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Handmaid’s Tale Season 3 Has the Opposite Problem to Game of Thrones

Hulu’s The Handmaid’s Tale and HBO’s Game of Thrones are two shows that have something in common: they both overtook the source material and set out bravely on their own. The end of Game of Thrones season 5 marked the point at which showrunners David Benioff and D.B. Weiss had reached the end of the books that George R.R. Martin had written so far, and The Handmaid’s Tale reached the conclusion of Margaret Atwood’s book (minus the 200 years later epilogue) at the end of season 1. But while Game of Thrones has been criticized for spending the last few seasons rushing through plot points to get to the finish line, The Handmaid’s Tale has the opposite problem; without a roadmap from Atwood, and with an inherent need to maintain the status quo, the show is treading water.

The season 2 finale, in which June decided to stay behind in Gilead and let Emily leave with baby Holly/Nichole, was controversial but promising. June had recently been reunited with her first daughter, Hannah, who was now several years older and not initially overjoyed to see her mother. During their brief time together, Hannah asked June why she hadn’t tried harder to find her. In light of that exchange, it made sense that June would refuse to let Hannah down a second time by leaving her alone in Gilead.

Related: The Handmaid’s Tale Season 2 Finale Explained

However, while this finale set up a third season where June would be desperately trying to get Hannah back, much of season 3 has been preoccupied with a rather tedious custody battle as the Waterfords pressure the Canadian government to return baby Nichole. Hannah, meanwhile, has barely been seen, and has now been taken out of reach once again after June’s ill-thought-out attempt to visit her at school. A subplot about June helping to organize the resistance within Gilead – arguably the most interesting new element introduced this season – has also been neglected. It’s little wonder than viewers are feeling frustrated.

The general fan consensus is that Game of Thrones began to decline in quality once it left the books behind. Martin gave Benioff and Weiss key plot beats so that they would know how to end the series, but there wasn’t the same wealth of source material to draw on. Easily the most maligned season of the show was the eighth and final season, which was just six episodes long and wrapped up not only the story of the encroaching army of the dead, but also the Game of Thrones itself – with Daenerys Targaryen and Jon Snow heading south to fight one last battle against reigning Queen Cersei Lannister.

Speaking to Variety last year, Martin was asked why the show was ending with season 8, and replied that “we could have gone to 11, 12, 13 seasons, but I guess [the showrunners] wanted a life.” The author elaborated, “[Benioff and Weiss] have been saying for like five years that seven seasons was all they would go, and we got them to go to eight, but not any more than that.” Not only did the showrunners insist on wrapping things up within eight seasons, the final two seasons were also shorter, with season 7 having just seven episodes and season 8 a mere six.

This meant that the conflict between the living and the dead (which had been building since the very first scene of the very first episode) was wrapped up in a single episode, the conflict with Cersei Lannister was wrapped up in two episodes, and everything else – from Daenerys Targaryen’s madness to the question of who would sit on the Iron Throne – was dealt with in the season finale. While there was certainly foreshadowing in the series for Daenerys’ eventual fall, many felt that the execution was extremely rushed, with Daenerys going from putting her entire army on the line to protect the people of Westeros to slaughtering women and children en masse in the space of a couple of episodes. The showrunners had a clear map of how the show would end, but effectively took a shortcut to get there.

Related: Game Of Thrones Season 8’s Real Problem Is Everything That Came Before

In the epilogue of Margaret Atwood’s book it’s revealed that Gilead does eventually fall, though June’s fate is left unknown. As mentioned above, everything before the epilogue was covered in season of The Handmaid’s Tale, and showrunner Bruce Miller has said that he’s roughly sketched out ten seasons of the show – a prospect that may be daunting for fans who are already feeling fatigued by the plot. Speaking to The Hollywood Reporter, Miller said that he might consider portraying the fall of Gilead and its version of the Nuremberg Trials in the final seasons, but anything like that is still a long way off:

“My arc is still very much the arc of the novel, which is the arc of this one woman’s experience in Gilead at this time, and her recollections that paint this picture of what it was like and what the experience of this world was like, which really is still the book. People talk about how we’re beyond the book, but we’re not really. The book starts, then jumps 200 years with an academic discussion at the end of it, about what’s happened in those intervening 200 years. It’s maybe handled in an outline, but it’s still there in Margaret’s novel. We’re not going beyond the novel; we’re just covering territory she covered quickly, a bit more slowly.”

On the one hand, The Handmaid’s Tale‘s portrayal of oppression by a cruel and totalitarian government is fairly realistic; June suffering in impotence under threat of death, torture, or being sent to the colonies is easier to believe than her single-handedly leading an army of revolutionaries to topple Gilead. On the other hand, a character suffering under a relentless, inescapable status quo doesn’t necessarily make for good television. The idea of June still being a handmaid beholden to a commander, still separated from her family and still limited to whispered conversations in grocery stores as her main act of rebellion five or six seasons in the future is exhausting to think about. Serial drama tends to rely upon moving the story forward, but already The Handmaid’s Tale is going in circles.

Related: The Handmaid’s Tale: Why June Made the Right Choice

Nowhere is this more apparent than in Serena Waterford’s characterization. A complex and fascinating character in the first couple of seasons, Serena managed to both inspire fierce hate and reluctant sympathy, as audiences came to realize that she was a victim of the world that she had helped create. At the end of the season 2, Serena made the momentous decision to let baby Nichole escape so that she wouldn’t have to grow up in Gilead. However, in season 3 Serena has backtracked after being allowed to visit Nichole, and is now once again Fred’s accomplice as the Waterfords work to undo season 2’s climactic and defining moment.

The Handmaid’s Tale season 3 hasn’t been completely without merit. There has certainly been some powerful imagery, such as the Washington Monument’s conversion into a cross, the destroyed Lincoln memorial, and the horrifying site of handmaids who have been silenced by having rings put through their mouths. But whereas Game of Thrones season 8 rushed from one earth-shattering change to the next, The Handmaid’s Tale is stuck in the mud.

More: The 25 Best Movies on Hulu Right Now


2019-07-13 06:07:39

Hannah Shaw-Williams

Hellboy 2019 Is The Opposite Of Venom – And That’s Why It Fails

The Hellboy (2019) reboot, starring David Harbour, is the opposite of 2018’s Venom, and that’s why it fails to be an enjoyable comic book superhero movie. Created by Mike Mignola in the 90s, Hellboy is a half-demon half-human character who was the focus of another film adaptation prior to 2019’s iteration. In 2004, Guillermo del Toro released his Hellboy movie, starring Ron Perlman as Big Red, and the pair reteamed for 2008’s Hellboy II: The Golden Army. Instead of del Toro’s Hellboy 3, though, the studio chose to reboot the property, bringing in Harbour to star and Neil Marshall to direct.

