It’s a massive understatement at this point to say that Netflix is generating content at an insane pace. Not only do they produce new series on a seemingly weekly basis, but the streaming service announced a new comedy special every week in 2017! The content machine is also focused on creating Netflix Original movies too. We could all use some escapism in these bizarro times, but who can keep up! Fortunately, you don’t have to, that’s why Monkeys Fighting Robots is here.
As Netflix Original movies pop up, it’s clear the streaming service is not ignoring any genre. But nothing made people take notice more than the recent announcement of Bright, a fantasy film starring Will Smith. Netflix is serious about making good, if not, great, content and the five movies on our list serve as clear evidence that they’re off to a good start.
Binge Watch These Five Netflix Original Movies
Over The Weekend!
As a testament to the diversity of movies on Netflix, check out 13th. Directed by Oscar-winner Ava DuVernay, the documentary chronicles the history and impact of the 13th Amendment of the United States. Slavery was abolished, but it was still a long road for African-Americans to become an equal citizen. DuVernay’s ability to squeeze heart-wrenching emotion packs a powerful punch here.
According to The Hollywood Reporter, actor and well-known prankster Jared Leto may find himself caught up in the game world of Disney’s Tron.
The report states Leto will star in the project and be involved in producing the planned reboot alongside partner Emma Ludbrook and Tron: Legacy co-producer Justin Springer. In the proposed film, he will play Ares, a new character in the Game Grid.
The Tron concept lingered in the Disney library since 1982, when it was released against tough competition like E.T. and Star Trek II: The Wrath of Khan. Starring Jeff Bridges, the first film told the story of a video game programmer trapped in the world he helped to design. While ultimately successful, the film was consider a bomb for the then-struggling studio. Besides a handful of video games and a redress of one of the Peoplemover pavilions at Disneyland, the company put the concept on the shelf next to The Love Bug and The Black Hole.
In the early 21st Century, Disney mined their library for concepts and a Tron sequel was soon in development. 2010’s Tron: Legacy stared Bridges once again as programmer Kevin Flynn with Garret Hedlund as his estranged son and Olivia Wilde as a spontaneously generated computer program. Directed by Joseph Kosiniski and featuring music by Daft Punk, the film was a stylish follow-up, but failed to become a big enough hit for the studio to fast-track a further installment. One was eventually developed with Kosiniski, Hedlund and Wilde returning, but it was cancelled just as production was set to begin.
The new project is being characterized as a reboot, so it is unlikely the principles from the planned Tron 3 will return, but nothing can be confirmed.
Does this sound like a good idea or do you think Tron should continue from where it left of in Legacy? Sound off in the comments below.
The upcoming Han Solo spinoff film continues to build an impressive cast, as Michael K. Williams will now join the film in what is being called a “key role” according to Variety.
We don’t have any information of Williams’ character, or much about the film other than it will be set in the time before A New Hope, but we do know since he will be in the role it will be awesome. Williams makes just about everything he’s involved in – from his HBO hits The Wire, Boardwalk Empire and last year’s The Night Of, to pivotal roles in films like The Road and Inherent Vice – that much cooler.
He will be joining a cast that already includes Alden Ehrenreich in the title role, Donald Glover as a young Lando Callrisian, Emilia Clarke, Woody Harrelson, and Thandie Newton. It’s directed by the 21 Jump Street duo Phil Lord and Chris Miller, and we have to wait for May 25, 2018 to see the finished product.
With this pedigree, it would be tough to see this not being pretty great.
According to a rumor from Splash Report earlier this week, War for the Planet of the Apes director Matt Reeves won a very important battle in his negotiations to director Warner Bros. Pictures’ upcoming Batman project: creative control. Provided that the rumor is true, what does that mean and how does it change the way Batman movies are made? In the case of big studio pictures, creative control essentially means the director has the right to develop the story, shoot the film, and deliver a cut to the film all the while taking studio notes into consideration without having to really follow them. Of course, producing $200 Million pictures is not easy and some of the notes have to be respected for reasons of studio politics outside of the director’s contract. But in the best possible scenario, the studio will accept the director’s cut of the film and move forward into releasing and marketing it without asking or demanding any changes.
That level of control is highly coveted by filmmakers and in the case of Warner Bros Pictures, only director Stanley Kubrick ever really had the autonomy to make his movies his way. And considering he never entertained the idea of making a Batman movie – go ahead and imagine what that would have been like – his level of creative control has to be a pipe dream for anyone helming a very important studio property.
