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Este podría ser el destino de las Gemas del Infinito en ‘Avengers 4’

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Teorías de Avengers 4 surgen todos los días. Cada fan muestra sus argumentos y ya es cuestión del público si desea creer que la propuesta es factible. Ya hemos hablado mucho sobre los viajes en el tiempo que podrían ocurrir en la próxima película, sin embargo, la teoría que te contaremos a continuación se enfoca más en las Gemas del Infinito y cómo los héroes pueden aprovechar su poder para revertir los hechos causados por Thanos. También es importante mencionar que el contenido se relaciona con una historieta que se publicó este mismo año.

Spoilers a continuación.
Existen diversas formar de obtener y aprovechar el poder de las Gemas del Infinito

¿Qué pasaría si los superhéroes tomaran el poder de las Gemas del Infinito y las combinaran para derrotar al villano?  Un usuario de Reddit publicóuna teoría que nos acerca a ese cuestionamiento. La teoría da por hecho que los héroes lograrán tener el control de las piedras en algún momento de la película. Antes de continuar es necesario explicar algunos detalles interesantes para poder comprender mejor.

Hay diferentes formas de aprovechar el poder de las piedras: la primera es por medio de algún artefacto, tales como el cetro de Hydra o el mismo Guantelete del Infinito. Después tenemos el uso directo de la gema como lo hacía Vision. Ahora bien, también es posible cerrar un pacto con la gema para poder aprovechar todas sus posibilidades. Sólo hay dos personajes que han realizado algún tipo de pacto con las gemas:

  • Thanos: sacrificó a Gamora en Infinity War para obtener el poder de la Gema del Alma.
  • Agamotto: tuvo el poder de la Gema del Tiempo pero a cambio debía mantener el equilibrio del mismo.
Una vez que los héroes recuperen las gemas, varios de ellos tendrán un pacto con las mismas que les permitirá aprovechar todas sus posibilidades. De esta forma, en equipo podrían crear una especie de “Guantelete del Infinito humano” para revertir el chasquido de Thanos y resucitar a la mitad del universo. Para lograrlo se requiere una gran cantidad de energía, pero Capitana Marvel ayudaría a hacerlo realidad gracias a su grandes poderes. De acuerdo a la teoría esta será la repartición de las Gemas del Infinito, incluyendo los motivos por los que cada personaje la podrá poseer:
  • Gema del Poder: Hulk, por el dominio que tendrá Bruce Banner sobre su transformación.
  • Gema del Espacio: Ant-Man, por su profunda comprensión del espacio y sus posibilidades.
  • Gema del Tiempo: Capitana Marvel, por su larga desaparición y la anomalía temporal que vivirá.
  • Gema de la Mente: Thor, pues se convertiría en un Rey sabio como lo fue su padre.
  • Gema de la Realidad: Iron Man, por ser el superhéroe que no tiene poderes “mágicos”

El problema viene con el pacto de la Gema del Alma, pues es necesario realizar un sacrificio. Capitán América deberá decidir entre aniquilar al resto del universo o sacrificar a su único amigo, Tony Stark. Claro, el soldado verá en favor del universo y Iron Man sería el superhéroe que morirá en Avengers 4. Esto generaría una profunda tristeza en Steve Rodgers, quien finalmente abandonaría su papel como el Capitán América. Recordemos que ayer mismo Chris Evans confirmó que Avengers 4 será su última película interpretando al personaje.

This article was originally writing by: Hipertextual

A Star Is Born” Has Solved Lady Gaga’s Musical Identity Crisis

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The process of translating pop stardom into cinematic success is a delicate, even dangerous, undertaking. Madonna never got it quite right; Mariah Carey became a laughingstock when she tried it; Beyoncé, Britney, and Christina didn’t get very far with it. But Lady Gaga, an established pop diva playing a fledgling one in the latest remake of the show-business love story A Star Is Born, seems to have successfully made the leap.

