It was announced last May that the Snyder Cut will be premiering on HBO Max, without a specific release date. Friday morning, fans of the long-awaited “uncompromised” version of Warner Bros’ Justice League movie got their answer.
The Snyder Cut will be premiering on HBO Max on March 18. In just a few weeks, we’ll finally get to see if it was worth the wait. It will be released as a four-hour-long epic, which makes it the longest-running comic book movie in history. Check out the new posters below.
Credit: WarnerMedia
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For years now, we’ve seen bits and pieces of Snyder’s original version from Henry Cavill in the black Superman costume most notably tied to his return after his death in the comics, a barbaric-looking Darkseid, and a redesigned Steppenwolf–on top of additional shoots adding characters such as Jared Leto’s Joker.
When Zack Snyder was removed as the film’s director, Avengers director Joss Whedon signed on to finish the project, injecting humor and removing a lot of what Snyder had already filmed. Justice League was met with a mixed to a lukewarm reception. On Rotten Tomatoes, it’s still holding down at 40%.
Disney is rebooting Cheaper by the Dozen, and now the family comedy-drama has added another big name to its cast. It has been confirmed that Scrubs and Garden State star Zach Braff is joining Gabrielle Union in the remake from Black-ish creative/producer Kenya Barris.
This is a Disney+ movie and it’s on the books to release in 2022.
The Cheaper by the Dozen remake focuses on a multiracial family of 12. Braff is lined up to play the father, with Union portraying the mother.
Braff confirmed the casting on Instagram, where he wrote, “I dreamt I married Gabrielle Union and had 12 kids. It came true!!!!”
The Cheaper by the Dozen franchise dates back to 1950, but it was revitalized in 2003 with a new film that starred Steve Martin and Bonnie Hunt as the parents of the gigantic family. A sequel was released in 2005, with Martin and Hunt coming back. The original film’s director, Shawn Levy, is attached as a producer on the Disney+ film.
The two Cheaper by the Dozen films released in theatres combined to make more than $320 million at the global box office. The third film will be measured differently, however, as it’s a streaming film for Disney+.
G4 has officially confirmed that X-Play and Attack of the Show! will be returning in Summer 2021.
The news was confirmed on G4’s Twitter in a teaser video that featured the show’s logos, the voice of X-Play host Adam Sessler, and the text “We heard you. The legends return. Summer 2021. We never stopped playing.”
X-Play was a TV show known for its video game reviews and was on air from 1988 to 2013. Throughout the years, it was hosted by Adam Sessler, Morgan Webb, Blair Herter, Jessica Chobot, Lauren Fielder, Kristin Adams, and more.
Attack of the Show! was a live TV show all about the best in pop culture. It did feature video game coverage, but was much broader than X-Play and also discussed news headlines, tech, movies, and more.
Attack of the Show! aired from 2005 to 2013 and was hosted by Kevin Pereira, Olivia Munn, Alison Haislip, Candace Bailey, Sara Jean Underwood, Kevin Rose, and more.
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Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.
WandaVision Episode 4 offered answers, clues, and even more fuel for your MCU conspiracy theories.
Well, we were wrong in our guess about WandaVision Episode 4 taking place in the 1980s–this week we broke the format entirely for some major expository bombshells and answers to questions. Sort of. Rather than return to the sitcom-flavored wackiness of Westview, Episode 4 took a more zoomed out approach dealing with the world outside the town’s mysterious boundary.
This meant a whole slew of familiar MCU faces cropping back up for the first time in a long time. Both Agent Jimmy Woo (Randall Park) and Darcy Lewis (Kat Dennings) made their returns to help SWORD try and sort the Westview mystery out. We also got to officially meet adult Monica Rambeau for the first time–as herself, rather than “Geraldine,” that is–and check in with some Captain Marvel history in the process.
However, for all the answers this episode gave us, there are still some major questions at play, like how and why Vision is “alive” (if he even is alive at all), why the sitcoms are being broadcast out, and what’s going on with characters like Agnes and the newborn twins?
So as we attempt to process through all of that, we’ve picked out 22 Easter Eggs, potential clues, and things to pay attention to as you craft your theories for next week’s episode.
Fans of Apple’s “Mythic Quest: Raven’s Banquet” will appreciate this: If you can’t find the game you want to play, well, why not build it yourself? That’s totally doable these days with courses available online to help you learn the world of coding. After all, that’s what’s video games are: lines and lines and lines of code.
