The upcoming Disney+ series Hawkeye has added six people for key roles. The series stars Jeremy Renner and Hailee Steinfeld who will be joined by Vera Farmiga, Florence Pugh, Fra Fee, Tony Dalton, Alaqua Cox, and Zahn McClarnon.
Farmiga will play Eleanor Bishop, the mother of Steinfeld’s character Kate Bishop.
Fee will play a character named Kazi who is believed to be Kazimierz Kazimierczak, the Marvel mercenary villain Clown.
Dalton will play Jack Duquesne who is believed to be the show’s version of Jacques Duquesne, aka Swordsman. The character was an early mentor of Hawkeye.
Pugh will reprise the role of spy and assassin Yelena Belova, the sister of Black Widow. She will debut in the upcoming Black Widow film which is currently scheduled to be released in May 2021.
Cox will reportedly play Maya Lopez, the marvel hero Echo. Echo is a deaf Native American who can copy the movements of anyone she sees making her a hell of a fighter.
McClarnon is expected to play William Lopez, the show’s version of Maya’s father from the comics.
Hawkeye is one of Marvel Studio’s numerous shows coming to Disney+ which includes WandaVision which will be released on January 15. Also coming is The Falcon and WInter Soldier and Loki. Also in the works is She-Hulk, Ms. Marvel, Moon Knight, and a Nick Fury series.
Mando checks in with some old friends, The Child heads to (pre) school, there’s a couple twists on some old Star Wars set pieces, and honestly, everyone ends up in worse trouble in The Mandalorian Season 2, Episode 4 ” Chapter 12: The Siege“, written by Jon Favreau and directed by Carl Weathers. With its planet/adventure of the week plot structure, The Mandalorian doesn’t have an ensemble cast, but it does have a couple of interesting recurring guest actors. Weathers and Favreau use them nicely in this episode and also provide more commentary on the post-fall of the Empire universe as the New Republic struggles to connect with the Outer Rim (Even though its greatest hero is from there!) and the remnants of the Empire engage in a very Star Wars form of eugenics to try to get back in power.
In this episode, Mando goes to the planet Navaro (Where the pilot and a bit of the previous season took place.) to finally get the Razor Crest repaired and travel to Corvus to meet the last scion of the Jedi, Ahsoka Tano. These days, Navaro is pretty law abiding thanks to Marshal Cara Dune (Notable transphobe, anti-masker and general conspiracy theorist Gina Carano) and Magistrate Greef Karga (Weathers). There’s a school, commerce, and Karga has even employed former Mando bounty, Mythrol (Horatio Sanz) as his accountant to work of his debts. (Think Suicide Squad, but number crunching.) However, on the other side of the planet, there’s an Imperial base with a lot of heavy weaponry, and while Mando is waiting for his ship to be fixed, Dune and Karga rope him into blowing its reactor and bringing peace to the planet with Mythrol acting as hacker, lockpick, and getaway driver.
Mythrol’s getaway driver status is short lived when the team discovers that the base isn’t your run of a mill, but a lab where Imperial scientists are running very unethical tests and experiments on subjects using The Child’s blood. However, they’ve run out and need to recapture him again so this episode becomes a lot more complicated than blowing up a base over a lava pit and going home. As soon as Mando hears The Child is in danger, he jets off to protect him while Dune, Karga, and Mythrol end up in a speeder chase in the Star Wars equivalent of a Ford F-150. You can feel Weathers and cinematographer Matthew Jensen‘s glee in this sequence, which goes full Grand Theft Auto and escalates to TIE fighters and wraps up in a very A New Hope way.
