I’ve updated our photo gallery with 64 pictures of Jodie Comer from “The End We Start From” UK Gala Premiere on January 9, 2024. Make sure you check them out by clicking the thumbnails below. Enjoy!
I’ve updated our photo gallery with 64 pictures of Jodie Comer from “The End We Start From” UK Gala Premiere on January 9, 2024. Make sure you check them out by clicking the thumbnails below. Enjoy!
In NY & LA theatres December 8
Expanding nationwide in January 2024
Featuring: Jodie Comer, Joel Fry, Katherine Waterson, Gina McKee, Nina Sosanya, Mark Strong, Benedict Cumberbatch
When an environmental crisis sees London submerged by flood waters, a young family is torn apart in the chaos. As a woman (Jodie Comer) and her newborn try and find their way home, the profound novelty of motherhood is brought into sharp focus in this intimate and poetic portrayal of family survival.
US Release Date: December 8, 2023
Starring: Benedict Cumberbatch, Jodie Comer, Joel Fry
Director: Mahalia Belo
Synopsis: A woman tries to find her way home with her newborn while an environmental crisis submerges London in floodwaters.
“The Bikeriders” is a furious drama following the rise of a fictional 1960s Midwestern motorcycle club through the lives of its members. Inspired by Danny Lyon’s iconic book of photography, “The Bikeriders” immerses you in the look, feel, and sounds of the bare-knuckled, grease-covered subculture of ’60s motorcycle riders. Kathy (Comer), a strong-willed member of the Vandals who’s married to a wild, reckless bikerider named Benny (Butler), recounts the Vandals’ evolution over the course of a decade, beginning as a local club of outsiders united by good times, rumbling bikes, and respect for their strong, steady leader Johnny (Hardy). Over the years, Kathy tries her best to navigate her husband’s untamed nature and his allegiance to Johnny, with whom she feels she must compete for Benny’s attention. As life in the Vandals gets more dangerous, and the club threatens to become a more sinister gang, Kathy, Benny, and Johnny are forced to make choices about their loyalty to the club and to each other.
“Aftersun” star Paul Mescal and “Killing Eve’s” Jodie Comer are among those nominated for Olivier Awards, the U.K.’s top theater awards.
Mescal has been nominated for Best Actor for his role in “A Streetcar Named Desire” while Comer is up for “Best Actress” for her turn in legal drama “Prima Facie.”
“My Neighbour Totoro,” the stage adaptation of Studio Ghibli’s animated classic, received the most noms, scoring nine, including for Best Director and Best Actress.
The awards, which will be hosted by “Ted Lasso” star Hannah Waddingham, are set to take place on April 2 at the Royal Albert Hall in London. They will be broadcast on ITV.
Check out the full list of nominations below:
Best Entertainment or Comedy Play
“Jack And The Beanstalk” at The London Palladium
“My Neighbour Totoro” at Barbican Theatre
“My Son’s A Queer, (But What Can You Do?)” at Garrick Theatre & Ambassadors Theatre
“One Woman Show” at Ambassadors Theatre
Best Family Show
“Blippi The Musical” at Apollo Theatre
“Hey Duggee The Live Theatre Show” at Royal Festival Hall at Southbank Centre
“Midsummer Mechanicals” at Sam Wanamaker Playhouse at Shakespeare’s Globe
“The Smartest Giant In Town” at St Martin’s Theatre
Best Theatre Choreographer
Matt Cole for “Newsies” at Troubadour Wembley Park Theatre
Lynne Page for “Standing At The Sky’s Edge” at National Theatre – Olivier
Kate Prince for “Sylvia” at The Old Vic
Basil Twist for Puppetry Direction for “My Neighbour Totoro” at Barbican Theatre
Best Costume Design
Frankie Bradshaw for “Blues For An Alabama Sky” at National Theatre – Lyttelton
