Lost in the hysteria surrounding Batman v Superman: Dawn of Justice, a new international trailer was just released for Suicide Squad. Check it out
https://www.youtube.com/watch?v=2UPK25LA9Ro
Suicide Squad is directed by Ayer and stars Will Smith as Deadshot, Joel Kinnaman as Rick Flagg, Margot Robbie as Harley Quinn, Oscar winner Jared Leto as the Joker, Jai Courtney as Boomerang, and Cara Delevingne as Enchantress.
The band of anti-heroes will be in theaters on August 5, 2016.
Among all of the less-than-stellar reviews for Batman v. Superman: Dawn of Justice were a few common, positive threads about the future of the DC Justice League movie universe. And one of those positive threads was the portrayal of Batman by Ben Affleck. I liked the movie a lot more than the negative reviews you will read out there. I didn’t find it boring at all and liked the fact that it was not just wall-to-wall action. It was about the differing philosophies in crime-fighting between Batman and Superman and how Luthor manipulated that, so the subtitle Dawn of Justice was about more than just setting up the future Justice League movies. That was a theme in the story. Jesse Eisenberg played a great villain that in no way resembled Lex Luthor or the red-haired Lex Luthor II from the 1993 Death of Superman comic storyline. Most of the criticisms of his performance come from the big change they did with the character, and I completely agree with that one.
But this article is about Batman. These are the things that I would put in the next few Batman solo movies if I were the one writing them. I don’t know if they are going to take the gray out of Ben Affleck’s hair and do a solo Batman movie that is a prequel to BvS or just move forward, but most of these suggestions work either way.
SCI-FI ELEMENTS
Now that we have seen Batman fight two Kryptonians (technically one and a half), gone are the days when Christopher Nolan thought that he needed to ground some of Batman’s more fantastic elements in reality. I love me some Batman Begins and Dark Knight, but, think about it, if the information had leaked online that Heath Ledger’s version of The Joker was wearing makeup and didn’t fall in the acid, would fans have been outraged? Yes, but we only found that out halfway through the best superhero movie of that time and just bought what Nolan was doing. And we were cool with it because the character (and writing and story) was spot-on. Bane, on the other hand, was all wrong, and it had nothing to do with the fact that there were no tubes in his head. So, getting the character right is more important.
That being said, I would love to see some of the light sci-fi elements from the comics and animated series that the Dark Knight Trilogy sidelined in favor of realism. Yes, I would like to see them do Mister Freeze justice, the way they did in the Emmy-winning Heart of Ice episode of Batman: The Animated Series. But I would add a little plot twist that they used in the first Batman annual from the New 52 (written by Scott Snyder).
In that issue, Bruce Wayne is the one who shuts down Victor Freeze’s cryogenics project, initially making you think that Bruce is a jerk. But at the end, Batman reveals that the woman in the glass container is (bum bum bum) NOT his wife Nora, but rather the first woman that was ever cryogenically frozen, a woman old enough to be Victor’s grandmother. Victor is so obsessed with cryogenics that he fixated on her. He is far creepier than the sympathetic villain who wanted to cure his wife that we met in TAS. That is how I would handle Freeze, making him a sympathetic villain until the very end. And then he flips out like Spock did in the 2009 Star Trek reboot when Kirk suggested he never loved his mother. That’s my Mr. Freeze, mentally-ill reboot Spock in a refrigerator suit.
I would also like to see Clayface in a movie. I wouldn’t even mind them shoehorning a fight with the giant, shape-shifting clay monster at the end of the film as long as the character of Matt Hagen was well-developed. Maybe he was manipulated by whatever gangster character they use in the movie. Speaking of which, we’ve never really seen Penguin portrayed as a gangster in a Batman film, just as a Tim Burton circus freak. I would like to see that version of him, maybe he does have his flippers and was raised in a circus, but now is a powerful, ruthless, genuinely scary, fish-gobbling mob boss. True, that’s not a sci-fi element, but speaking of gangster characters.
