logo
Whoa, baby! The real story behind the adorable star of 'Fantastic Four'

Whoa, baby! The real story behind the adorable star of 'Fantastic Four'

USA Today6 days ago
Spoiler alert! We're discussing important plot points and the ending of 'The Fantastic Four: First Steps' (in theaters now), so beware if you haven't seen it yet.
'The Fantastic Four: First Steps' brings a superpowered quartet into the Marvel Cinematic Universe, but there's an important fifth member of that group: an adorable hero baby.
Directed by Matt Shakman, the newest Marvel movie is a retrofuturistic sci-fi adventure in which the Fantastic Four deal with the arrival of a world-devouring giant called Galactus (Ralph Ineson). He'll spare Earth if he can have the baby son of superhero couple Reed Richards (Pedro Pascal) and Sue Storm (Vanessa Kirby). The Fantastic Four choose to fight, and little Franklin (Ada Scott) becomes a key figure in the action-packed climax.
Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox
The MCU is famous for its top-notch casting, and finding the right baby was as significant to Shakman as choosing his other main actors. 'We knew that the baby would ultimately probably be the biggest challenge of the movie,' he says. 'Just because it's a little bit easier to pull off a Silver Surfer than it is a baby who needs to be a big part of these emotional scenes.'
Filmmakers went down two different roads. Several babies were brought in for production purposes because they could only have youngsters on the set for short periods of time. (For example, they used a three-week-old infant for Sue's zero-gravity space birth.) At the same time, Shakman also needed to cast a 'hero baby,' which involve screen testing a bunch of kids, looking for the right one to be a scene partner for the A-list stars.
Who is the baby in 'Fantastic Four'?
They ultimately cast Ada, a little British girl who was 3 months old during filming. 'She has so much charisma,' Shakman says. 'There's so much intelligence in those eyes. Those eyes look just like Vanessa's eyes, they're kind of extraordinary in that way.'
Ada's face was scanned 'extensively multiple times' so that they could build a CGI model of her to use in effects-heavy action scenes or put on top of other babies' bodies for sequences that filmed over multiple nights, like Sue's big speech outside of the Baxter Building.
But the real Ada wowed Shakman in a couple of key emotional scenes. One featured just her and Pascal, as Reed Richards tells his son that he doesn't want Franklin to be like him and talks about his insecurities to the child. 'She's looking at him with such understanding but also curiosity,' the director says.
Is the baby in 'Fantastic Four' CGI?
The other major scene is at the end, where Franklin – who's embued with the 'Power Cosmic,' a big deal in Marvel lore – resurrects his mom after she dies in battle defeating Galactus.
'She showed up to play' that day, Shakman says of Ada. 'It was a really important moment, and Ada knew it was time to turn it on. It was kind of crazy. She seemed to understand, and I don't know how, what the scene was about. She was fully engaged with Vanessa, she was hyperfocused. Her little hands going down on the chest, that's her. The clapping after Vanessa comes back to life, that's her. That's all in camera.'
Behind the camera, Shakman had plenty of help with all things baby, too. There was an assistant director whose job was to find the various babies used for filming, while production assistants 'would sometimes jump in with toys trying to get eye lines to work,' Shakman says. Plus, there was a teacher or welfare worker on the set with the babies, along with the mom, dad and/or primary caregiver. In fact, Ada's mom sometimes dressed up in Kirby's supersuit to help get shots early on during filming.
By the time the movie finished, Ada "was very comfy crawling around on Vanessa,' Shakman says. And Ebon Moss-Bachrach, who played the motion-capture role of the Thing, also acted as 'an on-camera baby wrangler.'
While Shakman loves working with babies, there are times when they aren't always in the best mood or dozing off or upset because they're hungry. 'But I got so lucky,' the director says. 'I had this really special baby who delivered an incredible performance and I still don't know how it happened. So I thank the movie gods for that.'
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Disney Jr. is expanding its preschool universe with ‘Marvel's Avengers: Mightiest Friends'
Disney Jr. is expanding its preschool universe with ‘Marvel's Avengers: Mightiest Friends'

Los Angeles Times

timean hour ago

  • Los Angeles Times

Disney Jr. is expanding its preschool universe with ‘Marvel's Avengers: Mightiest Friends'

