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Adam West’s Daughter Loved The References In One Upon A Time In Hollywood

Quentin Tarantino’s latest Once Upon a Time in Hollywood plays with a mix of grounded reality and fantasy in 1969 Los Angeles. Leonardo DiCaprio’s hot-shot actor character Rick Dalton may be one of the more fictional elements of the film, but Batman actor Adam West’s daughter found quite a few things she could compare with her late father’s early career. In her words:

In 1969, Adam West had just finished off his three season run on the classic Batman series with Burt Ward as the Dark Knight. Leonardo DiCaprio’s character is dealing with a similar situation in Once Upon a Time in Hollywood, as a faded television star trying to navigate the changes in the industry with his stuntman Brad Pitt’s Cliff Booth.

Adam West’s daughter, Nina Tooley, talked to The Hollywood Reporter about the many comparisons she found in the Quentin Tarantino film. For example, she said Al Pacino’s agent character Marvin Schwartz felt like it was “straight out of some of my dad’s stories” right down to the wardrobe, smoking and drinking.

In the beginning of the film, Pacino tells Rick Dalton he could do a Batman-type project in the future, referencing the television series’ famous use of “POW!” and “BANG!” When Timothy Olyphant’s James Stacy rides off the television set on a motorcycle, Tooley said she has a picture of her dad “in almost the same exact outfit on that exact motorcycle”. What a great testament to Tarantino’s recreation of 1969’s Hollywood.

Also, Adam West and Burt Reynolds played an actor/stuntman duo in 1978’s Hooper and the Batman legend starred in spaghetti western The Relentless Four in 1965, just as Rick Dalton dabbles in the movie.

Once Upon a Time in Hollywood even features a radio commercial Adam West and Burt Ward did together back then for Batman which Quentin Tarantino reached out to the family for before adding to the end credits. Tooley continued with:

Sharon Tate’s sister also had a positive reaction to Margot Robbie’s performance in the drama. Debra Tate said she cried when Tarantino invited her to view the film because Robbie’s performance sounded so much like her. She felt like she “actually got to see her sister again”. On the flip side, Bruce Lee’s daughter was unhappy with the portrayal of the action legend because he came off as an “arrogant asshole” in the film.

Terry Crews Hilariously Responds To Hobbs And Shaw’s Reported Fighting Contract Stipulations

Performing in an action movie is a physically demanding job, and some actors are only willing to go so far when it comes to choreographing. Case in point, it was recently reported that Hobbs and Shaw stars Dwayne Johnson and Jason Statham had it stipulated in their contracts that they could not only take a certain amount of damage through the course of the spinoff, but also weren’t allowed to lose a fight on camera.

Well, Terry Crews, who’s collected plenty of action roles over more than a decade, has responded to this report by making it clear he’s endured plenty of punishment on screen and takes great pride in doing so.

Be sure to look through Terry Crews’ full Twitter thread to see other examples of how he was physically put through the ringer or just straight-up ridiculed in past movies and even on his TV series Brooklyn Nine-Nine. Considering he’s comfortable drawing attention to all these moments, we can reasonably assume that Crews doesn’t plan on inserting stipulations like the ones Dwayne Johnson and Jason Statham had into future contracts.

For what it’s worth, these kind of contract stipulations aren’t new to the Fast & Furious franchise. Vin Diesel also didn’t want to be seen getting beaten up too much in past installments of the franchise and even had someone keeping track of how many blows he’d taken to make sure they fell within his preferred damage ratio.

Ultimately, as one would imagine, it sounds like the reason these Fast & Furious stars are so insistent on these rules being imposed boils down to image. They’re known to the public as badass action stars, so they don’t want to look weak or soft in these movies. The problem is that it’s a slippery slope, and it could eventually get to the point where their characters come off as invincible. Where’s the fun in watching a fight where it’s not at least a little challenging?

Terry Crews, on the other hand, is perfectly fine with his status as the “losingest badass in Hollywood,” and while action-wise he’s not at the same level of stardom as Dwayne Johnson and Jason Statham, no one’s going to doubt Crews’ toughness. That said, now I’m interested in seeing Crews appearing in a Fast & Furious movie so he can clash with one of these fellow powerhouse Hollywood performers.

