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Tag: Aquaman

  • Box Office: ‘Wonka’ Leads New Year’s Waltz as ‘Aquaman 2’ Continues to Sink

    Box Office: ‘Wonka’ Leads New Year’s Waltz as ‘Aquaman 2’ Continues to Sink

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    Wonka is winning the long New Year’s weekend box office race as a tumultuous 2023 comes to a close.

    The Warner Bros. origin pic — starring Timothée Chalamet as young candymaker Willy Wonka — is on course to gross $31.8 million for the four-day holiday weekend, putting its domestic tally at a sweet $142.5 million through Monday. And it wasn’t the only musical from Warners to hit the right note. The Color Purple, produced by Oprah and Steven Spielberg, has been doing better-than-expected business since opening on Dec. 25, and placed No. 4 on the New Year’s weekend chart with an estimated $17.7 million for the four days. The film’s estimated domestic tally through Monday is an impressive $50 million.

    Two weeks ago, box office pundits weren’t sure whether domestic revenue could clear $9 billion after a brutal fall season. But thanks in particular to mid-range and smaller films that overperformed over Christmas, revenue was able to eke past $9 billion in a post-pandemic era first. That marks a 20 percent gain over 2022. The bummer: Revenue is still down 20 percent to 21 percent from 2019, the last year before the COVID-19 crisis.

    Wonka, which launched in mid-December, emerged as this year’s Christmas box office winner when Warners’ very own Aquaman and the Lost Kingdom sunk in its box office debut over the Dec. 22-25 weekend and failed to recover in a meaningful way even though it stayed high up on the chart. The DC superhero sequel is looking at a No. 2 finish over New Year’s weekend with an estimated Friday-Monday gross of $26.3 million.

    That would put Aquaman 2‘s domestic tally through Monday at a lackluster $84.7 million — compared to $215.4 million earned by the first Aquaman through New Year’s Day over the year-end holidays in 2018. Both films were directed by James Wan and star Jason Momoa in the titular role.

    After a sluggish start over Christmas weekend, Illumination and Universal’s Migration held in steadily for an estimated domestic total of $59.4 million through New Year’s Day after placing No. 3 for the long weekend with a four-day gross of $22.3 million. Its domestic total is ahead of the $55 million earned over the 2022 year-end holidays by Puss in Boots: The Last Wish, which topped out with a strong $186.1 million domestically. Globally, Migration has earned $100 million (it’s been soft overseas).

    The Color Purple, from Warners and Amblin, got off to a dazzling start Christmas Day with $18 million, the second-best opening ever for a film launching Dec. 25 and the best since 2009, not adjusted for inflation.

    Wonka and The Color Purple appear to reverse the musical curse of recent times, and their success is good news for Paramount’s upcoming Mean Girls and Universal’s 2024 Christmas event pic Wicked.

    The troubled rom-com genre also got a boost with Sony’s edgy holiday entry Anyone but You, which rounded out the top five with an estimated $11.5 million for the four days to push its domestic tally to $27.6 million.

    MGM and Amazon’s George Clooney-directed The Boys in the Boat followed at No. 6 on the four-day holiday chart with $11 million for an estimated domestic total of $24.6 million through Monday.

    A24’s wrestling drama The Iron Claw placed No. 7 with an estimated $6.9 million for the four days. The Zac Efron-led pic’s cume through Monday is a pleasing $18.2 million.

    Neon’s Ferrari placed No. 8 over New Year’s weekend with an estimated $5.2 million for the four days for an early domestic tally of $12.1 million. Like The Color Purple and Boys in the Boat, Ferrari opened Christmas Day.

    More to come.

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    Pamela McClintock

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  • Box Office: ‘The Color Purple’ Trounces ‘Aquaman 2’ With Near-Record $18M Christmas Day Opening

    Box Office: ‘The Color Purple’ Trounces ‘Aquaman 2’ With Near-Record $18M Christmas Day Opening

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    The Color Purple has brought some much-needed cheer to the year-end holiday box office.

    The musical — whose producers include Oprah and Steven Spielberg — opened to $18.1 million from 3,142 theaters on Monday, the second best showing ever for a movie opening on Christmas Day and the best since 2009. Fantasia Barrino, Taraji P. Henson, Danielle Brooks and Colman Domingo star in Blitz Bazawule’s retelling of the beloved Alice Walker novel, adapted from the Tony-winning Broadway show.