In the case of the six Batman films produced by Warner Bros, history has shown complete creative control is not a requirement for a good Batman movie, but the lack of it inevitably leads to the less creatively successful enterprises.
At the time the planets aligned for the first Batman film, this issue of control came to a head as director Tim Burton began making the film without a finished script. Producer Jon Peters was interested in a quick delivery, and so scenes were designed and mounted without a clear picture of how they would fit in the final cut. Burton later recalled shooting the scene on the church steps without having the faintest idea what awaited Joker and Vicki Vale at the top. A director with greater control of the project would be in a position to wait until the script was satisfactory. Instead, time was of the essence and it is a minor miracle the film ended up as solid as it is.
By the time of the second film, Burton was an important man at the studio and credited with the success of Batman. With that clout, he entered into Batman Returns with greater creative freedom and delivered a film which is unmistakably the product of his individual sensibility. From the Christmas setting, the transformation of the Penguin into a literal monster and the exploration of the principle Batman characters as outsiders, the film is a darker and more considered story than its predecessor; which for all its qualities is more of an action romp. Looking back at the film for its creative mertis, opinions vary as to how successful it is as a Batman film, but it certainly a very strong picture owning to amount of influence and control the director had over it.
Burton would not return for a third outing as the studio determined the film was a little too dark and mature for their consumer products efforts, particularly in regard to toy sales. In his place came A Time to Kill director Joel Schumacher.
Unlike the strong visual flair of Burton, Schumacher’s sensibility changes with the script and mission statement handed to him. This craftsman approach is fine when a strong creative producer has a vision, but as Schumacher admits on the Batman Forever commentary track, he was asked to make a toy commercial. With this edict and a stricter studio hand, the film became one of the lesser efforts of the initial Batman series.
As a Batman fan, it is easy to see the creative issues. Like the Superman sequels of the 1980s, a camp corniness sneaks in as the filmmakers’ memories of what we now call Batman ’66 crept in. That tone was certainly welcome to the consumer products people, but it left those impressed with Burton’s take on the Dark Knight fairly cold. Jim Carey’s performance as the Riddler was wildly over the top and Tommy Lee Jones played Two-Face closer to the Batman ’66 Joker. But character fidelity – and some would argue quality – was not part of Schumacher’s prompt. Charged with making a Batman film with broader appeal and little creative control, he made the more cartoonish film the studio wanted.
Nevertheless, it was financially successful and Warner Bros. Pictures continued to see the Batman as an important property. But on Batman & Robin, Schumacher was asked to go even further with the toy commercial aesthetic. As he explained on the commentary track for that film, making the picture “toyetic” was the primary studio concern even as he wanted to go in the grittier and monochromatic direction of Frank Miller and David Mazzucchelli’s Batman: Year One.
One aspect of the film he did have control over was the choice of villains, though. And having seen episodes of Batman: the Animated Series, he chose Mr. Freeze and Poison Ivy. Sadly, the appealing qualities of those characters failed to carry over once they became “toyetic” and the film went on to be wildly panned by critics and box office receipts floundered. In the commentary track, Schumacher apologized for failing to make a movie Batman fans would enjoy. But considering he did not have the control to make the film he envisioned, the blame can partially mitigated.
Following Batman & Robin, the studio became unsure of their star property. Schumacher pitched his Year One project and scripts for a Batman Beyond and Batman vs. Superman films were commissioned. Filmmaker Darren Aronofsky signed on to develop a loose Year One adaptation which would have seen a radical reinterpretation of Batman and his world. Eventually, Christopher Nolan became the filmmaker to bring the grittier Batman origin to the screen. Eschewing the color and caricature of the Schumacher and Burton films, Batman Begins was a creative and financial success.
It is unclear just how much creative control Nolan really had. Already acclaimed for his indie hit Momento, Nolan first came to Warner Bros. with his remake of Insomnia and proved he could make a solid film and work within studio strictures. At the same time, Batman was still seen as a massively important project and he no doubt faced substantial scrutiny. Regardless of creative control issues, his sensibility aligned with the desires of the studio and the success of the film led to what is not only the best Batman film to date, but the first one in which Nolan clearly had the creative control.
