Shazam's Editor Reveals The Scene That Was The Toughest To Get Right

Shazam's Editor Reveals The Scene That Was The Toughest To Get Right

Warning: SPOILERS for Shazam! are ahead!

As one expects from a superhero movie, Shazam! was packed with a lot of action-packed moments, all of which came with their own unique challenges to pull off. As a result, just because a scene or sequence was envisioned in a particular way on script or while shooting doesn’t mean it came together looking exactly like that when finally assembled.

One of those sequences was the final battle between the eponymous protagonist and the Seven Deadly Sins-powered Doctor Sivana, which led to Billy sharing his power with his adoptive siblings so they too could become adult superheroes. I learned this when I recently spoke with the editor of Shazam!, Michel Aller, as this was her response when I asked what scenes changed the most from how they were initially shot to how they were edited together:

The end battle, really, was the biggest one that evolved. It had so many moving pieces that we had to work with and figure out, showing these new characters, the adult family, and giving them enough screen time, and still having the screen time between Sivana and Shazam. That end sequence, I wouldn’t say it’s just one scene, but the whole end battle was the one evolved the most.

There’s definitely a lot going on in that final Shazam! battle. It would be one thing if it had just been a straightforward fight between Shazam and Sivana, but not only did Mary, Freddy, Eugene, Darla and Pedro joining the fray widen the scope, but there was also the fact that the Seven Deadly Sins were able to separate from Sivana and go their own ways. So there were numerous things to keep track of within that carnival battleground.

As a result, not only was the final Shazam! battle the sequence that evolved the most during the editing phase, it was also the hardest one to cut together. In Michel Aller’s words:

It was probably the hardest, because you want to balance all these characters, telling everyone what’s going on, where they’re at, and keeping them interested and keeping the story moving forward. It was definitely the end battle. You have a lot of moving pieces to work with.

Even with all those moving pieces to track, ultimately the battle culminated with the showdown between Shazam and Sivana, adversaries that have been fighting on the printed page and in other media for eight decades. Remembering that main antagonist loses his powers if all of the Sins are out of his body, the superpowered Billy Batson managed to goad Envy out of Sivana, leaving the chrome-domed baddy helpless. Upon taking the Eye of Sin from Sivana, Billy imprisoned all of the Sins back within it, and the Shazam family redeposited the artifact back at the Rock of Eternity.

While this sequence had to go into the Shazam! final cut no matter what, there were 20-24 minutes of scenes that were taken out. However, Michel Aller expects you’ll be able to watch most of these when Shazam! comes out on Blu-ray and DVD later this year, with some of these excised scenes possibly including one where Mary confronts Billy as he’s sneaking out of the Vasquez house and the original version of Sivana’s murder spree. For now, catch Shazam! in theaters while you can, as the next DCEU movie isn’t coming out until next February (although Joker is holding down the overall DC fort in October).

Be sure to read CinemaBlend’s review of Shazam! and stay tuned for updates on how Shazam! 2 is coming along. Those of you interested in learning what other DC movies are in development can find that information in our handy guide, or you can look through our 2019 release schedule to plan when you’ll be going to the movie theater later this year.

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Ian McShane's John Wick 3 Teases Are Big, Good And ... Cryptic

Ian McShane's John Wick 3 Teases Are Big, Good And ... Cryptic

God love Ian McShane. The man is a gift, and he is never dull. The 76-year-old actor is out there promoting American Gods, the Deadwood movie, the Hellboy reboot, and -- of course -- the new John Wick movie. McShane's Winston returns for John Wick: Chapter 3 - Parabellum, which opens in May. Ask him about the movie, and this is what he'll say:

That will be big and that will be good.

Slow your spoilers, man! That was Ian McShane to the New York Times, as part of a larger interview about his many upcoming projects. It ain't much, but he's right that the third John Wick movie will be big -- it's meant to have the highest death count of the franchise so far, and the director said it's about 20% more movie than Chapter 2.

The follow-up question to Ian McShane added more potential clues. Or it might just confuse you.

Ian McShane's John Wick character Winston is the owner of the Continental Hotel, which is neutral ground for the criminal underworld. John Wick (Keanu Reeves) did a major no-no in the second movie to kill on Continental grounds. He was excommunicated, with a $14 million global contract out for his life. Everyone is after him. But Winston, that old softie, gave Mr. Wick a one-hour head start. Winston also gave John a Marker for potential use as a favor.

