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Dune: Prophecy is the latest entry in the renaissance of the beloved space opera, set 10,000 years before the events of Denis Villeneuve's first Dune film. The series is loosely based on Sisterhood of Dune , reimagining the origins of the Bene Gesserit, an elite sisterhood of warriors and witches who train day and night to hone the Voice, the unnatural force to bend others to their will. Sisters Valya and Tula Harkonnen, played by Emily Watson and Olivia Williams respectively, lead the series as our flawed protagonists, willing to do anything to preserve their own. RELATED: A New Era for Westeros on the Big Screen: The ‘Game of Thrones’ Franchise Expands with a Planned Feature Film After seeing one episode, I will not compare this series to its theatrical predecessors except cinematography. Before we go further, please be advised that this review may contain mild spoilers, so proceed accordingly. Dune: Prophecy boasts an excellent cast, beautiful designs for costumes and sets, and an interesting story with moments of shock and awe, but unfortunately it takes way too much time to get there. As for the cinematography as mentioned earlier, it does not reach the bar set by Villeneuve's Dune films. The series first introduces Valya, quickly revealing that she is the first one to acquire The Voice's power, carrying Mother Superior's will. After that, she and her sisters conspired to put one of their own on the throne. Decades later we follow them leading the Sisterhood while meeting Princess Ynez Corrino (Sarah-Sofie Boussnina), heir to the Golden Lion Throne, and her royal family led by Emperor Javicco Corrino (Mark Strong). As for the primary antagonist, that seems to be Travis Fimmel's Desmond Hart, a master manipulator and murderer after his interests. RELATED: ‘Challengers’ Film Review: An Electrifying & Steamy Love Triangle Despite the drop in cinematography, I like Prophecy's aesthetic. The culture and atmosphere stay true to the films and lore crafted by the original author Frank Herbert. Having such an ancient civilization in the backdrop of a futuristic dystopia can present a challenge in showcasing Art based in contrasting environments, yet Dennis Villeneuve mind-blowingly lives up to the challenge in his movies. So naturally, this series had some big shoes to fill, which it did. Prophecy had all the ingredients to make a fantastic first impression, but it could have benefited from more time in the oven, especially in writing, which is not bad by any means, but unfocused. You will find how easy it is to forget who the primary protagonists are when you watch the first episode. The writers juggled too many character arcs all at once with odd pacing, making the episode feel disjointed, and not allowing much time to invest in any of the characters, which is especially a shame for Valya, the true protagonist. Valya is a great warrior and leader who will do anything for her sisterhood. Emily Watson is remarkable playing her with stoicism and quiet confidence, carrying each she is in as she should. The same can be said for her sister Tula, Olivia Williams is an amazing actress who complimented Watson wonderfully. Those two lead this show with interesting plot details and motivations, a younger generation of sisters with a looming evil presence while the Corrino Empire is embroiled in their royal family drama that is not all that interesting to be quite honest with you. RELATED: Filming Updates For HBO’s ‘A KNIGHT OF THE SEVEN KINGDOMS’ To further put things into perspective, the premiere episode feels like a mix between a Sci-Fi drama, a political thriller, a horror, and a CW show with no sense of direction until the last ten minutes when the antagonist's plot goes into motion, leading to what should tie everything and everyone closer together. Though I am mixed on Dune: Prophecy, I look forward to what the remaining episodes have to offer. Hopefully, they live up to my expectations. RATING: 3/5 About Dune: Prophecy Premiere Date: November 17th, 2024 Episodes: 6 episodes Executive Producer / Showrunner: Alison Schapker Inspired by: Sisterhood of Dune, written by Brian Herbert and Kevin J. Anderson. Executive Producers: Diane Ademu-John, Anna Foerster, Jordan Goldberg, Mark Tobey, John Cameron, Matthew King, Scott Z. Burns, Jon Spaihts, Brian Herbert, Byron Merritt and Kim Herbert Production: Warner Bros. and Legendary Television Distribution: Warner Bros. Cast: Emily Watson, Olivia Williams, Travis Fimmel, Jodhi May, Mark Strong, Sarah-Sofie Boussnina, Josh Heuston, Chloe Lea, Jade Anouka, Faoileann Cunningham, Edward Davis, Aoife Hinds, Chris Mason, Shalom Brune-Franklin, Jihae, Tabu, Charithra Chandran, Jessica Barden, Emma Canning, and Yerin Ha. Synopsis: From the expansive universe of Dune, created by acclaimed author Frank Herbert, and 10,000 years before the ascension of Paul Atreides, DUNE: PROPHECY follows two Harkonnen sisters as they combat forces that threaten the future of humankind and establish the fabled sect that will become known as the Bene Gesserit.

Wolfs and Deli Boys star, Poorna Jagannathan, has been tapped to star as a series regular in HBO’s Lanterns for the role of Zoe. The Wolfs  star will be playing an original character in the DC Universe. Her character is described as effortlessly confident and poised in any setting, even those where she stands out. She is every bit as composed and cunning of the influential men around her.    This confirms our Exclusive scoop we reported back in October 30, 2024, where we reported Garret Dillahunt and Poorna were cast in the HBO Original Drama Series. The HBO Original Drama Series follows new recruit (John Stewart played by Aaron Pierre) and Lantern legend (Hal Jordan played by Kyle Chandler), two intergalactic cops drawn into a dark, earth-based mystery as they investigate a murder in the American heartland.   Jagannathan is best known for her roles as June in the hit Apple TV+ film Wolfs , Deli Boys , Defending Jacob , the HBO Drama Miniseries The Night Of and Netflix’s Big Little Lies .   Lanterns is produced by HBO, in association with Warner Bros. Television and DC Studios’ based on the DC comic “Green Lantern”. Lanterns is co-written by Chris Mundy, Damon Lindelof and Tom King. The first two episodes are directed by James Hawes. The series is also executive produced by Mundy, Lindelof, King and Hawes. Poorna is represented by Gersh, Untitled and Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller, Gellman, Meigs & Fox. This story is developing.

