Writer Isaac Asimov once said “Life is pleasant. Death is peaceful. It’s the transition that’s troublesome”. Ever since its release, the trailer for Avengers: Infinity War has caused people to get out their pins and red string and connect team members to one central theme. Death.
In Marvel’s 1991 limited series The Infinity Gauntlet (which the upcoming movie is based on), a lot of Avengers die. However, it’s one death not at the left hand of Thanos that makes the most sense for the movie adaptation. Anthony Edward Stark. One of the team’s founders, and the man who Nick Fury first recruited in the Marvel Cinematic Universe.
As shown above, Stark is beheaded in the comic series by Terraxia, whom Thanos created to make Death jealous. Though his death happened off-panel, seeing blood drip from Iron Man’s helmet is something that would carry a certain weight in the cinematic universe. Not only because of Tony being the team’s first member. But because he and his actions in the movies are tethered.
Both to other team members and as we saw in Avengers: Age of Ultron, and Captain America: Civil War, Stark is at the center of major recent events in the cinematic universe. Ultron happened because of him, the Sokovia Accords were because of him. Captain America is an enemy of the state because of him. But what about Cap?
As does Robert Downey Jr., but it is unknown how big of roles their characters will play in the still untitled Avengers movie in 2019. Though killing off Cap would allow Marvel to pass the title of Captain America to Bucky (Sebastian Stan), killing off Stark allows Marvel to do more. It allows them to show how his death affects those close to him like War Machine (Don Cheadle), Cap, and especially Spider-Man (Tom Holland). Peter Parker views Tony as a mentor and father-figure after his biological one abandoned him.
Tony equipped Peter with new suits, and he also taught him how to be more, beyond the spandex. Seeing Peter become emotional and possibly vengeful after he sees his mentor killed by Thanos in Infinity War would give the audience a way to relate to he and other superhuman characters on a more human level, and root for them even more. Plus Tony’s death would bring the relationship between Steve Rogers and Stark full-circle.
Imagine seeing Cap, War Machine, and Spidey fueled on raw emotion triple teaming Thanos into oblivion. Imagine how pumped that would get you as an audience member. But here is where Tony’s possible death could lose that emotional impact. The time stone.
For those who might not know. The time stone is contained in Doctor Strange’s Eye of Agamotto. By possibly reviving Tony with it via turning back time, it would signal that Marvel has little faith in its other characters when it comes to carrying the MCU forward.
Robert Downey Jr. and Iron Man have been a part of the cinematic universe since 2008. Marvel has had enough success since then where risk is not only a must right now, it is a need. They pulled off the Avengers. It’s time to allow Black Panther (Chadwick Boseman), Spider-Man, and newcomer Captain Marvel (Brie Larson) to carry the load. Plus in the nearly ten years only two heroes (Yondu, who is really an anti-hero, and Quicksilver) have died in the MCU.
Killing off Tony and hopefully not a supporting character like Falcon (Anthony Mackie has not been confirmed for 2019’s Avengers movie) in Infinity War, is also a way for Marvel to not be seen as “cheap” by taking the easy way out. Avengers: Infinity War opens on May 4th, and is the 18th movie from Marvel Studios, it’s time for one main character (or more) to die and stay dead. Death is peaceful, but the transition does not need to be troublesome.
The stunning noir series Kill Or Be Killed closes out a chapter, taking us into rockier terrain. Now that Dylan has a firm grasp on one aspect of his life, and the satisfaction of a job well done, he loses his grip on another.
***SPOILERS LIE AHEAD***
We’ve done so much growing along with Dylan in these fourteen issues. Every minor accomplishment he achieves is a major victory for him and the reader. It’s almost impossible to feel satisfaction when he stands up to his asshole roommate.
You know how good he feels when he closes that door in Mason’s face because you’ve felt it before in your own life during some small victory of your own.
Our connection to Dylan also means the blows that he takes are that much more devastating. To think, after all the mental obstacles he overcame, his sanity may still be in question is a bombshell when it hits.
Ed Brubaker is at the height of his powers, which is saying a lot given his accomplishments. It’s amazing how much time we spend in Dylan’s head without him ever getting stale or predictable.
The visual style is picturesque in the best possible way. New York is a living, breathing part of every page. On every panel, you can hear cars beeping and people shuffling.