THE VENTRILOQUIST AND SCARFACE.
Here’s a character that can be done in a genuinely creepy way without the above-mentioned sci-fi elements. He was always one of my favorites from the 1992 animated series. I picture him being like Smithers from The Simpsons. Remember how, before he actually “came out,” they used to do all of these jokes about how Smithers had a crush on Mr. Burns without actually saying it. Okay, they did “come out” and say it a few times. Envision the Ventriloquist being like that, accept the doting, creepy relationship that he has is with a puppet named Scarface that houses the other side of his multiple personalities.
Visualize what they could do with that character in a PG-13 film vs. a children’s cartoon that admittedly did get pretty dark. I would want him to be a brilliant criminal that earns the respect of other mob bosses with his ferocity and not the butt of their jokes. Maybe he is the mob guy that manipulated Clayface. Or maybe he and Mister Freeze were childhood friends, so you have two characters with unhealthy fixations for Dr. Harleen Quinzell to treat in Arkham, (assuming that this a prequel to BvS and takes place before Suicide Squad). Speaking of unhealthy fixations, I would love to see Harley Quinn’s love story with The Joker play out like a PG-13 Mickey and Malory from Natural Born Killers, but I assume Suicide Squad will handle that.
THE URBAN MYTH
One thing that BvS did very well with Batman was to make him an urban myth once again. We see cops bursting into a place where Batman has already beaten up the criminals, and we see him disappear like “a terrible thought, a wraith,” as Ra’s Al Ghul said in Batman Begins. We haven’t seen this kind of thing since Batman Begins, and many fans decried the scenes in The Dark Knight Rises when he fights in broad daylight. I would put the shadows back into these films. Maybe some of the more superstitious of the “cowardly lot” still think that he is actually a giant bat. Why not? Aliens exist in this world.
THE RIPPED-UP ROBIN COSTUME
Yes, many fans want to see an adaptation of the Red Hood/Jason Todd returns as a bad guy story that was nodded to in BvS. Bruce has a line about good guys that “didn’t stay that way”…and then they show the dead Robin’s costume. So, if the next few Batman movies want to elaborate on the Death in the Family/Red Hood stuff from the comics, taking the gray out of Ben Affleck’s hair and doing a prequel might work. The key thing that I would do is to balance sci-fi elements that were absent from The Dark Knight Trilogy with the dark and creepy stuff from the best Batman stories. Imagine how cool The Dark Knight would have been if it did have the light sci-fi, instead of the studio feeling that grittier Batman was necessary to make up for the Joel Schumacher debacle.
Did you like Batman v. Superman? Did you like Batman’s portrayal in it? Which characters would you like to see in a Batman solo film? Comment below.
I was pleasantly surprised by this week’s episode of Agents of SHIELD, “Parting Shot.” As far as spy stories go, it was a pretty standard one: American spies in Siberia must work without the assistance of their agency to win the day.
In terms of the ongoing plot of the show, Morse and Hunter have tailed Gideon Malick and Anton Petrov to Siberia where plans for the Russian Inhumans sanctuary are discussed. Unfortunately for Malick and Petrov, the Russian Prime Minister Dimitri Olshenko doesn’t support Russia’s involvement in the Inhuman sanctuary. Prime Minister Olshenko’s reluctance to build and oversee the sanctuary upsets an opposition member of Russia’s Federal Assembly. This opposition member, General Androvich, is an Inhuman as well as a Russian minister and has the superhuman ability to project a sentient shadow composed of darkforce, or Zero Matter depending on what century you’re in. The team fights valiantly against Petrov and Malick’s forces, and is able to both defend Olshenko from being the victim of a coup d’état and eliminate Androvich.
Unfortunately, Morse and Hunter are taken captive at the close of the mission, Hunter for killing Petrov to protect Olshenko and Morse for killing Androvich. In classic film noir style, “Parting Shot” opens on Morse and Hunter being interrogated after their capture, the audience being filled in piecemeal on how the two got into their predicament.