Lady Gaga’s performance as Ally is already getting rave reviews and even Oscar buzz. The movie’s theme song, “Shallow,” her duet with onscreen love interest (and the film’s director) Bradley Cooper, has been rising on the charts since it was released last Friday, now joined by the full soundtrack album. Gaga, consequently, is now a bigger star than ever; she’s dominating the zeitgeist again to an extent that feels reminiscent of her early, iconic meat dress era.

Cooper’s A Star Is Born is based on the well-worn story about a woman performer’s rise alongside her lover’s decline, already told in the original 1937 film starring Janet Gaynor and revised twice — first in the 1954 Judy-Garland-as-film-star remake, and, most recently, in Barbra Streisand’s 1976 rock star update. It has always been, as Rachel Syme writes in her recent interview with Gaga for the New York Times Magazine, not only a romance or a tale of stardom, but also “a film about an already superfamous woman shooting a movie.” The movies are designed to work with the existing images of their stars.

Gaga is the kind of complex, multifaceted star the movie doesn’t quite know how to portray — but through the force of her talent, we believe in Ally’s stardom anyway.
Cooper was moved to cast Gaga after he first heard her sing live when she performed “La Vie En Rose”during a private benefit concert; there is also footage of him giving her a standing ovationduring her famous Sound of Music performance at the Oscars in 2015. Both he and Gaga have said that the movie was then built around their behind-the-scenes relationship. Cooper’s script incorporated Gaga’s Italian American heritage (a background they share), and the music her character sings seems to channel Gaga personas from two of her most recent eras: Gaga circa Cheek to Cheek, her 2014 jazz duets project with Tony Bennett, and Gaga circa Joanne, her 2016 retro rock album, which never quite clicked in a contemporary pop landscape dominated by hip-hop. In the imagined world of the movie, however, her Joanne-like persona launches her to stardom almost literally overnight.

Like Kris Kristofferson in Streisand’s version, Cooper’s Jackson Maine is supposed to be an old-school arena rock star of a kind that no longer exists. (The character was inspired, in part, by Pearl Jam’s Eddie Vedder, though the songs were produced or written by Gaga’s usual collaborators, Mark Ronson and Lukas Nelson.) Meanwhile, Gaga as Ally first finds fame through performing a rock ballad with Jackson before going down a pop path — almost a reversal of her real-life career. That contrast provides a powerful subtext for Gaga’s performance, and helps explain why it is helping her connect with mainstream audiences again.

It is no accident that this latest A Star Is Born is especially influenced by the Streisand version, and the script traffics in some ’70s-style gendered binaries: of rock versus pop; authenticity versus artifice. The world Cooper and Gaga create in the movie is an old-fashioned one, where rock can still make you famous, and where belting ballads alone at a piano is somehow more legitimate than taking the stage as a spectacular, fully choreographed pop diva. Gaga’s Joanne-era experiments with retro Americana failed to break through in the real-life pop mainstream, but the imagined world of A Star Is Bornoffers a kind of second chance for her to connect with audiences in that mode; we can now see her abilities in a different light. And while the film is not all that interested in Ally’s artistic vision or desires outside of Jackson’s ideas about her, it still loves (and revolves around) Gaga’s talent as a songwriter and performer.

The two stars, real and fictional, are linked in an interesting symbiotic relationship; Gaga is the kind of complex, multifaceted pop artist the movie doesn’t quite know how to portray — but through the force of her talent, we believe in Ally’s stardom anyway. And in playing this role, Gaga has been able to remind everyone what’s she capable of, and proven that her own star is still rising.

Lady Gaga in 2009.

Stephen Lovekin / FilmMagic

Lady Gaga in 2009.

After blowing up in 2009 with the release of The Fame Monster, Gaga quickly became one of the biggest pop stars in the world. Her hits, including “Paparazzi,” “Poker Face,” and “Telephone,” were accessible dance-pop songs that also offered commentaries on fame and gender, ideas more explicitly brought out in her bold, inventive visuals. She was a self-described “freak,” as she sings in “Bad Romance,” an outsider, a “mother monster” for her fanbase, often coded as queer, which gave her a subcultural cachet that carried through her Born This Way era.

