Harley Quinn and The Joker will continue their back up stories in their own spin off. Originally announced at Comic-Con International: San Diego’s Harley Quinn PanelHarley Loves Joker will continue through Harley Quinn #25, before breaking off into it’s own series.
While teasing the celebration of the comic villains 25th anniversary, Jimmy Palmiotti told Syfy Wire what to expect in #25.
“Harley and her crew come under the assault from the Unconquerable 25, and by the end of the issue we see them all separated and dealing with the assassins using each of their particular skills,” he said. “That’s a blast in itself, but the back-up by Paul Dini, Brett Blevins, J. Bone, and Alex Sinclair is simply beautiful to behold. We also get to see some tender moments between the Joker and Harley and a tease of what, in the future, is the thing that divides them. This story will be continued in separate specials coming in 2018.”
DC Comics
Harley Loves Joker will be written by Palmiotti and Paul Dini and illustrated Brett Blevins, J. Bone and Alex Sinclair. In June the writers talked with Newsarama about the comic’s development.
“Well, for the immediate future. And then we’re going to think about the format and if we want to continue in that format or take it in a different direction,” said Dini. “We love that version of the character and love telling stories about her in that universe, so right now we’re just going to see to what degree we’re going to tell those stories.”
“We’re scheming,” Palmiotti added. “We’re scheming right now about what comes next.”
No official release date has been set for Harley Loves Joker#1, but Palmiotti told SDCC fans to expect it later this year.
Disney decided to break up with Netflix on Tuesday, and Marvel fans were left out in the cold with no answer about the future of the Marvel Cinematic Universe shows produced by the streaming service.
A few days removed, the picture gets clearer. According to Forbes, the Disney theatrical distribution deal and the Marvel Television development deal are two separate things. The original Disney distribution deal with Netflix, in a nutshell, simply gave Netflix exclusive streaming rights for all of Disney’s theatrical releases, along with Disney-owned and produced television shows from its channels. The Marvel shows on Netflix are produced by Netflix, and so belong to Netflix as much as Marvel.
That means ‘The Defenders’ will stay at Netflix and the MCU can grow with additional shows. The current roster is made up of Daredevil, Jessica Jones, Luke Cage, Iron Fist, and the Punisher. Also in the Forbes report, an outside survey reported that 10% of Netflix viewers watch the ‘Daredevil’ series to the tune of 10+ million viewers.
The MCU on Netflix has a substantial following, and future development of the universe looks to be moving forward.
What is your favorite MCU series on Netflix? Comment Below.
The marketing material for Thor: Ragnarok has been incredible thus far. Each poster, image, and trailer have been on point; with this said, however, it’d be foolish not to keep it objective – this new poster, which can be seen below, is atrocious.
Not only are the colors totally off-putting, but the horrid photoshop and comical placement of Hela make it look like a spoof poster out of the 1990s.
Despite this being a bad piece of marketing, just about everything else has been spectacular. This doesn’t make me any less ecstatic for the film.
“Thor‘s world is about to explode in Marvel’s Thor: Ragnarok. His devious brother, Loki, has taken over Asgard, the powerful Hela has emerged to steal the throne for herself and Thor is imprisoned on the other side of the universe. To escape captivity and save his home from imminent destruction, Thor must first win a deadly alien contest by defeating his former ally and fellow Avengers… The Incredible Hulk!”
Featuring Chris Hemsworth as Thor, Mark Ruffalo as Hulk, Cate Blanchett as Hela, Tessa Thompson as Valkyrie, Tomm Hiddleston as Loki, Benedict Cumberbatch as Doctor Strange, Karl Urban as Skurge, Anthony Hopkins as Odin, Idris Elba as Heimdall, and Jeff Goldblum as The Grandmaster, Thor: Ragnarok is directed by Taika Waititi and will hit theaters on November 3.
Are you looking forward to the film? Comment below, let us know.
Denis Villeneuve’s upcoming Blade Runner 2049 has been handed an R rating, great news for those of us anticipating the film; tricky news for the movie’s box office prospects.
