Is another Disney+ show about to undo some big plot points from Avengers: Endgame? A new look at the Hawkeye TV series has led to some big questions.
There aren’t any trailers yet for the next phase of Marvel movies and Disney+ TV series, but that doesn’t mean there’s not a bunch of crazy information about them floating around. Loki will be a show about time travel. WandaVision is somehow going to be a show about 1950s domestic life. Natalie Portman is going to be the new Thor. Tony Stark might come back from the dead. You get it. What’s clear is that the next phase of Marvel won’t be like what’s come before, and not just because Spider-Man won’t be there. But now, we might know what a lot of this stuff will look like, specifically the opening title of the Hawkeye series.
On Sep. 8, 2019, a video leak hit Reddit showing off all of the title sequences for the upcoming Disney+/Marvel TV series, including a longish look at the upcoming Hawkeye TV series presumably surreptitiously shot at last month’s D23 expo.
[reddit_embed https://www.reddit.com/r/marvelstudios/comments/d1asfw/all_the_phase_4_official_title_intros/?utm_source=share&utm_medium=web2x expand=1]r/marvelstudios – All the Phase 4 official title intros
If you think that Hawkeye title sequence has a little bit of sixties flair to it, you’re not crazy. In fact, as of this week, Jonathan Igla, known for his writing on Mad Men, was named showrunner of the new series. In it, Jeremy Renner will return as Clint Barton, but the twist is he’ll be training a new Hawkeye: Kate Bishop. Right now, this seems to differ from what we saw at the beginning of Endgame, in which Clint referred to his daughter as “Hawkeye.” Will the Hawkeye show change the continuity of Endgame? Is Kate Bishop replacing Clint’s daughter? Is Kate Bishop Clint’s daughter? What’s going on?
Right now, it’s totally unclear how the various Marvel shows will work with the definitive ending of Avengers: Endgame; after all, WandaVision is set to bring Vision back from the dead and Lokiwill apparently focus the time-traveling version of the character who somehow isn’t also the guy who got killed by Thanos. In other words, the new Marvel shows are all nuts.
But, if this title sequence leak is any indication, it all looks great and will be exactly the kind of nuts we can get behind.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Avengers: Endgame has officially come to theaters, destroying every box office record with a ferocity and ruthlessness that would make Thanos proud. And while the movie has received an overwhelmingly positive response from critics and fans alike, the massive movie has also raised a fair amount of pointed questions. Like who was that random teen at Tony’s funeral? Who makes outfits for Hulkified Bruce Banner? And, most importantly, why did Endgame completely waste Captain Marvel? After all, the newest Avenger seemed destined to establish herself as the baddest hero around but instead, she did very little in terms of what actually happened in the movie.
Before we look at Marvel’s surprisingly small role in Endgame, let’s look at why people assumed she would have a big role in the first place. The biggest reason that most of us assumed Captain Marvel would have a massive presence in Endgame‘s endgame was her sudden and mysterious prominence in the larger MCU canon, starting with Nick Fury reaching out to her just as he was about to disintegrate at the end of Infinity War. As the architect of the Avengers, Fury has always prided himself as a man with all the answers and so it stood to reason that if he used what could possibly have been his last moments of existence making sure Captain Marvel returned to earth, she must be pretty fucking essential to saving the day.
This line of thinking was only magnified by Captain Marvel coming to theaters a little over a month before Endgame, as well as the movie itself, which made a clear demonstration of the fact that the titular hero had powers that would even make Thor shake in his Asgardian boots. The cherry on top of the speculative cake was Captain Marvel‘s mid-credits scene, where we see Captain America, Black Widow, Bruce Banner, and War Machine in a S.H.I.E.L.D. hideout wondering about the pager when suddenly, Captain Marvel appears and asks where Fury is.
With this mountain of evidence, speculation naturally abound. Some wondered if she would team up with Ant-Man to use the Quantum Realm to travel through time. Others said she is the one strong enough to beat Thanos. But no matter what particular theory you subscribed to, there only seemed to be one logical conclusion: Captain Marvel would prove to be the key to the Avengers undoing Thanos’ unique form of population control.
But it turns out, Marvel’s role in Endgame was pretty cool but mostly inconsequential. She shows up to help the Avengers find Thanos working on his garden, allowing Thor to finish the job and behead the being responsible for wiping out half the universe, which is shown to be little more than a moral victory. After that? Marvel is basically relegated to second-tier status on the Avengers, as she is briefly shown five years later just to let everyone know that she was off helping other planets, taking her completely out of commission during the time travel saga (aka the actual plot of the movie).
Marvel does return in time for the massive final showdown against Thanos and his forces and, to be fair, she kicks a whole lot of ass during the super war to end all super wars. But even as she is making her case to take the title of mightiest Avenger from Hulkified Bruce or Thor, she still doesn’t have a hand in the plan to take down Thanos other than participating in the extended game of keep-away with his beloved gauntlet.
Why did Captain Marvel play such a small role? The obvious answer seems to be due to the fact that this is the last ride for Tony Stark and Steve Rogers, so the majority of Endgame was dedicated to the original Avengers. But if that’s the case, why was perennial B-lister Ant-Man so fucking important to the plot? And given Endgame’s three-hour runtime, it’s hard not to feel like Marvel’s overall presence in Endgame was entirely underwhelming and a massive waste of an opportunity by the MCU.