To Terry Crews’ credit, the action realm is just one of several areas where he’s shined. He also has an impressive comedy resume, and he’s also shown off his hosting chops with TV shows like Who Wants to be a Millionaire? and America’s Got Talent. So he’s hardly lacking for work, but it will be great when we can see him back in another action movie, whether his character is humiliated in some way or makes it out unscathed.

Hobbs and Shaw is now playing in theaters, and be sure to read CinemaBlend’s review of the movie. Be sure to also look through our 2019 release schedule to see what else is heading to the silver screen later this year.

How Much Hobbs And Shaw Made On Opening Night

Just how successful can the Fast & Furious franchise be outside of the main series of films? We’ll soon know the answer to that question because the nearly two-decade old franchise (which has grossed over $5 billion worldwide to date) launches its first spinoff film this weekend in the form of Fast & Furious Presents: Hobbs & Shaw. The action film starring Dwayne Johnson and Jason Statham opened in theaters last night, so how did it do?

Hobbs & Shaw got off the starting line with $5.8 million on opening night, according to Deadline. The Thursday night preview showings began at 7 p.m. in 3,400 locations with the film expanding out today into 4,253 domestic locations. That $5.8 million preview night is well below other mainline Fast films like Furious 7’s $15.8 million or Fate of the Furious’ $10.4 million, but it is a career best for both Jason Statham and Dwayne Johnson outside of the other Fast & Furious films.

Hobbs & Shaw’s opening night surpasses last year’s Jason Statham shark film The Meg, which made $4 million opening night and Dwayne Johnson’s San Andreas, which made $3.1 million in preview screenings. Those films went on to open to $45.4 million and $54.5 million respectively. The $5.8 million preview showing actually matches what Once Upon a Time in Hollywood did last week, but Hobbs & Shaw is looking to do much better than that for the weekend as a whole.

For comparison, last year’s Mission: Impossible Fallout, which opened on July 27, made only $200K more than Hobbs & Shaw on opening night, at $6 million and went on to gross $61.2 million over the weekend. That film ended its run at $220.1 million domestic and $791.1 million worldwide. Hobbs & Shaw is tracking to open in the same ballpark as Fallout with a $60+ million weekend and Universal will surely be hoping for a similarly robust performance worldwide.

Hobbs & Shaw should enjoy fairly positive word of mouth domestically. Opening night exit surveys were solid and the film currently sports a good, but not great 71% on Rotten Tomatoes based on critical reviews.

Despite being a spinoff, Hobbs & Shaw didn’t come cheap, at $200 million before distribution and marketing costs. So the David Leitch film will need to perform well overseas on top of its domestic performance and to that end it is off to a strong start. Opening in 54 international markets between Wednesday and Thursday, Hobbs & Shaw made $24.9 million including previews.

The film performed well in a number of markets, earning 1st place debuts in the majority of them and achieving records for Universal films in countries like Indonesia and Ukraine, according to Deadline. Hobbs & Shaw even enjoyed the best opening day ever in the developing Saudi Arabia market, beating out Avengers: Endgame.

All this points to an international opening weekend box office in the vicinity of the $125 million tracking predicted. Including openings in Mexico and Japan, the action romp will be in 63 markets through today. It is important to note though that those markets do not include France, Italy, South Korea or, all-importantly, China.

The previous two Fast & Furious films have done exceptionally well in China, each coming close to $400 million over the course of their runs, so when Hobbs & Shaw opens there on August 23, it will be a big indicator of this spinoff’s ultimate success and future viability.

Fast & Furious Presents: Hobbs & Shaw is now playing. Come back after you’ve seen it and read how the ending sets up the future of this spinoff series and check out our premiere guide to see what else is headed to theaters.

Are There Other Shaw Family Members Who Could Get A Fast And Furious Spinoff?

Much as the world of the Fast & Furious family grew with every new film, the world of Hobbs & Shaw seems to be into the idea of expansion itself. With the families of both protagonists getting a little bigger in this weekend’s big would-be blockbuster, there’s no telling who could show up in the potential future of these films.