However, reviews of the Hellboy reboot have not been favorable; Hellboy holds a 15 percent Rotten Tomatoes score. Beyond its reviews, it was also reported prior to the film’s release that there was a great deal of drama behind-the-scenes on Hellboy, including clashes between the producers, director and star over various aspects of the movie. While some may attribute Hellboy’s poor reviews and low box office performance on the reportedly difficult process of bringing the film to life, the fact remains that the Hellboy reboot could have been better. In fact, Hellboy could have learned a few things from Venom, the 2018 Marvel movie starring Tom Hardy as Eddie Brock, a journalist who bonds with an alien symbiote named Venom.

Related: Hellboy 2019’s Ending Explained

On their surface, Hellboy and Venom have very little in common aside from the fact that both movies are based on less mainstream comic book properties than major superhero blockbusters like The Avengers and Justice League. However, Hellboy and Venom are also much weirder premises than typical superhero fare. Hellboy is a half-human, half-demon with giant horns and the last living heir of King Arthur; Venom is a symbiote who bonds with Eddie as a host and a friend – and is an alien that likes to eat people. But whereas Venom plays into the ridiculous aspects of its premise and has some fun with it, Hellboy attempts to take a serious approach to its weirdness and the results are, frankly, boring.

Both Hellboy and Venom have to establish the worlds in which they’re set. For Hellboy, that means diving into the magical side of the world and the legend of King Arthur as it connects to the Blood Queen and Hellboy himself. In Venom, it’s the symbiotes and Carlton Drake’s experiments with them. But while Venom uses the science to get to the core of the story – the relationship between Eddie and Venom – Hellboy seems to never move beyond the magical world-building exposition. Instead, Hellboy keeps introducing new aspects of the world in an attempt to develop Hellboy as a character, but he gets lost in all the explaining – that is, until a relatively quick third act showdown with the Blood Queen. So while Venom’s weird world-building works to set up the most important part of the film, Hellboy’s detracts from the titular character.

Further, whether on purpose or not, Venom establishes the relationship between Eddie and Venom as a friendship bordering on romantic – and the movie plays into that romantic element on more than one occasion (from Eddie and Venom’s kiss to the “You are mine” line). The response to Eddie and Venom, called Symbrock by fans, was massive, inspiring fan art and memes all over the internet. Plenty has already been said on the Eddie and Venom dynamic in the movie and why viewers latched on to it so tightly, but what it boils down to is that their relationship is interesting to viewers. Fans of Venom range from those who describe Eddie and the symbiote’s relationship as a buddy cop dynamic to those who would argue it’s an outright romance – but they’d all agree it’s the most important aspect of the movie, and that it’s compelling.

In contrast, Hellboy doesn’t have anything like Symbrock. Not even the character of Hellboy himself is as developed as the dynamic between Eddie and Venom and none of his relationships come close to being as compelling as the friendship between Eddie Brock and his symbiote parasite. Further, Hellboy takes its titular character in a baffling direction where the movie actively resists the idea that viewers may find Hellboy attractive. This is in direct contrast to the early images and posters of Hellboy that depict the character with his shirt off, abs and arms on full display seemingly playing into the idea that Hellboy is hot. With Venom, it wasn’t entirely clear whether the movie intended the romantic subtext in Eddie and Venom’s relationship, whereas Hellboy makes a conscious effort to depict its hero as actively unattractive as possible. It reveals a strange disconnect between the film and its marketing, which had some fun with the idea that fans could find Hellboy attractive. But the lack of subtext makes Hellboy that much more one-dimensional, contributing to the overall underdeveloped character.

Ultimately, while neither Venom nor Hellboy are “good” movies, both had the potential to be enjoyable popcorn flicks offering audiences a fun time where they can simply turn their brain off and enjoy. But, though Venom provides just that, Hellboy doesn’t. Venom manages to appeal to audiences through the relationship between Eddie and the symbiote, helping to ground the film. Hellboy doesn’t have a relationship or even a single character as well developed or as fun as the dynamic between Eddie and Venom, and it suffers for it. So while neither film was well received in terms of overall critical reviews, Venom managed to find an audience, whereas Hellboy didn’t – at least, not to the tune of an $80 million opening weekend (though Venom is arguably a more well well known character than Hellboy). Hellboy could have learned a few things from Venom, but it fails to embrace its weirdness enough and provide an entertaining experience at the cinema – and that’s why it fails.

More: Hellboy’s After-Credits Scenes Explained


2019-04-15 08:04:17

Molly Freeman

Hobbs & Shaw Photo: Idris Elba’s Fast & Furious Villain Revealed

Dwayne Johnson has posted the first photo of Idris Elba as the villainous Brixton in the Fast & Furious spinoff, Hobbs and Shaw. The Rock has arguably become as central to the illegal street racing series-turned international juggernaut that is Fast & Furious as Vin Diesel, following his debut as Luke Hobbs from 2011’s Fast Five… and he has the box office receipts to prove it. Hence, it’s not surprising that Universal has decided to prioritize a spinoff movie that centers around Johnson’s character and pairs him opposite Jason Statham’s Deckard Shaw, especially after the two actors discovered they have crackling onscreen chemistry while filming last year’s Fate of the Furious.

Hobbs and Shaw officially began shooting last month, with David Leitch (Atomic Blonde, Deadpool 2) calling the shots from a script by Fast & Furious franchise writer/producer Chris Morgan. Not much is known about the film’s actual narrative, admittedly, but it’s probably fair to assume that Elba’s character is a suave British mercenary of sorts (Is there any other kind of British mercenary in the movies?) who’s out to profit from his terrorist ways. And of course, the only ones who stand in his way are Hobbs, Shaw, and Mission: Impossible – Fallout‘s Vanessa Kirby as (reportedly) Shaw’s sister, an MI-5 agent.

Related: Vanessa Kirby’s Hobbs & Shaw Character is ‘Absolutely the Boss’

Johnson published the first photo of Elba in character for Hobbs and Shaw on his Instagram account and, in doing so, confirmed the mysterious baddie’s name. Take a look in the space below:

Hobbs and Shaw‘s Brixton will be but the latest villain role in a major franchise movie that Elba adds to his belt, to go along with his voice work as the tiger Shere Khan in Disney’s live-action The Jungle Book remake and his performance as the antagonist Krall in Star Trek Beyond. As compelling as the actor can be when he’s playing the nobler type onscreen (even an extremely flawed hero like the DCI John Luther on the TV series Luther), he generally makes for an equally charismatic and engaging threat to the good guys in his big screen appearances.