According to the report at The Playlist, Blade Runner 2049 is rated R “for violence, some sexuality, nudity & language.”
To be fair, I never expected anything less than R, but you never know these days. Plenty of remakes and long-gap sequels have been watered down in order to expand the prospective audience. The Robocop remake was PG-13 for god’s sake, so you never know…
Then there’s the fact that the original Blade Runner was rated R. Those were in the years before the PG-13 rating existed, so a non-kids movie was one or the other (hell, Jaws was PG!). Ridley Scott’s original would not be rated R today, so that tells me that Villeneuve’s sequel will hit the violence a little harder than the original.
Blade Runner 2049 stars Ryan Gosling, Harrison Ford, Jared Leto, Dave Bautista, and Robin Wright, and it will be here October 6. Y’all gonna see it or nah?
In their continuing crusade to own all interesting, original entertainment content, Netflix has replaced their upcoming Disney void with The Coen Brothers first foray into television, The Ballad of Buster Scruggs.
The Western anthology series already has an impressive collection of talent: James Franco, Zoe Kazan, Stephen Root, Tyne Daly, and Tim Blake Nelson as the titular Buster Scruggs.
Cindy Holland, Vice President of Netflix’s original content, spoke about the collaboration, saying “The Coens are visionary directors, masterful storytellers, and colorful linguists. We are thrilled for Netflix to become home to the full range of their talents.”
Of all the celebrated directors in Hollywood, the sensibility of The Coen Brothers and their ability to fill out their films with colorful characters in even the smallest of supporting roles feels ripe for a six-part television series. Add to the fact that this is going to be a Western, and I need no other motivation to tune in. And with Tim Blake Nelson in the lead role, expect some wackiness.
As for Netflix, well, I suppose they know what they’re doing. This sure feels like a bubble that is going to burst before long.
The Ballad of Buster Scruggs will premiere on Netflix in some time in 2018.
A Dramedy Show About RuPaul In The 1980’s Is Coming Hulu
After shopping around shortly, Hulu is bringing RuPaul’s life story to the small screen. The series, tentatively titled ‘Queen,’ follows a fictional narrative based on the life of RuPaul. J.J. Abrams and his company Bad Robot will serve as the executive producer.
RuPaul will also executive produce along with Gary Lennon, who is penning the script. Tom Campbell, Fenton Bailey, and Randy Barbato will executive produce through World of Wonder, a long time collaborator of the drag superstar.
RuPaul, a San Diego native, moved to Atlanta to study performing arts. He eventually settled in New York City during the heyday of The Club Kids, where he became a fixture in the nightlife scene. Now you can see him hosting the reality competition show RuPaul’s Drag Race on Logo and VH1. He’s also up for multiple Emmys at this year’s show.
The show is said to follow the life story from the time in New York to the infiltration of popular culture. This could be a monumental moment for LGBT representation on television. The show promises to show a diverse and unique look into the community, something that doesn’t often happen. Not only will the show have a gay black lead character, but that character is also a fierce drag queen. In this show with LGBT characters in a notoriously chaotic time, RuPaul doesn’t want this show to be too dark.
“This is about my New York life in the ’80s. Interview magazine in those days was my Bible. I grew up in San Diego wanting to be Andy Warhol. No grim storyline about white guys sniffing white powder. It’s the Yellow Brick Road. Wanting to go to six different clubs every night.”
That quote sums up why ‘Queen‘ is going to be a major show. J.J. Abrams (The Force Awakens, Star Trek, Lost) made a smart decision for jumping on this when he did. Putting his stamp on this will bring significant attention to the project, but also align the producer with a show that could be a critical and commercial hit.
What do you think of RuPaul teaming with Hulu and J.J. Abrams for ‘Queen‘?
The internet erupted on Tuesday afternoon with the news that Disney was pulling their films from Netflix. Many cried foul, despairing the soon-to-depart properties that would disappear from “My List.” Others saw a future filled with too many $9.99 streaming subscriptions, and questioned the success of the venture.
