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Kamis, 08 Desember 2016

First Spider-Man: Homecoming teaser shows the Marvel superhero with WINGS

06.30 Bilal Chamdy No comments

The first teaser for Spider-Man: Homecoming has arrived - and fans are divided.

The clip, which was unveiled this week, reveals that Iron Man has given Spidey's classic suit an upgrade.

Part-time superhero Peter Parker's iconic outfit now has the added addition of web wings.

Although Spider-Man can't now fly, he can now glide through the air as he pursues baddies throughout New York.

Spider-man will be released next year

He's got wings!

While it may seem like a new addition to film buffs, Spidey's new outfit closely mirrors the superhero's original suit when he first appeared in comics.

Spider-Man Homecoming is the latest in an army of Marvel movies and the reboot is sure to make new star Tom Holland one of the biggest young stars in Hollywood.

But the Brit is keeping his feet on the ground by employing his best friend Harrison Osterfield as his assistant.

Referring to a fellow Superhero actor, Tom said: â€œChris Hemsworth gave me some great advice.

Tom Holland is about to become a huge star

It's the third reboot in a decade (Photo: Marvel)

â€œOnce I got cast he sent me a really lovely email about just make sure you keep your feet on the ground and you donâ€™t let this affect you.

â€œYou keep your family and your friends close and thatâ€™s exactly what Iâ€™ve done. That is why I have brought my best friend with me as my assistant - that is Harrison," he added.

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â€˜Marvelâ€™s Agents of S.H.I.E.L.D.â€™ Midseason Finale Recap: Ashes to Ashes

00.07 Bilal Chamdy No comments

Henry Simmons as Alphonso "Mack" MacKenzie and Natalia Cordova-Buckley as Yo-Yo Rodriguez.

Henry Simmons as Alphonso â€œMackâ€ MacKenzie and Natalia Cordova-Buckley as Yo-Yo Rodriguez. Jennifer Clasen/ABC

Even though this is the second episode after a month-long break, Agents of S.H.I.E.L.D. is having a midseason finale because momentum isnâ€™t something they care about apparently. Last week was about getting the agents back from the ghost dimension so they can take on Eli Morrow and this week we finally get to the climax they have been building to.

So whatâ€™s Eli doing? Well, heâ€™s making a big, weird, glowing chamber but turns out his hired help hasnâ€™t actually seen any money and the cops and S.H.I.E.L.D. are outside and they are starting to have some doubts in leadership. Eli quickly puts those fears to rest by paying the men by creating diamonds inside the lungs of one of the complaining members and tells the other men to cut him open if they want more. Pretty dope power move.

News crews are outside of the building where Eli is executing his master plan and Director Mace is trying his best to keep the situation under control. Coulson suggests using Daisy, Yo-Yo and Robbie to stop Eli but Mace is less than enthusiastic about the idea of using a still-wanted terrorist and a demon serial killer. Coulson reminds Mace that Robbie is unstoppable and is on their side and that they need all the help that they can get. No matter how many episodes we go through, people just canâ€™t remember that Robbie is the only one that has managed to stop any of the Darkhold-related stuff. Coulson also believes that Aida can be of some assistance prompting him to reveal that she is an android. Despite Maceâ€™s shock that people havenâ€™t seemed to learn anything since Ultron (as well as revealing a slight attraction to her), Mace agrees to let Aida join the mission as long as sheâ€™s dismantled after.

With the go ahead from the director, Daisy, Yo-Yo, and Robbie are ready to storm the building. Yo-Yo runs in to do some reconnaissance only to trigger an explosion and gets hit from the blast. It turns out Eli created Caesium (which is apparently the most active metal on Earth according to Google) and Fitz realizes heâ€™s testing the limits of his powers. Fortunately fire doesnâ€™t scare Robbie at all and he heads on into the building. He takes out a few goons and finds the chamber Eli has created. Itâ€™s a quantum battery, similar to the one that was in the lab that first gave Eli his powers but this is on a bigger scale. Fitz has seen the set up before and realizes itâ€™s called the Demon Core (because of course it is) and that itâ€™s basically a fail-safe. If something messes with it, it activates the plutonium within (which Eli made from scratch) and everything goes boom. But before Robbie can do anything about it, he confronts his uncle and blames him for everything only to get stabbed by some carbon spikes preventing him from transforming. He is also facing radiation from the quantum energy in the chamber and Eli realizes the prison rumors of Ghost Rider were true and realizes itâ€™s been his nephew this whole time.