The Fast & Furious movies have stepped up their own villain game over the past five years by bringing in top-tier talent like Luke Evans, Charlize Theron and – once upon a time – even Statham to take on the franchise’s heroes. However, with Elba stepping into Brixton’s (fancy) shoes, there’s a pretty good chance that Hobbs and Shaw will end up delivering the most memorable bad guy that the series has seen to date.

MORE: First Look at The Rock’s Fast & Furious Spinoff

Source: Dwayne Johnson





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2018-10-11 03:10:10 – Sandy Schaefer

Eddie Brock’s Notebook Reveals Carnage Backstory for Venom 2

Cletus Kasady’s backstory for Venom 2 is revealed thanks to Eddie Brock’s notebook from Venom. Sony’s decision to try and launch a cinematic universe of their own appears to have paid off. The Tom Hardy-led Venom just set the October opening weekend record, making a sequel almost inevitable. Through the use of its post-credits scene, Venom already established seeds for the sequel to grow as Woody Harrelson made a cameo as Cletus Kasaday, the psychotic killer who becomes Carnage in the comics.

It was originally just before production began on Venom that reports surfaced that Carnage would make an appearance. It was later reported that Harrelson had joined the film with speculation pointing to this being his true role. This began to see some fans expect to see Carnage fully realized at some point in the movie, despite him having no presence in the marketing. That is because director Ruben Fleischer is saving Carnage for the sequel.

Related: All the Spider-Villain Movies Coming After Venom

The post-credits scene for Venom only teased Kasady’s eventual escape from prison and his transformation into Carnage. As it turns out, Eddie’s interview with Cletus lasted far beyond what audiences saw. ComicBook shared an image of Eddie’s notebook that was on display at New York Comic Con, which details Kasady’s backstory that will be used for Venom 2. Between a massacre in New York and killing his grandmother, the Disciplinarian Administrator at St. Estes Home for Boys, and a random girl who wouldn’t go on a date with him, the notebook clearly establishes Kasady’s bloodlust.

Click Here To See The Notebook Photo

These details are instantly terrifying for fans and just goes to show how insane Kasady is, even before he becomes bonded with the Carnage symbiote. These multiple murders are villainous enough, but his twisted psyche is further highlighted by additional details. Eddie believes he has Oedipus Complex (the feeling of desire for the parent of the opposite sex) and is possibly the reason why he dug up his mother’s grave. Before that, Cletus tortured and killed his mother’s dog with a drill.

Kasady is a worthy villain for Venom and Eddie to hunt down based on his prior record and what he would surely do upon being freed. But, it would be the pairing of Kasady’s personality and the power of Carnage that makes him a supervillain-level threat. Since this notebook page and these details aren’t explicitly states in Venom, a sequel will likely retell parts of this backstory and maybe even show it through flashbacks. It could be difficult to do just that with a PG-13 rating, but Venom 2 isn’t expected to be R-rated either. However it happens, Carnage will be the villain of Venom 2 and at least we now know some of his backstory that Fleischer and company worked out for him.

More: Every Update You Need to Know For Venom 2

Source: ComicBook



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2018-10-08 09:10:59 – Cooper Hood

DC’s Titans Has The Perfect Response To Deadpool 2’s ‘So Dark’ Dig

Deadpool 2 claimed DC properties are “so dark,” and now it’s DC Universe’s Titans series that is responding. One of the criticisms that the DCEU has received in recent years is the dark nature of their movies. The grounded take was built by Zack Snyder off the success of Christopher Nolan’s Dark Knight trilogy, but audiences didn’t respond in the same way. Many believe they’ve lost sight of who these characters are, and a darker approach is sticking with DC as they launch a digital service full of original content. They aren’t even shying away from it, as the first trailer for Titans showed Robin brutally beating criminals and saying, “F*** Batman.”

Even though this is the style DC has operated with recently, other superhero movies have gone in the opposite direction. This is especially true with Ryan Reynolds’ Deadpool franchise, which has repeatedly made DC the butt of his jokes. This continued in Deadpool 2 when, following a jab at dubstep from Cable (Josh Brolin), the Merc with a Mouth says, “You’re so dark. Are you sure you’re not from the DC Universe?”

Related: Jason Todd’s Robin Confirms Titan’s Place in DC Timeline

Well, DC Universe is finally responding to Deadpool’s comments by using them in the latest promo for Titans. The video starts by quoting D. Pool’s remark, referring to him as an American philosopher (even though he’s Canadian). It then shows a montage of the violence that Robin (Brenton Thwaites) will be dishing out to criminals and cops alike, before saying “Suck it, Mr. Pool.” They do sign the statement “with love” but then immediately show Dick Grayson smashing a guy in the face as blood splatters on a nearby window.

This is a pretty great response on the part of Titans, as they’re embracing Deadpool’s concern instead of turning away from it. This also makes Titans the latest DC entity to mock Deadpool. The recently released trailer for the animated Harley Quinn series commented on Marvel’s canceled Deadpool animated series from Donald Glover. Warner Bros. even responded to Deadpool 2‘s post-credits scene where Deadpool travels through time to assassinate Ryan Reynolds before he could star in Green Lantern, but it was Reynolds who got the last laugh.

Even though DC has received criticism for the approach, it is one they are changing. Wonder Woman was the first true sign of this, and the reception only further encouraged Warner Bros. to meddle with Justice League‘s tone, just as they did with Suicide SquadAquaman looks to be a giant, fun adventure film based on the new extended trailer. There’s also Shazam! coming out next year, which made it abundantly clear in its first trailer what tone it’s going for. DC will still have some darker properties like Joaquin Phoenix’s Joker and maybe Birds of Prey, but the future appears to be more balanced, tonally, even if Titans will stay in a darker one to start.

More: Every Trailer Released at New York Comic Con 2018

Titans season 1 premieres Friday, October 12, on DC Universe.

Source: Titans





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2018-10-08 02:10:09 – Cooper Hood

6 Casting Decisions That Hurt It’s Always Sunny In Philadelphia (And 14 That Saved It)

There are sitcoms that everyone loves, and then there’s It’s Always Sunny in Philadelphia — a series which has managed to turn off many with its despicable characters and depraved sense of humor. From faking cancer to trying to eat a homeless person, there are no depths that are too low for the owners of Paddy’s Pub. But you don’t get to thirteen seasons without making a few fans in the process.