Gaga’s third album, Artpop, was widely considered a flop compared to her previous success. As she started to lose her commercial grip, Gaga got off the pop escalator in 2014 with Cheek to Cheek, an ultimately successful venture that showcased her musical versatility and introduced her to new, older audiences. In the interim, pop was becoming more specifically personal, and the personal was political. Beyoncé, for instance, turned to intimate lyrics about love and infidelity that became statements about black womanhood and captivated the zeitgeist. Gaga returned with a proper studio album, Joanne, in 2016, announcing she was stripping down and presenting the “real” her behind the meat dresses and wigs.

The album’s turn to the personal was inspired by her family history and a late aunt, but the connection didn’t quite work. Gaga’s celebrity narrative was always about a kind of universality in difference — everyone can be a star; identity is always mutable. Suddenly confronted with the need to go specific and intimate, she turned to nostalgic Americana; the album’s sound aimed to evoke authenticity through a rather conventional turn to the musical past, specifically ’60s, ’70s, and ’80s rock idioms.

The Joanne narrative didn’t have the cultural resonance of Gaga’s earlier, more deliberately strange and provocative commentaries on fame — which started to look quaint in the reality television era — or her use of queerness as a metaphor for outsiderness. Gaga also struggled to find a place for the album’s songs in contemporary radio and culture, in part because the idea of rock as the popular genre for political commentary or singer-songwriter depth has long lost cultural capital — exactly the shift that makes Cooper’s Jackson Maine, in A Star Is Born, feel transported in from another era.

Still, the record’s mythology was embraced by Gaga’s fanbase, and it eventually went platinum. The ballad “Million Reasons” revived the album and ended up a top 5 hit, after she presented it as a minimalist piano moment in her hit-centric retrospective Super Bowl show last year. The public responded to that kind of unvarnished performance — and that’s the kind of performance A Star Is Born believes in. The film rewards Ally, Gaga’s character in the movie, for the supposed sincerity and depth of performing with no frills. The celebration of “authenticity” as nonspectacular is the kind of gendered conventional wisdom about pop music that Gaga’s early career was a statement against.

But the film makes Ally’s raw vocal performances central to her charisma. Through Ally and the world of the film, Gaga has reclaimed her recent retro phases for a pop audience, and created yet another iteration of her real-life career — this time, as a movie star.

Bradley Cooper and Lady Gaga in A Star Is Born.

Clay Enos / Warner Bros.

Bradley Cooper and Lady Gaga in A Star Is Born.

During the first half of the film, as Jackson falls for Ally, the audience falls for her too. Maine first lays eyes on Ally as she’s performing a version of “La Vie En Rose” in a drag bar. The setting was Gaga’s idea, and it becomes an effective way of infusing the movie with the queer subcultural cachet she became famous for earlier in her career.

Ally finds herself as an artist as she falls in love with Maine, and she just happens to write songs in a style that fits his aesthetic. One of the film’s early emotional climaxes comes when Maine invites Ally onto the stage to sing a song she wrote inspired by their romance, a duet called “Shallow.” The powerful rock ballad, which Gaga wrote, sounds like a mash-up of “Million Reasons” and the nostalgic title song from Joanne, and has become the movie’s memeable anthem, with over 14 million views on YouTube already.

The song in many ways encapsulates the film’s themes, and the characters’ visions of each other. In her own lyrics, Ally wants to assuage the male character in his vulnerability. “Ain’t it hard keeping it so hardcore?” she asks. Jackson’s opening lyrics, “Tell me something, girl / Are you happy in this modern world?” are a kind of projection of nostalgia and feminine innocence onto her, a vision that pervades the movie.

A scene from A Star Is Born.

Neal Preston / Warner Bros.

A scene from A Star Is Born.

