And Finally, James Bond 25 Will Be Called…

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Instead of telling you, why don’t I let Eon Productions and Daniel Craig show you…?

There we go, No Time To Die it is.

Dammit Bond, now I lost my bet on Shatterhand. Trust you to go breaking the expected alliteration of Skyfall, SPECTRE and, uh… No Time To Die.

What do you think? Love it or loathe it? Sound off in the comments.

Meanwhile, this reveal also confirms that Bond 25 (as I may well continue to call it, just for the hell of it), Daniel Craig’s final outing as 007, will be released April 2020.

The film also stars Rami Malek, Léa Seydoux, Lashana Lynch, Ben Whishaw, Naomie Harris, Billy Magnussen, Ana de Armas, Rory Kinnear, David Dencik, Dali Benssalah, Jeffrey Wright and Ralph Fiennes, and is directed by Cary Joji Fukunaga.

More news as we get it.

Once Upon A Time In Hollywood – The Manson Legacy

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Out Of Dave’s Head is proud to publish our first article by another writer; welcome aboard Jon Harman, celebrating the release of Once Upon A Time In Hollywood with a look at the cinematic legacy of the real-life horror haunting the movie.

Charles Manson has been a defining Hollywood story for 50 years, ever since the fateful and brutal killings in August 1969. With Tarantino returning to this arena in his latest offering Once Upon a Time in Hollywood, we look at the impact and legacy of the Manson Murders in cinema.

The Manson Murders took place in the summer of 1969 and were the culmination of activities by a hippy cult lead by Charles Manson, an unemployed ex-convict who had spent more than half of his life in correctional institutions. Manson’s dreams of becoming a singer/songwriter had been snubbed by Beach Boys record producer Terry Melcher and he was suffering delusions of grandeur that he was the new messiah. He was also obsessed with the Beatles, particularly their 1968 self-titled album, and was allegedly guided by his interpretation of the band’s lyrics. He adopted their song, Helter Skelter, as the text to describe an impending apocalyptic race war.

On August 8th of that year, Manson instructed his followers, Tex Watson, Susan Atkins, Linda Kasabian and Patricia Krenwinkel to go to Melcher’s house in Cielo Drive in LA and murder the inhabitants, who were film director Roman Polanski’s pregnant actress wife, Sharon Tate, her hairdresser Jay Sebring, coffee heiress Abigail Folger and her boyfriend Voytek Frykowski. The following night he instructed them and Leslie Van Houten and Steve Grogan to perform a copycat killing of Leno and Rosemary La Bianca at their residence.

Manson occurred at a defining moment for counter-culture and Hollywood, starting a transition to a post studio system, as Peter Fonda’s Wyatt uttered the immortal words “we blew it” in Easy Rider, the love affair with hippiedom was over, but the kinetic, youthful and independent style of Easy Rider was opening a door to a new cinema. Then on August 8th-9th the brutal slaying of the Tate party in Cielo Drive ensured Hollywood and violence were fused together in a thematic way that has permeated US cinema for decades, with constant reference to the perfect boogeyman in Manson. 

There are the biopic, literal tellings of the Manson story over the years, but there are also countless films that channel a Manson theme within. Very early on, numerous exploitation films captured the salacious nature of the crimes like Angel, Angel, Down We Go (1969) which was retitled as Cult of The Damned (1971) to feed off the ever growing notoriety of the case, not to mention the bizarre attempt to add two minutes of footage to Sign of Aquarius (1970) to suddenly make a Mansonesque blaxploitation flick, Ghetto Freaks (1970) which was a fusion of too many themes to comprehend).

As the investigation played out in 69 and 70, aspects were already fusing into the lexicon of cinema, such as John Waters’ Multiple Maniacs (1970), which had Divine running a circus freak show as a front for robbery and murder and convincing her husband that he killed Sharon Tate in a drug induced haze. Waters was obsessed with the case and wrote references into his film as the case unfolded, later dedicating Pink Flamingos (1972) to “Sadie, Katie & Les” (Manson’s nicknames for Susan Atkins, Linda Krenwinkel and Leslie Van Houten, the main perpetrators of the murders). Waters has spent years advocating the release of  Van Houten, describing her as his friend.

