The end of an era and the beginning of a new one.
The arrangement between Marvel Studios and Sony Pictures to collaborate on Spider-Man movies is reportedly over, with Sony opting to not renew a deal that would have seen Marvel/Disney take 50% of any future Spider-Man movie profits in exchange for the creative guidance of producer and MCU boss Kevin Feige.
That means Spider-Man is effectively out of the MCU and back into his own solo movie universe overseen solely by Sony.
The Sony-Marvel deal has always been a head-scratcher for fans, right up until last month’s San Diego Comic-Con when fans were left wondering why Marvel didn’t announce a new Spidey film along with the rest of their Phase 4 slate. Given that talks between Marvel and Sony were deteriorating at that time, we now know why Spidey was a no-show at SDCC.
But it was never Marvel’s place to announce the next Spider-Man film. Sony holds the screen rights to Spider-Man and is the distributor of all the solo Spidey films, going back to the first Sam Raimi one.
Since 2015, Sony and Marvel Studios/Disney have had a deal to share Spider-Man, although the future of that agreement remains murky at present. Former Sony boss and ongoing Spider-Man producer Amy Pascal caused a stir in 2017 when she said, “One of the things that I think is so amazing about this experience is that you don’t have studios deciding to work together to make a film very often. In fact it may never happen again, after we do the sequel [to Spider-Man: Homecoming].”
The Ankler also recently claimed: “The original Sony/Marvel/Spidey deal to co-produce these movies stipulated that if (Far From Home) cleared a billion, Marvel would get to oversee a third. If it hadn’t, full control would have reverted back to Sony.”
Well, Spider-Man: Far From Home has grossed over $1.1 billion worldwide so far, and has become Sony’s biggest hit of all time.
Kevin Feige on X-Men Plans, No Avengers Movie in Phase 4 – Comic Con 2019
For his part, Tom Holland has just one more Sony-released Spidey solo film left in his contract (although it should be noted that contracts can be renegotiated, as Robert Downey Jr.did.).
It will certainly be curious to see if Feige or Disney address the Spidey reports at this weekend’s D23 Expo. In the meantime, the ball appears to be in Sony’s court about when an official announcement of a third Spider-Man film — one that will deal with all the fallout of the developments in Far From Home’s shocking mid-credits scene — will be made.
In any case, it will be one made by Sony Pictures, who is staying in the Spidey movie business for the long run whether Marvel Studios is partnered with them or not.
For more on Spider-Man, check out ways how Far from Home’s big twist could be undone in the next movie, the director’s answers to all your Far From Home spoiler questions, and Sony’s plans to re-release the film with additional footage.
Never-Before-Seen Extended Cut Featuring New Action Sequence To Be Released Labor Day Weekend
Columbia Pictures’ Spider-Man: Far From Home has officially become Sony Pictures’ highest-grossing film of all time, passing the global box office gross of Columbia Pictures/Metro-Goldwyn-Mayer Pictures/EON Production’s Skyfall. Through Sunday, August 18, Spider-Man: Far From Home made $376.7 million domestically and $732.9 million internationally for a worldwide cume of $1.109 billion.
Starting Thursday, August 29, ahead of the holiday weekend, an extended cut of the film featuring approximately four additional minutes of a never-before-seen action sequence will be released in theaters in the U.S. and Canada. The film will also be available in IMAX® and large formats in select locations.
On its path toward this record-breaking milestone, Spider-Man: Far From Home showed incredible power at the global box office.
The film’s North American opening at $185.06 million for the six-day holiday weekend was an all-time opening six-day record for Sony Pictures, the best-ever six-day opening for a Spider-Man film, and the best six-day opening for a film launching over the Fourth of July holiday. On opening day, July 2, the film opened to the biggest Tuesday numbers of all time with $39.3 million.
Spider-Man: Far From Home became the highest-grossing Spider-Man movie overseas and opened at #1 in 65 markets including Australia, Brazil, China, France, Germany, Mexico, Russia, South Korea, the United Kingdom, and the United States.
The film’s global rollout began on June 28 in China, Hong Kong, and Japan with a $111 million cumulative opening. China debuted to $97.7 million – the seventh-largest opening of all-time for a studio film in the market and Sony Pictures’ second-biggest opening there. Japan opened with $9.4 million – the second-biggest superhero movie launch in the last decade. Hong Kong opened with $3.7 million – the fifth-biggest Friday-to-Sunday opening of all-time, and Sony Pictures’ best-ever opening in the market.