Sean Phillips draws people as well as he does landscapes. Every character model and expression tells a story that doesn’t even require Brubaker’s words. These aren’t Hollywood comic book models either, they are real people with real wear to them.
Elizabeth Breitweiser does exceptional work with even a dirtier, grittier pallet of color. The city only provides so many vibrant colors in a nighttime landscape and drenched in murder.
Dylan’s eye color gets darker the closer he gets to standing up to Mason. They start out green, get closer to brown, then damn near black by the time he speaks his mind. These little details make Kill Or Be Killed a splendid repeat read.
The black background behind Dylan as he confronts the Russian mob boss one-on-one sends shivers down your spine. This entire scene is built upon how easy it was, you can’t help but wait for it all to fall apart. The panels of Dylan with nothing but darkness behind him both raise the suspense and show how stone-cold of a master killer he’s become.
All the comic book tricks are on full, tasteful display in Kill Or Be Killed. The lettering of Kira’s dialogue slowly wiping away as Dylan drifts out of listening to her. That devastating final page reveal. It’s a glorious example of top-tier comic book creation and story telling.
Kill Or Be Killed has some monumental staying power. It’s now been consistently stunning and dynamic for fourteen issues. The killer creative team shows no signs of stopping as we follow Dylan into another dark place.
Brubaker, Phillips, and Breitweiser clearly weren’t satisfied with their handful of Eisner nominations. If they don’t clean up on awards next year, it’ll be a real shame. Every comic book fan should be reading this series.
20th Century Fox has purchased the rights to BOOM! Studios’ detective series Goldie Vance. But the news does not stop there, as Rashida Jones has signed onto the project as writer and director. While Kerry Washington will serve as producer. “Goldie is exactly the kind of fearless, curious and funny heroine we need right now,” said Jones.
Labeled as a cross between Nancy Drew and Eloise, Goldie Vance centers around its 16-year-old title character. Who aspires to be a detective for a Miami-based resort, but things in her life become challenging when she uncovers an international crime ring. No release date for the film has been announced.
Kiyofumi Nakajima is the new President of Studio Ghibli, according to Variety. Nakajima has replaced Koji Hoshino, who was appointed president of the company in 2008. Hoshino is now Ghibli’s Chairman.
This move comes with two big operations underway. Hayao Miyazaki is directing a new feature film, titled Kimi-tachi wa Do Ikiru ka, which translates to How Do You Live?
Along with Ghibli producing a movie, the company is creating a new theme park in Japan which is set to open as early as 2020. The announcement of this park has been made, although no other details are known.
How do you feel about Nakajima taking over as the head of Studio Ghibli? Comment below, let us know.
As we enter a new era of Marvel Comics, I’ll be providing a weekly report on all Legacy titles. Your one-stop guide to what’s going on in the 616 universe from MFR’s resident Marvel fan. Above you’ll see Marvel Legacy’s report card for the week, then below we’ll dive into each book. Let’s dig in!
Also, check out our coverage from the previous weeks!
Cullen Bunn takes the X-Kids through time in the first Blue story following “Mojo Worldwide.” Magneto’s secret plan to send the X-Men back home to the past is set in motion by an unseen force.
I’ve really been hard on Bloodstorm. I don’t think she’s necessary still, but her rooftop scene with Cyclops made me warm up to her a bit. Damn you Cullen Bunn, you win this round.
As always, this team’s interactions shine bright. Jimmy Hudson is another character that won’t stick around forever but Bunn makes good use of him while he’s here. Iceman soaking up some Mojo programming for “enemy research” was a highlight moment.
Visually the issue is fine, nothing too flashy and nothin atrocious. Some thinly crafted faces and weird looking body proportions, but not enough to take you out of the story. The 2099 X-Men look fantastic, making up most of the strongest page.
Rain Beredo’s coloring work is the driving force of the art’s charm. With a wide ranger of colors, these pages burst instead of bore us to death in a quieter issue.
Here we are again taking the teenaged X-Men into a new, exciting setting. This may be the only Legacy “hero versus hero” story. However, if it’s the X-Kids versus the 2099 mutants, it’ll be nearly impossible to feel like AvX, IvX, or any other vX’s.
—
Venom #158 “Lethal Protector” Part Four
Eddie Brock is trapped under rubble, like the iconic Spider-Man moment, showcasing that new leaf he turned over. He gets bailed out by a bunch of giant Moloids because of his reputation with the sewer dinosaurs. If that doesn’t make you want to read this comic, what are you doing here?