The Dark Knight is one of those rare triumphs in regards to pure filmmaking, commercial success and comic book adaptation. It also cemented a relationship between Nolan and Warner Bros. Pictures which continues to this day. While he may not have the autonomy of Kubrick, Warner Bros. backed and marketed films like Inception and Interstellar because the relationship with Nolan was advantageous. It probably helps, though, that his work on Batman made him a brand name.
At the same time, Nolan’s level of creative control does not guarantee a good or financially lucrative movie. Both The Dark Knight Rises and Interstellar are not as widely regarded as The Dark Knight. Similarly, Kubrick’s final film, Eyes Wide Shut is one of his lesser films. Creative control, while being something filmmakers should have, is also the freedom to fail.
In some ways, the history of the Batman films is similar to the history of Warner Bros. itself. The studio was known for grittier pictures in the days of the studio system and it pioneered the superhero movie itself. It also went out of its way to forge relationships with brand name filmmakers like Kubrick and Clint Eastwood. In the age of cinematic universes, the studio even claimed it would itself apart as a place for filmmakers to work with beloved comic book characters. But the DC Extended Universe has proven that high-minded ideal is tough to live by when billions of dollars are at stake. The creative freedom director Zack Snyder enjoyed on Man of Steel has eroded to the point where Suicide Squad was heavily reshot to alter its planned serious tone, The Flash feature film lost two directors and Aquaman director James Wan was rumored to be ready to quit.
Perhaps in the rush to establish the DC cinematic universe, the director’s role has been diminished. Like the need to make toy commercials during Schumacher’s reign, the need to establish this world and upcoming projects led to an environment in which the normal creative control of the director was diminished. The change in tone of Suicide Squad definitely points in that direction. The news coming out of Burbank suggests Warner Bros. – or at least the office spearheading the DCEU initiative – became a place filmmakers no longer want to work. And should it prove true that Matt Reeves has wrestled creative control on The Batman, maybe the studio will become a place for directors to tell their stories once more. Even stories set in the world of Superman and Batman.
Of course, it remains to be seen what Reeves will do with that freedom. What do you think he should do? Continue the tone of the DCEU or lead The Batman into new territory?
It looks like some lucky fans seeing Logan are getting the first look at Deadpool 2. While James Mangold, Hugh Jackman, and Ryan Reynolds promised that there wasn’t a teaser in the credits of Hugh Jackman’s final Wolverine movie, they didn’t mention anything about the beginning.
A short teaser for Deadpool 2 was played for certain audiences ahead of Logan. While not from the actual movie and not officially released online the teaser leaked and you can check out a description of the footage below.
The footage shows Ryan Reynolds as Wade Wilson wearing a hoody and walking down a dark alley. The Merc with a Mouth notices a mugging and runs for the nearest phone booth to change, with the classic Superman theme playing in the background.
The footage holds on the phone booth for over a minute as Wade struggles to fit into his iconic costume. Meanwhile, the mugger shoots the victim and escapes. Deadpool exits the phone booth fully dressed and ready for action, only to discover the corpse of an old man and a bag of dropped groceries. Wade cracks a few jokes before lying down, using the corpse as a pillow and eating the dead man’s ice cream.
The footage ends with Deadpool talking to the corpse, saying that he’d probably still be alive if Logan was there to save him. As Wolverine only wears a white tank top and a pair of jeans.
If you are willing to look a leaked version of the trailer is out there for you to see, we can only hope 20th Century Fox release the footage officially. While the footage doesn’t feature Deadpool and Logan together, it’s still amazing to see Reynolds back as the character and the hilarious tone of the upcoming sequel.
The Debate About Artistic Freedom Within Superhero Films Rages On
Is it possible for filmmakers to create superhero films through their own perspective? When done properly, of course! Although that still seems to cause anger. At times, there is a war going on between not only studios and directors but fans and directors. When it comes to adapting these comic books to movies, everyone seems to have a hand in the pot but when is it time for the filmmakers to gain control?
As a filmmaker and “fanboy”, I’m torn between who to prioritize when it comes to judging these projects. Siding with artist seems like the natural thing for me. On the other hand, it’s hard to just ignore the wants from die-hard fans.
Let me start things off by defining a “singular vision” to any of those who don’t know.
“I’m intrigued by films that have a singular vision behind them. A lot of studio movies have ten writers by the time they’re done. You have a movie testing 200 times, making adjustments according to various people’s opinions. It’s difficult to have an undistilled vision.”