    The record-holder for biggest Christmas Day opening belongs to 2009’s Sherlock Holmes ($24.6 million), not adjusted for inflation.

    The George Clooney-directed The Boys in the Boat, another film opening on Christmas Day, also did notably better than expected with $5.7 million from 2,557 locations. The MGM and Amazon adult drama, starring Joel Edgerton and Callum Turner, joined The Color Purple in earning an A CinemaScore. Michael Mann’s Ferrari, also opening on Dec. 25, earned $2.9 million from 2,330 sites after receiving B CinemaScore.

    While The Color Purple easily trounced James Wan’s Aquaman and the Lost Kingdom‘s Monday gross of $10.6 million, Aquaman 2 is the overall winner of the long Christmas weekend with a four-day opening of $38.3 million from 3,706 theaters domestically. But the superhero sequel — which was also slapped with a meh B CinemaScore — doesn’t have much to crow about after posting one of the lowest starts in the history of the DC Cinematic Universe. The Jason Momoa-led superhero sequel fared better overseas with $80.1 million from 72 markets, with the largest chunk, or $30.4 million, coming from China.

    In 2018, the first Aquaman was the king of the year-end holiday when swimming to a three-day opening of $67.9 million over the Dec. 21-23 weekend. Through Christmas Day, which fell on a Tuesday that year, its domestic tally was a rousing $105.4 million (it earned $22 million on Dec. 25). The movie went on to earn $335.1 million domestically and $1.15 billion globally, the best showing ever for a DCEU title, not adjusted for inflation.

    Wan’s movie lends further credence to the superhero fatigue theory. Aquaman 2‘s opening trails the recent $46.1 million start of box office debacle The Marvels from rival Marvel Studios.

    This year’s Christmas box office feast was a mixed blessing. Revenue for the four-day weekend was up 11 percent over the same stretch in 2022, but down 46 percent from 2019, which is considered a key pre-pandemic benchmark. And revenue for the three-day weekend (Dec. 22-24) was up 1 percent over 2022, but down 62 percent behind 2022. Making year-over-year comparisons can be tricky when it comes to the year-end holiday, since Dec. 25 is a moving target.

    Warners definitely dominated this year’s holiday marquee, between Aquaman 2, Wonka (also a musical), and The Color Purple.

    Wonka, which opened the weekend before the holiday, placed No. 2 on the four-day holiday chart with a take of $28.4 million from 4,213 sites for a domestic cume of $85.9 million. The Timothée Chalamet-led movie is dazzling overseas, where it has earned $171.3 million to date, for a global tally of $257.2 million through Monday. Wonka and Color Purple are proving that musicals may not be an endangered species after all, and it’s no small feat that The Color Purple placed No. 3 on the holiday chart considering it played just one day.

    Coming in No. 4 on the four-day chart was Illumination and Universal’s animated family pic Migration. The tentpole is reporting a four-day opening of $17.5 million, the lowest start in Illumination’s history. The movie is doing muted business so far overseas, for a projected foreign tally of $22 million from 43 markets through Sunday.

    The final verdict on Migration won’t be rendered until New Year’s weekend, as there is no more lucrative stretch of the movie going year than the week between Christmas and New Year’s. Still, Disney was skewered when Wish posted a five-day start of $32.5 million over Thanksgiving last month.

    As with the superhero genre, there is concern across Hollywood about the animated theatrical marketplace.

    Columbia/Sony’s edgy romantic-comedy Anyone But You unwrapped a fifth-place finish with an estimated $8 million from 3,055 theaters for the four days. The new pic, starring Sydney Sweeney and Glen Powell, earned a B+ CinemaScore. (No studio likes anything other than some variation of an A grade for most movies.)

    Females made up nearly 80 percent of all patrons buying tickets to see Anyone But You, while males made up at least 66 percent of A24’s Zac Efron-led wrestling drama The Iron Claw, which placed No. 6 with a better-than-expected $6.8 million from 2,774 cinemas.

    At the specialty box office, Searchlight Pictures opened Andrew Haigh’s acclaimed All of Us Strangers in four locations in New York and Los Angeles. The awards contender is looking at an estimated location average of $36,000 for four days, the highest of any film on the Christmas weekend chart.

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    Pamela McClintock

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  • Box Office Humbug: ‘Aquaman 2’ Opening to $38M-$40M in U.S. But Swims to $80M Overseas

    Box Office Humbug: ‘Aquaman 2’ Opening to $38M-$40M in U.S. But Swims to $80M Overseas

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    Christmas revenue at the domestic box office is running behind 2022, a sobering stat as Hollywood studios and theater owners prepare to ring out a topsy-turvy year.