About Spider-Man™: Far From Home
Following the events of Avengers: Endgame, Spider-Man must step up to take on new threats in a world that has changed forever.
Directed by Jon Watts. Written by Chris McKenna & Erik Sommers. Based on the MARVEL Comic Book by Stan Lee and Steve Ditko. Produced by Kevin Feige and Amy Pascal. Louis D’Esposito, Victoria Alonso, Thomas M. Hammel, Eric Hauserman Carroll, Rachel O’Connor, Stan Lee, Avi Arad and Matt Tolmach serve as executive producers. The film stars Tom Holland, Samuel L. Jackson, Zendaya, Cobie Smulders, Jon Favreau, JB Smoove, Jacob Batalon, Martin Starr, with Marisa Tomei and Jake Gyllenhaal.
Zendaya is in attendance tonight at the 2019 Teen Choice Awards where she won for best actress in a film for Spiderman: Far From Home. I’ve added nearly 150 high quality photos to the gallery. Enjoy!
I’ve added HD screencaps of Zendaya to the gallery from the season finale of Euphoria. What an amazing season!
Phew. That was a lot.
It felt like Euphoria has graced our screens for both an eternity and a split second, with characters that felt like old friends visiting us for not nearly enough time. On Sunday, the hit HBO series wrapped up its first season with a whirlwind of emotions, and by the time we bid goodbye to Rue (Zendaya) and Jules (Hunter Schafer), we had more questions than answers.
Here are some of the big takeaways from the eighth and final episode, plus questions for what’s coming in season 2.
Caution, spoilers for the season finale ahead! If you haven’t seen it, catch up here.
What happens to Rue?
It seemed like Rue was headed toward healing, what with her attending prom and reuniting with Jules. But the season wraps up on an uncertain note — told through frantic cuts that then transition into a surreal music video, episode 8 finds Rue seemingly relapsing after being abandoned by Jules, and then getting kicked out by her mother. Labrinth and Zendaya’s new song “All for Us” serenades us as Rue is propped up by a crowd of dancers (they’re all wearing her dad’s sweatpants, ahh the emotions!). She rises, then falls into their arms. (Watch the full scene-turned-music video above.)
Unfortunately, Rue’s physical fall could symbolize her descent into an overdose. Rue’s living family members didn’t interact with her at the end, yet her deceased father greeted her warmly. This aligns with previous fan theories that Rue has been dead the entire time, otherwise how would she know intimate details about other characters unless she was omniscient, narrating from above? At this point, it’s anyone’s guess.
Trouble ahead for #Rules
We left episode 7 on shaky ground for Jules and Rue, but Rules shippers probably did a happy squeal when the two shared a kiss at prom and Jules promised that she didn’t wish Rue was different. However, that joy was short-lived as Rue backed out of their plan to head out by themselves into the big city, and Jules leaves her behind.
Some fans were less than pleased about their favorite pair not ending up together, although others cheered for the ending, as many had felt Jules didn’t truly love Rue and unfairly toyed with her emotions by getting together with another girl.
Is Fez okay?
Everyone’s favorite drug dealer, Fez (Angus Cloud), was on his ninja grind tonight, and he ended up beating a man (possibly to death) in front of the man’s son to steal money to pay Mouse. However, his storyline ends on a cliffhanger note that implies the possibility of Mouse shooting him, after he realizes what Fez did to get the money.
From the first episode, Fez’s loyalty and compassion made the character a favorite, and of course the timeline was flooded with fans worried that he would be gone forever.
Nate, Maddy, & more
So Nate (Jacob Elordi) continues to be the worst human, and his reaction to his dad Cal (Eric Dane) getting physical was quite disturbing. But we have a tiny bit of hope that Maddy (Alexa Demie) will take action, now that she has a CD full of evidence against Cal.
We also see Cassie (Sydney Sweeney) swearing off men and about to get the abortion, with no McKay (Algee Smith) in sight this episode. Her sister Lexi proves to be a lovable and wise drunk (we want more Maude Apatow in season 2!), and Kat (Barbie Ferreira) gets one of the only happy endings in the finale, as she opens up to Ethan (Austin Abrams) and they share a kiss.