Elizabeth Henstridge as Jenna Simmons and Iain de Caestecker as Leo Fitz.

Elizabeth Henstridge as Jenna Simmons and Iain de Caestecker as Leo Fitz. Jennifer Clasen/ABC

The agents still donâ€™t have much of a plan. Yo-Yo is patched up from the blast and Mace wants her back in the fight as soon as possible only to get in an argument with a very heated Mack. Yo-To and Mack are still having their little lovers quarrel. Daisy has been feeling an increasing amount of seismic activity that Fitz is looking into and the lack of trust towards Mace finally reaches a tipping point as both Coulson and Daisy confront Mace about his dealings with Senator Nadeer. Turns out itâ€™s all pretty simple, he gave Nadder Jemma to examine the Inhuman just so Nadeer wouldnâ€™t release the photos of Daisy and Robbie during the prison incident â€" Nothing too sinister. Mace does however show a glimpse of uncertainty, which is something we donâ€™t see often from his confident demeanor. He doesnâ€™t believe they are a team, but Coulson is determined to prove just how great of a team they can be.

Back in the building, Eli is creating water now; elemental compounds that he says are the first step to being able to create life. Coulson appears at gunpoint with some of the thugs and delivers a beautiful line that Eli should â€œget a girlfriend first.â€ He might be held prisoner but he did bring a chain (!) so fingers crossed Ghost Rider will be able to use it. Underneath them however, the rest of the agents are putting their plan into action. Now it was tough for me to keep up with this logic here. I had to rewind five times just to see if I understood the plan. See, Fitz believes Eli isnâ€™t creating matter from nothing. According to the law of conservation of energy, energy can neither be created nor destroyed. And even though Eli is power hungry, he doesnâ€™t realize the matter is coming from the quantum energy from the other planes of existence. As he steals more energy, the tremors get worse. To stop Eli, Aida is going to rebuild the gateway to try and get rid of the potentially explosive quantum chamber. The process requires Daisy to control the building tremors and to keep Eli and his goons from killing all of them. There are some small moments where Aida is watching the agents in almost a studious way and I feel like itâ€™s important to point it out and remember for later.

Eli reveals the Darkhold told him he can create life after death and Coulson realizes the chamber isnâ€™t a failsafe but an actual bomb Eli intends to use. Acting fast, the agents move in with May and Mack taking out some of Eliâ€™s gang and Yo-Yo doing a super cool slow motion run through the room. Even Mace is suited up in an armor suit of sorts and is tossing people around. Downstairs the agents are dealing with their own firefight as a gang member shoots Aida. Coulson tosses the chain to Robbie who turns into Ghost Rider and tries to pull himself away from the spikes sticking through him but instead lets go of the chain and chooses to burn up Eli instead. And in that moment the fail-safe goes off and the explosion happens only for the chamber to disappear thanks to the gateway.

Ming-Na Wen as Melinda May.

Ming-Na Wen as Melinda May. Jennifer Clasen/ABC

Although Aida is bleeding out on the floor, she reveals she was programmed to react to pain just like a human would to better help her fit in as an actual target on missions. Sheâ€™ll be fine, but that doesnâ€™t mean she enjoys the process. Daisy is struggling after absorbing all the quakes and has to step outside quickly. She runs out and blasts herself into the sky and ends up landing right in the center of all of the news teams who quickly identify her as Quake. Mace steps in right on time to say she was the one that saved everyone and even calls her Agent Johnson.

