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Lucasfilm has unveiled a brand new teaser promo for the forthcoming Disney+ premiere of Star Wars: The Bad Batch Season 2. The video gives highlight to the titular team by reintroducing each of its members, while also continuing to tease the series’ newest epic action sequences.
The 16-episode new season is scheduled to make its debut on January 4, 2023 with the first two episodes.
“Star Wars: The Bad Batch follows the elite and experimental clones of the Bad Batch (first introduced in The Clone Wars) as they find their way in a rapidly changing galaxy in the immediate aftermath of the Clone War,” reads the first season’s synopsis. “Members of Bad Batch — a unique squad of clones who vary genetically from their brothers in the Clone Army — each possess a singular exceptional skill that makes them extraordinarily effective soldiers and a formidable crew.”
The series features the voices of Dee Bradley Baker, Michelle Ang, Rhea Perlman, and Noshir Dalal, with Emmy winner Wanda Sykes making her guest starring debut in the second season as Phee Genoa.
Star Wars: The Bad Batch hails from executive producer Dave Filoni, who has been an integral force in the Star Wars universe this past decade due to his work on multiple Star Wars animated shows, such as The Clone Wars, Rebels, and Stars Wars Resistance, as well as in the live-action series The Mandalorian.
The series is executive produced by Athena Portillo, Brad Rau, Jennifer Corbett, and Carrie Beck, with Josh Rimes set as a producer. Rau is also serving as a supervising director with Corbett as head writer.
Star Wars: The Bad Batch Season 2 is the highlight of the Disney+ January 2023 schedule.
The streaming service (sign-up for Disney+ here) will release the first two installments of The Bad Batch Season 2 on Wednesday, January 4. The remaining 14 episodes will probably follow weekly. The Season 2 premiere is titled “Spoils of War,” while the following episode is “Ruins of War.”
“Star Wars: The Bad Batch follows the elite and experimental clones of the Bad Batch (first introduced in The Clone Wars) as they find their way in a rapidly changing galaxy in the immediate aftermath of the Clone War,” reads the first season’s synopsis. “Members of Bad Batch — a unique squad of clones who vary genetically from their brothers in the Clone Army — each possess a singular exceptional skill that makes them extraordinarily effective soldiers and a formidable crew.”
The series features the voices of Dee Bradley Baker, Michelle Ang, Rhea Perlman, and Noshir Dalal, with Emmy winner Wanda Sykes making her guest starring debut in the second season as Phee Genoa.
Star Wars: The Bad Batch hails from executive producer Dave Filoni, who has been a vital force in the Star Wars universe this past decade due to his work on multiple Star Wars animated shows, such as The Clone Wars, Rebels, and Stars Wars Resistance, as well as in the live-action series The Mandalorian.
The series is executive produced by Athena Portillo, Brad Rau, Jennifer Corbett, and Carrie Beck, with Josh Rimes set as a producer. Rau also serves as a supervising director, with Corbett as head writer.
Disney+ January 2023 Schedule
January 4
The Boonies (Season 1)
Locked Up Abroad (Season 12)
Lost Treasures of Egypt (Season 4)
Magic of Disney’s Animal Kingdom (Season 2)
Primal Survivor: Over the Andes (Season 1)
Underworld, Inc. (Seasons 1 & 2)
Star Wars: The Bad Batch – 2-Episode Season 2 Premiere
National Treasure: Edge of History – Episode 5, “Bad Romance”
Willow – Episode 7
January 6
Strangest Bird Alive
January 11
Airport Security (Seasons 4-8)
Best in Bridal (Season 1)
Bride & Prejudice (Season 1)
Celebrity Ghost Stories (Seasons 5 & 6)
Evil Genius (Season 1)
My Ghost Story (Season 1)
SuperKitties (Season 1, 11 episodes)
Chasing Waves – All Episodes Streaming
Gina Yei – All Episodes Streaming
National Treasure: Edge of History – Episode 6, “Frenemies”
Star Wars: The Bad Batch – Episode 203, “The Solitary Clone”
Willow – Episode 8
January 18
Chibi Tiny Tales (Shorts) (Season 3, 14 episodes)
Disney Junior Mickey Mouse Funhouse (Season 2, 5 episodes)
Me & Mickey (Shorts) (Season 1, 20 episodes)
Night Stalkers (Season 1)
Secret Life of Predators (Season 1)
King Shakir Recycle – Premiere
National Treasure: Edge of History – Episode 7, “Point of No Return”
Star Wars: The Bad Batch – Episode 204, “Faster”
January 20
Ocean’s Breath
Sharkatraz
January 25
Bloody Tales of Europe (Season 1)
Dino Ranch (Season 2, 6 episodes)
Hacking the System (Season 1)
Riding Britain’s Railways (Season 1)
Mila in the Multiverse – Premiere
National Treasure: Edge of History – Episode 8, “Family Tree”
Star Wars: The Bad Batch – Episode 205, “Entombed”
During an interview for Ant-Man and the Wasp: Quantumania, lead actress Evangeline Lilly revealed that she would like to make an A-Force movie happen.