    As it stands now, combined ticket sales in North America for the marquee holiday weekend (Dec. 22-Dec. 25) are down 7 percent from last year, although the gap could close somewhat if traffic picks up in earnest on Christmas afternoon once presents are unwrapped. (Studios never like it when Dec. 25 falls on a Monday, since many consumers use the weekend to finish final yuletide preparations.)

    Either way, James Wan’s Aquaman and the Lost Kingdom is headed for one of the lowest starts in the history of the DC Cinematic Universe with a projected four-day domestic gross of $38 million to $40 million, including $27 million to $28 million for the three days (numbers will be updated Monday morning.) The good news: It can still claim a No. 1 finish. Overseas, it took in $80.1 million from 72 markets — including a promising $30.4 million in China, where it turned in the biggest start of the year for a Hollywood superhero pic.

    The big-budget tentpole, reteaming Wan and star Jason Momoa, has been largely rebuked by critics and only earned a B CinemaScore from audiences. The sequel, which faced a troubled road to the big screen, marks the end of an era as new DC chiefs James Gunn and Peter Safran are set to reboot the DC Universe with 2025’s Superman: Legacy. (Momoa himself has all but said there won’t be an Aquaman threequel.)

    In 2018, the first Aquaman was the king of the year-end holiday when swimming to a three-day opening of $67.9 million over the Dec. 21-23 weekend. Through Christmas Day — a Tuesday that year — its domestic tally was a rousing $105.4 million (that included several million in special sneak peeks the previous weekend). The movie went on to earn $335.1 million domestically and $1.15 billion globally, the best showing ever for a DCEU title, not adjusted for inflation.

    Wan’s movie lends further credence to the superhero fatigue theory. Even the most ardent fanboys are weary. Aquaman 2 is also trailing the recent $46.1 million opening of box office debacle The Marvels from rival Marvel Studios.

    A slew of other films also opened Friday, and the Warners empire is feeling particularly giving. The studio has no fewer than three year-end holiday event movies: Aquaman 2; Wonka, which opened last weekend; and The Color Purple. It’s a daring feat, to say the least, as the latter two are musicals. (Like The Color People, several other holiday titles waited until Monday to unfurl, including The Boys in the Boat and Ferrari.)

    In yet another test of the appetite for theatrical animated fare, and especially original stories, Illumination and Universal are contributing Migration to the holiday mix for families.

    The animated tentpole, which earned an A CinemaScore, is expected to earn $12.5 million for the weekend proper from 3,761 theaters and $17.2 million for the four days, ahead of what some tracking services had predicted but still the lowest start in the history of Illumination, not adjusting for inflation. The movie is doing muted business so far overseas, for a projected foreign tally of $22 million from 43 markets through Sunday.

    The final verdict on Migration won’t be rendered until New Year’s weekend, as there is no more lucrative stretch of the movie going year than the week between Christmas and New Year’s.

    Migration is looking at a No. 3 weekend finish behind Aquaman and Wonka. Starring Timothée Chalamet, Wonka is on course to earn an estimated $28 million.

    Columbia/Sony’s edgy romantic-comedy Anyone but You is unwrapping a fourth-place finish with an estimated $8 million from 3,055 theaters for the four days. The new pic, starring Sydney Sweeney and Glen Powell, earned a B+ CinemaScore. (No studio likes anything other than some variation of an A grade for most movies.)

    Females make up nearly 80 percent of all patrons buying tickets to see the rom-com, while males make up at least 66 percent of A24’s Zac Efron-led wrestling family drama The Iron Claw, another title on the Christmas marquee movie. Iron Claw is pacing to open to $6.1 million, also slightly ahead of tracking.

    At the specialty box office, Searchlight Pictures opened Andrew Haigh’s acclaimed All of Us Strangers in four locations in New York and Los Angeles. The awards contender is looking at an estimated location average of $43,000 for four days, one of the best averages of the year.

    Final numbers for the four-day weekend will be released on Tuesday.

    Dec. 24, 8 a.m.: Updated with revised weekend estimates.
    Dec. 24 8:10 a.m.: Updated with revised estimates.

    This story was originally published on Dec. 23 at 8:23 a.m.

