Sacha Baron Cohen makes his Marvel Cinematic Universe debut as Mephisto in ‘Ironheart’.
Mephisto makes a deal with Riri Williams to bring back her friend Natalie, which is sure to have serious consequences.
Mephisto will likely be a big part of the MCU moving forward.
SPOILER ALERT: Spoilers for ‘Ironheart’ below.
Ever since ‘WandaVision‘, Marvel fans have been speculating when and where Mephisto will show up in the Marvel Cinematic Universe, and now the time has finally come. Sacha Baron Cohen portrays the demon in ‘Ironheart‘, making his debut in the season one finale. While the Riri Williams (Dominique Thorne) led series may not continue with a season two, Mephisto is likely not going anywhere, and is sure to have a major impact on the future of the MCU.
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There is a reason fans have been begging for Mephisto to show up. He is known for making deals and mucking things up. While he looks like the devil, he is not Lucifer, but he certainly allows others to think he is. In Marvel Comics he has ties to many characters that have already been introduced, most notably Scarlet Witch, Thor, and Doctor Strange, as well as others that are coming soon including Doctor Doom and Franklin Richards.
Mephisto is powerful, extra-dimensional demon. As showcased in ‘Ironheart’ he is a master manipulator who almost always gets his way. His deal with Parker Robbins (Anthony Ramos) corrupted him, leaving him with scars all over his body and an obsession with the cloak he was gifted. When Mephisto decided to be done with him, he simply moved onto his next victim, Riri Williams.
While the demon behind Parker’s hood was initially suspected to be Dormamu, the finale reveals that this is not the truth. It is, indeed, Mephisto, something that is sure to make fans jump up and down with glee, since his debut in the MCU has been long-awaited. During his final conversation with Parker, he admits to being very busy, hinting that he has had his hands in a lot of the events that have been taking place over the course of previous Marvel projects.
After Riri defeats Parker, Mephisto appears to her, inviting her to sit down for a meal. He is very charasmatic and during their conversation, she ends up making a deal with him. Her friend Natalie (Lyric Ross) was murdered, but she was able to bring her back as an AI, only to lose her again. This is something that Riri is not able to deal with, so she asks Mephisto to bring her back.
In the end-credit sequence it is discovered that this is not an AI version of Natalie, but rather the actual Natalie, who is very confused and does not remember her fate. This is likely to cause a lot of problems for Riri going forward, because how to you explain someone returning to the world after being dead for several years?
Why Sacha Baron Cohen Is The Perfect Casting Choice For Mephisto
Sacha Baron Cohen as Mephisto in ‘Ironheart’. Photo: Disney+.
Casting Sacha Baron Cohen as Mephisto is a brilliant choice for several reasons. All you have to do is take one look at his scenes in the ‘Ironheart’ finale to know this. He is able portray someone who is trusting as well as mischievous. His human form is unsuspecting enough, but it is the fact that he knows how to pull information from his victims to discover what would be worth it to them to forfeit their souls.
For Parker Robbins, he wanted revenge against his father and money. For Riri Williams, she just wants her friend back, especially after getting a taste of what it was like to have her back in her life. The kicker for her is that this version of Natalie will not remember all of the healing and growing they did together when Natalie was an AI.
Sacha Baron Cohen is great at playing a character. We have seen that with his films like ‘Borat‘ and ‘Bruno‘. Even though Mephisto is mostly in his human form, there is one quick shot of him in his demon form, seen in a reflection, that is equal parts chilling and exciting. Sacha Baron Cohen, if given the chance, will bring Mephisto to life in a way that fans could seemingly only have imagined.
Mephisto Can Easily Return In ‘Avengers: Doomsday’ Or ‘Champions’
What fans have seen in the ‘Ironheart’ finale is just a small glimpse at what Mephisto is capable of. In the comics, he is the reason that Billy and Tommy Maximoff even exist. While they were created by their mother’s chaos magic, this was done in tandem with parts of Mephisto. At one point he goes so far as to reabsorb them. However, they find a way to return. This exact scenario is not likely to play out in the MCU, but it would make sense for the twins to cross paths with the Mephisto eventually, likely in a ‘Young Avengers’ or ‘Champions’ title.
It is not far fetched to believe that Mephisto could have orchestrated the events of ‘Avengers: Doomsday‘ as well. As we have seen, he is known for making deals and has the ability to bring people back from the dead. With Robert Downey, Jr. returning to the MCU, this time as Victor Von Doom and not Tony Stark, there is a chance Mephisto could absolutely be behind it. If someone wanted to make a deal with him to bring Stark back, it absolutely makes sense that this was Mephisto’s evil twist on things.
While it has not been revealed the lasting effect that Mephisto will have on the MCU, there is no way he is being introduced for Marvel to then do nothing with him. He is a powerful, manipulative demon who only has his own best interest at heart. One thing is for sure, our heroes are in trouble now that he is in the mix.
Denis Villeneuve is directing the new James Bond movie, which doesn’t immediately sound like the perfect fit.
As a lifelong Bond fan, choosing Denis Villeneuve puts the future of the franchise in good hands.
If nothing else, Denis Villeneuve will make the most visually stunning James Bond movie.
It was recently announced that Denis Villeneuve is going to be directing the new James Bond film, after control was handed over to Amazon MGM. While the internet is debating on if he is right for the job or not, there are a lot of things that make him the perfect choice, but a couple concerns as well.
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Not a lot is known about the next film, including which actor will be portraying the title character. Denis Villeneuve is busy with the upcoming ‘Dune: Messiah‘ which releases in December 2026 meaning it might be a while until we hear more details about this movie. Chances are the new 007 movie will not start filming until ‘Dune: Messiah’ is in post-production, although the script and casting should be completed before then.
Fans are looking at a late 2026 or early 2027 release at the earliest. That definately feels like a long time after 2021’s ‘No Time To Die‘.
James Bond (Daniel Craig) prepares to shoot in ‘No Time To Die,’ a Metro Goldwyn Mayer Pictures film.
Probably the most exciting aspect of this decision is that Denis Villeneuve has admitted that he grew up watching the James Bond films. They hold a special place in his heart and he went so far as to call them sacred territory so he knows what he needs to accomplish. And if anyone can do it, it is him.
