Despite a vast improvement in its sophomore year, Iron Fist‘s run on Netflix is over.
The web television series is cancelled and won’t be getting a third season. However, it may find a revival on another streaming service.
According to Deadline, Netflix has chosen to not renew Iron Fist. Although the show has seen improvement, it wasn’t enough for warrant continuation.
“Marvel’s Iron Fist will not return for a third season on Netflix,” says Marvel and Netflix in a statement. “Everyone at Marvel Television and Netflix is proud of the series and grateful for all of the hard work from our incredible cast, crew and showrunners.”
Both Netflix and Marvel give a shout-out to the fanbase for their support. “We’re thankful to the fans who have watched these two seasons, and for the partnership we’ve shared on this series. While the series on Netflix has ended, the immortal Iron Fist will live on.”
Despite the cancellation, there is a chance Iron Fist might move over to Disney’s streaming service. Marvel Studios is preparing new series about Loki and Scarlet Witch. While details are few, Tom Hiddleston and Elizabeth Olsen are thought to be reprising their roles.
The big question is will Kevin Feige give Iron Fist a shot at the new streaming service? Can Iron Fist find success after Netflix? Does he stand a chance of jumping to the MCU film division? Finn Jones may yet play Danny Rand again.
Black Hammer smashes into a new era with Age of Doom#6, and brings along guest artist Rich Tommaso for the ride.
About the issue:
After leaving the Para-Zone, Colonel Weird finds himself in a strange, new place, separated from the rest of the team.
Tommaso is the perfect artist for this arc. Things get surreal real fast, and his style encapsulates that feeling the same way Dean Ormston encapsulated the creepy vibe of previous issues. It’s just a good fit that sets the tone instantly.
His art is bright and vibrant, and it has this indie/underground vibe to it. It’s pop art. You could almost compare it to Mike and Laura Allred’s work, and yet it feels wholly unique. This is what makes Black Hammer such a special read, its ability to look and feel like nothing else on the stands.
And kudos to writer Jeff Lemire for continually keeping this story fresh. If you think you’ve finally got a grasp on what’s going on in Black Hammer, think again. This issue proves that we’ve barely scratched the surface of the series. Lemire is the master of the “exploding premise” – just when the story seems to be settling in, he blows it to pieces and takes a hard left turn. Storytelling like this will keep Hammer engaging and new for years to come.
We’re hitting Grant Morrison levels of crazy now. Lemire is saying to the audience, “oh, you thought we were being meta BEFORE? Hold my Canadian beer.” With this issue, he changes everything you thought you knew about Black Hammer.
A whole new cast of characters is introduced as well, and they’re welcome additions to the universe. Starting with the incredibly named Inspector Insector, these characters are more strange and surreal caricatures of common comic book figures. Insector is the only one of the group to get any kind of characterization in this issue, but just by appearance alone, I can’t wait to see the rest of this motley crew do more next issue.
If you’ve never read Black Hammer before, give this issue a try. It’s a decent jumping on point, though there’s no substitute for starting from the beginning. But it gives a great sense of how weird and interesting the series can be, and Rich Tommaso is the perfect fit for this universe. Here’s hoping we see more of his work down the line after next issue.
Composer Brandon Roberts makes music for a wide range of projects that include films like Logan and A Quiet Place, as well as TV Shows such as Battlestar Galactica and Divergence but his work on Unbroken: Path to Redemption takes composing scores to some explosive new places.
Brandon is a busy man “ There are not enough hours in the day.” A look through his filmography will take some time.
Streaming services are generating a lot of new things to watch, so people like Brandon are in demand “We’re in the golden age of content … it’s a pretty neat time.”
What else does this Golden Age provide? “So many producers and directors are open to new blood, new talent. When I first started out, it was much more about keeping to the top 10 or 20 guys. That permeated to people like screenwriters and directors. Now, they’re just like ‘hey, if I like the sound of the person they’re in.’”
About Unbroken: Path to Redemption
Brandon’s latest project is Unbroken: Path to Redemption “It follows Louis Zamperini’s life after returning from World War II and having to deal with PTSD … using alcohol.” Zamperini is played by Samuel Hunt (Empire).
If you think that being a film composer is just about playing musical instruments then you’d be wrong “I purchased Japanese artillery shells from WWII. They’re brass, so they resonate, so I did all sorts of stuff to them and sampled it. I created this whole sonic palette that’s supposed to be the subconscious of everything his soldier is going through. It created this harkening back to what he experienced in WWII.” Don’t worry, I asked, and the shells were not live and never fired, though how much fun would that be?