When asked about whether she would be interested in a full A-Force movie akin to the all-female scene from Avengers: Endgame, Lilly responded with enthusiasm.
“I would like to be on it, ” Lilly told CinePOP. “I would like to make it happen! That day that we did the scene in Endgame, where it was just us women, was the most special day I’ve ever had. It was maybe tied for the most special day I’ve ever had filming a Marvel movie. There was that one and then there was my 42nd birthday where I was doing a scene with Michelle Pfeffer, Michael Douglas, and Bill Murray. They were both amazing.”
Lilly was then asked who she’d want on the team, answering, “All the women. Every single one of them. All the women.”
Finally, when asked who she’d want the movie’s villain to be, the actress said she’s not up-to-date on Marvel trivia, but would pick Thanos.
“We kind of did in Endgame, but then it just ended up being Captain Marvel, who just kind of did it on her own,” Lilly joked. “I would like to see that group effort of 10 women surrounding him and just bringing him to his knees.”
You can check out the interview below:
The A-Force is Marvel’s first all-female Avengers team, which debuted in 2015. At its inception, the team was led by She-Hulk and has featured heroes like Captain Marvel, Emma Frost, and Jubilee.
Ant-Man and The Wasp: Quantumania is once again being directed by Peyton Reed from a screenplay written by Jeff Loveness. The action-comedy superhero sequel will release on February 17, 2023.
The Last of Us live-action adaptation is finally debuting on HBO Max as part of the January 2023 schedule.
On Sunday, January 15, the streaming service will add The Last of Us to its available content. The series will tackle the events of the first game. Joining Pascal and Ramsey are Gabriel Luna (Terminator: Dark Fate) as Tommy Miller, Nico Parker (Dumbo) as Joel’s daughter Sarah, Anna Torv (Mindhunter) as Tess, and Merle Dandridge (The Flight Attendant) as she reprises her role from the video games as Marlene, the leader of a resistance group known as the Fireflies. It also features Jeffrey Pierce (Bosch) as Perry, Murray Bartlett (The White Lotus) as Frank, Con O’Neill (Chernobyl) as Bill, and Storm Reid (Euphoria) as Riley.
“The live-action series takes place 20 years after modern civilization has been destroyed,” reads the synopsis. “Joel and Ellie, a pair connected through the harshness of the world they live in, are forced to endure brutal circumstances and ruthless killers on a trek across a post-pandemic America.”
The live-action series is executive produced and co-written by Chernobyl creator Craig Mazin and original game writer Neil Druckmann, who is also serving as one of the directors. It is a co-production with Sony Pictures Television in association with PlayStation Productions. Executive producers are Carolyn Strauss, Naughty Dog President Evan Wells, and PlayStation Productions’ Asad Qizilbash and Carter Swan.
HBO Max January 2023 Schedule
January 1
20 Feet From Stardom, 2013 (HBO)
American Hustle, 2013
American Ultra, 2015 (HBO)
At Middleton, 2013 (HBO)
Back to School, 1986 (HBO)
Batman and Superman: Battle of the Super Sons, 2022
With Netflix’s The Witcher series already having aired two seasons, and with two more planned, fans are wondering if showrunner Lauren Schmidt Hissrich has an idea for how things will end.
“It has been my goal with my executives at Netflix to always have an endpoint in mind, because, to me, when you start just writing stories without knowing where they’re going, you can get lost,” said Hissrich to Collider. “And what I think is so interesting about what we have figured out, to answer your question in two ways, yes, I absolutely know where the series is going to end. I know what season it’s going to end, I know how it’s going to end, which is very, very exciting.”