Armed with that very believe, and on behalf of CinemaBlend during the London press junket for Hobbs & Shaw, I asked all three members of the Shaw family present that day if they thought their cinematic family would get any bigger in further installments. Their answers are spectacular, and can be seen below in all of their glory:

Now let’s start with Jason Statham’s response, because if there was anyone that we’d have expected to pop up alongside Deckard Shaw, besides Vanessa Kirby’s Hattie, it would have been Owen Shaw. Luke Evans’ former baddie-turned-good guy was the reason the Shaw family got mixed up with the Torretto crew of Fast & Furious fame in the first place, and after his reappearance in The Fate of the Furious, he’d have been a slam dunk to bring back.

Alas, that was not to be in Hobbs & Shaw, which means that either Owen is getting into trouble of his own or maybe he’s keeping the Shaw family rooted in the world of the Fast & Furious, waiting for both series to potentially cross paths in their shared universe. However, as far as new members to the Shaw family, Statham’s suggestion of bringing in the Shaw family patriarch would be an interesting addition.

In that same vein, Ms. Kirby also had a really good suggestion of how the Shaw women could form a girl gang of their own. And in hinting at that possibility, the Mission: Impossible – Fallout star mentioned that she’s best friends with Elizabeth Debecki of Widows and The Man From U.N.C.L.E fame, who could very easily come on board as her sister. Something that would not only please audiences and make for an interesting concept for a Hobbs & Shaw follow-up, but would also undoubtedly please the cinematic matriarch of this family, Helen Mirren.

Though Dame Mirren did have her own suggestions as to who could pop up in the Shaw family tree, and it’s the most intriguing possibility as it would introduce a new force of evil into the family. Her suggestion was to bring in a character that would be reminiscent of an uncle she had in her family by marriage, who just happened to be an East End gangster himself.

Even better is Helen Mirren’s suggestions for casting this fictitious hooligan, as she said that either John Goodman or Simon Russell Beale would be great fits to flesh out her Uncle George. Measuring up all three of these possibilities together, it’s a good thing that Hobbs & Shaw lays down such a firm groundwork for the future of this corner of the Fast & Furious universe.

If there’s any fun to be had down the road with the Shaw family, you can be sure that there’s no shortage of relations that could be added into the canon. For now though, you can see Hobbs & Shaw opening the door to a new world of adventure in theaters this weekend.

Star Wars Galaxy’s Edge Will Serve More Booze In Disneyworld Than Disneyland, Including Blue Milk

But Disney’s Hollywood Studios in Florida has always served alcohol and it’s bringing it in a big way when Galaxy’s Edge opens there on August 29. Not only will guests be able to get boozy at Orlando’s own Oga’s Cantina, but at three other locations, including an outdoor Milk Stand, offering spiked versions of Blue and Green Milk.

The Milk Stand will offer the tropical-flavored Blue Milk with Bacardi rum and more citrus-y Green Milk with Corazon Blanco tequila for $14. At Ronto Roasters, guests can order a $15 Coruscant Cooler, a cocktail including Maker’s Mark Bourbon, Luxardo Maraschino Liquer, Carpano Antica Sweet Vermouth, cranberry and lime juice. Ronto’s also offers an exclusive Trandoshan Ale for $13 from Miami’s Concrete Beach Brewery.

Batuu guests can also fuel up on drinks at Docking Bay 7 with a $15 Takodana Quencher, which is a blend of Bacardi Dragon Berry Rum, Blue Caracao Liquer with pineapple and kiwi juices. Docking Bay 7 and Oga’s Cantina (only in Florida) also offers the gold Squadron Lager from New York’s Blue Point Brewing for $13.25.

Oga’s will also exclusively offer the Rodian Ration in Florida. The interstellar cocktail has vodka, sour apple liquer, Sprite and green apple popping pearls! These offerings certainly expand on Galaxy Edge in California, especially since Anaheim guests cannot leave Oga’s Cantina with their alcoholic beverages.