With Tony and Steve officially riding off into the sunset, this was the perfect time to reassure fans that they were still in capable hands with the remaining supers, especially the brand new hero who arguably has the best powers of any of the Avengers and shares the name with the damn franchise. It stands to reason that Captain Marvel’s role in the MCU will only grow with the upcoming Fourth Phase and what better way to understand her place in the Avengers than to actually give her something important to do? Instead, she was forced to mostly sit on the sidelines while Iron Man, Captain America, and the rest of the OG gang got to have all the fun. What a waste.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Joel Lambert spent ten years as a Navy SEAL and is now the star of the Discovery Channel’s “Lone Target” (called “Manhunt” outside the U.S.)
“In China, it’s called ‘Capture the Special Master,’ and that’s awesome,” Lambert says.
“Lone Target” pits Lambert and his survival and evasion skills against some of the world’s best trackers, from Maori warriors in New Zealand to the U.S. Army’s Phantom Recon unit in the Arizona deserts. He is inserted into the “Hunter Force Unit’s” area of control and must reach a designated extraction point within a certain amount of time.
“SERE [survival, evasion, resistance, escape] was something I enjoyed as a SEAL,” Lambert says. “The field craft, SERE, heavy weapons and explosives were the kind of things I gravitated towards and did a lot of training in.”
Before he trained with the Navy, Lambert actually did some acting.
“I had a background in commercials,” Lambert says. “I never thought this would ever be part of my life again. A friend of mine said he was putting a show together, looking for special operations guys with tracking and survival background. I went out there and saw they had guys from [the British] Special Air Service, Recon Marines, all these guys with specific skills sets. I thought, okay maybe this is more than just a guy trying to cobble together a pilot.”
He was right. “Lone Target” is a hit for the Discovery Channel. And what Lambert did next would change his life.
“I ran into the desert, built some booby traps, talked about tracking and tactics, the psychology of being hunted or hunting,” he says. “They offered me the gig and I thought, ‘I don’t want to do this.’ My ego is at stake. I’m going to be wearing that trident on my chest whether I talk about it or not. I’m going to be representing all my brothers. It was a huge risk.”
“Those are exactly the reasons why I had to do it,” he laughs. “It was the most amazing experience.”
Lambert was caught three time out of six in the first season and only once the second.
“It’s a very hard thing, especially doing it in daytime so we can film and I have a camera guy with me,” he says. “All the things that are necessary to making the show handicap me, not the hunter force. At first I thought it was just unfair, but the more I thought about it, I was like, ‘You know what? It makes it even better because when I do get away because then I’ve really pulled some shit off.'”
A show with insurmountable odds each week is the perfect fit for a guy who joined the military just to be a SEAL. When he was ten years old his father introduced him to a friend who had just finished BUDS, and the young lad was taken with the stories about how challenging it was both physically and mentally. That feeling stuck with him until he focused on getting in peak shape at age 22.
“I moved into this crackerbox studio apartment and started doing nothing but training because I wasn’t sure I had it in me physically,” Lambert says. “I woke up five in the morning, out there running five miles in boots, doing hundreds of push ups. I think it was a little over a year that I really dedicated everything in my life to training for BUDS.”
But not everyone can be the subject of their own Discovery Channel show, so Lambert has a little advice for those whose military specialty doesn’t exactly have a civilian counterpart.
“I see these guys like Team Rubicon, they’re moving from swinging the sword to building the city,” he says. “Ryan Zinke, Montana Congressman, he’s moving from kicking in doors to leading and serving. Just because you’re not toting a weapon anymore doesn’t mean your path has ended. It’s there, you just keep moving forward.”
“You’re getting the body prepared for a number of motions,” Saladino told Men’s Journal. “These are more expansive than your typical lifting movements.”
He allows for flexibility in his workout routine.
Saladino noted that, while he and Reynolds tried to stick to a weekly strength plan that included two days off, it was constantly adjusted to fit the needs of his body and schedule.
“The biggest mistake that people make when making an exercise plan is not to listen to their body every day,” Saladino told Men’s Journal. “Ryan was a recent father and traveling a lot [when “Deadpool” was being filmed], so if he had been up all night with the baby, or just gotten off a plane from Singapore, you can best believe we were changing up the program.”
He took it upon himself to work out in his downtime.
“Don [Saladino] gave me a plan so I could train whenever I needed to,” Reynolds told Men’s Health in 2016. “It made things more manageable. And if I wanted to spend a little extra time with my daughter in the morning, I could do that.”
Reynolds has said that he has a “functional” approach to training rather than a “fashionable” one, so he usually prefers to work out alone and on his own time.
Saladino admitted that he is never concerned about Reynolds’ commitment to the workout regimen.
“Ryan’s such a hard worker,” Saladino told Men’s Health. “If anything, I had to scale him down. One day he came up to see me having been working out on his own and I was like, ‘Holy sh-t!’ He looked like a different person.”
“I like using these traditional movements with little twists,” Saladino explained. “This move, in particular, is not only maintaining the strength that he built up to play Deadpool but also encourages stabilization and balance. We have done exercises similar to this over the course of the past few years, but sometimes with a kettlebell and without the vest during our warm-ups.”
However, the father of two did admit that he can battle this aversion with outdoor exercises and activities.
“I love being outdoors,” he said. “There are forests all around [where I live] and I get to hike, mountain bike … just move. I’ll even bring the baby with me, put her in a little baby carrier thing and off we go. In a weird way, it’s a great workout because you’re adding 20 pounds to your bodyweight.”