Hissrich also spoke about how, although the series is adapting a lot from Andrzej Sapkowski’s The Witcher books, fans won’t know exactly how the upcoming seasons will go, especially due to the fact that the series is bringing various books into the same season.
“I think a lot of people believe that you sort of go into a season of television saying it’s going to be this book, but clearly that’s something that we have not been able to do because there are some books that are like Blood of Elves, which Season 2 sort of loosely was based around,” Hissrich explained. “It didn’t have enough action to keep us going, so we ended up having to bring parts of Baptism of Fire into it. Parts of the earlier short stories, I mean Declan’s episode, “A Grain of Truth,” was what kicked off Season 2. So immediately we know that we have to be flexible with how the books are split up versus how the seasons are split up and Declan’s right. I’ve been sort of turning that in my head since the very beginning.”
Based on the stories and novels by Andrzej Sapkowski, The Witcher is created and executive produced by Lauren Schmidt Hissrich, who also serves as the showrunner. Sean Daniel and Jason Brown of Sean Daniel Company are executive producing, along with Tomek Baginski and Jarek Sawko of Platige Image.
Crystal Dynamics’ Marvel’s Avengers has had plenty of Captain America skins to choose from in the past. Now, the game is getting a new variant of the costume from the 2011 film Captain America: The First Avenger, which takes the mask off of the iconic hero.
A new 'Unhelmed' variant of Cap's Outfit from 'Marvel Studios' Captain America: The First Avenger' is available now in the Marketplace!
? If you own the original, helmed variant, purchasing Cap's MCU-inspired bundle grants you the new 'Unhelmed' variant at a discount! pic.twitter.com/VA5vQnkQJX
For those who already own the original helmed variant of the costume inspired by Captain America: The First Avenger, the unhelmed variant should appear at a discounted price in the game’s marketplace for 500 Credits. A bundle for both costumes is also available for 1,900 Credits (about $19), while the “unhelmed” variant is also available on sale on its own for 1,400 Credits (about $14). The regular version of the skin was added to the game in February 2022.
Selling unhelmed variants of Marvel Cinematic Universe skins is a new trend for Crystal Dynamics and something it seems keen on continuing. This is now the third “unhelmed” skin the team added into the game, and joins an unhelmed version of Captain America’s 2012 Avengers skin, as well as an unhelmed version of Jane Foster’s Mighty Thor from Thor: Love and Thunder. Many have voiced their complaints about this practice in the replies to tweets about these skins, noting that such a small change should be free for owners of the base costume.
Crystal Dynamics also announced in its War Table Weekly Blog last week, in celebration of the ongoing holiday season, most MCU and non-MCU outfits and all takedowns, emotes, and nameplates would be available for 50% off in the marketplace. This sale runs through January 5, 2023.
Trevor Beck Frost: (Photo by Vivien Killilea/Getty Images) Melissa Lesh: (Photo by Amanda Edwards/Getty Images)
ComingSoon Editor-in-Chief Tyler Treese spoke with Wildcat directors Melissa Lesh and Trevor Beck Frost about creating the moving documentary. The duo spoke about mental health and realistic endings. Wildcat releases through Prime Video on December 30.
“Wildcat follows the emotional and inspiring story of a young veteran on his journey into the Amazon. Once there, he meets a young woman running a wildlife rescue and rehabilitation center, and his life finds new meaning as he is entrusted with the life of an orphaned baby ocelot. What was meant to be an attempt to escape from life, turns out to be an unexpected journey of love, discovery, and healing.”
Tyler Treese: Trevor, obviously you have that National Geographic background, being a photographer. How were you introduced to this story and when did you decide to tell it? It’s quite a long journey.
Trevor Frost: I was basically down in the Peruvian Amazon trying to put together a new project. So I was trying to get enough material together that I could go back to National Geographic Magazine and pitch it to them as a feature story. I was specifically looking for Anacondas, which are the largest snake on earth. So I spent about 60 days total looking for them. Now that I look back on it, I was very lucky that I wasn’t finding very many because I was spending a lot more time in this town on the edge of the Amazon. I was at this hotel that I was staying at, and Harry Turner walked by me, and he’s obviously covered in tattoos, so he is quite striking [and] quite noticeable.
