While Adam Brody was once supposed to suit up as The Flash in Justice League: Mortal, a new look at his cowl from George Miller’s canceled movie has made its way online.
Seven Friends: George Miller’s Justice League director Ryan Unicomb showed off Barry Allen’s mask on Instagram and confirmed it’s the first time the costume has been shown to the general public. “Showed a little sneak peek at the never before seen FLASH costume that Adam Brody’s Barry Allen would’ve worn in Justice League Mortal,” he wrote. He also teased that there will be plenty more to see when the aforementioned documentary is released during the upcoming holiday season.
Apart from some generic latex coloring and furrowed brow, there isn’t much to go on from Unicomb’s post. However, this is the first time Brody’s costume has seen the light of day. Unicomb’s unveiling of Allen’s mask comes just after he shared a look at the cowl that was supposed to be worn by Armie Hammer’s Batman. Neither costume was finished, leading to a few rare snaps to show how Justice League: Mortal could’ve looked.
Long before Ezra Miller suited up as The Flash in the DC Extended Universe, Brody was supposed to give the Scarlet Speedster his first live-action, big-screen outing. However, the movie slipped into development hell and was canceled just before filming was supposed to begin in Australia. Brody has previously promised Miller’s movie would’ve been “f*****g epic” but said he wasn’t crushed when Warner Bros. eventually pulled the plug.
Aside from Brody and Hammer as The Flash and Batman, the cast would’ve included D.J. Cotrona as Superman, Megan Gale as Wonder Woman, Santiago Cabrera as Aquaman, Hugh Keays-Byrne as Martian Manhunter and Common as John Stewart/Green Lantern. Additionally, Jay Baruchel was tapped to play the villainous Maxwell Lord and Anton Yelchin was going to portray the Wally West version of The Flash.
Following his success on The O.C. and Mr. & Mrs. Smith, Brody’s comedy roles made him a logical choice to play The Flash in Justice League: Mortal. Instead, he went on to star in Jennifer’s Body and Scream 4. Despite just missing out on playing Barry Allen, though, Brody was still drawn to the world of DC movies and had a cameo in 2019’s Shazam!
Alongside Unicomb’s reveal of Brody’s mask, expect to see plenty more insights into the movie that never happened when Seven Friends: George Miller’s Justice League is released.
Fans of George Miller's canceled Justice League: Mortal can get a new look at Adam Brody's costume if he'd suited up as Barry Allen/The Flash.
Rockstar Games has often placed Easter eggs in its games that reference its other works, but these have always been for fans rather than hints towards an interconnected universe. That is, until now. There is a theory going around that Grand Theft Auto V and Red Dead Redemption 2 do in fact take place in the same universe at different times.
While the games take place 114 years apart, with GTA V taking place in 2013 and Red Dead Redemption 2 being set in 1899, they could be connected through the time traveler. Many players probably missed out on this interesting character. The quest “Geology For Beginners” is easy to overlook, and while many may have run into Francis Sinclair, the quest giver, they likely didn’t complete the quest.
Sinclair sends players on a scavenger hunt across the map looking for rock carvings. He asks players to return to his cabin, just North of Strawberry, when they have found and recorded all the rock carvings. Even with online tutorials, it could take players hours to collect all 10 of the carvings, which is why many players don’t end up finishing the mission.
While the mission might be easy to forget, Francis Sinclair is not. He is one of the only red-haired characters in the game, the others being Molly and Sean. Hair isn’t Sinclair’s only distinguishing characteristic; he also has a large birthmark over his right eye.
While the game never explicitly claims that Sinclair is a time traveler and you meet him as a baby later in the game, it is heavily implied. Sinclair speaks like someone from the 1930s, using words like “hooch” and “jazzed,” thoroughly confusing Arthur when they meet. Then there is the question of what the rock carvings mean and how they got there. Rock carving is an ancient type of art, but almost every carving found shows something that would be futuristic for the Wild West.