It’s certainly admirable that Reynolds juggles his responsibilities as an action star with his growing family of four— but his DIY style when it comes to fitness can work for just about anyone.
One of the biggest reveals in “Star Wars: The Rise of Skywalker,” other than Rey’s identity, came at its very end when the character revealed she had her own new lightsaber with a distinctive yellow-orange hue.
What color exactly is the lightsaber and how did the visual effects team land on it?
“A fair number of colors have been used in lightsabers. So there was a design challenge there in terms of what color it should be,” “TROS” visual effects supervisor Roger Guyett told Insider Monday of the direction given for the lightsaber seen at the movie’s very end.
“There was an optimistic kind of quality to that, but we also wanted [Rey] to have a very unique color,” he added of coming up with the color we see on screen. “We ran some tests and decided in the end what color it would be.”
Rey prepares to slice through Kylo Ren’s ship with Luke Skywalker’s lightsaber.
Is there a specific name to Rey’s lightsaber color? We’re going with ‘yellow optimism.’
“That specific color yellow, if you go too pale — this is getting really in the weeds here — if you go too pale and you make it too light, it’s going to look white a lot of times,” Industrial Light Magic (ILM) visual effects supervisor Patrick Tubach said of one factor that helped them land on that precise color. “Colors on film, sometimes they bleed away depending on the exposure and the quality of the light in the scene.”
“Making it that more golden yellow gives you that optimistic feeling, and it also allows you to make it supersaturated and still feel like it’s in the ‘Star Wars’ universe,” he added.
Yellow sabers aren’t anything new to “Star Wars” lore, but they are uncommon. In the past, yellow lightsabers have mostly been limited to Jedi temple guards, who wielded double-bladed sabers.
Here’s Kanan Jarrus going up against a Jedi Temple guard on the animated series “Star Wars Rebels.”
When asked if they had a specific name for the color, optimism was a word that came up frequently to describe the tone they were going for with the look of Rey’s lightsaber.
“We definitely went for things like golden and sun and optimism,” said Tubach.
“I think the optimism carried that choice,” added Guyett.
“I’m going to paint my house ‘yellow optimism,'” joked creature and makeup effects creative supervisor Neal Scanlan.
Did the hilt of Rey’s lightsaber look familiar? It should have.
Rey’s lightsaber does include a yellow kyber crystal
“Yeah, it’s supposed to be a yellow crystal,” said Tubach.
It was not a clear crystal that changed color after chosen by Rey. Neither was it a purified version of a red kyber crystal as Ahsoka Tano did in the past to create her white lightsabers.
Insider thought Rey’s saber color may have contained a healed version of Kylo Ren/Ben Solo’s cracked red kyber crystal, but it seems that’s not the case.
Did the hilt of Rey’s lightsaber look familiar? It should have.
The small detail within Rey’s new lightsaber you may have missed: The hilt of her lightsaber comes from her original staff.
“That was the concept,” said Guyett of the inspiration behind the hilt of Rey’s lightsaber. “The art production design and the art department, we all contribute to the designs of various things… [director] J.J. [Abrams] just thought it was logical that she had the staff, and, therefore, the saber should somehow be linked to that.”
In hindsight, when you go back to “The Force Awakens,” Rey’s staff always looked like it could eventually be transformed into the perfect lightsaber hilt.
Without Rick and Morty, Westworld, or Game of Thrones, Sunday nights are getting fairly thinned out with regards to binge worthy TV shows. Luckily we still have The Walking Dead, a great show that keeps fans watching every week because of the fantastic cast of characters living out the zombie apocalypse fantasy we all think about.
One of the key components of the show is the over indulgence of firearms. Makes sense, right? Zombie apocalypse would need plenty of nobodies to pack some heat to survive. Not everyone can be a bad ass with a crossbow or katana.
However, people who have actually seen a firearm cringe when they see how the weapons are actually portrayed.
Some things can be hand-waved away by the user being a idiot and no one correcting them in the apocalypse (I’m looking at you, everyone with sh*tty trigger discipline!).
Other times the writers throw in a spotlight piece of dialogue, such as when someone gets a headshot on a walker from maybe 500 yards and someone else says, “Wow! That’s impressive!” and they respond with “I wasn’t aiming for that one.”
This is called “hanging a lantern” on stretches of the imagination (but it still doesn’t explain the max effective range on a 9mm Glock).
This list is ranked from “Okay, I guess the show creators are taking some creative freedom with that” to “Wait… what? But why… what?”
Minor non-specific spoilers ahead if you care about spoiler tags.
#6. Cocking your weapon multiple times
This one isn’t specific to just The Walking Dead. If you’ve never picked up a weapon before, you might think guns are ready to jump into bang-bang mode at any moment. This doesn’t happen in reality. A weapon won’t fire a round if there’s no round in the chamber. And it is possible that they did chamber their weapon off-screen — not everything in life is cinematic enough to make good cinema/television.
But this isn’t like weapon maintenance and cleaning. Even more egregious is when they show the same weapon being cocked when they’re about to start fighting. And then again when they’re seconds away from a fire fight. Possible? Totally. But we’d see that round that was chambered a few minutes ago fly out. Just going to gloss right over the manual cocking sound of a revolver being applied to semi-auto pistols, but you catch the drift.
I won’t bore you with my rant on how there’s never any brass on the ground, unless it’s for a cool low-angle “after battle” shot (Television Series “The Walking Dead” by AMC)
#5. Who needs a rear sight post anyways?