Later, she mentions to Coulson how Robbieâ€™s car should go to Gabe but Coulson doesnâ€™t believe she should lose hope yet. He even mentions that the last Ghost Rider came back which could be a reference to the Johnny Blaze version we possibly saw in the flashback episode. It also could mean S.H.I.E.L.D. knew about Ghost Rider way before Robbie. All he says is itâ€™s a long story, which means we might never get an answer.

Daisy is asked if she wants to be an agent again and she says there are definitely parts she misses and is also happy the new face of S.H.I.E.L.D. is an Inhuman. Turns out, Coulson actually wanted her to be the new face but Daisy only says, â€œmaybe in the comic book version.â€ Beautiful. Also Mack and Yo-Yo kiss, so, yay. They can stop fighting, Daisy can stop whining, and everything should be good right? WRONG! Mace approves Radcliffe to work on the LMD program at S.H.I.E.L.D. and that means bringing his research over here. Agent Nathanson is the lucky guy that gets to go do that. And you donâ€™t have to remember that name because as he is packing all of Radcliffeâ€™s things up, he stumbles upon something shocking in a closet. So shocking that Aida shows up and snaps his neck after seeing it! What is it? Turns out itâ€™s an unconscious May covered in blood. Wait? But if May is there, who is having a drink with Coulson at the end of the episode?! Is this May a robot? Is that why Aida is so keen on watching people? Is she learning from them so she can make copies of the agents? If you canâ€™t wait for 2018 for the second season of Westworld, I would suggest coming back to Agents of S.H.I.E.L.D. in January for all of your robotic nightmares. Until 2017, True Believers!

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Marvel and ABCâ€™s online series could solve a lot of problems over the midseason hiatus

00.07 Bilal Chamdy No comments

Every winter, the networks take anywhere from two weeks to a month for a hiatus.

The idea is to not compete with holiday programming, but it also allows the writing teams to take time off and return with new ideas. The midseason hiatus also allows companies to focus on scheduling episodes during â€œsweeps,â€ the months in which Nielsen spends more time collecting and reporting ratings. If networks schedule bigger episodes during those months, they can report higher numbers to advertisers.

Networks want to make as much money as possible, so it doesnâ€™t make sense to have the hiatus in the sweeps months of November or February. The networks would lose out on potential advertising deals and face other financial risks. Having the biggest episodes air at the end of November and the first week of December, however, allows the networks to work within Nielsenâ€™s reporting schedule while also getting ahead of the Christmas rush. Whatâ€™s the point of pitting The Flash against Rudolph, for example?

In recent years, however, networks have started rethinking this strategy as viewership numbers tank. One, ABC, is revisiting its midseason strategy. Last year, ABC kept eight of dramas off the air for 11 weeks â€" with four of those weeks coming during the midseason hiatus. Fox, NBC and CBS brought the majority of their series back around the first week of January, but many of ABCâ€™s shows didnâ€™t return for another week or later. ABC saw huge losses in return viewership, with one of its biggest series, How to Get Away with Murder, dropping 20 percent overall.

The question for ABC â€" and other networks â€" is how to give creative teams their winter break, retain good ratings and not compete with holiday programming?

ABC and Marvel seemed to have found a solution to the viewership problem: a digital series that will air for a limited time.

On Wednesday, Marvel and ABC announced that it will be launching an online-only series, Slingshot, with Agents of Shield star Natalia Cordova-Buckley in the lead as Elena â€œYo Yoâ€ Rodriguez. Each episode will be three to six minutes long, and although itâ€™s not a full television show, it seems like it may accomplish its goal: keep audiences engaged while Agents of Shield is off the air.

The idea is so brilliant in its simplicity its a wonder networks didnâ€™t try it sooner. Firsst, Itâ€™s cheaper for a big network to make a six-minute web series. Consider some of the biggest, most extravagant web series â€" like RocketJumpâ€™s >Video Game High School, which cost the studio around $636,000 an episode â€" as well as some of the smallest â€" like Andy Gets Dumped â€" which doesnâ€™t even come close to that budget.