Marvel fans, embrace the "what ifs" and celebrate the return of your beloved weather goddess! Nexus Point News can exclusively confirm that Alison Sealy-Smith is back to voice Storm—a powerful mutant with the ability to control the weather in the eagerly awaited third season of Marvel Animation’s What If…? Let's explore what this means for Storm and the series as a whole! The Return of Storm Storm, or Ororo Munroe, is one of the most cherished characters in the Marvel Universe. Her transition from a street thief in Cairo to a vital X-Men member showcases her transformative journey. With her weather manipulation powers, she represents not just strength but also a profound bond with nature. By reuniting with Alison Sealy-Smith (who returned to voice the iconic character in this years highly acclaimed X-Men ‘97 series), the creators show their commitment to honoring Storm’s deep history and character depth. Sealy-Smith is celebrated for her powerful voice that adds emotional weight to animated characters. Alison Sealy-Smith's portrayal of Storm is a significant aspect of her character's continued popularity. Her distinct voice and passionate performances make Storm relatable and powerful. This makes her an ideal match for Storm, a symbol of empowerment, perseverance, and resilience. What If…? offers a unique lens through which to explore alternate timelines in the Marvel Universe. This format allows viewers to see iconic characters in radically different situations that lead to unexpected outcomes. For example, in previous episodes, we’ve witnessed Captain Carter taking on the super-soldier role instead of Steve Rogers, and T'Challa becoming Star-Lord rather than Peter Quill. The possibilities for Storm are equally interesting. Imagine if she never joined the X-Men or if she made a deal with a darker force, creating a reality where she acts as an antagonist. Sealy-Smith is not just reviving an iconic role; she is reinvigorating a powerful symbol of strength and diversity that connects with audiences of all ages. So, What versions of Storm will we get to witness? Will she encounter characters across different realms and alternate realities?Mark your calendars and prepare for the return of STORM! What If…? Season 3 premieres on December 22nd on Disney+. Be sure to follow @NexusPointNews and @XMenUpdate on X (formerly Twitter) to stay up to date on all the latest X-Men news!

Paul Mescal is reportedly in talks to star in The Dog Stars , Ridley Scott’s upcoming adaptation of Peter Heller’s acclaimed post-apocalyptic novel. According to Nexus Point News’ sources, Mescal is in talks for the role of Hig, a widowed pilot and one of the few survivors in a world devastated by a global pandemic. Set in post-pandemic Colorado, the story follows Hig as he leads a solitary existence in an airplane hangar, with only his dog and a gruff gunman for company. His quiet life is disrupted when he intercepts a mysterious transmission on his Cessna’s radio, sparking a journey to uncover its origin. Scott is directing a screenplay written by Mark L. Smith ( Twisters , The Marsh King’s Daughter , The Revenant ). Smith will produce with the novel’s author, Heller as well as his manager and producing partner, Cliff Roberts ( The Midnight Sky , Emancipation ). Nexus Point has also learned exclusively that film is aiming to start production in Spring 2025. Paul Mescal is best known for his roles as Harry in All of Us Strangers , Connell Waldron in Normal People which landed him an Emmy nomination, and Callum Patterson in Aftersun which brought in Best Actor nomination for the 2023 Academy Awards. Mescal is also expected to portray Paul McCartney in Sam Mendes’ upcoming Beatles biopic This also marks the second collaboration between Mescal and Scott, following Mescal’s role as Lucius in Scott’s highly anticipated Gladiator II , set to release on November 22. This story is still developing.

Since its debut in 2011, Game of Thrones has evolved from a ground-breaking television series into a global phenomenon that reshaped television and storytelling. With the success of House of the Dragon and the upcoming series A Knight of the Seven Kingdoms , HBO’s epic fantasy franchise appears to have only begun to unfurl its wings. According to a scoop by The Hollywood Reporter , Warner Bros. is quietly developing “at least one” feature film set within the Game of Thrones universe —a significant move that could bring Westeros to the silver screen for the first time. Although details are under wraps, THR reports that Warner’s project is in the early stages, with no director, writer, or cast attached. Nevertheless, the entertainment giant seems eager to translate George R.R. Martin’s sprawling world of ice and fire into a cinematic experience, and if the project materializes, it would be a historic first for the franchise. Discussions about a potential Game of Thrones film date back nearly a decade. In 2014, Martin himself floated the idea of concluding the series with a movie , hinting at the kind of grandiose budget needed to do justice to the dragons and battles: “It might need a feature to tie things up, something with a feature budget, like $100 million for two hours. Those dragons get real big, you know,” he told The Hollywood Reporter . There was also talk of adapting the Tales of Dunk and Egg , a beloved novella following Ser Duncan the Tall and his squire Egg, as a standalone film, a project that has since evolved into a series debuting on HBO in 2025. And of course, original showrunners David Benioff and D.B. Weiss once pitched a trilogy of films to conclude Game of Thrones , an idea HBO rejected in favor of a traditional television ending. With Warner Bros. and HBO now revisiting the concept of a Game of Thrones film, the big question becomes: which of George R.R. Martin’s epic stories will make it to theaters? From the infamous Tourney at Harrenhal to dynasty-crushing Robert’s Rebellion, there’s no shortage of lore to explore. But one tale stands out—a story that’s both mysterious and cataclysmic, one that shaped the history of Westeros and looms large in fan imaginations: The Doom of Valyria. In April 2023, Variety reported that HBO was exploring a series centered on Aegon’s Conquest , with sources indicating a potential film component to lead into the show. Since then, Mattson Tomlin ( The Batman and Terminator: ZERO ) has signed on to write the adaptation of Aegon’s story from Fire & Blood , Martin’s Targaryen history. As the Conquest series progresses, the idea of a theatrical lead-in gains momentum, and what better prelude to Aegon’s story than the famed Doom of Valyria? The Doom of Valyria, a cataclysmic event referenced throughout Game of Thrones and House of the Dragon , marks the fiery end of the Valyrian Freehold, the powerful empire from which House Targaryen fled to Dragonstone 12 years prior. An inferno so fierce it even incinerated dragons, the Doom has long intrigued fans as one of Martin’s greatest mysteries. Valyria, at its peak, was the center of civilization, a city of grandeur and power where rival houses competed in a brutal dance for dominance. But all that splendor ended in flames, leaving only the Targaryens to carry on Valyria’s legacy in Westeros. The story’s allure lies in its mystery and tragic fate: what sparked the cataclysm that wiped Valyria from the known world? Witnessing hundreds of dragons soaring across the Valyrian skyline, only to fall as the empire crumbles, presents an unmissable cinematic opportunity. But what would it take to bring the Doom of Valyria to life on the big screen? One name comes to mind: Anya Taylor-Joy. With her ethereal, regal look and proven acting prowess, Taylor-Joy would be a perfect choice to lead a film as a