If a player does end up finding all the carvings, they can go back to Sinclair’s cabin to find out he’s not there. Upon entering the cabin, the player is met by a giant drawing of Sinclair with futuristic pictographs surrounding him. A woman returns during the cut-scene with a small red-haired baby named Francis. It seems that the first time the player meets Francis he is a lot older than he should be, as he is time traveling.
This could just be a cool mystery in the game, like the UFO on Mount Shann, but it also could connect to GTA V. While that game doesn’t feature a Francis Sinclair, there is a mention of someone who looks striking similar to him. The Epsilon Program is a cult in the world of GTA that believes in many strange things. It’s mentioned in GTA IV, but it’s much bigger in GTA V.
According to its followers, the world is exactly 157 years old, dinosaurs are a lie and everyone is related except for red-haired people. Additionally, the believers of the Epsilon Program believe that people with birthmarks may be related to Kraff, the famous Emperor of the Fourth Paradigm. Both of these are features that Francis Sinclair possesses.
When going to the Epsilon Program’s website, players will be met with examples of people who are supposedly descended from Kraff. One of these shows a person with a large birthmark is directly over their right eye. This has lead to speculation that Francis Sinclair is related to the famous Emperor Kraff, an alien from the GTA universe, as his red hair and birthmark perfectly fit the Epsilon Program’s description. This would also help explain Sinclair’s strange behavior in Red Dead Redemption 2, including his time traveling abilities, his speech patterns and even the UFO sightings.
A new trailer for Steve Carell’s Space Force introduces the motto for the upcoming Netflix original series.
As Carell’s General Mark R. Naird sits in a courtroom, he declares how it’s always been his dream to start something from the ground up. However, he then states, “But space is hard,” to which he is then told that his statement should become the new Space Force motto.
The three-minute-long trailer reveals how Space Force is a new branch in the United States military created by the President. A surprised Naird learns he is going to be put in charge of Space Force, and he takes the news as well as you’d expect him to. From here, things devolve into complete chaos as we meet Space Force’s Social Media Manager, watch its recruitment of “heroes,” a vintage training montage, inspirational words from Naird’s daughter and an intense case of heat exhaustion from wearing a space suit.
Created by Greg Daniel and Steve Carell, Space Force stars Carell, John Malkovich, Ben Schwartz, Diana Silvers and Tawny Newsome. The series premieres May 29 on Netflix.
EL SEGUNDO, Calif.–(BUSINESS WIRE)–Mattel, Inc. (NASDAQ: MAT) announced today the expansion of #ThankYouHeroes, a collection of toys designed to honor the individuals leading the fight against COVID-19 as well as the everyday heroes who are working to keep communities up and running. The expanded collection, which is part of the Company’s broader Play it Forward platform focused on leveraging Mattel brands to give back to communities in times of need, includes new items from Matchbox, Mega Construx and UNO. All net proceeds from the line will go to #FirstRespondersFirst, an initiative created to support first responder healthcare workers as they serve on the frontlines of the COVID-19 pandemic.*
“For 75 years, purposeful play has been at Mattel’s core, and we know toys can have a significant impact, particularly in unprecedented times like these,” said Richard Dickson, President and COO, Mattel. “That’s the intent of our Play it Forward platform, which is about leveraging our brands to drive awareness for, and give back to, important causes. Our #ThankYouHeroes line, focused on honoring and immortalizing frontline healthcare workers and everyday heroes, has already received tremendous consumer response. These new items from Matchbox, Mega and UNO will enable us to further recognize and thank today’s heroes while also driving additional donations to support first responders.”
“Mattel’s #ThankYouHeroes collection has tapped into something powerful: the tremendous gratitude we are all feeling for the frontline healthcare workers who are risking so much to protect us,” said Arianna Huffington, Founder and CEO of Thrive Global. “Expanding the collection will continue to put a spotlight on their contributions and sacrifices, so we can honor and support them as they go about their life-saving work.”