Ian McShane was asked if there would be payback against Winston for letting John Wick get away. Here's his answer:

Well, the High Table doesn’t like anybody stepping out of line so maybe they’ll take me to task, giving John an out, even. And you’ve got Laurence Fishburne and me, and maybe we get together, maybe we’re unvirtuous. Who knows? Because nothing is the same.

Nothing is the same? Yes, Laurence Fishburne is also returning as underground crime boss The Bowery King, and one of the first photos promoting John Wick 3 showed Winston and The Bowery King standing together. Here is that photo:

Are they plotting to help John? Just plotting to help themselves if the High Table turns on them? What's this about nothing being the same?

Ian McShane had previously teased a lot of "shifting alliances" in John Wick 3, so maybe that ties into this potentially unvirtuous team-up.

Speaking of the High Table, John Wick 3 sees the addition of Anjelica Huston as The Director, a member of the High Table who has a connection to John Wick's past. Halle Berry joins the movie as assassin Sofia, who also has a connection to John's past. So we're going to get to know more people who knew John way back when. It sounds like maybe not everyone on the planet will be trying to kill John to get that money, but he'll be facing quite a few foes ahead -- some new, some familiar. Thankfully he has his own dog by his side, plus two more that Halle Berry's Sofia has on hand.

What will Winston's role be in all of this be? We'll have to wait and see. Ian McShane also echoed what he had previously said about maybe doing a voice-over for The Continental TV spinoff series, but not appearing himself as Winston. There haven't been many details on that John Wick series yet, but it's meant to be set in Los Angeles, as opposed to the New York hotel of the John Wick films.

John Wick 3 -- directed by Keanu Reeves' former stunt double from The Matrix -- opens in theaters May 17, as one of the many films to keep an eye on with our 2019 movie release date schedule. Here's what the "Parabellum" of the title means, per Keanu himself.

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Aladdin Director Guy Ritchie Responds To The Genie Backlash

Aladdin Director Guy Ritchie Responds To The Genie Backlash

Aladdin is one of Disney's most popular animated features, so anticipation and curiosity were at a high when the first looks at the new live-action adaptation began to arrive. However, the first responses to Will Smith's Genie weren't all that excited. There was a general feeling that he actually looked pretty terrible.

Guy Ritchie, the director of the new Aladdin, appears to have been mostly surprised by the reaction, simply because the sort of instant feedback that the internet provides wasn't something he was used to. According to Ritchie...

There was a Sonic The Hedgehog / Genie frog. Everything is under such critical scrutiny. I came up in an era where there was no internet. It’s a new thing that I’m trying to get a handle on.

I feel like the comparison between the Genie and the recent Sonic the Hedgehog trailer is a bit rough. The Genie may have had some issues, but he was no Sonic. People may have not loved Genie, but the Sega mascot's look in the new movie got such backlash the producers are now promising to make changes.

Guy Ritchie is no stranger to making movies in the age of the internet but he's never made a movie quite like Aladdin. It's a movie with a built in fan base that's very invested and is going to be very vocal about its opinions. It's a far cry from the stylized English gangster movies that Ritchie is still best known for.

And the audience was far from kind. "Nightmare fuel" and other such phrases were used to describe what the big blue Genie version of Will Smith looked like. Big movies like this rely on the buzz that the marketing creates but that plan only works if the buzz is positive, and in this case it wasn't.

However, as the new Aladdin continued it's promotion. Attitudes seemed to soften a bit. While the big blue Genie still isn't looked at in the best light, we know that the Genie won't have that look the entire time and other aspects of the movie were looking good enough that the questionable CGI might be easy to overlook.

In addition, as is frequently the case. Not all the CGI was even finished when the first trailer hit, which meant that as those effects were finished up, the Genie himself began to look better. Guy Ritchie tells Empire than now even some of those who were the harshest critics of the Genie are walking back their comments...

It even came with apologies from the cynics who were so adamant initially. I’ve never seen apologies in that world. I thought, ‘Oh well, great, we’re back to where I’d hoped we’d be’.

The History Of The Color Changing Genie

It does seem like the new Aladdin can't catch a break in the Genie department. The first look we ever got of Will Smith in costume he wasn't blue at all. He was just Will Smith in a Genie costume, and that set people off because of the way it seemed to be changing the source material. Then, when we finally got Will Smith in action in his first trailer, he was blue, and everybody freaked out again.