It’s not yet been detailed if Florida visitors can take their drinks to go at Oga’s or the Docking Bay, but the Milk Stand will allow them to wander around with spiked drinks in hand. This is of course just one of the many exciting offerings Galaxy’s Edge offers.

Like Disneyland’s Star Wars land, Florida will also feature two main attractions Millennium Falcon: Smuggler’s Run and Rise of the Resistance. Smuggler’s Run will be ready to ride on opening day, while the latter will open first in Orlando on December 5 and in Orange County’s Disneyland location on January 17.

Universal Studios Hollywood recently opened their new Jurassic Park attraction as Jurassic World: The Ride, along with the new Isla Nu-bar, which offers a variety of tropical cocktails in tiki mugs. Universal visitors can also encounter real-like dinos around the parks.

It’s an exciting time for theme parks! Disneyland even has a Marvel Land in the works. For drink connoisseurs, Galaxy’s Edge in Florida seems like it offers tons of options.

IT: Chapter Two Is Digitally De-Aging The Kids From The First Movie

Stephen King’s original IT novel is so huge that when it finally came time for its cinematic adaptation, it was wisely decided to split the story into two parts. 2017’s IT followed the members of the Losers Club as kids during their first encounter with Pennywise the Dancing Clown, and next month’s IT: Chapter Two will see the protagonists returning to Derry, Maine nearly three decades later to face off against the entity again.

While the now-adult Losers Club members will obviously be front and center in IT: Chapter Two, the kid actors from the first movie will also be reprising their roles through flashbacks. However, director Andy Muschietti has revealed that these kids are also being put through the digital de-aging process. As Muschietti put it:

On the one hand, de-aging these actors makes some sense. Although they’re still adolescents, they’ve also grown up quite a bit since shooting IT in 2016; just listen to how Jack Dylan Grazer and Finn Wolfhard’s voices sound back then compared how they are in Shazam! and Stranger Things Season 3, respectively, which were both shot last year.

If these flashbacks are supposed to take place during the events of IT as opposed to afterwards, then if you have the resources to make the actors look and sound as closely as possible as they did back when making the first movie, it’s well within your rights to go down that path. De-aging is certainly a logical approach for maintaining continuity.

On the other hand, you’d think that audiences are smart enough to realize that these kids are meant to be the same age they were during IT and can suspend disbelief. Sure their voices may be a bit deeper and they might be a bit taller, but as long as their performances echo the ones they delivered in the first movie, that should be enough, right?

It’s one thing to de-age an actor by decades a la what Marvel has done with the likes of Michael Douglas, Samuel L. Jackson and more, but now de-aging kids seems like a slippery slope. Of all the ways to allocate IT: Chapter Two visual effects budget, surely that portion of money could have been used on something else, like perfecting the look of one of Pennywise’s alternate disguises.

In any case, as Andy Muschietti told Total Film Magazine, he and his team planned on de-aging the IT kids from the start, so it’ll be interesting to see what the end result looks like. At the very least, these flashbacks will pull back the proverbial curtain more on the traumatic events they went through that fateful summer.

As for the adult cast of IT: Chapter Two, it includes James McAvoy as Bill Denbrough, Jessica Chastain as Beverly Marsh, Bill Hader as Richie Tozier, Jay Ryan as Ben Hanscom, Isaiah Mustafa as Mike Hanlon, James Ransone as Eddie Kaspbrak and Andy Bean as Stan Uris, along with Bill Skarsgård reprising Pennywise.

IT: Chapter Two scares its way into theaters on September 6, so stay tuned to CinemaBlend for more coverage. Don’t forget to also look through our 2019 release schedule to learn what other movies come out later this year.

Jim Carrey Has ‘No Idea’ What’s Going To Happen With Sonic’s Redesign

When the first trailer for the live-action video game adaptation Sonic the Hedgehog was released earlier this year, it was met with shock, disappointment and abject horror, primarily related to the look of the titular speedster. Then something perhaps even more shocking happened: the backlash resulted in the film being delayed so Sonic’s look could be changed.

