Turkey is going through unique times with millions at home and a curfew in place amid the COVID-19 pandemic. Like everything else, the pandemic affects the Muslim holy month of Ram… .
It may seem like the film franchises James Bond and Star Wars are not related to each other at all, but Star Wars has indeed heavily influenced the production of James Bond films in the past. Currently it is the spread of the coronavirus that is influencing the release date of No Time To Die, pushing it back from April to November, but the release of the original Star Wars film in 1977 drastically affected both the order of Bond films released and the direction Moonraker (1979) took, in particular.
At the time, nobody expected George Lucas’ Star Wars to become the success story that it later became. By the end of its run in theaters, Star Wars was the highest-grossing movie of all-time at the domestic box office, and its special effects and story ended up inspiring generations of new filmmakers, not to mention films themselves. One of those movies was Moonraker, which starred Roger Moore as the titular super spy. Moonraker marked Moore’s fourth film as James Bond, but the 007 actor was originally supposed to be in For Your Eyes Only instead. Everything changed because of Star Wars.
Related: One Bond Girl Puts Every Pre-Craig 007 Actor In The Same Canon
When The Spy Who Loved Me was released in 1977, the same year as A New Hope, it teased the next film in its credits. At the end, it stated that “James Bond Will Return In For Your Eyes Only”. That not only confirmed a sequel was coming but that the movie would be titled For Your Eyes Only as well. Considering how successful Star Wars was, James Bond producers were eager to get in on the CGI action, so they tabled For Your Eyes Only and instead decided to produce Moonraker next due to its space theme; this was despite the original Ian Fleming novel staying in England the entire time with no mention of a space battle.
Moonraker was one of the first instances of Eon producers straying away from Ian Fleming’s source material. They created an entirely original story during the final act to facilitate the space battle and even consulted with NASA scientists during production. The actual space battle is not horribly done, although the laser sounds and outfits may be goofy. The soldiers use terms in their radios inspired from Star Wars, like “red leader”, and the men in zero gravity are decently depicted as well. The only issue is that Moonraker‘s effects just don’t have the polish, ingenuity, and quality found in Star Wars, and that certainly contributed to the film’s mediocre critical reception.
While the producers at Eon didn’t quite create their very own Star Wars with 1979’s Moonraker, they surely played a role in furthering the development of special effects and depictions of space in film. For how goofy it was at times compared to the more standard James Bond films, Roger Moore still delivered a quality performance – and that is truly commendable. Needless to say, the franchise went back to a more conventional approach in 1981’s For Your Eyes Only.
Next: Dr. No Wasn’t An Origin Story (& James Bond Was Better For It)
Due to No Time to Die‘s delay, several summer 2020 movies no longer have a major film to attach their trailers to this spring. Last week, MGM shocked the industry when it announced it would be pushing No Time to Die – which marks Daniel Craig’s fifth and final time appearance as James Bond – back from its original April release date to November, in response to concerns over the coronavirus outbreak and its potential impact on the box office. In the days since then, other studios have shuffled their April movies around a bit, in an effort to take advantage of the huge opening left by No Time to Die‘s departure. So far, though, only Sony has followed MGM’s lead in reacting to the still-developing coronavirus situation by delaying its sequel, Peter Rabbit 2: The Runaway, from April to August.
However, No Time to Die‘s departure could have an impact that goes beyond which movies open on which Fridays in April. Prior to its move, the Bond adventure was the only true blockbuster set to arrive next month; in the wake of its move, the animated sequel Trolls World Tour and the long-awaited The New Mutants are the only remaining April releases expected to do any significant damage at the box office (and even that’s not guaranteed). That also means there’s no longer a big tentpole for the recent wave of summer movie trailers to be attached to – something that could leave a noticeable dent in their marketing schemes.