And a friend of mine that was sitting next to me, working with me on the anaconda project, leaned over and said, “Did you see the guy with all the tattoos? You’ll never believe his story.” And I was obviously pretty blown away when I heard the story. Then, some days later, I got to meet Harry and Samantha [Zwicker] together at that same hotel, and they brought a hard drive with them. When they shared the footage on that hard drive, I was just so taken by not only how extraordinary the cinematography was, but also by what they chose to film, you know? Especially when they chose to keep recording. So often, people stop recording when things get difficult. There was also just this wonderful kind of … what’s the word that I’m looking for? They weren’t people that were paying attention to the camera.
So they were filming it clearly for their own purposes, not for sharing it with a wider audience or sharing it with the world. That only became something that they started to think about after the first ocelot was killed, that this is a story to get out there because we want this ocelot, this cat that was killed, we want, his story to be remembered. As soon as I saw the footage, I was hooked and I knew there was a story there. And then two weeks later, I went home and shared [the] footage with Melissa and she was equally convinced at that moment.
Melissa, mental health struggles and speaking about trauma can be very difficult for most people. How was finding that Harry and Samantha were so open to discussing their feelings? This movie gets messy at points and I thought it was great that it stayed in there and that they were willing to share that sides of themselves.
Melissa Lesh: Yeah, I think it’s really important to highlight. One of the things that I feel strongly about is that you can’t ask someone else to be vulnerable without being vulnerable yourself. In many cases, there can be a somewhat extractive approach to documentary filmmaking and asking of people things that you might not be willing to do yourself or to speak about. That was something, when we first met them, when Trevor met Harry in that hotel lobby and started speaking with him about the footage that they had filmed and the potential of making the short film, I think the thing that made them feel comfortable and interested in working with us was that we did have such a deep connection to this story and this material.
Both because of our backgrounds in conservation storytelling — both Trevor and I have been doing this type of work for quite a long time — and our love of nature. At first, what was very clear was Trevor’s relationship with depression and some of the things that he struggled with. Being able to talk openly about it with Harry, I think, instantly just created a connection and a trust that you don’t normally find. As we started production and time went on, that same thing happened with Samantha. At first, we didn’t know anything about her backstory or really that she had any trauma that she was dealing with. As time went on and we became closer and deeper friends, and actually shortly after the passing of her father, she started opening up to us as well.
It was right around that same time that Samantha and I were having deep conversations about our own pasts and some reflecting on some childhood trauma that we had both experienced. Being able to have conversations with each other that we had never had with anyone else for the first time in our lives was really quite powerful. You don’t see myself or Trevor on screen, but we really are a part of this movie. In some ways it’s a reflection of what we were grappling with or talking about. On one side of the conversation, you see it through them and through their voice, through their eyes. But on the other side of that conversation was us and how we were navigating and exploring things that we were struggling with.
Trevor, when you see these ocelots, it’s impossible not to get attached — even as a viewer. They’re adorable, even though they’re killing machines out in nature. After those first 20 minutes when the first ocelot got shot by that trap, it was just so heartbreaking. How was knowing that you had such a gut punch in there and using that as a redemption arc, as Harry clearly views it?
Trevor Frost: For us, that was actually one of the greatest challenges of making the film when we got to the editing stage, was where do we incorporate the loss of that cat into the film? We tried it in several different ways. The first way that we tried it was using it as a flashback much later in the film. The problem with it was [that] it was never really working for us structurally because it wasn’t setting the stakes properly for the second cat. What I mean by that is we knew that the loss of the first cat was so critical to setting up a very tense situation in which Harry’s progress and ability to move on was very closely linked with the success of the second cat.
Because it was a story of redemption. It was a story of second chances. So we always knew that it was going to be a hard thing for viewers to experience so early on in the film, but we also knew that it was the most important place to put it because we wanted them to feel throughout the rest of the film that anytime something happened, they felt scared — not only for the ocelot, but they felt scared for Harry. So that was why that decision was made and that’s why we built it the way that we built it.
Melissa, in the editing, what was most difficult about telling these two very interconnected stories of both Keanu the Ocelot and then Harry’s own mental rehabilitation? How was straddling the line so that viewers become interested in both throughout?
I think there’s so many parallels there. We knew that, structurally speaking, the driving narrative was Keanu’s reintroduction. Khan’s story is a clear act one, it’s a clear setup, and, like we mentioned, it sets the stakes. It tells the backstory, the history with why Harry is there and the meeting of Samantha. So it gets all the plates spinning, everything in motion. Then, structurally, when Keanu hits the screen, we wanted everyone to be ready and buckled in for this longer journey and this reintroduction. So that was always the spine of the film in terms of how we wanted to construct it. We knew, going in with production, that we had roughly a year and a half of filming time to capture the reintroduction of Keanu.