We don’t know what the result of Sonic’s redesign will be and neither does star Jim Carrey, who plays Dr. Robotnik in Sonic the Hedgehog. Speaking at TCA, attended by CinemaBlend’s own Nick Venable, Jim Carrey addressed the redesign, saying:

Jim Carrey seems as in the dark as the rest of us about Sonic’s redesign and what the result of it is ultimately going to be, both from a reception standpoint and what it means for the film itself. He obviously isn’t a CGI artist, so he won’t have a hand in the redesign, but he does bring up a very interesting point here about the implications of the redesign happening in the first place.

It may have felt like a low-key thing, but I think it was actually a fascinatingly big deal that Sonic The Hedgehog, a feature film costing millions of dollars, was delayed so that more work could be done, and, correspondingly, more money was spent as a result of fan backlash. This is the point that Jim Carrey isn’t sure how to feel about.

The vociferous and prevalent backlash and rejection of Sonic’s design in the trailer has led to creative changes in the film. So in a way, the fans became part of the creative process, which Jim Carrey’s isn’t sure how to feel about. Filmmaking by committee is one thing when it’s Pixar’s Braintrust, but it’s another when that committee becomes everyone on the internet, a venue ill-suited to nuanced opinions or sincerity.

Jim Carrey seems to think that even if Sonic’s redesign is completely accurate to the game, people may still reject it, which is entirely possible. And this is an interesting precedent to set, whether it is a slippery slope or not remains to be seen. Yet, while Jim Carrey has no idea what will happen with the redesign and his concerns are worthy of discussion, he ultimately doesn’t seem to worried about it, saying:

What will be will be, and Jim Carrey isn’t going to let something that he has no control over worry him. As he says, Sonic’s redesign will ultimately be a good thing or a bad thing. Maybe it completely changes the narrative on the film and results in Sonic the Hedgehog being better received and more successful. Or maybe it doesn’t make a difference at all, people still complain about it and a dangerous precedent gets set for fan influence.

Jim Carrey raises some valid concerns, but I think Sonic’s redesign will be for the best. I mean it can’t look worse, right? And while fans shouldn’t have too much influence over a movie, in a film like this, it seems like it took the fans speaking out to say something that should have been obvious from the start.

You can’t please everyone, but when you are adapting a property versus creating an entirely original work, you are hoping to make money using an established brand and characters that have name recognition. In those instances, an established and vocal fanbase isn’t a bug, it’s a feature and one you hope to make money off of. When that fanbase unilaterally rejects something, there is a not insignificant chance that you erred somewhere along the way.

Avengers: Endgame Writers Are Done Working At Marvel… For Now

The Marvel Cinematic Universe is in an interesting place, as we’re living in the interim year before Phase Four kicks off with Cate Shortland’s Black Widow. Phase Three went off without a hitch, with every single installment resulting in critical and box office success. Many of the biggest success stories from the last slate of movies have come from The Russo Brothers, and frequent collaborators, writers Christopher Markus and Stephen McFeely.

Markus and McFeely wrote all three Captain America movies, the ill-fated Thor: The Dark World, and the last two Avengers movies, including the massive and hugely successful Avengers: Endgame— which recently became the highest grossing movie of all time. They’ve had a long history with Marvel Studios, but it appears the duo isn’t planning on writing any of the recently announced Phase Four movies. As McFeely recently put it:

The man makes a point. After crafting the complicated narratives of Infinity War and Endgame, there’s really no higher than Stephen McFeely and Christopher Markus can go within the Marvel Cinematic Universe. So it might be best to leave on a high note.

Cristopher Markus and Stephen McFeely were tasked with an impossibly daunting task with Infinity War and Endgame. The co-writers had a giant cast of characters to include, and properly serve in a character-driven way. And they did it all, giving the OG Avengers extra time in Endgame by dusting half of the heroes as a result of Thanos’ Infinity War victory.

Avengers: Endgame presented a unique storytelling challenge, as the surviving heroes used the powers of Pym Particles to travel through the MCU’s history in the Time Heist. This second act brought even more characters and settings into the massive movie, allowing for several exciting cameos. After figuring out how to extract each Infinity Stones rom the MCU’s lengthy timeline, it would make sense that McFeely and Markus would want to step down from their roles within the studio. They’ve done enough.