Why such great detail? “I know no one will consciously understand that I used artillery shells, but they will know that something special is happening here.”
Shhh … A Quiet Place
Composers see the movies we love without sound or with temporary music. So, did Brandon see a cut of A Quiet Place without a score? “I did, generally there’s a temp score, but in the case of A Quiet Place, music was used in such a unique and sparing way that the temp score didn’t really matter. It was more to start a discussion. Marco Beltrami completely reimagined the idea of how the music was going to work …”
A Quiet Place presented something special, even before the music “Ironically, the movie worked with no music at all and that’s always a really good sign. Then it was a question of pulling back music in places where most movies would have music. [John] Krasinski and Beltrami had a ton of conversations about where to pull the music out and where to put it in.”
Neo-Western Acid Jazz
Brandon’s worked on several comic book properties like The Wolverine and Fantastic Four “I wasn’t a huge comic book fan growing up … it just never came into my orbit.” Brandon also helped make Logan into the phenomenal film it is. “Right off the bat, Mangold wanted to try something different. So, we tried some stuff, it was a pretty wild period of experimentation.”
How does he describe Logan’s sound? “It’s neo-western acid jazz is what it really is.”
The kind of music wasn’t the only thing the film’s score focused on “Mangold wanted the music to sound raw and in your face. He wanted it recorded that way too, a sort of 70s sounding thing. The engineer had to figure out how to make that happen.”
Logan is considered a class above most comic book movies “The film was pushing the envelope in terms of reinventing a comic book action film musically.”
For Brandon, the film had something special “I tend to gravitate to more grounded stories. That’s one thing Logan had going for it compared to a lot of movies in the genre.”
Wrapping Up
Showbiz never stops “Marco, and I just scored a film called Underwater. It all takes place on the ocean floor. We did some really neat experiments with vocals.”
Brandon’s also busy with a new TV project “… I’m working on … a TV pilot called Motherland. I’m experimenting with military throat microphones which are basically this neck strap that records the vibrations from your throat as opposed to the movement of the air. So I’ve been doing some weird things, recording people’s voices and putting it through walkie-talkies. I got dropped into the world of military paraphernalia.”
Because it’s my article, I got to ask Brandon a little bit about his work on Pushing Daisies, a long defunct show that I will never stop loving “It was a great show.” About Jim Dooley, the main composer of Pushing Daisies “He gave it everything he had. He earned that Emmy.”
One last thing, Who do you love to listen to? “I really like Mica Levi … her score in Jackie is unbelievable. That was not an easy movie to score and the way she scored it was genius. Ben Frost’s score for Dark [Netflix] blew me away. Those are two that made me jump on the computer and buy their music and figure out what the heck they’re doing.”
Thanks to Brandon Roberts and Impact24 PR for making this interview possible.
Actress Mary Kay Winstead is preparing to be the Huntress on the big screen.
In an interview with The Wrap, the Fargo star talks about the project and suiting up as Helena Bertanelli. While she wasn’t a fan growing up, she would learn a great deal about Huntress.
“I can’t say that I was a huge comic book reader,” she says. “But when I met with Cathy Yan, who’s directing the film, and learned kind of the back story of the character, I was really interested. It’s a really strong, kind of emotional place to start from for a superhero character.”
DC fans can expect there will be plenty of action in the Birds of Prey movie. The future Huntress reveals she’s preparing to train for the role. Needless to say, it will be physical.
“I’ll be learning how to shoot a bow and arrow — which is new for me,” Winstead says. “It’s really exciting, and even the process of going through getting the role and everything was a very different experience than I’ve typically been through. Being with the other actresses and a female director and just the whole energy behind this is so unique, so I’m really happy about that.”
The all-female team will consist of Huntress, Harley Quinn, and Black Canary. Cassandra Cain is also playing a role of sorts. Margot Robbie will reprise Harley Quinn, while Jurnee Smollett-Bell is playing Black Canary. Rosie Perez will play Renee Montoya. Barbara Gordon/Oracle will not be in the film.
Birds of Prey is aiming for a February 2020 release.
Best of Enemies is a new film starring Taraji P. Henson and Sam Rockwell in a story that centers around a civil rights activist and the leader of the Ku Klux Klan working together. Set in 1970s North Carolina, the film centers around the fight for school integration. Best of Enemies arrives in April of 2019.
