may have been holding out hope that Marvel’s M.O.D.O.K., the upcoming animated series on Hulu, would be connected to the Marvel Cinematic Universe. Unfortunately, the showrunner for M.O.D.O.K. has ended any debate.
Speaking to ComicBook.com in a new interview, Jordan Blum was asked about the show’s continuity and explained that it took place in its own universe within the Marvel Multiverse.
“Yeah, we’re our own universe,” Blum said. “I think like, you know, Harley Quinn is a good example of like, that’s not the movies, but it’s really cool actually. Marvel has like a database of all the universes in the multiverse, and there’s a guy who runs it, and they let me pick the numbering of our universe. My son’s birthday, 12/26, is our universe, so we were in the Marvel Multiverse, which is awesome.”
While fans may be sad to hear the news, it’s nice that Blum was able to pick his own universe to reside in and even nicer that he was able to dedicate the show to his son in a way. As for the iconic Marvel villain, those hoping to see him cross paths with the likes of the MCU will have to wait for future films and continue hoping.
In Marvel’s M.O.D.O.K., the megalomaniacal supervillain M.O.D.O.K. has long pursued his dream of one day conquering the world. But after years of setbacks and failures fighting the Earth’s mightiest heroes, M.O.D.O.K. has run his evil organization A.I.M. into the ground. Ousted as A.I.M.’s leader while also dealing with his crumbling marriage and family life, the Mental Organism Designed Only for Killing is set to confront his greatest challenge yet!
The stop-motion animated series will feature a star-studded voice cast will be led by Patton Oswalt (Ratatouille) as George Tarleton/MODOK, Aimee Garcia (Lucifer) as Jodie Tarleton, Ben Schwartz (Sonic the Hedgehog) as Lou Tarleton, Melissa Fumero (Brooklyn Nine-Nine) as Melissa Tarleton, Wendi McLendon-Covey as Monica, Back Bennett as Austin Van Der Sleet, Jon Daly as Super-Adaptoid, and Sam Richardson as Gary.
Marvel’s M.O.D.O.K. is created and executive produced by Jordan Blum and Oswalt, based on the character created by Stan Lee and Jack Kirby. It is executive produced by Brett Crawley, Robert Maitia, Grant Gish, Joe Quesada, and Jeph Loeb.
From showrunner Eric Heisserer (Arrival, Bird Box) and based on the worldwide best-selling Grishaverse novels from Leigh Bardugo, the Netflix original series Shadow and Bone is set in a war-torn world and follows orphan Alina Starkov (Jessie Mei Li), as she realizes just what extraordinary power she really possesses. As she struggles to understand and hone that power, General Kirigan (Ben Barnes) steps in, seemingly to protect her from the looming threat of the Shadow Fold, but clearly also with an agenda of his own.
During this 1-on-1 interview with Collider, actor Archie Renaux, who plays Malyen “Mal” Oretsev, talked about why he found Shadow and Bone so appealing, his audition process, how his real-life relationship with co-star Ben Barnes compares to their on screen one, being a big fan of sci-fi/fantasy, the Mal-Alina dynamic, and his hope that they get to continue to explore this story and these characters.
Collider: Shadow and Bone has so many cool aspects, with this world inhabited by all of these characters, the fight scenes, and the special effects. What was it that most appealed to you? Was it one thing, or was it everything?
ARCHIE RENAUX: It was a lot of things. Being a kid and growing up and watching things like Harry Potter, The Lord of the Rings, and more recently, Game of Thrones, and having the opportunity to be able to be a part of this story and this world, was everything. When I saw the audition come through, I had to throw everything that I had at it because it was something that I wanted so much. My family are big into these fantasy things, especially my brother. My brother has seen the show and absolutely loves it, so it was nice to be a part of it for that.
What was the audition process like for this? Did it take a long time before you found out that you’d gotten this role, or did you know pretty quickly?