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    Pamela McClintock

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  • Box Office: ‘Aquaman and the Last Kingdom’ Finding Lump of Coal With $40M-Plus Christmas Opening

    Box Office: ‘Aquaman and the Last Kingdom’ Finding Lump of Coal With $40M-Plus Christmas Opening

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    DC’s James Wan’s Aquaman and the Lost Kingdom is headed for one of the lowest starts in the history of the DC Cinematic Universe with a projected four-day Christmas weekend gross in the $40 million to $45 million range. The good news: It can still claim a No. 1 finish and is faring slightly better than leading tracking services had predicted.

    The movie earned an estimated $13.7 million Friday from 3,706 theaters, including $4.5 million in Thursday previews. Hollywood studios are never happy when Christmas Day falls on a Monday since the weekend box office has to compete with final Christmas preparations, including travel and gift buying.

    However, Aquaman 2 has larger issues than just that. The big-budget tentpole, reteaming Wan and star Jason Momoa, has been largely rebuked by critics and only earned a B CinemaScore from audiences. The sequel, which faced a troubled road to the big screen, marks the end of an era as new DC chiefs James Gunn and Peter Safran reboot the DC Universe with 2025’s Superman: Legacy. (Momoa himself has all but said there won’t be an Aquaman threequel.)

    In 2018, the first Aquaman was the king of the year-end holiday when swimming to a three-day opening of $67.9 million over the Dec. 21-23 weekend. Through Christmas Day — a Tuesday that year — its domestic tally was a rousing $105.4 million (that included several million in special sneak peeks the previous weekend). The movie went on to earn $335.1 million domestically and $1.15 billion globally, the best showing ever for a DCEU title, not adjusted for inflation.

    Wan’s movie lends further credence to the superhero fatigue theory. Even the most ardent fanboys are weary. Aquaman 2 is also trailing the recent $46.1 million opening of box office debacle The Marvels, from rival Marvel Studios.

    A slew of other films also opened Friday. Warners has no fewer than three year-end holiday event movies — Aquaman, Wonka, which opened last weekend, and The Color Purple — a daring feat (to boot, two are musicals).

    In yet another test of the appetite for theatrical animated fare, and especially original stories, Illumination and Universal are contributing Migration to the holiday mix for families.

    The family pic, which earned an A CinemaScore, is expected to earn $13 million for the weekend proper from 3,761 theaters and $18 million for the four days, also ahead of what some tracking services had predicted.

    The final verdict for Migration won’t be rendered until New Year’s weekend. There’s no more lucrative stretch of the moviegoing year than the week between Christmas and New Year’s.

    Migration will come in No. 3 behind Aquaman and Wonka, as the Timothée Chalamet starrer is projected to gross a pleasing $30 million for the four days.

    Columbia/Sony’s edgy romantic-comedy Anyone but You is unwrapping a fourth-place finish with an estimated $9 million from 3,055 theaters for the four days. The pic, starring Sydney Sweeney and Glen Powell, earned a B+ CinemaScore. (No studio likes anything other than some variation of an A grade for most movies.)

    Females made up 67 percent of Friday ticket buyers, while males made up 66 percent of A24’s Zac Efron-led wrestling family drama The Iron Claw, another title on the Christmas marquee movie. Iron Claw is pacing to open to $8 million, also head of tracking.

    Estimates could shift by Sunday morning.

    More to come.

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    Pamela McClintock

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  • Aquaman and the Lost Kingdom Flounders But Doesn't Quite Sink

    Aquaman and the Lost Kingdom Flounders But Doesn't Quite Sink

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    At one moment in Aquaman and the Lost Kingdom, characters are running through a mutated jungle, chased by lion-sized cockroaches while avoiding violent, human-eating plants. In another moment, multiple characters are standing around, their hair flowing wildly, delivering wooden dialogue that’s almost as painful for them to say as it is for us to hear.

    This Time-Loop Horror Game Is Secretly One Of 2023’s Best Stories

    That mix of positive and negative is a great representation of Aquaman and the Lost Kingdom. It’s a movie that tries to be everything at the expense of being anything. At times it’s goofy and exciting. At other times it’s serious and stoic. But unlike the 2018 original, which found a strong balance between those things, this sequel struggles to blend an overly complicated narrative and lofty themes alongside the big, fun action set pieces. It’s not altogether terrible but more often than not, it feels like a slog.