While It’s Always Sunny in Philadelphia might not pull in the biggest numbers, the show has maintained such a rabid following over the years that one has to wonder if they’ve accidentally gotten there hands on some raccoon meat. But the more likely scenario is that many people have just as twisted of a sense of humor as the makers of this FX series.

The sitcom was created by Rob McElhenney with the help of Glenn Howerton and Charlie Day, who would go on to portray Mac, Dennis, and Charlie on the series. Kaitlin Olson and Danny DeVito fill out the rest of the main cast as Dee and Frank Reynolds, and for over the last decade, fans have been happily following the bizarre misadventures of the Gang. Of course, it’s impossible to imagine anyone else in these leading roles. With over 130 episodes, there has been no shortage of supporting characters and celebrity cameo, some of which have been a lot better than others.

Here are 6 Casting Decisions That Hurt It’s Always Sunny In Philadelphia (And 14 That Saved It).

20 Saved: Glenn Howerton as Dennis Reynolds

In a sea of despicable characters, Dennis Reynolds has slowly revealed himself to be the most reprehensible of them all. Dennis may have begun the series as one of the more sensible members of the Gang — albeit one with an extremely short fuse, but he’s slowly revealed himself to be a cool and calculated sociopath. One who also happens to have a heavy side of narcissistic personality disorder.

While Glenn Howerton didn’t want to name the character after himself for fear of people drawing an unwelcome comparison, that hasn’t stopped Howerton from taking the character to some extremely dark places. He’s more than a little convincing when he lays out one of his manipulative plans. While his temper tantrums may be over-the-top, you never doubt the authenticity of the rage and frustration Howerton has embedded into his performance.

19 Saved: Mary Elizabeth Ellis as The Waitress

One of the most prominent recurring characters on It’s Always Sunny, the Waitress has been a part of the series since the very beginning. She is the unrequited love interest of Charlie throughout the majority of the show — though it seems like the tables have turned in recent episodes.

The Waitress is portrayed by Mary Elizabeth Ellis, who had previously worked with Charlie Day on an episode of Reno 911! The two were married shortly after It’s Always Sunny began, adding another layer of hilarity to the dysfunctional relationship between the two characters on screen.

Ellis fully commits to her performance as the down-on-her-luck waitress.

She’s an example of the tight-knit community working behind-the-scenes that has made the series such a success.

18 Hurt: Jason Sudeikis as Schmitty

While sitcoms usually lend themselves well to celebrity cameos, It’s Always Sunny has created such a distinct world that more often than not these cameos end up feeling out of place. There have been a few instances where they’ve managed to pull them off. Josh Groban popping up in one of Dee’s fantasies seemed fitting, and Dax Shepard manages to blend in fairly well into the episodes where Mac and Charlie join a cult.

In the case of Jason Sudeikis and a number of other celebrities, the cameos just end up coming across as distracting. There’s nothing inherently wrong with Jason Sudeikis playing Schmitty — an ex-member of the Gang who makes an unexpected return. The whole time, you never forget that you’re watching Sudeikis, which just doesn’t work for the tone of the series.

17 Saved: Mary Lynn Rajskub as Gail the Snail

Though she’s only appeared in three episodes of the series to date, Gail the Snail is definitely one of those side characters that we’d like to see more of. She first appeared back in the season five episode “The Gang Gives Frank an Intervention”, where she is the clingy cousin of Dennis and Dee who talks with a lisp and has the disgusting habit of slurping her saliva. Dennis and Dee have found that the only way to get rid of her is to dust her with salt, hence her nickname of Gail the Snail.

The character is portrayed by the talented Mary Lynn Rajskub, who is best known for playing Chloe O’Brian on 24.

This is undeniably a very different character, and it’s impressive just how committed Rajskub is to playing someone so hilariously obnoxious.

16 Saved: David Hornsby as Cricket

The Gang has dragged their fair share of individuals down into the dirt with them, but none are more apparent than Rickety Cricket. Portrayed by David Hornsby, Cricket is a former classmate of the Gang who was once infatuated with Dee. He debuted in season two as a clean-cut priest who has slowly transformed into the addicted hobo that we have today.

Hornsby has been such a prominent member of the show that last season he was given his own episode with “A Cricket’s Tale”, which cleverly intertwined the character’s other brief appearances throughout the season into the story. Hornsby has also been a big part of the show behind-the-scenes as well, serving as an executive producer and a writer of nearly 30 episodes.

15 Hurt: Brian Unger as The Attorney

It’s Always Sunny has a number of supporting characters who re-emerge every few seasons, only to be dragged down by the shenanigans of the Gang once again. Brian Unger plays one such character with the Attorney, who the Gang often visits for legal advice only to contradict everything the lawyer has to say.

As a former correspondent of The Daily Show, Unger is really good at playing the straight man.

In fact, he’s too good, which makes it hard to believe that he would put up with these self-centered, narcissistic characters for more than a few episodes. Often, these supporting characters are revealed to be a little bit off in their own right, but Unger is just too normal to make his character mesh with the series.

14 Saved: Danny DeVito as Frank Reynolds

Danny DeVito first popped up in season two of It’s Always Sunny, and his casting as Frank Reynolds quite literally saved the series. While the higher-ups at FX reportedly loved the first season, not enough people were watching to warrant a second outing. McElhenney, Howerton, and Day were given the ultimatum to add a bigger name or face cancellation. While they worried how DeVito would fit into the series, the veteran actor has more than proven himself as a worthy member of the Gang.

The insane things that DeVito will do for the character are a testament to the actor’s commitment. Even more impressive is how you never feel like you’re watching a performance. DeVito becomes Frank Reynolds. Even when he’s not delivering lines, just watching him futz about in the background is already hilarious enough.

13 Saved: Charlie Day as Charlie Kelly

It’s Always Sunny has turned all of its leading actors into stars, but Charlie Day is the biggest breakout of them all. Since appearing on the show, Day has worked on a number of hit films, including Horrible Bosses, Pacific Rim, and The Lego Movie.

His star power has no doubt helped the show remain on the air for so long.

Thanks to Day’s performance and musical talents, the character of Charlie has no shortage of memorable moments. Bird law aside, Charlie may be the least intelligent member of the Gang. In a lot of ways, he’s the heart of the show. Charlie certainly has his share of questionable moments, but they often stem from ignorance rather than malice, which set him apart from the other employees of Paddy’s Pub.