RENAUX: I found out fairly quickly because they were rushed on finding a Mal. I was away filming a sci-fi film called Voyagers, so I did a tape over there, in Bucharest where I was filming. I did the tape, and then they flew me back to do a chemistry test with Jessie [Mei Li]. And then, I think I had one more chemistry test with Jessie before I found out. It all happened within the space of three weeks.
At what point in the process did you find yourself becoming attached to this character, and how do you deal with that?
RENAUX: I know that I became attached to it fairly quickly. There are certainly some bits in the story where, I was like, “Yes, Mal!,” or “No, Mal, that’s really bad.” I do it quite naturally, in terms of distancing myself from characters, but this is a great one, so it’s not too bad to be far, far away from it.
You were also in Gold Digger with Ben Barnes. Do you think that character hated him more, or do you think that this character hates him more? And did you ever laugh with him about working on projects where his character seems to make your life more difficult?
RENAUX: Yeah, we have joked about that a few times and Ben has said it in some press stuff before. It’s great. This is my first like real leading part in a huge series, so to have Ben there again, who became my mentor after Gold Digger, he would help me out and give me tips. So, to have him there again and to work with him on this job was just such a big help to me and would be a big help to any young actor trying to try to do well in this industry.
So your real-life relationship is different from the one that you keep having on screen together.
RENAUX: Yeah, it’s annoying. I wanna do something where we’re actually friends. That’d be nice. Yeah, it’s very different. We absolutely love each other. We talk to each other quite a bit. We’ve got a very nice relationship.
Along with Shadow and Bone you’re also in Voyagers and you did Morbius, which are all stories that explore various aspects of fantasy and sci-fi. Are you personally a genre fan or is this just a lane that you’ve found yourself in?
RENAUX: I am a big fan of sci-fi and fantasy, superhero movies and, for that matter, action films. I think I’ve just been lucky enough to find myself in these genres. I have also done the dramas, like Gold Digger, which I was quite lucky to get, but I love it. I’m a big sci-fi fan. I love things like Star Wars, and I was a big fan of our showrunner Eric Heisserer’s film Arrival. I think that was one of the best modern sci-fi films that’s come out. So, to get to do this is feeding that inner child in me, when I put on the costume, and then get to go out on these wonderful sets and am a part of these epic stories that take place in this wonderful world that’s created by Leigh Bardugo.
What was your reaction when you got to read the final episode of the season and found out where things were left? How did you feel about that script, when you read it?
RENAUX: I was very excited about that. With all of the episodes, getting to see where Mal went was just great and far better than what I had imagined and surprised me, every time. This last episode did get me. It did get the blood pumping.
What were the emotions that you went through, when you found out about the ending?
RENAUX: It feels like there’s a lot more work to do. There’s still work to be done and, as an audience member, it ends with you wanting more, which is exactly what you want.
Have you had any conversations about what could happen in Season 2?
RENAUX: I have a lot of questions, and not so many answers. The fact that it is so open and there is this whole world that has still been unexplored on the screen excites me a lot. A lot of the character relationships feel like they’re still in the very early stages and have only just scratched the surface, so to speak. The circumstances have changed a lot, from where we see our characters at the beginning versus where we see them at the end. A lot has changed, and that has an effect. That has an effect on the dynamics of a relationship, so there’s so much more to explore. I really hope that we get the opportunity to go and do that.
What did you learn from making the first season and having the experience of doing the first season of the show that you hope to bring to the second season?
RENAUX: There was so much, even just in terms of experience. The best way of becoming a better actor and a better storyteller is just experience. Being at the forefront of this story helped me out so much. It just helped me exercise those active muscles. Now, hopefully, if we get the chance to do a second season, the performances will keep getting better and better, as will the show.
When you’re telling such an epic story, does it help to stay focused on those individual character relationships? Is that what helps ground things and make them feel human, when you’re surrounded by the fantastical?