Quick run down on how aiming works: Think of when you were looking at the stars. If you line up a tree with, say, a fence post and sit in the same spot days later. You can observe the movement in the sky. You lined up the object at four points. The star, the tree, fence post, and your eye. You need two points between your eye and the star to keep positioning just right in a straight line.
In the case of a firearm, that straight line is also the barrel. Take away a sight post, that straight line is skewed. All of this means that it won’t hit jacksh*t, and the characters wasted their time zeroing their weapons.
Or maybe no one needs to zero their weapon in the zombie apocalypse…
#4. Who needs an eye to look through the scope anyways?
Okay. Maybe they’re so intertwined with their weapon that it becomes second nature. Like previously mentioned, everyone is an expert as shooting walkers from god knows how far. The rifle being brought up to the shoulder may just be out of second nature.
What about our characters that don’t have their dominant firing eye? What the hell are they even aiming at?
Apparently everyone types this in before every episode of the show, because unless it’s for dramatic tension, no one runs out of ammunition. The world is ending. It’s a constant worry in the show to find food. But ammo? Nah. We got it covered.
#2. Misunderstanding what certain bullets do
Last science rundown: Newton’s Third Law of Motion. All forces between two objects exist in equal magnitude and opposite direction. Every action has an equal and opposite reaction.
In firearm science, this means that the kickback from firing a weapon will hit the target with a similar kick, accounting for minor air resistance and many other factors. So if you were to shoot a handgun at someone, they are hit with the same force. It’d hurt like a b*tch, but no one is flying through a window.
Same works the other way around to. If you shoot a M2 .50 Caliber machine gun into the engine block of a civilian jeep, it won’t just ding off like some dirt.
#1. Head shots for days against zombies, but no one can seem to hit a human for some reason
Why whyWHY can no one hit a single living person? Plot armor must be a hell of a thing. At least the Stormtroopers have a reason for why their aim ‘sucks’.
That said, the military’s got gear that might give Zordon (played by Bryan Cranston) some inspiration.
1. M1A2 Abrams tank
This is one tough vehicle. In “Armored Cav,” Tom Clancy related the tale of how one Abrams tank survived being hit multiple times by T-72 main gun rounds from as close as 400 yards!
The Abrams also has superb firepower in the form of its 120mm main gun, a M2 .50-caliber machine gun, and two M240 7.62mm machine guns. In essence, this tank is already a Zord in many respects.
Might as well make it official.
2. B-1B Lancer
This plane carries a lot of firepower – 84 Mk 82 500-pound bombs – and that is considering that its external weapons carriage was disabled as a result of the United States signing the Strategic Arms Reduction Treaty. The plane is also fast, and capable of flying at treetop level.
3. A-10 Thunderbolt
There is no reason why the A-10 – and its ability to BRRRRRT the bad guys with the GAU-8 — shouldn’t be a Zord. It is very tough (remember how Kim Campbell brought back a busted-up A-10?). It also carries a lot of bombs.
Put it this way — even a skyscraper-sized minion of Rita’s would be hard-pressed to stand up against a squadron of baseline Warthogs, but against an A-10 Thunderbolt Zord?
4. M270 MLRS
This vehicle gets the nod for its firepower. The various rockets it fires can spread bomblets or a unitary charge. That ruins the day for infantry and enemy vehicles, but when it uses the MGM-140 ATACMS – or the Army Tactical Missile System – it could probably put the hurt on one of the skyscraper-sized monsters as well.
5. M50 Ontos
This is more a blast from the past. That said, the six 106mm recoilless rifles provide a huge punch. The rifles could fire anti-personnel or anti-tank rounds.
In Vietnam, the Ontos was deadly against enemy infantry – and given that the fighting against Rita’s minions is likely to involve a lot of hand-to-hand fighting (until she calls in her big guns), the Ontos makes sense.
6. M1097 Avenger
A lot of this has been focused on the air-to-ground aspect. But it never hurts to be ready for some ground-to-air action. DefenseNews.com notes that Boeing is proposing some upgrades to the baseline Avenger, notably the AIM-9X Sidewinder and the Longbow version of the AGM-114 Hellfire.
Now, we have no idea what any Megazord from these vehicles would look like, but given their firepower – would they need a Megazord configuration? We doubt it. We’d also like to know, what military vehicles do you think Zordon should use as the basis for his next generation of Zords?
It may take a few years, but the Rock might punch Superman in the face on the big screen. When Dwayne Johnson slips into the suit of DC superhero/supervillain Black Adam, there’s a chance he could brawl with Henry Cavill’s version of the Man of Steel. It happened in the comics, and, right now, the people making the movie with the Rock aren’t ruling out a Black Adam/Superman grudge match.
Speaking to ComicBook.com, the producer of Black Adam, Hiram Garcia, basically said that the idea of bringing in Superman to fight the Rock is totally on the table.
“I think the DC Universe is a wonderful universe and we’re open to everything,” Garcia said. “We have big aspirations for it[Black Adam]. We’re friends with Henry. [The Rock and Henry are friends, it’s a huge comic book brand as well. And I always just loved the idea. Who knows?”
Though the Rock has been confirmed to play Black Adam for a while, the Rock recently confirmed the release date of the film — Dec. 22, 2021 — alongside concept art of him as Black Adam. Technically speaking, Black Adam is a misunderstood supervillain within the DC Universe, sometimes the nemesis of Shazam. Now, because the film version of Shazam featured a Superman-cameo, it’s reasonable to assume that some version of Superman could show up in Black Adam.