12 Hurt: Sean “Diddy” Combs as Dr. Jinx

Whenever Sean “Diddy” Combs pops up in a movie or TV show, he often plays a fictionalized version of himself. In It’s Always Sunny, he plays the unorthodox Dr. Jinx who utilizes alternative methods to treat his patients.

Not only is the cameo distracting, but Combs’ performance is pretty flat. It almost seems like the actor is reading off cue cards, and when Dr. Jinx is seen playing the bass guitar during a musical performance at Paddy’s Pub, it’s pretty obvious that Combs isn’t actually playing. The rapper may have stolen the show as Sergio in Get Him to the Greek, but whatever worked for him on that movie isn’t back on display in the sitcom.

11 Saved: Artemis Pebdani as Artemis

Artemis is one of the few supporting characters who can actually hang with the Gang without her life coming apart at the seams. She first appeared up in season one, where she befriends Dee after the two meet in an acting class. She’s also had a relationship without Frank throughout her time in the series.

The character is portrayed by Artemis Pebdani, who landed the role right at the start of her professional acting career.

While she’s continued to reprise her part as the fun-loving and wild Artemis, the actress has enjoyed success in a number of other shows, including Scandal and Masters of Sex. Though a number of supporting characters seem to have fallen off in recent years, Artemis has already popped up this season with “The Gang Beats Boggs: Ladies Reboot”.

10 Saved: Lynne Marie Stewart and Sandy Martin as Charlie and Mac’s Moms

Every since Danny DeVito debuted as Frank Reynolds, it was abundantly clear why Dennis and Dee are they way that they are. After all, Frank is just as self-absorbed and conniving as the twins. In that respect, we’ve also gotten to see how Mac and Charlie are a result of their childhoods by getting to know their moms over the course of the series.

Lynne Marie Stewart does a perfect job of playing Charlie’s mom, a kind-hearted woman who was far too overprotective of her son — which explains Charlie’s numerous irrational fears. Meanwhile, Sandy Martin is the total opposite, as Mac’s mom doesn’t seem emotionally invested in her son at all — which explains Mac’s constant desire for approval. Together, the two are a perfect comedy duo, which is on full display in “Old Lady House: A Comedy Situation”.

9 Hurt: Seann William Scott as Country Mac

In season nine, Seann William Scott made a one episode appearance as Mac’s cousin — who the Gang deems far cooler than Mac. Just like Jason Sudeikis as Schmitty, this is another star cameo that can’t help but feel distracting. Scott has made a career playing characters who are too cool for school thanks to movies like American Pie and Role Models. That might seem like he’s the ideal fit for Country Mac.

Wouldn’t it have been even funnier if the Gang idolized a character for no other reason than to get under Mac’s skin?

With the success of It’s Always Sunny, we’re sure that they could have a star cameo every few episodes. Since they’re kept to a bare minimum, it seems that even they know these roles can be a bit ostentatious.

8 Saved: Jimmi Simpson and Nate Mooney as Liam and Ryan McPoyle

The McPoyles are the perfect example of just how dark and twisted the humor on It’s Always Sunny can actually get. They are a large inbred family with the two most prominent members, Liam and Ryan, being former classmates of the Gang. They popped up in a number of episodes between seasons one and nine, where they’re often at odds with the owners of Paddy’s Pub.

Liam and Ryan are played by Jimmi Simpson and Nate Mooney throughout their time on the show. Both fully commit to the unsettling nature of these characters. They might be creepy, but that doesn’t stop them from being a hilarious comedy duo. Our only complaint is that they’ve been absent from the series for the last few seasons.

7 Saved: Catherine Reitman as Maureen Ponderosa

One of the weirdest characters in all of It’s Always Sunny, Maureen Ponderosa is the ex-wife of Dennis Reynolds who slowly makes her transition into becoming a cat in the later episodes of the show. Much like Rickety Cricket, her transition from seemingly normal to totally unhinged takes place over the course of a few seasons — better-allowing audiences to buy into the ridiculousness of it all.

Catherine Reitman seems totally devoted to this outlandish and often unsettling performance.

Since appearing on the show, Reitman’s notoriety has only continued to grow. She currently plays the lead on Workin’ Moms — a show which she also created — along with popping up as another recurring character in Black-ish.

6 Hurt: Guillermo del Toro as Pappy McPoyle

Writer/ director Guillermo del Toro was apparently such a big fan of It’s Always Sunny, that it was one of the reasons he cast Charlie Day in Pacific Rim. In return, del Toro was given this cameo appearance as Pappy McPoyle — who is most likely the grandfather of Liam and Ryan.

One problem right off the bat is that del Toro was cast to play someone who is most likely from Ireland— a fact which the director himself made fun of in a behind-the-scenes interview. This may have been the reason that Pappy McPoyle was given such an over-the-top appearance, which is really the worst part of the character. The McPoyle’s are indeed odd and unsettling, but they’re still somewhat believable.Pappy McPoyle, on the other hand, looks like some deranged wizard who has no place in the series.

5 Saved: Wade Boggs as Himself

The best episodes of It’s Always Sunny usually finds the Gang confined to a single area, where their personalities can do nothing but bounce off the walls and wreak havoc on themselves and anyone in their vicinity. This is what makes “The Gang Beats Boggs” one of the best episodes in the series.

The episode finds the five Philadelphia natives trying to beat Wade Boggs’ record of consuming 70 drinks during a cross-country flight.

While the Gang’s antics are usually based on nothing but nonsense, this true story only adds another level of hilarity to the episodes. The cherry on top is a brief appearance by Wade Boggs himself. In an interview, Charlie Day said that not only was Boggs happy to participate in the episode, but that his real-life record was a lot more impressive than previously thought.

4 Saved: Michael Naughton as the Waiter

Michael Naughton first appeared up in “The Gang Dines Out,” where he is a server at one of the finest restaurants in Philadelphia. He’s crossed paths with the Gang a number of times since, and every time the Waiter emerges worse for wear.

Just this season, Naughton appeared in “The Gang Beats Boggs: Ladies Reboot,” where he is now working as a flight attendant. Once again, the Waiter tries to get the Gang to acknowledge how they’ve sabotaged him in the past. But once again, the Gang can’t remember who he is.

Naughton plays the Waiter with a kind of obsessive desperation beneath his everyman facade; he seems like someone who really would let the Gang get the better of him. He’s also the kind of supporting character that rewards loyal fans every time he pops back up.