RENAUX: Yeah, I think that’s what I focus on anyway. The great thing about these characters is that you can take them out of this world and put them in the real world, and they still have a place and the relationships would still make sense. So then, when you put me in the fantasy world, you wanna keep the grounded. The relationships and their souls matter, and that helps tell the story. At the end of the day, they’re all just people. They’re humans, it’s just that some have power and some don’t. That’s what we love watching. We love watching human interaction and story.
Sometimes big projects don’t feel big while you’re shooting them. Did this feel as big and epic as it actually is?
RENAUX: This was the biggest thing that I’ve done, apart from Voyagers, which was a very different shooting experience because that all takes place on a spaceship that was built in a studio and it was just one big set, if you like. Whereas this felt huge because they’d built so much in so many different locations and the sets were always changing. To me, as a relative newcomer, it felt massive. It felt like a really big project. But even speaking to Ben, who’s done loads of cool stuff, he was like, “This is huge.” We had quite a nice budget, as well, for a first season, which we were blessed with, so that always helps.
This story is really told through everyone’s connection to Alina and it all runs through her. What did you most enjoy about that relationship between your characters and what did you feel Jessie Mei Li brought to it?
RENAUX: It’s that universal relationship that Mal and Alina have, where they grew up together in an orphanage and they lost their parents in The Fold. They have so many similarities and so many similar struggles, and that creates a bond. Everyone in real life has that person that they would just go and do anything for, and it works both ways for them. They both have this love and this friendship that’s just incredible. It’s something that anyone that has anything like that in the real world will enjoy watching.
What was it like to work with Jessie Mei Li throughout this? Did you guys talk a lot about that dynamic or your scenes together, or did you just jump in together on stuff?
RENAUX: We spoke about it a little bit. There would be times when I would go over to her place and we’d run through the scenes together the night before. We did work really hard on it. We both got on so well, outside of work, that it made everything easier. Everything happened organically. The chemistry was organic, which made shooting a joy. It was really fun and really enjoyable.
You mentioned Mal and Alina both grew up together, having both been orphaned. How has being an orphaned defined Mal?
RENAUX: In Mal and Alina’s case, they both weren’t given anything as kids. If they wanted something, it wasn’t given to them because they didn’t have anyone. All they really had was each other. Because of that, when they’re older, in this story, they know how to take care of themselves and to get done what they need to get done. His determination and drive and willingness to carry on comes from hardship, when he was younger.
You mentioned feeling connected to the character pretty quickly. Was there anything him that you grew to appreciate that you didn’t necessarily realize was there, in the beginning?
RENAUX: With Mal, he really does wear his heart on his sleeve. It was all there to see from the beginning, so I knew the type of guy that he was. He was just so courageous and bold, and that’s something that I love. That’s something that I loved, when I was a young kid at the cinema watching films. I loved the characters that possessed those qualities. That goes a long way, in terms of being able to walk out of the cinema or finish the series, and if you could take something from watching it, hopefully it’s those kinds of qualities and those attributes, as a role model to kids.
You want a hero that’s a little bit imperfect, so that he has somewhere to grow.
RENAUX: Yeah, and that’s the thing that’s cool about the story. Because of what’s happened, he has to grow up really fast and do these really daunting things, when the odds aren’t in his favor, in terms of who he goes up against. And then, of course, there are moments when he is that boy again and he’s really vulnerable and needs a little cuddle, here and there. It’s a coming of age story, for Alina and Mal.
Shadow and Bone is available to stream at Netflix.
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A new image from upcoming action movie sequel, Hitman’s Wife’s Bodyguard, reunites headline stars Ryan Reynolds and Samuel L. Jackson for another adventure that, from the looks of things, will once again leave them bloodied, bruised and bone-tired. The flick will no doubt see the pair involved in all manner of chases sequences, shoot-outs and zingers as they try to survive. The image also comes along with a Tweet from Lionsgate that celebrates the perfect twitter crop, giving us a new look at Salma Hayek as the title wife Sonia Kincaid, while cropping out Michael Bryce and hitman husband Darius Kincaid.