The finale may leave fans reeling for answers, but one thing we can all agree on: Give Zendaya an Emmy. Give them all Emmys. The makeup, costumes, visuals, and acting have been outstanding, and we can’t wait for season 2.
I’ve added screencaps of Zendaya from her appearances on America’s Next Top Model (one of two appearances) and Project Runway to the gallery. Enjoy!
I’ve added nearly 1,000 HD screencaps of Zendaya from the 2012 Disney film Frenemies. We are working on the gallery constantly so be sure to be following us on twitter and keep visiting the site for more updates!
Zendaya and Sam Levinson spoke to IndieWire about how HBO’s drama can connect a generation of teens, even if they’re not watching.
The scene was just seven words: “Leslie and Rue fight in the hallway.”
“So we’re thinking a little yelling, slamming a door, call it a day,” Zendaya recalled while speaking with IndieWire.
But then, driving to set that morning, writer-director Sam Levinson had an idea. Why not try a little improvisation, and see where it goes?
“So I talked to Nika [King], talked to Z,” Levinson said, using shorthand for his already mononymous star, Zendaya. They shot the first take without any improv — just a mother and daughter yelling before the latter slams her bedroom door — “and it was good, it was interesting,” but Levinson wanted to “push it farther.” “However dark she goes, you go darker,” Levinson remembered telling his actors.
The result is what viewers see in the premiere: Rue (Zendaya), a drug-addicted teen, being confronted about her problem and reacting with raw animosity — knocking a framed picture off the wall and using a shard of the broken glass to threaten her own mother.
“It got to a place where it felt so fucking real — where she’s coming at her with the glass — and it was one of those moments where the entire crew […] just walked away from the set for 15 minutes [when it was over],” Levinson said.
“That day took a toll,” Zendaya said.
In a nutshell, that’s what “Euphoria” is striving for: an intense, authentic experience that connects with its audience on a personal level. But despite the extreme reactions to some of its more abrasive scenes, that intensity is designed to help more than provoke. If this scene and the many others like it merely make people angry, they’re not doing their job. “Euphoria” can serve as an introduction to a world some viewers don’t know is out there, as well as a connection for the people who are already living in it so they don’t have to feel alone. Over a first season both gripping and alienating, here’s how “Euphoria” is trying to help teens — even when they’re not watching.
If Not Teens, Who’s “Euphoria” Made For?
“Euphoria” creates a brand new world for anyone who hasn’t lived it, which is an easy path to controversy. For some, scenes like the above can be a lot to take in, and the consistent depictions of teen sex, drug use, and violence only add to the uncomfortable experience — HBO’s weekly episode rollout doubles as a much-need breather between sessions.
But for others, the onscreen drama merely mirrors a life they’re all too familiar with, making for a casual viewing experience or even a cathartic one. They know the high schoolers in “Euphoria” are out there, whether they’re friends, family, or people they know through the internet.
With that split in mind, the question becomes: Who is “Euphoria” made for? It’s made by young people, about a younger generation. Zendaya was 21 when she shot the series, Levinson in his early thirties. Still, no one is claiming the show is aimed at a teen audience — not the creator, star, or HBO president Casey Bloys. But “Euphoria” is still trying to help them, whether they watch it or not.
“I hope it creates a certain dialogue between parents and their kids,” Levinson said. “I don’t think this is a show for people under 17, but…”
“…but if your parent wants to have a conversation about it, that’s good,” Zendaya said.
“Or if you’re going to watch it anyway, and you have a feeling your kid is going to watch it anyway, then it might be good to have a conversation with them,” Levinson said.
“[People say] ‘Oh, it’s so shocking!’ To me, it doesn’t feel that way,” Zendaya said. “Because, yeah, I know someone who had that issue, and my homie went through that, and damn, that’s just like so-and-so. It’s only shocking if it’s maybe not your personal experience. Maybe you had a different path and you never met anyone who went through any of that — but I highly doubt it.”
I’ve added HD screencaps of Zendaya to the gallery from the most recent episode of Euphoria. How great was the newest episode? Detective Rue Bennett was everything. haha.