3 Hurt: Stephen Collins as Bruce Mathis

Stephen Collins popped up in season two and three of It’s Always Sunny, where he played Bruce Mathis, the biological father of Dennis and Dee. Bruce invests most of his time and money helping out various charities around the world, making him a polar opposite of his children. This also made Collins — who was best known for playing Reverend Eric Camden on 7th Heaven — seem like an ideal fit for the part.

In the years since, Collins has both been accused and admitted to being an abuser. The actor has obviously not appeared on the show since, but going back and watching these episodes with Collins can be more than a little discomfiting.

2 Saved: Kaitlin Olson as Dee Reynolds

With Rob McElhenney, Charlie Day, and Glenn Howerton working on the show right from the very beginning, the actors were afforded the opportunity to mold their characters as they saw fit. However, the character of Dee Reynolds was developed before an actress was cast, and she was originally meant to be the Gang’s voice of reason.

Thankfully, Kaitlin Olson nabbed the role, and over time Dee became just as hilariously pathetic as the other members of the Gang.

Being a former member of The Groundlings, Olson clearly had talent as a comedic performer — which might also explain why Dee fancies herself as a bit of an improv comic. The actress isn’t afraid to make Dee as embarrassing as possible, which adds an element of cringe-comedy to the show that’s not found in the other characters.

1 Saved: Rob McElhenney as Mac

Without Rob McElhenney, there would be no It’s Always Sunny in Philadelphia. The struggling actor/writer decided to put plans for the series into motion after a number of other projects fell through. With the help of Glenn Howerton and Charlie Day, McElhenney made a short episode of the series, which he used to pitch the sitcom. Over a decade later, McElhenney still serves as an executive produces while continuing to write a number of episodes.

As far as his role of Mac is concerned, McElhenney isn’t afraid to take the character in different directions.

He put on a whopping 50 pounds for season seven and Mac finally came out of the closet for good last year — just a few of the many ways McElhenney has kept the show feeling fresh after thirteen seasons.

 —

Who’s your favorite actor on It’s Always Sunny in Philadelphia? Let us know!



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2018-10-07 02:10:26 – Dylan Dembrow

A Star Is Born’s Ending Is Bad (And Always Has Been)

WARNING: Major spoilers for A Star Is Born

A Star Is Born‘s ending undoes what could have been a Hollywood classic – but that’s not exactly Bradley Cooper’s fault. From its first version in 1937, A Star Is Born has always had a problematic resolution to its story, one that’s only got worse over the past century, and this latest version is no different.

A Star Is Born is a classic story that Hollywood loves so much it’s told it four times (with a suspiciously-similar earlier version, several failed attempts and many, many imitators). A top-of-his-game star (in 2018, Bradley Cooper’s rock star Jackson Maine) is suffering from alcoholism and in a stupor discovers a struggling artist (Lady Gaga as Ally, a waitress moonlighting in a drag bar), falling in love with both her and her talent. He provides her with a big break, sending her fame into the stratosphere just as his addictions begin to derail his career. The pair marry, but despite their love things begin to fray.

Related: Read Our A Star Is Born Review

It’s a tale of rags to riches, of falls from grace, of the power of love, and personal identity within all of that. And, for much of the runtime, A Star Is Born 2018 is genuinely a great version of all those stories. Gaga’s first major concert leaves you floating, Cooper shows mental affliction with grace, both perform their songs incredibly (to actual live crowds, no less), and are utterly believable as troubled lovers. It is, for much of its runtime, a very good film worthy of that deafening hype.

However, everything implodes into a black hole of pretentiousness as what could have been a great film its own right has to follow through on being called A Star Is Born

  • This Page: The Problem With A Star Is Born’s Ending
  • Page 2: A Star Is Born’s Ending Has Always Been Bad
  • Page 3: Why Bradley Cooper Couldn’t Fix A Star Is Born

What Happens In A Star Is Born’s Ending

We’ll stick with Cooper’s take for now before going deeper into the past. A Star Is Born‘s third act is kicked off by Ally winning the Grammy for Best New Artist – a major step for her career, undercut entirely by Jack drunkenly taking to the stage with her and relieving himself on live TV. He goes into rehab and she wrestles with where her focus should lie, eventually deciding to try and protect her recovering husband. She cancels her European tour when her agent, Rez, blocks the duo playing together.

As a result, Jack kills himself. He’s confronted by a seething Rez who has no sympathies or expectations of sobriety and states outright Jack’s ruining his wife’s career. When she matter-of-fact states the tour cancellation, he sees the impact of his actions and, while she plays a concert, he hangs himself in their garage.

Related: Every Song On A Star Is Born’s Soundtrack

This breaks Ally at first, leaving her emotionally distraught, before her understanding the meaning of Jack’s sacrifice – to enable her to truly become the star he always saw – helps her pull through. The film ends at a tribute concert in Jack’s memory. “My name is Ally Maine.” she declares before singing “I’ll Never Love Again”, a song based on their relationship they wrote together while he was recovering. A flashback shows the pair singing, she looks through the camera at the audience, the end.

Why A Star Is Born’s Ending Is Bad

Removing the ending of all presentation and self-imposed importance (a character looking into the camera at the end is an overused trope that Cooper simply doesn’t earn), in just writing down the events of A Star Is Born its problems should be obvious.

Jack decides to kill himself to save his wife, committing suicide because it’s the only way to set her free. This comes about two hours into a film which has slowly built up its numerous interpersonal relationships, and so comes as a drastic and rather unearned turn. Now, there is an argument to be made about accuracy to the unpredictability of mental illness, but given the intimacy audiences had with both Jack and Ally up until this moment, that doesn’t fit with the rest of the film. A Star Is Born, plainly, presents suicide as the only way out. It’s meant to come across as a selfless act but still values success as a true route to happiness, meaning anything emotional about the “gesture” is laced with hypocrisy.

But it’s what comes after and Ally’s coming to terms with her loss that’s so disquieting. For all her innate talent being the drive of the story and her freely made decision to step back what motivated Jack to kill himself, the final scene makes everything about Jack; the mononymous singer for the first time takes on her husband’s surname at his concert, where she performs a song that he helped her write in her original singer style. The suggestion is meant to be that Jack was holding her back, but in the shadow of the previous two hours the strange implication is that the act of a true star being born came from the adversity of Jack’s sacrifice. Making Ally’s success symbiotic to her dead husband is already heavily in the text of the film, but the final scene makes her final ascension even more indebted to his drastic act.

It’s hard to not read A Star Is Born‘s ending as trivializing suicide down to a plot point to give the fundamentally broken male lead the defining role in its female protagonist’s arc. It’s a weird move to make in 2018, although don’t believe this is just the product of an 80-year-old movie being remade. There’s something flawed at the heart of A Star Is Born.