Once Ally is launched by the song going viral on YouTube, we never get a real sense of her perspective on her own music. Before performing “Shallow” together, which launches her to stardom, Ally talks to Maine about how record executives have told her that she’s not pretty, and his love of her “ethnic” nose becomes part of their personal connection. These are all things we recognize from real-life Gaga’s struggles, ones she has spoken about throughout her career. But after her star begins to rise, and she begins writing and performing pop songs, how Ally works this out through her music and image isn’t actually part of the film’s story.

This is decidedly not a pop-star narrative from a woman’s perspective like, for instance, Gina Prince-Bythewood’s Beyond the Lights or Brady Corbet’s Vox Lux, starring Natalie Portman (in which the main character was actually inspired by Lady Gaga). Paradoxically, there is no space in the film’s world for provocative, meta–pop star Gaga. Even the name Ally, which is also the name of the character’s self-titled album, evokes the more straightforward stardom of someone like early Britney.

We know Gaga wrote this song, and that in her own career she’s never played the supporting role to anyone.

As Ally prepares to release her debut album, Maine is constantly warning her that she has to dig deep within her soul if she wants to succeed, as if she’s not already doing that. There are some allusions to Ally not wanting to “sell out” — she refuses to dye her hair platinum blonde (instead she goes for a violent orange, as if in a sort of compromise) or to perform with coordinated backup dancers — but the movie never really embraces her pop music. The two pop songs we hear, one with ass-centric lyrics that Jackson mocks, are the least memorable songs in the movie. But more importantly, they don’t get a big “Shallow”-style moment where both the audience of the film and the audience in the film’s world are meant to fall in love with them.

In the final scene, after Maine’s death, Gaga reemerges, in a demure strapless gown, with her original light brown hair, to sing an old-school ’90s, Whitney-style ballad, “I’ll Never Love Again.” She belts out the last song he wrote for her, in an homage to Maine, her vision now fully enmeshed with his. After having transformed into a bedazzled jumpsuit–wearing pop star, she seems to have gone back to a more “real” version of herself — the natural hair color, the ballad, the tasteful dress. And this is the other moment in the movie, where, as during “Shallow,” we are entranced with the full power of Gaga as a performance artist.

Even as she’s playing the role of the supportive, mourning wife, we know Gaga wrote this song, and that in her own career she’s never played the supporting role to anyone. In the final moments of the concert scene, Ally stares directly at the audience, and we see the complex interplay of all the layers of this performance: Stefani Germanotta, who has transformed herself into Lady Gaga, playing Ally, who is singing to the crowd, as we — sitting in the theater — witness all of it. Knowing that this is yet another incarnation of the performance art project known as Lady Gaga, we are able to suspend any disbelief or doubt we might feel toward Ally, and see her as a more complex star than the one who’s written on the page.

This article was originally writing by Buzzfeed

The Ways ‘Fantastic Beasts’ Can Transcend ‘Harry Potter’

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War is coming to the wizarding world. The latest and final trailer for the J.K Rowling-penned and David Yates-directed Fantastic Beasts: The Crimes of Grindelwald ups the stakes and promises massive change on the horizon. While first film, Fantastic Beasts and Where to Find Them (2016) offered relatively low initial stakes, and a plot that seemed to be partly inspired by Pokemon — at least before the film’s climax, the second installment looks like it’s giving new credibility to prequels.

Historically, prequels to iconic film franchises haven’t been as well received as their predecessors. While often enjoyable, and occasionally showcasing a mastery of new technology, series like the Star Warsprequels, and now Star Wars stories, The Hobbit trilogy, and Ridley Scott’s Prometheus and Alien: Covenant, are often regarded as unnecessary by general audiences and critics. How many stakes can there be when the end result of the narrative is ultimately known? And what happens when the prequels begin to contradict previously established canon? But Fantastic Beasts finds itself in a different position, one that stems from the perspective of Harry Potter, or lack thereof.