Basically, the idea of a singular vision in film is the unfiltered view of a filmmaker with little to no interference from studios, fans, and/or critics.
How does the concept of a singular vision play into the world of superhero films?
The comic book genre started getting movies with a singular vision in 1989 when Tim Burton released ‘Batman‘. If you look at the genre before that, it was films like Richard Donner’s‘Superman‘ or ‘Batman: The Movie‘ from 1966. As entertaining as they were, those films basically copied and pasted the heroes from print to screen. All of that changed once Burton decided to tell a Batman story through his eyes. The character of Batman was always dark but Burton brought the recognizable character to his own unique brand of dark. It became even clearer that Burton wasn’t compromising his vision for anyone with his even darker take on the characters in ‘Batman Returns‘.
Actually, that’s a privilege Batman films have had above any other franchise or hero. No other superhero films have been able to adapt from director to director quite like this. Even when The Dark Knight took a campy turn in Joel Schumacher’s films or the infamous “gritty” reboot from Christopher Nolan, these are always unique to the creator.
The same can’t be the same for others. For example, look at the Spider-Man franchise. Two very different filmmakers took their turns at the character but in the case of Sam Raimi, his voice never shined through. And who knows if Marc Webb even had a vision with his seemingly studio-mandated movies. That’s actually a problem for most characters under the Marvel umbrella. Artistic freedom takes a backseat in order to ensure a hit.
“So it’s important to me that that be true to who I was in this moment. And if there’s too much compromise, it really wasn’t going to be an Ava DuVernay film.”
-Director Ava DuVernay on why she left Marvel’s ‘Black Panther’
That quote from Ava DuVernay rings true for what a lot of filmmakers have said about the Marvel Cinematic Universe. Both Edgar Wright and Patty Jenkins had similar things to say when they left a MCU project. Even beloved director Joss Whedon left the brand after creative difference following ‘Avengers: Age Of Ultron‘.
How does one brand lose so many artist? It’s because the fear of a singular vision.
Since the Marvel Cinematic Universe has been about building towards one massive movie, head honcho Kevin Feige has micro-managed all the films leading up. That’s why there’s a nice chunk of their films that are very forgettable and barely serviceable. Some feelings towards the MCU’s lack of auteurs has changed since The Russo Bros. and James Gunn came in but anything without their name still feels hollow.
And then out of left field is Fox’s X-Men universe. 2000’s ‘X-Men‘ and ‘X2‘ from 2003 both provide a mixture of unique takes on the characters and keeping certain established elements. Director Bryan Singer even notably had to fight Fox for the films. When the studio lost Singer, that the vision of this franchise got muddled. With the upcoming release of ‘Logan‘ though, a stronger argument for singular visions can be made for this franchise.
James Mangold took the Wolverine character that was built by Singer’s film adaptions and told his own story with the character. ‘Logan‘ did what previous Wolverine movies and most spin-offs can’t do; it turned out to be amazing. It may sound like an oxymoron but having a singular vision is far more approachable. When artist stop worrying bout massive universe building and caving into fan demands, better work can be created. Last year’s ‘Deadpool‘ proved that and so will ‘Logan‘.
“The biggest thing would be respecting these stories like we respect Shakespeare and let directors do what they will,”
-James Mangold on singular visions in superhero films
I make the case of artist being allowed to tell whatever story they want but sometimes it blows up in their face. Case in point, Zack Snyder’s ‘Man Of Steel‘ and ‘Batman v Superman: Dawn of Justice‘. It seems like two superhero films have never divided fans quite like these. Especially last year’s ‘Batman v Superman‘, which I’ve called a “misunderstood masterpiece“.
Maybe Snyder should’ve known after his polarizing adaption of ‘Watchmen‘ but any little change he made to anything DC related was met with an angry mob. Seeing the reaction to this film is what sparked this whole debate for me.
When is it okay to change a character to fit your artistic narrative and when is it “bashing source material”? There’s a strong divide that an go away if people (studios and fans) allow more directors to have more free reign. Just because it’s not what you remember when you were going doesn’t mean it’s bad. Don’t support senseless changes but give room to see characters be challenged so they can become who we know them to be.
“I feel like [Superman fans] were taking it personally that I was trying to grow up their character.”
-Zack Snyder on fan reactions to ‘Batman v Superman’
So after talking myself for and against both sides to this argument, I do think think artists should create superhero films however they want.