Director Coulson shares a “Parting Shot” with outgoing SHIELD agents Morse and Hunter
After extensive interrogation by the Russian authorities and Interpol during which the agencies attempt to coerce Morse and Hunter into admitting that they were working for SHIELD, the pair are eventually released by the Russians. Alas, their release comes at a hefty price. In order to keep the revival of SHIELD secret, Morse and Hunter must personally take the blame for the deaths of the Petrov and Olshenko. Their covers blown, Hunter and Morse will never be able to work as field agents in SHIELD again. Rather than take desk jobs, the pair decide to leave SHIELD altogether.
Morse and Hunter’s departure leads to an emotionally overblown final scene in which Coulson, Daisy, May, Fitz, Simmons, and Mac all buy Morse, Hunter, and themselves shots. They don’t drink these shots together though, they drink them from separate parts of the bar utilizing the long distance cheers in what Morse identifies as the “spy’s goodbye.”
A teary-eyed Mac will miss Mockingbird most of all
“Parting Shot” – My Critique
The thing that makes “Parting Shot” stand out more than other episodes this season is that it featured some out-and-out espionage. Although any permutation of the Marvel universe should involve super-powers and super-powered people, a show about the people who work for Marvel’s foremost spy agency should involve super-spies doing the things super-spies do. “Parting Shot” was an example of what Agents of SHIELD should try to be consistently. This show’s concept works best when it’s about a tightly-knit group of super-spies outfoxing members of a global terrorist organization. That this particular group of super-spies is named SHIELD and that the terrorist organization they fight is named Hydra shouldn’t mean that the show should feel like a knock-off of The Avengers or a lead-up toInhumans. It’s a show about super-spies, some of them with super-powers, so I’m interested in seeing a super spy show, and though I’m happy Agents of SHIELD is set in the MCU–in fact I want there to be more Marvel properties on the show–, I don’t want that to be the show’s single defining trait. Only time will tell how the departure of two members of the team will affect the show, but let’s hope that Mockingbird’s departure could mean we’ll see the introduction of another Marvel property.
Bruce Wayne is healed. He has returned to the Bat Cave. He has taken hold of his destiny. The Batman is back. And not a moment too soon. Gotham needs him now more than ever. Mr. Bloom has taken over and his power grows stronger with every seed sewn into its populous.
Mr. Bloom is in control. Gotham is falling in on itself. And the more power generated from the seeds, the more the darkness consumes. The “Strange” is about to take hold and the city may be lost. There are few left sane or calm enough to see through the wreckage and mayhem. Jim Gordon, Gotham City’s officially sanctioned Batman, is down. Internal organ damage is threatening his life. But he has plan. Mr. Bloom will fall and Gotham will reign.
DC Comics Batman#50 is huge. Literally. It is huge! Nearly 60 pages long. From a new Bat-Suit, to the devastation and emotional roller coaster built through Mr. Bloom’s journey. Batman #50 has so much jam-packed in-between the covers, I could probably sit and ramble for a few thousand words. (Don’t worry, I won’t.) And all the pieces come together in an entertaining mixture of Bat-goodness. It is an issue well worth the wait.
Batman is anew. A rejuvenated body, a new costume and the same demeanor you see in the eyes of an athlete as they return to the playing field following an extended hiatus. With his fans screaming from the sidelines, “Wait. Stop. Look. Is that?”
Scott Snyder (Wytches, The Wake) and Greg Capullo (Spawn, Haunt) jump right into the fray, having Bruce, only moments in, taking back up the cowl. Within a mere few pages, there is the emotional pull of “the return”. The war is on the streets. Jim Gordon is near lifeless. Yet Bloom and his pawns continue to beat down. Then… There he is. Batman takes the stage. In a statement-making, new Bat-suit.