Related: No Time to Die: All THREE James Bond 25 Delays Explained
Over the past seven days alone, new trailers have arrived for summer releases like Marvel’s Black Widow solo movie, the Tom Hanks-led WWII Naval thriller Greyhound, and Disney’s adaptation of its popular Jungle Cruise theme park ride starring Dwayne Johnson and Emily Blunt. May and June films like Fast & Furious 9 and Top Gun: Maverick are also expected to drop new trailers within the next one to two months, which would’ve made No Time to Die‘s original April 10 U.S. date the perfect time for them to arrive. Problem is, with Bond out of the picture, a number of these films’ trailers won’t have a big tentpole to release with until Black Widow opens at the beginning of May (giving them three weeks less of screen time in theaters).
Obviously, this won’t be a huge problem for some of these movies. Black Widow, for example, should do perfectly fine at the box office, even without its new trailer screening in front of No Time to Die next month. Indeed, both its final trailer and the second trailer for Jungle Cruise will no doubt screen with Disney’s Mulan in a couple weeks, before Jungle Cruise‘s trailer is shown with Black Widow itself in theaters. Still, for any studio that isn’t Disney and has a big-budget summer film coming up that isn’t targeting families, they’ll likely have to revamp their marketing approach, with No Time to Die no longer an option to attach their trailers to. The full-length trailer for Christopher Nolan’s sci-fi espionage thriller Tenet is another example of something that would’ve benefitted from launching with the latest Bond installment, given the overlap in their target demographics. Instead, Warner Bros. will have to wait a month (at least) if it wants to drop the trailer with an equal-sized release.
All that being said, box office predictions are far from an exact science and it’s entirely possible the early crop of Summer 2020 movies won’t be affected commercially by having to delay their new trailers, and/or not having No Time to Die to hang their recently-unveiled previews on, in any significant way. Even so, it’s yet another factor that’s difficult to predict and, combined with the coronavirus outbreak, is going to do little to make studios feel comfortable about how things are going to play out over the next couple months, as far as theater attendance goes. And at the end of the day, it stands to reason No Time to Die‘s absence will have some kind of impact on this year’s summer slate. We just don’t know what it is yet.
NEXT: Marvel Should Move Black Widow’s Release Up (Not Delay It)
Some men aren’t looking for anything logical. Some men just want to watch the world burn. While this may have been Joker’s goal and mindset at one point, his first interaction with Batman must have altered that perception. While the desire for chaos to fuel his twisted laughter remains, Joker found a foil in Batman. Someone to share in the joke. Thus began a relationship that rarely shifts course: Joker instigates a crime for laughs or does something to cause pain for Batman, and Batman retaliates, beating him and sending him to Arkham behind bars, only for Joker to break out and continue the running gag. However, at some point, the punchline must come and the last laugh must be had, and Joker War just may be the final curtain.
While Joker seemed to be content with holding off the last laugh (to keep the fun going), recent events seem to have convinced him to make his move. Joker War is coming, which promises to feature Joker making a play for the punchline, going after Batman (and Bruce Wayne) in a final confrontation that only one of them may come out of alive. With Batman finding love with Catwoman, Joker seems to fear that the newfound happiness Batman carries may ruin his own relationship with Batman. He even went so far as to try and convince Selina Kyle to not marry Batman during their engagement, saying that Batman would cease to exist if he had happiness (which in part does prevent her from going through with the marriage initially). However, Batman and Catwoman are still together, and Joker can’t be happy about it.
Related: Batman Fans Beware: The JOKER WAR is About To Begin
Furthermore, Superman has recently revealed his secret identity to the world, seeking to be his true self at all times. It’s a game-changing move for Kal-El, but one that Batman probably won’t imitate any time soon. However, Joker seems to be worried that Batman could reveal his secret identity all the same. Joker himself has known that Batman is Bruce Wayne for quite some time. However, he’s done nothing with that information for the sake of keeping the running gag of their relationship going until now. Joker War promises that Joker will be fighting both Batman and Bruce Wayne equally, meaning that their next fight will be more personal than ever before.
It doesn’t matter what version of Joker it is. It’s clear he has never wanted to compromise his relationship with Batman. The Dark Knight Joker tells Batman that they’re the unstoppable force and immovable object, destined to be together forever. The animated series version of Joker becomes disheartened when he hears that Batman might have died: “Without Batman, crime has no punchline.” Even Lego Joker in The Lego Batman Movie is desperate to make Batman see their relationship in the way that he does, one that is special and more important than any other relationship either of them has. Most recently in the animated Harley Quinn series, Scarecrow unmasks Batman, revealing his identity as Bruce Wayne, thinking that that’s what Joker would want him to do. Instead, Joker kills him for it, as he’s now ruined an important part of their relationship: the mystery.