That that was around the time when he would be going into the wild and he would normally be leaving his mother — his biological mother, if he had one. So that timeframe was set up, and we wanted to really keep the progress and the journey, the triumphs and the fear, right? Those scary moments, or when he catches his first rodent — those tentpole moments of the reintroduction. We knew that was very much going to be the spine. Off of that, it was a balance to include the darker, deeper mental health struggles, and then you have Samantha’s backstory and her time going into town and fundraising and going home for her PhD. So really, it came down to trying to thread those needles well and constantly trying to keep wrapping those storylines around themselves, around each other, so that it was always moving you forward, always driving.
One example of that would be Samantha’s narrative. When you learn about her father, her going home sets in motion multiple things. She’s leaving Harry, so that is further compounding his isolation [and] the divide between them. It gives you a window into what she’s doing in terms of her scientific background, what it takes to do this work. You have to be on the ground fundraising and really making ends meet. She is at home. And so that felt like a perfect opportunity to show and dive into some of those childhood moments. It almost operated as like a flashback. She’s sitting in the kitchen thinking about some of the things she experienced in her childhood house, and we were able to go there quite quickly.
Similarly with Keanu, when you see Harry distressed because of the logging that’s happening, and he’s hearing gunshots in the distance and all of those things are compounding his concern for Keanu’s wellbeing, that then translates into him struggling emotionally. That’s when you see him starting to talk about — and has just self-harmed. So many of those were real connections. When he was concerned with the logging and he came back and he did say, “I feel like I want to cut myself.” Those were not fabricated connections. Those were authentic. So I think in the edit, when you have over a thousand hours of footage, there’s so much to choose from. So it’s just about picking those really connective kind of tissue moments that really handed off and bind everything together.
Trevor, throughout the film we see the toxic side of that relationship and it would be very easy to see that as a downer end to this story, but you managed to weave it in a way that shows that messiness, but is still hopeful. You see both of them doing better off at the end. Can you speak about chronicling a relationship and especially somebody struggling mentally along the way, but still having that positive story at the end?
Trevor Frost: Yeah, I think that there’s a tendency in films — especially scripted films — to make sure that everyone unites at the end and everything’s wonderful. But of course, the reality is that so much of having a healthy, happy life is sometimes letting go of the things that aren’t good for you. So I think that both Harry and Sam made the decision to let go of each other. They both, obviously, got to a point where they were not good for each other and they both came to the decision independently that it was better for them to go their separate ways and that they would both have happier, healthier lives as a result. So that was something that we were really focused on, because the more that we thought about it and the more that we talked to some of our collaborators, especially people who were parents, we understood that part of loving is letting go.
And that’s not just when you have a relationship that dissolves and falls apart — which can so often be difficult, because even when relationships do fall apart, there’s still a lot of love there, right? My parents got divorced a couple years ago, about five years ago, and even though they got divorced, they still have love for each other, right? They spent 30, 35 years together. So there’s still an underlying love because you’ve experienced so much together. Ultimately, it was understood that it was better for them to go their separate ways. We were reminded by a lot of people we worked with, and then it was something that we thought about more on our own, that in any situation when you love something, you will eventually have to let it go.
That doesn’t necessarily mean saying goodbye to it when it passes away, although that’s a significant part of it, right? Everyone that you know will eventually die and obviously you may die before them, so you might not be the one saying goodbye. That became a really important theme, that the two are inextricably linked. That loving and letting go are so tightly woven together. That was really important. Obviously the ending … what we wanted to do was make sure that it didn’t feel over the top. We wanted to be hopeful and that these two people have done the the act of letting go and moving on for their benefit and that they’re still foraging forward, they’re still finding a path forward.
But that everything’s not just perfect. That was really important to us because I think there’s a tendency in Hollywood and in media to latch onto stories where it seems like people are just magically fixed after difficult experiences or struggling with mental health. Of course, anybody that has lived through that firsthand or has a loved one that has lived through that understands that that’s just not the way that this stuff works. That these are things that you’ll deal with for the rest of your life. So it becomes more about how do you change your relationship with these things versus how do I just completely eliminate it from my life? There is no magical cure right now. Maybe there will be. Maybe in 20 years, there will be a cure for depression, for example. But right now it looks like it’s something that anybody that’s dealing with these things is going to be dealing with it in one way or another for the rest of their lives. So we really felt that it was important to make sure that the film ended in a way that was both hopeful but also very real and very raw.
