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Magic: The Gathering lands deal for film and TV adaptions with Legendary Entertainment

Magic: The Gathering lands deal for film and TV adaptions with Legendary Entertainment

Yahoo07-02-2025

Hasbro Entertainment and Legendary Entertainment have joined forces to bring Magic: The Gathering to the big and small screens. The pair have signed a licensing deal to create "a live-action feature film and television universe" inspired by the card game. First up will be a movie, with other media to follow, but that's all that's been revealed so far.
Longtime MTG fans might feel skeptical about this announcement, because this isn't the first time the intellectual property has been promised some kind of film or television adaptation. The card game's Fandom wiki page lists many of the proposed movie projects over the years. First up was a plan for multiple movies with Universal all the way back in 2008, which never yielded anything. Then Hasbro made an attempt at a movie with Twentieth Century Fox in 2014, but that was also never heard from again. Netflix has also been attached to two different rumored Magic projects, but it seems like the streamer's animated TV series might really come to pass, with a post on Tudum from September 2024 promising that it's really happening and in production.
Legendary Entertainment has had several projects drawing on geek culture, usually bringing a big budget and a dark edge to their work. Most recently the studio worked on Dune and Dune: Part Two, and it also was involved in Christopher Nolan's take on Batman in The Dark Knight movies as well as the Warcraft movie. MTG has a lot of lore to draw on, so there's plenty of fodder for a cinematic universe. Here's hoping the producers and talent have the understanding to turn all that potential into a good movie.

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How ‘Severance' creates Lumon's ‘manufactured perfection' through VFX
How ‘Severance' creates Lumon's ‘manufactured perfection' through VFX

Yahoo

time15 hours ago

  • Yahoo

How ‘Severance' creates Lumon's ‘manufactured perfection' through VFX

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More from GoldDerby 'Say Nothing' star Anthony Boyle on playing IRA activist Brendan Hughes: We 'get to the humanity as opposed to the mythology' Final 2025 Tony Awards winner odds in all 26 categories, including last-minute Best Actress in a Musical flip to Audra McDonald 'Deliciously at odds': Zachary Quinto on embodying the brilliant yet flawed Dr. Oliver Wolf in 'Brilliant Minds' 'Ben [Stiller] really likes to shoot as much practically as possible, he wants to have as much reality as possible, but particularly for that opening scene, there was just no way to do that,' Leven says. 'So even for the very first shot, where they had envisioned this very precise mechanical movement around Mark's head so it makes this 540-degree circle and then moves out of the elevator and then swings all over the lobby and then runs down the hallways, there was no way to shoot that practically. There is no camera setup that can make that happen. So we started combining a bunch of different techniques, one of which was this big giant robot motion-controlled camera.' But a camera that size couldn't fit in the Lumon elevator, so then Leven's team had to figure out how to create a digital version of the elevator to make it work. Ultimately, that opening sequence involved a combination of real sets and CGI environments, blended together to look seamless — a process that took nearly six months to complete. 'There's a part where we're pushing with Mark, and then we do this 180 around him,' Leven says. 'What became the most feasible was, let's put him on a treadmill and build a CG environment around him. So he was running through real hallways for part of this shot, but the trick was, even with these endless stages, there's only so much he can actually run through. So we did have to do a bunch of stitches. "Ben was really adamant that audiences are more sophisticated now, they can see these stitches. We wanted to make sure to avoid that. We basically shuffled the deck and made new techniques. So for example, when Mark goes around a corner, you would think that normally that corner wall would be the stitch point, but we would back in to, say, his ankle so that if you watch really carefully, you'd see his foot never leaves the frame. And this keeps the audience guessing." READ: The Bell Labs complex in New Jersey stands in for Lumon's office building where Mark S. and his fellow innies report to work every day. But as anyone who attended the Severance event at Bell Labs back in April knows, there's still a big difference between our real world and Lumon. Leven and his team help create that difference. 'It was important for Ben to be on a real location that the actors can react to,' Leven says. 'But we want to make this place look isolated in the middle of nowhere, so we're getting rid of other houses, we're changing the trees. Everything has to be perfect, precise, and symmetrical. So we're changing the layout of some of the roadways and the surrounding environment. We're adding period cars, because Severance takes place in this nebulous world where, for some reason, a lot of the cars are from the '80s.' Leven credits Severance production designer Jeremy Hindle with the idea for the '80s cars. It's an aesthetic that Hindle personally likes, which also helps distinguish Severance's world. Meanwhile, the specific layout of the Bell Labs building posed its own problem. 'What's really interesting about the Bell Labs building is that it was the first building ever built with a mirrored exterior, the first mirrored building,' Leven says. 'So when the camera is looking away from Bell Labs in the parking lot, we obviously have a lot of work to do, like I said: Making the symmetrical roadways, making everything perfect, adding all these cars, changing the trees. 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'That is one of the things Lumon is trying to do, but it feels like whenever mankind tries to do that, it always backfires.' Hindle also told Leven that one of his big aesthetic touchpoints for Severance, in addition to '80s cars, was a shot from the Joel and Ethan Coen's film Fargo, where a character is alone in a big wintry field, surrounded by snow that makes them seem like a small, insignificant speck. That's what Severance creatives want Lumon employees to feel like. Unfortunately, snow is hard to control. 'That's where a lot of that idea that there should be this constant snowfall comes from, and they schedule the shoot to happen in the winter,' Leven says. 'They're shooting in New York, they go to places like upstate New York and Newfoundland, and then the weather does what it does, and frequently it just doesn't snow. Or if it does snow, it's not enough snow or it snows and immediately melts the next day or whatever.' 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But even then, the camera could only get so high. I think we only saw maybe 16 or 18 band members in the practical high shot. So then we were adding all the additional band members digitally, adding CG walls of MDR, and then all of the cards are CG. It was a really great use of having that practical base to work from.' Watch Gold Derby's exclusive roundtable with the cast and creators of Severance: Best of GoldDerby 'Say Nothing' star Anthony Boyle on playing IRA activist Brendan Hughes: We 'get to the humanity as opposed to the mythology' The Making of 'The Eyes of the World: From D-Day to VE Day': PBS variety special 'comes from the heart' From 'Hot Rod' to 'Eastbound' to 'Gemstones,' Danny McBride breaks down his most righteous roles: 'It's been an absolute blast' Click here to read the full article.

Dallas Cowboys Cheerleaders Netflix docuseries back for Season 2: See release date, more
Dallas Cowboys Cheerleaders Netflix docuseries back for Season 2: See release date, more

USA Today

time19 hours ago

  • USA Today

Dallas Cowboys Cheerleaders Netflix docuseries back for Season 2: See release date, more

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