Often when a director is passionate about a franchise before they are welcomed into it, they want nothing more than to create a perfect addition to it. This is something that Denis Villeneuve has dreamed of, making it unlikely he would do anything that would anger the fans.
He knows what works and what doesn’t in a James Bond movie, and he is certainly willing to put in the work. No one has ever claimed that Denis Villeneuve doesn’t know what he is doing, so odds are he will put everything he has into making the next James Bond movie something special. Why take on the responsibility of something like this, especially a franchise you love, and phone it in?
This Could Be The Most Visually Stunning Bond Movie With Denis Villeneuve At The Helm
With Denis Villeneuve in the director’s chair for the new James Bond movie, there is a good chance this is going to be the most beautiful of the franchise. As exciting as this is, here is where one of the concerns comes in. No one is doubting that with Denis Villeneuve involved this movie is going to look beautiful, as we have seen him win multiple awards for visual effects and cinematography, but you need more than that for a successful film.
His visual style doesn’t exactly scream James Bond. At least not at first thought. Denis Villeneuve is known for sweeping landscapes, desaturated tones, and extremely well done special effects. These are all things that the new James Bond movie could thrive off of, but it might take long time fans a bit longer to get used to it.
‘Blade Runner 2049‘ is a great example. The film might have been a box office disappointment, but it is also applauded for its incredible visuals and world building. It found its audience at home after some were skeptical about Denis Villeneuve being at the helm and a need for another movie.
The new James Bond movie will not have this problem, however, as it is already a well established franchise. Odds are fans will be showing up in theaters no matter what, although that also depends slightly on who the next James Bond actor is.
Denis Villeneuve Is Widely Considered One Of Today’s Best Working Directors
Of course there were fans of ‘Dune‘ before Denis Villeneuve’s films, but he introduced it to so many people all around the world in a way that caused them to explore the world further: reading the books, seeing the previous film, and so on. His work drew people in and created new fans, which is something that he could do for the James Bond franchise as well, something Amazon MGM surely thought about.
Denis Villeneuve has a way of adapting and growing already established projects, like ‘Dune’ and ‘Blade Runner‘. He often remains faithful enough to the original, but still adds something new and exciting. He knows how to build tension and create worlds and characters that will leave viewers mesmerized.
James Bond already has a well established fan base, but it still needs the next movie to be good, well-respected, and an entertaining watch. Denis Villeneuve is going to bring his A-game because of his love for the character. He is well versed in the films so there is no need to think he will change what makes James Bond so beloved. Surely we are all in good hands.
’28 Years Later’ has an ending that is dividing audiences.
The ending is a perfect transition into the next film, ’28 Years Later: The Bone Temple’.
The final scene could have been an end-credit scene.
SPOILER ALERT: Some spoilers for ‘28 Years Later’ below.
The ending of ‘28 Years Later‘ is getting people to talk about the movie, that’s for sure. Some love it, some hate it, some are indifferent to it, but either way you look at it, that final scene is splitting audiences. People online have gone so far as to say that the end completely ruined the movie for them.
While it does shift the movie tonally, it feels as if there is a reason for that. Nia DaCosta‘s follow-up, ‘28 Years Later: The Bone Temple‘, releases January 16, 2026, and this is likely a transition into that. It also ties together the opening scene as well as hints that were sprinkled throughout the film in an interesting way.
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’28 Years Later’ takes place, you guessed it, 28 years after the infection prominently featured in ‘28 Days Later‘ and ‘28 Weeks Later‘ started. It is not necessary to have seen the other movies, as this one follows a new group of people and does a decent job of catching viewers up on where they need to be to understand it.
Spike (Alfie Williams) has turned twelve and his father Jamie (Aaron Taylor-Johnson) believes it is time for him to go zombie hunting on the mainland and get his first kill. His mother, Isla (Jodie Comer), is very sick, although they do not know with what. After discovering there is a doctor on the mainland, he leaves the safety of his community with her to try to help her.
What follows is a terrifying adventure as they navigate a plethora of zombies and threats – including a pregnant zombie who births a non-infected child, something that will surely come back around later.
After Spike drops a newborn baby off at his community, he decides that he needs some time to clear his head and wander the countryside. You see, this movie has always been about him. About his relationship with his parents and his journey into adulthood. The trailers showcased Spike and Jamie, but that was in an effort to keep a lot of surprises, twists, and turns hidden so audiences can experience them on the big screen.
As he is cooking fish and relaxing, a zombie horde attacks. He holds his own for a while, but thankfully Jimmy (Jack O’Connell) shows up with some friends to take down the rest of the horde in a wild, ridiculous, over-the-top, yet extremely fun action sequences. The internet is calling this group Power Rangers and the Tracksuit Mafia, because they all wear brightly colored outits. Jimmy wears a crown on his head and definitely a weird guy, but this is not the first time we have seen him.
The opening scene showed a young Jimmy at the start of the infection. His father was a priest and welcomed the zombies, claiming that it was a prophecy being fulfilled. Jimmy hid in the church as he watched his father be devoured, so it makes sense that his brain might have snapped a little at that moment.
While we did not see him at all throughout the rest of the movie, we did see his name a few times. It was carved into the hanging zombie that Spike and his father come across early on, as well as written on one of the walls that they passed. There are likely even more references to him that eagle-eyed viewers can spot.
It might seem like this final scene comes completely out of left field, but it instantly felt like a transition into the next movie. Looking around the internet, so many have forgotten about Nia DaCosta’s ’28 Years Later: The Bone Temple’ and the fact that it not only was shot together with this movie, but that it is releasing in January.
When a director takes over the franchise for another director, often they collaborate on the pivotal scene that leads from one to another. For example, The Russo Brothers directed the end-credit scene in ‘Thunderbolts*‘ because it is going to lead into ‘Avengers: Doomsday‘. Surely she had some involvement, and potentially even directed this divisive scene.
Jack O’Connell shined in ‘Sinners‘ as Remmick, a cenuries-old vampire who has some quirks of his own. He is a little weird and a little twisted, so it should come as no surprise that he is channeling a little bit of that into his ’28 Years Later’ character, Jimmy. Plus, it makes sense storywise for him to be a little off.
The Ending Would Have Been Easier To Digest As An End-Credit Scene
Nia DaCosta (director, ’28 Years Later: The Bone Temple’), (L) and Danny Boyle (director, ’28 Years Later’) at CinemaCon 2025 for Sony Pictures at The Colosseum at Caesars Palace on March 31, 2025 in Las Vegas, Nevada. Photo by Eric Charbonneau/Sony Pictures via Getty Images.