My favorite part of “The Siege” was the adrenaline-filled third act where Imperial scout troopers actually behaved cleverly for once and may have actually gotten the upper hand if they weren’t so fanatical. (See last episode’s cyanide pill popping.) However, Carl Weathers and Jon Favreau spend the first bit of the episode showing the change and growth that Mando, Dune, Karga, and even Mythrol have gone through since last season. Dune has gone from a mercenary and prize fighter to a sheriff, who can keep the peace with her blaster and physical combat skills while Karga is back to his old respected government job ways instead of running numbers and bounties. However, he’s got a little bit of edge as evidenced by making Mythrol take all the big risks during the Imperial Base caper. Mythrol is still cowardly and wants to make an extra buck, but his new job keeps him in line. Dune and Karga’s goals have gone from trying to make a buck and forget about their more traditionally noble or heroic pasts to helping others and creating a safe “green zone” on where folks can live a life free from New Republic policing and bureaucracy and Imperial fascism.
And Mando has changed the most. He’s gone from treating the Child like a bundle, nuisance, or McGuffin to straight up treating him like a son. For example, in the beginning of “The Siege”, Mando tries to walk The Child through fixing something on Razor Crest because the little cutie can fit in tight spaces. However, this is a little advanced for him, and honestly, Mando should have just let him do the sci-fi western equivalent of holding the flashlight. Weathers and Favreau even riff on the dread “first day of school” when Karga tells Mando to drop him off at the classroom while they go on their mission. Weathers inserts a lingering shot of him looking away as The Child immediately gets into mischief and uses The Force to steal a classmate’s snack. Mando’s motivation is keeping The Child safe, happy, and hopefully one day, reconnected with others like him. This is a hell of a thing to build a TV show around and demonstrates why so many folks have emotionally connected with The Mandalorian.
The Mandalorian Season 2 continues to be in conversation with previous iterations of Star Wars, and after last week’s detour to Clone Wars and Rebels, we’re back to the original trilogy. Carl Weathers and Jon Favreau go full fanboy (But not in a toxic way.) and insert in all kinds of goodies like the aforementioned speeder bike chase, blowing up a reactor a la Endor, the classic gunner heads up display used in Vader’s TIE fighter and the Millennium Falcon, and in a touching moment even though Carano doesn’t quite sell the emotion, Alderaan. The inclusion of these elements create a nostalgic reaction in viewers that helps some of the themes that Favreau is exploring go down easier like the Rebels transformation into New Republic beat cops. I mean, we go from Han Solo and Wedge Antilles to some protocol spouting guy in an orange jacket using the death of all of Dune’s friends and relatives on Alderaan to recruit to “join the force”. I find the politics and tension of this era of Star Wars history really fascinating, especially when Favreau gives us this boots on the ground view although the information about Mandalorians is interesting too and places Mando in a larger context beyond “lone badass with a soft spot for a cute, occasionally bratty kid.”
“Chapter 12: The Siege” has a tense chase scene, a pleasant performance from Carl Weathers as Greef Karga and continues to show the bond between Mando and The Child in a sweet, occasionally funny way as it’s interesting to see Pedro Pascal change his body language and movements from sharing some soup with him to gunning down stormtroopers and pulling off crazy maneuvers in good-as-new Razor Crest. However, Jon Favreau undercuts this fancy flying and uses the last moments of the episode to have Giancarlo Esposito’s Moff Gideon raise this season’s stakes with a slight eyebrow movement. He’s a great villain, Mando knows he’s alive now, and I can’t wait for their rematch down the road.
Like the previous installment of The Mandalorian, “Chapter 11: The Heiress” features The Child being gluttonous, yet adorable and eating every weird alien tentacle thing in sight. However, it also further the quest for the Jedi plotline while placing Mando and The Child’s journey in the context of a much bigger world as they finally encounter some Mandalorians, but they’re not the most, shall we say, sympathetic to his quest and have designs on ruling Mandalore. Step one in their plan involves lots of piracy and stealing imperial weapons.