This arc wrapped up rather quickly in the end. No epic showdown, Venom handles both Kraven and Shriek fast and easy, the police come in to clean it up. If it weren’t for dinosaurs and Moloids, this abrupt finale would’ve been pretty disappointing.
On one hand, I’m glad Lee Price (the previous Venom) is getting closure following his handful of issues as the symbiote host. On the other hand, I don’t think anybody even remotely cared for Lee. I don’t think anyone would’ve minded if he were just swept under the rug.
The final page, with Lee getting out of prison, doesn’t hit like it’s intended to. Perhaps “Venom Inc.” will transform him into a crucial character.
Looking at Kraven The Hunter chase down dinosaurs in the sewers is one of the best examples of why we read comics in the first place. Venom is dumb fun that isn’t afraid to be the comic that it is. To expect anything else would be foolish.
—
Secret Warriors #9 “VS Mister Sinister” Part Two
Matthew Rosenberg excels at taking breaks to place superheroes into boring real-life situations. Moments like Karnak waiting on-hold during a phone call never cease to be amusing.
Little details in the art make this an extremely pleasing read. Javier Garrón, Will Robson, Israel Silva, and Clayton Cowles are doing exceptional work.
The motion blur and glowing light on the ring around Quake’s hand as she powers up, but her hand is clear and still on the inside of the ring. The vibrational rumble effect on the sound effects as she moves the ground. The movement and jet stream of Magik’s sword swings. The glow and curl of Inferno’s flames. You hear and feel these things as you’re reading.
Secret Warriors is one of the best team books around. A light-hearted, and often hilarious, comic that packs a major punch with stakes that carry significant weight. It’s easy to fall in love with this cast of charmers, if you hadn’t already. Not only are the characters infectious, but this is a goddamn gorgeous book too.
—
Moon Knight #189 “Crazy Runs In The Family” Part Two
There’s a thick fog of horror that slowly rolls across your brain as you read this issue. A legitimately terrifying villain threatening a man with a loose grip on sanity carries a heavy weight of intensity. Add the reawakened Amun-Ra lurking in the subplot and you’ve got a fully loaded comic bursting with anxiety.
Using Marc Spector as a subject, rather than the narrator, makes this feel like a case study in the best possible way. Khonshu’s tone of voice sheds a whole new light on he and Marc’s relationship as they share the same headspace. Max Bemis has been impressive in utilizing the different personalities right out of the gate.
The panels with Amun-Ra completely orange and awoken, questioning the gray, “sleeping” people on the street, are a great use of color. Moon Knight’s beautiful white costume covered in blood is something that will never cease to be satisfying.
When Moon Knight is investigating dark train tunnels, the sparing use of light is spectacular. Lopes’ ability to play with the striking white costume our hero wears, and how it adapts to surroundings, is on full display. The page-turn reveal of our antagonist (The Truth) by way of flashlight in the dark is like making a startling discovery in a dark corner of a Resident Evil game.
The big showdown in the dark, switching personalities to better match his opponent, and defusing The Truth’s sick grasp of honesty with a swift “I f*%@ing love it” give you plenty more reason to keep this issue in your mind for a while. Moon Knight comics are almost always memorable experiences, this is quickly making a case for being one of the most interesting takes.
The flame’s glow of the final page burn so bright you can feel the heat on your face. Moon Knight is going to have his hands full with the cast of lunacy we’ve been introduced to so far.
Moon Knight is a brutal, unforgiving, truly terrifying, and unforgettable experience. Max Bemis, Jacen Burrows, Mat Lopes, Guillermo Ortego, and Cory Petit are an absolute dream team. Every way you slice it, this comic is one you cannot afford to miss.
—
Jean Grey #9 “Psych Wars” Part Two
Dennis Hopeless continues to play exceptionally well with the female X-Men characters. He’s been bleeding the concept of Jean preparing for the Phoenix Force by collaborating with previous hosts for all it’s worth. We’ve already gone so many places but still this story doesn’t feel stale.
Every bit of bickering between Jean and Emma makes my heart sing like “Wild Thing.” They’re two characters that will always have an unlimited amount of unfinished business.
There’s some seriously girl power in this issue. Even the most sexist of comic book readers would have trouble denying the effectiveness if they would even notice at all.
Victor Ibáñez and Jay David Ramos deliver an issue that never gets flat-footed, keeping the pulse up despite the heavy amount of dialogue.