All of this to say that the final sequence should have been an end-credit scene. This would have helped audiences separate the two with it not being such a stark difference from the majority of the movie, and certainly the third act. The tonal shift seems to be what it holding a lot of people back from allowing themselves to not only enjoy it, but to get excited about what is coming next.
It would have been easy enough to start rolling the credits when Spike was cooking the fish, but then during a mid-credit or end-credit scene show the zombie horde attacking with the lead-in to him meeting Jimmy and his crew. This would have helped viewers to see this as the start of the next movie, rather than an ending that comes out of nowhere for this one.
Rick Moranis as Dark Helmet in ‘Spaceballs’. Photo: Metro-Goldwyn-Mayer.
Preview:
A ‘Spaceballs’ sequel is in the works with much of the original cast returning.
Without the original actors reprising these roles, ‘Spaceballs 2’ would likely lack what is needed for it to succeed.
The addition of Lewis Pullman, Josh Gad, & Keke Palmer is also a brilliant move.
A ‘Spaceballs‘ sequel is in the works after nearly forty years and while that is exciting enough information on its own, the fact that much of the cast is returning is the icing on the cake.
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Unless ‘Spaceballs 2‘ were to follow a group of completely new characters (think ‘Star Wars‘ prequels or sequels), there is no way getting around replacing these actors. The film is so iconic that simply recasting would not only be a kick in the teeth to the actors (and the fans) but it would likely never capture the same satirical vibe that it needs to on order to be a success.
‘Spaceballs’ is a beloved film, a cult classic if you will, and needs to be treated as such. To bring in all new people, without any true ties to the original, would be a disgrace. The original cast members are not just perfect choices to play these characters, but the right choices to play them, as well.
(L to R) Rick Moranis as Dark Helmet and George Wyner as Colonel Sandurz in ‘Spaceballs’. Photo: Metro-Goldwyn-Mayer.
Rick Moranis is that actor who would be the hardest to replace and keep fans feeling as if Dark Helmet is the same character. It would be just like ‘Star Wars’ putting out a movie featuring Darth Vader and not using James Earl Jones‘ iconic voice. It would immediately feel like an impression, an imitation, and not the same thing.
This is the most surprising return for most, considering that he hasn’t acted in quite sometime. His last live-action role was ‘Honey, We Shrunk Ourselves‘, which release in 1997. After that he did lend his voice to several animated projects, but ultimately gave up acting more or less in 2008. It is a treat to have him return and quite honestly, we wouldn’t have it any other way.
The main cast are such iconic characters that it simply makes sense to have the actors who know them inside and out come back and reprise their roles. As long as they are willing and able, there truly is no reason to recast.
Mel Brooks and Daphne Zuniga Are Also, Thankfully, Returning
(L to R) Joan Rivers as the voice of Dot Matrix and Daphne Zuniga as Princess Vespa in ‘Spaceballs’. Photo: Metro-Goldwyn-Mayer.
Mel Brooks directed and starred in the original 1987 film. He is currently 98 years old, so his return for ‘Spaceballs 2’ as Yogurt is a bit shocking. That said, he can simply provide the voice via a recording booth if necessary, and have a stand-in actor if need be, due to the nature of the character. While fans would love to see him don the iconic gold makeup, that is simply not necessary with today’s technology. Of course, that would be ideal, but there are work arounds if they are needed.
Daphne Zuniga returning as Princess Vespa is no surprise to many as she has continued to act since ‘Spaceballs’. Knowing that Princess Vespa and Lone Starr marry at the end of the first film is the perfect lead-in to introducing their child, who will likely be the main focus of ‘Spaceballs 2’.
Sadly one of the most memorable characters, Barf, cannot be portrayed by the original actor, John Candy, as he has passed away. It is hard for fans of ‘Spaceballs’ to imagine a sequel without this particular character, so odds are Barf will either be recast, or one of his offsprings will join in the adventure. This is likely where Josh Gad steps in, because has the comedic chops to pull it off, although we do not yet know for sure.
Lewis Pullman Joining His Father, Bill Pullman, As His Son Is A Brilliant Casting Choice
Lewis Pullman coming in as Lone Starr’s son, which is fitting becauae his father, Bill Pullman, is reprising that role as well for ‘Spaceballs 2′. Having both Pullmans on screen is sure to be a joyful fans, but it will also make their moments together believable. As with Rick Moranis’ return as Dark Helmet, finding a replacement actor for Bill Pullman’s Lone Starr would prove to be incredibly difficult.
Bringing in Lewis Pullman is a brilliant move because not only is he the perfect person to carry on the Lone Starr legacy because of his father, he is also a great actor, which he has proven time and time again, most recently in ‘Thunderbolts*‘.
Keke Palmer also joins the ‘Spaceballs 2’ cast in an undisclosed role. Another comedic genuis who is sure to fit into this crazy Sci-Fi world perfectly.
Josh Gads Love For The Original ‘Spaceballs’ Is Reassuring
(Left) Mel Brooks in ‘Spaceballs’. Photo: Metro-Goldwyn-Mayer. (Right) Josh Gad in ‘The Wedding Ringer’. Photo: Sony Pictures Releasing.
Josh Gad is leading the charge on ‘Spaceballs 2’, reportedly starring and producing. He also apparently wrote the sequel. Not only does he know his way around comedy, he is also a big fan of the original film. He has admitted to seeing ‘Spaceballs’ before even seeing ‘Star Wars’. Knowing that he is such a big fan himself should put minds at ease. Surely he would not agree to star in something that doss have the same vibe and feeling of the original, which he loves so much.
While not much is known about the story yet, ‘Spaceballs 2’ will clearly be set a long time after the events of ‘Spaceballs’. The actors have aged forty years, which is something you simply cannot avoid. Plus, with Lewis Pullman playing the adult son of Lone Starr, we know time must have passed. There are so many routes they can go, but with the original cast on board, fans will have high hopes that they can recreate magic.
Amazon MGM’s ‘Spaceballs 2’ is set to release in 2027. There is no confirmation yet as to if it will head to theaters yet, or release exclusively on Prime Video.