The upcoming Barbie movie, directed by Greta Gerwig, has already developed a following thanks to the abundance of intriguing set pictures from shooting earlier this year. Then finally, the first official footage of the film was released earlier this month.
Featuring only a few shots and no dialogue — save for an introductory voiceover by Helen Mirren — this preview didn’t give fans much to analyze from the film itself. However, it did provide folks with a taste of the tone of the film, including its approach to the source material.
The bulk of the trailer consists of an introduction paying homage to 2001: A Space Odyssey. The aforementioned narration plays over a group of little girls with their baby dolls, explaining that said baby dolls have been a staple of young girlhood since the beginning of time. Margot Robbie’s titular Barbie herself then makes her debut, dressed in the same black-and-white swimsuit the original Barbie doll from 1959 wore. Finally, a few clips from the movie featuring Robbie and a few others in the all-star cast — including Ryan Gosling, Issa Rae, and Simu Liu — are briefly shown, along with the movie’s logo.
The few brief glimpses we get of the film make it clear that Barbie is taking a lot of inspiration from the toy line, from outfits to the brightly colored world itself. But it’s not just Barbie’s aesthetics that will be in the movie — it’s her spirit, or rather, the spirit of her creators. Barbie is largely viewed as the quintessential “girl toy,” and the brand has been criticized for being too conformist to society’s standards of beauty. But as the trailer points out, Barbie was and is a trailblazer in the toy industry, which is something that is often overlooked nowadays.
Before Barbie, as shown in the trailer, the “standard” toy for little girls was the baby doll. In addition to giving them something fun to carry around and dress up, the underlying message of these dolls being marketed to girls specifically reinforces traditional gender roles of women being in charge of raising children and being society’s caregivers in general.
So when Barbie stepped out onto the scene, she checked a different box. The character was older than her target demographic, meaning she was something to aspire to rather than take care of. She was a role model, which turned out to be both a good and bad thing, but it provided an alternative to baby dolls and the caregiving expectations that came with them.
Yes, Barbie ended up promoting a whole different set of gendered expectations — mostly in the looks department — but the brand also ended up being much more progressive than it is often given credit for. Beyond simply existing as a grown-up doll in a sea of baby ones, Barbie has continued to showcase women taking on roles well beyond motherhood (though there have been Barbie dolls focused on motherhood, including pregnancy). She’s played nearly every sport out there, from those traditionally seen as “feminine” like gymnastics and ice skating, to ones like hockey, basketball, and boxing. She’s had countless careers, such as doctor, chef, director, dancer, news anchor, entrepreneur, teacher, farmer, military officer, firefighter, astronaut, scientist, pilot, cowgirl, and beekeeper, to name a few.
Barbie has also become more inclusive over the years to those who don’t fit her original look of being white with blonde hair and blue eyes. The dolls first became more racially diverse, and more recently have also rolled out a wider variety of body types and abilities, with dolls with wheelchairs and even hearing aids joining the Barbie lineup. This is also something the movie will also include, with several different versions of Barbie and Ken being present, each looking radically different from one other.
While Margot Robbie watched The Truman Show and Splash to prepare for the role, the film Barbie is shaping up to resemble the most right now appears to be The LEGO Movie. This was also a film dedicated to bringing the world of a popular toy brand to life, but had a self-awareness that endeared audiences to it. It never got to the point of self-parody, but incorporated the unique aspects of the toy alongside elements of the way people play with and utilize it, as well as the culture surrounding it.
With Barbie being called subversive and the trailer giving audiences a taste of that, one has to wonder if the film will go as far as to criticize the brand itself (if not the way it is in the modern day, then at least its past of being less inclusive than it is now). This would push the boundaries further than the aforementioned LEGO Movie, though Barbie does look to be geared a bit more toward adults than that film was.
It’s also notable that Will Ferrell’s Barbie character has been reported to be the CEO of Mattel, which means that the brand itself will play a role in the film. That being said, it’s worth noting that Mattel Films itself is one of the production companies behind the project, so the movie may not end up being as critical of the toy company as some might hope. Still, with the film’s script being the top aspect of the film hyped to high heavens by those involved with it, surely something in Barbie will surprise audiences when it comes out.