Ghost Jean’s face really does look like an older version of our current teenaged Jean in the closeup shots, an impressive detail. Hope’s arrival sequence was flawlessly crafted and very appropriate for a character raised by Cable.
This is the best Jean Grey we’ve ever seen, hands down. Never before has she been so familiar and appealing.
—
Darkhawk #151 “The Return” One of One
Chad Bowers and Chris Sims share writing duties to bring Chris Powell and his amulet back, the return of Darkhawk is upon us!
It’s a delight to see an adult Chris Powell attempting to adjust to a normal life as a cop with a fiancé at home. It’s almost a shame that he’s getting dragged back into the cosmic drama, but it makes for a much more interesting read.
This one-shot is a solid introduction for any first-time reader, as well as a nice catch-up for longtime fans. The end is clearly tying into what’s going on in Gerry Duggan’s Guardians Of The Galaxy. Contrary to the promise of “ZILCH” at the end of the issue, if you’re looking for more Darkhawk, check out GOTG.
Kev Walker and Jaya Tartaglia do a fine job delivering a lighter Chris Powell, the issue gets darker and rougher around the edges as it progresses. Tartalgia doesn’t waste the opportunity to use the color pallet that comes with a Darkhawk comic. Plenty of deep pink, blue, red, and purple gives this book a colorful appeal.
While this isn’t a game changing Darkhawk issue to drool over, it’s a solid comic book. Successfully bringing both new and old readers up to speed before Powell takes on the new Raptor fraternity. If this were an ongoing, I would most certainly continue reading it.
—
America #9 “Exterminatrix” Part Two
The story, and Exterminatrix herself, are pretty dull for the most part. However, the art and characters help mask the lamer aspects.
The characterization of America Chavez is on target through both dialogue and visual expressions. She has the most attitude of any Marvel hero through her facial expressions and reactions alone. Flaviano and Jordan Gibson give us plenty to look at.
The smears of charcoal and dark police gear perfectly contrast America’s vibrant red, white, and blue. So do the shifting background colors, which effectively add another layer of emotion to each panel.
Beautiful color meets excellent design in the various wardrobe choices with the two groups coming to America’s rescue. Hairstyles and outfits worthy of The Fifth Element, which I imagine is how they found their name (Leelumultipass Phi Theta Betas). The character clothing also has a texture to it you can almost feel.
America isn’t a perfect book by any means but it’s got a lot of heart and character. The art alone is worth giving this comic a read.
—
U.S.Avengers #12 “Cannonball Run” Part Two
Al Ewing’s Archie-fueled Skrull adventure comes to an end rather quickly. Making way for the massive Avengers crossover, blending all Avengers into one weekly story.
U.S.Avengers doesn’t get enough credit, it’s been a thoroughly enjoyable GI Joe/Avengers team. This arc took the kookiness to the next level with Cannonball finding himself in a planet-wide Skrull production of an Archie-like television show.
Ewing pokes fun at fandom, comics, obsession, outrage, and diversity. It’s only a two-issue arc that was clearly wrapped up sooner than originally intended. It still finishes nicely enough, but rather abruptly.
Paco Diaz and Jesus Aburtov tell the story through a fun cartoon style. Archie/Skrull models and X-Men mash-ups make this a fun, lighthearted read. Bug Face’s telling of his story to Cannonball in a fuzzy tv screen filter is great.
As fun as this was, it was over too soon. That could be said for both the story and title itself. Hopefully this weekly Avengers project isn’t the last we’ll see of this team, Ewing has plenty left to say and a lot of loose ends to tie up.
—
Spider-Gwen #26 “Gwenom” Part Two
Jason Latour has done a fantastic job repurposing Marvel’s characters in an “elseworlds” comic. Gwen has grown into much more than a novelty mashup. Taking the original single issue concept and growing it into a fully formed series is impressive.
There are a lot of moving parts in this “Gwenom” story, all of them getting the perfect amount of face time to keep things rolling. This is shaping up to be the most interesting Spider-Person symbiote story since the original.
Spider Gwen‘s largest appeal continues to be the art. Robbi Rodriguez populates this world with so many different personalities through his pencils alone. You could strip all the dialogue away and have a cohesive story from just looking at character’s eyes.