But, if even Superman did appear in Black Adam and throw down with the Rock, it wouldn’t necessarily be Henry Cavill playing him. Basically, other than the upcoming film The Batman, the future the DC comics movies is somewhat in flux. So, if Black Adam did feature Superman, it could be a brand new actor playing the part, or perhaps, someone we’ve already seen like Herny Cavill.
In the meantime, if you’re jonesing for Superman, three different versions of Superman are crashing the CW’s mega-crossover event in just a couple weeks, including Tom Welling from Smallville and Brandon Routh from Superman Returns.
Warning: Major spoilers below. Do not read if you haven’t seen “Spider-Man: Far From Home.”
Director Jon Watts calls “Spider-Man: Far From Home” a “con movie,” and if you’ve seen it already, you know exactly why. The movie uses the audience’s collective knowledge of the Marvel Cinematic Universe to present a story that completely messes with their heads.
From the real motives of the movie’s villain, Quentin Beck (aka, Mysterio; played by Jake Gyllenhaal), to the surprise cameos, “Far From Home” is a rapid-fire series of twists, all the way to the post-credit scene.
And Watts said that sleight-of-hand feel was ingrained in the project from the development phase — which began just weeks after “Spider-Man: Homecoming” opened in theaters in 2017 — because of the movie’s villain.
“It was such a core concept because it’s Mysterio’s whole philosophy,” Watts told INSIDER. “When you’re dealing with a character who works in illusions and deception, that’s going to be one of the major themes.”
So Watts beefed up on his con movies, specifically spending a lot of time studying “The Sting” and “The Usual Suspects,” and embarked on telling a unique Marvel movie, one where almost everything is not what it seems.
Below, Watts gave INSIDER insight on 6 of the biggest spoilers in “Far From Home,” including stuff you may not catch until you see the movie again.
(Jay Maidment/Sony Pictures)
1. The moment Watts knew the bar scene, in which Peter Parker hands over the E.D.I.T.H. glasses to Mysterio, would work.
Halfway through the movie — after Spider-Man (Tom Holland) and Mysterio defeat one of the Elementals — the two have a celebratory drink at a bar. The scene gradually becomes a dramatic moment in which Peter Parker questions if he has what it takes to be a superhero like his idol, Iron Man. He even doubts if he’s worthy to have the high-tech E.D.I.T.H. glasses that Tony Stark had Nick Fury give him earlier in the movie. By the end of the scene, Parker hands Mysterio the glasses, which have an AI embedded in them that can power all of Stark Industries’ weapons.
But once Parker walks out of the bar, it’s revealed that Mysterio played a huge trick on him. The bar was actually an illusion. Many of the patrons were working for Mysterio and the decor was all artificially projected by clones (they were actually sitting in an abandoned storefront). It was all a con job to get the glasses from Parker so Mysterio could have control of Stark’s high-tech weapons. Even the Elementals Spidey was battling was an illusion put together by Mysterio.
The ambitious scene was one Watts knew had to hit perfectly with the audience if the movie was going to work.
“The movie hinges on that scene,” Watts said. “It’s a culmination of Mysterio’s con. I anticipate that a lot of people will know that Mysterio is the villain, they aren’t just exactly sure how or why.”
Watts said there were not multiple versions of the scene shot. What you see in the movie is how the scene was scripted. And though he spent months with the screenwriters getting the scene to feel right, he wasn’t convinced it would work until Holland and Gyllenhaal got their hands on it.
“What’s great about working with actors like Tom and Jake is that they bring it to life,” he said. “They have to make sure that none of it feels false. I remember the first time we ran it, we tweaked a couple of lines but as soon as they started going through it between the two of them, it was a huge relief for me. It was one of those moments where you have talked about it a lot and prepared so much, but it has to come to life with the actors or the whole movie feels false.”
2. The bar scene is also filled with hidden messages to influence Peter Parker to give up the glasses.
The whole trick with the bar scene is Mysterio has to get the glasses without ever asking for them. Peter has to be the one who hands them over. Watts said to drive that home, along with watching how classic con movies from the past have done it, he also studied how deception is done on people in real life. And his major takeaway was visual persuasion.
“You may not have caught this, but all the things on the wall behind Quentin [in the bar scene] are things that feed into the idea that Peter would hand the glasses over to him,” Watts said. “So even the art direction is part of the con. There’s military medals, that sort of helps remind Peter what Quentin said about being a hero soldier. There’s a picture of glasses, again, embedding that idea. So there are all these things in the background of the bar in Peter’s eye line that will subconsciously motivate him to hand these glasses over.”
Did you catch any of those visuals? Keep an eye out for them in the bar scene next time you see the movie.
3. The origin of “The Blip” term.
One of the funniest moments in the opening of the movie is the reveal of the term “The Blip,” which refers to people who were affected by Thanos’ snap that happened in “Avengers: Infinity War” and then came back after the events in “Avengers: Endgame.”
Watts said it was something that they came up with while writing the movie.
“We had our own logic,” he said. “‘The Snap’ was what made everyone disappear, but for everyone who came back it was like no time had passed. So we felt, ‘It’s just like a blip to them.’ That’s just how we started talking about the passage of time. And we also felt it was just a funny phrase to refer to this devastating event.”
And thanks to the term, a running joke came out of it.
Though The Blip felt like just moments for people affected, they were actually gone for five years. So they came back five years older. It does wonders for one of Peter Parker’s high-school classmates, Brad (Remy Hii). Pre-blip he was a short geek, but in those five years, he hit puberty and post-blip he’s a hunky stud clashing with Parker for MJ’s (Zendaya) affection.