The first attempt to bring the actual Manson story into cinema was The Other Side of Madness (1971) which itself was later retitled as The Helter Skelter Murders, a strange curational mix of documentary and re-enactment footage filmed in some of the actual locations whilst never actually using any of the names from the crime. The hippie noir depiction of the crime scene is both brutal and exploitative for a film of its time with strong mondo undertones leaving it a curio in the Manson legacy. At the same time, exploitation duo Michael and Roberta Findlay jetted down to Argentina to make The Slaughter (1971) about a Mansonesque death cult resulting in a film with either very limited or no distribution until independent low-budget distributor and sometime producer, Allan Shackleton picked it up and added a notorious murder scene as the finale and calling it Snuff (1976), spawning an entire urban myth strand of modern cinema about the existence of underground snuff films in its own right (which is another whole article by itself). 

Likewise in 1971, fledgling writer/ director Wes Craven was typing out his script for what would become The Last House on The Left (1972). Whilst being an American retelling of Bergman’s The Virgin Spring (1960), it had a Manson Family undertone in its brutalism and striking similarities of character with it’s female villain “Sadie,” played by Jeramie Rain, cast just after playing Manson family member Sadie Mae Glutz in the off Broadway Manson musical 22 Years the same year. 

The zeitgeist of the Manson Murders was permeating new cinema as much as the raging Vietnam war at the time, which conflated in a later movie. Writer Peter Biskind, in his 1998 book, Easy Riders, Raging Bulls saw Marlon Brando’s Colonel Kurtz in his compound in Apocalypse Now (1980) as: 

“another incarnation of Charlie Manson, the scourge figure who had gone native and now, unchallenged, ruled over his family. The compound was his Spahn Ranch” 

The sense of crime family, hippies, war and brutality also infused the zeitgeist of Tobe Hooper’s film The Texas Chainsaw Massacre (1974), in particular the opening prologue directly cites Manson prosecutor Vincent Bugliosi’s description of the crimes as “the most bizarre mass murder case in the annals of American crime” to add weight to the false claim the film is a true story. 

1976 saw the release of CBS made for television film Helter Skelter, which depicted both the crimes and the trial in detail, based on Bugliosi’s book of the same name. Steve Railsback defined the persona of Manson for the viewing public (though retrospectively, this comes across as being quite histrionic and the film comes off as a weird episode of Perry Mason tonally), to the point he never really escaped its impact and stunting his fledgling acting career. The film reached an estimated 50 million Americans on release and thus defined much of the Manson story. CBS later remade Helter Skelter (2004) with Jeremy Davies playing a more subtle and realistic Manson, though not as eerie, this time the film focused more on the persuasive nature of Manson as guru and the lead up to the crime. 

Always lurking in the exploitative realms of cinema, Manson re-emerged in an early found footage piece that built on the earlier legacy of Snuff (1976) and ran with an assertion from Ed Sanders book The Family (1971) that they stole an NBC film crew truck and used the equipment to make snuff films. The imagined output is surreal. Manson Family Movies (1984) which is all filmed from the perspective of the family on super 8mm film and dwells on mondo-style, exploitative gore once again to entice the salacious viewer disturbed by the ever winding myths around Manson.

In the same vein, Jim Van Bebber’s The Manson Family (2003) takes a transgressive view on the subject matter and relishes in the hyperbole of cult and barbaric murder. Famously taking 15 years to produce and finish, for many murder groupies, this is seen as the definitive film of Manson. Van Bebber firmly asserts that if you cover this story, you have to cover it warts and all in an NC-17 way. The film does successfully channel a late sixties, early 70’s aesthetic in its tone and thus has a further authenticity of Manson as cinema, rather than cinema about Manson. Van Bebber has a certain connection with the Manson psyche as a film-maker, and is somewhat reminiscent when ranting to distributors about film to DVD transfers of his work too.