While it’s difficult to imagine any Wizarding World series topping the adventures of Harry, Ron, and Hermione in their struggle against Voldemort, Rowling’s initial series offered only a glimpse into the larger world of magic. Our insight into this world was largely determined by adolescents, and thus the view of how the world worked and notions of good and evil were driven by an adolescent perspective. Fantastic Beastshas the ability to shift those notions in order to tell a complex story through the lens of adults whose morals may not be as pure and whose struggle is not as easily waged among dividing lines. As the stakes of the film come into view in this latest trailer, we see that while this path may eventually lead to Harry Potter, the road is not a straight or narrow one.

Warner Bros. Pictures/YouTube

Right at the top, we have the trailer’s biggest revelation. While Claudia Kim’s character has been kept under wraps for the past year, we finally know that she is playing Nagini. Yes, that’s the very same Nagini who later becomes one of Voldemort’s Horcruxes, who ultimately kills Snape, and who is beheaded by Neville Longbottom. In Fantastic Beasts, she is a member of the Circus Arcanus, a wizarding freakshow that Credence Barebones also finds himself a, seemingly unwilling, part of. While she has always been seen as the massive and terrifying snake in the Harry Potter series, this latest film will reveal her backstory and how she took those initial steps to come into Voldemort’s possession. She and Credence, who has suggested as being central to the mythos going forward, may end up being two of the most important characters in this franchise in terms of shaping the future events the Harry Potter novels didn’t divulge.

Warner Bros. Pictures/YouTube

Previous trailers positioned Johnny Depp’s Grindelwald as a kind of magical Hitler, but this trailer adds additional layers to the character that don’t make his villainy as concrete. While his demand, “join me or die” assuredly points to his malevolence, his platform for allowing wizards to take their rightful place and break the bonds of their second-class citizenry has some merits. Less of a warmonger than a revolutionary, Grindelwald perhaps doesn’t seem quite as mad after we glimpse wizards being kept in cages and the abuse of their rights. The century of peace between wizards and muggles referenced in the trailer may be more illusion than truth. Given how the wizarding world operates in Harry Potter, invisible to the muggle eye, it will be interesting to see how this war sets the stage for that. In a year of complex villains driven by trauma with agendas that aren’t entirely wrong, most notably Black Panther’s Killmonger, we may see Grindelwald join their ranks.

Warner Bros. Pictures/YouTube

Newt Scamander’s (Eddie Redmayne) place in the war hasn’t been entirely clear before. Here we learn that Dumbledore wants him to use his skills as a Magizoologist to hunt down and kill Grindelwald. Fans have wondered about the continuing use of the Fantastic Beasts title after the first film, considering the franchise has more at stake that lost magical creatures, but it seems clear here that Fantastic Beasts isn’t just a reference to animals, but to wizards as well. In this case Grindelwald is the beast, and while Scamander may track him down, killing is very much against his code of ethics. His brother Theseus tells him that he’ll have to pick a side eventually, but as someone who, as he says, doesn’t pick sides, how will Newt manage to survive on the front lines of a race war? Dumbledore, hero he may be, doesn’t seem to be entirely in the right by placing such a task on Newt, especially considering his reasons may be selfish.

Warner Bros. Pictures/YouTube

Dumbledore (Jude Law) reveals that he cannot move against Grindelwald because of his own personal feelings for him. In a quick cameo that fans are sure to immediately pick up on, Jamie Campbell Bower reprises his role as young Grindelwald from Harry Potter and the Deathly Hallows: Part 1 (2010) in the Mirror of Erised. Dumbledore’s reputation in the Harry Potter books is founded on his defeat of Grindelwald, which raises the question of how he manages to overcome his feelings or if his success was founded on a lie. When it came to Harry, Dumbledore’s greatest regret was asking too much of the boy, but perhaps those were repeated mistakes as he seemingly asks Newt to take on much of the same on his behalf. While we doubt the image of Dumbledore will be corrupted, the trailer does suggest that there’s much more to the man than the saintly position audiences grew used to when Richard Harris and Michael Gambon played the role. While Fantastic Beasts: The Crimes of Grindelwald suggests an all-out war, this is only the beginning. With three more installments planned, there’s a long way to go until the endgame and Rowling surely has plenty of surprises up her sleeve to throw off even the most diehard Wizarding World fans.