Hugh Durrant for “Jack And The Beanstalk” at The London Palladium
Jean Paul Gaultier for vJean Paul Gaultier Fashion Freak Show” at Roundhouse
Kimie Nakano for “My Neighbour Totoro” at Barbican Theatre
“The Crucible” at National Theatre – Olivier
“Good” at Harold Pinter Theatre
“Jerusalem” at Apollo Theatre
“A Streetcar Named Desire” at Almeida Theatre
Best Musical Revival
“My Fair Lady” at London Coliseum
“Rodgers & Hammerstein’s Oklahoma!” at Young Vic
“Sister Act” at Eventim Apollo
“South Pacific” at Sadler’s Wells
Best Sound Design
Bobby Aitken for “Standing At The Sky’s Edge” at National Theatre – Olivier
Tony Gayle for “My Neighbour Totoro” at Barbican Theatre
Drew Levy for “Rodgers & Hammerstein’s Oklahoma!” at Young Vic
Ben & Max Ringham for “Prima Facie” at Harold Pinter Theatre
Best Original Score or New Orchestrations
David Yazbek, Jamshied Sharifi & Andrea Grody – Music and Lyrics by David Yazbek, Orchestrations by Jamshied Sharifi & Additional Arrangements by Andrea Grody – “The Band’s Visit” at Donmar Warehouse
Joe Hisaishi & Will Stuart – Music by Joe Hisaishi & Orchestrations and Arrangements by Will Stuart – “My Neighbour Totoro” for Barbican Theatre
Daniel Kluger & Nathan Koci – Orchestrations and Arrangements by Daniel Kluger & Additional Vocal Arrangements by Nathan Koci – “Rodgers & Hammerstein’s Oklahoma!” at Young Vic
Richard Hawley & Tom Deering – Music and Lyrics by Richard Hawley & Orchestrations by Tom Deering – “Standing At The Sky’s Edge” at National Theatre – Olivier
Best Actor in a Supporting Role
Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh & Kaine Lawrence for “For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy” at Jerwood Theatre Downstairs at The Royal Court Theatre
Will Keen for “Patriots” at Almeida Theatre
Elliot Levey for “Good” at Harold Pinter Theatre
David Moorst for “To Kill A Mockingbird” at Gielgud Theatre
Sule Rimi for “Blues For An Alabama Sky” at National Theatre – Lyttelton
Best Actress in a Supporting Role
Rose Ayling-Ellis for “As You Like It” at @sohoplace
Pamela Nomvete for “To Kill A Mockingbird” at Gielgud Theatre
Caroline Quentin for “Jack Absolute Flies Again” at National Theatre – Olivier
Sharon Small for “Good” at Harold Pinter Theatre
Anjana Vasan for “A Streetcar Named Desire” at Almeida Theatre
Best Set Design
Miriam Buether for “To Kill A Mockingbird” at Gielgud Theatre
Tom Pye for “My Neighbour Totoro” at Barbican Theatre
Ben Stones for “Standing At The Sky’s Edge” at National Theatre – Olivier
Mark Walters for “Jack And The Beanstalk” at The London Palladium
Best Lighting Design
Natasha Chivers for “Prima Facie” at Harold Pinter Theatre
Lee Curran for “A Streetcar Named Desire” at Almeida Theatre
Jessica Hung Han Yun for “My Neighbour Totoro” at Barbican Theatre
Tim Lutkin for “The Crucible at National Theatre” – Olivier
Best Actress in a Supporting Role in a Musical
Beverley Knight for “Sylvia” at The Old Vic
Maimuna Memon for “Standing At The Sky’s Edge” at National Theatre – Olivier
Liza Sadovy for “Rodgers & Hammerstein’s Oklahoma!” at Young Vic
Marisha Wallace for “Rodgers & Hammerstein’s Oklahoma!” at Young Vic
Best Actor in a Supporting Role in a Musical
Sharif Afifi for “The Band’s Visit” at Donmar Warehouse
Peter Polycarpou for “The Band’s Visit” at Donmar Warehouse
Clive Rowe for “Sister Act” at Eventim Apollo
Zubin Varla for “Tammy Faye” at Almeida Theatre
Best New Opera Production
“Alcina by Royal Opera” at Royal Opera House
“Least Like The Other” by Irish National Opera and Royal Opera at Royal Opera House – Linbury Theatre
“Peter Grimes by Royal Opera” at Royal Opera House
“Sibyl” at Barbican Theatre
Outstanding Achievement in Opera