4. Quentin Beck is behind some of the most memorable Stark Industries tech, but never got the credit.
Another great thing about the bar scene is that it gives us Mysterio’s backstory. And it’s steeped in MCU lore.
It turns out he’s the one who created B.A.R.F., the binary augmented retro-framing tech Stark shows off in the beginning of “Captain America: Civil War” — though it was Stark who came up with the silly name (and took the credit).
Mysterio’s past in the movie is a little different than his origin in the comics. In the pages of “The Amazing Spider-Man,” Quentin Beck is a special-effects wiz and stunt man who turns to crime when his dreams of making it big in Hollywood fizzle out. But for the movie, Watts realized that Beck would fit perfectly in the MCU if he made him a bitter former employee at Stark Industries.
“The idea around that was we knew Quentin would have a relationship with Tony,” he said. “The illusion tech that Quentin uses, we’ve actually seen it in the Marvel universe from the beginning. Tony has always dealt with holographic tech, but it’s never been said who made it. And then it really comes to the fore in ‘Civil War.’ But Tony didn’t make it. He doesn’t build all the Stark tech on his own, there’s a whole organization that does it. So we thought that would be how Mysterio pulls this all off. Once that clicked, then we just decided he would have a team of disgruntled Stark Industries employees. We used that B.A.R.F. flashback as a jumping-off point.”
5. The return of J. Jonah Jameson.
The mid-credit scene in “Far From Home” is a fun moment for those who were fans of the Sam Raimi movies, as the beloved character J. Jonah Jameson makes a cameo. And like those movies from the early aughts, actor J.K. Simmons returned to play the role.
In the scene, Jameson is not the loud-mouthed editor of the Daily Bugle, but a loud-mouthed host of an Alex Jones-like TV show. In the middle of Manhattan, Jameson appears on a billboard and shows shocking footage of Mysterio, just before his death (which he doctored to make it look like Spider-Man killed him), revealing the true identity of Spider-Man: Peter Parker.
“It made so much sense in the context of the story we were telling,” Watts said of bringing back Jameson. “We knew we wanted Mysterio to be the one who revealed Peter’s identity and it had to be on the news, so we felt if it’s on the news it has to be the Daily Bugle, and if it’s going to be the Daily Bugle, it has to be J.K. Simmons. There was never any question about. And if he didn’t do it, we weren’t going to do it. We would have come up with something else.”
But why make Jameson a TV personality? Watts said putting him on TV instead of overseeing a newspaper was just commenting on the times we live in today.
“He’s still doing a very similar character to what he was doing in the Sam Raimi movies, but now there’s just a real-world comparison that there wasn’t before,” he said. “It’s less that he has changed and more that the world has changed.”
6. Nick Fury and Maria Hill were really Skrulls.
“You didn’t see that one coming, right?” Watts asked with a laugh.
We certainly did not. In the scene that immediately follows the end credits, we are given the movie’s biggest con: Nick Fury (Samuel L. Jackson) and fellow S.H.I.E.L.D. member Maria Hill (Cobie Smulders) were really Skrulls the entire movie. Yes, Skrulls, those shape-shifting beings we were introduced to in “Captain Marvel.”
It turns out Talos (Ben Mendelsohn) and one of his compatriots came to Earth with instructions from Fury (who we learn is lounging out in space on a big ship) to hand deliver the E.D.I.T.H. glasses to Peter Parker. Clearly things got a little complicated. But it is a fun coda for a movie that completely messes with the audience.
“Once you get into the vocabulary of a con man movie like this, I feel you have more leeway to just keep doing reversals like that,” Watts said. “Everyone is lying. Everyone is hiding something. No one is who they seem. It just made sense that at the end of it we would do this. As we were developing the story, there was always a lingering question of, ‘But, how could anyone fool Nick Fury? His super power is being skeptical.’ But we knew he needed to be fooled in order to make the story work. So as soon as I saw ‘Captain Marvel’ it became obvious how we do it.”
Watts added: “When you watch the movie again with this knowledge about the Skrulls there are some fun things you will catch, especially Fury’s dialogue.”
This article originally appeared on Insider. Follow @thisisinsider on Twitter.
There are a lot of war movies to choose from, but not many of them are directed from the perspective of a man who lived through the mental torture that was the Vietnam War.
With Platoon, critically acclaimed writer-director Oliver Stone (an Army veteran) transports audiences back to that politically charged time in American history where the war efforts of our brave service members were met with disdain upon returning home.
Platoon, fueled by Stone’s unique vision, features some of the most electric, emotionally driven scenes to ever hit the big screen. Although the film won several awards, there are a few things you probably didn’t know about this iconic war movie.
Filipino protesters linked arms whenever forces attempted to disperse them.
(Photo by Romeo Mariano)
The Philippines Revolution of 1986
Talented actor Willem Dafoe, who played Sgt. Elias in the film, decided that he needed to head to the Philippines before the rest of the cast to get acclimated before shooting. After arriving and taking a brief nap, Dafoe awoke and opened his hotel room’s curtains only to watch a column of tanks drive down the street.
The Philippines Revolution had just kicked off.
From the moment the actors landed, they were treated like infantrymen
Capt. Dale Dye (a Marine veteran) made the actors get haircuts and speak to one another using only character names. Many of the actors were sitting pretty stateside just 48 hours earlier. Suddenly, they were being treated like soldiers.