Mattel’s new #ThankYouHeroes products include:
These new items join the Fisher-Price #ThankYouHeroes assortment of 16 different action figures featuring a selection of doctors, nurses, EMTs and delivery drivers, as well as a special five-character Little People set comprised of a doctor, nurse, EMT, delivery driver and grocery store worker. In addition, last week Barbie announced the brand will donate a doll (up to 30,000 dolls) for each eligible career doll that was sold from May 14, 2020 – May 17, 2020 to the First Responders Children’s Foundation, benefiting the children of first responders.
The new #ThankYouHeroes items are available for pre-order starting today through May 31, 2020 at http://MattelPlayroom.com/ThankYouHeroes. Matchbox and Mega Construx products retail for $20, with $15 from each sale being donated to #FirstRespondersFirst, and the UNO product retails for $10, with $8 from each sale being donated to #FirstRespondersFirst. Items are expected to ship to consumers by December 31, 2020.
While set in a post-apocalyptic future, complete with interplanetary space travel and malevolent artificial intelligences, The 100 has always leaned more into its survivalist aspects than its science fiction possibilities. The CW series does have tropes and underlying elements that have fluctuated over the course of the series, but the seventh and final season leans more into its sci-fi potential than seasons past. And this is done with fast-paced season premiere, before the series begins to pull back the curtain and explain the mysteries seeded over the course of Season 6 while setting up what’s destined to be an epic, and bloody, showdown.
In Season 6, the final remnants of humanity left the uninhabitable Earth to travel for a century to a faraway world known as Sanctum. Led by longtime primary protagonists Clarke Griffin and Bellamy Blake, the survivors discover the moon not only has its own deadly secrets and environmental dangers but was settled generations ago by another group of interstellar colonists from Earth. When the leading faction of colonists, known as the Primes, made their sinister intentions known, Clarke brought about their eventual downfall as leader of the opposition force known as the Children of Gabriel.
Season 7 opens shortly after the conclusion of Season 6, with many of the survivors from Earth who traveled in cryosleep awaking to settle on the brave, new world. However, as new factions begin to form, tensions rise to the surface as Clarke faces new challenges to keep the peace. Meanwhile, Gabriel and Echo face their own dangers as Bellamy is targeted by a mysterious faction while they contend with new enigmas related to the temporal anomaly that appeared last season on the planet’s surface and claimed one of their own.
The 100‘s new season hits the ground running — literally — barely giving its characters and, by extension, its audience, the chance to breathe as the stakes are raised once again. Previous seasons served as more accessible entry points for those who hadn’t necessarily kept with the ongoing story. Now moving toward its own endgame, The 100 isn’t as interested in bringing in new viewers. The show doesn’t waste any time picking up where it left off, and setting its characters on one final adventure as humanity gets one last chance to rebuild civilization. However, that’s if it can put aside its differences to endure the perils on the planet.
And while this is carried by much of The 100‘s returning cast, there are newcomers, most notably Shelby Flannery, who had briefly appeared in the Season 6 finale. Portraying Diyoza’s time-displaced daughter Hope, Flannery provides an entertaining foil opposite returning actor Tasya Teles while the two join Gabriel for their own investigation of the temporal anomaly. And one returning character takes a considerably darker turn early in the season, likely establishing themselves as the overarching antagonist of the proceedings, as a tenuously fragile peace is maintained on Sanctum.
With 16 episodes in all, The 100 is getting the full-bodied send-off that it deserves as the cast is brought together one final time.
The 100 and stars Eliza Taylor, Marie Avgeropoulos, Bob Morley, Lindsey Morgan, Richard Harmon, Tasya Teles and Shannon Kook. The series will return for its seventh and final season Wednesday, May 20, at 8 p.m. ET/PT on The CW.
All three seasons of Bryan Fuller’s Hannibal are coming to Netflix.
Fans of the former NBC drama will be able to begin streaming the gory horror series on June 5. Netflix announced its arrival with a straight-to-the-point tweet on its See What’s Next Twitter account. “All three seasons of Bryan Fuller’s bloody brilliant Hannibal will be available on Netflix in The US starting June 5,” it wrote.