Bryce Dallas Howard immediately flexes her directorial chops with a gorgeous shot of Mando, Frog Lady, and The Child’s ship sputtering towards the water planet of Trask. (If you like Mon Calamari, this is the episode for you.) Everything that could go wrong goes wrong as the ship ends up covered in kelp and badly in need of repairs so it’s out of commission for the whole episode. But hope can be found even in the most bleak situations, and Howard and writer Jon Favreau give us some payoff for Frog Lady as she reunites with Frog Man and their kids while Ludwig Goransson channels his inner John Williams for a sweet, stirring score. The relationship that Mando formed with them in the previous episode ends up being important as they babysit The Child while he goes on the dangerous mission part of the story and also teach him that frogs are friends, not food.
For the rest of the episode, there aren’t really as many tender human moments except for Mando jumping into the belly of a mamacore when he gets double-crossed by some Quarren (Aka the squid looking guys) fishermen, who want his beskar armor, and have no intentions of leading him to other Mandalorians. But he ends up being found by three Mandalorians: Bo-Katan (A charismatic Katee Sackhoff), Koska Reeves (Sasha Banks), and Axe Woves (Simon Kassianides). They take out Mando’s captors with precision and ease and rescue the child too. Howard captures their dynamic, fluid sense of movement compared to their opponents, and then shows they’re a little different when they remove their helmets, which is something completely against Mando’s belief system.
Speaking of belief system, the helmet removing and initial conversation between Bo-Katan and Mando sets up “The Heiress'” main theme, which is religious fanaticism. Apparently, Bo-Katan and her crew see Mando as a “zealot” and his views and mission to reunite The Child with the Jedi as restrictive. There’s a coldness between them even though Mando does agree to have a drink with them, mostly, because they’re his only lead as he isn’t super impressed by Bo-Katan’s aspiration to re-take Mandalore. He does show a grudging respect for her when she talks about being present at The Great Purge and having an armor passed down from generations. He is cool with helping them get weapons off an imperial freighter in exchange for information about the Jedi.
Except Bo-Katan doesn’t want to just steal weapons, she wants to steal the whole damn ship. Bryce Dallas Howard and Jon Favreau create some interesting parallels between her group of Mandalorians and the freighter’s crew led by the Imperial Captain (A stone-faced, yet really fun Titus Welliver). First of all, there’s this obsession with a return to a supposed Golden Age, which is the Galactic Empire for the Imperials and Mandalore for Bo-Katan. The Captain and his crew sign off with “Long live the Empire” when Moff Gideon (Giancarlo Esposito) refuses to send them reinforcements and would rather die than give the ship up to the Mandalorians.
Their sense of self-preservation has been overridden by their fanaticism. This extends to Bo-Katan and her crew, but they are much better fighters with Bo-Katan getting a thrilling sequence where she basically stabs a bunch of stormtroopers in close quarters combat. They have a single-minded cause and the skill to back it up, not unlike Gideon with his Darksaber at the end of last season.
Howard gets some bits of dark comedy from the reaction of basically the Imperial middle management to the report that the Mandalorians are onboard. She lingers on them sweating bullets as they realize that stormtroopers who “couldn’t hit the broad side of a Bantha” are the only thing standing between them and the Galaxy’s most ferocious warriors. The Stormtroopers do have fancy repeating blasters that even the odds for a little bit, but they’re no match for Mando, who is willing to put his body and Beskar on the line for a group of people he was duped by and strongly disagrees with.
However, his real motivation comes into focus at the end of the episode where he warmly looks at The Child playing with Frog Man, Frog Lady, and their new baby and has an actual destination even if his ship is still on its last legs and crawling with some weird critters. (Hey, more food for The Child.) Jon Favreau never loses sight of heart of The Mandalorian, which is the bond between The Child and Mando, and they use the connection to the bigger Star Wars lore (Clone Wars and Rebels in this instance.) to add richness and stakes to their journey and explore themes like extremism and tradition with the help of cool armor and jet packs.