Released in 2017, the first The Hitman’s Bodyguard follows Deadpool star Ryan Reynolds as the world’s top protection agent, Michael Bryce, whose career has taken a steep decline following a bungled mission. Reynolds’ relentless bodyguard and Jackson’s manipulative assassin, Darius Kincaid, have been on the opposite end of the bullet for years and butt heads as they are thrown together for a wildly outrageous 24 hours. During their journey from England to the Hague, they encounter high-speed car chases, outlandish boat escapades and a merciless Eastern European dictator who is out for their blood. The two men must set aside their differences if they hope to survive and make it to the court date.
Picking up four years after the events of the original, the upcoming sequel Hitman’s Wife’s Bodyguard puts the spotlight back onto the world’s most lethal odd couple – bodyguard Michael Bryce and hitman Darius Kincaid, played once again by Ryan Reynolds and Samuel L. Jackson respectively, as the mismatched pair find themselves once again on another life-threatening mission.
Still unlicensed and under scrutiny, Bryce is forced into action by Darius’s even more volatile wife, the infamous international con artist Sonia Kincaid (Salma Hayek). As Bryce is driven over the edge by his two most dangerous protectees, the trio get in over their heads in a global plot and soon find that they are all that stand between Europe and a vengeful and powerful madman (Antonio Banderas).
Alongside Reynolds, Jackson, Hayek and the rest, Hitman’s Wife’s Bodyguard also stars Frank Grillo (The Purge: Anarchy), Richard E. Grant (Logan), Tom Hopper (The Umbrella Academy), Caroline Goodall (Hunter Killer), Rebecca Front (The Thick of It), Gabriella Wright (The TransporterRefueled), Alice McMillan (Outlander), Kristofer Kamiyasu (Good Omens), and Blake Ritson (Krypton). Morgan Freeman is also due to join the action-packed adventure in an undisclosed role.
Hitman’s Wife’s Bodyguard sees Patrick Hughes return to the director’s chair, working from a script written by Tom O’Connor and Brandon and Phillip Murphy. Hitman’s Wife’s Bodyguard was originally scheduled for release back in August 2020 but was delayed due to the ongoing global situation. The title was initially pushed back an entire year, but after a recent release date shift, audiences will now get to see Hitman’s Wife’s Bodyguard a little earlier than expected, with the movie now scheduled to be released in the United States on June 16, 2021, by Lionsgate.
While the first Hitman’s Bodyguard was met with a rather chilly reception from critics, audiences reacted well to the buddy-cop escapades of Reynolds and Jackson, with the movie ultimately raking in a very healthy $180.6 million against a production budget of $30 million. No doubt it will provide some welcome escapism once it hits theaters. This image was revealed as part of USA Today’s summer preview.
Cruise seems to really be into trains in this film.
Tom Cruise has revealed some new details on how Mission: Impossible 7 has managed to continue its globetrotting shoot in the midst of a pandemic in a new interview with Empire Magazine that comes with yet another image that shows Cruise hanging from a moving train.
The daredevil star is known for risking life and limb in the name of our entertainment every time he reprises the role of Ethan Hunt. One thing he’s not going to do under any circumstances is compromise the health, safety or financial stability of his co-stars and crew. In the interview, Cruise outlined the pressure he’s under as the leading man, producer and creative driving force behind a mega-budget blockbuster that so many people are depending on to provide for their families.
“I’ve produced 30 to 40 movies. I am responsible for thousands, if not tens of thousands, of jobs. All my friends in the industry, people that are in distribution, and my crew were like, ‘What are we going to do? I could lose my house!’. So I told the studio and I told the industry, ‘We’re going back. We’re going to get everyone back to work. We’re going to start shooting in the summer. And we’re going to figure out how to do it safely.’”
That’s not an easy task when Mission: Impossible 7 has been shut down more than once since shooting kicked off well over twelve months ago and has since touched down in Italy, England, Norway, Poland, the Middle East and back to England again for the final stretch. Cruise outlined the logistical nightmares that the production had to face every time they moved to a new location.