Capullo, with regular-colorist FCO Plascencia (Spawn, Haunt with Capullo), adapted a suit from the blacks and luminescent colors of the GCPD suit, though slightly transitioning with an orange outline. And mixes it with the sleek lines, soft grays and deep blacks along the cap and gauntlets, similar to the suit of the late-90’s to early-2000’s suit. In a way Capullo recreates the Batman that never left. The one whom struck fear and sought vengeance. Yet in other’s he designs what Gotham needed most. A Batman with a new outlook, a new eye and ready for war.
But Batman is not only a surprise to be seen, but to be read. The emotion built through Synder’s words are merely driven through the visuals. Bloom is so much more than just a villain. He is an, if not THE, escape. Throughout Snyder and Capullo’s run, there has been a theme. The idea of a stronger, better and far more self-sufficient Gotham. But there must always be someone at the helm to develop. A hand to lead the way to a better and brighter tomorrow. No matter the cost.
Mr. Bloom is exactly that.
As the Superheavy arc has built, Duke’s relationship, not only with The Robins (see We Are Robin), but with Batman and his try at Detective have grown. He has fought through his traumas and learned the truth of Mr. Bloom and disaster of the seeds. Yet there may be interference. Duke must wear the colors of the Robins with pride and support the Batman to the best of his ability.
However not all roles have light at the end of the tunnel. Though bleeding internally, Gordon must rush through the pain and help end the raging war. As Synder’s climactic finale dawns, almost literally since it is depicted as a giant, rising “Strange Star” about to engulf the city, Gordon realizes he must end the struggle.
Yet how he goes about doing so is the only off-pointing piece to the tale. As the final battle closes and in the most Magical-Girl-Anime-esque way possible, Gordon holds up the (you will just have to read it to find out) to end it all. As he stands on the rooftop of a nearby building, he reminds himself of all the reasons, the necessities, for the Bat. For why he must fight for his city. For why Gotham is pride. Though not entirely a negative on the book. But it did slightly remind me of the final battle between Sailor Moon and Queen Beryl and received a momentary chuckle.
Batman #50 was not the end, but a new beginning. A refreshing breath of air after a hectic and long night. With hype and praise, sometimes there can be disappointment in the end, but Scott Snyder and Greg Capullo pulled it out wonderfully. Multiple times I found my vision blurred from near tears or had to pause after realizing I was screaming at the book for some reason. (You can ask my customers, one of which walked up to me as I yelled, “Hell yeah, that’s my Batman!”)
From a fan: Make sure to stop by your local comic book shop and grab Batman #50, on shelves now. $5.99 may seem a little steep, but there is so much packed in it is worth every penny. So much, in fact, that I have barely scraped the surface. And definitely look forward to Scott Snyder and Greg Capullo’s final issue together in Batman #51, on sale April 27th.
Ahead of the return to the World of Harry Potter in Fantastic Beasts and Where to Find Them comes a short fan-film that hopefully inspires the Harry Potter-verse to maybe take a page from Marvel.
This one is also prequel titled, Severus Snape and the Marauders, taking Potter fans back to the days when Harry’s parents roamed the halls of Hogwarts. This 25-minute film is less Harry Potter and the Sorcerer’s Stone and more Harry Potter and the Deathly Hallows in tone. The plot finds Harry’s dad, James, and his squad (Sirius Black, Remus Lupin, and the rat Peter Pettigrew) hanging out at the bar reminiscing on their final days at Hogwarts and looking ahead to the Wizarding Wars.
Things quickly turn when Severus Snape enters the pub, presumably looking for Harry’s mom, Lilly. James decides it’s time to end things with Snape once and for all. Some quick back and forth leads to a wizarding duel that is essentially the Daredevil-hallway-brawl of wand battles with Snape as Daredevil. Lilly eventually intervenes, and we’re left with Snape sitting at the same bar next to a man in a cloak.
Harry’s dad comes off as a kind of a jerk while Snape comes off as a wizarding badass but at the same time a deeply vulnerable character. It foreshadows who Snape will become and why he will make the choices he does. It also gives you a really good idea of why he could easily become one of Voldemort’s Death Eaters.