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Finding ‘Ohana is now streaming exclusively on Netflix.
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Hey, you GUUUUUYS! If you love The Goonies, you’ll relish in the rollicking adventure of Netflix’s Finding ‘Ohana. The concept of a quirky kid crew questing for long-lost pirate’s treasure is given a fresh spin against the awe-inspiring backdrop of the Hawaiian island of O‘ahu. However, the savvy and sentimental script by Christina Strain begins this journey in the urban jungle of Brooklyn, New York.
There, 12-year-old Pilialoha “Pili” Kawena (Kea Peahu) is a streetwise geocache champion, racing down sidewalks, cracking clues, and finding hidden prizes. Then, her plans for this kind of summer fun seem derailed when a family emergency pulls her back to the rural Hawaiian community where she was born. Neither Pili nor her teen brother Ioane (Alex Aiono) is stoked for this island getaway. Their grandfather’s battered bungalow doesn’t even have Wi-Fi! Cut off from the world they know (and the world wide web), Ioane turns his attentions to flirting with a beautiful local named Hana (Lindsay Watson), while Pili peruses a curious journal for clues to a lost treasure trove. With the help of her new friend Casper (Owen Vaccaro), she’ll set off on a quest that will change her life and family (‘ohana) forever.
The path of such kiddie adventures is so well worn that Strain’s script wastes no time on its first act. A spirited geocache chase plows into the Kawena clan landing in O‘ahu. Within moments of meeting her gruff but lovable Papa (Branscombe Richmond), Pili has already found the journal that will light her way to trials, tribulation, and treasure. Hot on the heels of this discovery, she crashes into Casper, a friendly redhead who — perhaps in a nod to screenwriting conventions — is literally saving a cat. Basically, Strain is well aware she’s not reinventing the wheel here. But if it ain’t broke, why bother?
Likewise, the characters are forged from familiar stock. Pili is a spirited tomboy in the tradition of Punky Brewster or Pippi Longstocking. She’s fearless and quick to action, whether feuding with her brother or leaping across a river of lava. Casper is a consummate sidekick, supportive with info on the island’s creatures and culture as well as his eternal earnestness. Ioane (nicknamed “E”) struts in as the softly sexist older brother, who initially mangles his wooing of Hana with brogressive swagger. (Think Sokka in Season 1 of Avatar: The Last Airbender.) He’s a loyal and protective older brother, but also a bit of a lunkhead when it comes to seeing women — including his sister, mother, and crush — beyond his own desires and obligations. No-nonsense yet genial, Hana proves not just his love interest, but also his foil, reflecting how he can bond with his sibling without all the bravado. Then for good measure, there’s a dash of artistic ambition slathered on her to drive home she’s smart and sensitive.
Having swiftly established its core crew and their interpersonal conflicts, Finding ‘Ohana gleefully chucks them into a mountain full of winding tunnels, collapsing caves, venomous critters, and an unnerving trail of sailor skeletons. Instead of stodgy flashbacks of the pirates’ passage, the film takes a clever cue from Ant-Man (or arguably Drunk History). The kids recount the story from the journal to each other, putting in the mouths of these bygone buccaneers with modern slang like, “That’s lit!” and “Oh dip!” Bringing to life these colorful scenes are two consummate character actors: Chris Parnell and Marc Evan Jackson. Though buried under eye-patches and wonky wigs, the comedic skills honed across storied sitcom work still shine, making these funky flashbacks a string of dazzlingly funny gems.
As director Jude Weng came from television, it’s perhaps no surprise that the film’s comedy beats have a solidly entertaining rhythm. More impressive is how Weng churns thrills in a cavalcade of action sequences, where the peril is exciting but the shadow of death never overbearing. Following in the footsteps of Indiana Jones (who is repeatedly name-checked), Pili and her crew spelunk, scuttle, scramble, and sing-along to get through each new challenge together. Of course, they will discover the true treasure is the bonds they forged along the way. Yet anticipating their destination doesn’t detract from the joy, in part because the cast is warmly winsome.
Supporting this emotional undercurrent is the B-plot, in which Pili’s mom and Papa mend the relationship that took a hit when she fled the island because of a tragedy she’s still getting over. As the kids journey through a mountain, the grown-ups trek through their psychological trauma to rediscover each other. This thread is a bit thin, but in a kid’s movie, any more would feel out of place. After all, this isn’t a tearjerker but an adventure! Peahu proves its sturdy leader, confidently shouldering a broad yet charming performance style that hits somewhere between Disney Channel sitcom and E.T. intensity. Her supporting cast follows this tone, making for a movie that’s bouncy and fun even when dealing with death, regret, and letting go.