(L to R) John Candy, Joan Rivers, Daphne Zuniga and Bill Pullman in ‘Spaceballs’. Photo: Metro-Goldwyn-Mayer.
Nearly six years after ‘Deadpool 2,’ the self-proclaimed “Marvel Jesus” has returned to the big screen and this time, he brought his BFF Wolverine with him. Real-life BFFs Ryan Reynolds and Hugh Jackman reprise their roles as Deadpool and Wolverine, respectively.
‘Deadpool & Wolverine’ finds Wade at a peaceful time of his life, retired from his usual superhero duties. All was well until the TVA came knocking on his door. Agent Paradox (Matthew Macfadyen) reveals to him that his entire timeline and everyone he cares about will soon cease to exist due to it losing its “anchor being”. Deadpool travels to various timelines to find a Wolverine to replace the one that was lost in order to save his world.
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Director Shawn Levy (‘Free Guy’) is at the helm for the highly anticipated film. The movie features a slew of familiar Marvel characters, unexpected cameos, visceral fight scenes, and a fantastic soundtrack.
(L to R) Ryan Reynolds, Peggy aka “Dogpool” and Hugh Jackman attend the UK Fan Event of Marvel Studios’ ‘Deadpool & Wolverine’ at Eventim Apollo, London on July 11th, 2024. Photo by StillMoving.Net for The Walt Disney Company Limited.
The film premiered at the David H. Hoch Theater in New York City on July 22, 2024. The movie was released domestically on July 26 in formats such as IMAX, RealD 3D, Dolby Cinema, and 4DX. Initially, ‘Deadpool & Wolverine’ was set to release on September 6, 2024. However, the film moved up to its July 2024 release date following the end of the SAG-AFTRA strike. The movie has a total runtime of 2 hours and 8 minutes.
Did you miss it in theaters? You’re in luck! The movie became available for rent or purchase on digital on October 1. You can rent for $24.99 or purchase for $29.99 on platforms such as Amazon, Apple TV, YouTube, Vudu, and more.
After debuting at a staggering $636.6 million domestically, ‘Deadpool & Wolverine’ surpassed the 2023 box office hit ‘Barbie,’ becoming the 12th highest-grossing film. Globally, the movie has earned over $1.3 billion. It currently holds the record as the highest grossing R-rated movie.
For physical media lovers, ‘Deadpool & Wolverine’ is now available on DVD, Blu-Ray, and 4K Ultra HD. A steel book Blu-Ray edition is also available, and you can pre-order it at retailers such as Target, Walmart, or Amazon.
The Blu-ray and 4K version will include bonus features such as a gag reel, deleted scenes, commentary with director Shawn Levy, and stars Ryan Reynolds and Hugh Jackman, and featurettes such as:
Finding Madonna: Making the Oner
Practical approach: Celebrating the Art of Ray Chan
Watch the official trailer for ‘Deadpool & Wolverine’:
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The official synopsis for ‘Deadpool & Wolverine’ is below:
Deadpool’s (Ryan Reynolds) peaceful existence comes crashing down when the Time Variance Authority recruits him to help safeguard the multiverse. He soon unites with his would-be pal, Wolverine (Hugh Jackman), to complete the mission and save his world from an existential threat.
Who’s In the Cast of ‘Deadpool & Wolverine
(L to R) Dafne Keen, Hugh Jackman, Channing Tatum, Wesley Snipes, Ryan Reynolds and Jennifer Garner in ‘Deadpool & Wolverine’. Photo: Marvel Studios.
The latest installment in the ‘Planet of the Apes’ franchise comes centuries after Caesar’s reign. The story follows a young ape named Noa (Owen Teague) and his journey to free his clan from Proximus Caesar’s (Kevin Durand) tyrannical rule. The Apes epic is helmed by Wes Ball (‘The Maze Runner’).
In the film, the apes are the dominant species, and the humans are reduced to living in shadows. Noa’s clan lives harmoniously until one day, a squad of gorillas attacks his village, leaving nothing but ruins and taking most of the clan into captivity. Noa must rescue his his family and friends, even if it means teaming up with a human.
The film premiered at the TCL Chinese Theater in Los Angeles on May 2nd, 2024, and arrived in theaters on May 10th. The movie received positive reviews, with an 80% Rotten Tomatoes score from critics and a 70% from the audience. The film opened to $58.5 million domestically and has since raked in over $170.7 million. Worldwide, the film grossed over $396.6 million, making ‘Kingdom of the Planet of the Apes’ the third highest-grossing movie in the reboot franchise. The film has a runtime of 2 hours and 25 minutes.
Did you miss it in theaters? Don’t worry. The movie is now available for rent or purchase on digital for $19.99, respectively, on platforms such as Amazon, Apple TV, YouTube, Vudu, and more. For Hulu subscribers, the movie is now available to stream on the platform. Additionally, all nine films in the ‘Planet of the Apes’ franchise are currently streaming on the platform, including the original film from 1968.
Currently, there are no official announcements from the studio for a sequel to ‘Kingdom of the Planet of the Apes’. However, director Wes Ball eluded in an interview with Variety that this film is the first in the trilogy. When asked if there’s an intention to do two more, Ball replied, “Yeah, three is a good number.”
Wes Ball is also set to direct the ‘Legend of Zelda’ movie, an extremely popular and beloved video game.
For physical media lovers, ‘Kingdom of the Planet of the Apes’ will be available on DVD, Blu-Ray, and 4K Ultra HD on August 27 and will include bonus features and delete scenes such as:
Inside the Forbidden Zone: Making Kingdom of the Planet of the Apes Documentary
14 Deleted/Extended Scenes with optional audio commentary by Wes Ball
The Blu-Ray will include “Inside the Lens: The Raw Cut”, and will feature a full length alternate cut with a split screen that compares the final cut with an unfinished VFX version. For collectors, there will be a 4K ultra HD steelbook available at retailers such as Amazon, Target, and Walmart.
Watch the official trailer for ‘Kingdom of the Planet of the Apes’ below:
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The official synopsis for ‘Kingdom of the Planet of the Apes’ is below:
Director Wes Ball breathes new life into the global, epic franchise set several generations in the future following Caesar’s reign, in which apes are the dominant species living harmoniously and humans have been reduced to living in the shadows. As a new tyrannical ape leader builds his empire, one young ape undertakes a harrowing journey that will cause him to question all that he has known about the past and to make choices that will define a future for apes and humans alike..