Personally, I’ve enjoyed the comic movies that have taken different routes. There’s an elite few that truly cross genre lines and become more than just films about superheroes. If you look at any of the recent standout pieces (‘The Dark Knight‘, ‘Guardians of the Galaxy‘,’Logan‘), those are all films driven by artist. Each movie transcends comic book boundaries and becomes iconic films people remember! Instead of blunders that feel like a robot created them for money, superhero films would benefit from a singular vision.
If you haven’t figured it out, one of the joys of working for sites like Monkeys Fighting Robots and spending days on end covering movies is the chance of going to special screenings at film festivals. One such festival is going down in my hometown starting Friday, March 3rd. The Miami International Film Festival (MIFF) is a 10-day long event that celebrates movies. A big part of the festival focuses on pictures from all the countries south of the United States like Mexico, Brazil, Venezuela, and Argentina.
The Miami Film Festival began in 1984 under the direction of the Film Society of Miami. Thousands of films have screened over the years, and the festival is now an iconic part of the culture down here in the Magic City. Movies from filmmakers like Pedro Almodóvar, Luc Besson, Alfonso Cuaron, Spike Lee, and Paul Verhoeven graced festival screens at one point or another. Today, it’s run by Miami-Dade College and continues to host hundreds of movies and expose the works of great filmmakers.
Five Movies To Look For At
The Miami International Film Festival
A murder-mystery with a hefty helping of comedy. Spanish director Inés París delivers an unpredictable and hilarious story of, Isabel, an actress who not only feels her best days are behind her but that they never came at all. Isabel unleashes a plan with her screenwriter beau, alcoholic producer, and comedian friend that she’s determined will make her a star.
Michael Jai White Takes On His Next Opponent…A Ghost!
I’m not being mean when I say SyFy delivers a certain type of film. The channel is known for schlock horror films like ‘Sharknado‘ or ‘Frankenfish‘ so the expectations are never high. Thankfully I went into ‘The Crooked Man‘ knowing that so it allowed me to enjoy it. There’s no way it’s going to be a masterpiece but damn, it sure is fun!
‘The Crooked Man‘, who shares the same name as a monster from ‘The Conjuring 2‘, has a fairly simple plot. Six years ago, a young girl Olivia and her friends decide to scare each other at a slumber party. Olivia sings the song of the titular character and it conjures him like you’d see with the Bloody Mary myth. Once he arrives, the demonic figure kills one of the young girls and Olivia is later blamed. Now older, Olivia (Angelique Rivera) returns to the town and a string of murders begins. Still knowing this haunting is her fault, she sets out to figure out how to defeat the monster.
I applaud ‘The Crooked Man‘ for being a fairly straight-forward film. The plot is basic but that does help. Usually these SyFy films are so convoluted that any sort of scaled back story feels welcomed. Where things start to get messy with all the rip-offs from other things. There’s the obvious ‘Conjuring 2‘ thing but the general idea of this monster is something everyone has seen before. Even the plot point of the girl returning to her hometown and having drama happens weekly in a Lifetime Channel movie.
“No One Can Escape The Darkness”
While the script wasn’t the strongest, I’m surprised with how good the acting is. Michael Jai White deliver a fun performance as a troubled recluse. He seems to know what movie he’s in and goes that extra campy mile. Pretty sad he didn’t just roundhouse kick this ghost!
The film really loses points when it comes to the lackluster character design. Instead of being anywhere near the level of his cinematic counterpart, this Crooked Man looks more like a 90’s ‘Buffy The Vampire Slayer‘ or ‘X-Files‘ monster. The only thing scary about this guy is his thrift shop jacket and fedora.
Same goes for any of the kills in this film. Sometimes if you’re going to do something so cheesy, it’s better you show less. Director Jesse Holland didn’t seem to hid any flaws and I guess I can applaud the honesty. The effects used for The Crooked Man’s attacks are laughable and take away from any scary moment. These scenes would’ve worked better if Holland decided to film them darker or show less of them.
Biggest crime committed here is how much of a missed opportunity this feels like. There’s a genuine sense of dread throughout ‘The Crooked Man‘. You mix that with a handful of good jump scares and it’s on par with an average Hollywood haunted movie. That’s what makes me so angry is that I can’t even be fully mad at this piece. There’s far worse movies from SyFy but this doesn’t get anywhere near its full potential.