While the actors were digging their fighting holes with e-tools in the jungle, one of the special effects masterminds on set, Yves De Bono, planted explosive charges nearby to help transform the thespians into hardened grunts.
Once Capt. Dye gave the signal, the charges exploded as planned, taking the actors by complete surprise.
Lerner (played by Johnny Depp) carries a young girl through a Vietnam village
Johnny Depp fell asleep on post
While in training, Depp was assigned to man a post when he started drifting off to sleep. The young actor woke to a gun pressed to the back of his neck. Capt. Dye informed Depp that he had just been killed.
Remember that scene where everyone got high? Well, that was real, according to actor Willem Dafoe. During an interview for a behind-the-scenes documentary, the cast got pretty high before the lights and camera were set up. However, once they were ready to film, their marijuana “high” was more like a “Mary Jane down.”
The castmates became very sleepy and, according to a chuckling Dafoe, everyone was “useless.”
If you’ve watched the HBO Miniseries Band of Brothers, you can understand why it’s one of the most critically acclaimed TV series out there. The series mixes amazing storytelling with fantastic cinematography and special effects. But there’s something else this series brings to audience — an authentic glimpse into the life of an American Soldier during WWII.
When one of us veterans watches Band of Brothers or its counterpart, The Pacific, we’re reminded of the lifestyle that brought us so much pride. It feels like Tom Hanks and Steven Spielberg (who also worked together on Saving Private Ryan) took a lot more time than most Hollywood types to really nail their portrayal of life in the service.
But outside of giving veterans a warm, fuzzy, nostalgic feeling, Band of Brothers teaches civilians about major things we learn while serving.
The show, in large part, centers around a theme of what it takes to be a good leader. You’ll see plenty examples of great leadership — and enough bad examples to make you wonder why certain characters held that in the first place. A few things you learn about leadership from the series include knowing your subordinates, caring more about their well-being than your career, and being confident enough in yourself to make choices in the face of adversity.
In Band of Brothers, the importance of troop morale is obvious
Throughout the show, you’ll see the soldiers of Easy Company ride the highest highs and sink to the lowest lows. When tragedy strikes, you see it in the posture and action of each and every soldier.
This show, better than most, shows how important it is for a leader to understand that the morale of their troops is a big deal.
The soldiers of Easy Company are undoubtedly courageous, but this series doesn’t make them out to be superheroes. Instead, Band of Brothers depicts them as your average Joe who volunteered to be a part of something bigger than themselves. You constantly see the fear on their faces — but you also see them act in spite of it, and that is courage.
The Band of Brothers philosophy
Towards the end of the series, you start to see how the soldiers of Easy Company begin to question the overall purpose of the war. Of course, this question is unshakably answered when they come across a concentration camp.
But the theme that show explores beautifully is that, at the end of the day, war is about humans fighting humans.
Dealing with loss
The series doesn’t shy away from showing the pain of the tremendous losses experienced in war. Not just among warfighters, but among civilians and their homes. They take an entire episode to establish the relationship between the medic, Eugene Roe, and a civilian nurse who volunteered to help — only to have her die in the end.
Roger Deakins has dazzled moviegoers for decades with visuals that have gone on to become the most memorable in modern film history.
The frigid vistas in “Fargo,” the dreamy Western plains in “The Assassination of Jesse James by the Coward Robert Ford,” the gritty underground world of drug cartels in “Sicario,” and the washed out future in “Blade Runner 2049” (which finally earned him his first-ever Oscar), all came from Deakins.
It’s hard to imagine he could do anything that would top this legendary body of work.
But he has with “1917.”
Marking Deakins’ latest collaboration with Sam Mendes (the two worked together on “Jarhead,” “Revolutionary Road,” and “Skyfall”), the story follows two British soldiers during World War I who have to travel behind enemy lines to deliver a message that will stop 1,600 of their allies from walking into a trap. And in telling that story, Deakins makes it feel like the entire movie is done in one continuous shot.
The hugely ambitious idea paid off. The movie, currently in theaters, has found critical acclaim, box-office glory, and award-season praise as it won three Golden Globes (including best director for Mendes and best drama) followed by 10 Oscar nominations.
“Blade Runner 2049” is the only movie for which Roger Deakins has won an Oscar.
Among them was Deakins for best cinematography, the 15th time he’s been nominated.
If you were looking for a sure bet this Oscars, it’s that Deakins will take home his second Oscar when the awards are handed out on February 9. But don’t count on the man himself to get too excited.
The 70-year-old Englishman has been the frontrunner too many times before, only to leave empty-handed, to listen to any Oscars handicapping. In fact, he’s so modest it’s hard to get many details out of him on how he actually pulled off the ambitious shooting technique that has become the biggest draw of the movie.
“We had a lot of prep and we could just work through all the problems,” he said in a laid-back tone to Business Insider hours after the Oscar nominations were announced on Monday.
But finally he let out something that did scare him. It was something that even a legend like himself, who has come across seemingly every scenario behind the camera, could not control: the weather.
“That was a bit tricky,” he said, with just the hint of dry English humor.
Most of “1917,” which takes place over two days, is shot over grey skies. The gloom adds to the despair of the story’s war-torn surroundings. But Deakins said it was also a choice he kept pushing for early on in preproduction.
“Just practically we had to shoot in cloud,” he said, looking back. “Either you shoot it in real time, at the right time of day, which you never do unless you have months and months of time. Or you shoot in cloud and time it to look that way.”