Who’s In the Cast of ‘Kingdom of the Planet of the Apes’
(L to R) Natalie Portman and Chris Hemsworth in Marvel’s ‘Thor: Love and Thunder.’ Photo courtesy of Disney Studios.
With the release of ‘Thor Love & Thunder’ we are once again pushed deeper into phase 4 of the Marvel Cinematic Universe.
Each film before it has given us little hints and glimpses into what’s next, but Taika Waititi’s brightly colored and rock-filled sequel may have been our most important glimpse into the future, and we have the end credits, little references and new characters in the film itself to thank.
During the movie, it’s revealed that actual gods have existed in the universe for centuries. I mean ‘real gods,’ I’m not talking about Celestials (though more on that later). I’m talking about Zeus, Ra, etc. Pantheons from all over the world existing and instilling fear in humans for millennia. But we’re also shown that they use humanity as grounds for worship, sacrifice … and not much else.
As the film ends, we’re shown Zeus recovering from a fight with Thor earlier in the movie. He talks about how humans don’t even think of them anymore, only seeing the costumed heroes as gods. He laments on the days when they were feared by humanity. He looks to his son, Hercules played by Brett Goldstein (‘Ted Lasso’), to send him after Thor in revenge. But what does this all mean for the future?
Marvel Comics’ Hercules. Photo courtesy of Marvel.com.
The pantheon of gods has existed in Marvel comics for decades now, first appearing all the way back in 1948 with the character of Venus in the self-titled comic published by Timely, which would eventually become Marvel Comics in the 1960s. They have many iterations in the comics, some being Inhumans or Eternals, and many others just being actual gods. But this is the first time in the MCU we have seen them appear.
Obviously, the gods are angry. Superheroes have taken their place and the jealously is boiling over. The one place we can easily see this going is a war between the gods and humanity, with Hercules being the jumping off point. First appearing in 1965, he’s not exactly a villain as the movie makes him out to be.
Hercules was a hero, even becoming a part of the Avengers at one point. But using him as a villain for Thor could spark the gods versus humans war, leading to him most likely changing sides. But that’s not all the reveal of the gods and Hercules could lead towards.
On top of the gods, ‘Love & Thunder’ gives us our first look at Eternity, literally. A being that is the embodiment of the universe. The film reveals that Eternity manifests itself as a being of pure energy. This opens the door for way more crazy cosmic stuff, as well as one-character people have been asking for forever.
Marvel Comics’ Galactus. Photo courtesy of Marvel.com.
Alongside Eternity sits Infinity … and Galactus. That’s right, something I also brought up in my ‘Eternals’ deep dive. Throughout ‘Love & Thunder’ we see subtle hints of the Planet-eater in statues and visions. Beings like him do exist in the MCU, so what’s taking him so long to show up?
Let’s be real, Galactus isn’t some one-time villain you throw in a single movie and never see again. If they were to bring the entity into the movies, he would be a Thanos-level enemy. Just way more powerful and even deadlier. And besides, we just started this new Phase.
Looking ahead, the upcoming roster screams just that. While we know next to nothing about ‘Black Panther: Wakanda Forever’, we know that ‘Guardians of the Galaxy Vol. 3’ is going to bring in Adam Warlock (Will Poulter). In the comics, Warlock becomes a being called the Living Tribunal, a being so powerful he could take on Galactus.
Marvel Comics’ Adam Warlock. Photo courtesy of Marvel.com.
Introducing Adam would give the MCU a being strong enough to destroy Galactus. Without him, I honestly don’t know how Marvel can write their way out of it. Thankfully, just calling Warlock the Living Tribunal from the get-go is the best way to do this and would forego confusion from casual fans.
One last element that ‘Love and Thunder’ introduced is the character of Love, the (reincarnated) daughter of Gorr. The god of Thunder promised him he would take care of her before his death. Love was very fun for the few minutes we saw her and her personality, but while also being Chris Hemsworth’s daughter in real life, her role in the future could be huge.
We know Love was brought back to life by Eternity. Meaning she is a child with infinite potential of power. We see this already with her crazy eye beams and the fact she can control Stormbreaker like it’s nothing. This shows now, through her, just how powerful the ethereal cosmic beings of the MCU are.
What they did with Love is just a precursor to what they can do. They brought a literal child back to life, they can apparently do anything! But this one act could also show a bit of compassion from these ‘gods,’ much more than the likes of Zeus.
Christian Bale in Marvel’s ‘Thor: Love and Thunder.’ Photo courtesy of Disney Studios.
They can do whatever they want and could have easily brought Love back as something twisted and nightmarish. But they followed Gorr’s wish to a tee and gave him back the one thing that mattered. This act is a huge reminder that Galactus may be the literal embodiment of hungering evil, but the other cosmic beings are not like him.
Phase 4 of the MCU is looking to be way bigger than the previous, especially on a cosmic scale, with ‘Thor Love & Thunder’ having so many different paths for this universe to travel. But seeing how everything connects to past films, and how it could also connect to the future, makes the threads a lot stronger and less dangling.
Personally, I think Marvel is killing it so far, and once they find that solid footing, this is going to be one phase of Marvel movies that is really going to resonate with both the casual and hardcore audiences in the years to come.
(L to R) Natalie Portman and Chris Hemsworth in Marvel’s ‘Thor: Love and Thunder.’ Photo courtesy of Disney Studios.
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Renata de Lélis in ‘The Pink Cloud’ – Prana Filmes
Welcome to Female Directors, which features interviews with female directors and recommendations for films directed by women each week. This week, Iuli Gerbase talks about her feature film debut, ‘The Pink Cloud’ and recommends ‘Good Manners’ from fellow Brazilian director Juliana Rojas.
Born in Brazil, writer-director Iuli Gerbase studied filmmaking and creative writing and started making films at just twenty years old. Her short films have been selected to play at festivals all over the world, including the Toronto International Film Festival and the Havana Film Festival. Her debut feature film ‘The Pink Cloud’ had its world premiere at the 2021 virtual edition of the Sundance Film Festival.
Written years before the global pandemic put many of us in lockdown, Gerbase’s prescient sci-fi thriller ponders the effects of prolonged quarantine through the lens of two strangers forced to build a life together. Giovana and Yago meet and have what they think will be a one night stand, only to discover the next day a deadly pink cloud has appeared in the sky. It kills people within ten seconds, forcing the world’s population to stay indoors. We follow Giovana and Yago as they change after years in this unbearable situation.