Related: Is Batman About To Be Unmasked By The Joker?
The point is this: Joker is going have the last laugh and end the running gag not just because he thinks it would be fun. He’s doing it in part because he feels as though circumstances are forcing his hand. If he doesn’t act now, something critical will change for Batman that might jeopardize Joker’s chances for a punchline at all. Joker believes it to be the right time to enact his final performance, regardless of whether or not he’s the one who lives at the end. Batman vs. Joker has always been one of the enduring rivalries of current pop culture. It’s exciting to see that rivalry head into uncharted waters, even if it does end with one of their deaths (which it probably won’t). These are two of the biggest comics characters of all-time after all.
Batman #93 starts the official “Joker War” on April 15th, 2020.
More: Joker’s New Girlfriend PUNCHLINE Revealed By DC Comics
In 2017, Get Out made major ripples in the horror genre. Director Jordan Peele showed everyone that horror still have so much to explore in terms of what we fear. He made genius little details that fans could find all over the film in terms of racial commentary.
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Since the film hit the big screen, many rumors have been circulating about a sequel to Get Out. What we know is that there are no plans to make a sequel, at least for now. Despite Peele having no intention to create a sequel, fans still debate what a sequel would be like.
The question is, should Peele change his mind and try making a follow-up? Well, here are five reasons why he should change his mind and and five reasons why Get Out should not have a sequel.
The villains were a source of the movie’s major twist, and there is still a lot we don’t know about them. The Armitage family kidnap, sell, and transfer the consciousness of their white buyers into their black victims. There are theories that the family dates back to the Knights Templar, which is fascinating. There is the question of how long they have committed their evil schemes and how many victims they have claimed. Have we truly seen all that this family is capable of?
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There are also theories that Us takes place in the same universe as Get Out, and that the Armitage family could be connected to the scientists that created doppelgangers.
Nothing is missing in Get Out. There may be some loose ends you can work with for a sequel, but on its own, the film is perfect. The villains have been dealt with; Rose is dead and Chris escaped. The movie has succeeded in what it wanted to do, which was tell a creative horror story about racism and white privilege.
Get Out was a major financial success. It cost $4.5 million to make and made $255.5 million. That is about 63 times the amount it took to make the film. Talk about a crazy amount of profit.
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Now, good films are not made from only the desire for profit. You need to be motivated by a story worth telling. However, we cannot deny that a lot of sequels are made with the intention of getting more money. With the numbers Get Out brought, there is no doubt that a sequel would also be financially successful.
Making a sequel may feel like a step backwards for Peele. His more recent film, Us, was incredible and it was another original horror idea. After seeing Us, what other original ideas are there for Peele to offer? The director himself has mentioned that films with black actors and actresses as main characters are too often just about being black. In Us, he wanted to make a film where the main characters’ race isn’t what defined them. With that in mind, would he be comfortable in making more of Get Out or would he rather move forward and make more films like Us?
While the villains are defeated at the end of Get Out, there are still possibilities for a good story in a sequel. One such way is by actually making a prequel. This would allow the Armitage family to still exist and commit their crimes. However, would it just be the same story all over again? It would be up to Peele to still somehow surprise the audience. The prequel could even be about the rise of the family and how they developed their mad science of putting one persons’ consciousness inside another’s body.
The big twist in Get Out is that the family is selling people and moving white buyer’s consciousnesses into them. How do you outdo that twist? It was a major reveal, and the movie builds up to it at a steady and chilling pace. With that twist already now known, what do you put in a sequel? Get Out is definitely not an easy movie to live up to.
Peele has a ton of respect from the actors he works with. In many of their interviews, they have said that once they hear a movie is directed by Peele, they are on board. If he did decide to make a sequel, he would have a lot of talented people backing him up. Not only would they be on board, but they would be excited. Not every director has that.