According to Buzzfeed, the crew shot for four days, but post production took more than a year. That shows. The special effects are on par with anything you’d see on network TV. The acting is good enough though not great. The attention to detail in the script, borrowing from what we already know about Harry Potter, his parents and Snape makes up for any of the actors shortcomings.
J.K. Rowling has opened up the Potter-verse online, onstage, in the movies and of course in books, so why not television? We’ve seen Marvel have success transitioning some of its characters from the page to the small screen. I think this would work for Harry Potter as well. I know I’d watch an 8-episode Netflix series about James, Lilly and Snape during their Hogwarts days, and I don’t think I’m alone.
Well, this stinks. HBO has decided to pull the breaks on Togetherness, the adult-oriented dramedy from creators Mark Duplass, Jay Duplass and Steve Zissis, therein by making the season two finale on April 10th double as its series finale. Deadline reported on the news. I could certainly use a hug about now.
Though the show has been critically-acclaimed from the beginning, earning a formidable fanbase in the process, it remained just a little too niche for the Home Box Office. And considering the plot centers around four middle-aged LA wannabe-hipsters showing their vulnerabilities and yelling at each other while trying to make sense of their lives and marriages, it understandable why the show didn’t pick up a bigger following. But compared to Girls —which always aired before — it wasn’t too different in style and tone. The biggest difference was Lena Dunham’s show (which has been kicking ass this season, by the way) gained a wide cult-following from the start, cementing it as a hit well throughout its ongoing five season run.
Despite the goodwill of the cast — which included Mark Duplass, Melanie Lynskey, Zissis, Amanda Peet and Peter Gallagher — Togetherness was never going to be as universally beloved and noticed. And that’s only appropriate. It’s just a shame that meant it couldn’t live on longer, though. If you’re interested, Mark Duplass has also issued a statement about the news on his Twitter account. You can read that here.
As I noted in my second season review for Cut Print Film (which you can read here, if you’re interested), it always worked best as longer, more expansive Duplass brothers movie — especially this year, as the sibling directors took over writing and directing duties for all eight episodes and really made it feel like their own, appropriately honing in their style and sensibilities with acute precision. It was easily among their best work to date as filmmakers. And while they won’t get to work with these characters anymore, it’ll be nice to see how they’ll use this experience to expand themselves from here-on-out.
I’m certainly bummed, but I have no doubt everyone involved will get on their feet in no time. And without getting into spoilers, the last episode works great as a series finale. I’m just saying. So at least it’ll end on a high note, if a fairly premature one at that. And if there was one thing Togetherness wasn’t, it was premature. But there’s always a first for everything, even at the end.
With John Carter, Battleship, Savages, X-Men Origins: Wolverine and True Detective season two on his resume, the acting world hasn’t been especially kind to Taylor Kitsch of late. So it makes sense that he’d decide to jump in the director’s chair instead, setting up his feature directorial debut with the upcoming drama Pieces.
In addition to directing, Kitsch will also star in, produce and write the film based on his own 2014 short, which premiered at the Palm Springs International ShortFest two years prior. As EW reports, the indie crime drama centers on three Detroit-based best friends who intercept a drug run and must face its life-altering aftermath.
Plans are to start production this summer in Texas, which is a more-than-familiar backdrop for the Friday Night Lights alum. And joining the film as producers beside Kitsch are Randall Emmett, George Furla and Peter Berg, who all worked with Tim Riggins himself in the past, namely under Berg’s Lone Survivor. Berg is also the man who directed the film that inspired Kitsch’s most iconic role, and played a heavy-hand on the spin-off show itself. Needless to say, he’s in comfortable hands here. Even if Berg also directed Battleship…..
Hopefully, this passion project means Kitsch will get to be in a movie that’s actually, you know, kinda good. I kid, of course, as Kitsch has also starred in The Normal Heart and the aforementioned Lone Survivor, which proved his cinematic resume wasn’t a complete dead zone. I’m always interested when actors take a step back behind-the-camera, if mostly because it means we get to see their full talents flourish. And while I haven’t been convinced that Kitsch has what it takes yet to make it work, I’m willing to give him a shot and see what he can make on his own terms.