I already pay for Netflix, Hulu and Amazon streaming services. I’m not paying for one more ding dang streaming service. Keep it Disney.
This reaction is understandable, especially with recent hits like Moana and Rogue One having just hit Netflix recently. But it won’t be that bad when 2019 rolls around. A dedicated Disney streaming service is a good thing, and not just for them. It will improve the market, and ultimately create a better environment for consumers.
Disney Stream is good for Disney
Perhaps this is obvious, but Disney Stream (my unofficial moniker for it) is a good thing for The Walt Disney Company. Hidden in Tuesday’s Netflix news was the more negative announcement of their third quarter earnings. Revenues were flat, net income was down 9%, and most troubling was cable and broadcasting profits, down 23%. They need a change, and they know it.
Disney Stream, along with their new ESPN subscription service, can help alleviate these problems. Consumers have been fleeing traditional cable and broadcasting due to a combination of high prices and limited content for years. ESPN, Disney Channel, ABC, and ABC family have all suffered as a result. To combat this, Disney has spent the last few years rebranding and moving toward streaming: ESPN has a limited app, Disney Channel has full episodes on YouTube (including the new Star Wars show Forces of Destiny), ABC has a strong Hulu presence (of which Disney owns a minority stake), and Freeform was just rebranded.
Disney released ‘Forces of Destiny’ exclusively on their YouTube channel during summer 2017
The last pieces of the empire are Disney’s animated and feature films. They do have limited streaming presence, but is unfocused and somewhat confusing. Some films are available only on Hulu, Netflix, or Amazon, and some on multiple. To watch their entire catalog, in theory, you have to subscribe to all three. And this doesn’t account for regional differences. Pixar films are all but absent from American Netflix, but present in some foreign markets.
A single dedicated streaming service fixes this problem. Disney Stream can be the go-to one-stop shop for all things Disney movies. They’ll also be including content, both carried over and original, from the Disney Channel. The result is a haven for family-oriented Disney and Pixar features.
The one caveat: Star Wars and Marvel will not be joining Disney Stream. They’ll be leaving Netflix, but their future home is undetermined. Perhaps they’ll have their own platforms, or maybe they’ll all be put on Hulu. In any case, finding where a film is able to be streamed will be immensely easier.
Plus, we might finally get that Star Wars live action show that’s been in development since about forever. That makes it all worth it.
Disney Stream is Good for Netflix
Disney leaving sounds bad, but the end result will be beneficial for Netflix. If there’s one area where the streaming giant has excelled, it’s adapting to a changing marketplace.
Remember that Netflix started as the killer of Blockbuster and rental stores, opting to deliver movies to homes using their famous queue system. Blockbuster and Walmart already had delivery systems of their own, but couldn’t compete with the small startup that was Netflix. All credit is due to Netflix’s incredibly complex and thorough distribution system, with shipping centers in every major city, almost completely automated, and tight patents.
Then, they killed their own business.
Netflix foresaw the direction of the world toward streaming, and began redirecting efforts, slowly but surely, into what was then called downloaded films. By 2011 they were ready to spin off their DVDs completely into the short-lived Qwikster. DVDs now makes up 9% of their business.
Remember this fiasco?
To accommodate streaming, Netflix had to completely change their business model. DVDs were bought and rented, one to one. Digital media, however, requires licenses. Netflix negotiates with rights holders (in this case Disney) for regional rights. They favor global rights, as it is cheaper and allows them to maintain a similar library in every region. This isn’t always possible, which explains why Fresh Prince of Bel Air or Pixar films were available in Brazil and the UK respectively, but not the US.
These licenses don’t come cheap. Netflix doesn’t own them, they simply “rent” them. And, in the case of Disney, they can be pulled at any time. Meanwhile, they compete with Amazon, Hulu, FOX NOW, CBS All Access, and more for views of the same content. But, par for the course, Netflix anticipated this, and has been moving away for years now.