This goes for making a sequel for anything. Your audience will already have expectations that you will need to live up to, which means you have less creative freedom. Peele would have to work with old ideas instead of new.
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This can be way more difficult than just coming up with an entirely new idea, and that is why a lot of films, books, and other forms of media don’t get sequels.
Horror movies should not just be jump scares, monsters, and and mindless violence. Get Out was special because it utilized a topic that many Americans are anxious about: racism. It also stars black actors as the protagonists, which is still lacking in the film world. Peele can do more of all that without making a sequel. However, there are films that got sequels that were not even half as good as Get Out. If there is anything fans want to see more of, it’s Get Out rather than another Saw movie.
Peele is at the top of his game, which is great. However, that does mean he has a reputation to live up to. If he does make a sequel and it goes poorly, he might loose a lot of the credibility he has built. Sometimes to have the money to make original projects, you have to lean back on old ones, and that can be a dangerous game if you don’t do it right.
No pressure, Peele.
NEXT: 10 Movies That Inspired Jordan Peele
Following Boromir’s death in The Lord of the Rings: Fellowship of the Ring, Aragorn (Viggo Mortensen) received a small but touching alteration to his costume in honor of his late comrade. Peter Jackson’s first outing in Middle-Earth is full of minute details and blink-and-you’ll-miss-them elements that help make the story feel fleshed out. One of these moments came toward the conclusion of the first film in the Lord of the Rings series, which not only kept a fallen hero alive in spirit but also acted as great character development for a surviving fellowship member.
Depicted as arrogant and vulnerable to the Ring’s power, Boromir (Sean Bean) was the son of the Steward of Gondor, Denethor II. He led their armies to victory time and time again prior to the War of the Ring, which made him a perfect candidate to join Frodo Baggins’ (Elijah Wood) expedition to destroy the One Ring. Also on the team was a well-aged Dunedain ranger Aragorn, whom it was later revealed was a descendant of Isildur – making him the heir to the throne of Gondor. He and Boromir were fundamentally different in terms of personality and aspirations, but this did not prevent them from working together well in battle.
Related: Everything We Know About Lord of the Rings – Gollum
Though he lost control at the mere sight of the Ring, even attempting to harm Frodo for it, Boromir redeemed himself in the eyes of his peers in his final moments. In the third act of Fellowship of the Ring he is killed by Lurtz, a ruthless Uruk-hai, a far more dangerous breed of creature relative to Sauron’s orc army. Lurtz and his forces were sent by Saruman to hunt down Boromir and his companions. Boromir’s sacrifice in order to protect the Hobbits Merry and Pippin was honorable, as Aragorn noted. After laying him to rest, the ranger found a way to keep his comrade’s memory alive.
Aragorn took Boromir’s bracers before sending him off to his final resting place over the Falls of Rauros, as a way to remember the heroic choice Boromir made in order to defend his friends. This was not only a part of the first film, but throughout the trilogy. From the Battle of Helms Deep to the walk through the Paths of the Dead, those armor pieces remain on Aragorn’s person. Though the two characters were not necessarily close, there was a mutual respect between one another as not only impressive warriors but as individuals with good intentions.
Both on and off camera there was a great sense of camaraderie between the members of the fellowship. It would only be appropriate for Aragorn to take a memento of sorts to work as a constant reminder of his lost ally. No matter how the Lord of the Rings story is broken up in the books, the one consistency between them all is that Boromir did not last long.
Boromir’s presence is there visually in every film. It might be small, but it aids in keeping his memory alive beyond Fellowship of the Ring and in establishing Aragorn as a noble leader who identifies a good man when he sees one.
Next: Lord of the Rings: Why Peter Jackson Couldn’t Adapt The Silmarillion
Warning: Contains SPOILERS for The Flash season 6, episode 10, “Marathon”.
What “Crisis on Infinite Earths” means for Harrison Wells (Tom Cavanagh) is the Arrowverse’s biggest (and saddest) change to The Flash, and it’s one that can’t be walked back. Limiting the Arrowverse to one Earth has permanently altered The Flash‘s approach to Tom Cavanagh’s Harrison Wells characters.