In addition to this new feature, Kitsch also has a role coming up in The Death and Life of John F. Donovan, the latest film from directing whiz-kid Xavier Dolan. Can we call it a comeback? The beginning of the Kitschassiance? One can only hope.
Keith Richards won’t be the only rock god who also rocked the seven seas in Disney’s Pirates of the Caribbean series. Where the legendary Rolling Stones guitarist joined the franchise back in 2007 with the wayward At World’s End, The Beatles’ frontman Paul McCartney will now also rock the boat in the upcoming fifth installment, Dead Men Tell No Tales, which is set to hit theaters on May 26, 2017.
Deadline reports on the newest casting update. What role McCarthy plays in the film is left unanswered at the moment, but he joins the roaster alongside returning stars Johnny Depp, Orlando Bloom and Geoffrey Rush, as well as fellow series newcomers Kaya Scodelario (The Maze Runner franchise), Brandon Thwaites (Gods of Egypt) and Javier Bardem.
There’s no word yet on whether or not Richards’ is set to return for this new film, as he did make a brief appearance in the previous chapter, 2011’s On Stranger Tides. Though, if he doesn’t, that’s likely because Disney is cautionary about making sure nobody’s head explodes at the mere sight of two of the biggest music gods ever appearing together on-screen for the very first time. That’s very considerate of them, actually.
McCartney joins the production for an “extra scene,” reports say, which could very well be the end credits segment for all we know. If that’s the case and I spoiled it, I give a profound and sincere “oops!” In any case, this marks McCartney’s first big-screen acting role since 1987’s Eat the Rich, when he played the highly-memorable “Banquet Guest.” He’s also made some recent appearances on 30 Rock and BoJack Horseman as himself.
While the Pirates of the Caribbean movies have treaded on thin waters of late, insiders are reportedly “bullish” about this fifth film, directed by Espen Sandberg and Joachim Rønning (Kon-Tiki), saying it likens the spirit of the first film. You know, the fun one. So that’s encouraging. Whether or not the series lives another day or walks the plank will be put to the test next year, however. Maybe, at the very least, this new film will let McCartney go to a couple of parties, for once.
*Warning: Spoilers ahead for the Daredevil Netflix series and comic books*
Whereas Daredevil‘s first season tied up its story in a nice little scarlet bow, the second season ends with some pretty big cliffhangers. The law team of Nelson & Murdock has disbanded, Matt has revealed to Karen that he’s Daredevil, and the Hand has stolen Elektra’s corpse with the intent of resurrecting her as its leader (presumably).
Where will the series go from here? Let’s dig into the six most likely storylines for season three. Keep in mind that Daredevil has made a habit out of using multiple plots and subplots in a single season; any number of the ideas below could be used simultaneously in either a big or a small way.
Elektra & The Hand Return
Elektra dying and being resurrected by the Hand is straight out of the comic books (it’s actually happened at least twice). There’s no doubt that the show intends to bring her back to lead the Hand, but will it be in season three? It’s definitely possible, but hopefully not. Season two was a great primer for the ninja group; it gave a taste of its power without showing its full potential. Now it needs to sit on the sidelines for a while to build anticipation. Season three should serve as a build up for its big return in season four.
Daredevil vs Bullseye
In just two seasons, Daredevil has utilized Kingpin, Elektra, Punisher, and the Hand. It’s time for Bullseye to get his due. He’s been described as the Joker to Daredevil’s Batman, and for good reason. He’s the Man Without Fear’s greatest rival in every sense of the word, and that’s what the show needs. Both the Kingpin and Punisher were philosophical foils to the hero, which made for great storylines, but the next season should establish an archenemy for DD to go head-to-head with.