This article was originally writing by: The Hollywood Reporter 

GLOW renewed for a third season, will take the show on the road

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It seemed like a pretty sure thing, but given Netflix’s history of cancelling shows in batches with little warning (particularly shows that spend a decent amount on, say, period detail), we were nervously hopeful that GLOW would keep on. After all, anybody who caught the show’s terrific second season would say that there’s nowhere to go but up for the series, which found a much stronger footing as a dramedy with its emphasis on the drama. Given the season’s wide-open conclusion, it’s reassuring to get the news that Netflix has officially renewed the series for a third season. The third season will (mild spoiler alert) see the women of GLOW take the show out of seedy ’80s Los Angeles and on to a nightly revue in Las Vegas. Ruth (Alison Brie) and Debbie (Betty Gilpin) remain a complicated pairing, Sam (Marc Maron) will look forward to continuing his reparation into a less bottom-feeding kind of filmmaker, and the show will presumably get the kind of facelift that’ll make it bigger than ever before.

We’re sure those 10 Emmy nominations didn’t hurt, but all the same, we’re beyond thrilled to see the show return. In a TV landscape so entrenched in prestige-chasing, aggressively grim series, GLOW has wound up being a pleasant counterpoint to so many of them even when it explores heavier material. Season three doesn’t yet have an airdate, but particularly if the show turns up strong at the Emmys next month, we wouldn’t be surprised if some news emerges about that sooner than later

This article was originally writing by: Consequence of sound.

Henry Cavill has been freed from the DC Cinematic Universe

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Something happened when Henry Cavill reloaded his muscles in Mission: Impossible – Fallout. The actor, previously a blank slate best known for his glitchy upper lip, suddenly kicked ass, and his subsequent casting as horny warrior Geralt in Netflix’s Witcher adaptation was met with anticipation rather than scorn. Of course, Cavill’s new energy may also have something to do with a certain albatross being loosed from his neck. As The Hollywood Reporter reports, Cavill will, according to its sources, very likely not be reprising his role as Superman. His last turn as the superhero came in last year’s much-maligned Justice League.

The break came as Warner Bros. attempted to secure a Superman cameo in its upcoming Shazam!, but conflicts with Fallout (and, we’re guessing, lots of heavy sighs from Cavill) prevented it from happening. In the wake of the failed talks, THR says “the door is now closing on other potential Superman appearances.” Our apologies to anyone holding out hope for that Man of Steel sequel.

The good news, Deadline reports, is that the studio is considering none other than Michael B. Jordan as its next Superman. Sure, Jordan’s work as Black Panther’s Erik Killmonger established him as a villain of the first order, but we’re guessing his return to the Creed universe this November will get us back on his side. In the meantime, Deadline notes, Warner Bros. is reportedly focusing on a Supergirl movie from writer Oren Uziel.

 

This article was originally published  by: AV CLUB 

Director de ‘Avengers: Infinity War’ revela por qué no ocurrió ese reencuentro entre dos héroes

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La escena entre ambos personajes se grabó, pero no encajaba con el resto de la narrativa. La secuencia ocurría en los primeros momentos de la película, pero se decidió omitirla

Director de ‘Avengers: Infinity War’ revela por qué no ocurrió ese reencuentro entre dos héroes
Marvel Studios

La información relacionada a Avengers: Infinity War sigue fluyendo en grandes cantidades, todo gracias al lanzamiento de la película en formato digital el pasado 31 de julio. Marvel ha incluido material extra muy interesante para acompañar el filme, en esta ocasión hemos podido saber por qué no ocurrió uno de los reencuentros más esperados por lo fans de los superhéroes.