“Crisis on Infinite Earths” lived up to the promise that it would be the Arrowverse’s best crossover when it included several surprising moments and cameos from multiple characters outside the Arrowverse, killed off Green Arrow (Stephen Amell), and featured its biggest team-up yet. It left a lasting impact on the Arrowverse as a whole when it pressed the reboot button on the multiverse, and moved all of the Arrowverse shows — plus Black Lightning — onto one Earth. The first post-Crisis episode of The Flash explores some of the ways that the world has irreversibly changed.
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In the midseason premiere of The Flash, Cisco (Carlos Valdez) expresses his frustration with Nash Wells over what happened in the Crisis, and angrily points out that the Council of Wells is gone and that Nash is the last Harrison Wells the Arrowverse will ever have. For six seasons, The Flash has used a different Wells every year, except for one. The Flash season 4 used season 2’s Harrison Wells, Harry, who was killed alongside Jesse Quick as part of the Crisis. Thanks to “Crisis on Infinite Earths”, The Flash will no longer be able to swap out its Harrison Wells character with a new version at the end of the season, so if Nash dies or decides not to stick around for season 7, Tom Cavanagh could be gone from the series for good.
This means that “Crisis on Infinite Earths” was the end of an era in more ways than was previously thought. Not only did “Crisis” end Oliver Queen’s story in the Arrowverse, but it also put a stop to what has evolved into an annual tradition on The Flash.
The end of the rotating Harrison Wells tradition on The Flash was an unfortunate but also unavoidable change to the series. The existence of the multiverse in the Arrowverse is what made this tradition possible in the first place, and now the Arrowverse only has access to one Earth. And no show in the Arrowverse was more in tune with the concept of the multiverse than The Flash, which frequently dealt with visitors from other Earths, so it stands to reason that out of all them, The Flash would be affected the most. “Crisis” has certainly closed the door on one of The Flash‘s most important concepts, so it’s worth wondering where the show will go from here, and what new concepts and ideas it will introduce in the episodes and seasons ahead.
More: Crisis On Infinite Earths Set Up A Perfect Follow-Up Crossover
Season four of Apex Legends is here, and one of the game’s new map changes is proving deadly to many players. While not as big a change to the minute-to-minute gameplay as the replacement of King’s Landing was, Apex Legends’ newest update has not only introduced the new playable character Revenant and a new sniper rifle, but has also made adjustments to various aspects of the team-based battle royale’s current map.
Apex Legends has consistently added in new characters, weapons, and map changes since its original release a little over a year ago. The newest Legend to join the roster, Revenant, sports the ability to summon a Death Totem which can be used by teammates and enemies alike in order to cheat death for a few brief second in the middle of a firefight. Revenant joins Apex Legends as a part of the Season Four event Assimilation, which also adds some rather deadly changes to the game’s landscape.
Related: Apex Legends Player Takes Over Airport Screen With PS4 While Waiting
Now, it’s beginning to look as if some of these new map changes can be absolutely devastating, even to players who haven’t yet left the starting dropship. As shown in a recent Reddit post and immediately testable for any Apex Legends player willing to lose their life, any player which passes through the gigantic Planet Harvester laser beam shooting into the sky will be immediately destroyed, including players who are still in the beginning plane waiting to drop to the surface. If the plane’s path happens to take it directly over the beam, anyone still in the dropship will be eradicated. Check out one player’s experience below:
While this player only experienced the brutal force of Apex Legends new map changes with less than twenty players still remaining in the dropship, it’s easy to imagine a situation where everyone in the map has yet to vacate the plane, leading to the Planet Harvester energy beam causing an immediate total team knockout. Although the developers have not yet commented on whether this is an intentional mechanic or an unintentional result of making the Planet Harvester beam cause instant death upon impact, it’s definitely still in effect at the time of this writing and shows no signs of being changed any time soon.
The inclusion of such a deadly mechanic which will likely only ever be seen by a small minority of players is yet another example of how the developers of Apex Legends season four know how to keep players engaged and interested with their game. Although the idea that all of the game’s players would sit idly by while the dropship passes through the Planet Harvester energy beam may seem slim, the possibility such a situation could actually occur is one of the reason players keep coming back to Apex Legends, and the team shows no signs of slowing down on these interested gameplay additions.