Despite being conceived in 2017, Gerbase’s psychologically incisive film takes on even deeper layers when viewed in a current semi-quarantined world. As ethereal as it is emotionally raw, ‘The Pink Cloud’ explores our deeply rooted need for interpersonal contact, the limits of internal strength, and what happiness and personal freedom really mean when societal expectations erode.
Moviefone: You wrote this film way before the pandemic. Where did the inspiration originally come from and what you were trying to explore?
Iuli Gerbase: My idea was showing the journey of this couple that had just met, and their idea was having just one night together. Then the next morning, this crazy, toxic pink cloud comes and they have to be in this forced marriage. We see their journey trying to get along, trying to get to know each other, and then dealing with the situation for years.
I wanted to explore how they react differently to the cloud. How it affects Giovanna and what’s difficult for her, and how it affects Yago differently. I never thought we would have a similar pandemic a year after we filmed it.
MF: Much of the film’s life has been after the pandemic started. What sort of themes do you think in the film have been heightened by the experiences we’re going through as a global community?
IG: I’m happy to see many reviews, and also people commenting online, that they can see other layers in the film, because my fear was now it was going to be “The Pink Covid,” because everyone will just think about the pandemic. For me an important layer of the film that people are taking notice of is what the cloud represents to Giovana and the idea that the cloud is pink for a reason. Pink is the color that we as babies tend to wear; boys wear blue and girls wear pink.
So the idea was that we had this pink cloud suffocating the wishes of Giovana. In the beginning she says, “I don’t want to be here. I don’t want to be with this man. I don’t want to have children.” And it’s like the cloud is making her little by little follow the steps that she said she didn’t want to do. It’s this thing suffocating her and it’s a beautiful pink, and it is seductive and it is attractive, but it’s not what she wants. When she starts doing things that she didn’t want to do, she starts suffering a lot.
MF: As someone who quarantined alone, I related a lot to Giovana’s friend Sara, who was unfortunately completely alone when the cloud arrived. Obviously, you couldn’t imagine that was going to happen , but the way that you characterize that journey for her was really smart and incisive. How did you develop that character?
IG: I had just started a TV series with many children over a month and when it ended, I went to my house where I lived by myself. For me going from being around forty children to nobody around, it’s a shock. In the film, Sara was a teacher who works with 90 kids per day, every day for years, and then being alone is a total shock. It’s very hard for her. That was our idea when we were talking about the background of Sara, and I love that scene, and I love Kaya Rodrigues who is the actress.
That scene was in the first week. I think maybe on the second day. I was very emotional in that scene. I think it was so beautiful. And I thought, well, it’s very emotional on the second day of shooting, so I think this film will be good. It’s amazing to see you relate to Sara, and some people relate to Gioavan, and some people relate to Yago. A great part of doing a film is seeing what people can relate to.
MF: Most of the movie is between Renata de Lélis as Giovana and Eduardo Mendonça as Yago. What were you looking for in casting these characters?
IG: I knew I needed actors who would trust me, and would be very dedicated to the project, because it is a hard task because the film is 90% them. So both actors I knew before we cast the film. Eduardo was in my first short film ever, that I made when I was 19. Renata has worked with me before too. They were friends who had worked together in theater and movies. So we were always connected.
We did rehearsals with the children, and we did rehearsals in the apartments. I knew that it was very important for them to be good, and they knew that the film depended a lot on them. They were very dedicated. I’m very proud of them. Also, I think I wrote the script thinking about them, so there is a little Eduardo in Yago and a little Renata in Giovana. They understood that as well during the shooting, like how they related to the situation, and how they related to the children. So it was an amazing process with them.
(L-R) Gabriel Eringer and Renata de Lélis in ‘The Pink Cloud.’ – Prana Filmes
MF: Most of the film takes place in a two-story apartment. How did you shoot this?
IG: It was a real apartment, not a studio. I think that that helped the actors too. We shot over four weeks. The first week was the supporting actors and then three weeks with them in the apartment. When we were choosing the crew, it was like, okay, everyone has to be talented and professional, but also a nice person. Because I don’t want to be three weeks in an apartment with someone who’s in a bad mood all the time or, you know, angry or shouting.
I wanted parts of them to be comfortable so that Yago could be okay with the situation and Giovana not okay. If they were in a small flat, I think they would kill themselves after one year. I needed an apartment that was comfortable and had space, even knowing that is not the reality for most Brazillians. We also discussed how much the apartment would change when Lino is born. There are drawings on the wall and some things are kind of falling apart. Not too much, but you have to think how they would adapt these apartments to children during all the years that go by.
MF: Early in the film you hear about a character’s boyfriend who is trapped in a bakery, as well as other places where people were stuck. What were you thinking as the filmmaker about the world outside of this apartment, and how did you decide what parts of it would filter in?
IG: For me, one of the main themes is isolation and how much you choose to be isolated. There is a fight where Giovana tells Yago that he doesn’t want to know about anything and he doesn’t care about what is happening outside the apartment. And he says she’s too paranoid and obsessed with reading the news. A big part for me was exploring how much do you choose to isolate yourself? The supporting characters give us some clues of what’s going on outside.
We keep imagining how they are, but I think if we were with them all the time it would be even harder to watch than what happens with this couple. If you think about what is happening outside the apartment, it’s darker. So my idea was to create this universe with some clues of what’s going on outside, and if you really think about it, you think, “oh this is terrible.” But if you want, you can also not think about it. I tried to provoke viewers to think about how much they would care about what’s going outside the apartment.
MF: The scene in the kitchen, where she can barely speak to her son because she knows his future is bleak, and Yago wants her to focus on now is really powerful. It makes you think about what we’re leaving the next generation, and how some people don’t think like that.
IG: That scene can be related to having kids during this climate change situation, and also now the pandemic. I don’t have children yet. I think that I will, but I’m not 100% sure, and one of the things that makes me hesitant is climate change. If you’ve seen the news from Brazil now, the rains and the floods, it’s scary.