House of Cards, Orange is the New Black, The Crown, Stranger Things, Unbreakable Kimmy Schmidt, Master of None, A Very Murray Christmas, Black Mirror, Louis C.K. 2017, Sarah Silverman: A Speck of Dust, The Square, Virunga, What Happened, Miss Simone?, Amanda Knox, 13th, Chef’s Table, Making a Murderer, The Keepers, Bloodline, Arrested Development, Derek, Grace and Frankie, Patton Oswalt: Talking for Clapping, John Mulaney: The Comeback Kid, Bill Nye Saves The World.
Every single one of those Netflix original titles has been nominated or won an Emmy or Academy Award. They have defined the modern landscape of television. Next is film, with originals like Okja debuting at Cannes, and their documentaries already winning Oscars.
Netflix continues to rise in the ranks for award winning programming
Netflix spends $6 billion a year on their own programming. Every dollar no longer spent on Disney licenses is another put towards quality original content. Subscribers came for the familiar, but stayed for the original. They stay for the shows, films, comedy specials and documentaries that are high quality and new.
Disney leaving doesn’t hurt Netflix; it emboldens them.
Disney leaving is good for the market
It’ll be hard to explain to the newest generation of kids that there used to be two Streaming Video on Demand (SVOD) services: Netflix and Hulu. The race is still fairly new, but the pack is growing.
Netflix, Hulu, Amazon Video, YouTube Red, HBO NOW. These are the biggest names in streaming. Others are joining, like CBS All Access and its original Star Trek: Discovery.
Disney Stream will be just one of many by the time 2019 rolls around. And that’s a great thing for the industry. Because Gordon Gekko was wrong. Greed isn’t good; competition is.
Gordon Gekko if ‘Wall Street’ was remade today
For years now, Netflix has sat atop the pile, with 128 million subscribers and 66% market share of SVOD users. Amazon comes next, with 85.3 million viewers, and 44% market share. Hulu brings up the rear with 32 million subscribers and 16.5% market share.
But with companies like Disney pulling out of these existing services and creating their own, Netflix, Amazon, and Hulu’s dominance begins to wane. FOX, ABC, and NBC may follow CBS’ lead and create their own original programming for their streaming platforms. Youtube Red has a small but strong 1.5 million subscriber base, and looks to grow that number with popular originals like a Karate Kid offshoot series (which they outbid Netflix, Amazon, Hulu, and AMC for).
Competition leads to innovation. As more players enter the game, existing platforms will have to improve, focusing on original content and high quality user experiences and app design.
Of course competition has another beneficial consequence, and it’s probably the only one you really care about: Cost.
Disney leaving is good for the consumer.
This is where most folks were upset. Disney Stream is yet another $8.99-$12.99 streaming service they’ll have to pay for. Another app, another service, another bill.
But that’s assuming all else stays the same. And that’s now how markets work.
Let’s assume the trend continues, and dozens of companies begin pulling their content and offering their own streaming services. The aforementioned increase of original content is obviously good for consumers. So is the price change.
More SVODs means more competition for the same subscriber. Very few are going to subscribe to every service, just as relatively few pay for the premium cable packages that include every single channel known to human kind.
As a result, each SVOD will need to either A. improve their content and platform to justify the cost not just of their service, but of their subscribers having multiple services, and/or B. lower their cost.
The virtually endless content of Netflix/Amazon/Hulu
So subscribers can expect more options, higher quality, and/or lower cost. But they also get more flexibility. Right now, you pay for Netflix, Amazon, and/or Hulu, and you experience a fraction of the total content. Thousands upon thousands of titles that you likely have never, and will never, watch. Similar to cable packages, you’re paying for things you don’t ever use.
But if you only care about the Disney shows and films on Netflix, Amazon, or Hulu already? Then this is amazing news. Now you can pay for just that “channel.” Even if you do end up wanting 4-5 “channels,” the end cost will inevitably be less than paying for cable television.