Page 2: A Star Is Born’s Ending Has Always Been Bad

The True Story Behind A Star Is Born’s Ending Explains The Problem

There have been four versions of A Star Is Born: the 1937 Hollywood-skewering original starring Janet Gaynor and Frederick March, the 1954 musical starring Judy Garland and James Mason, the 1976 shift to the music industry with Barbra Streisand and Kris Kristofferson, and the latest Cooper/Gaga release. Each one has its own quirks, but all endeavor to tell the same story of love and fame intertwined, and all have the same basic ending. But the 1937 version isn’t the start. While A Star Is Born‘s narrative is a fiction, it’s very much based on truth; each movie is rooted heavily in the entertainment industry of the time – Hollywood for the 1937 and 1954 versions, music for 1976 and 2018 – and aims to tell an encapsulating story. There are some real-life events that inspired it.

The established star falling for an unknown as she climbs to the top was seen in actors Barbara Stanwyck and Frank Fay’s relationship, with the pair marrying in 1928 when the former was an unknown after starring in a Broadway show together. Their marriage fell apart after she rose above him and he fell into alcoholism. They separated in 1935 after seven years of marriage, two years before A Star Is Born was released. This appears to have been composited with the death of silent film actor John Bowers, who died at sea in 1936 after failing to win a part (whether it was a suicide or not is unclear). There are others (as we’ll see) but these are regarded as the ones who powered the 1937 version.

Related: Lady Gaga Fans Are Trolling Venom With Fake Bad Reviews

Of course, there’s one key distinction between inspiration and movie: in real life, it was two unrelated stories. There are the famous lovers who piggyback success and the past-it star who takes his own life, but in all cases these two aspects are entirely independent; the woman goes on to greater success by cutting the man out, while elsewhere another man falls from grace. Both stories epitomize Hollywood together, and taken alongside each other rather than melded have an ingrained believability. A Star Is Born trades that for something more streamlined in having the suicide be the culmination of the romance, but it’s also idealistic and wistful, losing the real moral of either.

This is reflected in what is regarded as a proto-Star Is Born, the 1932 film What Price Hollywood? Released five years before the 1937 version and produced also by David O. Selznick (and directed by George Cukor, who was approached for the first A Star Is Born and directed the first remake), this is regarded as something of a dry run at the story. Obviously from the release year it can’t share the same real-life inspirations (although, because this is the Golden Age of Hollywood, there are others pointed to), but the core concept and even smaller story beats are there, albeit with one massive difference: the leads are not romantically involved. Lowell Sherman’s Max drunkenly finds Constance Bennett’s Mary and helps make her a star, eventually killing himself after he sees realizes how far he’s fallen and is hurting his friend, while Mary’s suffers an ill-fated marriage that breaks down due to her absences filming and is reconciled at the end.

Watched today, What Price Hollywood? has a cynicism about the film industry ahead of its time despite ultimately being a movie romanticizing Hollywood – and at the core of this is the tragic story of Max and its impact on Mary’s life. The title question is apt.

How The Remakes Have Tried To “Fix” The Ending

In contrast to What Price Hollywood?, A Star Is Born 1937 carries a self-awareness and charm, but in bridging the romantic and the career side of protagonist Esther creates the problematic suicide reading. It’s not helped by dated elements, including the defining part of Esther’s ascension being the actress known as Vicki Lester taking on her husband’s name with a declaration “This is Mrs. Norman Maine“. It works given the time period, but even 16 years later needed an update.

Related: Watch the Trailer For A Star Is Born

The 1954 version is, for the most part, a beat-for-beat remake, just with dance number expansion to make it a musical, but it does make some strides to justifying the ending. The toll that caring for a drunk has on Judy Garland’s Vicki Lester is shown gradually, most upsettingly in an off-stage breakdown she immediately returns to filming from: an unavoidable presentation of the line between art and performer. But, ultimately, it ends in the same way: Norman Maine overhears Vicki’s plans to quit acting to care for her husband, so he feigns going for a swim and drowns himself; after a traumatic period and being unmasked at her funeral (the invasion of the press), Vicki returns to the public eye where she declares herself “Mrs. Norman Maine“. Every issue discussed is here.

The 1976’s A Star Is Born is overall incredibly melodramatic, nowhere less than its handling of the ending. What it should be praised for is its attempts at giving the female lead a greater sense of autonomy: throughout Streisand’s Esther makes decisions that power the narrative, not just being led along by Kristoffersen as those who came before her, but that’s lost thuddingly in the finale. After his meltdown, John Howard has imposed isolation – not rehab – and when returning home immediately sleeps with a reporter wanting an interview for Esther. The couple tries to power past this, but John figures he’s still broken and crashes his car at high speeds. Again, Esther is sad before taking his name (and singing at a tribute event).

Like we’ve already explored with A Star Is Born 2018, all versions have tried to provide their own contemporary spin on the tale to iron out its kinks, yet all wind up having to repeat the same suicide-anger-name triple-tap that doesn’t belong. A degree can be accounted to the changing times, but that ignores that the original trio of movies released over nearly 40 years, and that Cooper wasn’t able to address it either.

Page 3: Why Bradley Cooper Couldn’t Fix A Star Is Born

Why Bradley Cooper Can’t Fix A Star Is Born

Bradley Cooper certainly tries to bring a modern slant to the worn tale of A Star Is Born. He invests heavily in making Jack and Ally’s opposite trajectories operate independently – Jack is suffering from tinnitus before he’s heard a note of “La Vie En Rose”, while Ally’s SNL appearance is deemed to contradict his advice – while making the love story more immediate. It’s a bigger story, more personal and considerably more consummately paced.

But, like all the others, the ending hits a snag. And some of his decisions make it worse. The method of final descent is different, with the awards show upset and rehab undone not by Maine going off the rails again as in every other take, but rather by Ally’s agent calling his supposed bluff. It’s implied from the British Rez knowing when exactly Jackson first toured across the pond that he was once a fan, now disillusioned with his hero, making him a millennial scapegoat to any affronting reading.

Related: 2018 Fall Movie Preview: The 30 Films to See

This generational push and pull could have been what sent A Star Is Born to greatness. Sam Elliott’s speech about there only being twelve notes played over and over, with the majesty coming from how the artist uses them is a beautiful sentiment that sees Cooper self-justifying another remake and appears like a zen view on the entertainment business that birthed it. Except it isn’t, because this idea is also trying to explain the ending, claiming that the music industry is cyclical and that stars are born and then new stars are born later; Jack’s death is enabling that. What the film seems to miss is that for one state to ever enter another, a star must always die. Ally will fall too. The raw textual argument is that the failures are as eternal as the successes, raising the question of worth, yet the film provides no further exploration and presents it as somehow immediately uplifting.