Rico Renzi’s color gives this book its unique appeal. Even with sticking to the basic color scheme of Spider Gwen’s suit, Renzi keeps the pink, light blue, white, and black from getting tiresome.
The spray paint splatter backgrounds make for interesting and simple shadows and stylish depth. The speckled, burnt paper look for Reed’s portal is a neat effect.
“Gwenom” is the most fun a symbiote story has been in a long time. Latour keeps the plot loaded with twists, turns, and interesting takes on familiar faces. Robbi Rodriguez and Rico Renzi keep this coming fresh, unique, and undeniably appealing.
—
Old Man Logan #31 “Scarlett Samurai” Part One
Old Man Logan comics have an exceptional success rate when it comes to creative teams. Brisson, Deodato Jr., and Frank Martin are no exception.
Logan finds himself back in Tokyo and it doesn’t take long before he’s involved in a blood soaked plot involving Silver Samurai. This time, Silver finds that Scarlet is a much more efficient color for a samurai.
After the Hulk family bloodbath, getting cranky old Wolverine in another old school kung-fu scenario is delightful. Many great Wolverine tales were born here and it looks like another will be.
We get some good old-fashioned villain-identity-mystery as the Scarlet Samurai makes quick work of her Silver counterpart. The plot unravels at a steady and infectious pace.
The best word to describe the artwork in this comic is striking. Every stab, blood spill, punch, etc. comes at the reader full blast. The action sequences operate in brilliant panel design and well crafted layouts. Deodato has made the grey-haired Logan very much his own.
Frank Martin’s color is what makes the issues even more striking. The blood splatter and gritty spackled environments make the action more pronounced and lethal.
Old Man Logan debuts for Marvel Legacy in beautifully brutal fashion. Brisson, Deodato, and Martin are a dynamite team that makes readers feel every punch and splatter of blood. This story kicks off what should be another memorable Tokyo visit by our elderly pal with the Adamantium claws.
HOLY FRIDAY NIGHT BATMAN! Warners Bros. released the first image of Brenton Thwaites as Robin from the upcoming DC Super Hero series ‘Titans.’
Thwaites plays the Dick Grayson version of Robin and will become Nightwing.
‘Titans follows a group of young soon-to-be Super Heroes recruited from every corner of the DC Universe. In this action-packed series, Dick Grayson emerges from the shadows to become the leader of a fearless band of new heroes, including Starfire, Raven and many others. ‘Titans’ is a dramatic, live-action adventure series that will explore and celebrate one of the most popular comic book teams ever.
According to Warner Bros., the Robin super suit was designed by renowned costume designer Laura Jean Shannon.
The cast includes Brenton Thwaites as Robin, Ryan Potter as Beast Boy, Anna Diop as Starfire, Teagan Croft as Raven, Alan Ritchson as Hawk, and Minka Kelly as Dove. More casting announcements are expected. ‘Titans‘ will be written by Akiva Goldsman, Geoff Johns, and Greg Berlanti.
‘Titans’ will debut in 2018 on the DC-branded direct-to-consumer digital service, operated by Warner Bros. Digital Networks.
Another week brings us another chapter in the Suicide Squad’s adventure in space. Rick Flagg Sr., the original leader of the Suicide Squad, requests the modern day Squad for help. An alien known as The Red Wave has been locked away on the moon by the original squad, growing stronger by the decade. Flagg leads the squad into the moon to stop it, coming upon aliens spawned from this monster. While the Squad fights the aliens, Harley realizes a horrible truth– Flagg was being controlled by The Red Wave. He came to RELEASE it and allow it to come back to Earth. Now the Squad is face to face with a giant, Godzilla-esque alien that can control minds.
While I’ve enjoyed this story so far, there have been times it dragged on. I love how the story has been able to reincarnate the original Task Force X into the modern day, but it had very little action to keep the story lively. With the monster now loose, we will finally get some action from the squad. Will it liven the story though?
**Some Spoiler Below**
Story:
The action the modern day squad is known for has finally made it into Space. The Red Wave Monster goes up against Katana and Killer Croc as Harley tries to face Flagg. While the fight against the Red Monster is amazingly illustrated, albeit one-sided, the fight of Harley and Flagg is not. When Harley tries to fight Flagg, he uses a remote Harley’s bomb, but it gets old after being used several times. The entire fight is the equivalent of pushing a remote several times. It isn’t as if the squad has a character that specializes at throwing objects at long range that could break the remote. *cough* Captain Boomerang *cough*.