So will it be worth it?
Funnily enough, we actually have an answer for this. Disney already has a streaming service in the U.K. called DisneyLife. It’s been around since 2015, and has far more content than anything Netflix can offer.
The service carries television shows from Disney Jr. and Disney Channel, and feature films from Walt Disney Animation Studios. It also carries audiobooks, music, and e-books. The service is available online, through mobile platforms, and through TVs with services like Chromecast.
Disney’s future streaming service will likely look different, given that they bought BAMTech, the video-streaming infrastructure service created by the MLB. BAMTech will be the powerhouse behind Disney Stream, as well as their also-announced ESPN streaming.
Nonetheless, DisneyLife gives consumers a big clue into the future of Disney’s properties and their streaming. The other upside: DisneyLife also includes a live TV component that carries Disney Channel, XD, and Junior. While that has not been mentioned in regards to Disney Stream, it could be another thing to look forward to.
Disney leaving Netflix is a good thing. Disney gets easy to find, all-in-one content, and original programming. Netflix gets more money for their original content. The market becomes more competitive, providing higher quality products. And the consumer gets better, easier to find, and likely cheaper stuff.
In the end, change is almost always good. And the House of Mouse will have yet another area in which to dominate.
Jean Grey continues her preparation for the Phoenix Force and tour of tutelage through various Marvel heroes. Dennis Hopeless and the art team have made Jean Grey one of the best titles to come out of ResurreXion.
***SPOILERS LIE AHEAD***
Jean visits Psylocke to learn about conjuring psionic weaponry. They take down a hive of Hand ninjas and Jean discovers the voice in her head is actually someone talking to her telepathically.
Dennis Hopeless’ voice for Ms. Grey is monumental. She was a character in need of a major change. He’s made her a modern teenage mutant bad ass trying to figure herself out. It’s the most energetic and compelling the character has ever been.
There’s a lot of innocent lighthearted humor to Jean now that was never explored before. She’s corny and sarcastic, but eager to learn and conquer her future. For a teenager displaced from time, she sure speaks to the modern teen culture quite well.
I appreciated the trial and error for Jean in finding her way to activating her psi-weapons. My only concern with her learning this new ability is that it takes away from the true teenage psychic champion, Quentin Quire.
Psylocke wasn’t the most interesting teacher, and with that this was the weakest issue so far. It’s by no means a chore to read, it just pales in comparison to the previous guests. Hopeless’ Betsy Braddock is as plain and boring as her current costume is.
While the other issues in the series felt like important chapters or lessons in the guidebook to conquering the Phoenix Force, this felt like a side note. It did however, introduce us to the mystery voice in Jean’s head. With that, the next arc has an interesting start.
The art seems to make a jump in quality once were transported into the mole Men death cavern. Jean had some major duck face during her meditation session in the beginning. Overall it’s a colorful issue that’s not complicated in design and easy to digest.
2017’s Lady Macbeth Plays Like a Shakespearean Fever Dream
Entrancing is a perfect way to describe Lady Macbeth. While you watch the film, you can’t keep your eyes off the high-brow drama. Even after the credits roll, it sits with you. That shows the raw talent of director William Oldroyd to convey these emotions in his feature film debut. It isn’t just his work that shines as lead actress Florence Pugh is a force.
Story Synopsis:
Lady Macbeth follows the story of Katherine, a woman sold into a loveless marriage. The film opens with a wedding and possibly the worst wedding night in ever. Everything from the first conversations that sound like business negotiations to a pointless strip down, this scene plays cold and very uncomfortable. What makes it so great is how much the filmmakers go out their way to make the husband Alexander Lester an afterthought. Katherine’s husband attempts to make her feel like an object, but she is the one with all the importance in this situation. That’s a running theme that Katherine is always in control.
Things get even more uncomfortable for the husband and wife when Alexander forces Katherine to strip again, to only feel himself and leave her out of the situation. Katherine is ready for this sexual encounter but feels even more degraded when he won’t touch her. There’s a sense that Katherine is willing to make the most of this situation with some freedom or respect, but not the cards she’s dealt. Sadly for everyone involved, her repression has serious ramifications.