It seems that the plan for the film is that the Genie will spend a significant amount of time looking human in the new film rather than blue. This way the character can blend in with the rest of the players and interact with them rather than spending the entire movie locked in the lamp. It also helps the budget for the movie stay down.

If you haven't had a good look at what the Genie, and the movie as a whole, looks like now, check out the trailer below.

It makes a lot of sense to include a lot of Will Smith, blue or not. Robin Williams worked for scale when he recorded his voice for the original Aladdin and I'm guessing Will Smith did not. If you're paying him millions of dollars, you'll want to get everything out hf him that you can.

The earliest reactions from the few who have seen the new Aladdin have actually been pretty positive, and while the blue Genie might not work, it seems like the rest of the movie works well enough to make up for that.

The Aladdin Remake Was Always Going To Have Problems

The deck was always stacked against the Genie. The casting of Will Smith seemed designed to attempt to prevent any Robin Williams comparisons before they started, and yet, such a thing is ultimately impossible. Williams' Genie is one of the most iconic characters in the history of animation. His casting in the role played a huge part in the fact that most animated films are now cast with big Hollywood stars.

It's a difficult balancing act. As with any remake, there are elements that fans love from the original that they'll want to see translated into live-action, or re-done with modern effects or whatever new thing the remake is trying to bring to the table. Some will be disappointed if they don't get a new and improved version of whatever their favorite bit was.

Unfortunately, it has to be said that, so far, the movie looks very much like a "shot-for-shot" remake of the animated version. In fact, only Will Smith's Genie looks to be a significant change from the original animated classic. While bringing back all the old songs and adding a couple new ones certainly makes sense, I'm certainly hopeful that there's more hiding in this movie that is different compared to what we've seen so far.

At the same time, if all you're really doing is making the same movie over again, then why bother. The original is a classic because everybody has already seen it, and they can watch it again on DVD anytime they want.

I'll be entering the new Aladdin the way I do most movies these days, with cautious optimism. I want every movie I see to be good and Aladdin is one of those movies that I loved as a kid, and I want any remake to be good as well. If the new movie brings something actually new to the story that can make it worthwhile in its own right, that would fantastic.

The new Aladdin hits theaters Friday.

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What About X-Men? The Rights Issues That Complicate Marvel And Disney's MCU

What About X-Men? The Rights Issues That Complicate Marvel And Disney's MCU

Avengers: Endgame was the fantastic end to the first arc of an even more ambitious experiment in film history: the Marvel Cinematic Universe. A mega conglomerate of various characters previously scattered to the winds through various rights holders, the MCU is basically the Infinity Gauntlet of cinematic universes.

But if you go back a couple decades, it was a possibility that didn’t look like it’d ever get off the ground. It took a lot of time and business dealings through various movers and shakers, but the Marvel Cinematic Universe eventually formed into the beast that it is today through some well-timed moves.

Of course, there are still some properties out there, in the wild, waiting to come home. And then there are others, with Fox's X-Men franchise being arguably the biggest, which have recently been brought back into the fold, but need to have their entrances planned. Either way, the history behind Marvel’s cinematic endeavors, and how they came to be, spell out the hurdles of both the company's past and future films, and how they complicate the completion of Disney's Marvel Cinematic Universe. So let's go over them!

How The Marvel Movies Came Into Existence

Before Marvel Studios existed, Marvel Entertainment Group was the big tent under which Marvel Films operated as a division. The properties of the storied Marvel Comics brand would be shopped to other studios for production, and this era led to some interesting results.

Under the Marvel Entertainment Group era, the original film versions for both The Punisher with Dolph Lundgren and Captain America with Reb Brown were made, as well as an entire film version of The Fantastic Four produced by Roger Corman. That last project was never officially released, seeing as it was merely made in order for production company Constantin Films to keep the rights, but neither The Punisher or Captain America were terribly big hits.

Eventually, Marvel Studios was born out of Marvel Films’ past history, and started with a big deal involving 20th Century Fox. For seven years, Fox and Marvel Studios would make films like the X-Men and Fantastic Four franchises, as well as Daredevil and Elektra. But even with that deal in place, and producer Avi Arad as the big wheel behind it all, the universe of Marvel films was fractured due to a lot more licensing deals in the works with other studios.