Final Thoughts:
I’m not saying this movie is a must-have but I would be lying if I didn’t have fun. Michael Jai White’s insane performance in this film really carries it to another level and I found it to be a bit scary at times. All of that is wasted with a weak titular villain and cheesy effects. All of the good things need a bit more polish to make up for some of the real bad.
With a bigger budget and James Wan attached, ‘The Crooked Man‘ could’ve worked.
As revealed today at The Washington Post in advance of Emerald City Comicon 2017 (ECCC), Valiant is proud to announce BLOODSHOT SALVATION #1 – the FIRST ISSUE of A BLOCKBUSTER NEW ONGOING SERIES coming this September from New York Times best-selling writer Jeff Lemire (Bloodshot Reborn, Moon Knight, Royal City) and extraordinary artists Lewis LaRosa (Bloodshot Reborn) & Mico Suayan (Bloodshot Reborn)! A bloody and vengeful new era for Bloodshot begins this fall as Ray Garrison escapes his violent past to build the one thing he never thought he’d earn: a family. But when a hateful secret from his true love’s past threatens their fragile peace, Bloodshot will be forced to run headlong into a barrage of blood, bullets, and broken bones for a revenge-fueled assault that will have crushing consequences for those he holds most dear…
Set in two timelines – the present day (with art by LaRosa) and the future (with art by Suayan) – Jeff Lemire’s epic saga begins anew in BLOODSHOT SALVATION #1! Plus: The introduction of a major new force in the Valiant pantheon starts here as Bloodshot’s daughter, Jessie, makes her milestone first appearance after an initial cameo in the VALIANT: X-O MANOWAR FCBD SPECIAL, arriving in stores this Free Comic Book Day!
In speaking with The Washington Post, writer Jeff Lemire said:
I think anyone who becomes a parent, their world view instantly changes. [Bloodshot] is no different. Being this character that comes from such a history of violence and has so much violence built into him, I think that would be terrifying. You wouldn’t want to bring that into your child’s life at all. I think that tension is exactly what the book is kind of about.
Now: In the arms of his beloved girlfriend Magic, Bloodshot has finally found hope for the future…in the form the couple’s unborn child. But when Magic’s estranged family – a cruel and sadistic clan of white supremacist criminals – re-emerge to lay claim to their lost daughter, Bloodshot will be pushed back to the brink of madness, mayhem, and warfare…
Soon: Eight years from today, Bloodshot’s daughter has inherited her father’s incredible abilities. Hunted by a high-tech kill squad called Omen, Jessie must hone her powers…and learn how to survive before the world is swallowed whole by the darkness that now pervades America…
In the wake of X-O MANOWAR (2017) #1, the next great Valiant ICONS launch of 2017 starts here on September 28th in BLOODSHOT SALVATION #1 – an epic and essential turning point for Valiant’s unstoppable soldier! Across 2017, look for FAITH, SHADOWMAN, and HARBINGERWARS 2 to join the ICONS line-up with major new series announcements as the summer continues.
For more information on what the future holds for BLOODSHOT SALVATION, join superstar writer Jeff Lemire, Valiant Editor-in-Chief Warren Simons, and Valiant CEO & Chief Creative Officer Dinesh Shamdasani alongside a cast of Valiant’s top talents at Seattle’s Emerald City Comicon for the VALIANT: THE ROAD TO HARBINGER WARS 2 panel presentation on Sunday, March 5th at 2:30 p.m. PT in room TCC301!
Another LOST cast member is joining the MCU, according to reports.
Ken Leung will be playing Karnak in Marvel’s Inhumans, as Variety reports.
The actor’s casting follows that of his LOST alumni Anson Mount, who plays Black Bolt. Shooting for the series will begin next week.
Showrunner Scott Buck says, “Ken Leung has a great natural intelligence that reads clearly and will add depth and complexity to the very complicated character of Karnak.”
In the comics, Karnak has the power to foresee the flaws in everything. He is Black Bolt’s cousin, and he acts as his close advisor. For this reason, he serves as strategist for the team.
“Ken brings both a wisdom and a power to the role that no one else could match,” producer Jeph Loeb says. “His Karnak will be awesome.”
Leung and Mount join Iwan Rheon and Serinda Swan. Rheon will play Maximus, and Swan is playing Medusa. The roles of Gorgon, Crystal, and Triton have yet to be cast.
The Inhumans‘ first two episodes will debut in IMAX on Labor Day. Then, the rest of the 8-part series will air on the ABC network.