Valyrian dragonlord. As a movie star, Taylor-Joy could step into the Game of Thrones universe without the long-term commitment of a television series, instead taking on a one-off project that showcases her talents on a grand scale. She has an established relationship with Warner Bros., briefly appearing in Dune: Part Two as Alia Atreides and starring in Furiosa: A Mad Max Saga . Beyond her resume, Taylor-Joy has expressed a personal love for Game of Thrones and House of the Dragon , particularly the Targaryen mythos. Casting her as a fierce Valyrian with a dragon to command could elevate the film’s appeal to dedicated fans and broader audiences. To market the movie, Warner Bros. would only need to promote it as a chance to experience an episode of Game of Thrones or House of the Dragon , two of television’s most visually unique and grandiose series, on the big screen. The demand to see more Valyrians in action has been growing for years. House Targaryen and their dragons have become cultural icons, referenced across various forms of media. This immense popularity led to the creation of House of the Dragon , highlighting the commercial power of House Targaryen and their dragons as HBO continues to develop projects centered on their descendants. Without question, the Targaryens, their dragons, and the legacy of Old Valyria form the very foundation of the Game of Thrones Cinematic universe, which was heralded by Emilia Clarke’s iconic portrayal of Daenerys Targaryen, arguably the franchise’s most recognized face. The allure of world of ice and fire’s deeply interwoven political landscape along with its epic-fantasy elements magnified on a cinematic scale would be enough to draw in long-time fans and new viewers alike. Budget-wise, Warner Bros. could position this as a blockbuster on par with Dune . Season 2 of House of the Dragon averaged $20 million per episode, while Dune: Part Two was produced with a budget of $190 million. With a similar investment, a Doom of Valyria film could showcase Valyria’s grandeur at its peak and the terrifying beauty of its destruction. Warner’s roster of star actors and in-house production expertise would ensure that the film’s visual spectacle captures the scale and splendor of Martin’s vision. A successful Game of Thrones movie would need more than just impressive visuals, however. A skilled director and a screenwriter who can balance the personal and epic scales of Martin’s world, as well as Martin himself as a consultant could turn this project into a billion-dollar blockbuster. Given the passionate fan base and the franchise’s proven appeal, a film centered on the Doom of Valyria could further grow the Game of Thrones fandom worldwide and elevate Westeros into a new cinematic realm. And Warner Bros., if you’re reading this, please let the Valyrians finally have their signature ethereal violet eyes. Sincerely the entire fandom. What do you think? Is the Doom of Valyria the perfect choice for Game of Thrones ’ big-screen debut, or is there another story from George R.R. Martin’s world you’d love to see brought to life? Follow @ westerosies on X/Twitter for more news and content from HBO’s Game of Thrones Universe!

Whilst in attendance at the BFI London Film Festival, the directors of Super/Man: The Christopher Reeve Story , Ian Bonhôte and Peter Ettedgui, were kind enough to speak with me along with some fellow writers and critics at a roundtable interview.  Below are the contents of that insightful and wide-ranging discussion. The following answers have been edited for brevity . Questions from the assembled critics are in bold italics , I want to say thanks so much for the wonderful film - I really enjoyed it. My question was whether there were any surprises you encountered during the development of the film in terms of how you originally envisaged it and in the edit. Ian Bonhôte, co-director : I think the fact that we ended up making the film more almost about the family and actually that the fact that they took such a massive role into the film is something I wasn't expecting at the start. Because we got approached to make a film about Christopher Reeve and then you start digging into his life story and then you start meeting the three children [William Reeve, Matthew Reeve and Alexandra Reeve Givens] - and then you just realise, “Oh my God, they're amazing.” Oh my God, the impact of the accident and then the death was so massive on the family, on them personally. So basically, that is something definitely the film shape change quite drastically. But again, we are not dogmatic: When we start a film we have a vision of what we want to do, but we are always ready to adapt to [use archive footage] or something that one of our contributors say, but we always try to make the film about the really important people and very quickly we realised [William, Matthew and Alexandra] were the three most important people. I really loved the narrative structure and how you had Christopher Reeve at the height of his career and also after the accident and I would just like to know how you created that emotional through-line - because I thought it was very intentional how you paralleled his career with maybe what he was doing with the charity or how his life was going or his relationship with his family parallel to in his famous Hollywood life where he was just doing Hollywood stuff. So how did you just create that emotional line between both? Peter Ettedgui, co-director : Well, the most important thing is when you set up to make any film, whether it's fictional or nonfictional, is to think about the shape, the structure of the story you're going to tell and how that is going to release the emotional content. It's not just form for form's sake - you’ve got to think about what is the content. What are you trying to express through the story? I think that from the very beginning what we actually wanted to avoid was a typical biopic 'cradle to grave’ episodic structure because we felt that that wouldn't do any favours, that wouldn't let the story breathe in any way that an audience would really be able to experience the emotions that we wanted them to experience. So pretty soon we kind of realised that the most dramatic point of the film, alas - but amazingly for filmmaking - was the accident because that is the lowest ebb that you can possibly imagine in anyone's life really. So if you start at that point and then you carry that through and you start seeing that there's this sort of extraordinary shape to it, discovering going from almost suicidal despair to realising there's still a reason to live even if it's just for his family and for his friends, and whether it's Dana saying “You're still you and I love you”, or whether it’s Robin Williams making him laugh. You have those moments and then that's one sort of very positive thing that happens after this extraordinarily negative thing. And then you have this sort of discovery of a new sense of purpose for your life and the realisation that actually in some profound aspect what this tragic thing that's happened to you is actually something that you can use for good both in your own life in terms of your own relationships, but also in terms of the broader world. That's just the most wonderful gift of a story those nine years. So we knew that although this was a story ostensibly about the guy who played the OG superhero, we knew that the story that wasn't going to be the story, how he got cast and how he got it was important that we told that story, but the really important emotional story was going to be those nine years and then it was a question of how we used breaks in that story to bring in the past and also to bring in the past in a way that as you rightly said, it counterpoints