The Avengers will soon be assembling for a much younger demographic. Disney Jr. plans to expand its collaboration with Marvel, announcing a new series launching in 2027 titled 'Marvel's Avengers: Mightiest Friends.' It's a partnership that began in 2021 when Disney Jr. premiered 'Spidey and His Amazing Friends,' the first full-length Marvel preschool series, and has expanded to include the upcoming 'Iron Man and His Awesome Friends.' 'Disney Jr. are the pros at this age group,' says Brad Winderbaum, head of Marvel Studios television and animation. ''Spidey and His Amazing Friends' was our first shot at giving little kids a front-row seat to the Marvel Universe.' Currently in its fourth season with two additional seasons already greenlit, 'Spidey' has been wildly successful. It's the first Disney Jr. series to run for more than five seasons and is the second most popular streaming series (after 'Bluey') for children ages 2 to 5, according to Nielsen. 'The success of 'Spidey' really confirmed we were onto something and proved the demand for superhero stories designed specifically for this age group,' says Alyssa Sapire, head of original programming and strategy at Disney Jr. 'It fueled this broader strategy with Disney Jr. and Marvel.' There's the Marvel Cinematic Universe (MCU) and now there will be the Marvel Preschool Universe. 'Marvel's Avengers: Mightiest Friends' will feature kid versions of all the MCU characters including Spidey, Iron Man, Captain America, Hulk, Black Panther, Thor and, for the first time, Black Widow. 'Avengers are the ultimate learning to play nice story,' Winderbaum says. 'It's endless fun to watch Thor, Widow, Hulk and Cap learn about teamwork. That's always a fundamental lesson for that group whether it's in the features or the animated shows.' Young viewers will get a sneak peek of what's to come with two 'Marvel's Spidey and Iron Man: Avengers Team Up!' specials. The first 22-minute special premieres Oct. 16 and finds Spidey, Iron Man and all the Avengers stopping Ultron and Green Goblin from their nefarious plans. Another special, this one Halloween-themed, will debut in fall 2026. 'These characters are so timeless and have appealed to audiences across generations,' says Harrison Wilcox, who executive produces all the Marvel preschool series. 'What is most important to us is to tell fun, relatable, positive stories that families can enjoy together.' To that end, next up for Disney Jr. and Marvel is 'Iron Man and His Awesome Friends' which will premiere Aug. 11 on Disney Jr. and stream on Disney+ on Aug. 12. Tony Stark and his alter ego, Iron Man, were the natural choice for the next MCU character to get the preschool treatment. ''Iron Man' was the film that launched our studio,' Winderbaum says. 'We love the idea that a young audience who wasn't around in 2008 can be introduced to Marvel through a character at the core of Marvel history.' This series finds Tony Stark (Iron Man) and his best friends Riri Williams (Ironheart) and Amadeus Cho (Iron Hulk) working together to solve problems, like a villain intent on stealing everyone's toys. 'Tony Stark is very relatable and aspirational,' says Wilcox. 'He didn't stop until he found a way to protect the entire universe. We wanted three kids that were distinct from each other but also shared some certain qualities. They're all very intelligent. They're all tech savvy. They all want to use their brains to make the world better.' The trio works out of Iron Quarters (IQ) with Vision as their de facto supervisor. 'We thought it would be nice to have someone who could sort of act as the caretaker of our kids,' Wilcox says of including the beloved android in the series. 'We wanted our audience to know that these characters were loved and supported. Even though they have superpowers, someone's looking out for them.' Each superhero also brings something new for the young audience to connect to. One thing that will separate the upcoming 'Iron Man' series from 'Spidey' is that Iron Man doesn't have a secret identity. Everyone knows Tony Stark is Iron Man. 'We saw there was this differentiation we could really lean into,' Sapire says. 'They're real kids who use their ingenuity and smarts for the good of the community.' When bringing these characters to the under 5 set, every detail matters. 'Even in this Marvel superhero space, we're always tapping into that preschool experience,' Sapire says. 'We take the responsibility to entertain naturally curious preschoolers very seriously. When we have their attention, we want to honor that time with them with stories that inspire their imaginations and bring that sense of joy and optimism.' They approach the legendary Marvel villains with care as well. 'Iron Man' features Ultron (voiced by Tony Hale), Swarm (Vanessa Bayer) and Absorbing Man (Talon Warburton). 'You have to make sure the villain is not sympathetic,' Wilcox says. 'But also not frightening. We rely heavily on our partners at Disney Jr. for that and their educational resource group, which provides us a lot of feedback to make sure our preschool audience is engaged in the story and they feel the stakes of the story, but they are still watching in a comfortable space.' While all the series remain true to the overall MCU, they don't get too tied up in what is and isn't canon. 'These shows are about what makes each character tick, more than the lore that surrounds them,' Winderbaum explains. And, like in the movies, the superheroes will make mistakes. 'Marvel does not put their characters up on a pedestal,' Wilcox says. 'We want our characters to reflect real people in the real world. So that's always been important to us is that there's a certain level of relatability. Everyone can see a part of themselves in a Marvel hero and learn and grow just like our characters do.'