From this moment on, Manson as myth and cultural icon becomes a touchstone to regurgitate in direct to DVD movies or sleight of hand references in TV series. Manson, My Name is Evil (2009), House of Manson (2014), The Wolves at the Door (2016) and The Haunting of Sharon Tate (2019) all carbon copy the salacious aspects of the case, water down the nuance and add to the myth-making of Manson, whilst never really tackling anything new and can be largely dismissed for wrapping themselves in Manson iconography with little substance. It is also  difficult not to see the Family fingerprints all over most home invasion horror films of recent memory, invoking the horror of being disrupted, held hostage and murdered by some counter culture creepy crawlers, they set the narrative template for this modern American horror fable. 

Manson has also continued to guest star in such shows as American Horror Story: Cult (2017) Aquarius (2015)  or Mindhunter (2019) illustrating he is still a strong cultural bogeyman in the American psyche that people want to explore and visit. Films like Martha, Marcy, May, Marlene (2011) nicely explore the phenomenon and psychology of cult radicalisation with strong nods to Manson, without getting caught up in all the salacious aspects of the case. Equally, Charlie Says (2018) explores the indoctrination psychology and less salacious aspects through the eyes of Manson’s disciples and here we see (former Doctor Who) Matt Smith play Manson in a more subtle and believable incarnation as oppressive seductor rather than histrionic mad man.

There will of course always be room for such oddities as Live Freaky, Die Freaky (2006) – a stop motion musical comedy about the Manson crimes, or Troma’s Honky Apocalypse (2014) – that imagines an alternate universe where Manson’s proclamation of a Helter Skelter race war comes true in typical Troma, independent trash cinema style. 

It is inferred in the trailer for Once Upon a Time in Hollywood (2019) that we may actually only be getting more the guest star in cultural context of Manson this time around and possibly revisionist takes on the myth whilst delving into the transitioning movie business in 1969, illustrating how much Manson has become synonymous with Hollywood either as protagonist or background player. The film opens here next week, so we’ll know more then.

We’ve even seen one of the stars of Once Upon A Time In Hollywood, Brad Pitt, do his own modern day interpretation of Manson in Tyler Durden, of course. Rewatch Fight Club through the lense of cult radicalisation and guru instructed mayhem, compare Tyler’s speeches in the film to Charlie’s real-life speeches and you see much synchronicity.

Charlie changed Hollywood, Manson is a Hollywood story, myth and bogeyman that perpetuates to this day in so many aspects of our popular culture.

It was only natural for Tarantino as the pop culture maestro to visit and explore, having ditched other Hollywood arch manipulator Harvey Weinstein. Tarantino’s obsession with killers in his work, with numerous nods like having written Daisy Domergue in Hateful Eight (2015) as “a Manson girl out west, like Susan Atkins or something” was leading him here. Indeed what was Charlie if not the ultimate director manipulating and coercing players to act out his Hollywood scene like a doting Hollywood entourage, whilst he laps up all the attention? And we’re still talking about it 50 years on.

Jon Harman is a film producer, director and lecturer. Producing work from web series to feature films, documentaries and mind numbing live pop fare for Disney. Jon has the media bite mark scars on the leg that Quint and Hooper would drunkenly argue over. Jon also contributes to Cinema Under The Stairs podcast on Spotify. His trailer homage to Lucio Fulci and Man Bites Dog “Cool Clyde” (made when 16) is hidden on Youtube somewhere as a special easter egg.

Get Ready For Your Head To Explode. Here’s Part Of Phase Four Of The Marvel Cinematic Universe!

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Marvel Studios are back at the 2019 San Diego Comic Con, and as expected, Kevin Feige has been onstage (after officially confirming Avengers: Endgame as the biggest film of all time – sorry Avatar) to announce the next slate of movies we’ll all be getting excited about and buying tickets at the box office for years to come.