or mirrors things that were happening to him on how his fall and new rise after the accident parallels his very sharp rise and then decline in his career in the past. And so we knew we would have those things that would counterpoint each other. We get a clip from Christopher's audiobook where he mentioned that while in hospital his life kind of played out before him but not in order. So I was wondering in the documentary that specific portion, did you edit that in a nonlinear way or was that unintentional? Could you elaborate on that? Ian : Actually, some of the structure that Peter alluded to was inspired as well from the audiobook itself - but that sequence you alluded to was actually almost a gift because you could use that to justify the structure we gave afterwards. So it was 100% intentional and there's not a single frame or a single sound or a single music note that is not intentional in our films. I don't want to sound bigheaded, but you have to direct every single aspect of the film - just you don't have the makeup, you don't have the costume like in fiction, but as Peter said, you've got the archive, you've got how the archive comes in, comes out. How do you mix intimate personal archive with interviews from outlets when they were at the height of the fame, the interviews of the people you've used? We always try to think about it as a fiction film, where there's different dialogues - but that moment in particular you mentioned is extremely visual. At the same time we could do something a bit more like a music video or something a bit crazy because you are almost hallucinating with [Christopher Reeve]. But then afterwards he justified the fact that we have different moments of his life that clashes. Peter : I would just say by the way, well spotted because that line that you just quoted, it was in our first pitch, the very first thing we wrote that was we wanted to quote that as Ian says, to justify our approach because sometimes I think, and it's true with us that with this film that some of the executives that we were working with, it was very, very collaborative and happy collaboration, but some of them were sceptical about the structure. Ian : “How’s it going to work?” And you show them a first [cut] which is two and a half hours - I’d be sceptical. The thing is that it's longer when you make more and more film, more and more you in the industry you realise there's a lot of people with opinions but really few opinions you should listen to. Not to become too egoistical, but there's only, I mean with two directors and a very strong editor, Otto Bonome is a great editor - but that's already three voices. If we agree the three of us that probably covers a lot of other human beings. In fiction, you have a script that everybody judge and then people judge the execution of that script, the performance, the lighting, the use of the choreography, the use of the shot… In nonfiction, the script is kind of written as we have a sort of draft - but it's kind of written on the way and it's basically showing four or five drafts before the final drafts. And you always have to say when people watch the film, you've already have comments yourself. When you show two and a half hours you're not going to have a two and a half hours film but you had to show them something and they give you 80% of the notes. They're like, “Yeah, we fucking know it's two and a half hours long, we're going to remove 45 minutes.” Do you see what I mean? Sorry, pardon my French, but I think that's the thing. So I guess the thing that when you talked about Christopher Reeve, it's all the birth of the superhero film, which is now so prevalent and the genre is so saturated now. I was just wondering - you have so many clips from his other roles as well - was it important for you to really showcase his other roles and the other sides to his dramatic persona and did you have any favourites of his other works that you liked? Peter : Yeah, I mean the truth is obviously that when we were researching the film, we were watching a lot of Christopher in different films. From great films like Death Trap  to the TV movies of the week, which are… not so great - but he had to pay the bills. So you got a sense of a real working actor's career in that and that was very important for us. I think some people may very well, and kind of justifiably, think "Actually you guys, you didn't do proper justice to some of his other performances”, but you have to make choices and then you have to stick to your lane. So we absolutely wanted to show some of his other work in the context of the fact that that work was never, once he'd made Superman , that was it. That was the top of his career and he constantly fought against that. He felt trapped by Superman and he pushed himself to do whether it was working in the theatre, whether it was taking smaller parts in films - he wanted to kind of somehow break free of Superman  and I don't think he ever really did. And that was the context in which we wanted to depict his other work and we had to have that context. It is really important for the themes of the film in a way. Ian : And the OG thing - I mean the other thing which is really interesting is none of you are above 30. [Some attendees point out that they are above 30. Laughs.] You only, you guys look very young - but the point is a lot of you have grown up through the era of massive amount of Marvel and all rest of it, especially since 2005 to today it's been very successful, but at the time [Christopher Reeve] was the first one - but he's probably responsible for that as well because suddenly the studio saw huge amount of money, $400-$500 million for the first film in the Seventies. That's probably the equivalent of $1.5-$2 billion now. So it's probably an equivalence, not money equivalence, but how much it was at the time to get to that number so quickly. I mean I think that's what I try to do is just like wow, how first as documentary make, you don't get to talk about Superman much - because we're not going to make the next Superman– Peter : Well, we might. [Laughs] Ian : I think James Gunn is better than us - but the thing is looking about how [the superhero genre] evolves and made change into the way we perceive movies and stuff. Peter : And I would just add that we found this bit of footage that I was determined to get in the film but actually it just had nothing to do with the film that we were making: Kevin Feige talking about how before they make any [MCU] film, they sit down and they watch Christopher Reeve’s performance in the first Superman  film because that's the  superhero and I think it's also very true for James Gunn who's moved over from Marvel to DC and it’s kind of like– Ian : “Why did he move?” It must be because of the excitement of restarting Superman. There's something magical about Superman, I think, still absolutely from a lot of the other superheroes. They mix them up with other superheroes. Superman is  Superman - on his own kind of thing. Then they've tried to make Superman and Batman to make more money and all the rest of it. But I think the way James [Gunn] is going back to the original Superman, I think it's the right [decision]. We don't know much about it, but I think he's made the right choice. Peter : We were told after [ Super/ Man finished production, about James Gunn’s Superman  film], because the film was made in completely independently. Warner's only came in after our premier at Sundance and boy did they come in. They kind of love-bombed us really at that point it was very flattering - and I did think we were in with the chance of making a Superman film at that point. [Laughs] But, joking apart. I think they told us a couple of weeks later after they'd acquired the film that they'd shown the film to the cast of [James Gunn’s] Superman on location in Atlanta where they were filming and how much it had inspired everybody. It's nice to know that on one hand that Chris has sort of inspired both the MCU and the new DC Studios Universe. It's great to know that, but obviously we can all make our personal decisions as to whether this whole superhero domination of cinema is a good or a bad thing. Ian : It’s dying out. There's less of them now. Actually, it’s moved to TV now. I think it’s different now.  