Sinéad Campbell-Wallace for her performance in “Tosca” by English National Opera at London Coliseum
William Kentridge for his conception and direction of “Sibyl” at Barbican Theatre
Antony McDonald for his design of “Alcina” at Royal Opera House
Best Actor in a Musical
Alon Moni Aboutboul for “The Band’s Visit” at Donmar Warehouse
Arthur Darvill for “Rodgers & Hammerstein’s Oklahoma!” at Young Vic
Julian Ovenden for “South Pacific” at Sadler’s Wells
Andrew Rannells for “Tammy Faye” at Almeida Theatre
Best Actress in a Musical
Katie Brayben for “Tammy Faye” at Almeida Theatre
Anoushka Lucas for “Rodgers & Hammerstein’s Oklahoma!” at Young Vic
Miri Mesika for “The Band’s Visit” at Donmar Warehouse
Faith Omole for “Standing At The Sky’s Edge” at National Theatre – Olivier
Best New Dance Production
“Light Of Passage” by Crystal Pite at Royal Opera House
“Pasionaria” by La Veronal at Sadler’s Wells
“Traplord” by Ivan Michael Blackstock at 180 Studios (The Strand)
“Triptych (The Missing Door, The Lost Room, And The Hidden Floor)” by Peeping Tom at Barbican Theatre
Outstanding Achievement in Dance
Manuel Liñán for his choreography of “¡VIVA!” at Sadler’s Wells
Dickson Mbi for his choreography of “Enowate” at Sadler’s Wells
Raquel Meseguer Zafe for her dramaturgy of “Ruination” by Lost Dog at Royal Opera House – Linbury Theatre
Catrina Nisbett for her performance in “Family Honour” by Spoken Movement at Sadler’s Wells
Outstanding Achievement in Affiliate Theatre
“Age Is A Feeling” at Soho Theatre
“Blackout Songs” at Hampstead Theatre Downstairs
“The P Word” at Bush Theatre
“Paradise Now!” at Bush Theatre
“Two Palestinians Go Dogging” at Jerwood Theatre Upstairs at The Royal Court Theatre
Rebecca Frecknall for “A Streetcar Named Desire” at Almeida Theatre
Robert Hastie for “Standing At The Sky’s Edge” at National Theatre – Olivier
Justin Martin for “Prima Facie” at Harold Pinter Theatre
Phelim McDermott for “My Neighbour Totoro” at Barbican Theatre
Bartlett Sher for “To Kill A Mockingbird” at Gielgud Theatre
Jodie Comer for “Prima Facie” at Harold Pinter Theatre
Patsy Ferran for “A Streetcar Named Desire” at Almeida Theatre
Mei Mac for “My Neighbour Totoro” at Barbican Theatre
Janet McTeer for “Phaedra” at National Theatre – Lyttelton
Nicola Walker for “The Corn Is Green” at National Theatre – Lyttelton
Tom Hollander for “Patriots” at Almeida Theatre
Paul Mescal for “A Streetcar Named Desire” at Almeida Theatre
Rafe Spall for “To Kill A Mockingbird” at Gielgud Theatre
David Tennant for “Good” at Harold Pinter Theatre
Giles Terera for “Blues For An Alabama Sky” at National Theatre – Lyttelton
Best New Play
“For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy” at Jerwood Theatre “Downstairs” at The Royal Court Theatre
“Patriots” at Almeida Theatre
“Prima Facie” at Harold Pinter Theatre
“To Kill A Mockingbird” at Gielgud Theatre
Best New Musical
“The Band’s Visit” at Donmar Warehouse
“Standing At The Sky’s Edge” at National Theatre – Olivier
“Sylvia” at The Old Vic
“Tammy Faye” at Almeida Theatre
The series finale of “Killing Eve” aired in April 2021, just a little over four years after the espionage thriller originally premiered in 2018. When it initially debuted, the BBC America original series was met with rave reviews across the board from both TV critics and casual viewers alike (via Rotten Tomatoes). Its success helped cement creator Phoebe Waller-Bridge’s status as one of the most esteemed screenwriters working in TV. However, while the success of “Killing Eve” Season 1 only further raised Waller-Bridge’s profile, the writer and creator did not reprise her role as showrunner on any of the series’ subsequent seasons.