‘Vulture' is a provocative satire about a clueless scoop seeker in Gaza
‘Vulture' is a provocative satire about a clueless scoop seeker in Gaza

Los Angeles Times

timean hour ago

  • Los Angeles Times

‘Vulture' is a provocative satire about a clueless scoop seeker in Gaza

'Doctor Strangelove,' 'Catch-22,' and 'M*A*S*H' collide in British journalist Phoebe Greenwood's blistering debut novel, 'Vulture,' a darkly comic, searing satire grounded in historic politics, suffused with incipient journalism and imbued with self-aggrandizement. Dominoes fall quickly and hard for 33-year-old budding reporter Sara Byrne, assigned as a freelance stringer by the fictional London Tribune to cover the 2012 Gaza War. She is ambitious and clueless. A nepo baby, she's certain a scoop will make her career and bring her out of the shadow of her recently deceased father, Bill, a foreign affairs writer considered a titan among the giants of Fleet Street. She finds herself ensconced in all-expenses-paid headquarters for foreign correspondents like her: the Beach, Gaza's four-star 'nice hotel,' an 'oasis of humanity in a blighted desert' featuring a room with uninterrupted sea views and shrimps in a clay pot. Observing the consequences of conflict, Sara soon realizes she is embedded in her own emotional war zone. The Beach is a convenient location for mingling, networking and seeking contacts through a fixer, someone essential for foreign correspondents. Sara's fixer is Nasser. He introduces her to an aged, grieving Palestinian widower who has lost his whole family in a bombing, but she doesn't see any point in even being in Gaza if the only story 'was sad Mohammeds talking about their dead kids and dead wives and neighbors and so forth.' She dismisses ongoing attacks, thinking everything is 'getting a bit samey.' A morgue visit elicits disinterest and little more than a body count, with Sara wondering if 'ten makes a massacre. I only counted six.' In a crowd of dead, limp bodies, she spots a sobbing Pulitzer Prize-winning photojournalist and exclaims, 'What good is a crying photographer to anyone?' Heartless, she wants a bigger story, something that would put her byline on the front page. If Nasser can't get her into Hamas' underground tunnels 'where all the men running the war were hiding with their rockets,' then she would have to find someone who could. That someone appears to be Fadi, part of the fixer culture. He wore 'skin-tight black jeans and a black t-shirt with I Heart Brooklyn written on it in red, loopy letters' and 'stank of aftershave that could easily have been his sister's perfume and smoked cigarettes greedily.' His alluring credentials include an uncle he claims is a top fighter in the resistance who can get Sara a meet and greet with the leader of the Al-Yasser Front. Fadi promises a photo shoot with black balaclavas, guns and black flags. Foolhardily, defying Nasser's caution, Sara offers Fadi $1,000 for an excursion into the 'terror tunnels,' certain this will give her a proper story to write rather than what she terms 'monkey journalism.' Instead, after several delays and setbacks, she finds herself involved in an excruciatingly senseless death when the Beach's restaurant is bombed. Greenwood's graphic details are vivid and disturbing, from screaming that is 'a high unnatural wail that could shrivel souls like salted slugs' to air 'powdered with concrete and sulfur.' With dead bodies scattered around her, Sara, her hands dripping a trail of blood, retreats to her room, feeling responsible for one particularly shocking death. A series of flashbacks sprinkled throughout the novel highlight the deep psychological wounds Sara brings to her wartime experience. They underscore the guilt she carries from traumatic relationships with her father, mother and an adulterous affair. She believes she can never match her father's success as a reporter and on the first anniversary of his death, instead of visiting his grave, her mother takes her to a Sloane Square department store (because that's where she was taken as a child to buy shoes). Her clandestine involvement with her father's close friend and literary agent, whose wife is dying of cancer, implodes, leaving her a bitter 'other woman' living her own soap opera. It complicates a sexual encounter with an Italian cohort in Gaza. One of those flashback chapters, 'The Cradle of Civilization,' unravels the ironic, ravaging narcissistic, perhaps psychopathic implications of the title. Like the bird of prey seeking carrion, a foreign correspondent is characterized as a misery merchant or conflict cowboy, making a living from death and disaster. Even as their function is to give voice to the voiceless, Greenwood writes, their assignment is to 'stand in the middle of something,' to understand (from the Old English, understanden) and listen. As they do so, like Sara, seeking a 'defining moment' they might morph into news cannibals. And then there are the other birds. They are scattered throughout the novel. Keep an eye on them. Sara does. The literal ones and the magical, metaphorical ones. The first sighting is a simple one, easily dismissed. A manky bird on her balcony jolts Sara from semi-wakefulness right after she's had a dream of her dying father. Its habitual appearance becomes disconcerting. Is it just a bird or is it a harbinger of doom and death? She begins to think of it as a 'deranged stalker,' a 'horrifying, tapping shitting bird,' terrorizing her. Eventually, Sara, her health deteriorating from what appears as an undiagnosed illness, begins to hallucinate, seeing the bird's 'heart beating visibly under its feathered ribs, its metallic purple face,' culminating in believing the bird has transmogrified into a talking pigeon that is her father. Greenwood's stinging, salient novel remains relevant (the more things change, the more they stay the same), excoriating those who make a business of war whether it's public or personal. As the owner of the Beach observes: 'War may be hell but it's one hell of an employer.' 'Vulture' is a provocative, uncompromising powerhouse of a read. Papinchak, a former university English professor, is an award-winning book critic in the Los Angeles area.