Muchos esperaban que Tony Stark y Steve Rogers se vieran nuevamente las caras después de sus enfrentamientos en Capitán América: Civil War, sin embargo, se decidió que esta situación finalmente no apareciera. Los responsables de la obra han revelado que en un principio esa reunión estaba presente en los primeros borradores y que la escena se grabó, pero debido a la tensa relación entre ambos personajes la propuesta no funcionó.El plan original era que Iron Man y el Capitán América se vieran las caras casi al comenzar la película, cuando Bruce Banner (Hulk) los llamó a la central de entrenamiento. Joe Russo, uno de los directores de Infinity War, habló sobre esa situación entre ambos héroes, en la cual Tony Stark terminó acudiendo a otros personajes:

Lo interesante de estos personajes es que todos son héroes. Y eso, independientemente de los eventos de Civil War y el hecho de que causaron daño físico a Rhodey, no duda (Iron Man), como un héroe, en invitar a otros que puedan ayudarlo a defender el planeta.

Ruso terminó su declaración afirmando que “sería mucho más complicado” si Iron Man hubiera permanecido en el planeta Tierra y tuviera que reunirse con el Capitán América. Por su parte, Stephen McFeely (escritor) reveló que la escena se probó en varios borradores pero entorpecía el resto de la narrativa. “Por eso no lo hicimos”, concluyó.Es un misterio si en el futuro estos superhéroes volverán a encontrarse. Ambos sobrevivieron al chasquido de Thanos, pero sus situaciones son muy distintas. El Capitán América se encuentra en la Tierra, mientras que Iron Man salió al espacio exterior para enfrentarse al villano, algo que casi le cuesta la vida. Cualquiera que sea el desenlace para ambos seguramente lo conoceremos en Avengers 4.
This Article was originally made by: Hipertextual.com

Scarlett Johansson Caught Up in New Casting Controversy Over Transgender Role

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The actress reportedly pointed to other actors who have played transgender characters to justify her taking the starring role in ‘Rub & Tug.’

Scarlett Johansson is once again at the center of what is shaping up to be another casting controversy.

Re-teaming with her Ghost in the Shell director Rupert Sanders, Johansson is set to star in a feature called Rub & Tug, about the true-life story of Jean Marie Gill, who was assigned female at birth but who assumed the identity of a man, Dante “Tex” Gill, and operated a massage parlor and prostitution business in Pittsburgh in the 1970s and ’80s.

While it’s unclear how Gill identified, an obituary in the Pittsburgh Post-Gazette noted that Gill “wanted to be known as ‘Mr. Gill’,” and that “she may even have undergone the initial states of a sex change that made her appear masculine.”

When news of the project broke this week, online commentators began to criticize Johansson, a cisgender woman, for choosing to play a transgender man, arguing that the role should have gone to a transgender actor.

The website Bustle.com reported today that Johansson, in a statement provided by a rep, said, “Tell them they can be directed to Jeffrey Tambor, Jared Leto, and Felicity Huffman’s reps for comment.” The Hollywood Reporter could not immediately confirm that statement.

Johansson’s reported response references other cisgender actors who have played transgender characters — and while their performances have all won awards, they have not all been without controversy. Huffman was Oscar-nominated for playing a transgender woman in 2005’s Transamerica, and Leto won a supporting actor Oscar for playing another transgender woman in 2013’s Dallas Buyers Club. Tambor was awarded two Emmys for playing a transgender woman in the series Transparent, but has left that show after being accused of sexual harassment, which he has denied.

Giving voice to some of the criticism of the casting that has begun to appear on Twitter, #OscarsSoWhite creator April Reign called for Johansson to step away from the role, tweeting, “Scarlett Johansson is not hurting for money. She is in the Marvel Cinematic Universe and is about to get her own film: Black Widow. She is also a well-established actress so she doesn’t need the increased profile. So why would she take work away from a trans actor? #OscarsSoWhite.”

Johansson’s critics are also pointing to the fact that she received similar criticism and was accused of “whitewashing” when she took the lead role in 2017’s Ghost in the Shell, playing a character who was Japanese in the original manga series.