Then again, it doesn’t look like the duo has written off (pun intended) the idea of returning to the MCU sometime in the future. In their same conversation with Los Angeles Times, Christopher Markus spoke about the idea of coming back, with:

The Marvel Cinematic Universe is showing no signs of slowing down, despite losing its main stars in Robert Downey Jr.’s Iron Man and Chris Evans’ Captain America. Since there’s no end in sight, Christopher Markus and Stephen McFeely don’t seem to be ruling out the possibility of working on another project. But it’s not happening anytime soon, as the writers will finally get the chance to have some distance from the massive franchise.

Kevin Smith Says Zack Snyder Cut Of Justice League Is Real, Studio Would Be Silly Not To Release It

Justice League

The mythical “Snyder Cut.” A version of Justice League that consists of unfinished footage and basic VFX that is compiled from an assembly cut by original director Zack Snyder. It’s a legend, a lost film that DC fans are clamoring to see, mainly because they are unsatisfied with the theatrical version that was constructed by Joss Whedon.

But does the fabled “Snyder Cut” of Justice League actually exist? And will fans ever get a chance to see it? There are numerous opinions and recounts on the veracity of the existence of “The Snyder Cut,” and one comes from acclaimed storyteller Kevin Smith.

Smith is a die-hard comic fan, an aficionado on all things superhero-movie, and someone whose fingerprints have been all over multiple DC projects. He also was a recent guest on CinemaBlend’s own ReelBlend podcast, where he confirmed that he knows the “Snyder Cut” of Justice League does exist, and explained why it’d be crazy of Warner Bros. NOT to release it.

Kevin Smith started off by confirming:

I’ve not seen it firsthand. And also to be clear, I know Zack, but it’s not like, ‘We’re fucking tight son!’ … That being said, I’ve spoken now to enough people at various levels in that production. There IS a Snyder cut. For sure. That’s not a mythical beast. It exists. Now, it’s not a finished movie by any stretch of the imagination. There were things that went away from the story that they shot that didn’t wind up going into (visual) effects or anything like that. So I would assume, based on what I’ve been told, that large sections of that Snyder Cut are, you know, pre-viz (with) a lot of green screen. We’re not talking a finished movie. When people hear ‘Snyder Cut’ in their heads, they think about, like, a DVD they’ve seen of an extended cut or something that’s finished. The ‘Snyder Cut’ that, again I haven’t seen, but the one I’ve heard everyone speak of was never a finished film. It was a movie that people in production could watch and fill in the blanks. It was certainly not meant for mass consumption.

It’s definitely possible that people who are clamoring for the Snyder Cut version of Justice League believe that it is a completed work which would resemble a movie that’s in theaters at the moment. But I think the majority of the people who have made it this far down the rabbit hole understand that the “Cut” in question is a very early assembly of shots that spell out where Snyder’s Justice League would have gone, had he been able to finish it.

And it’s that version that Kevin Smith thinks Warner Bros. needs to think long and hard about releasing. Smith tells the ReelBlend hosts that we, as a movie-loving community, have come to accept work-in-progress versions of movies we adore. He singled out the extras that Peter Jackson put on his DVD releases of Lord of the Rings that educated audiences on the massive effort that went into the building of that universe. And Smith adds:

I feel confident that the audience could handle that cut of the movie without being like… I think there’s a common thought process, probably within the studio – and again, no studio has said this to me, but I would assume that they’re like, ‘We can’t show people this. Yes, there is a Snyder Cut, but no audience would be able to look at this and see what the director’s intent was.’ I disagree. That would seem like common wisdom because everyone always wants to put their best foot forward. But I think the audience now, particularly the audience that would consume the Snyder Cut and discuss it at great length, can watch a work print. They can watch a work-in-progress and fill in the blanks in their heads.