“It was seven days a week, it was around the clock, just dealing with a lot of high emotions with people, and helping them through it. There was social distancing, there were masks, there were bubbles of crew members – one make-up artist for every two actors, plus heads of departments staying in hotel rooms on their own, driving to set, shooting the scene and then returning to the hotel until needed – and pods of five people, ready to quarantine if anyone within one contracted the virus.”
“We had to create protocols with studios and insurance companies, and work on laws in each country, assuring them how we were going to film in the country,” the actor added. “There were times when people said, ‘It’s not going to happen.’ And I just kept saying, ‘It’s happening.’”
You can’t help but admire Cruise’s dedication to getting Mission: Impossible 7 over the finish line, even if it’s not shooting back-to-back with the eighth installment anymore so he can dive straight into the promotional circuit for November’s Top Gun: Maverick, which is probably still a vacation by his standards.
Christopher McQuarrie returns to direct his third consecutive installment in the espionage franchise, which has been delayed several times already, but is currently penciled in to hit theaters on May 27, 2022 before streaming on Paramount+ just 45 days later.
From bonafide classics to A24’s latest horror gem, here’s what to watch on Prime Video this month.
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The Bat-family is getting bigger when it comes to The CW’s Batwoman, as the show is getting ready to introduce Stephanie Brown into the fold, who will be played by Morgan Kohan. Fans anticipating her appearance can now get a sneak peek at what she’ll look like in the series as well via Entertainment Weekly.
The upcoming episode of Batwoman will see Ryan (Jacivia Leslie), Mary (Nicole Kang), and Sophie (Meagan Tandy) going toe-to-toe with Cluemaster (Rick Miller). In a report from Entertainment Weekly, the episode will also feature the Cluemaster’s daughter, Stephanie Brown, who is mostly known in the DC comics world as Spoiler.
First look at Morgan Kohan as Stephanie Brown on The CW’s Batwoman pic.twitter.com/CHjYZiopoX
— best of dc girls (@girIsofdc) May 7, 2021
In the comics, Spoiler acts as a foil to her father’s supervillain tendencies, often trying to spoil them before any damage can happen. Throughout her history, Spoiler has also taken on the mantle of Robin and Batgirl, so it’ll be interesting to see whether or not she stays as Spoiler for long in the world of Batwoman.
Season 2 of Batwoman will also feature new cast members Shivani Ghai (Dominion) as Safiyah, Leah Gibson as The Whisper, Nathan Owens as Ocean, and Alex Morf as Victor Zsasz as well as the introduction of DC villain Black Mask.
Based on the characters from DC, Batwoman is from Berlanti Productions in association with Warner Bros. Television with executive producers Greg Berlanti, Caroline Dries, Geoff Johns, and Sarah Schechter. David Nutter and Marcos Siega executive produced the pilot.
The concept of a secret post-credits scene existed long before the Marvel Cinematic Universe, as The Muppet Movie and Airplane! can attest. But this sprawling saga of superhero movies has certainly popularized this tool, particularly in using these scenes to tease further MCU adventures. So many of the most famous parts of this universe (the Avengers, Wakanda, and Thanos, to name a few) were all first teased or revealed through these after-credits stingers.
These sequences, which can arrive either in the middle of the credits or at the very end, have been in all but one of the 23 features Marvel Studios has produced, and we’ve ranked all 37 of them from worst to best. Some of them are vital, some are just plain fun, and some miss the mark entirely, but all of them remind you why audiences now dutifully sit through the credits of every superhero movie just to see them.
37. Thor: The Dark World (Post-Credits)
Thor returns to Earth to share a kiss with Jane Foster while one of the Frost Beasts is shown still rampaging across London. It’s baffling that this crucial plot detail was saved until after the credits. Placing this tender moment alongside a gag involving a Frost Beast knocking around shipping containers also makes for extreme tonal whiplash.