About Best of Enemies
Official Description: Civil rights activist Ann Atwater faces off against C.P. Ellis, Exalted Cyclops of the Ku Klux Klan, in 1971 Durham, North Carolina over the issue of school integration.
Director Robin Bissell leads his first film after a career as a producer that includes helping films such as Pleasantville, Seabiscuit, and The Hunger Games become a reality. Bissell has a stellar cast and a killer setup for a wildly entertaining story. Like a good trailer will do, Best of Enemies presents the central story while giving us glimpses into where it will go. It appears Rockwell’s Klan leader is much more complex than a simple antagonist, while Henson’s Atwater is a firebrand looking to burn the old ways to the ground.
Best of Enemies features a cast that includes …
Taraji P. Henson as Ann Atwater
Sam Rockwell as C. P. Ellis
Babou Ceesay as Bill Riddick
Anne Heche
Wes Bentley
Bruce McGill
John Gallagher Jr.
Nick Searcy
The timing of the release is interesting. April isn’t really a month for dramas like this, and in 2019, this film will be going up against Pet Sematary, Hellboy, and Shazaam!. It’s safe to assume STX Entertainment is counting on all the people who have no interest in those movies to show up in droves. Stranger things have happened. And from the looks of the trailer, Best of Enemies will be an entertaining time at the movies.
Did this trailer get you excited for Best of Enemies? Leave your comments below!
Season 3 of Daredevil quickly establishes why it is the flagship series in the Netflix Marvel Universe. Season 1 was the origin of a hero, Season 2 was the moral compass of a hero, and Season 3 is the deconstruction of a hero. When a hero has lost everything, it is in these moments the story has a potential for greatness.
In this review, we talk about the different directors and what they bring to the first six episodes. This discussion on directors might lead to very loose spoilers. If you want to watch Season 3 spoiler-free do not read any further.
In the first six episodes, you are given a broken hero, the return of the Kingpin, and the origin of Daredevil’s greatest foe. With Charlie Cox leading the way, alongside a diverse group of writers and directors, season 3 has a scope and feel ripped directly from the source material. The cinematographer Christopher LaVasseur and stunt coordinator Gary Stearns need a special mention as the fight scenes this season are over the top, and there is more of a reference to Matt Murdock’s boxing background.
Episode 0301 – 4.5 stars
Marvel’s Daredevil
Directed by Marc Jobst, the first episode of season 3 has to connect the dots between the last episode of The Defenders and now. Matt is broken with no sense of purpose. Jobst opens the season with everything blurry, which disorients the viewer, and you recover alongside Matt. The injuries to Matt impair his powers, and Jobst does an excellent job conveying this aspect on screen.
The episode is emotional, and Joanne Whalley, who plays Sister Maggie, takes over through skill and a well-written script. There is no speedy recover for Matt and Sister Maggie is there to kick him in the teeth to get back up. You felt Matt’s pain. The comic book roots of Daredevil are in this episode.
Episode 0302 – 4 stars
Marvel’s Daredevil
Directed by Lukas Ettlin, this is a Wilson Fisk (Vincent D’Onofrio) episode. “Love is a perfect prison,” will go down as one of the great lines of season 3. Played by Wilson Bethel, we get our first look at Benjamin Poindexter and the potential of that will become Bullseye. Ettlin handles the sharpshooting abilities of Poindexter with an epic firefight in the streets of New York.
D’Onofrio embodies the Kingpin, the raw emotion he brings to the table is unmatched. His quiet calm as an evil mastermind is unnerving and chills you to the core.
Each episode builds from the previous as more and more characters are added. Foggy Nelson (Elden Henson) enters the story at this point, and you are introduced to his family and the family meat shop, which is so Foggy. It also serves to elevate Foggy to a new level of likeability. Matt may be broken, but Foggy is a rock of niceness.
The way the episode ends, you are forced to keep watching immediately.
Episode 0303 – 4 stars
Marvel’s Daredevil
Directed by Jennifer Getzinger, episode 3 takes a step back and goes for more of a psychological feel. The questions start to pop up of what it means to be a hero and how that translates to the male ego. The Kingpin, Daredevil, the church, and the FBI battle between right and wrong.