Into a familiar mold, Strain and Weng happily pack elements of Hawaiian culture, including language, community pride, Spam cuisine, and the legend of the Night Marchers. These details are more than superficial set dressing. They are an invitation to the fish-out-of-water siblings to reconnect to their heritage and its wonders, and through their journey, we are invited to share in both. All of this leads to a final act that is a bit leggy, stuffing in payoffs emotional, mythical, and thematic. Still, the cast and the enchanting world of Finding ‘Ohana makes this detour feel more like the scenic route.
Call Of Duty recently merged progression, a season pass, and some guns across Cold War, Warzone, and Modern Warfare. In theory, it was a great idea that would allow any Call Of Duty player to engage in any mode and carry progress across games. In reality Call Of Duty: Black Ops Cold War is a more traditional Call Of Duty title with a different audience from the mil-sim inspired Modern Warfare, so the merger has resulted in Warzone challenges that don’t appeal to Cold War players, erased or made meaningless progress for Modern Warfare players, overpowered guns like the Mac-10 and DMR 14 in Warzone, and created unlocks that some players can’t use unless they purchased the other title.
In this video, we talk about what we feel Activision was trying to achieve, why it’s a good idea in theory, why it isn’t working yet, and what they can focus on next. Call Of Duty titles published by Activision are developed by multiple studios including Infinity Ward, Treyarch, Raven Software, and Sledgehammer Games. This is the first time progress has been linked across two separate games and a standalone free-to-play battle-royale. We have yet to see if this shared ecosystem will be used moving forward for all Call Of Duty titles, but there are lessons to be learned either way.
Apex Legends Season 8 is bringing a slew of changes, including a shiny new gun called the 30-30 Repeater. It’s a lever-action rifle designed to fill the hole players were feeling in the heavy weapon set.
Starting out, the 30-30 will have six shots. Obtaining higher level magazines will increase its shot count, starting at eight with a level one magazine, ten with a level two magazine, and 12 with a level three magazine. The gun also has a charge bar that will change location depending on what kind of sight you have equipped. As you’d expect, the more you charge the 30-30, the more damage it deals, with its hits scaling accordingly if you only complete the charge midway. Full-charge headshots do 100 damage, and full-charge body shots do 57 damage. Meanwhile no-charge spamming body shots do 42 damage, and no-charge headshots do 74 damage.
If you’re looking to add the 30-30 into your regular arsenal, you will need to learn how to time using charged shots versus spamming regular ones. The 30-30 falls in between the G7 and Longbow guns in terms of play. The G7’s fire rate is faster, but its shots do less damage, while the Longbow shoots more slowly but also does more damage. The 30-30 falls smack dab in between with its lower damage spam fire and its higher damage charge-shot, and is perfect for mid-to-long range combat.
Timing will also be important when it comes to reloading. While the 30-30 can potentially have a lot of shots, its reload time from zero is pretty slow. If you let it get down to empty, it’s going to take a while to refill your magazine. That said, a new addition to the game can help combat this issue: the level four magazine. When equipped on the 30-30–or any weapon–you can automatically reload by putting your weapon away and waiting five and a half seconds.
When Jac Schaeffer sat down to begin writing WandaVision, Marvel Studios’ first Disney+ TV show, she already had plenty of experience in the universe. As a co-writer of Captain Marvel and the writer of the upcoming Black Widow, she’s firmly entrenched in the MCU. It was, however, her first outing as a TV writer, which highlighted some interesting differences in the process.
“It’s very lonely to write a feature by yourself,” Schaeffer told GameSpot. “It’s fun because, you know, if you’re the only one working on it through to the end, then you get all the credit. And that’s really nice. And you can sort of pat yourself on the shoulder for your discoveries.”
With WandaVision, though, she worked with a team of writers to help craft the episodes, which only made for a better experience. “When you do it in a group, all of the victories are that much more exciting and the failures are kind of cushioned a little bit. Because you’re in it together,” Schaeffer explained.
It also changed her approach to writing. With a film, you’re telling one story designed to be watched in a single sitting. WandaVision, on the other hand, is nine episodes released weekly. So, in addition to the overall story arc, Schaeffer explained, “I had big moments for every episode that I knew was where I wanted to land each episode and we sort of worked backward from there.”