I have to agree. Of course, all things boil down to money. Yet, even here, the idea that Warner Bros. could make even more money from a release of a “Snyder Cut” of Justice League bolsters the narrative that the unfinished Snyder version should see the light of day. To not do that leaves significant amounts of money on the table, according to Kevin Smith, who rationalizes:

Every studio likes to make money. They do multiple incarnations of movies on video all the time. This could just be one more of those. All they have to do is lend their audience a little more credence to be like, ‘Look, they’ll get it.’ Put up a bunch of fucking disclaimers, including one from Zack himself at the head of it going, ‘Obviously the movie wasn’t finished, but here’s what we were thinking.’ There’s definitely a way to do it. … They could definitely shoot a version of that flick where, you know, they put [Snyder] into it explaining what would have went here, what went there.

Want to listen to the rest of our ReelBlend interview with Kevin Smith? Trust me, you do! In addition to all of this great Justice League content, he gets into amazing details about his planned Jay and Silent Bob Reboot, his reunions with Ben Affleck and Matt Damon, and so much more. Press play on this episode and enjoy:

As for the Snyder Cut of Justice League, the ball bounces back into WB’s court. This is more confirmation that a version of the film likely does exist. And Smith, at the very least, believes that audiences – particularly the ones eager to see this League – will be on board with checking out Zack Snyder’s vision, even if it is incomplete.

DC, meanwhile, continues to roll along. Todd Phillips has a Joker movie coming to theaters in October, and the ongoing DC film universe expands next year with the addition of the Birds of Prey, the return of Wonder Woman, and more future films on the radar.

Keep up with the latest news by bookmarking our DC Portal Page. Then head to the comments and let us know if you are interested in seeing a work-in-progress version of Zack Snyder’s Justice League, even if it means filling in some gaps with your own creative mind.

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Why Hobbs And Shaw Never Revealed Its Big Bad, According To The Director

Towards the end of Hobbs & Shaw’s first foray into spinning off the Fast & Furious franchise, the moment feels like it’s right for a typical reveal. As the nefarious organization Eteon has been represented by a shadowy figure who serves as its director through the whole film, you’d think that we’d get to see who that person was in a post-credit scene reveal.

Well, we’re sorry to say, that just doesn’t happen. “The Director” is still at large, and still under the cover of anonymity by time the film has ended. That decision was ultimately reached for the following reasons, as described by Hobbs & Shaw director David Leitch during my recent interview with him, on behalf of CinemaBlend:

Just when you think you’re used to the rhythm of a series like this one, someone like David Leitch comes along and lays out a curveball. To have revealed who that mysterious figure was at the end of Hobbs & Shaw wouldn’t have been a surprise, as we’ve see similar reveals at the end of Fast Five and Fast & Furious 6 setting up future villains such as the resurrected Letty and Deckard Shaw himself.

It’s no secret that Hobbs & Shaw is playing at becoming another franchise in the Fast & Furious universe, with all of the building blocks there to make it happen. If anything, the decision to keep the lid on the identity of the universe’s big bad puts the potential series at an advantage over its progenitor.

With Eteon set up as an overarching evil for the Hobbs & Shaw universe, teasing out who exactly is running the show is the perfect plan if you want to have a more cohesive plotline in play. It’s something that, to a certain extent, the home franchise had done with The Fate of The Furious, as Charlize Theron’s Cipher is one of the few villains who have gotten away at the end of the film.

So while we don’t know who’s running Eteon, the subject of who that person could be can easily last over the course of as many films as it takes for Hobbs & Shaw’s creative team to get comfortable enough to do a big reveal. Though, if we’re being totally honest, it wouldn’t be that bad of an idea to have Cipher be the big bad in the grand scheme of things. Her potential spinoff could be a chance for the villainous universe of both series to really get its due, and would lead to an even more unique look into what makes these two series tick.

A more carefully plotted approach could not only give Hobbs & Shaw the perfect opportunity to crossover with its big brother franchise in the future, but it could also ensure its survival when and if the Fast & Furious series concludes with its 10th film. Were there ever a plan to make this sort of spectacle a reality, you can bet that Eteon’s future would be the perfect card to play when that time comes; as it’d be a threat so big, only the entire family could take it down.