Bullseye is responsible for killing several of Murdock’s friends and lovers. So if he is included in the next season of Daredevil, expect some major casualties.
Daredevil vs Typhoid Mary
Who is Typhoid Mary, you ask? Just a supervillain with a mastery of martial arts and swordsmanship, and whose psychic powers include both telekinesis and pyrokinesis. She once set Matt Murdock fully ablaze with just a word (see image above). It would be such an amazingly bold choice to bring her into the show as the main villain. Viewers would start the season disappointed that it doesn’t feature Bullseye, and end it with a new favorite antagonist.
She’s technically a mutant, so who knows if Marvel even has the rights to use her on screen. But she was used in the 2005 film Elektra, so it shouldn’t be an issue. Maybe they can just rework her origin to avoid the mutant factor (à la Quicksilver and Scarlet Witch in Age of Ultron).
“Born Again”
“Born Again” is arguably the best Daredevil arc of all time, written by the legendary Frank Miller at his zenith. The plot revolves around Kingpin getting his hands on Daredevil’s secret identity and proceeding to destroy the vigilante’s life. It’s brilliant storytelling, but it also requires more setup than the first two seasons of the show have provided. Nevertheless, while season three may not directly adapt this story, it very well may continue to lay the foundation.
Nuke has already been brought into the MCU via Marvel’s Jessica Jones, so an accurate “Born Again” adaption is not that far fetched.
“Out”
Decades after “Born Again,” Daredevil’s secret identity has made its way through the Kingpin’s organization. One gangster takes it upon himself to leak this information to the press, and Matt Murdock’s life begins to unravel once again. It’s a very personal story that would actually suit a TV show better than “Born Again” would, and one that would cost much less to produce. Good writing would make it fairly simple for the show to jump straight to this story without its predecessor.
“Out” probably won’t be the main story of season three, but perhaps the seeds for it are planted in a subplot that leads up to Matt’s outing in the finale.
Fallout from Civil War
Barring any bizarre timeline adjsutments, Daredevil season three will take place in a post-Civil War MCU. The Punisher arc in season two already showed that people are feeling apprehensive about vigilantes in Hell’s Kitchen; maybe the next season brings that to a head. It could be made even better if Luke Cage played a role. His Netflix series will have already started, and did he lead a team of underground heroes in the comics after Civil War.
But if the fallout from Civil War does play a role in season three, it’s more realistic that it will just be as a minor subplot. Its themes will be echoed at the very least
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What storyline do you think the show will use in season three? Let us know in the comments!
Marvel’s next Netflix series, Luke Cage, is set to premiere on September 30, 2016.
The season six finale of ‘The Walking Dead’ is April 3, and this is the first time fans will see Jeffrey Dean Morgan as the villainous Negan with his trusty side-kick Lucille. The first promo for the season finale leaked online this morning and you get a quick glimpse of Negan.
Andrew Lincoln commented that the introduction of Negan was the part of the comic that he was looking forward to portraying on television.
“The Governor was magnificent and David did a beautiful job playing him. But Negan is horrific. He is this incredible tyrant and this very charismatic, funny, brutal beyond words sociopath. I’m interested in the relationship between Negan and Carl and Carl and Rick. There’s a very complicated, extraordinary psychology between those characters. I’m just thrilled that we are getting to a place where it feels very deep, dark, thrilling and dangerous,” said Lincoln to TV Insider.
Ross Marquand talked about the season finale when they were filming the episode, and how emotionally charge the episode will be.
“This is the craziest thing ever. It’s the probably the most emotionally wrought and dark episode I’ve ever read. I’ve never read an episode that is so dark and compelling in my life (…) I had to stop reading this at three different times. It was just messing me up. It is so emotionally dark and twisted,” Marquand.
Bruce Wayne is healed. He has returned to the Bat Cave. He has taken hold of his destiny. The Batman is back. And not a moment too soon. Gotham needs him now more than ever. Mr. Bloom has taken over and his power grows stronger with every seed sewn into its populous.