Instead, “Killing Eve” began a tradition of passing its showrunner baton to a new writer each season. Consequently, while it was Waller-Bridge who oversaw the production of “Killing Eve” Season 1, it was ultimately “Promising Young Woman” director Emerald Fennell who ran the series’ second season. Suzanne Heathcote took over for Fennell when it came time to make “Killing Eve” Season 3, and it was later Laura Neal who ran the thriller’s 4th season.
After maintaining its unique behind-the-scenes tradition for four years, though, “Killing Eve” ultimately came to an end with its 4th season. Now, nearly two whole years later, it’s worth asking: Why was “Killing Eve” Season 4 the series’ last?
Killing Eve ended for purely creative reasons
In January 2020, BBC America handed out a Season 4 renewal for “Killing Eve.” The news came just a few months prior to the show’s Season 3 premiere, but it wasn’t until well over a year later that BBC America also announced that Season 4 would be the espionage thriller’s last. The network’s announcement understandably came as a major shock to fans, especially coming off the events of the “Killing Eve” Season 3 finale, which set the stage for the series to move in a refreshingly new direction in its future episodes.
While the announcement initially came as a surprise, both BBC America and the series’ creative team made it immediately clear that “Killing Eve” had not, by any means, been canceled. Instead, the show’s writers and producers had simply determined that the series’ story demanded that it come to an end sooner rather than later. The Hollywood Reporter noted that was the case in its coverage of the surprise announcement, and some of the show’s key creative members also confirmed as much in their comments about its conclusion.
At the time, Dan McDermott, the President of Entertainment and AMC Studios, even teased, “We look forward to what is sure to be an unforgettable final season and to exploring potential extensions of this compelling universe.”
“Killing Eve,” in other words, came to an end for a fairly simple, straightforward reason. Of course, what few could have predicted when the show’s conclusion was originally announced was just how divisive the “Killing Eve” series finale would go on to be.
Killing Eve’s ending was notoriously divisive
In the “Killing Eve” Season 4 finale, the series’ two leads, Villanelle (Jodie Comer) and Eve Polastri (Sandra Oh), finally get together. Unfortunately, their long-awaited romance turns out to be short-lived when Villanelle is tragically shot to death in the episode’s closing moments by an assassin hired by none other than Carolyn Martens (Fiona Shaw).
To call the series’ final moments dark or morbid would be a massive understatement, and fans of “Killing Eve” didn’t hesitate to share their disappointment over the show’s conclusion. Essays were written explaining why viewers believed the show’s series finale ultimately betrayed its previously subversive spirit by playing into several widely disliked TV tropes. Even author Luke Jennings, whose novels inspired “Killing Eve,” wrote an article for The Guardian criticizing the BBC America drama’s conclusion. In the end, many even named Villanelle’s death in the “Killing Eve” finale one of the worst TV moments of 2022.
In case that wasn’t bad enough, the divisive nature of the “Killing Eve” finale hasn’t just tarnished the show’s legacy for many of its fans, but it’s also called the viability of any potential spin-offs into question. It was notably reported in April 2022 that a “Killing Eve” spin-off centered on Carolyn Martens’ early years as an MI6 spy was being developed, but no updates or announcements related to the project have been released since then.