Karen Page (Deborah Ann Woll) enters in at this point, and the first Donald Trump reference is made with, “Fake News.” Fisk looks to be the loose metaphor for Trump in series. This is also where Matt takes his first step towards a fall from grace. Getzinger’s episode gives a chance to look for a more significant meaning to the series.
Episode 0304 – 5 stars
Marvel’s Daredevil
Directed by Alex Garcia Lopez, this is the episode everyone will talk about. The fight sequence is insane and relentless. Stearns’ choreography is on a different level because you need to remember Matt is blind, he sees and fights differently. This aspect is made apparent and is so well thought out. Episode 4 is what separates Daredevil from every other Marvel Netflix series.
The emotional intensity of the episode is explosive and sets the bar for future episodes. By the end of episode 4, Lopez earned all five stars through blood, sweat, and tears.
Episode 0305 – 4.5 stars
Marvel’s Daredevil
Directed by Julian Holmes, episode 5 has to follow the best episode of the series so far by changing the pace by giving us a black and white stage play of Bullseye’s origin. This is something I didn’t think was necessary but by the end of the episode, it becomes essential to Kingpin’s master plan.
This is the beginning of the “turn” on multiple levels. The Kingpin becomes Emperor Palpatine to FBI Agent Poindexter as the mental hooks start to grab hold. Holmes films the de-evolution of Poindexter in such a way you can’t help but feel sorry for him.
Episode 0306 – 5 stars
Marvel’s Daredevil
Directed by Stephen Surjik, episode 6 has the first battle between Daredevil and Bullseye. With free rein, Surjik gives you the full spectrum of Bullseye’s abilities. As a comic book fan, this fight is one for the ages. As mentioned above, there is more of a boxing influence this season, and episode 6 is just round one. The style of the fighters and is entirely different, and you see Daredevil mentally adjusting to find the boxing edge.
Season 3 does an excellent job establishing a new villain by laying the groundwork of explosives on an emotional bridge, and the Kingpin slowly detonates the bombs until it crumbles. It is a six-episode slow built to an epic confrontation of good and evil.
So far, Daredevil Season 3 has raised the bar on what you should expect from a superhero television show.
I’m not sure how many of my readers know this, but I am a huge football fan. I used to study stats when I was in high school and even took photos of the football games for my school newspaper. I legitimately love the sport. Yet, with all the CTE issues and seeming decline in the quality of the games, it seems like the game will die out sooner rather than later. Thankfully, I also consider myself a fan of basketball.
Now, I also took photos for my school paper of the high school basketball games, as well. So, I had some experience with the game.
You know there’s a joke in here somewhere, yet I’m not going to make it.
So when ESPN released Basketball: A Love Story, a new documentary series based on the sport, it seemed like a proverbial slam dunk (over/under on basketball puns: 20). I legitimately love their 30 for 30 series, and after the success of O.J. Made in America, this seemed like ESPN Films’ attempt to make a Ken Burns documentary, which is a noble goal.
Dan Klores had done two previous documentaries for ESPN Films about basketball. The first was a 2006 miniseries called Black Magic about the early history of African Americans in basketball. The second was an episode of 30 for 30, Winning Time: Reggie Miller vs. the Knicks. I haven’t seen the former, but I have seen the latter and it was quite good. So I didn’t have doubts going into this documentary series.
Spencer Haywood and the late Connie Hawkins’ fights to play in the NBA were vital to the documentary.
To no one’s surprise, it was. Basketball: A Love Story is a genuinely fascinating and uniquely interesting look at one of America’s favorite sports. I could end the review right here, but there are still parts of the films I want to talk about; things both good and bad.
The setup of the series is a personal and literal history. The personal history isn’t fascinating and I felt distracted from the actual history. Still, it was integrated decently. Yet when the series got to the literal history it actually has a narrative structure, right up with Ken Burns’ works.
Terry Pluto’s stories about ABA were invaluable in helping the ABA portion of the film coming truly alive.
Like Burns’ work the series uses famous narrators: Chadwick Boseman, Julianne Moore, Ahmad Rashad and others, lend their voices to narrate important historical information.
You know what, I’ll eschew the normal review structure for something more befitting the topic. Your play-by-play man is in italics, and your color commentator is in bold, enjoy.
One of the most uniquely visualized segments was the race for the 1978 scoring title.