Finally, I have to give kudos to Favreau for being able to succinctly introduce Bo-Katan, her motivation, and the additions to the Mandalorian lore in a way that’s easy to follow for viewers who didn’t see those episodes of Clone Wars and Rebels while keeping the episode moving and not getting bogged down in exposition. I mean, that unyielding eye contact from Katee Sackhoff works all by itself.
“The Heiress” is a welcome return to form for The Mandalorian with versatile direction from Bryce Dallas Howard, who ably handles the big wide shots of planets as well as the intimate violence of hand-to-hand combat and a magnetic and storyline deepening guest performance from Katee Sackhoff as Bo-Katan. This episode is just a good time with plenty of action, adorable moments with Mando and The Child, and reminders of the complex world outside their quest.
It’s been announced that the original Marvel Studios television series WandaVision will debut on Disney+ on January 15.
The series stars Elizabeth Olsen and Paul Bettany and is the first Marvel Studios series to debut on Disney+. In it, Wanda Maximoff and Vision are living an idealized suburban life but begin to suspect that everything is not as it seems.
Joining Olsen and Bettany are Kat Dennings, who reprises her role as Darcy Lewis from Marvel Studios’ Thor and Thor: The Dark World; Randall Park, who reprises his role as Agent Jimmy Woo from Ant-Man and The Wasp; and newcomers Kathryn Hahn, who plays their plucky neighbor, and Teyonah Parris, who plays the adult Monica Rambeau, who was first introduced in Captain Marvel. The series is directed by Matt Shakman.
This review contains spoilers for The Mandalorian Season 2, Episode 1 “Chapter 9: The Marshal”
It’s becoming an old adage that television in the 2010s (And now, the 2020s, I guess) has abandoned the art of the single episode and instead wants to be a 10-hour movie. (Or 13 in the case of the Marvel Netflix shows.) However, The Mandalorian bucked that trend and became a kind of Have – Gun Will Travel meets Lone Wolf and Cub wrapped up in a shiny cinematic package with talented guest stars, directors that some would consider to be auteurs, and of course, having a connection to the immersive world of Star Wars without the ol’ Skywalker. Each episode is a Western mini-movie with just enough serialization to get audiences to tune in next week. Or keep subscribing to the streaming service. And “The Marshal” is no exception.
Before getting into the episode’s main plot, writer/director/show creator Jon Favreaucrafts a bit of a cold open to remind viewers that Mando (Pedro Pascal) is a laconic badass, a man of honor especially where his beskar armor is concerned, and desperately cares for The Child aka Baby Yoda. (Even though he takes him to some not very child-friendly places, a Gamorrean deathmatch isn’t Chuck E. Cheese.) The sequence also establishes Season 2’s overarching plot, which is that Mando is looking for The Child’s people, and to find them, he needs to find more of his people, the Mandalorians. This is why he’s at the aforementioned deathmatch even though Mando isn’t a gambling man.
However, his contact, the Cyclopean alien Gor Koresh (John Leguizamo) sees more value in his armor than in his paltry excuse for a fighter, and we get to see some of Mando’s new toys he picked up last season in action. Pedro Pascal brings great physicality to this sequence, and Emmy Award winning cinematographer Greig Fraser shoots the fight like a boxing match while adding some levity when The Child slowly closes his cradle when he realizes his daddy is going to cause some carnage. Ludwig Goransson’s score really helps the opening scene build starting with percussion, then guitars, and finally into the show’s iconic theme music as Koresh gets his comeuppance courtesy of some critters hinted at in an earlier dark and gritty tracking shot, and Mando is off to good ol’ Tattooine to find another Mandalorian.