Disney to Phase Out Hulu App, Fully Integrate into Disney+
Disney to Phase Out Hulu App, Fully Integrate into Disney+

Hypebeast

timean hour ago

  • Hypebeast

Disney to Phase Out Hulu App, Fully Integrate into Disney+

Summary In a move that signals a new chapter for its streaming strategy,Disneyhas announced that the standaloneHuluapp will be phased out and fully integrated intoDisney+in 2026. This decision, revealed during the company's quarterly earnings call, aims to create a 'unified app experience' that combines Disney's premium brands with Hulu's general entertainment, all under one roof. This consolidation follows Disney's recent acquisition of NBCUniversal's remaining stake in Hulu, giving the media giant full control over the streaming service. While the Hulu app will eventually cease to exist, Disney has clarified that consumers will still be able to purchase a standalone subscription to either Disney+ or Hulu. However, both services will be accessible through the same unified Disney+ app, with content availability based on the subscriber's chosen plan. The integration is not limited to the U.S. market. Disney has also confirmed that the Hulu brand will replace the Star tile on Disney+ internationally this fall. This move positions Hulu as Disney's global general entertainment brand, expanding its reach and brand recognition to a worldwide audience. The Star tile, which currently houses content from Disney-owned studios like FX and 20th Century Studios, will now be under the more recognizable Hulu banner. According to Disney CEO Bob Iger and CFO Hugh Johnston, this full integration is a long-term play to 'enhance our ability to continue to grow profitability and margins.' By consolidating the services onto a single tech platform, Disney expects to see lower operational costs, higher user engagement, and a reduction in subscriber churn. This new, streamlined approach will also create more opportunities for advertising revenue and new bundles, allowing for greater pricing flexibility in the future. The decision to merge Hulu and Disney+ is a clear signal of the ongoing consolidation in the streaming industry, as companies seek to create comprehensive, all-in-one platforms to compete with market leaders. For Disney, this means a singular destination for content ranging from Marvel andStar Warsto family programming, news, live sports (with the upcoming ESPN DTC app), and Hulu's extensive library of general entertainment.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store