“Good afternoon everybody, it sure is a great scene at Monkey Fighting Robots Arena in beautiful downtown Fredericktown, OH. My name is Damien Zukor, alongside me, a former winning coach himself, Dennis Fitzsimmons. Fitz, it appears we have a solid matchup between these two teams.” “That’s right Zuc, the core differences In the Negative Nancies, and the Positive Points is their scoring ability. The positives are the masters of the paint, they get those tough baskets. The Nancies, strike thru the long-range three-pointers, they’ve made more than half their 3’s.”
We’ll jump to the fourth quarter.
Rod Thorn’s story about Bernard King drinking three Scotch on the Rocks in 2 minutes, was one of the many fascinating stories in the film. (Even if it wasn’t intended as such.)
“The Negatives have been riding the hot streak of ‘Not using retrospective interviews.’”“That’s right, Zuc is something that’s been hurting the positives all day, it hasn’t been a complete history, as it should have been.
“The positives are ahead 110 to 108, those negatives have charged back on ‘Women’s basketball not being interesting before the WNBA’. “We hate to criticize it, but it’s just not very interesting.” “Yet the positives have ridden ‘Good storytelling’ to the bank. “Absolutely he’s put up 50 points in this game so far. Especially the bit involving drug use in the 70s.”
David Stern’s use of courtroom logic helped disprove any conspiracy claims involving Patrick Ewing going to the Knicks. (At least to me, anyway)
“45 seconds left in the game: ’great narrative’ passed to ‘fascinating interviews’, who passes it to ‘Unique music choices’, Choices with the shot…good!”“Wonderful execution to use David Bowie’s “Let’s Dance” to talk about Patrick Ewing arriving with the Knicks.” “33 seconds, Positives by four, forgotten elements’ shot is good from long range!” “They clearly forgot about the Malice at the Palace, it is a love story; so, it should have included all the negative events.”“30 seconds, negatives down by one, music passes to interviews, passes to narrative, passes to editing. Editing puts it up, and hits off the front iron, rebounded by narrative, and puts it in with an ABA flourish!”“Did you see that finger roll, it was shades of George Gervin!” “21 seconds left, Positives by three; forgotten elements, passed to first episode narrative issues, passed to not using retrospective interviews, Not using retrospective interviews shoots, and it’s blocked by extensive discovered footage usage, did you see that? Rebounded by interviews, interviews run the fast break and passes to footage library, who slams it in! Wow, what an effort!” “I’ll say.” “10 seconds left, Negatives don’t have any timeouts left, women’s basketball not being interesting shoots for three, and it’s in! The positives are inbounding, and it’s stolen by forgotten elements, who puts it in! This game is tied at 116, and positives call their final timeout, with two seconds left! (After the timeout) The positives are in-bounding…” “They’re going to go to extensive footage, I can feel it.”“The positives give to footage, he shoots at the buzzer…Good!!! It’s good! The positive points beat the Negative Nancies 118 to 116, in the final seconds!”
I was torn on the rating for this. I was split between 4.5/5 and 5/5. I eventually decided 5/5 because, despite my complaints with the series, this is still a well-made, genuinely interesting and downright hypnotic series.
Check ESPN’s listings for airdates of the episodes.
Sadie debuted at the 2018 South by Southwest Film Festival to positive reviews and makes its way to theaters this weekend.
The film follows Sadie, a girl who lives with her mother because her father is a soldier serving overseas. When her mother begins to date a new man, Sadie decides to “protect” her father at any costs by trying to prevent her mother from having a love life.
This movie certainly needs to be praised for its ambition and creativity. The story is unique and crazy, truly unlike anything to have been seen before. It also has some lofty goals, handling topics that are taboo or just difficult to address. Sometimes, this ambition pays off. Other times, it seems to fall a bit flat.
Ultimately, the movie works far better as a character study than a plot-driven or thematic film, though it seems to want to be a bit of each. The protagonist is indeed sympathetic, although there is a shroud of ambiguity surrounding her. The filmmaker deliberately allows her to be mysterious, aiming to cause the audience to ask questions. Additionally, many of the secondary characters are well-developed
The first hour or so of the film is strong. This part is successful because it embraces the character drama without being melodramatic. In the last thirty minutes of the movie, the story goes over-the-top and somewhat melodramatic territory, impacting the realism that was created in the first two acts. Whereas the first two acts were gritty and emotional, the third act was just unsettling.