First up, on November 6th 2020, will be The Eternals, a huge cosmic adventure featuring more characters created by the great Jack Kirby! Alongside Richard Madden, Bryan Tyree Henry, Don Lee and Kumail Nanjiani, Marvel have landed the big guns of Salma Hayek and Angelina Jolie to star in director Chloe Zhao’s first epic.

Anthony Mackie and Sebastian Stan then took to the stage to discuss their upcoming limited series for the new Disney Plus channel, The Falcon and the Winter Soldier, which will also feature Daniel Bruhl reprising his role as Baron Zemo, from Captain America: The Winter Soldier.

Next up on the movie front, we’ll see Shang-Chi and the Legend of the Ten Rings. The film will finally introduce the real villainy of  arch bad guy The Mandarin (as opposed to Ben Kingsley’s Trevor Slattery in Iron Man 3), to be played by screen legend, Tony Leung. The title role of Shang Chi, the Master of Kung Fu, is taken by Simu Liu (best known for appearing in the TV series, Kim’s Convenience). Awkwafina also stars in the film, which will be released on February 12th 2021 (that’s a great birthday present for me) and be directed by Destin Daniel Cretton.

Paul Bettany and Elizabeth Olsen then came out to promote WandaVision, their limited series for Disney Plus in spring 2021, which will see the Scarlet Witch and Vision in adventures taking place after Avengers: Endgame.

Tom Hiddleston also appeared to announce his Loki mini-series, also for Disney Plus (I guess we’ll all be subscribing to this channel…), also in spring 2021.

Excitingly for yours truly, director Scott Derrickson then came out to announce the fabulously-titled, Doctor Strange in the Multiverse of Madness (take that, the days of just adding a 2 to the title), which will cast its spell in cinemas May 7th, 2021. “We’re going to make the first scary MCU film,” said Derrickson, making this Doctor Strange fan positively salivate!  The sequel will feature Elizabeth Olsen, as Scarlet Witch teams up with Doctor Strange and it will follow on from the events in the WandaVision series. That subscription just became even more unmissable!

The always wonderful Jeffery Wright came out to announce he would be the voice of The Watcher in What If…?, the first animated series in the MCU, with many actors from across the MCU reprising their roles as voice talent. Streaming exclusively on Disney Plus, in the summer of 2021.

Also for Disney Plus (oh, just take my subscription money already), Jeremy Renner will reprise his role as the Avengers’ ace archer in a Hawkeye series, which it was confirmed will feature the character of Kate Bishop from the comics and also look at more of Hawkeye’s time as Ronin.

The Cinematic Universe gets another fabulous title with Thor – Love and Thunder, reuniting Chris Hemsworth and Tessa Thompson, and directed again by Taika Waititi. In even better news, Marvel have persuaded Natalie Portman to return as Jane Foster and (as in Jason Aaron’s run of comics) she will become the female Thor! This, my friends, is going to rock and will hit our theaters, November 5, 2021.

As regular readers of this blog will be more than aware (since we broke the story of its Norwegian location filming) Scarlett Johansson, David Harbour, Florence Pugh, O-T Fagbenle, and Rachel Weisz star in Black Widow. Directed by Cate Shortland, the film lands in theaters May 1, 2020. “I’m looking to wipe out some of that red in my ledger,” said Johansson, and I’m happy we’ll get the chance to see her do that at last. Footage shown at SDCC promises a very Jason Bourne feel, which I’m totally down for.

As if the announcements couldn’t get more insane, the MCU will be reintroducing Blade, the vampire slayer, as played by Academy Award winner (and huge favourite at Out of Dave’s Head), Mahershala Ali! No release date has been announced yet.