Taking all of this into account, it seems safe to say that “Killing Eve” fans will likely be debating for a long time whether or not the show really should have come to an end when it did.
Jodie Comer (Killing Eve) won the best actress prize at the London Evening Standard Theatre Awards for her West End debut performance playing a criminal barrister specialising in defending rapists — who is then sexually assaulted herself.
Comer won critical and public acclaim for the solo role in Prima Facie, which is written by Suzie Miller and directed by Justin Martin. James Bierman’s Empire Street Productions will launch the courtroom drama at Broadway’s Golden Theatre from April 11, 2023.
Stephen Graham (The Irishman), like Comer a Liverpudlian, presented Comer with the Natasha Richardson Award for Best Actress, named in honor of the star who died in 2009.
Comer told guests, who included Richardson’s mother Dame Vanessa Redgrave and sister Joely Richardson, that her experience in Prima Facie had been “utterly terrifying, having never trained,” added: “I didn’t know if I could execute this.”
However, she praised the production’s creative team for supporting her, “and now I want to do theater at every opportunity,” she added.
James McAvoy was named Best Actor for playing the title role in director Jamie Lloyd’s production of Cyrano de Bergerac. McAvoy was absent from the fun, intimate ceremony at West End theater land restaurant The Ivy, due to filming commitments in Rome.
James Graham (Sherwood) won Best Play for his political drama Best of Enemies, which played at the Young Vic Theatre and starred David Harewood portraying William F. Buckley and Charles Edwards as Gore Vidal. The show has now transferred to the Noel Coward Theatre, with Zachary Quinto taking over as Vidal.
Josie Rourke and Martha Plimpton were on hand to present Lynette Linton with the award for best director. Linton, also artistic chief at London’s Bush Theatre, won for her celebrated production of Pearl Cleage’s Harlem renaissance drama Blues for an Alabama Sky at the National Theatre.
Rourke noted that Linton was only the sixth female recipient of the directing prize in the 66-year history of the awards. [Full disclosure: this writer is a member of the Standard’s judging panel].
The awards have long been recognised for championing newcomers. Judges gave Isobel McArthur the emerging talent award for Pride and Prejudice* (*Sort Of), which put a Glaswegian comedic spin on Jane Austen’s classic tale.
The Charles Wintour award for most promising playwright went to Tyrell Williams for his powerhouse play Red Pitch about three friends who have dreams of football stardom. The play was staged at West London’s Bush Theatre by Daniel Bailey, who encouraged Williams to develop what was originally a ten-minute piece into a fully developed drama that’s now looking to transfer into the West End and to New York.
The London transfer of Daniel Fish’s exceptional adaptation of Oklahoma! won honors for Best Musical and Best Musical Performance for Patrick Vaill, who humanized Jud Fry, the so-called villain of the Rodgers and Hammerstein classic.
Vaill has been on a 15-year journey with Fish and the Fry character, having first worked with Fish on the production at Bard College in 2007 and on stops that have included St. Ann’s Warehouse in Brooklyn, Circle in the Square Theater on Broadway, the Young Vic in London and next year’s transfer to Wyndham’s Theatre in the West End.
Tom Scott won the Best Design prize for Cabaret at the Kit Kat Club.
Special prizes were awarded, in the name of Evening Standard owner Evgeny Lebedev, to Dame Vanessa Redgrave and to Nica Burns, producer and co-owner of Nimax Theatres, which controls six West End theaters.
Benedict Cumberbatch (Doctor Strange in the Multiverse of Madness) and Mark Strong (1917, Kingsman) will join the Jodie Comer-starring apocalyptic thriller The End We Start From. Both are also attached as executive producers on the film, whose principal photography has begun in London, and you can see a first-look image of Doctor Foster and Killing Eve star Comer in action below.
Joel Fry (Cruella, Yesterday), Gina McKee (My Policeman, Line Of Duty) and Nina Sosanya (Screw, His Dark Materials) have also joined the cast of the Mahalia Belo-directed feature.