One after the other, HBO’s incendiary new series “Euphoria” unveils acting discoveries. Exciting ones. Plus-size model and Instagram phenomenon Barbie Ferreira sizzles as zaftig Kat, who prefers controlling her virtual online sex partners to the vulnerability of building an intimate rapport with a real boy (Austin Abrams). “I don’t do virgins,” she tells him, not long after painfully losing her own maidenhead at a blowout party.
She is among several breakouts in this series created by showrunner Sam Levinson (the ex-addict scion of Hollywood royalty Barry), who wowed Sundance 2018 with hacking thriller “Assassination Nation,” which Neon picked up for $10 million (it grossed $2.5 million domestic). For “Euphoria,” Levinson hired again his “Assassination Nation” casting team of veteran Mary Vernieu (Bette Mae, Inc.) and Jessica Kelly (Chrystie Street Casting).
Of course, their job is to give the showrunner options to choose from before HBO finally approves. But it’s unusual for casting directors to look away from established stars to find new faces and make discoveries. “It’s very rare to get a script or an entire series at HBO where they tell you they don’t need any names, just whoever is best to make this story,” said Kelly, who has teamed with Vernieu on multiple movies since Darren Aronofsky’s “The Wrestler.”
“In this day and age the opportunity to discover people doesn’t happen that much anymore,” said Vernieu, who was an associate casting director for Billy Hopkins on Tony Scott’s “True Romance,” starring Christian Slater, Dennis Hopper, Christopher Walken, Patricia Arquette, Brad Pitt, and James Gandolfini. “You want someone who has some value. It’s a wonderful artistic process for us, to be allowed to dive in and find these characters.”
While the casting directors “had an idea of Sam’s taste and style going into ‘Euphoria,’” added Kelly, the pilot was “like nothing I had ever read or seen before. It is a bold, brave, exciting movie with a young cast. We have a great combination of some cast who have never acted before and someone like Jacob Elordi who came from Australia. It’s watching tons of tapes from all over the country, knowing what Sam likes, and bringing in different people and trying different things.”
First up was casting the series lead, an addicted teen who loves her family – who discover her overdosed and comatose in Episode 1 – but finds it hard to cope with the world without altering her consciousness. Zendaya’s casting was by no means in the bag: her management team wasn’t sure that playing an addict was the best thing for the 22-year-old rising star’s career. After all, the model and “Dancing with the Stars” contestant had already come into her own on Disney’s “Shake It Up” and “K.C. Undercover” as well as Hugh Jackman’s smash musical “The Greatest Showman” and Spiderman gal pal MJ for Marvel. But “Euphoria” offered her the opportunity to reveal her range, digging deeper in a way that no one was expecting.
Vernieu knew Zendaya could do it. And she argued vehemently to showrunner Levinson that the series needed the magnetic good-girl Zendaya to draw in the audience, giving them someone familiar to make them feel secure within a challenging contemporary milieu that often feels too authentic for comfort. “At first I thought she wouldn’t do it, it’s such a departure,” said Vernieu. “It was something so far from her persona. She’s got a lot of fans. Getting her people to take a minute to read it and pass it on: ‘Are you sure this is what you want to do?’ It’s a complex character. At the last minute she read it and wanted to do it. But she knew from beginning what to do with it, how important it was. She’s a smart girl.”
Zendaya took the role, with Disney’s “A Wrinkle in Time” star Storm Reid also extending her scope as her little sister. “Despite all the darkness and hardship, we have to have hope,” said Vernieu. “That’s what made Zendaya the perfect person to root for, so she could come through the other side.”
In order to cast a casting net wide across the country, HBO brought in another famous talent scout, Jennifer Venditti (“American Honey,” “Good Times”), who specializes in auditioning and finding unknowns who fit their roles perfectly, from Florida shopping malls to the streets of Ohio.
Vernieu is alert for certain signals when she reads a lot of people. “A perfect performance in the room is not what we are looking for,” she said. “We are looking for moments of brilliance, those flashes that show where it can go. Auditions are artificial, it’s really hard for the actors, hard for everybody—in a room, two chairs, not in the scene. What it’s really about when someone comes in? Is it an essence, is it organic? Do they feel like the character? You see the flashes, that one moment, ‘Oh my God!’ Once you send them off to do the movie or TV show, then they can go deep, access deep feelings, have layers, it can resonate. You’re looking for a person who has more to offer than what they’re showing.”
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