Finally, get ready for your geek heads to explode (as mine did), because alongside the likes of Black Panther 2, Guardians of the Galaxy 3 and Captain Marvel 2, Feige also mentioned… New Mutants (which will presumably preclude the some way off introduction of the X-Men) and… huge drum roll for those of who’ve been clamouring for this, Marvel’s First Family, the Fantastic Four!

Okay, so that’s everything announced for Phase Four (and the accompanying TV shows) FOR NOW (well, for the next two years)! Remember we haven’t even mentioned The Avengers or Spider-Man yet. It’s safe to say we’ll be throwing our money at Marvel forever so I’m considering some kind of neural transfer of half my earnings until retirement.

UPDATE: In the crazy rush to put this news piece together, I ascribed New Mutants to be one of the forthcoming projects from Marvel Studios. Fiege actually said “there’s no time left to talk about mutants, and how mutants fit into the MCU.”
This leaves the fate of the Fox New Mutants film up in the air, but bodes well for even more exciting news to come about Marvel’s Mutants, possibly at the forthcoming D23 even in August. Stay Tuned!

Meanwhile, courtesy of the fine folk at JoBlo.com, here’s a handy visual (including all the newly released logos) to help you keep track on the Marvel Madness…

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Christoph Waltz Back As Blofeld For Bond 25. Probably.

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In news unlikely to be a huge shock to the system of anyone paying close attention to the development of the still officially untitled Bond 25 (I’m still laying cards on Shatterhand), it seems that Christoph Waltz will break with Bond tradition by returning as arch-nemesis, Ernst Stavro Blofeld for Daniel Craig’s final stint behind the wheel of the Aston Martin.

Daily Mail journo (but don’t let that put you off, he’s usually pretty on the ball with Bond) Baz Bamigboye reports that a visitor to Pinewood spotted Waltz on the Bond set, only to be told by the actor, “You haven’t seen me.”

This would be an unusual move for the Bond series, which has never seen a return appearance by any actor playing Blofeld (at least one whose face is seen). But industry scuttlebutt suggests Bond’s adoptive brother (…ugh) won’t be the main villain, with that honour falling instead to Bohemian Rhapsody‘s Rami Malek.

True Detective Season One’s Cary Fukunaga is directing whatever Bond 25 will be called. Did I say Shatterhand already…!?

Well… That’s Brave. The Doctor Sleep Trailer Is Here,

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Warner Bros. have just dropped the trailer for Doctor Sleep, the sequel to The Shining and, well, it’s quite something…

You can’t fault the studio’s bravery here, choosing to lean so much into Stanley Kubrick’s classic 1980 film by reusing footage and recreating sets. If nothing else it’s a bold statement of intent.

King’s sequel novel has proven to be highly divisive, eliciting equal amounts of love and scorn (nothing unusual there, of course, when tampering with a property so firmly lodged in the public psyche), but director Mike Flanagan has some serious scare chops as the writer/director of Netflix’s big hit series, The Haunting of Hill House (as well as the adaptation of King’s “unfilmable,” Gerald’s Game.

That’s certainly an intriguing trailer, and for those of you unfamiliar with the book, here the official synopsis for the movie:

Struggling with alcoholism, Danny Torrance remains traumatized by the sinister events that occurred at the Overlook Hotel when he was a child. He soon finds a new purpose when he forms a psychic connection with a girl who shares his shining ability.

Doctor Sleep will open on November 8th when we’ll all get the opportunity to love it or hate it. Which side do you think you’ll come down on?

Robert Pattinson Is Officially Your New Batman

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Warner Bros. have now officially announced that Robert Pattinson will star as the Caped Crusader in Matt Reeves’ forthcoming, The Batman.

Rumours flew out earlier this week that Pattinson and Nicholas Hoult were both duking it out in final negotiations as Reeves and Warner’s final choices, and now it looks like Pattinson punched that bit harder, as Deadline have revealed him as the victor.

Little is known about Reeves’ long-in-gestation movie, except that it will focus on the early days of Bruce Wayne as Batman, highlight more of the detective angle of the character (yay!) and that the central villains could be Penguin and Catwoman (again… boo!).