I think it’s different the way a young actor - because he’d probably be someone within 20 and 30 - it’s almost a step to success. You need to be one of them for the paycheque and for the exposure. So many people are making their careers because they do this one. Do you see what I mean? So it's a very different thing. It was a risk at the time [of the original Superman ] because there was nothing done before. Right now if you look [there are] a huge amount of very, very good actors that might go on to make a really sort of small independent film. Now potentially, the crazy thing for actors is to be in a play. All the theatre plays in London make such a big deal when there’s a Hollywood person coming in. Peter : By the way, great questions, everyone. No pressure. I just wanted to say congratulations on the film. As a comic book fan - lover of both MCU and DC - this film really struck a chord. I do remember as a kid watching Superman and I remember the day when the news was announced about Christopher Reeve being paralysed and then obviously his untimely death as well. To focus on the aftermath of the accident and the disability - there’s a part of the film where [Christopher Reeve] talks about the industry not being disability-friendly and you see that really come together where he's trying to get ready for the Oscars and the transportation, the mobilisation, the lack of insurance and so forth - to just get to the Oscar stage and making it public and so forth. And I just wanted to know, through making this documentary, has your world shifted? Have you seen your perspective change on disabilities? Ian : I think it started with a previous film already. We made a film called Rising Phoenix  about the Paralympic movement and the perspective started to change now. I mean we moved offices and we wanted to stay in Soho. There are hardly any offices which are disability-friendly for anyone who would need a lift to go somewhere, let alone if you've got visual impairment or hearing impairment, etc. So it is very tricky to have a disability in this industry as well. I think if you do fiction, as you remember on Rising Phoenix , we had one of our researchers, Ella Beaumont, who is a wheelchair user. Peter : Who also worked with us on Super/Man . Ian : She - and we - wanted her to be on set, so we had to be triply careful. It made our choices for location a lot tighter to be able to accommodate everyone - which potentially, some creative people might not want to embrace that because they need the film to represent what they have in their mind. So, I think, what the film does for me personally is the shift in how we need to keep our society accountable for many reasons about inclusion in general - for many reasons we don’t even need to mention on this table. I have been in this industry in the UK for a long time. The industry does not have one person at the top saying “You can’t get in”, “You’re not the right person” or “You’re a woman” or “You’re disabled” or whatever. I don’t think it’s that - I think it’s laziness, a lack of understanding of different stories. Inclusion means you get a bigger perspective in a sense - you broaden your horizons as an individual. Let’s say someone in a wheelchair is 60% less efficient. The presence of the person will increase 140% the knowledge and the understanding of the rest of the team. So maybe if the person can do 60%, then the rest of the team will understand way more. Peter : This kind of goes back to what you were saying about Christopher's problems getting to the Oscars. I mean talking about Ella and the reason that you're saying 60% is because the daily routine is so much tougher. I mean Ella lives near Aylesbury, so she had to get to our office in Tottenham Court Road. She's paraplegic and sometimes there wasn't somebody to help her get on the train, sometimes the train was cancelled, sometimes some of the stations did not have lifts - so we had to find an office near Tottenham Court Road. It is more challenging both for the person and also the employer. So you know, we already knew that from Rising Phoenix  - we’d heard a lot of extraordinary stories and we had also made a kind of commitment in that film to have people with disabilities working with us on the team and we took that onto Super/Man . One of the shifts that happened during the making of Super/Man  was that we thought that Christopher was heroic because of his advocacy and his activism, but we really discovered the controversy that some of that work inspired - Ella was saying to us “This whole thing about trying to ‘fix disability’ - that’s really quite offensive to people with disabilities.” Ella was born with a disability, so it is very different - but again, that opened our eyes to another way of looking at Christopher’s story. Those elements of controversy were very important. It took a long time for Christopher to see his life post-accident as valid as his life pre-accident. As he actually says, “It took breaking my neck for me to learn some of this stuff” - which is such a key line in the film. Ian : We needed as well, just to be truthful - we needed to find a way to call it Super/Man  without being sued by [Warner Bros]. [Laughs] Peter : All our conversations: “Are we going to get away with using this Superman  material? Are [Warner Bros] going to let us licence it? Are we going to be able to use this music? Are we going to be able to use the title?” Then [Warner Bros] came on board and they turned out to be the heroes. At this point (purely by coincidence, I assure you), the Warner Bros PR in attendance informed us that our time was up and that the roundtable was over. Super/Man: The Christopher Reeve Story  is in UK cinemas from November 1. Thank you to Warner Bros UK for our invitation to a private screening and organising the roundtable.

The Radleys and Boardwalk Empire star, Kelly Macdonald, has been tapped to star as a series regular in HBO’s Lanterns for the role of Sheriff Kerry. The Line of Duty  star will be playing an original character in the DC Universe. Her character is described as a no-nonsense woman deeply devoted to her family and close-knit town. Her resilience, shaped by a complex past that’s hardened her resolve, anchors her when the community’s secrets begin to surface.    The HBO Original Drama Series follows new recruit (John Stewart played by Aaron Pierre) and Lantern legend (Hal Jordan played by Kyle Chandler), two intergalactic cops drawn into a dark, earth-based mystery as they investigate a murder in the American heartland.   MacDonald is best known for her roles as Jo Davidson in the hit BBC series Line of Duty , Black Mirror , Boardwalk Empire , and the voice of Merida in Disney’s and Pixar’s Brave . Additionally, she won an Emmy for her portrayal in 2005’s The Girl in the Café. Lanterns is produced by HBO, in association with Warner Bros. Television and DC Studios’ based on the DC comic “Green Lantern”. Lanterns is co-written by Chris Mundy, Damon Lindelof and Tom King. The first two episodes are directed by James Hawes. The series is also executive produced by Mundy, Lindelof, King and Hawes. Macdonald is represented by CAA and Independent Talent Group. This story is developing.