It also changed her approach to writing. With a film, you’re telling one story designed to be watched in a single sitting. WandaVision, on the other hand, is nine episodes released weekly. So, in addition to the overall story arc, Schaeffer explained, “I had big moments for every episode that I knew was where I wanted to land each episode and we sort of worked backward from there.”
And unlike her previous work in the MCU–and everything else Marvel Studios has done before–WandaVision isn’t a single type of show or movie. Instead, it’s a mixture of several different eras of sitcoms, with an epic Marvel story bubbling just below the surface.
For most, burying that massive comic book-flavored mystery underneath a lot of dated comedy tropes might seem like a challenge. For Schaeffer, however, WandaVision’s premise is why the show works.
“It was my philosophy that the more we dug into the sitcom part of the show, the more the mystery pieces would land,” she said. “So that sort of dictated how much early on in the series the mystery in the MCU peeks out, in order for that to feel spooky and satisfying and weird and emotional–all those weird feelings that you want the audience to have.”
Of course, it’s still a Marvel Studios project, with many of the trademarks fans have come to expect–deep dive comic book references, plenty of Easter eggs, and lots of threads to tie it to other projects in the MCU. And Shaefer will be the first to admit the strong pull to wanting to also embed plenty of nods to classic sitcoms. After all, not only have the first three episodes taken inspiration from the likes of Bewitched, The Brady Bunch, and I Dream of Jeannie. And WandaVision also has sitcom royalty involved. Elizabeth Olsen (Wanda) is the sister of twins Mary-Kate and Ashley Olsen of Full House fame, while series director Matt Shakman starred on a late-’80s sitcom called Just the 10 of Us.
Thankfully, between Schaeffer, her producing partner Mary Livanos, and Marvel Studios boss Kevin Feige, they know not to get too buried in the weeds when it comes to Easter eggs and references.
“The temptation is very strong. Kevin is the sort of ultimate decision maker on that kind of thing and he really has a light touch with that kind of thing,” the writer said. “And there were occasionally ideas that especially my producer, Mary Livanos, and I would get really jazzed about something that we thought was especially clever and we were so pleased with ourselves, and Kevin would be the one to be like, ‘That’s that goes too far. That’s too much. That’s too cute.'”
While on the surface, it’s hard to argue against any Easter egg or reference that could be thrown in, Schaeffer and the rest of the WandaVision team believe going too far overboard would simply muddle what the show is trying to accomplish. “We all agreed that we wanted the sitcoms to really stand on their own and to be entertaining and satisfying,” she said. “And if we got too cute, we would sink ourselves.”
Of course, that doesn’t mean there aren’t any sitcom Easter eggs. After all, we know a reference to Full House is on the way.
New episodes of WandaVision air Fridays on Disney+.
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Having successfully revived the king of monsters in 2016’s Shin Godzilla, director Hideaki Anno is now ready to reveal the greatest of Japan’s television heroes, Ultraman. Our first look comes in the brand-new trailer for Shin Ultraman.
The trailer doesn’t actually say much, but it gives us our first look at the hero. Shin Ultraman comes from writer Hideaki Anno and director Shinji Higuchi. The pair worked together on 2016’s Shin Godzilla. and even in just 36 seconds this trailer seems to suggest that Shin Ultraman will have a lot in common with that film.
Like Shin Godzilla, the film goes with a very classic take on the character. We only see Ultraman in the final moments, but we get a clear look at him. Where Netflix’s 2019 Ultraman anime significantly updated and streamlined the look of the character, this version looks a lot like it did in the original 1966 television show. Even the monsters look classic enough–meaning unabashedly cheesy–that it’s hard not to laugh at them as they lumber through the forest.
The other common thread is that the movie looks like it will focus less on the blockbuster antics of the monsters shown in Godzilla: King of the Monsters themselves and more on the government response to these monsters. Shin Godzilla was really about the lumbering way in which a government would struggle to deal with the sudden appearance of an apocalyptically huge beast. The Ultraman trailer seems to be interested in the organization that supports Ultraman in the shows, the Science Special Search Party, or SSSP, an organization that handles extra-terrestrial cases.
Shin Ultraman is set to hit Japanese theaters in Summer 2021. Stateside, we’re scheduled to get our next dose of killer kaiju in Godzilla vs. King Kong on March 31, 2021. Unless it gets delayed again.
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