Nick Fury reveals the Tesseract to Erik Selvig only for the audience to realize that Selvig is secretly being mind-controlled by Loki. One of the more baffling post-credits scenes in the history of the MCU given that Loki doesn’t actually control Selvig’s brain until he comes to Earth in The Avengers.
35. Avengers: Age of Ultron
This mid-credits scene depicts an Infinity Gauntlet rising on a pedestal before Thanos puts his hand inside the object and uttering “Fine! I’ll do it myself!” This whole scene feels hastily assembled and subsequent movies have made it puzzling to figure out where this one actually fits into the continuity of the MCU.
34. Captain Marvel (Post-Credits)
Goose the cat hacks up a hairball in the form of the Tesseract. The poorly implemented green-screen and the fact that hairball gags have been done to death make this one of the weaker joke-oriented MCU post-credit scenes.
33. Captain America: The Winter Soldier (Post-Credits)
Bucky Barnes, in a civilian disguise, checks out a museum exhibit of Captain America’s WWII exploits, including some featuring himself. This demonstration of Bucky searching for answers about his past merely restates what Bucky saving Steve Rogers from the river in The Winter Soldier’s climax already clearly indicated, so it’s relatively skippable.
32. Iron Man 2
Phil Coulson arrives in New Mexico where he looks upon a crater containing Thor’s hammer, Mjolnir. A cute tease of what was to come, especially in 2010, but it’s not much more than that.
31. Ant-Man (Mid-Credits)
Hank Pym reveals to his daughter, Hope Van Dyne, that he’s got the technology to help Hope take on her mother’s superhero mantle of The Wasp. Seeing the bright yellow Wasp outfit in a feature-length movie for the first time is a thrill, but Marvel Studios essentially sidelining Hope for the entire movie only to tease her debut as a superhero at the very end is thoroughly frustrating.
30. Captain America: Civil War (Post-Credits)
Peter Parker is in his bed nursing his wounds after his German airport duel with the Avengers and fiddles around with some new gizmos from Tony Stark. It’s an unsubstantial scene but there are some cute lines of dialogue between Peter and Aunt May as he dances around revealing who he was really fighting (“This one guy, he was…really big!”).
29. Captain America: Civil War (Mid-Credits)
Bucky Barnes is placed into a state of controlled hibernation in Wakanda as a favor from T’Challa. The main problem here is that the production design of a Wakandan lab in Civil War stands out as distractingly at odds with the visual aesthetic later seen in Black Panther.
28. The Incredible Hulk
Tony Stark approaches a somber General Ross in a tavern about the prospect of “putting a team together.” In 2008, such a direct connection between The Incredible Hulk and Iron Man was exciting. In 2021, the scene mostly just raises questions about why Tony would ever try and involve “Thunderbolt” Ross in the formation of the Avengers. No wonder they had to do a short film to retcon it.
27. Ant-Man and the Wasp (After-Credits)
San Francisco streets are shown to be vacant in the immediate aftermath of The Blip while a siren goes off and a human-sized ant drums in Scott Lang’s house. The dissonance between the sight gag of drumming ant and the ominous tone doesn’t quite work, but there is something effectively eerie about combining that siren wail with all those vacant streets.
26. Spider-Man: Far From Home (Post-Credits)
Nick Fury and Maria Hill are revealed to be Skrulls Talos and Soren while the real Nick Fury has been lounging on a Skrull spaceship. Good luck to non-MCU devotees for making heads or tails of the sudden introduction of shapeshifting aliens into this movie. However, the presence of Ben Mendelsohn’s Talos is always welcome.
25. Guardians of the Galaxy Vol. 2 (Credits Scene #5)
A final tag on an earlier Stan Lee cameo, two Watchers walk away from Lee’s character who implores them to stay because “I still have so many stories to tell!” In its initial release, this registered as merely a smile-worthy moment, but after Lee’s passing it carries an unintended level of emotional potency.