While the action can be fun, it fails to hide the shortfall of the issue: the story doesn’t progress. The plot barely moves as all that happens is the fights on the Moon and the Red Wave heading out towards the base. This could have taken place in three pages, but instead finds a way to drag it out across the whole issue.
Art:
The art wasn’t anything special. While the art has improved since the beginning of the story arc, there isn’t anything that stands out. The flashback comic still has the classic feel, but even that is becoming dull.
Conclusion:
The storyline isn’t making any real progress the past two issues, but it’s more clear here. While the action is fun to see, as well as the Red Wave Monster, it doesn’t save the issue from feeling sluggish. Even the art has begun to grow dull, as nothing extraordinary stands out. We have two issues left of this story arc and all I hope for is for it to end strong.
Another Archie Comics property is coming to the small screen. The Chilling Adventures of Sabrina, the previously announced new one-hour dark drama/horror project in development from Riverdale showrunner and Archie Comics C.C.O, Roberto Aguirre-Sacasa, is now heading to Netflix! As a fan of this comic, I can tell you this is amazing news and a perfect pairing.
The new show, written by Aguirre-Sacasa, will be directed by Lee Toland Krieger and produced by Berlanti Productions in association with Warner Brothers Studios. Greg Berlanti, Sarah Schecter, Jon Goldwater, Roberto Aguirre-Sacasa and Lee Toland Krieger serve as executive producers.
The show will draw heavily from the critically acclaimed Chilling Adventures Of Sabrina comic (a favorite here at Monkeys Fighting Robots) that is also written by Aguirre-Sacasa and features art by Robert Hack. The concept details the compelling and shocking re-imagining of Sabrina the Teenage Witch’s occult origins. This dark coming-of-age story deals with horror, the occult, and witchcraft and will see Sabrina struggle to reconcile her dual nature of being half-witch and half-mortal while protecting her family and the world from the forces of evil.
What do you guys think? Are you excited for this show to debut? Being on Netflix will definitely allow it to really dive deep into the world of horror and magic! Comment and discuss below.
Marvel Comics announced Friday the New Mutants would return for a six-issue limited series in March just in time for 20th Century Fox film that hit theaters on April 12, 2018. New Mutants: Dead Souls is written by Matt Rosenberg with art by Adam Gorham and each issue will stand alone.
Marvel quickly noticed the horror vibe of the film’s first trailer and pivoted appropriately.
“To me, The New Mutants exemplify everything I love about a superhero team. Are true underdogs, doubted and dismissed, but always ready to prove themselves. They’re the weirdos, the outcasts, the leftovers, and the misfits, but they are there for the people who need them,” said Rosenberg to Marvel.
“They’re constantly in way over their heads, but always rise above. Our series takes all of that, collects some of the best New Mutants alongside some oddballs better known for their time with X-Factor and X-Force, and throws them into a mission they aren’t at all ready for. We pack it full of nods to the history of the team and hints about their future, and enough creepy moments, epic battles, offbeat humor, and dysfunctional family dynamics to make a book worthy of the title The New Mutants,” continues Rosenberg.
About the series: NEW MUTANTS: DEAD SOULS finds Magik, Wolfsbane, Rictor, Boom Boom, and Strong Guy attempting to figure out why strange events are occurring in the universe. But there’s more to their mission than meets the eye…and a bigger mystery is brewing, as the team realizes Karma – the mind-controlling mutant who has brought them together — may not be telling them the entire story. With each issue serving as a standalone tale, the mutants will try to uncover the truth behind these paranormal events – no matter who they have to battle!
No specific release date was announced. Ryan Stegman will handle the first cover.
Are you excited about a New Mutants comic? Comment below.
Netflix has officially greenlit Stranger Things 3, surprising literally no one.
Stranger Things 2 has been out for a while, and when the news came out that the Duffer Brothers’ nostalgia-fueled series sequel was the most streamed show in the platform’s history, season three had been a foregone conclusion.
That being said, the eventual appraisal of Stranger Things 2 was much milder than the original season. Reviews were mostly positive, and It held up its end of the bargain with the thrills and the callbacks, but it didn’t quite capture the zeitgeist the way the first season did. Which is to be expected, but it also means Stranger Things3 might wind up being the end of a trilogy.
Obviously there are no more details right now, and there probably won’t be until this new season drops. My prediction: look for it in October 2018.