The moment her husband leaves with his horrible father, Katherine gives herself some much-needed freedom. Well, as much freedom as her nosy housemaid Anna allows before reporting back to someone. During the extended time her husband is away, Katherine begins an affair with one of the workers on the land. The relationship between the two starts off interesting as they have a heated first interaction. She has some power as the wife of a landowner, but her gender undermines any of that status.
Katherine spirals into a twisted game of murder, sex, and revenge to get what she wants. No one is safe as she manipulates her way to a wild and unknown end game.
Deconstruction of 2017’s Lady Macbeth
William Oldroyd’s Lady Macbeth serves as a film adaption of the 1865 novel titled Lady Macbeth of the Mtsensk District. With an opera and a 1961 film, Oldroyd and his team took on the task of telling this story uniquely. The original novel and opera are both Russian stories; this movie has a rural England setting in 1865. Nothing changes from the source material other than minor plot details and a few names. The important message of a woman seeking a personal rebellion in a repressed time still plays the same.
Lady Macbeth is unrelentingly in how dark it is. The movie seems to bask in being evil, as much Katherine does in the story. Seeing a woman break the chains set on her by society is delightful to see, but it’s genuinely interesting to see it when the rebel is twisted. Actress Florence Pugh plays this character with perfection. Each movement seems calculated but never over-rehearsed; that goes for the actor and the character. There’s a detailed plan of every action, and you’ll never tell it by her face. Staying calm under pressure is so easy for Katherine that you quickly see how scary she is. Nothing breaks her down. This woman juggles an affair, overbearing authority figures, and her morality with ease, even if it can be a little extreme.
Everything isn’t all doom and gloom for the film. The scene where Katherine finally gets out of the house feels light and quite beautiful. Even after a gruff first encounter, the love between Katherine and her lover Sebastian feels real. You can’t help but root Katherine on at first. She is vigorous and bold, but a little aggressive. That support doesn’t last too much time as you see Katherine’s freedom comes at a cost to everyone around here.
“You have no idea of the damage you can cause.”
-Alexander Lester (Paul Hilton)
Lady Macbeth seems dire in the landscape of massive Hollywood blockbusters. Saying this movie is stripped-back isn’t taking away from the tremendous achievements, but it’s great to see a film focus on the craftsmanship more than the marketability. Everything is shot simple, but it helps the real meaning not get lost in all the glitz.
Everyone behind-the-camera shines as much as the on-screen talent does. You can’t praise with the movie without touching on the beautiful aesthetics. The costumes and set design stand out, but never distracts from the topic at hand. It also helps that cinematographer Ari Wegner captures every shot beautifully. There are distinct shots of exterior locations that Wegner makes even more striking, and there are close-ups of characters that tell a story without even dialogue. Major applause to his camera work and he’s an underdog name that should be in Oscar talks.
All of the other departments aside, this is a film that wouldn’t function without director William Oldroyd and writer Alice Birch. For this to be William Oldroyd’s feature film debut is insane. While his background in stage prepared him for such an isolated movie, the amount of experience here feels like a 40-year pro. The performances he brings out of the actors is the stuff that needs to be taught in film school. All of this amazing work the director did wouldn’t be there if it wasn’t for Alice Birch’s screenplay. Birch is someone that viewers need to keep an eye on because she just gets it. Every beat that is written works, every snarky comeback lands and the shocks never stop.
Check out my rating for this film below and enjoy the trailer for Lady Macbeth:
What do you think of Lady Macbeth? If you’ve seen it or want to see it, let me know your feelings in the comments below.
The movie is playing in select theatres now; check your local movie times for more info. It debuts on Blu-Ray and DVD on August 21st.
Lady Macbeth stars Florence Pugh, Cosmo Jarvis, Paul Hilton, Naomi Ackie and Christopher Fairbank. The plot centers on a young woman stuck in a loveless marriage who seeks freedom by any means.