Joel Silver and New Regency are producing as a co-production between Silver’s Silver Pictures, Tobey Maguire’s Material Pictures and Johansson’s These Pictures banners.

This article was originally published by: Billboard

MTV Announces “Daria” Reboot

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MTV Studios is also remaking “The Real World” and turning the sci-fi anime series “Aeon Flux” into a live action show

“Daria,” image courtesy of MTV

MTV is rebooting the beloved animated sitcom “Daria.” The new series is called “Daria & Jodie,” and it will be written by Grace Edwards, who’s worked on “Inside Amy Schumer,” “Unbreakable Kimmy Schmidt,” and more. According to a press release, the new “Daria” will be “reinvented through the eyes of heroine Daria Morgendorffer and one of her closest friends Jodie Landon.” The description continues, “These two smart young women take on the world, with their signature satirical voice while deconstructing popular culture, social classes, gender and race.”

The “Daria” reboot is part of MTV’s new production unit called MTV Studios, which will focus on revivals. In addition to “Daria,” MTV Studios will reboot “The Real World,” “MADE,” and the sci-fi anime series “Aeon Flux,” which will be remade as a live action show. According to Deadline, the programs are “being pitched to streaming platforms like Hulu, Netflix and Apple.”

This article was originally published by: Pitchfork

Watch the First Trailer for ‘Creed II’

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Creed II first teased a poster yesterday and now you can watch the first trailer for the upcoming film. The sequel to the surprise hit Creed, Michael B. Jordan returns to the screen as Adonis Creed, the son of Apollo Creed. Other stars return, including Tessa Thompson, Sylvester Stallone, Dolph Lundgren, Wood Harris, Phylicia Rashad and Andre Ward, while Creed goes through the growing pains of being a new champion.

The trailer is soundtracked to Kendrick Lamar’s “DNA” and showcases the buildup to Creed taking on the son of his father’s adversary Ivan Drago and Balboa attempting to make the fledgling fighter not take the matchup.  There’s also a glimpse of Andre Ward’s Danny ‘Stuntman’ Wheeler character in the trailer, hinting that the much-teased fight between the two in the first film will happen at some point in this movie. Creed II will be released on November 21 2018.

This article was originally published by: Hyperbeast

Watch the first trailer for ‘Spider-Man: Into the Spider-Verse’

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The animated movie stars The Get Down’s Shameik Moore

The film will steer away from the original Spider-Man story

The first trailer for Spider-Man: Into the Spider-Verse has been released.

The animated movie promises to introduce fans to a whole new universe of Spider-Man characters, including Spider-Gwen.

The film stars Shameik Moore – who has previously starred in Netflix’s The Get Down – as Miles Morales. Morales is a teenager from Brooklyn who realises he has the same powers as Spider-Man. You can watch the first trailer below.

Spider-Man: Into the Spider-Verse also stars Pitch Perfect’s Hailee Steinfeld as an alternate version of Gwen Stacy. The rest o the film’s cast includes Liev Schreiber as villain Wilson Fisk aka Kingpin, Mahershala Ali as Prowler and Jake Johnson as Peter Parker.

Spider-Man: Into the Spider-Verse will arrive in cinemas on December 14.

Last year’s Spider-Man: Homecoming took $3.7 million in ticket sales in South Korea aloneon its first day of showings, which increased to $10.4million through Friday. This is a 157% increase on the takings from 2014’s The Amazing Spider-man 2, which starred Andrew Garfield.

Meanwhile, some allegedly ‘leaked’ artwork for Avengers 4 has given fans a glimpse into what the super hero team could look like in the next movie.

The artwork features Iron Man and Captain America at the front, along with the Hulk, Black Widow, Thor and more, although the artwork has not been confirmed as official.

The sequel is set to arrive in UK cinemas in April 2019, with Marvel Studios president Kevin Feige saying it “will bring things you’ve never seen in superhero films: a finale.”

This article was originally published by: NME
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