There’s documentaries about how it’s getting worse. How do you bring a child in this situation? At the same time, many people still want to get pregnant. Some people are hopeful that it will get better and we will do what is necessary for us to survive. But it is difficult, and for me, I relate to Giovnna in that way of thinking, but aren’t things getting kind of crazy?
MF: What do you hope people take away from the movie when they finish watching it?
IG: When people ask me what is the message? I’m like, I’m not a priest. There is no message. But I do want people to take away things. I’m happy people are able to relate to it. I would like people to think about what is their notion of freedom and happiness, and that it’s not the same for everyone. Is there something that they’re doing because they feel that they have to?
Maybe this person who watched the film is being pressured by something that they don’t need to be pressured by. Are they being as free as they can be and they want to be? I think it’s about that. It’s about what makes you happy and what makes you happy to be alive, and what rules are you following that maybe you don’t have to.
MF: Is there a film directed by a woman that either inspired you to make movies or that you just really love and think people should see?
IG: I would say ‘Good Manners (As Boas Maneiras)’ by Juliana Rojas. It is fantasy and it is crazy. I love it. I really respect her as a director.
Brazilian filmmaker Juliana Rojas studied cinema at the School of Communication and Arts of University of São Paulo where she met co-director Marco Dutra. Discovering they both shared a love of horror and musicals, they began co-directing films together. Their short film ‘Lenço Branco’ was selected as part of the 2004 Cannes Film Festival’s Cinéfondation, which is a celebration of student films.
Their next short film ‘Um Ramo’ was selected as part of the 2007’s Cannes Film Festival, playing during International Critics’ Week. Their first feature film ‘Hard Labor’ played as part of the Un Certain Regard section of the 2011 Cannes Film Festival. Rojas and Dutra won a Special Jury Prize at the Locarno Festival for their 2017 fantasy film ‘Good Manners.’
‘Good Manners’ follows a woman named Clara (Isabél Zuaa) who takes a job as a housekeeper and nanny for a rich woman named Ana (Marjorie Estiano), As the film progresses Clara releases that there is a secret behind Ana’s pregnancy that will change her view of the world forever. Equally inspired by traditional horror tropes and local mythology, Rojas and Dutra craft a spellbinding fantasy world that also works as critique of modern Brazilian society.
(L-R) Marjorie Estiano and Isabél Zuaa in ‘Good Manners.’
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Welcome to Female Filmmakers in Focus, where you will find a recommendation for films directed by women to seek out each week. This week features a couple of films about sugar babies: Emma Seligman’s coming-of-age comedy ‘Shiva Baby’ and Carly Stone’s romantic comedy ‘The New Romantic’. Plus an interview with writer-director Emma Seligman.
What is a sugar baby? Well, essentially a younger, financially in need person enters a dating-like relationship with an older, more financially well-off person for money, gifts, trips, and other material benefits in exchange for their companionship. With the rise of student loan debt, sugaring is a growing phenomenon among students to pay for secondary education.
‘Shiva Baby’ (2020) – Written and Directed by Emma Seligman
Rachel Sennott in ‘Shiva Baby’
Emma Seligman began her work in film as a critic while she was a teenager. She then attended films school at New York University Tisch School of the Arts. Her thesis film, the short version of ‘Shiva Baby,’ was a selection of the 2018 SXSW film festival. She developed the short into a feature film, which debuted at the 2020 Toronto International Film Festival. It also won Best Screenplay at Outfest. She is currently shopping around a queen teen comedy with Rachel Sennott attached, and developing a television show about sugar babies.
‘Shiva Baby’ follows recent college graduate Danielle (Rachel Sennott), a Jewish bisexual who made up her own degree and hasn’t yet figured out what she plans to do with her life. While sitting shiva for a friend of her parents (Fred Melamed and Polly Draper), she runs into her sugar daddy Max (Danny Deferrari), his wife Kim (Dianna Agron), and her ex-high school sweetheart Maya (Molly Gordon). This screwball comedy plot is played like a horror film, highlighting Danielle’s mounting claustrophobia. This tension is aided by Ariel Marx’s plucky violin score and cinematographer Maria Rusche’s masterful close-ups. It’s ramped up further by Seligman’s acute observation of interpersonal relationships as revealed through body language, subtle glances, and the subtext that drips from the character’s innocuous dialogue. ‘Shiva Baby’ distills the anxiety of the post-college life crisis into one delightfully bad day.
‘Shiva Baby’ is out now on VOD.
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Read on for an interview with ‘Shiva Baby’ writer/director Emma Seligman
Moviefone: How did you decide to set a story around sugaring?
Emma Seligman: I thought about the two polar opposite ends of my life being represented. One of them being a child at a family event and the other would be the time I tried sugaring. College is sort of permeated now with hookup culture and not having control, wanting someone to commit who won’t, and feeling really invalidated. No one in my generation knows how to communicate. No one wants to be vulnerable; they want to keep the power and be the one who cares less. I think that a sugar relationship was a good way to give a clear picture of those sexual dynamics over one day.
MF: Can you discuss her casting of Rachel Sennott as Danielle?
ES: She was in a bunch of my friends’ thesis films and I watched some sketches she wrote and acted in. I thought she was really funny. She looked like someone really familiar to me, like someone I would run into at a family event. She was a huge reason why the feature happened in terms of her motivation and commitment to making it happen.
MF: How did you come to cast Fred Melamed and Polly Draper?
ES: I offered the role to Fred because of ‘A Serious Man’ and everything else, and he said yes. My mom was always like “Polly Draper must play me!,” and I was like “It’s not you, but sure.” Polly and Fred were friends from Yale School of Drama, which brought this whole other chemistry and relationship to the parents. Polly improvises a lot; Fred doesn’t improvise. It worked between the two of them because they felt so comfortable with each other.
MF: Can you talk a bit about working with Dianna Agron?
ES: She suggested a couple of things, like when they’re questioning if she’s Jewish or not, how Jewish she is, or her dad being Jewish. Diana as a Jewish person has often had her Jewishness questioned because of her looks and because her mom converted.
MF: Ariel Marx’s score sets a distinct horror movie vibe. How did you two arrive at that?
ES: I wanted to make sure that the score allowed the audience to understand that we should just be with Danielle and her anxiety. Score can lead into drama and the emotions, or it can lean into comedy or romance; I wanted it to lean into just her anxiety. I kept saying the word anxiety, so Ariel sent me a library of violin sounds. I picked my favorite, and she told me that everything I chose put together was a horror score.