Developed by Fuller, Hannibal follows psychiatrist and cannibal Hannibal Lecter (Mads Mikkelson) in the prime of his killing spree. He is recruited by FBI profiler Will Graham (Hugh Dancy) to help catch a rather elusive serial killer. However, Graham does not realize that Lecter is harboring a dark and gruesome secret.
Co-starring Caroline Dhavernas, Laurence Fishburne, Scott Thompson, Aaron Abrams, Gillian Anderson and Hettienne Park, the show gained a cult following during its run, earning a 92 percent overall rating from critics on Rotten Tomatoes.
Despite the high scorings, NBC still chose to cancel the show after three seasons in 2015, leaving fans unsure of the fates of the two characters after the final episode ended with a literal cliffhanger. Fuller has kept high hopes for the return of the series over the past five years, mainly looking to streaming services to save the popular series.
While in quarantine, Shazam! director David F. Sandberg has released another horror short film following the previously-released Shadowed.
Titled Not Alone in Here, the short features actor Lotta Losten as a woman who notices her front door is open, despite the fact that she just locked it. “A woman suspects she’s not alone in her house. Watch loud in the dark if you dare,” a description for the short reads. The short film is available on YouTube and runs for a total of 6 minutes and 18 seconds.
It’s worth noting that Lotsen is Sandberg’s wife and has made appearances in most of his films, including Shazam!. Lotsen has also collaborated with Sandberg on creating several of their horror shorts.
Sandberg will return to direct Shazam! 2, which has had its production delayed due to the ongoing coronavirus (COVID-19) pandemic. Currently, it appears uncertain when Shazam! 2 will be able to begin filming. Meanwhile, the film’s release date was moved from April 1, 2022 to Nov. 4, 2022.
David F. Sandberg’s Shazam! stars Asher Angel as Billy Batson, Zachary Levi as Shazam, Mark Strong as Dr. Thaddeus Sivana, Djimon Hounsou as the ancient wizard Shazam, Grace Fulton as Mary Bromfield, Jack Dylan Grazer as Freddy Freeman, Ian Chen as Eugene Choi, Jovan Armand as Pedro Peña, Faithe Herman as Darla Dudley, Cooper Andrews as Victor Vásquez and Marta Milans as Rosa Vásquez. Shazam! 2 soars into theaters April 1, 2022.
Shazam! director David F. Sandberg has released his lastest horror short, which is titled, “Not Alone in Here.”
Until very recently, the Star Wars galaxy has been largely a product of the minds of straight white men. There’s nothing wrong with this on an individual level, of course. George Lucas and those who have followed in his footsteps can’t help their identities any more than anyone else can. But in the grand scheme of the franchise, the lack of representation behind the scenes has resulted in regrettable missed opportunities and unforced errors. Disney and Lucasfilm have taken important first steps to correct the imbalance. Most episodes of The Mandalorian were directed by women and people of color, including Deborah Chow, Bryce Dallas Howard and Rick Famuyiwa. Taika Waititi, who helmed the finale, will become the first non-white person to direct a Star Wars film. That’s progress, but if Star Wars intends to remain relevant (and any good) it’s a trend that absolutely has to continue.
It’s not fair to blame Star Wars in a vacuum. These have been and continue to be industry-wide problems. In the era of the Original Trilogy, only 16 women total were working as commercial film directors. According to the Center for the Study of Women in Television and Film, in the years since, women have made up (at most) only about 17-18 percent of directors, 15 percent of writers, and, shockingly, two percent of cinematographers. The numbers are even worse when it comes to race. Black directors had, by far, their best year in 2018, but still only represented 14 percent of the year’s top 100 movies. For other racial minorities, those stats were in the low single digits, with female writers and directors of color having the hardest time breaking into the entertainment business.
Unrepresentative diversity behind the camera leads to unrepresentative diversity in front of it. In Episode IV: A New Hope, all of the dialogue is spoken by white characters. The strong presence of Carrie Fisher and James Earl Jones’s voice might skew the audience’s perception and make it seem less white and male than it is. One could argue that Fisher’s multidimensional performance as Leia, as well as her uncredited script contributions, have gone a long way toward making Star Wars seem more revolutionary than it is.