    When we last left Arthur Curry (Jason Momoa) he’d defeated his half-brother Orm (Patrick Wilson) and became king of Atlantis, a vast underwater kingdom hidden from the surface world. Now, probably a year or so later, Arthur and Hera (Amber Heard) have a child, Arthur Jr., and finding a way to be both a father and a king has become a struggle. These early scenes are among the best in the movie, allowing Momoa to be his big-kid self while also opening up new possibilities for the character, that of a hero torn between two worlds. Unfortunately, that gets forgotten rather quickly.

    Orm and Arthur.
    Image: Warner Bros.

    That’s partially because one of Arthur’s old nemeses, Black Manta (Yahya Abdul-Mateen II), is searching the globe for technology that will help him fight and defeat Arthur. He soon stumbles upon a mysterious, powerful black Trident that gives him ancient powers he can’t quite explain. Manta and his crew instantly become more formidable than ever and, to find and defeat him, Arthur must ask his imprisoned brother for help.

    Starting there and moving on throughout the movie, the major plot points in Aquaman and the Lost Kingdom all seem a tad too complex and drawn out. Manta discovering the Trident comes after a slightly overstuffed exploration sequence. Arthur needing Orm means he has to go against a council he’s a part of and betray one of his allies, while also defeating some random bug monsters. There is also a lot, and we mean a lot, of talk about this ancient, deadly energy source that plays a huge role in the story. Then, once Arthur and Orm forge an unlikely alliance, their journey takes them to several different spots, such as a whole pirate hideaway that’s very cool to look at, and features Martin Short voicing an underwater Jabba the Hutt character called Kingfish, but adds almost nothing of note.

    Then there’s the promise of the title, this mythical Lost Kingdom, which you’d imagine plays a major role in the movie (it being in the title after all) but is held back until very close to the end, making it feel incredibly superfluous. Elements are seeded throughout of course, but once we get the big narrative dump explaining the Lost Kingdom and everything around it, you’ve basically figured it out and just want to plow through it to get to the big finale.

    Image for article titled Aquaman and the Lost Kingdom Flounders But Doesn't Quite Sink

    Image: Warner Bros.

    The big finale is when, finally, the usually incredible director James Wan really gets to flex his muscles. There are wonderful 360-degree camera moves. Terrifying and bold angles as we discover key new locations. And as the film starts to get a little more interesting to look at, you realize something: you’ve been watching a James Wan movie for about 90 minutes and nothing about it has stood out visually until now. Are there cool creatures? Ships? Entertaining action? Sure. But all of it is overshadowed by a film’s desire to take a relatively simple basic story and overstuff it for overstuffing’s sake. Whether or not it’s true, the climatic battle scenes simply have more cohesion and authorship to them, as if those were locked in while everything around them changed.

    And yet, despite all its flaws, there are plenty of moments where Aquaman and the Lost Kingdom can be very enjoyable. Jason Momoa is, as usual, really fun to watch. He and Patrick Wilson have great chemistry and a bunch of great scenes together. Amber Heard’s Mera, rumored to be cut out of the film or at least cut back, has a few really big, heroic moments. Characters ride giant bugs. Giant seahorses. Nicole Kidman pilots a shark. Plus, there are several attempts at making the movie about something other than Aquaman vs. Black Manta, all of which give the sense the movie is going to be better than is, but then fail to deliver. One example is the political tension between underwater worlds. Another is the story’s impact on the global environment. But ultimately even the best moments get forgotten because they, like the rest of the movie, are all over the place.

    Aquaman and the Lost Kingdom is certainly not the worst film in the recent DC Universe—but as the follow-up to one of the better ones, we expected more. It feels like a movie that was way more impacted by whatever was happening behind the scenes at DC than anyone involved would care to admit. Because if that wasn’t the case, everyone involved came in with too many ideas and decided to shove them all in there. The result is a film that doesn’t sink, but neither does it swim. It just kicks and kicks hoping to rise above. But it does not.

    Aquaman and the Lost Kingdom is now in theaters.

    This review originally appeared on Gizmodo’s io9. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Germain Lussier

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  • ‘Aquaman and the Lost Kingdom’ Instant Reactions and the End of the DCEU

    ‘Aquaman and the Lost Kingdom’ Instant Reactions and the End of the DCEU

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    This pod was born to be wild. The Midnight Boys are here to dive into the murky waters of ‘Aquaman and the Lost Kingdom’ (04:50). They also discuss this being the final DCEU film and how this will affect the state of fandom in film (51:18). Later they also touch on the news that Marvel has parted ways with Jonathan Majors (81:36).