24. Guardians of the Galaxy Vol. 2 (Credits Scene #1)
Kraglin attempts to control Yondu’s arrow only for the object to pierce Drax in the throat. This quick gag is nothing essential but the timing in this scene makes it an amusing trifle.
23. Ant-Man (Post-Credits)
A brief scene from Captain America: Civil War is shown depicting Steve Rogers, Sam Wilson, and Bucky Barnes on the run from the government, with Wilson noting that he “knows a guy” who could help the trio. This sequence effectively conveys the idea that Scott Lang has a big future in the MCU, and Wilson’s final line nicely pays off his earlier scuffle with Lang.
22. Thor: Ragnarok (Mid-Credits Scene)
Thor and Loki discuss if it’s such a wise idea for Loki to return to Earth after the events of The Avengers only for a ship belonging to Thanos to ominously loom over the duo. This perfunctory set-up for the opening of Avengers: Infinity War still garners a few chuckles thanks to the rapport between Chris Hemsworth and Tom Hiddleston.
21. Guardians of the Galaxy Vol. 2 (Credits Scene #4)
Ayesha, shortly after being defeated by the Guardians of the Galaxy, looks upon a new creation in a gigantic egg and dubs it “Adam.” This tease of the impending arrival of Adam Warlock, a mainstay of the Marvel Comics cosmos, is exciting enough on its own. But offering viewers one last glimpse of the glorious production design of The Sovereign’s planet makes it even more memorable.
20. Guardians of the Galaxy Vol. 2 (Credits Scene #3)
Groot has now grown up into a rambunctious child addicted to playing a video game, much to Peter Quill’s chagrin. This bratty version of Groot isn’t the most original creation, but Gunn gets some humorous lines (“You’re leaving branches everywhere!”) out of paternal Quill’s frustrations.
19. Spider-Man: Homecoming (Post-Credits)
One of the more memorable MCU post-credits gags, Steve Rogers comes out to inform the audience, who has just waited through the film’s entire credits, about the virtues of patience. The irony here is as obvious as it is amusing.
18. Doctor Strange (Post-Credits)
Mordo solidifies his slide into villainy as he goes to see Johnathan Pangborn and removes the magic that cured Pangborn’s physical impairments. Both Chiwetel Ejiofor and Benjamin Bratt put in good work in this scene, with Ejiofor’s final line delivery here nicely setting up Mordo as a sinister threat worth taking seriously.
Our handy, extensive guide is updated weekly with all-new picks.
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Tom Cruise takes the train in a new image from Mission: Impossible 7. Written and directed by Christopher McQuarrie, the upcoming movie will see Cruise back in another high-stakes mission as Ethan Hunt. Cruise spoke about the sequel’s production in a new interview with Empire, and the story also included a new image of Cruise as Ethan casually hanging on the side of a speeding train. You can check it out below.
Production on the sequel hasn’t been easy, as the pandemic brought about significant shooting delays. In December, audio recordings of Tom Cruise shouting at crew members for violating Covid-19 protocols on set was released to the public. Many fans and celebrities were supportive of Cruise at the time, though Leah Remini suggested the incident was a publicity stunt. In any case, Cruise told Empire how important it was to keep the production going, and that could only happen if everything was completely safe.
“I’ve produced 30 to 40 movies. I am responsible for thousands, if not tens of thousands, of jobs. All my friends in the industry, people that are in distribution, and my crew were like, ‘What are we going to do? I could lose my house!’ So I told the studio and I told the industry, ‘We’re going back. We’re going to get everyone back to work. We’re going to start shooting in the summer. And we’re going to figure out how to do it safely.'”
One major challenge in filming Mission: Impossible 7 during a pandemic was that the high-budget feature required shooting in various locations throughout the world. Cruise needed to convince places like Abu Dhabi, Norway, and Italy to let the production commence in the area while worldwide travel was mostly banned. It took a lot of meticulous planning, and when it’s all laid out, it’s easier to understand why Cruise may have been upset about crew members violating protocols.