After an adrenaline-filled, almost neo-noir opening sequence, Favreau is back in Western mode as Mando and The Child visit the nearly abandoned Tatooine mining town of Mos Pelgo, which Peli Motto (Amy Sedaris) treats as the neglected sibling of the more famous Mos Eisley and Mos Espa in an adorable guest scene. Sedaris brings a dose of comic relief and acts as Favreau’s commentary on rabid fandom surrounding The Child as she offers to buy him or his future offspring. She’s a bit of sunshine before they arrive in the bleak ghost town of Mos Pelgo, and Favreau introduces a fairly basic theme of working together despite one’s differences as a gun slinger duel between Mando and Marshal Cobb Vanth (An incredibly well-cast Timothy Olyphant) over his Jawa-bought Mandalorian armor turns into a Jaws with sand as a Krayt dragon (Whose call Obi Wan used to scare off the Tusken Raiders in A New Hope) slithers through town. This sets up the main plot of this episode of The Mandalorian, which is that Mando, Cobb, the townspeople of Mos Pelgo, and the local Tusken Raiders must join forces to kill the Krayt dragon once and for all.
Also, there’s a kicker about Cobb’s armor: it belonged to Boba Fett. He’s not a Mandalorian and obviously knows nothing about The Way as he immediately takes off his helmet upon meeting Mando as Olyphant exudes casual contempt. Jon Favreau’s script and direction of “The Marshal” is richly intertextual without being mere fanservice. He uses familiar touchstones to play with audience’s preconceptions, and where George Lucas saw stereotypes or archetypes, he does something a little more nuanced. In a flashback scene, Favreau shows that the destruction of the Second Death Star didn’t have a positive effect on every planet in the galaxy and led to the Mining Collective taking over Mos Pelgo until Marshal Cobb uses some random crystals that he finds to purchase Fett’s armor and shoot and guided homing missile his way back to a semblance of law and order. The scene of Cobb breathlessly crawling through the desert makes him a sympathetic figure that transcends his initial “gunslinger of the week” trappings, which would frankly be a waste of Olyphant’s talents.
Even better is Jon Favreau’s reclamation of the Tusken Raiders, who had been relegated to something to avoid or even slaughter in Lucas’ films. (Notice how Anakin’s actions towards them in Attack of the Clones were justified until he killed women and children.) He uses them as a (Let’s be honest: a bit on the nose) sci-fi metaphor for indigenous people in “The Marshal” with Cobb refusing to drink their “smelly” water in a scene where Mando is trying to set up an alliance and use their knowledge of the Krayt dragon to take it down. Olyphant does a good job playing the uncomfortable colonizer as Mando effortlessly communicates via low tones, hand signals, and the occasional loud utterance while Cobb and later the townspeople feel awkward and even react in anger when a Tusken raider fumbles an explosive charge. The agreement that Mos Pelgo and the Tuskens make also acts as a commentary on Western countries’ preemptive strikes as in exchange for the Krayt dragon’s blood and carcass, the Tuskens won’t attack Mos Pelgo unless they are attacked first. This has happened in the past as evidenced by a one-liner about Cobb not drinking their water even though he and his miners had stolen it in previously.
Along with using Star Wars lore to make sociopolitical commentary, “The Marshal” is also a damn fun monster movie. Favreau parcels out just enough exposition to make Mando, the Tuskens, and Cobb’s plan easy to follow and then shoots it all to hell to keep things interesting. He goes the Steven Spielberg route and saves the big money shot of the monster for the end of the episode using the effects of its actions like the sand shifting and windmills aggressively blowing as well as stories of its exploits (It ate the Sarlacc and is living in its lair!) to build tension. And it lives up to the hype with some wonderful creature design that matches its sandstorm introduction. Also, Mando and Cobb get to fly around on jetpacks to fight it, which is damn cool, and there’s another Boba Fett related Easter Egg that is integral to how they best the creature.
The way that Mando takes down the Krayt dragon also adds to his character as he’s willing to improvise and come up with non-orthodox solutions in stressful situations and is willing to take chances and sacrifice himself for those around him. Even though its the first episode of a season in a show named after him, Pedro Pascal really sells the fact that he might die and makes sure that The Child is well taken care of before he literally goes into the belly of the beast. Although, he doesn’t play an active role in the plot, The Child continues to humanize and soften Mando even in the most high-stress situations.