Knowing most of the filming would be done at Shepperton Studios in Scotland, the movie’s production office looked up what the weather was in the area the year before at the time they were going to shoot. Deakins was disappointed in the answer: “Apparently it was gorgeous.”
But the movie moved forward, which included Deakins and his team rehearsing the shots constantly with the small, light-weight cameras made especially for the movie from Arri Alexa.
Everyone was ready when the first day of shooting came in April of last year, but there was one problem.
“There wasn’t a cloud in the sky,” Deakins said. “It certainly made me anxious.”
While producers were on the phone explaining to the studio, Universal, and financiers why they couldn’t begin production because the weather was too nice, Mendes, Deakins, and the rest of the actors and crew were back to rehearsing in the trenches made for the movie.
Thankfully, the second day was a cloudy one and production was able to get back on track as they also made up the previous day’s shooting. Deakins said that’s how it was for most of production. If clouds weren’t in the forecast, everyone waited around until the day came when there was — and then everyone doubled their efforts to stay on schedule.
“We would literally stand around for hours waiting for a cloud to come by,” Deakins said. “I had five different weather apps on my iPhone. Every radar I could get. You look at them and try to find the one that will tell you what you want.”
Shooting a scene from ‘1917.’
(Francois Duhamel / Universal Pictures and DreamWorks Pictures)
Then the day came when he wanted some sun. At the end of the movie, for a shot where the movie’s lead, Schofield (George MacKay), is sitting by a tree, Deakins said he wanted the shot to show some rays of sunlight in the sky.
“There was this little cloud coming over the sun so before we shot that section we called everyone over and said, ‘Let’s shoot it, we might get lucky,’ and sure enough when it got to the end of the take the sun came out,” he said.
“That was the first take,” Deakins continued, with a certain pride he didn’t show earlier in our conversation. “We shot it another fifteen or twenty times, but Sam liked that first one. And it was the only one where the sun came out. We never got that again.”
Looking back on the experience, Deakins said he would be up for shooting a movie again like this — though he wonders if anyone would want to.
“I don’t think many directors would want to tell the story in that way,” he said. “But it doesn’t scare me off at all. It would be quite fascinating to do it on something else.”
It’s good to see that even a legend has dreams for what the future could hold.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
In the fog of war, service members are forced to make decisions that will haunt them for the rest of their lives. Some decisions are based on actionable intelligence, and others are based on gut intuition; ultimately, anyone who deploys and sees combat will come up against the question of whether or not they’re making the right decision.
Recon, Robert Port’s latest film, explores just that. Stationed in Italy during the middle of WWII, Recon follows four American soldiers over a day as they’re ordered out on patrol on what might be a suicide mission. The men witness their sergeant kill a local right before they’re ordered out on patrol, so none of the foursome know if they’re being sent out to perish or succeed.
Unlike other war movies that explore the external motivating forces that drive the plot, Recon examines the internal challenges that deployed soldiers come up against. Recon is based on the 2010 novel Peace, written by Air Force veteran Richard Bausch.
Recon is the feature debut for Port, who won an Oscar for his 2003 documentary short, Twin Towers. Recon stars Alexander Ludwig (Vikings), Sam Keeley (68 Whiskey), Chris Brochu, and RJ Fetherstonhaugh. Franco Nero (Django, Die Hard 2, Django Unchained, John Wick: Chapter 2) stars as the local who leads the unit through the forest.
The film initially premiered at the Austin Film Festival last year. Despite its relatively low budget, Recon features some impressive production values. Most surprisingly, the entire film was shot in Canada – a fact that’s not obvious since the entire film takes place in a wintry forest.
So, what makes Recon different than all the other WWII movies out there?
In an interview with WATM, Port noted that Recon isn’t just a film for WWII veterans – it’s a film for all veterans. It’s also a film that asks much of its viewers – namely how to be empathetic toward America’s veterans. He wants the viewers of Recon to question their morality and mortality, just as the film’s characters do.
“What’s something I should do the next time I see a veteran? What’s it like to walk in their shoes? It’s easy for us to judge, but unless we were there, we don’t know,” said Port.
That’s something Port spent his life trying to imagine. After narrowly escaping Hitler’s invasion, Port’s grandfather came to America and then enlisted in the military to fight in Europe.
“He never talked, as many of the greatest generation don’t do, about the actual killing. Instead, he talked about how human beings needed to look out for one another,” said Port, noting that that’s a commonality that all veterans share.
It’s a question that Port has spent much of his life trying to answer, so when the opportunity came to work on the film, he jumped at the chance. Port hopes that his audience will watch Recon and then explore how they can give back to the veteran community.
In an interview with WATM, the film’s star Alexander Ludwig, of Vikings, said that working with a script where the main character was driven by internal forces rather than external obligations was life-changing.
“For me, that really helped me get into the psyche of what it would be like to be someone in 1944 in Italy and deal with the psychological and physical trauma they had to endure,” Ludwig said.
Aware of his ability to go back to his hotel room each night after filming, Ludwig said he still isn’t sure how the WWII soldiers endured.
“I can’t even say I know what it’s like to go through anything like that. It was one of the hardest things I’ve ever done and I’m so grateful to be able to share this wonderful story with the world,” Ludwig added.
Recon launched November 10 as a one-night Fathom event in AMC, Cinemark and Regal theaters nationwide and is now available On Demand Everywhere, learn more at http://www.reconmovie.com, #ReconMovie.