Diversity on screen does improve with time, just not enough. As society grew incrementally more “woke” from the premiere of Episode I: The Phantom Menace to the premiere of Episode IX: The Rise of Skywalker, it seemed white male writers and directors of Star Wars were getting the message. The Phantom Menace is notorious for its problematic characterizations of Jar Jar Binks and Watto, and its shameful underdevelopment of Padme Amidala, but unlike A New Hope, it (barely) passed the Bechdel Test and introduced Mace Windu. The Sequel Trilogy appeared to have made huge strides in casting a female lead and a black actor in a large supporting role. But, in Episode VII: The Force Awakens, even with Daisy Ridley as Rey, Gwendoline Christie as Captain Phasma, and Fisher returning, only 28 percent of dialogue was spoken by women.
Rogue One has the distinction of being the most diverse Star Wars film, with Felicity Jones as Jyn Erso, and a supporting cast almost entirely comprised of non-white characters. However, it was still written and directed by straight white men, and so perhaps it’s not surprising that here, too, about 82 percent of the dialogue is spoken by male actors, and 55 percent is spoken by white actors. Surely, the disproportionality is subconscious and unintentional, but the fact remains, it’s apparently very difficult for women and minorities to achieve parody on-screen without first achieving it off-screen.
Star Wars (both the creative teams behind the franchise and the fandom) has faced critiques of sexism and racism before, especially in the unfortunate dust-up surrounding the character of Rose Tico, as portrayed by Kelly Marie Tran. Defenders will point to the fact that Kathleen Kennedy was handed the reins after Disney’s acquisition, but despite her stellar record as one of the most successful and influential producers of all time, she’s often an outsized target for unhappy fans’ ire. It’s curious that, as of late, the prevailing dissatisfaction with Star Wars movies seems to be that they either try too hard to replicate the originals or try too hard to subvert them. They’re reactionary, but single-mindedly so, and from one all-too-familiar and dominant a perspective.
In contrast, fans both diehard and casual found The Mandalorian to be almost universally appealing. The show managed to seem fresh but sufficiently reverential to the Star Wars canon. The eight episodes of Season 1 were noticeably more cohesive than the three installments of the Sequel Trilogy. The racially and gender diverse characters — Mando himself, plus Greef Karga, Cara Dune, Pelli Moto, Fennec Shand, Moff Gideon, The Armorer and others — were well-rounded, with a fairer distribution of dialogue and screen presence, despite the much shorter run time of each episode compared to the films. This isn’t by accident. The Mandalorian’s pool of directors included three people of color and two women working in collaboration is undoubtedly the explanation.
In another corner of the galaxy, Star Wars is being written, and well, by women. Claudia Gray, E.K. Johnston and others have penned some of the most popular Star Wars books, featuring more diverse casts of characters than are represented in the movies, and Gray is on the Project Luminous team that will produce The High Republic. With Waititi’s film and Season 2 of The Mandalorian forthcoming, Star Wars is doing better. But, Lucasfilm shouldn’t just do better because it’s the right thing to do. It’s true that plenty of disenfranchised creatives would welcome the influx of opportunities. It’s also true that plenty of fans would love to have more characters with which they could identify. Star Wars should strive for representative diversity in its production crews because doing so makes for a better, more authentic product.
Yes, you read that right: James from Team Rocket is actually filthy rich. In Season 1, Episode 48 “Holy Matrimony”, we learn that James is actually the heir of a filthy rich aristocratic family. Ash, Misty and Brock are casually partaking in their Pokemon journey when they notice a missing person sign. Upon closer inspection, they see that the small boy shown in the picture looks exactly like James. Right as they voice their suspicion that this may in fact be the very same James from Team Rocket, a butler in a giant limousine shows up and takes them away to “Master James'” mansion, thrilled to hear that they might know where he is.