Based on Megan Hunter’s novel and adapted by Bafta-nominated Alice Birch (Normal People, Succession), The End We Start From is billed as “a powerful hopeful story about the trials and joys of new motherhood in the midst of devastating floods that swallow up the city of London.”
Deadline had first news of the hot package back in May, when Anton and UTA Independent Film Group geared up to launch worldwide sales at the Cannes Film Festival. We also revealed Katherine Waterston (Fantastic Beasts, The World To Come) would appear opposite Comer last month.
Cumberbatch’s SunnyMarch is among the shows producers, alongside Hera Pictures.
Leah Clarke and Adam Ackland are producing for SunnyMarch, alongside Liza Marshall for Hera Pictures, and Amy Jackson and Sophie Hunter. Executive producers are Cumberbatch; Comer; Strong; Anton’s Sébastien Raybaud, Fanny Soulier, Pieter Engels and Kate Maxwell for Anton; Dave Caplan and Jason Cloth for C2 Motion Picture Group; Eva Yates and Claudia Yusef for BBC Film; and Lizzie Francke for the BFI. Anton, C2 Motion Picture Group, BBC Film and the BFI (awarding National Lottery funding) are co-financing the film. Anton and UTA helped to structure the financing.
Cumberbatch and SunnyMarch are represented by UTA, Conway van Gelder Grant, and attorneys Sloane, Offer, Weber & Dern. Waterston is represented by UTA, LARK, Silver Lining Entertainment, and attorneys Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller, Gellman, Meigs & Fox. Birch is represented by UTA, United Agents UK, and attorneys Nelson Davis. C2 Motion Picture Group is represented by UTA.
Source: Deadline Hollywood
False scoopers gave fans false hope that actors such as Henry Cavill and Jodie Comer would be announced as joining the MCU, despite these rumors having no apparent basis in reality.
As the dust settled on Marvel’s D23 presentation, fans had a number of reveals to chew on — from castings for the Thunderbolts and Captain America: New World Order, to trailers for Secret Invasion and Werewolf by Night. What they didn’t get? Henry Cavill and Jodie Comer in the MCU or complete castings for the Fantastic Four that were rumored on Twitter, despite those rumors having no apparent basis in reality.
Yes, the rumor mill is always churning. Fans crave the knowledge of what’s coming down the pipeline, to see their speculations validated, and their impatience alleviated. It’s (mostly) understandable and in good fun. But false scoops have begun to impact, however slightly, the public opinion on official announcements and even shape the conversations surrounding films. It’s a minor concern at present in the grand scheme of things, but interesting in respect to how social media continues to drive fan culture and how that relationship will continue to evolve.
Reading scoops is often part of the excitement for many fans, and there is a good handful of scoopers who are consistently reliable. Though, as we’ve seen recently with this past weekend’s D23, unreliable scoopers have thrived off the attention that comes from putting out shaky information, and backing it with their likely nonexistent “trusted source.” Entire websites and accounts had dedicated themselves to this misinformation. It’s nothing new. I still remember when Star Wars: Episode II was allegedly titled “The Creeping Fear” back in the early 2000s when I was still using dial-up. And before that, rumors floated freely on message boards and in fanzines. It’s often harmless fun, and those of us who can spot a lie can usually shrug them off or at least poke fun at the nonsense. I mean, of course Daniel Day-Lewis isn’t going to play Doctor Doom.
Should these faux reporters be called out for their lies? Some critics and media pundits seem to think so. Others are content with allowing them to simply be noise to listen to or not, at one’s discretion.
Earlier this month, a man running a Twitter account mostly known for sports commentary and a racing podcast claimed he was reliably informed that the actors John Boyega, Cavill, Comer, Daisy Edgar-Jones, John Krasinski, Giancarlo Esposito and Denzel Washington would all be announced to be joining the MCU by Kevin Feige at the D23 Expo. The tweet amassed 14,000 likes, and was shared and re-shared across the internet. Fans tried their hardest to pair up the actors with likely characters they might be playing. Fan art was made. YouTube videos were uploaded. And small, yet confidently smug, feuds began on Twitter over whether x actor was the right fit or age or talent for x character. Family members texted me asking if I’d heard about the list of actors and if it was true. So how many of the account’s talent was confirmed at D23? None. Zero. Not a single one.