    Hosts: Charles Holmes, Van Lathan, Jomi Adeniran, and Steve Ahlman
    Senior Producer: Steve Ahlman
    Additional Production Support: Arjuna Ramgopal
    Social: Jomi Adeniran

    Subscribe: Spotify / Apple Podcasts

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    Charles Holmes

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  • DC Studios Boss Says Jason Momoa “Will Always Have a Home at DC,” Even If It’s the “End of the Journey” for ‘Aquaman’

    DC Studios Boss Says Jason Momoa “Will Always Have a Home at DC,” Even If It’s the “End of the Journey” for ‘Aquaman’

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    Peter Safran, the co-head of DC Studios, has shared that Aquaman and the Lost Kingdom could be Jason Momoa’s final appearance as the legendary comic book character.

    His comment came after the actor also said that the future of the DC superhero franchise is “not looking too good.”

    While recently speaking at the Aquaman sequel event at the IWC Schaffhausen boutique in Beverly Hills, Safran responded to a question about Momoa’s future at DC Studios. “When I think of Jason in this role, he is the definitive Aquaman,” he responded. “He’s redefined it. … It’s really been an 11 or 12-year journey for him — a lot of the audience doesn’t realize that he was cast so long ago. It’s kind of redefined him. When he took this role he was known as Khal Drogo, and now he’s really Aquaman.”

    Heading into Aquaman and the Lost Kingdom‘s theatrical release on Friday, the movie is tracking for a soft opening at the box office, which would pale in comparison to the first installment, released in 2018. The film, directed by James Wan, has also been met with negative reviews and currently has a 38 percent critics rating on Rotten Tomatoes. In her review, The Hollywood Reporter Arts & Culture Critic Lovia Gyarkye said the sequel is “frustratingly committed to formula.”

    But for Safran, he just hopes fans “will really be here to support him [Momoa] in this journey. If it’s the end of the journey, fine. If it goes on, that’s also fine, but I think it has meant so much to him. The way [director] James [Wan] crafted this second film, it feels like a very complete story when you watch the two films together.”

    He added, “We’ll see what happens with him beyond it. I know that Jason will always have a home at DC, and at Warner Bros. In fact, his next movie is Minecraft.”

    Safran and James Gunn took over DC Studios last year and have been open about creating their own vision for the DC cinematic universe.

    Last week, Momoa talked to Entertainment Tonight about reports that Aquaman and the Lost Kingdom could be his last time playing the King of Atlantis. “I don’t necessarily want it to be the end… [but] I don’t think it’s really, like, a choice,” he said at the time.

    Though the actor has greatly enjoyed playing the comic book character, he understands that Safran and James Gunn want “to start their own new thing up” at DC Studios.

    “The truth of it is, I mean, if the audience loves it, then there’s a possibility,” Momoa said of the possibility to play Aquaman again. “But right now, I’m like, ‘It’s not looking too good.’”

    He added, “I love this character and [I would want to] play it for a long time. I kind of see where I would want it to go. And even in the next 10 years or so, like there’s a lot of cool things they can do. And I do enjoy the role and the world. So, I mean, it just comes down to if people love it.”

    At the IWC Schaffhausen event, Safran was there as the Swiss luxury watchmaker launched its Aquaman-inspired watches, the Aquatimer Perpetual Calendar Digital Date-Month, in partnership with Warner Bros. Pictures.

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    Carly Thomas

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  • The final scene in the DCEU dares you to think of it as a metaphor for the whole franchise

    The final scene in the DCEU dares you to think of it as a metaphor for the whole franchise

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    Aquaman and the Lost Kingdom flows into theaters this weekend with the dubious honor of being the final film in the DC Extended Universe. And that means its final scene — its credits scene — is the final shot of Warner Bros. great attempt to equal the Marvel Cinematic Universe with its own pet superhero setting.

    But it also means that the typical use of a superhero movie credits scene doesn’t apply here. There aren’t any future franchise events for Lost Kingdom to point to. What’s a blockbuster to do?

    If you’ve seen Lost Kingdom, you know, and if you haven’t, maybe you’re just here to rubberneck. But here’s what it did.

    [Ed. Note: This piece contains spoilers for Aquaman and the Lost Kingdom.]

    Image: Warner Bros. Pictures/DC Comics

    Lost Kingdom’s credits scene isn’t about anything weighty, it’s just a call back to a gross-out gag from earlier in the film. Orm (Patrick Wilson), the redeemed bad guy from the first Aquaman, is enjoying his first surface-world hamburger when he spies a cockroach scurrying across the dock-side picnic table.