According to the butler, James’ parents have recently passed away due to the chagrin of their son’s disappearance. James has twenty-four hours to return home and claim his inheritance, or the fortune will be given to charity. Ash, Misty and Brock decide to help look for James. Little do they know that he’s already there, hiding, along with Jessie and Meowth.
Meowth and Jessie are at first thrilled to hear the news of their friend and colleague being loaded. To their surprise, however, James absolutely does not share said enthusiasm, and keeps desperately trying to escape. We later find out that James’ parents are very much alive, and that the whole thing was a trap destined to bring him home! According to James, this is typical of them. It’s clear that James has been accustomed to this type of manipulation and gaslighting, but that’s not all! As it turns out, his parents wanted him home because … they wanted him to get married!
James was engaged to a woman named Jessebelle from a young age. Jessebelle is a control freak with a full-blown BDSM dungeon meant to whip James into shape and turn him into a “true gentleman.” Upon witnessing the scene, both Brock and Misty blush, while Ash stays oblivious to the sexual implications behind the situation. All the while, James tries to run away from her whiplashes. He’s thankfully saved by his faithful pet Growlithe, Growlie.
So not only did James’ parents manipulate and gaslight him his whole life, they tried to force an unwanted marriage on him without caring that his wife-to be was a dangerous sexually harassing psychopath. With a background like that, it’s no wonder James ran away from home.
This episode is considered to be one of the best Indigo League episodes. Not only that, it has quite a bit of Rocketship moments and implications, so it’s definitely considered a staple for all those who ship both Jessie and James as a couple. For starters, it’s impossible to ignore the fact that Jessebelle looks exactly like Jessie. Although Jessie is bossy, however, she and James share one thing in common, as they both mention at the end of the episode, and it’s their taste for freedom. The pair may not be rich, but at least they’re free to live their lives as they please and they both have each other.
DC has announced a new addition to its Digital First catalog. DCeased: Hope at World’s End by writer Tom Taylor and artists Dustin Nguyen, Renato Guedes, Carmine Di Giandomenico and Marco Failla goes on sale digitally today, and is a spinoff of the hit DC series that documents the events that took place before the Earth fell to the zombie Anti-Life Equation.
DCeased: Hope at World’s End follows Superman and Wonder Woman, Martian Manhunter, Stephanie Brown, Wally West, Jimmy Olsen and more, and takes place in the span of DCeased #5’s time jump. It will publish digitally twice a month and run for a total of 14 chapters.
“There was a point in DCeased where we had to make the decision to skip weeks of losses and triumphs and heroism or our first miniseries wouldn’t exactly be a miniseries,” Taylor said in a statement. “But we knew we had a larger story to tell, so we seeded plots we could expand on and deliberately left huge characters off the table for the future. That future is here.”
Taylor goes on to give DCeased fans a taste of which heroes they can expect to play a role in the digital first miniseries, and teased a fan-favorite duo rising up to stake their claim as the next generation of DC superheroes.
“With Hope at World’s End, we finally get to tell the tale of what Superman, Wonder Woman, Flash, Black Adam, Wink, the Aerie, Martian Manhunter, Black Manta, Steph Brown, Robin, Superboy and more did to save as much of humanity as they could,” Taylor continued. “And Super Sons fans won’t want to miss the apocalyptic adventures of Damian and Jon as they stand up to the worst crisis the Earth has ever seen, and take their first steps on the road to becoming the next World’s Finest.”
DCeased: Unkillables and DCeased: Hope at World’s End expand the world of DCeased and help pave the way for the release of DCeased: Dead Planet in June. Dead Planet reunites Taylor with his DCeased collaborators Trevor Hairsine and Rain Beredo, and focuses on Damian Wayne, Jon Kent and Cassie Sandsmark, the new Batman, Superman and Wonder Woman of Earth-2, respectively, as they return to their original Earth years after escaping.
Written by Tom Taylor with art by Dustin Nguyen, Renato Guedes, Carmine Di Giandomenico and Marco Failla, DCeased: Hope at World’s End is on sale digitally now.
DCeased: Hope at World's End is a new Digital First spinoff set before the fall of the Earth in DCeased.
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