For a three-minute film using equipment and sets already available to the studio and actors, the costs would remain relatively low, but the show could generate a decent amount of advertising revenue. In a 2015 study from Turner Broadcasting and Horizon Media, researchers discovered that â€œpremium online video from broadcast and cable networks outperforms video content from other publishers,â€ according to AdWeek. That means advertisers are more likely to give money to networks like ABC, NBC and CBS over other platforms because their content is better. ABC and Marvel teaming up for a web series doesnâ€™t just make sense in terms of appeasing fans hungry for new content, but it also may generate income in the long run.

The other reason â€" one thatâ€™s more important to audiences than networks â€" is that it gives back to fans who tune in every week. Gary Newman, co-chairman and CEO of Fox Networks Group, told AdWeek that unless shows are airing on a premium network like HBO or Showtime, it doesnâ€™t make sense to have 10 to 13 episodes in one season and go without a hiatus. Newman added that networks had to start doing more to keep audiences entertained and engaged.

â€œThe alternative is the old-fashioned preemptions and repeats, and let's remember how frustrating that was to the audience," Newman said. "There's no perfect answer, so we're going to still continue to do that.â€

Reruns have always been a complaint, but in a pre-streaming world, there wasnâ€™t much that could be done. Now, when services like Netflix, Hulu and Amazon Video are accessible anywhere for a relatively cheap price, a three or six-week hiatus drives audiences to streaming platforms to watch new shows. Magna Global analyst Brian Hughes told Ad Age in March that fans werenâ€™t necessarily upset with the lack ofnew content on network TV, but theyâ€™ve grown accustomed to having more to choose from because of streaming platforms.

â€œI'm inclined to think any impact the midseason breaks have on audience has more to do with how fans want to watch than being frustrated with a delay,â€ Hughes said.

Retaining viewership remains the most important goal in planning the midseason hiatus. Keeping audiences engaged leads to higher ratings, more conversation in the press and a generally more enthusiastic fan base. Itâ€™s, again, what makes Marvel and ABCâ€™s plan to bridge the midseason hiatus with a new web-only series not only a good decision but also a necessary one.

Agents of Shield is also the perfect show because of its target audience. More than How to Get Away with Murder or Scandal, Agents of Shield appeals to a much younger demographic that is more likely to go online to catch up with a series or start a new one. According to Statista, more than 65 percent of Netflix users are between the age of 16 to 24, the same audience that ABC targets with Agents of Shield.

Whether the series will work the way the network wants is yet to be seen. But itâ€™s the first step in addressing a problem bothering networks for years, and has only worsened in the streaming age.

Slingshot kicks off Dec. 13 on ABC.go.com.

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Sabtu, 10 Desember 2016

Marvelâ€™s First Phase IV Film Will Be A SPIDER-MAN: HOMECOMING Sequel

17.00 Bilal Chamdy No comments

Web-head bumps Bad Boys 4â€™s July 2019 release date.

By Siddhant Adlakha Dec. 10, 2016

Spider-Man coming back to Marvel was a pretty big deal. His appearance in Captain America: Civil War was a big deal, and the arrival of the trailer for his first solo Marvel outingÂ is a big deal as well, and followingÂ the mostly positive reactions, the good folks at Sony (with the help of Marvel Studios) are looking toÂ bring Spidey back to the big screen on July 3^rd, 2019.Â Despite all the reboot exhaustion and the past decadeâ€™s unsuccessful entries, people still get excited for one of the most popular superheroes of all time. They want to see him done right, and Spider-Man: Homecoming feels like a good place to start.Â

In related news, The Hollywood Reporter name-drops Bad Boys 4 in its report, citing the Spider-Man sequelâ€™s release date as reason for Sony moving the Lawrence/Smith action caper back a few weeks to May 2019. The Joe Carnahan-helmed Bad Boys 3 a.k.a. Bad Boys For Life is set to release January 2018,Â in case youâ€™re looking to updateÂ your sequel calendar, butÂ the most interesting thing in all this as that Marvel's first outing after its massive Thanos-centric Avengers finale will be relatively small and intimate. Colour me excited.Â

Tom Holland has a six-picture deal to play Spider-Man. Three of those appearances are set to be solo movies, so if all goes well, we can expect him to have a third film aroundÂ 2021 before potentially passing down the mantle. Itâ€™s unknown whetherÂ Peter Parker will appear in 2018â€™s Avengers: Infinity War (or its yet untitledÂ 2019 sequel), but weâ€™ll keep our eyes peeled and let you know as soon as something tingles our Spider-senses.