MF: Were there visual references you discussed or specific lenses used to achieve Maria Rusche’s claustrophobic cinematography?
ES: I showed her movies that I thought were really claustrophobic and anxiety inducing like ‘Krisha,’ ‘A Woman Under The Influence,’ ‘Opening Night,’ and ‘Black Swan.’ She suggested we should shoot on anamorphic lenses. Basically they curve the frame in a way that sometimes makes it feel like a fun house it’s so clear it’s distorted. The ones that she chose just delicately distort the frame. They make it look like the walls are caving in just slightly, while still being able to see everything in the frame and have everything in focus. Those made a significant difference in achieving that look.
MF: What do you hope audiences take away from the film?
ES: Beyond being entertained in a really dark time, I hope young women feel seen in the contrasting and conflicting pressure put on them. I hope other people understand that it feels like a horror movie sometimes to be a young woman.
‘The New Romantic’ (2018) – Written and Directed by Carly Stone
Jessica Barden in ‘The New Romantic’
Inspired by the work of Nora Ephron, Sofia Coppola, and Joey Soloway (Transparent), writer-director Carly Stone attended the American Film Institute. She worked as a writer on the Canadian sitcom ‘Kim’s Convenience’ before making her directorial debut with ‘The New Romantic’. Shot in just 18 days, the film had its world premiere at the 2018 South by Southwest film festival where she was awarded a Special Jury Recognition for First Feature. Stone is currently in pre-production on an adaptation of Cea Sunrise Person’s memoir ‘North of Normal’ with Margaret Qualley attached to star.
In the ‘The New Romantic’ college student Blake (an irrepressible Jessica Barden) writes a column on dating for the school newspaper called The Hopeless Romantic. That is until it’s cancelled for being “too boring.” Out one night with best friend Nikki (Hayley Law), Blake accidentally swaps her ID with a fellow student Morgan (Camilla Mendes), who she learns is a sugar baby. Jealous of fellow journalist Jacob (Brett Dier), who has entered a contest for gonzo journalism, Blake interviews Morgan and then decides to try sugaring herself. While these new experiences invigorate her column, shenanigans ensue as Blake balances life with her sugar daddy, a wealthy older professor named Ian (Timm Sharp), and her newfound feelings for Jacob. The film’s trio of women each give game performances showing that there are many facets to the female college experience. Mike McLaughlin’s cinematography, a contrast of brightly lit days and neon-filled nights, fits the film perfectly into Gen Z instagram aesthetics. Writer-director Carly Stone uses rom-com tropes to explore the complexities of journalistic ethics, contemporary sexual mores, and the age-old pursuit of accepting one’s true self.
If you’re curious as to what new movie this week might be best for you, Moviefone is here to help you find it and watch it. This week’s selection of movies features freaky ghosts, freaky monsters, and all kinds of grieving. Here are the movies we’re suggesting this week:
Godzilla vs. Kong (In Theaters and on HBO Max)
A scene from ‘Godzilla vs. Kong’
For what feels like ages, fans have been watching Kong and Godzilla’s solo movies and waiting ever-so-patiently for the inevitable matchup. Now, the prehistoric predators are reunited, complete with the Monarch corporation watching their every move. Questions arose in the previous films about whether these big guys were friend or foe of the humans, and as they face off, none of it matters because they’re FIGHTING YOU GUYS FOR REAL OH MY GOD DID YOU SEE THAT?!
Watch It If: You just want to watch an old-fashioned monster slug fest where some people talk occasionally. Also, if you feel comfortable enjoying this in a theater, it is definitely a big screen experience.
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The Unholy (In Theaters)
Jeffrey Dean Morgan in ‘The Unholy’
Jeffrey Dean Morgan (‘The Walking Dead’) is a broke-down journalist who fell from grace for pushing fake news. But wouldn’t ya know, while on assignment to cook up a cheap hacky ghost story, he stumbles on a real one. Alice (played by newcomer Cricket Brown) is a hearing impaired teen living with her priest uncle (William Sadler). She is drawn to the twisted, lone tree on their property and claims to have heard the voice of The Virgin Mary. She begins healing Mary’s believers…but the question remains, who are they really praying to?
Watch It If: You need some Morgan without Lucille, his ‘Walking Dead’ barbwire bat, and if you want to see Cary Elwes in priest robes. Which, trust me, you totally do.
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Concrete Cowboy (Netflix)
Idris Elba and Caleb McLaughlin in ‘Concrete Cowboy’
In Philadelphia, there is an organization called The Fletcher Street Urban Riding Club that invites young people in the neighborhood to care for horses and learn responsibility and harmony with nature. In this drama, Harp (Idris Elba) is one of the adults doing great things in the neighborhood with the organization, but clashing with his own son Cole (Caleb McLaughlin of ‘Stranger Things’). Will the two men learn the same kind of harmony with each other?
Watch It If: You’d like to learn more about an amazing real-life organization you’ve never heard of (but should), and if father-son dramas get you right in the chest.
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Shiva Baby (In select theaters and VOD)
Rachel Sennott in ‘Shiva Baby’
Rachel Sennott plays Danielle, a complicated modern young woman. When she attends a Jewish funeral with her parents, she runs into not only her sugar daddy, but also her gorgeous Barbie doll-esque ex-girlfriend. It seems as though with each conversation, the situation gets deliciously more complicated and hilarious. You know, on top of the mourning.
Watch It If: You’ve ever felt trapped at a family function, desperately wanting to pay your respects and leave with a couple of hors d’oeuvres in your pocket.
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This Is Not a Burial, It’s a Resurrection (VOD)
Mary Twala in ‘This Is Not a Burial, It’s a Resurrection’
Lesotho, a South African country, declared independence 55 years ago and presented this film as its first-ever Oscar entry this year. It features an 80-year-old widow named Mantoa (Mary Twala, in her last film before her death) whose village is being resettled by the government, so they can flood the land and bring water to the landlocked nation. In a series of vivid images showing both Mantoa’s real life and her dreams, the film shares a mother’s rage and pain over the death of her son, and how far she will go to be buried with her family. As she feels ready to shuffle off this mortal coil, she has nothing left to lose.
Watch It If: You’re hungry for gorgeous cinematography and rich colors, as well as a performance from an actor you’re sure to remember for a long time coming.
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