How The Rights For Marvel’s Early Films Were Split

As previously mentioned, The Punisher and Captain America were both previously made into films, as was The Fantastic Four under the older Marvel Entertainment Group run of things. But in addition to those properties, there were two really big hits that happened at other studios, all thanks to Marvel’s practice of licensing to almost anyone who had the right deal.

The first was 1998’s Blade, which made New Line Cinema a big name in the late ‘90’s, as well as boosted Wesley Snipes’ star standing in Hollywood. The franchise would run for three films, and one TV show, with Blade: Trinity being the final film in that particular line.

The second, and perhaps most successful run of films outside of the Fox deal was Spider-Man, which was licensed to Sony alongside a whole bunch of spinoff possibilities. Starting with 2002’s Spider-Man and running through 2014’s The Amazing Spider-Man 2, the five Spidey films ran before and during the MCU’s launch.

Some other notable set-ups in the wilderness years were the fact that New Line Cinema originally had the rights to Iron Man, as well as the fact that Lionsgate precursor Artisan Entertainment had a deal to make films with heroes such as Thor, Black Widow, Deadpool and The Punisher. Lionsgate would make an attempt at Marvel cinematic glory with Punisher: War Zone, but the film would only find its feet as a cult hit in the years after its release.

Last, but not least, Universal Studios held the rights to two characters, Hulk and Namor the Sub-Mariner, which would only see one of those characters leading their own movie pre-MCU (2003's Hulk). Still, this positioned the studio to become a future power player as Marvel Studios entered its next phase.

How The Marvel Cinematic Universe Came Together

There was an idea: that Marvel Studios would partner with a big Hollywood fixture to create a singular slate of superhero hits for the public to see. And this idea ultimately came down to two potential partners: Universal, which had Hulk and Namor, and Paramount, which was a more amenable partner when Universal didn’t work out.

As early as 2004, Marvel Studios had a slate of heroes it wanted to use which included the following heroes and properties: Ant-Man, The Avengers, Black Panther, Captain America, Cloak & Dagger, Doctor Strange, Hawkeye, Nick Fury, Power Pack and Shang-Chi. The initial plan was to deliver two films a year, aimed squarely at the PG-13 rating.

Eventually, acquisitions would be made, and Iron Man would join that group, as well as Universal coming aboard with a deal that allowed an MCU-set Hulk film to be made. Hulk’s rights would be at Marvel, with Universal retaining a stake in that character, as the studio has right of first refusal for distribution.

Through all of these shake-ups and shifts in power, one man rose to the top: Kevin Feige. Starting out in the early days of Marvel Studios, Feige went from junior executive to President of Production with Iron Man, installing him as the mastermind who would see the MCU become a beacon of comic movie making.

The studio that started operations out of a Mercedes Benz dealership became a powerhouse with 2008’s Iron Man, starring Robert Downey Jr, and eventually was bought in 2009 by the Walt Disney Company for a cool $4 billion. Slowly, other properties like Daredevil, The Punisher and Blade would be reacquired after their runs with other studios expired. That said, there are still some interesting logistics that would need to shake out, in order for the MCU to become whole again.

The Notable Properties Still Outside Of The Marvel Cinematic Universe

While the Marvel Cinematic Universe is, by and large, a pretty collective whole, there’s still some gaps that are outstanding in the total portfolio. While some of these are patched thanks to recent deals and shared agreements, it’s still an interesting landscape to take a deeper look into.

In particular, there seem to be three studios that have stood in the way of Disney and Marvel completing their Infinity Gauntlet of intellectual property. One has already become a vanquished foe of sorts, with two still going strong. Here’s where we stand so far with the most notable properties outside of the MCU, and the studios that hold the cards. First off, let's look at that vanquished foe, Fox.

The Marvel Rights Held By Fox

Obviously, before its acquisition, 20th Century Fox held some pretty powerful cards in its Marvel Universe deck. While Daredevil and Elektra eventually went home to Marvel proper, Fox still held onto some pretty big names in the Marvel Universe. Most importantly, Fox still had the X-Men series, with The New Mutants and Deadpool spun off from that world.

But in addition to those popular titles, 20th Century Fox had the Fantastic Four series in its back pocket. With two relatively successful films in 2005 and 2007, and the not-so-successful reboot in 2015, Fox retained ownership of that particular property, making any potential crossover adaptations even harder to potentially execute.