Episode 6 of Agatha All Along provided us with key insights into Teen/Billy's identity and motivations. It also introduced us to Billy's loving and supportive parents, Rebecca Kaplan (Maria Dizzia) and Jeff Kaplan (Paul Adelstein). I had the opportunity to interview Maria Dizzia and discuss some of the pivotal scenes. Now that you're able to talk about this role, how does it feel? Was it hard to keep this secret for like more than two years? Yes, it was really hard to keep it a secret because I had so much fun filming it. It was such a beautiful experience meeting Joe and creating that family with him and Paul, who played his father. It meant a lot to me to be part of it, so it was really difficult not to talk about it. It feels like the cast and crew of Agatha All Along became a family... It is a labor of love. Yeah, I think very much like family... and like there's so much love within every aspect of it. I was really surprised [that] the creator, Jac [Schaeffer], was so embracing to us when we got on set. I felt that the part of Rebecca is an important part of the story because there is an aspect of mothers in the story. The Scarlet Witch is a mother who's mourning her children and Agatha is mourning a child, so I know that thread is important in the story. But, at the same time I was like, Rebecca Kaplan is such a small part of it that I was actually really surprised how much care and attention Jac gave to us and it really meant a lot to me. It’s not often the case that when you do a smaller role like that in a story that people take such care of the character and are so willing to have conversations with you. It really was a labor of love and that really got into all of the corners of the story, it was really great. Have you seen WandaVision ? Yes! One of the things that was so amazing about WandaVision was that we all kind of discovered it together because it came out during COVID. You weren't necessarily like out and about looking at Billboards or hearing about it. It was just something that I feel like a lot of us just uncovered on our own, being like, "oh, I've watched all this other stuff and I fell in love with it." I think one of the things that struck me, aside from the originality of the concept and the fantastic performances—like, obviously, Kathryn Hahn and Elizabeth Olsen—was how ambitious it was. You and Elizabeth Olsen are now kind of the mothers of the same character... Yeah, I know! I was actually excited about that because Elizabeth and I have worked together before. So there was something that felt so nice like a little string, another little connection to her... You’re also playing Aubrey Plaza’s character's mother in My Old Ass , right? That was great, and we actually filmed those scenes in the same calendar year. I knew I was on set shooting my scenes before Aubrey arrived, but I knew she would be doing that part. I hadn’t shot my Marvel scenes yet, but I knew I was going to, and she was part of that too. It was so fun to have that connection with her. How do you think Rebecca would view Wanda Maximoff as a mother? I think, well, you know, since Rebecca's a therapist, I feel like she would believe that Wanda maybe has the best intentions and could somehow be rehabilitated as a mother. But yeah, I think she might still have some criticisms. Did you do any specific research for the role of Rebecca Kaplan? There are comics and some material about her out there. Have you checked any of that out before? I did. I looked things up online. I didn’t read a full story, but I looked at different artwork of her to get inspiration about who she is. There’s one frame in a comic where Billy comes home and introduces his parents to his boyfriend. Rebecca grabs him in a bear hug, saying, 'We’re so happy for you and happy to meet you.' That frame was really helpful to me and probably the most inspiring because you could tell from it that she was giving all of herself to her son, and she was so full of love. I liked the combination in that particular artist’s depiction of her with those strict rectangular glasses, which gave her a formal appearance. I think Daniel [Selon] also reflected that in the dress he chose for me first, at the bar mitzvah, but toward her son, she’s really effusive. You have beautifully captured Rebecca Kaplan's sweetness and loving nature as a mother. Was there any specific energy you channeled for that? Well, I had come to set thinking about those things already, but once I met Joe, I just concentrated on him. He’s a beautiful person and was carrying so much of the show on his shoulders. He’s so warm and playful with everyone, and I thought it was extraordinary for someone so young to be a part of this enormous story. I felt very protective and loving towards him, and once we were on set, it was all about how I felt about Joe. That really came together beautifully. Many fans loved your portrayal of Rebecca. Would you be interested in returning to the role, or have you been told about any future appearances? I wasn't told about any future appearances, but I definitely had my fingers crossed that I would get the chance to appear again. Especially because, as I mentioned earlier, the theme of motherhood is so important to the story. I thought maybe there could be an opportunity for the mothers to meet in some way—maybe even have a standoff, threaten each other, or come to some kind of understanding. I was really excited about the possibilities of that. I think everyone would be thrilled to see you on the big screen or TV again. It feels like it could happen—people are really rooting for it. I hope so, too! Was it challenging to portray the intense emotions after the car accident, especially as a loving mother who feels like she’s lost her son, but not entirely, since he’s still there but has amnesia? That feeling of having him, yet him not being himself? Yes, it was hard. I think the immediate aftermath, especially when we were working on the crash, was really challenging. I’m a mother myself, so there’s something terrifying about letting yourself imagine being in that situation, especially because my character was driving. The sense of responsibility she must have felt—it really is a parent’s nightmare in so many ways. Our director was really focused on capturing that feeling. I think all kinds of loss are challenging. Losing someone completely is devastating, but what you're describing is being in a liminal space—where your mind tells you, "I still have them, so I shouldn’t mourn." You feel like you need to get to know who they are now because they've changed. But at the same time, there’s this sense of guilt for missing the person they used to be. Also, I don’t think it’s a coincidence that the accident happens after Billy’s bar mitzvah. I feel like that part of Billy’s story is a metaphor for losing your adolescence and becoming an adult—the way parents mourn the child you were but also learn to support the adult you're becoming. For the Kaplans, this transformation happens all in one afternoon, but in life, it usually happens gradually. I thought a lot about that. I feel like I need to watch it again with everything you’ve said in mind—it’ll definitely give me a new perspective. Oh, that’s so nice! Thank you. Okay, my last question: How was your experience filming, especially with the scale of a Marvel project? And how was it sharing the screen with Joe [Locke] and Paul [Adelstein]? It was wonderful working with Joe and Paul—both of them. Paul and I had worked together before on another project, an independent film where we played husband and wife, so it was nice to already have that comfort level with each other. Our characters were very different in that film, but we knew each other as actors, which helped. Joe was immediately endearing, so it was so much fun to be on set with him. I was definitely intimidated at first, walking onto such a huge set. Jac’s vision is incredibly ambitious, so you get on set and it’s enormous. There’s the dance floor with lights and cues, smoke, and the room transformed into this otherworldly bar mitzvah. You just hope you’re not the one holding up production because there are so many moving parts. But once we started working, it was really exciting. Another fun part was that most of the special effects were practical. For example, during the car crash scene, instead of using CGI, they rigged up a car that was spinning in the mud. As an actor, it’s easier to react to something real happening around you instead of having to imagine stimuli. But it was also just fun to be part of something so dynamic. Yeah, I imagine that for an actor, it would be a dream come true, with everything coming together like the sets, costumes, and makeup. It really did feel like you were playing in this supernatural world. That’s the kind of experience everyone wants to have, and it was truly exciting. Agatha All Along is now streaming on Disney Plus. Note: This interview has been edited for clarity and conciseness.