    Earlier in the movie, his brother Aquaman (Jason Momoa) tricked him into thinking that live cockroaches are an every day surface-world snack. So Orm grabs the roach, slaps it between the layers of his sandwich, and takes a big, happy bite. Good night, sweet DCEU, may flights of angels sing thee to thy rest.

    But here I must implore my fellow human beings: We absolutely musn’t make this a metaphor. No matter how resonant, absurd, or funny the credits scene on Lost Kingdom, we must resist.

    Orm’s burger is, inevitably, a roachy Rorschach test. The insect can be whatever you didn’t like about the DCEU, and Orm happily eating it is the fans you don’t like lapping it up. Or, Orm is the executives whose meddling ruined the franchise happily choosing their comeuppance (the roach), which is the collapse of the whole thing (an honestly very appetizing burger). Or maybe, the burger is the Snyder Cut, somehow, and Orm is Joss Whedon? I’m sure somebody could flesh out that video essay.

    But we have to draw a line in the sand, like Topo the octopus scurrying away from the blood-drinking Deserters and back to the safety of deep water. We have to restrain ourselves, like Orm touching the Black Trident. We have to escape, like the fish in the sea, able to say that in the end, at the end of an era, we didn’t take the bait.

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    Susana Polo

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  • Jason Momoa Says the Future of ‘Aquaman’ Films Is “Not Looking Too Good”

    Jason Momoa Says the Future of ‘Aquaman’ Films Is “Not Looking Too Good”

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    Jason Momoa may love playing Aquaman, but he is unsure about the future of the DC superhero franchise.

    The actor recently opened up to Entertainment Tonight about his concerns regarding future installments while promoting Aquaman and the Lost Kingdom, which arrives in theaters Dec. 22.

    Addressing reports that the latest movie could be his last time playing the legendary King of Atlantis, Momoa admitted, “I don’t necessarily want it to be the end… [but] I don’t think it’s really, like, a choice.”

    The actor has been open about his appreciation for getting to play Aquaman, especially because he loves the ocean and also wanted to be a marine biologist growing up. But he understands that James Gunn and Peter Safran, who were recently tapped to lead DC Studios, have their own vision for the future of the DC cinematic universe and want “to start their own new thing up.”

    “The truth of it is, I mean, if the audience loves it, then there’s a possibility,” Momoa said of the possibility to play Aquaman again. “But right now, I’m like, ‘It’s not looking too good.’”

    The actor added, “I love this character and [I would want to] play it for a long time. I kind of see where I would want it to go. And even in the next 10 years or so, like there’s a lot of cool things they can do. And I do enjoy the role and the world. So, I mean, it just comes down to if people love it.”

    Momoa first appeared as Aquaman in 2017’s Justice League before leading his own movie the following year.

    Though Aquaman isn’t currently in Gunn and Safran’s DC slate that they unveiled earlier this year, the actor hopes to remain in the superhero universe, even if it’s as a different comic book character.

    “If there’s a place in their world for me, I would love to be a part of it,” Momoa said. “This is my home. Warner and DC is definitely my home. So, that’s all I’ll say.”

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    Carly Thomas

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  • Concept Art From A Canceled, Live-Action Robotech Movie

    Concept Art From A Canceled, Live-Action Robotech Movie

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    For 15 years now, people in Hollywood have been trying to get a live-action Robotech movie made. Specifically, a movie based on Robotech’s first and most popular season, which was a Western repackaging of Japanese masterpiece Macross.

    Robotech’s original animated intro

    In 2007 it was Tobey Maguire leading the charge for a Warner Bros. production that ultimately went nowhere. Eight years later Sony took a swing, with Aquaman director James Wan attached, but it too would eventually wind up cancelled. Now we’re getting a third and more recent attempt, with Sony trying once again, announcing in 2022 that Hawkeye director Rhys Thomas will be trying to get the adventures of Rick Hunter and friends on the big screen.

    This third try might have a better chance of actually getting made; aside from regular Hollywood politics and economics, previous attempts were also plagued by a long-running legal standoff that had stymied Western releases of Macross products for decades. They were largely resolved in 2021, clearly paving the way for Sony’s renewed attempts at getting a Robotech movie made.