While many still think of Pattinson as “the Twilight guy,” the actor has steadily been turning out a number of critically-acclaimed roles in the past few years in films such as Good Time, Cosmopolis, High Life and The Lighthouse, and has also been cast in Christopher Nolan’s new movie, Tenet.

And director Reeves certainly did sterling work revitalising Fox’s revamp of the Planet of the Apes saga, so there’s much to be intrigued by here.

Shooting is rumoured to take place in the UK this autumn but no release date has been announced for The Batman, so I’ll be sure to light the Bat-Signal as soon as Warner Bros. give the word.


Photo by Paul Archuleta

Marvel Phase 4 – Black Widow Begins Filming In Norway (English Language Exclusive)

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Blue Bayou – the shooting title adopted by Marvel for the production of the first movie in Phase 4 of the Marvel Cinematic Universe, Black Widow, has begun filming here in Norway.

The unit production base has established itself in the small village of Sæbø, in Sunnmøre on the western coast of Norway. The Sagafjord Hotel was overrun with a fleet of trucks as rumours first exploded locally that this was filming for the latest James Bond film (which is actually also shooting here, not too far away on The Atlantic Road and in Rauma, slightly further north in the region).

Per Henry Borch, line producer for Truenorth, the production and service company, confirmed to NRK that the film wasn’t Bond 25 in an effort to stop interested fans swarming to the site, obviously not considering that there might also be plenty of Johansson or Marvel fans ready to make the trip.

But your roving reporter can confirm that trucks, equipment and local signs are festooned with the legend Blue Bayou, revealed back in February as the shooting title for Scarlett Johansson’s first solo outing as Natasha Romanoff, Black Widow.

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Local newspapers are suggesting that Sæbø and nearby Bondalen (oh, the irony) are standing in for Romanoff’s childhood home in Russia.

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Shooting titles are often used to deter curious onlookers for location shooting and Marvel Studios productions have recently used covers including Mary Lou (Avengers: Infinity War/Avengers: Endgame), Open World (Captain Marvel), and Bosco (Spider-Man: Far From Home).

Crewmembers at the base remained tight-lipped and impervious to my requests for the movie’s entire plot-line, but filming will continue throughout the week. Production of the film is based at Pinewood Studios in the UK (as seen in the exclusive photos here), while the film is being directed by Cate Shortland from a script by Jac Schaeffer (Captain Marvel, the forthcoming Vision & Scarlet Witch TV series).

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No official release date has been given for Black Widow, but you can be sure you’ll be updated on these pages.

Stop Everything! It’s The Brilliant New Trailer For Once Upon A Time In Hollywood.

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First of all, stop what you’re doing and watch this wonderful new trailer for Quentin Tarantino’s new movie (debuting ahead of its premiere at Cannes)…

Regular followers of this site will already know I’m full-blown down for anything that comes from the mind of Tarantino, and that I’m super vibed for Once Upon A Time In Hollywood (as we’ve been following its production here from those initial casting announcements).

And this features one heckuva cast, including  Leonardo DiCaprio, Brad Pitt, Margot Robbie, Kurt Russell, Timothy Olyphant, Dakota Fanning, Luke Perry, Margaret Qualley, Bruce Dern, Emile Hirsch, Lena Dunham, Damian Lewis and Al Pacino (HOO-HAH!). I mean, come on…! Who doesn’t want to watch, well… anything… that stars this bunch!?

The teaser trailer was great, but this first full trailer, in all its Neil Diamond-glory, literally makes me want to wish away the days until July 26th (but that would mean missing Godzilla: King of the Monsters, so I’ll have to curb my enthusiasm).

Featuring the first proper reveal of Charles Manson (as played by Damon Herriman) and his family on the Spahn Ranch, and the first sense of how this story might play out, it certainly seems that this will be as thrilling (and probably divisive) a ride as we might expect from one of my favourite cinematic provocateurs!