However, since 20th Century Fox has been newly acquired by the Walt Disney Company, the only real questions with these characters is how to incorporate them into the Marvel Cinematic Universe fold, through both pre-existing films and/or reboot potential. Still, this turn of events being such a recent development does scupper any sort of crossover hopes for the time being, as even Kevin Feige has mentioned that in the case of the X-Men, it’ll be years before anything happens.

The Marvel Rights Held By Universal

While Universal only has two properties that it can lay claim to tying up, both seem to be in somewhat usable shape with Marvel Studios. In the case of The Hulk, the problem isn’t as pronounced, as Marvel and Universal share ownership of the character.

However, the big problem comes from Universal getting a right of first refusal for distribution rights to any future Hulk films. Which means that so long as that clause is in play, and the public demands a solo film with Bruce Banner and his green rage filled half, it probably won’t happen as Disney’s going to want to distribute without as much interference as possible

The only other character that Universal laid claim to was Namor the Sub-Mariner, and while he has recently reverted to the Marvel Cinematic Universe, there are still some complications involved. Though, when last asked about the subject, Kevin Feige specified that it was really a matter of where or when Namor would pop up in the MCU.

The Marvel Rights Held By Sony

The greatest thorn in the side of the Marvel Cinematic Universe is, without question, Sony and its grasp on the rights to the Spider-Man films. With Disney and Sony sharing the usage of Peter Parker in the Marvel Cinematic Universe, Sony still gets to “finance, distribute, own and have final creative control” over Spider-Man.

On top of that, there are other Marvel characters that Sony maintains ownership over, with an entire slate of films that it has branched its properties out into. Starting with last year’s big hits Venom and Spider-Man: Into The Spider-Verse, the Sony contingent looks strong as ever. Though there are further films that are in the works that will only complicate any future moves that Disney may have in the works to make Peter Parker a part of its family.

In particular, the Morbius and Spider Women films in production could potentially make Sony the biggest source of competition for Disney and Marvel Studios. Should the Silver Sable or Black Cat projects that were previously mentioned as in production get back on track in their own ways as well, that’s another source of revenue that only makes Sony’s hold on Spider-Man that much greater.

The Marvel Cinematic Universe is a pretty expansive haven of Marvel Comics’ intellectual property, and in its current state, it’s pretty comprehensive. But with the outstanding rights issues and decisions ahead that Marvel Studios still faces, there will still be limits as to which characters and storylines will be able to be integrated into the Marvel Cinematic Universe.

For now though, Avengers: Endgame signifies the height of the MCU’s character roster, and can be enjoyed by audiences all over in theaters now.

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Zachary Levi Explains How Uncomfortable His Shazam! Costume Was

Zachary Levi Explains How Uncomfortable His Shazam! Costume Was

We all know that superheroes look cool. I mean, would the whole superhero thing even have caught on back in the day if the characters who filled comic books looked like high school science teachers while they were battling supervillains? I think not. We need those crazy tight, multi-colored and sometimes unnecessarily revealing costumes to set our heroes and every arch nemesis apart from the rest of us regular folk. What this tends to mean, though, especially in the modern age of comic book-based movies, where every super suit is less of a stretchy spandex affair and more of a protective, tactical outfit, is that the actors who get the great opportunity to bring our favorites to the big screen have to put up with some less than comfortable costumes for several hours a day.

Unfortunately for Shazam! star Zachary Levi, his upcoming turn as the many-powered hero was also befallen by this common superhero movie issue. And, he's more than willing to tell us all just how inconvenient this particular aspect of his character was, especially when certain necessary...functions come into play.

It's what everybody says, it's the inconvenience of when you need to go to the bathroom. Yeah, because in order for it to look great, you have to have it kind of be seamless. You can't have a bunch of zippers and things everywhere, unless you're like Deadpool, I guess. He had a bunch of zippers.

Man, being an actor starring in a big budget superhero movie is tough work. Honestly, though, with all the advancements that have been made in technology over the past few decades, are you really telling me that there's no way to get an easy open / easy close pee hole into these supersuits that is also easily hidden? So, we can all get together and de-age Samuel L. Jackson realistically and create entire awesome looking characters out of CGI, but we can't give our actors a semi-quick way to use the potty? What is this world coming to?