While a little late for Halloween, Crystal Dynamics are giving Hawkeye players in Marvel’s Avengers something more unusual to dress up as. The archer’s latest skin is a Werehawk outfit that turns him into a hawk-human hybrid.
? Hawkeye's comics-inspired 'Werehawk' Outfit arrives in the Marketplace!
This Werehawk skin came to the shop on December 29 and costs 1,400 Credits (around $14). This version of Hawkeye is in Earth-666, as seen in “Secret Avengers Vol 1. #33.”
The existence of this skin isn’t new, though. Notorious Marvel’s Avengers leaker Miller Ross datamined the skin out of the game on December 13 and shared pictures of the render online. A few content creators then got early access to the outfit and posted videos of it in action shortly after. Crystal Dynamics strangely didn’t post about the skin until December 28, a day before its release.
NEW YORK, NEW YORK - SEPTEMBER 30: Adam Driver attends the "White Noise" opening night premiere during the 60th New York Film Festival at Alice Tully Hall, Lincoln Center on September 30, 2022 in New York City. (Photo by Dimitrios Kambouris/Getty Images for FLC)
Iconic Roles is a look at some of the best performances in film and television by actors and actresses.
Thanks to his imposing physique and peculiar acting style, Adam Driver is arguably the face of Hollywood’s new wave of actors. The 39-year-old actor landed his breakout role in the Girls television series, but thanks to Star Wars reached worldwide popularity. His feature debut was in 2011’s J.Edgar, which starred Leonardo DiCaprio.
Academy Award-nominated artists Noah Baumbach and Driver will join forces once more for a promising drama in White Noise. The pair already collaborated four times in the past in 2013’s Frances Ha, 2015’s While We’re Young, 2017’s The Meyerowitz Stories, and 2019’s Marriage Story. While the movie will officially debut on Netflix at the end of the week, Driver has already scored a Golden Globe nomination as Best Actor for his work as Prof. Jack Gladney.
Here’s a list of the best Adam Driver movies.
Detective Philip Zimmerman in BlacKkKlansman (2018)
BlacKkKlansman is the story of a black officer (John David Washington) who infiltrates the Ku Klux Klan by making a series of phone calls in the seventies. “Flip” Zimmerman steps up to go in person at the KKK meetings to work undercover for his fellow detective. While the topic is as serious as possible, director Spike Lee gave a light tone to the movie, which features plenty of funny moments. Thanks to his efforts, Driver landed his first Oscar nomination as Best Supporting Actor, won by Mahershala Ali for Green Book that year. BlacKkKlansman is considered one of the best Spike Lee-directed films and also ranks among the best Adam Driver movies.
Kylo Ren in the Star Wars sequel trilogy (2015-2019)
Driver landed his most important role to date when he was called to portray the leader of the Knights of Ren in 2015’s Star Wars: The Force Awakens. The son of Han Solo and Leia Skywalker is a complex character who evolves throughout the trilogy. Kylo Ren allowed Driver to showcase the range of his actorial skills as the commander of the First Order. Overall, the trilogy grossed over $4.450 billion at the box office, and while it had mixed reactions from fans and critics alike — especially Rian Johnson’s Star Wars: The Last Jedi –, generally everyone praised Driver’s performance. In addition to the actors from the original Star Wars trilogy — Mark Hamill, Carrie Fisher, and Harrison Ford –, the news installments featured an ensemble cast that included Daisy Ridley, John Boyega, and Oscar Isaac, among others.
Charlie Barber in Marriage Story (2019)
Arguably, Marriage Story is the best Adam Driver movie to date. In his fourth collaboration with Baumbach, Driver portrayed a man going through a rough divorce after his marriage with his wife (Scarlett Johansson) fell apart. Their breakup seems friendly until a cold-hearted lawyer (Laura Dern) starts working on their case. Both leading actors were nominated as Best Actor and Actress, respectively, at the Oscars, but ultimately Dern was the only cast member to take home an Academy Award as Best Supporting Actress. Marriage Story also starred Alan Alda, Ray Liotta, Julie Hagerty, and Merritt Wever.
Henry McHenry in Annette (2021)
A magistral Driver led the cast of Leos Carax’s musical for all of its 139 minutes. Driver’s Henry McHenry is a comedian who lost his ability to make people laugh, but actually dries joy from the watchers as the story proceeds, drawing certain comparisons to Joaquin Phoenix’s Arthur Fleck. Annette is arguably Driver’s most mature and complete performance to date, showcasing a wide array of emotions and overcoming his fellow cast members thanks to his statuary physique, including the tiny Marion Cotillard.