Some heavy-handedness aside, “The Marshal” is a fun and smart return for The Mandalorian as Jon Favreau and company use the world and mythos of Star Wars to tell a genre-bending story that comments on the role of indigenous people in both science fiction and Western stories. It’s also a hell of a shoot ’em up with cinematic action and a memorable, nuanced guest performance from Timothy Olyphant, who parts as friends with Mando, and I hope makes a return to a series as a gun-slinging lawman that learns to be a little less species-ist. And the final scene is truly a jaw dropper…
Deadline is reporting that Oscar Isaac may be heading from Star Wars to Marvel. The actor is in negotiations to star in Moon Knight, the upcoming Disney+ series based on the classic comic character.
Jeremy Slater will be developing the series and leading the writing team. Slater had developed The Umbrella Academy, another comic turned television series, for Netflix.
Moon Knight is the alter ego of Marc Spector, a mercenary who may be the conduit for the Egyptian moon god Khonshu. Spector also might be crazy with multiple personalities he inhabits. Are they part of his mission? Is it part of being a conduit for a god? Has he lost his mind?
Spector is also one of the few high profile Jewish characters in the Marvel Universe. Magneto, The Thing, and Kitty Pryde being the other three well-known characters. With the possible casting of Isaac, an opportunity to have a Jewish actor tap into their experiences for the role is lost. Spector’s Jewishness is central to his character, the son of a Rabbi, and the “slave” of an Egyptian god. Isaac has said he has Jewish ancestry on his Father’s side of the family though both of his parents are evangelical Protestant and he was raised as one.
Moon Knight is just one of a wave of shows coming to Disney+ from Marvel. WandaVision premieres soon but also coming is The Falcon & Winter Soldier, She-Hulk, Ms. Marvel, and numerous other rumored shows in development.
Marvel Studios has found their Ms. Marvel in Iman Vellani. Vellani will reportedly star in the Disney+ series which will feature the beloved character.
Marvel nor Disney have confirmed the casting.
Ms. Marvel is Kamala Khan, a Muslim Pakistani-American teenager in New Jersey. The character debuted in 2013 in Captain Marvel #14 and was created by Sana Amanat, Adrian Alphona, Jamie McKelvie, and G. Willow Wilson. The character in the comics is an Inhuman who gains her powers after Terrigen Mist is unleashed across the world. Her powers include shapeshifting and healing factor which she uses to protect her town and worldwide adventures with teams such as the Champions, Secret Warriors, The Mighty Avengers, and The New Avengers.
Iman Vellani is a newcomer with new credits according to IMDB.
Ms. Marvel is one of numerous Marvel shows coming to Disney+. Up first this year is WandaVision with Falcon and The Winter Soldier after. She-Hulk, Moon Knight, Nick Fury, and more are all being worked on.
Samuel L. Jackson might be going solo and will reportedly reprise his role of Nick Fury in a series for Disney+. The show is under development. Varietybroke the news saying the show will feature Kyle Bradstreet writing and executive producing.
The series is just being worked on and not a definite greenlight. It’d join numerous other projects including this year’s WandaVision, The Falcon and Winter Soldier and Loki which are scheduled for 2021, and other shows including She-Hulk, Hawkeye, Ms. Marvel, and Moon Knight.
Jackson’s Fury has been a thread throughout the Marvel Cinematic Universe tying the various films together going back to Iron Man in 2008. He most recently portrayed the character in Spider-Man: Far From Home.
In that film Fury was revealed to be on board a Skrull ship in deep space in a post-credit scene. What that really means and the implications are unknown. He may have been in space the whole time. It may point to the formation of space defense force S.W.O.R.D. There’s a lot there to debate until we get more details.
It’s a new week and we’ve got more interviews, reviews, previews to come! What geeky things did you all do this weekend? Sound off in the comments below! While you think about that, here’s some comic news and reviews from around the web in our morning roundup.