I cannot imagine how distracting it would be to need to go to the bathroom and have to enlist a team of helpers to get me at that all important goal. Plus, just the time needed to get supersuit things undone, moved over, slid down or to get tubing added or a bedpan inserted (don't yell at me, I don't know how they do these things) must be insane. Who among us has not been busy and waited until the last minute to finally head over to pee and poo factory? Just think about having to call a team together an hour before you actually think you might have to use the bathroom to get the process started in time so that you don't have an embarrassing accident all over your $1 million superhero costume. Just take the cost out of my salary, David F. Sandberg!

I do like the idea of a superhero costume that has zippers, snaps, buttons or just plain holes everywhere. Though, now that I think about it, strategically placed holes would probably be an issue that would make the MPAA faint, so, maybe Zachary Levi and I should leave the costume design to the experts.

Speaking of Deadpool, as Levi did when he spoke with Comicbook, he doesn't actually have a bunch of zippers on his costume, which may be one of the reasons that star Ryan Reynolds has referred to his costume as "a big, red body condom," and colorfully admitted to being able to "taste" his own genitals when he wears it. What can I say? Sounds like an interesting day at work that Reynolds will, at least, never forget.

Even more recently, we heard Aquaman star Jason Momoa discuss a similar issue with his official suit, saying that "if you have the poopsies, it is very challenging," and noting that being able to hold it is a valuable skill. He later claimed it was just a joke, but, come on, Momoa, we know you were just trying to regain some of your sense of sexy mystery that was undone by using the word "poopsies" in public. It's OK, friend. We're here for you.

While Zachary Levi also had other comfort issues with his Shazam! suit, he does seem to understand just how big of a deal it is to get to be able to bring a superhero to life on the big screen for the first time, and is more than willing to step into his "second skin" again if he gets the chance.

It's just the overall kind of uncomfortability sometimes of wearing essentially a massive spandex adult size onesie. It's super tight, it becomes kind of like a second skin, I would overheat in it. I would freeze in it. The electronics in it would be a dance sometimes. But all of that, whatever, I'll take all of that times ten if I get to do this again. If I get to be the guy to wear the suit, I'll take the lumps, I'll do it.

By all accounts so far, Zachary Levi did a great job of not letting any of the problems with his superhero suit show on screen, and we can all be thankful for that. You can watch him try not to pee when Shazam! rolls into theaters on April 5.

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Captain Marvel's Nick Fury Almost Lost His Eye In A Fight With The Skrulls

Captain Marvel's Nick Fury Almost Lost His Eye In A Fight With The Skrulls

Warning: spoilers for Captain Marvel are in play. If you still haven’t seen the film, you may want to come back once you’re current.

Acting as the ‘90s throwback that it was set up to be, Captain Marvel set the table for a lot of different things that the Marvel Cinematic Universe has -- and will -- engage in during its thematic course of events. One such moment was, naturally, how Nick Fury lost vision in one of his eyes, something that had been alluded to previously but never explicitly shown onscreen before Captain Marvel.

While Captain Marvel gave us a definitive answer, we almost got an entirely different scenario altogether. One that would have seen Nick Fury losing an eye during a fight with some angry Skrulls.

During a recent interview for the home video release of Captain Marvel, directors Anna Boden and Ryan Fleck were on hand to provide some insight into their big ticket MCU hit. And when it came to how Fury’s accident originally happened, Fleck provided the following commentary on how it was originally supposed to happen:

There were definitely a lot of discussions and that was not the first idea on the table. You're probably going to ask me what some of the other ideas were and I don't know if I can tell you that, not because I'm hiding anything, but because there were just so many absurd ideas we had. There was a strong contender for a while that a fight with the Skrulls seemed like the most obvious choice, but then the more we thought about it, it just became too obvious.

The scenario that the Captain Marvel team eventually landed on was not only a surprising turn of events, but also the most Samuel L. Jackson moment the Marvel Cinematic Universe has ever included. During the action of the film’s third act finale, Fury casually gets his eye scratched by Goose, the cat co-star of Captain Marvel that has stolen the hearts of the world. This leads to him shouting a very PG-13 friendly, “Mother-Flerkin!”