Maurizio Gucci in House of Gucci (2021)
In 2021, Driver worked with Ridley Scott on back-to-back movies, including a biopic on the assassination of the head of the Gucci fashion house, Maurizio Gucci. Driver towered upon his fellow cast members, including an unrecognizable Jared Leto as Paolo Gucci. Thanks to its $153 million gross, House of Gucci is the highest box-office success featuring Driver in a leading part, excluding the Star Wars sequel trilogy (and 2012’s Lincoln, where Driver had a minor role). The House ofGucci cast also featured Lady Gaga, Jeremy Irons, Salma Hayek, and Al Pacino, among others.
Before they created the Netflix series Wednesday, Al Gough and Miles Millar developed the hit series Smallville on The CW. In a recent interview, the pair discussed what they’d do differently if they had another chance to make the show now.
Speaking to The Hollywood Reporter recently for Netflix’s Wednesday, the pair were asked if they would change anything about Smallville if given the chance. For Gough, he said that the Clark Kent and Lois Lane dynamic played out a little bit too long and “something else” should have happened.
“The Clark-Lana thing played out way too long,” said Gough. “Something else had to happen there. I think that was one that got a little repetitive. My younger daughter is now, finally after Wednesday, she’s going back to watch Smallville, and she’s in Season 2. She goes, ‘What’s the deal with these two?’ I’m like, ‘It was a different time.’ So, I think there are things there, if we went back, we probably would be a little more adventurous with some of those relationships and bring them to certain heads and let them play out.”
Millar also touched on what he would have done differently, specifically mentioning the female characters. Along with likely having done more to give agency to Lois Lane, Millar spoke about how the pair originally just wanted to get to five seasons and ended up at 10 when all was said and done.
“We were definitely cautious and just very conscious of the fact we wanted to get to five seasons, and we ended up at 10 seasons, but we’re just like, ‘OK, if we split them apart, what are we gonna do?’ Again, as the father of girls, I think the female characters we would do differently today,” Millar said. “I think Lana, her agency was not there. She could have been a much stronger character, and she always felt put in positions of weakness. It’s a different era, a different time. So, that’s something I think we could have done and would definitely look at to do better.”
Smallville was developed for television by Alfred Gough and Miles Millar, based on the DC Comics characters. Kelly Souders and Brian Peterson served as executive producers, along with James Marshall, Mike Tollin, Brian Robbins, and Joe Davola. The series was produced by Tollin/Robbins Productions, Millar/Gough Ink, and Warner Bros. Television.
Tubi has unveiled the official trailer for Terror Train 2, the forthcoming sequel to its recently released slasher horror remake of the 1980 Jamie Lee Curtis-led film of the same name. It is scheduled to make its debut on December 31, 2022, exclusively on Tubi.
The video continues to follow the remaining survivors a year after the events of the first film. As they return to the place of their nightmares, they must face another evil in order to survive the titular train.
Check out the official Terror Train 2 trailer below:
“Having survived the carnage, Robyn Alomar and Tim Rozon will reprise their characters in Terror Train 2, which takes place over a year after the gruesome, vengeful murders took the lives of multiple college seniors aboard the now infamous Terror Train,” reads the synopsis. “In the sequel, the remaining survivors are coerced to take a New Year’s Eve redemption ride on the very same train, where a new evil awaits and the terrified passengers must once again fight to survive the ride.”
The sequel is directed by Philippe Gagnon from a screenplay written by Ian Carpenter and Aaron Martin. It is produced by Graham Ludlow and Kaleigh Kavanagh with Ludlow, Shari Segal and Brook Peters serving as executive producers.
“Our remake reintroduced a new generation to Terror Train, and now Tubi’s first ever horror sequel expands on the premise with a completely original storyline,” said Adam Lewinson, Chief Content Officer, Tubi (via Bloody Disgusting). “This new ride aboard the Terror Train begins on New Year’s Eve with ‘Final Girl’ Alana and the mysterious Magician facing a new menace in this horror whodunit.”
A new 'Unhelmed' variant of Cap's Outfit from 'Marvel Studios' Captain America: The First Avenger' is available now in the Marketplace!