    Anyway, enough background! This is an art feature, not a history lesson. But I needed to spell all that out so that we’re clear about what’s being showcased tonight: a collection of art from that middle project, Sony’s aborted first attempt that, after suffering a big setback in 2018 when Wan bailed to make Aquaman, was quietly cancelled in 2019.

    Most illustrations focus on the SDF-1, Macross Island (whose vibes Price absolutely nails here) and redesigned Veritech fighters, though there are also some works showcasing original plot elements (like the oil rigs) that would have been new for this particular film.

    These pieces were all done by veteran artist Col Price, who has contributed to series like WipeOut and Battlefield, and whose work we’ve featured on the website previously. You can see more of Col’s stuff at his personal site and ArtStation page.

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    Luke Plunkett

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  • Watch Jason Momoa Go Nude To Flaunt His Personal Gym And Fridge

    Watch Jason Momoa Go Nude To Flaunt His Personal Gym And Fridge

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    Jason Momoa has a knack for showing off in the buff, but who’s really complaining?

    In the four minute Q&A, the 43-year-old action icon — who is the cover star for the outlet’s May/June cover — gives a tour of his personal gym and fridge before igniting some hilarious hijinks, including jumping on his bicycle completely nude.

    “I didn’t know you were coming. I woulda got dressed up if I knew,” Momoa quips at the start of the video in nothing but an open pink robe, baring his birthday suit when a cameraman appears at his front door.

    Elsewhere in the interview, the actor showcased his staples for a “growing boy” within his loaded fridge, which included water, alcohol, ham and a stacked supply of pre- and post-workout drinks.

    This isn’t the first time Momoa has shocked fans by wearing as little clothing as possible. The chiseled star also stripped down in the middle of an interview on “Jimmy Kimmel Live” in November, sporting nothing but his traditional Hawaiian malo.

    Watch the hilarious interview below.

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  • Was Amber Heard in Justice League? Here’s everything you need to know

    Was Amber Heard in Justice League? Here’s everything you need to know

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    Amber Heard’s defamation trial against the actor of Pirates of the Caribbean was the topic of discussion in the year 2022. The trial, which was held online, was easily accessible to the entire virtual audience. As the trial proceeded ahead, it unfolded many back stories, movie projects, and the link the couple had shared earlier.

    There was nothing personal left between the two ever since the trial was aired. Which led the viewers across the globe to dig back into the past of Amber Heard and know all about her whims and roleplay.

    ALSO READ: Why did Amber Heard call Jason Momoa an attention seeker? Find out

    Amber Heard in The Justice League

    During the hearings, Amber Heard’s involvement with the Aquaman series has been brought up, and some have subsequently questioned if she would play any part in the Justice League. Let’s examine the timeline of her role in Aquaman

    1963 –

    Mera, the queen of Atlantis, protects the kingdom from both land and water, as DC fans are aware. The first issue of the Aquaman comics, published in 1963, had Mera’s debut appearance in the DC universe.

    2017 –

    Which later continued, and after more than decades, the character was later depicted on film when Amber Heard got cast as one of the main leads, where she gained spotlight for her beauty, which tagged well with her iconic red hair in the 2017 film Justice League.

    2018 –

    With the massive success of her role in Aquaman 2017, she reprised the role of Mera in Aquaman 2018 as well.

    2021 –

    Heard also appeared in Zack Snyder’s Justice League in 2021 and was about to be cast in Aquaman 2 as well.

    2022 –

    After the trailer went live and Amber Heard was all over the place making headlines for her false allegation against Johnny Deep, it came to light that Amber won’t get back to her iconic role, through which she gained followers across the globe.

    Heard’s agent, Jessica Kovacevic, alleged that the actress’ part as Mera in Aquaman 2 was almost replaced by another actor. Kovacevic responded at the time to rumours that Warner Bros wanted to replace Heard.

    According to Kovacevic, Heard’s almost-recasting was due to her “lack of chemistry” with her Aquaman co-star Jason Momoa, as reported by the Independent.

    2023 – 

    The internet went crazy as Emilia Clarke, who made a mark in the industry by delivering a fantastic performance in “Game of Thrones,” got fans head over heels when it was announced that “white-haired,” as she is famously known, will be replacing Amber Heard in Aquaman, and fans went crazy to see Emilia back in action with the famously known “Khal Drogo,” aka Jason Momoa.

     

    ALSO READ: Is Jason Momoa exiting DCU’s Aquaman franchise because of ‘terrible’ sequel?

    ALSO READ: Johnny Depp net worth 2023, luxury lifestyle, career & early life

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