With a 10-day gross just $34 million, it might not seem realistic to discuss a sequel for Atomic Blonde. But guess who opened with just a little less in the same time frame and still got a sequel…John Wick ($27 million in 10 days). Both films benefit from a small budget, making it a lot easier to profit from, and Blonde now making more than it cost to produce ($30 million). So, a sequel is probable. In fact, given that Hollywood loves their franchises, it might be a given the moment it makes $35 million, and whatever it does on home release.
The first movie took place as the Berlin Wall fell, and ends with a new decade about to begin. If future films continue with this, these are the best places for Lorraine Broughton to utilize her high heels in.
10TWA Flight 800
Pretty much already looks like an action set piece waiting to happen.
In 1998, TWA Flight 800 exploded off Long Island. All 230 people on board perished in the third-deadliest aviation accident in U.S. territory. This would be a very tough event to feature in a fictional film and not come off as a very insensitive Die Hard 2 ripoff. The incident could work if it was at the beginning of the film and then Broughton to pick up the pieces and kick ass up and down mid-90’s New York City.
9Federal Government Shutdown (1995-1996)
Empty monuments to toss henchman around? Check!
After a budget crisis, the entire government shut down for a few weeks. Can you imagine the anarchy on the other side? All these federal agents without paychecks (which, who knows, could have happened, right?). Sounds like Broughton is going to have to stock up on watering hoses because that’s a lot of disgruntled and deadly employees.
8Opening of the English Channel (1994)
But instead of two people shaking hands, Charlize Theron breaking someone’s teeth.
The Channel connected England and France, which made it possible for trains to travel between the two countries and significantly helped trade. Someone had to be pissed off somewhere. Atomic Blonde on a boat!
7Tokyo Sarin Gas Attack (1995)
Andromeda Blonde?
This would be a tough story to tell and not trivialize the 12 people that died in the attack, but there is something very iconic about the 1990s era Tokyo. Like with TWA Flight 800, if the tragedy starts off the film and becomes a catalyst for Broughton to solve the mystery, there is an emotional impact to working with actual events.
6Hong Kong Reunites with China (1997)
More running through marches!
For 100 years, England occupied Hong Kong as a colony. The reuniting of the city to its country could echo themes in the first film. Some Imperialist English guy probably wanted to do something needlessly violent to stop the event.
5Clinton Impeachment (1998)
Atomic Blonde meets Political Blonde
It would really only need to be the backdrop, the way the Berlin Wall was in the first. While the world is distracted by the media uproar of the impeachment, some shady politicians are trying to do something terrible. Atomic Blonde takes on the nation’s capital.
4Panama Get the Canal Back (1999)
Action Set Pieces Galore!
Again, we have a country reuniting with itself. The U.S. occupied the Canal, but in 1977, President Carter agreed to give the canal back at the end of the century. With the sex appeal of the first film, it would be interesting to how the filmmakers use the tropical environment.
3Pakistan and India Test Nuclear Weapons (1998)
Atomic Blonde V Atomic Bomb
Two countries that would be interesting to explore for the time period. Pair Theron up with Naveen Andrews and they’ll kick all kinds of ass. Also, the Atomic in Atomic Blonde gets a lot more literal.
2USSR dissolves (1992)
What happens when the Blonde goes to Russia
She fought Russians in the first movie, and thanks to Putin and Trump, Russian baddies are back! This time she can go to Moscow and spend more time finding creative weapons to knock the crap out of a KGB officer.
1Y2K
Panic EVERYWHERE!
We saw her at the end of one decade, let’s see her at the end of the Millenia, when people are freaking out that the world will end and all their computers will stop working because the clocks would set to the year 1900. Wait, is that what we thought would happen? She could shrug at midnight like the rest of us! Crazy fights in a packed New York City. Sounds like fun.
Really though, they can put Boughton at a backyard cookout and it would work.