It would be funny, and it still is a little funny regardless, if it didn’t immediately lead to those who fully bought into what this account was selling being sour over the announcements. “We were promised Fantastic Four and X-Men casting,” some accounts bemoaned, despite that never being the case. “Maybe they cut those announcements from the panel because of the leak,” others tried to rationalize, despite the theory holding no water.
It’s not as though we need to feel grateful to a giant media corporation for what is essentially a self-invested advertisement fair, but I am amused by the complaints the fans weren’t given enough when there were two publicly released trailers and several major casting announcements.
This came on the heels of July’s San Diego Comic-Con, where Marvel unveiled most of the Phase 5 and 6 slate, after some hilarious claims that the MCU no longer had a plan. One account tweeted that Marvel no longer seemed to care about what the fans wanted, which was a funny sentiment considering these films sell themselves and everyone complaining is going to see them whether they’re announced during a panel or not. No, we don’t need to be grateful. But at the same time, we don’t need to see any of these announcements for tickets to sell and streaming numbers to soar. It’s purely fan service.
But beyond the immediate disappointment from some fans about a panel not lining up with a “scooper’s” claims, there’s also the effect on reactions to the films themselves. We saw some of this with Doctor Strange in the Multiverse of Madness, which had some fans, working off rumors from “reliable sources,” going in and expecting the equivalent of Secret Wars, rather than a Doctor Strange sequel. Because of false scoops, some people went ahead and wrote Multiverse of Madness in their heads, a film that featured Tobey Maguire’s Spider-Man, Andrew Garfield’s Spider-Man, Nicolas Cage’s Ghost Rider, Wesley Snipes’ Blade, Ioan Gruffudd’s Mister Fantastic, Hugh Jackman’s Wolverine, Ben Affleck’s Daredevil, Ryan Reynolds’ Deadpool, alongside MCU characters Loki, Sylvie and Kang.
Oh, and Chris Evans coming back as HYDRA Cap. And also, Tom Cruise as the Superior Iron Man. And I guess somewhere in there Doctor Strange would have had a cameo.
It’s not that the lack of any of those characters had an impact on the box office, or overall positive reception, or that there weren’t valid criticisms concerning other aspects, but it did exacerbate this issue of certain fans feeling like they are owed something because they read a rumor online.
So, I can’t help but wonder what happens if Jodie Comer isn’t cast as Sue Storm after fans have already decided she’s “perfect” for the role because a scooper claimed it was true. What actress will have to contend with fans claiming she’s not as good of a pick as some other actor who may not have even been up for the role? And if the actress cast as Sue isn’t a white, blond woman? Well, we already know how too many people will react to that.
What happens when characters said to be part of a film are absent because they were never part of the pitch? There’s been some groaning over the fact that Red Hulk was not included in the announced lineup of Thunderbolts, despite having only been a member in one particular run from nearly a decade ago. One person tweeted at me to inform me that we were promised Red Hulk in She-Hulk: Attorney at Law (we weren’t), so he must be in Thunderbolts.
I found it potentially troubling that there is now backlash from audiences who conflate an unreliable scoop with an actual promise from a studio or filmmaker. It’s a mere annoyance at the moment, but I think we’re going to start seeing more vocal reactions about these projects not living up to what some scooper said.
I don’t necessarily think it will affect the creative process, but it will affect the conversations around these films, and potentially leave less space to judge the film on its own merits if too many fans become more interested in the visions of so-called scoopers than filmmakers. Call it a hunch. Call it a rumor. Hell, call it nonsense. But please, don’t call it a scoop.
Source: The Hollywood Reporter