It’s certainly that elusive surprise that Ryan Fleck seemed to be looking for when talking out the thought process behind plotting Captain Marvel’s reveal of just how Nick Fury got his memorable look. He continued to discuss that point in greater detail during his interview alongside Anna Boden for CBM:

Since this is just as much Nick Fury's origin story as Captain Marvel's, we thought that it would be a fun piece of his backstory that moving forward, he was creative a new narrative for himself that he didn't really talk about but he was fine with people wanting to muse about a potentially more serious way he could have lost his eye.

No one can blame Nick Fury for not wanting to talk about losing his eye to an intergalactic creature that had taken the form of a cat. It’s not an easy story that you could tell to just anyone, as there are a lot of other details that’d need to be involved in the telling. But losing an eye to mysterious circumstances involving the last person you trusted? That’s a total super-spy story, and that would probably get you at least one round on the house when going out for drinks.

Keeping the Marvel Cinematic Universe fresh is something that definitely takes a lot of work, and outside-the-box thinking. Changing Nick Fury’s pivotal, eye-destroying moment was one of those instances where the process worked out in everyone’s favor.

As we move into the future of the MCU, it’s that type of thinking that should propel the series into its next story arc. So if you see a cute animal on screen at any point in the future, think twice before holding it too close to your face.

Captain Marvel may still be in your local theater. If it isn’t, you’ll be able to take the film home either on Digital HD as of May 28th, or 4K UHD/Blu-ray/DVD on June 11th.

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How John Wick 3 Set Up A Possible Spinoff

How John Wick 3 Set Up A Possible Spinoff

Very minor John Wick 3 spoilers ahead. Don't shoot the messenger.

John Wick: Chapter 3 - Parabellum just had a -- wait for it -- killer opening weekend at the box office. That's important for world-building reasons. It not only makes another sequel more likely, it bodes well for The Continental TV series that's still in development at Starz and the spinoff movie that was discussed two years ago.

Do you remember that spinoff movie?

Back in 2017, it was announced that the John Wick franchise might be getting a spinoff movie called Ballerina. The script was being written by Shay Hatten, who is also credited as one of the writers of Parabellum. The story was said to follow a young woman raised as an assassin who must hunt down the other assassins that murdered her family. It was described, at the time, as being akin to La Femme Nikita, but with a "more pulpy, hyper-stylized bent a la Quentin Tarantino or Matthew Vaughn."

That was then. Fast-forward to 2019 and John Wick 3 just introduced Anjelica Huston as The Director, who also runs an academy that turns ballerinas into assassins. Putting two and two together, THR asked director Chad Stahelski if it was safe to say her introduction set up the Ballerina spinoff. Here's Stahelski's reply:

I think if you read Shay’s script and you look into the characters in that, you’d find your answer.

Not having seen Shay Hatten's script, it still seems pretty safe to say the answer is "yes." A lot can happen in two years to change a story, but the franchise-best box office success of John Wick 3 -- not to mention approval from both critics and fans -- suggests this spinoff has a great chance of moving forward. There are plenty of questions on how it would play out, including whether Anjelica Huston would be a main star and if Keanu Reeves would cameo at all. But we can add it to the list of spinoff/sequels from here.

(For the record, that long-gestating TV spinoff set at the L.A. Continental hotel is meant to have at least a Keanu Reeves cameo, and possibly a voice-over from Winston actor Ian McShane.)

John Wick franchise director Chad Stahelski also talked to THR about the third chapter sharing more background on Jonathan's own origin story. In a section of his answer, he also touched on things that might be relevant to the Ballerina spinoff:

... As far as backstory goes, everything you need to know about John is in Parabellum. We hid it very well and hopefully, you’ll watch this movie three or four times. You may not care, and if you do care, when you watch The Director’s scenes and you see the girls, and you put two and two together with the tattoos and the crucifixes, the kind of martial arts he does, who he talks to, what languages he speaks, you can piece together a fairly comprehensive background on where John came from and what his upbringing was like. I give the audience a lot of credit; hopefully, they can piece it together and they like piecing it together. It’s like a book; that’s why we numbered the movies as chapters...

Speaking of chapters, John Wick: Chapter 3 ended on a note that has fans curious about John Wick: Chapter 4. If you want spoilers, check out our breakdown of the Parabellum ending and start imagining what might be next in Keanu Reeves' movie, plus the movie and TV spinoffs. Let's just hope this doesn't turn into -- wait for it again -- overkill.

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