Additionally, though the film does provide some interesting commentary on its themes, it is somewhat inconsistent in so doing. There are scenes in which the dialogue feels too awkward and unnatural for it to be successful in its goals. Additionally, there were a few moments in which the movie introduced metaphors or symbols that didn’t end up being fully developed.
That being said, the film has quite a bit of technical merit. The cinematography is great. The visual style is very subdued, with lots of cold and muted colors being used to complement the emotions in the script. The soundtrack and score are perfect too, adding to the movie’s tone.
The ensemble is also very worthy of praise. The lead actress, Sophia Mitri Schloss, is very talented for someone so young. She does a good job of capturing the nuances of the role. Melanie Lynskey, who plays Sadie’s mother, is excellent, too. She and Schloss have good chemistry together. The cast is rounded out by strong supporting turns by actors including John Gallagher Jr. and Tony Hale.
Overall, Sadie was an interesting and ambitious film. Although not all of it landed as well as it wanted to, the character development is great and the execution is solid. It is definitely worth checking out if you get the chance.
Sadie opens in select theaters beginning October 12.
Wonder Woman and the Justice League Dark continue their fight against Hecate
This month’s crossover takes a spooky turn with Wonder Woman and the Justice League Dark facing off against a goddess. When Diana was younger, witches who serve Hecate brand her to be taken by the goddess. She is brainwashed to forget this trauma, and her mother can’t find proof that anything has been done. Years pass and the brand has remained hidden behind Wonder Woman’s tiara, but now the plan is coming to fruition. Hecate is planning to destroy magic and remake the world. As the regular Justice League ends up hexed by the goddess, the Justice League Dark stand to save the world before Hecate can complete the destruction. Will they succeed?
**Some Spoilers Below**
Story:
After Hecate attacked their base, the Justice League Dark is led by Wonder Woman to the Greek Isles for back up. They capture a unicorn to use as a bargaining chip for Hecate’s most powerful witch, Circe. She welcomes the group, then proceeds to explain how there are others branded by Hecate.
Meanwhile, in New Mexico, a superheroine known as Manitou Dawn reveals herself to be one of the branded. She goes on a rampage, only to catch the attention of Deadman. The ghostly hero, realizing how bad this could become, he quickly makes his way to find the League.
While light on the action, there is plenty of juicy backstory for readers to enjoy. This story gets more and more interesting as we learn more about the master plan and see the effects of the witchmark. We learn that these marks enhance the wielders and it feels more like a deal with the devil. We see the amount of power it holds but the cost as well. It truly captures the dark magic vibes which perfectly encapsulate the theme of the story. By the end of the comic, you see Wonder Woman powered by the witchmark and are left excited and scared. I can’t wait to see the power of Hecate go all out in the coming issues.
Art:
If there is anything that hooks the reader more than the story, it’s the kick-ass art. Emanuela Lupacchino returns as the illustrator and, like her previous stories in the Wonder Woman series, knocks it out of the park. As always, her character designs are fantastic, as well as the details on the magic. The colorwork of Romulo Fajardo Jr. helps this art feel alive with vibrant colors to give the magic more life. The art is magical, and it’s all thanks to this phenomenal team.
Conclusion:
Pick up this issue. If you haven’t read the first issue, pick that up as well. This story will grab hold of you and take you on a wild ride into the magical side of the DC Universe. The future might look bleak for Wonder Woman, but I am excited about the next issue.
Yet another DC Comics graphic novel adaptation is coming to our obey screens soon, this time at CBS, with the live-action realization of the Secret Six.
If you are unfamiliar with this team of villains, think of them as another version of the Suicide Squad. In the graphic novel, the group was led by a mysterious figure known as ‘Mockingbird’, which each member assumed was one of their five counterparts on the team. The figure blackmails each team member to go on suspicious missions, similar treatment as to what Amanda Waller forces the squad to do when summoned.
The original series premiered in the 1960s, initially as a seven-issue run, but was brought back in the 1980s. In the 2000s, with the creative team of Jimmy Palmiotti, Gail Simone and Brad Walker, however, it was brought back yet again and featured a team of villains, including Bane, Catwoman and Harley Quinn.
The initial show description might suggest that the original team will be used to avoid the comparisons of Suicide Squad, should a ragtag team of misfits be used. What is also interesting was the choice not to make this show exclusive to DC Universe. We will just have to wait and see how things play out over the course of the rest of the year.
What do you think, are you excited to see this DC adaptation? Who do you want to see on the team? Let us know in the comments section below.