“We had to create protocols with studios and insurance companies, and work on laws in each country. Assuring them how we were going to film in the country. There were times when people said, ‘It’s not going to happen.’ And I just kept saying, ‘It’s happening.'”
Cruise admits there were a lot of high emotions with people seven days a week, and a lot of work was needed with “helping them through it.” Safety measures implemented for the shoot included social distancing, facial masks, and bubbles of crew members – such as one make-up artist for every two actors and having heads of departments staying in hotel rooms on their own, only shooting their required scenes and immediately leaving the set.
Along with Cruise on a train, new Empire covers also tease Ethan Hunt’s big parachuting motorcycle stunt, which looks quite thrilling. The sequel also stars Hayley Atwell, Simon Pegg, Ving Rhames, Rebecca Ferguson, Vanesa Kirby, Esai Morales, Henry Czerny, Angela Bassett, Frederick Schmidt, and Pom Klementieff. It is the third Mission: Impossible movie to be helmed by Christopher McQuarrie following Rogue Nation and Fallout. Mission: Impossible 7 is scheduled to be released on May 27, 2022. This news comes to us from Empire.
What better way to kick off involvement in a long-running franchise?
In celebration of the completion of The Falcon and the Winter Soldier, Emily VanCamp joined us for an episode of Collider Ladies Night and became the very first guest to participate in a brand new segment of the show – “Dicey Questions.” Considering I always roll into episodes of Ladies Night with far too many questions to ask, “Dicey Questions” is a fun format that keeps me in check – and also gave us an excuse to get a super cool Jurassic Park-inspired Ladies Night dice tower.
I come up with a list of eight questions, the guest rolls the die three times and answers those three questions. During the game, VanCamp told us a bit about what “making it” in Hollywood originally looked like and also named some MCU unsung heroes, but she also rolled our “High/Low” category, calling for an audition high and also an audition low.
VanCamp opted to begin with the audition low, which couldn’t be narrowed down to one specific experience, but rather, the process overall. Here’s how she put it:
“I’ll start with low because I feel like auditioning in general just feels like a big low. It’s so unnatural. I’m a very shy person by nature and so that process for me has always been the absolute worst part of this job. So, so many nights fretting over the process, over remembering lines. It’s really strange because when I’m at work, all of that goes away, but the auditioning process just has never ever been easy for me, so all of them!”
No, auditioning might not be the most pleasant component of the gig, but VanCamp also noted that some auditions can go beyond feeling like auditions and become work sessions. Those are the special ones.
“I think the nicest moments within that process are when you just abandon all of that worry because whoever it is in that room has made you comfortable or you just let go of all that fear. And often that has to do with the general vibe, and that’s happened several times as well where it just becomes kind of like a work session and you leave feeling creatively fulfilled rather than just like a pack of nerves, which is usually what it feels like.”
From there, VanCamp did go on to name one especially positive audition experience and it happened to be her screen test for Captain America: The Winter Soldier. Here’s how she described it:
“So there have been many highs! One that comes to mind as a really great experience was my screen test with Chris Evans that I did years and years ago for the first Captain America that I was a part of. And I remember being very nervous and wondering why I was there, and all of those things that go on in your head. The Russo brothers were there, I believe Nate Moore was there from Marvel and Chris obviously, and everyone was really lovely and I remember leaving feeling like, that just felt very nice and everyone was so kind, and kind of set up my general feeling about being a part of those films and the MCU in general.”
What better way to kick off your involvement in a long-running franchise? If you’re looking for even more from VanCamp on her experience getting involved in the Marvel Cinematic Universe and her journey from The Winter Soldier to where we find Sharon Carter in Falcon and Winter Soldier, be sure to check out her episode of Collider Ladies Night at the top of this article or you can listen to the uncut version of the conversation in the podcast below:
Incoming: Zack Snyder’s return to horror, the latest chapter in the ‘Jurassic’ franchise, and the long-awaited Part 2 of ‘Lucifer’ Season 5.
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