Spider-Man: Homecoming swings into theatres July 7^th, 2017.

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Jumat, 09 Desember 2016

Iron Fist 'is no white saviour' in Netflix's newest Marvel show

02.30 Bilal Chamdy No comments

Thursday 8 December 2016

Game of Thrones actor Finn Jones enters the Marvel Cinematic Universe as Iron Fist

Netflix

WIRED recently visited the set of Marvel's Iron Fist, observing how Netflix shoots and converts a show for 4K HDR video quality.

While behind the scenes, we spoke with Iron Fist showrunner Scott Buck and Allie Goss, Netflix's vice president of Original series. Here, the creators discuss the genesis of the series, controversy over the casting, and the impact of Marvel's superheroes.

[embedded content]

Iron Fist is the fourth of the originally announced Marvel series, following Daredevil, Jessica Jones, and Luke Cage, and leading into team-up series The Defenders. While the heroes chosen for the crossover are all "street level" characters, Iron Fist himself is the most supernaturally tinged.

Power-wise, he's no Thor, but Danny Rand â€" Iron Fist's secret identity - did grow up in a mystical realm known as K'un-Lun, where he trained in martial arts and fighting skills long lost to the mortal world. He eventually gained the power and title of the Iron Fist; the ability to channel his chi into explosive strikes. Don't expect to see too much of that backstory laid bare in the first season, though.

"The mythological aspect, we sort of keep as a mystery that lingers throughout the series. We haven't fully explored it in this first season," Buck tells WIRED. "We approach Danny Rand as a person, and try to see the world through his eyes. As for the flashiness of the fist, it's dealt with in what we hope is the most realistic way possible.

Colleen Wing (Jessica Henwick), Danny Rand, and recurring Marvel supporting character Claire Temple (Rosario Dawson) are the core trio of Iron Fist

Netflix

The mythological aspects of the character could have made him the hardest character to fit into the mix â€" and indeed, is probably the reason Iron Fist was last in the line-up to debut, giving the creators longer to get their approach just right. For Buck, it was Danny Rand's personality that appealed most, though, as well as the opportunity to explore who he is after he returns to present day New York after being presumed lost and dead for decades.

"To me, when I first encountered the character, it seemed to me like these were not the greatest super powers in the world. Like, 'all he can do is punch really hard?'," Buck recalls. "But that's sort of what appealed to me about it â€" he has this one gift, and he can use it some ways, but in the rest of [his] life, it's just not all that significant."

"[Danny's] greatest gift is just his martial arts skills, and that's not a super power â€" that's something he struggled for and earned by training day and night throughout his whole childhood," he continues. "So from that perspective, we do try to keep it very real and grounded."

From Goss' perspective, the human side of the characters is what's been most important about the Marvel shows Netflix has produced so far.

[embedded content]

"What we've strived to do together, both on this show and prior, is just to tell a great character driven story first, and a superhero story second," Goss says. "We don't want to downplay powers or abilities, or the fact these characters are derived out of comics and graphic novels â€" that's what's so special about them. But we want to expose them in a way where you really get to see the character's story, that's a little more aimed towards adults and explores these people in a way beyond just the 'superhero'. That feels a little generic, given how deep these characters have the ability to be."

The capacity of the comics to tell compelling, character-driven stories first and super-powered fables second was what originally impressed Goss about the source material. Discovering there was such depth to them initially came as a surprise.

"I remember when I first started reading comics years ago, I literally called a friend who was into them and I was like 'oh my gosh, these are just good stories!'," she says. "I didn't realise that, but once you get into it, they're rich full characters with so much to explore."