BFI London Film Festival Disclaimer: This review contains mild spoilers for Blitz . With his fifth feature film (following Hunger , Shame , 12 Years a Slave and the underrated Widows ), McQueen brings us a functionally conventional war picture that whilst not reinventing the wheel, deftly challenges historical misconceptions whilst illuminating forgotten corners. It is the singularity of McQueen's vision (he directs, writes and produces here) that facilitates the kinds of subtle revelations which help this film to avoid falling into the traps of most of the genre. We find ourselves in the kind of tale which was once a cornerstone of children's literature and film (see CS Lewis Narnia , Enid Blyton, Goodnight Mister Tom ). It is wartime in 1940s London and single mum Rita (Saoirse Ronan), who lives with her father Gerald (a wonderfully tender Paul Weller) is forced to send her nine-year-old son George off to the British countryside to keep him safe from the Blitz - Nazi airraids of 1940-41 which reduced swathes of the capital to rubble. Rather than centring his film around George living in the countryside or his journey back to London, McQueen chooses to follow George's trials and misadventures as he navigates London itself (the decision to premiere Blitz at the London Film Festival was no accident - this is arguably the Londoner's most personal film to date). The excellent Ronan ( Lady Bird , Little Women ) delivers a typically assured performance as Rita, but it is newcomer Elliott Heffernan who most impresses as George. Heffernan, who did just about all of his own stunts (and believe me, this boy is put through his paces in this film), eschews melodrama in favour of a winningly stoic performance - reserved without falling into vacuousness. Unfortunately, the same cannot be said for all performances in this film. Whilst Stephen Graham and Kathy Burke clearly have an immense deal of fun chewing scenery - their broadness threatens to break the impressive feat of social realsim which McQueen and team have wrought. Fortunately, this is only a momentarily blip - as for the vast majority of the film, we are treated to a series of what can almost be described as vignettes, which we see through George's eyes. Grime, chaos, greed, callousness - but also camaraderie, sacrifice and charity. The infamous 'Blitz spirit' is in full display here. However, it is not in the two-dimensional, masculine and whitewashed sense of wartime propaganda - but in quietly revolutionary reframings of that spirit. Starring a mixed-race child and centring the oft-forgotten role of women in the war effort (as ammunitions workers, not tea ladies), the sidelined volunteers such as Benjamin Clementine's tender Yourba warden Ife - all of this is done not as box-ticking or disingenous revisionism, but to more genuinely reflect the time as it was. Honesty is the watchword here - in performances, Yorick le Saux's cinematography and historical fidelity (Joshua Levine, author of The Secret History of the Blitz , advised on this film and Dunkirk ). At the LFF press conference, McQueen talked about how the key messages he wanted to drive home with Blitz  was his interest in how love can shine through in their very particular times - which, whilst part of a very particular period of history, continue to ring ever-true with ongoing conflicts in Palestine, the Ukraine and elsewhere. Some will be too quick to dismiss this film as 'too safe', lacking in bite or originality (although the 12A rating arguably contributes, it aids accessibility) - but it is McQueen's naturalistic and deft touch which makes this deserving to be considered a new staple of the wartime drama stable. Rating: 4/5 Blitz world premiered at the 2024 BFI London Film Festival. It plays in select cinemas on 1 November before streaming globally on Apple TV+ on 22 November.

The 'Friday Night Lights' Emmy winner will officially don the emerald ring as legendary Green Lantern Hal Jordan. We have learned that Kyle Chandler has been cast for the role of legendary Green Lantern Hal Jordan in DC Studios’ HBO series, Lanterns . This version of the character is described as a Lantern legend in his forties to fifties and will be a veteran member of the Corps. The series follows new recruit (John Stewart) and Lantern legend (Hal Jordan), two intergalactic cops drawn into a dark, earth-based mystery as they investigate a murder in the American heartland. Chandler is best known for his role as Eric Taylor in Friday Night Lights which landed him an Emmy win for Outstanding Lead Actor in a Drama Series. Chandler also notably starred in the Monsterverse franchise and numerous other films such as Argo, The Wolf of Wall Street, Zero Dark Thirty, and Manchester by the Sea . Hal Jordan was created by John Broome and Gil Kane and debuted in DC’s Showcase #22 in 1959. Jordan’s Green Lantern was a reinvention of Martin Nodell and Bill Finger’s character Alan Scott, who first used the title of Green Lantern in All-American Comics #16 in 1940. Jordan is a former military pilot, following in the footsteps of his father. After his military service he becomes a test pilot for Ferris Aircraft, during which he’s chosen by a dying Abin Sur to become his successor as Green Lantern of Earth’s sector: 2814. Jordan, like all Lanterns, uses an advanced ring powered by his willpower to create hard-light constructs of whatever he can imagine. The character was previously portrayed in live-action in Legends of the Superheroes by Howard Murphy and in Green Lantern  by Ryan Reynolds. Lanterns  was first announced in January 2023 by DC Studios co-CEO, James Gunn. The series was later picked up by HBO for an 8-episode season in June 2024 with the announcement that Chris Mundy ( Ozark)  will be the series’ showrunner and Tom King ( Supergirl: Woman of Tomorrow ) and Damon Lindelof ( Watchmen, Prometheus ) as executive producers. Lanterns will see two intergalactic cops (Hal Jordan and John Stewart) drawn into a dark, earth-based mystery as they investigate a murder in the American heartland. Nathan Fillion is expected to reprise his role as Green Lantern Guy Gardner.  Chandler is represented by Gersh and Brillstein.  This story is developing.