And that’s the hump that A Star Is Born 2018, like its predecessors, can’t get over. The story thinks it’s a biting, self-aware take on itself, but it’s too close to the subject to see that it’s really just propagating a harsh cycle. This isn’t helped by the film being weighted by so much – the casting of Lady Gaga, his writer-director-producer-actor whammy, even Sam Elliott as the Sam Elliott-type – although those concerns are also the key explanation for what’s really going on.

A Star Is Born Only Exists Because Of Ego

Throughout this article, there’s been one question dangling unspoken. Why are there four versions of A Star Is Born anyway? It’s a story that is flawed and dated, on a topic which has been tackled in more films than any other. Yes, each movie got serious Oscar nominations and wins, but that alone isn’t enough to justify going back. The true answer is enlightening.

1954’s A Star Is Born was conceived as a bid to restart Judy Garland’s career after it stalled over the 1940s. 1976’s A Star Is Born was Barbra Streisand’s attempt (along with then-husband Jon Peters) to boost her standing in Hollywood. And 2018’s A Star Is Born is Bradley Cooper’s grand attempt to win the Oscar that he believes he deserves (his entire post-Hangover career is a carefully played game of chess with a Golden Baldie the King). There are studio concerns too (before Cooper, Warner Bros had been attempting to get a remake off the ground since the early 2010s, although as a Beyonce vehicle has the same career expansion goals), but those are the primary purposes of each version. A Star Is Born is a vanity project on repeat.

Related: A Star Is Born Is An Oscar Favorite – But Could An Infamous Producer Hurt Its Chances?

Now, vanity projects needn’t be bad, and indeed a lot of good comes from each of these attempts. Indeed, each was ultimately successful in both their primary and commercial goals: Garland’s career was rejuvenated; Streisand won her second Oscar; and Cooper’s currently the front-runner in multiple categories for next year’s Academy Awards.

But this aspect appears to be why each version of A Star Is Born struggles to understand the real meaning of its ending. Each powering force believes this movie will be what takes them being a Norman/Jack Maine to a new Esther/Ally while missing that it’s built into the story to be impossible. They believe so much in the two contradictory Hollywood legends wholesale, so don’t see that the story is almost warning against such a thing.

A Star Is Born Is No Longer Needed

In recent years, we’ve seen Hollywood’s reliable rotation of movies about itself take a genuinely incisive slant. 2015’s Best Picture Winner Birdman was an ostentatious exploration of ego that too ended with the protagonist committing suicide, but there it was with the wry critique that fame and adoration are fleeting and that such a bold act was the only way for the self-involved hero to reach the heights he dreamed of. Then there’s 2017’s almost-Best Picture Winner La La Land, which was a celebration of Hollywood-gone-by looking at love in a city of stars, eventually concluding that success required the sacrifice of the central relationship.

Together, these take on all the ideas that A Star Is Born is playing with and apply them in a more thoughtful way. The messages are more widely applicable and their endnotes have considerably less of the hypocrisy. Birdman and La La Land may find joy in the arts, but they also uncover the trials of creativity and fame, keeping the brutal truths in earshot while presenting from a position of success.

A Star Is Born 2018 is a good movie, an undeniable achievement for both Bradley Cooper and Lady Gaga. But there is a flaw at the heart of the tale that just doesn’t ring true. Unless it’s made with a completely revisionist, ego-less eye, in twenty years we do not need another one.

More: Every Version Of A Star Is Born Ranked, From Garland To Gaga



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2018-10-06 01:10:52 – Alex Leadbeater

Josh Gad Wants to Play Penguin Opposite Jon Hamm’s Batman

Josh Gad is once again campaigning to play Oswald Cobblepot – aka The Penguin – in the DC movie universe, this time, opposite Jon Hamm’s Bruce Wayne – aka Batman. With persisting rumors that Ben Affleck will no longer reprise the title role in Matt Reeves’ upcoming The Batman film, recasting talk continues regarding the superhero. Several Hollywood actors have been rumored to take over the cape and cowl, but latest to join the recasting pool is Hamm, who recently said that he wants to become the next Batman.

Meanwhile, Gad has been openly campaigning for the Penguin role for quite some time now on social media. He first publicly expressed his interest in the role in May of last year, which was followed by a meeting with former DC head honchos Jon Berg and Geoff Johns, giving fans the impression that something concrete was in the works for him playing Penguin on the big screen. Sadly, nothing came to fruition. Despite that, the actor is not quite ready to give up on his dreams of following in Danny DeVito’s (who took on the role opposite Michael Keaton’s Batman in Batman Returns) footsteps and portraying the character.

Related: Here’s What Jon Hamm Would Look Like As Batman’s Bruce Wayne

Taking to his official Twitter account, Gad sent a shoutout to Hamm about the possibility of the two of them sharing the big screen as the Penguin and Batman. Similar to people’s reactions to his previous attempts at furthering his dreams of playing the iconic villain on the big screen, fans are divided, not just on the possibility of him portraying Cobblepot, but also on Hamm being the next Caped Crusader. Check out his post below:

Earlier this year, Gad suggested playing the part in Chris McKay’s in-development Nightwing film, after the filmmaker asked people on Twitter for their input on the film’s casting. But since it may take a while before that film comes to fruition (if it’s in fact still part of DC Films’ seemingly ever-changing slate), chances are that pining for the role in The Batman, which has been confirmed to be in active pre-production, would be a much easier route for Gad to land the gig.

It’s also entirely possible that the Penguin may not even appear in The Batman. Considering that specific plot details for that film are still scarce at the moment, not to mention the slew of villains that the Bat of Gotham has faced in the comics, Warner Bros. has a long list of options to choose from regarding who the main antagonist of the standalone film could be. Where the film fits in the existing DC movie universe remains unclear, although it’s expected to possibly feature a younger version of the titular hero. Despite not having a concrete future in the DC Films world, fans know that The Penguin exists in the established canon, after he was referenced in Justice League. So if Warner Bros. decides to officially introduce a brand new incarnation of the character on the big screen, they can easily do so.

More: The Batman: Justice League Artist Praises Ben Affleck’s Unused Script

Source: Josh Gad





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2018-09-13 08:09:37 – Ana Dumaraog