Jessica Henwick's Colleen Wing is a long-time ally of Iron Fist in the comics - a skilled swordswoman and renowned martial artist in her own right

Netflix

Long-time comics fans are well aware of that depth, and the decades of continuity that some characters have. It's a trick the Netflix Marvel shows have been employing since the first season of Daredevil, where packets of drugs being distributed by crime lord Wilson Fisk â€" the Kingpin â€" bear the insignia of the Steel Serpent, one of Danny's major foes from the printed page.

"Sometimes things are done because they're fun, just drop them in and go 'Eh, the next series will figure them out!'," Buck says of the continuity between the series. "There's a bit of that, but I do speak to the other showrunners, and because we are leading into The Defenders, we have to leave our show in a very specific place [but] we do plant seeds and stories that will then come to fruition."

Ultimately, each series also needs to stand on its own merits though. Buck continues, "there does have to be a lot of co-operation between the different groups but other than that, we work distinctly by ourselves."

Beyond 4K: Netflix lets us in on plans to push the HDR revolution - starting with Iron Fist

The production of Iron Fist hasn't been without controversy, though. Aside from ill-founded rumours it had been cancelled due to its challenging mythological aspects, supposedly being replaced by The Punisher in the pre-Defenders billing (instead, Punisher is getting his own show, spinning out of the events of Daredevil season two), there has been debate around the character's ethnicity.

Iron Fist was created in 1974 by writer Roy Thomas and artist Gil Kane, inspired by the popularity of kung-fu cinema at the time. While badly dubbed Shaw Brothers films filled American grindhouse theatres, the comic book industry reacted with colourful variants on the genre, including the likes of Bronze Tiger at DC and Shang-Chi, another Marvel character.

Iron Fist, proving books are more powerful than violence

Netflix

In translating Iron Fist to another medium â€" especially one already dominated by Caucasian characters â€" many fans suggested Marvel should reimagine Danny Rand as an Asian American hero, even giving rise to the trending hashtag #AsianAmericanIronFist. It was a complicated issue â€" ignoring fidelity to the comics, you're left with broadly two options; either you end up with an Asian character whose 'superpower' is kung-fu, hitting the all Asians know martial arts trope, or stick with a white character who somehow becomes magically better at kung-fu and saves the day â€" the Mighty Whitey clichÃ© at best, the problematic white saviour syndrome at worst.

The character and his background was originally unknown to Buck before getting involved with the series.

"When Marvel came to me with this idea, I had never heard of Iron Fist or Danny Rand," Buck says. "I had never read the comics. What [executive producer] Jeph Loeb pitched to me specifically was this character, and that's what pulled me in, what intrigued me."

"The other aspects are things I've only learned about afterwards," Buck continues. "I can say definitively that Danny Rand is no 'white saviour'. He's trying to save himself, if anything."

Ultimately, Buck and Marvel decided to stay true to the comics, while hoping to avoid the clichÃ©s. While the version of Danny Rand that viewers will meet when the series debuts in March will still be Caucasian, he may be different to the comics in other ways.

"One of the things that appealed to me about Danny was that even though there have been several comic books written about him, there wasn't this great big backlog of information or stories about him," Buck says. "It allowed us to be a little bit more creative and take a slightly different direction with this character."

"Also, if you do go back and read the Iron Fist comics, some of them show a completely different origin story from one series to another, and Danny is very different character in different comics. That gave us the freedom to create the character we specifically wanted to."

Iron Fist season one will premiere on Netflix on March 17, 2017.

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Marvel News

Kamis, 08 Desember 2016

First Spider-Man: Homecoming teaser shows the Marvel superhero with WINGS

Read More

â€˜Marvelâ€™s Agents of S.H.I.E.L.D.â€™ Midseason Finale Recap: Ashes to Ashes

Marvel and ABCâ€™s online series could solve a lot of problems over the midseason hiatus

Sabtu, 10 Desember 2016

Marvelâ€™s First Phase IV Film Will Be A SPIDER-MAN: HOMECOMING Sequel

Jumat, 09 Desember 2016

Iron Fist 'is no white saviour' in Netflix's newest Marvel show

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Beyond 4K: Netflix lets us in on plans to push the HDR revolution - starting with Iron Fist

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