After narrowing it down to their top two choices, the DC Universe has found their John Stewart. We have learned that Aaron Pierre has been cast for the role of Green Lantern John Stewart in DC Studios’ HBO series, Lanterns . This version of the character is described as a Lantern rookie in his early thirties who will form a reluctant partnership with Kyle Chandler’s Hal Jordan. The series follows new recruit (John Stewart) and Lantern legend (Hal Jordan), two intergalactic cops drawn into a dark, earth-based mystery as they investigate a murder in the American heartland. Pierre is best known for his roles as Caesar in The Underground Railroad , Malcolm X in Genius: MLK/X , and most recently as Terry Richmond in  Rebel Ridge which was the #1 title worldwide on Netflix . Additionally, Pierre will voice the titular role of Mufasa in Disney’s The Lion King which is set to release this December. This will also be Pierre's second role as a DC character as he portrayed Kryptonian soldier Dev-Em in Krypton . John Stewart was created by Dennis O’Neil and Neal Adams in 1971 and debuted in Green Lantern  #87. Stewart is a Marine veteran who was working as an architect before being chosen to be a Green Lantern. Stewart was initially chosen as the back-up Lantern to Hal Jordan as the previous back-up, Guy Gardner, was injured and out of commission at the time. Stewart took up the mantle on and off for over a decade until 1984, where he became Earth’s primary Green Lantern after Hal Jordan quit. Stewart eventually became a Darkstar in the 1990s and served as a mentor to Kyle Rayner until Rayner gave him a new ring, leading him to take up the mantle once again. Lanterns  was first announced in January 2023 by DC Studios co-CEO, James Gunn. The series was later picked up by HBO for an 8-episode season in June 2024 with the announcement that Chris Mundy ( Ozark)  will be the series’ showrunner and Tom King ( Supergirl: Woman of Tomorrow ) and Damon Lindelof ( Watchmen, Prometheus ) as executive producers. Lanterns will see two intergalactic cops (Hal Jordan and John Stewart) drawn into a dark, earth-based mystery as they investigate a murder in the American heartland. Kyle Chandler is set to portray Green Lantern Hal Jordan and Nathan Fillion is expected to reprise his role as Green Lantern Guy Gardner, who will make his DCU debut in 2025’s Superman .  Nexus Point News exclusively reported that the series will begin shooting in January 2025 in Atlanta. Lanterns  is expected to be part of Chapter One: Gods and Monsters of the DCU and will premiere on HBO. Aaron Pierre is represented by WME, Anonymous Content, Hamilton Holdell, Sloan Offer Weber & Dern and Narrative. This story is developing.

After the enormous and unexpected success of Joker, it was inevitable that a sequel would be in the works given the film's commercial and critical achievements. Indeed, the film received no fewer than 9 Oscar nominations, winning 2, and was, until recently, the highest-grossing R-rated movie in cinematic history before being surpassed by Deadpool & Wolverine. Joker: Folie à Deux is therefore a very risky gamble: not only is a sequel unnecessary, but it also has to live up to its predecessor. Led by Joaquin Phoenix (Joker) and Lady Gaga (Harley Quinn), Joker: Folie à Deux takes place two years after the events of the first film. Now confined at Arkham, Arthur Fleck falls in love with Harleen Quinzel after meeting her during a singing class. As the two experience musical madness through their shared insanity, Arthur's followers start a movement to free him. Much calmer and more subdued, Folie à Deux shows the cruel and repetitive daily life that Arthur endures at Arkham, a far cry from the frantic pace of the first film. Arthur seems to be at a low point in his life—he no longer smiles and no longer tells jokes, unlike before when he used to entertain the asylum guards. That is, until he meets his true love: Harleen Quinzel. She brings back his smile and helps him rediscover his sense of humor. They share a common passion that brings them closer: music. Already a key element in the first film, in Folie à Deux, music serves as a form of therapy to help him overcome and cope the traumas that have fractured him. No matter how much the studio tries to disguise it, the film is a musical. After all, Lady Gaga wasn’t chosen by accident. Blending pop and jazz, the film features numerous iconic songs from the 20th century. Aside from one truly remarkable sequence in terms of choreography, staging, set design, and singing, the movie is very disappointing as a musical. First, Lady Gaga tries to sing like a beginner to match Joaquin Phoenix’s level. But why cast her if not to fully showcase her talent? When you see what the actress is capable of in A Star is Born, it’s truly unfortunate that she wasn’t highlighted more. Since most of the dance and song scenes take place in Arthur's mind, they have no real impact on the film because we already know they are fictional. They are often poorly introduced, at the wrong time, with transitions that leave much to be desired. Aside from the biggest musical number in the film, I was also disappointed by the set design. For a film with a budget close to $200 million—almost four times that of the first movie—I expected something far more impressive and grand. The film doesn’t look cheap, but I honestly wonder where the budget went, if not into the actors’ pockets. If there’s one thing I can't criticize, it's Joaquin Phoenix's dedication to this role which once again shines on screen. Lady Gaga, for her part, is radiant with a simple yet impactful performance. The cinematography of the film is absolutely incredible. Lawrence Sher perfectly captures Gotham's grimy essence. I highly recommend watching the film in IMAX format. Hildur Guðnadóttir's score isn’t as memorable as in the first film, but it’s still effective enough to evoke the darkness & bleakness of the movie. As for the story, it's probably the film's biggest weakness significantly bringing it down despite the high quality of the rest. While it runs for almost two and a half hours, the plot is hanging by a thread. It doesn't have anything new to say. It even drags at times, especially with such questionable editing where the musical sequences often feel poorly placed in inappropriate moments. On the other hand, the courtroom scenes are excellent with tension and a remarkable level of directorial control, making them one of the film’s strongest points. The relationship between Joker and Harley feels unconvincing, largely due to Harley's character being treated too briefly and lacking depth. Nevertheless, her character serves to critique the toxic and irrational worshipping of "famous" people. Though subtle, the film also criticizes the constant sensationalism sought by the media. In the end, Joker: Folie à Deux is just as incredible as its predecessor from a technical standpoint with its cinematography, actors, sets, and music… but where the first film succeeded in evoking emotion and drawing the viewer into the frenzy of its main character, Foliee à Deux disappoints with its overly thin writing and timid musical sequences, as if the film didn't accept it was a musical. Rating: 3/5