Next: Apex Legends Increasing Level Cap From 100 To 600
Square Enix’s Final Fantasy 7 Remake will bring the original game’s dated graphics and storytelling into the modern age, but one of the biggest questions still unanswered is whether the developer can do the same for its notorious cross-dressing scene. While Square Enix has revealed more “modern” scenes will be included for Final Fantasy 7 Remake’s cross-dressing sequence, it’s hard to tell how successfully it has been reworked.
In the original Final Fantasy 7, protagonist Cloud wants to help his friend Tifa, who is inside crime boss Don Corneo’s manor. To get around the manor’s “employed men only” rule, Cloud needs to disguise himself as a woman. The actual cross-dressing itself is handled fairly well: no one points out any “mannish” features that might keep Cloud from passing as a woman, and Cloud acts reluctant but mostly OK with the whole affair. Still, one could argue that – on a meta level – the Final Fantasy 7 cross-dressing scene is played for laughs. The sequence’s ideal outcome is that Don picks “tough guy” Cloud to accompany him to bed, possibly to imply he’s foolish for believing Cloud is a woman. But Aerith doesn’t seem to be poking fun at Cloud when she calls him cute, and other characters seem totally open to the idea of a man wanting to wear a dress. Rather than having Don pick Cloud because Don is stupid, it’s more likely the developers let Don pick him because Cloud is genuinely pretty.
Related: FF7 Remake’s Box Art Is Nostalgia Done Right
The more clear-cut problems with the sequence lie in the events leading up to Don’s mansion. In the original game, Cloud needs to collect various traditionally feminine clothing and accessories from locations in Midgar’s Wall Market. The sequence features some transphobic and homophobic undertones, but the latter become overtones at Final Fantasy 7′s infamous Honey Bee Inn. The search for makeup and underwear brings Cloud to this dilapidated brothel, where he can receive lingerie from the “&$#% Room.” He passes out after a strange hallucination, waking up to the suggestively onomatopoeic massaging of a muscular man named Mukki, who calls Cloud “bubby” and stands over him on a bed. After Mukki leaves, Cloud breaks the fourth wall and gives the camera an exaggerated shrug. Alternatively, Cloud can enter the “Group Room,” where it’s implied that Mukki and several other muscular men strip Cloud of his clothes, exclaiming, “Wow! Would ya look at that!” Cloud then reluctantly counts down from ten as they all squeeze into a bathtub, and Mukki asks if Cloud wants to join his “young bubby’s group.”
These blatantly homophobic scenes and implications of sexual assault have all likely been removed by the same ethics department that advised Square Enix devs to “restrict” Tifa’s chest in Final Fantasy 7 Remake. In a recent new Final Fantasy 7 Remake trailer, Square Enix revealed the extravagant Honey Bee Inn cabaret bar that will offer a replacement for them. It looks like Cloud will go through his entire disguise transformation there, via a musical number performed in front of the bar-goers. The sequence has a much more inclusive tone, highlighted by a message from the man (perhaps Remake’s version of Mukki) running the show.
“True beauty is an expression of heart, a thing without shame, to which notions of gender don’t apply.”
At the musical number’s end, the man gets close to Cloud’s face and says, “Perfection.” This all points to a sincere celebration of beauty, regardless of gender, but there is still potential for problems. Cloud seems to only participate in the transformation for its practical use. He just goes along with the show, expressionless, and then demands Aerith say “not a word” once she finally sees him. Square Enix has the perfect opportunity to show one of gaming’s most iconic protagonists embracing non-standard gender expression, but it doesn’t seem to be taking that extra step. Sure, even a Final Fantasy 7 Remake version of Cloud likely wouldn’t show outward excitement about anything at this point in the game, but just a momentary hint of reluctant enjoyment would make all the difference.
Next: Everything We Know About The Final Fantasy 7 Remake
Final Fantasy 7 Remake will be released for PS4 on April 10, 2020.
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