Let’s not even get started on the flame-grilled Nazis…

Pennywise Is Back – Here’s Your Super Creepy Trailer for It: Chapter Two

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First of all, let’s get your goosebumps raised with this…

Well, if that doesn’t get you excited for Andy Muschietti’s It: Chapter Two then it’s possible you’re as dead as the old lady in that super-creepy sequence at the beginning of the trailer.

It: Chapter One took pretty much everyone by surprise when it became a box-office smash in 2017, and now the same director is back with a fabulous cast of all-grown-up Derry Losers Club kids including Jessica Chastain, James McAvoy and Bill Hader. Along with the return of Bill Skarsgård’s Pennywise the Clown, of course.

It is a particular favourite book of many Stephen King fans (including me) so we can only hope Muschietti does the same good work on this second chapter. The trailer certainly bodes well, as that sequence between grown-up Beverly and the not-what-she-seems Mrs Kersh got my skin all kinds of crawling.

Let’s get ready to float down here again when It: Chapter Two opens on September 6.

Avengers: Endgame Makes ALL The Money With A $1.2 Billion Weekend

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As predicted here on Out Of Dave’s Head (though I’ll grant you I didn’t really need a crystal ball), Avengers: Endgame has blasted off with a record-breaking $1.2 billion opening weekend take at the worldwide box office.

Marvel’s astonishing experiment in long-form storytelling has smashed the year-old Avengers: Infinity War records by nearly $100 million in the U.S. and a jaw-dropping $560 million worldwide.

The 22nd movie in the Marvel Cinematic Universe, which launched in 2008 with Iron Man, has seen the linked multi-franchises bring home more than $19 billion in worldwide box office to date, and with a whole slate of films lined up for the forthcoming Phase 4, that figure seems likely to grow.

The much-discussed “superhero fatigue” that critics love to load onto these films seems to be pretty non-existent when it comes to Marvel movies, possibly because their release plans are carefully thought out and almost certainly because the films are far from the cookie-cutter exercises those same, lazy critics write them off as.

Long-form cinematic storytelling is certainly nothing new, of course, having been around since at least 1912, with Edison’s What Happened to Mary, before finding huge popularity in the 1930s and 1940s with the likes of Flash Gordon, Spy Smasher and The Adventures of Captain Marvel (or Shazam! as he’s now known). 

And movie sequels have been around forever, but were generally regarded as poor relations to the source material and usually awarded declining budgets and box office receipts (the original Planet of the Apes films, for example).

Star Wars and its subsequent offerings have done much to pave the way for this latest iteration, with the linked trilogies of the Skywalker saga we’ve had since 1977. But Marvel have taken this to a truly intriguing new level, launching a number of different franchises which link to form one longer narrative. Story strands, character arcs and thematic resolutions occur in Avengers: Endgame which have carried through from that first Iron Man movie in 2008. Carrying these elements across a franchise is one thing, but to test audiences with knowledge needed across multiple franchises really is quite brave for a studio, and something Marvel should be lauded for.

And while Spider-Man: Far From Home, released in July, sees Marvel’s Phase 3 come to a conclusion, the as-yet unannounced slate of Phase 4 films is likely to include Black Panther 2, Doctor Strange 2, Guardians of the Galaxy 3 (happily with James Gunn reinstated), the long-promised Black Widow movie, a likely return for Captain Marvel and debuts for Shang-Chi: Master of Kung Fu (directed by Destin Daniel Cretton) and The Eternals (helmed by The Rider‘s Chloe Zhao, and rumoured to be starring Angelina Jolie). And those are just the productions we know of, Marvel are sure to have some surprises up their sleeves.

So as Marvel sit back and prepare to work their accountants hard in the coming weeks, rest assured that we’ll likely be giving our hard-earned money to the company for some time to come.

And personally, if they continue to make films as engaging, enjoyable and emotional as these have been, I’ll be very happy to do so.