Latest news with #WandaVision
Yahoo
10 hours ago
- Entertainment
- Yahoo
Joe Locke Poses With Marvel Actor, Fans Think It's Billy & Tommy
Marvel fans believe that Vision Quest's Ruaridh Mollica might be playing an older Tommy Maximoff in the MCU after a photo of him and Joe Locke, who plays Billy Maximoff, went viral. Mollica was cast in the upcoming show Vision Quest in February 2025. Although it was revealed that the actor will be playing a character named Tucker, the show's creators didn't provide any further information about his role. Fans are sure Tommy and Billy Maximoff have united in new photo Fans are referring to Joe Locke and Ruaridh Mollica as Billy and Tommy Maximoff, respectively, after a photo of the actors was posted online. Locke is already playing the role of Billy in the MCU and made his first appearance in Agatha All Along. However, Mollica will make his MCU debut in the upcoming series Vision Quest alongside co-stars Paul Bettany, James Spader, Faran Tahir, and many more. With the photo of the two actors circulating online, fans are now speculating that Mollica's character, Tucker, might actually be Tommy, aka Speed. However, these are just speculations, and Marvel Studios has not released any statement regarding this as of writing. A fan shared their photo along with a photo of young Billy and Tommy from WandaVision on X wrote, 'Billy and Tommy Maximoff.' Another user wrote, 'Billy & Tommy… it's time to reunite and find your mother.' A renowned Hollywood scooper named My Time To Shine Hello also tweeted their photo and wrote, 'Billy and Tommy!' Another fan commented, 'soo good duo!!!' Another user complimented the duo by commenting, 'They look amazing.' Another fan questioned if the photo leads toward Young Avengers and posted, 'so they're setting up the maximoff twins proper. you think this builds toward young avengers finally happening?' Despite the rampant speculation, mystery still surrounds Mollica's Vision Quest character. Originally reported by Ishita Verma on SuperHeroHype. The post Joe Locke Poses With Marvel Actor, Fans Think It's Billy & Tommy appeared first on Mandatory. Solve the daily Crossword
Hype Malaysia
12-08-2025
- Entertainment
- Hype Malaysia
(Video) Actress Fazura Gets Emotional Over Outfit With Late-Father's Portrait
'What is grief, if not love persevering?', a famous line from the Marvel hit series 'WandaVision'. No matter how much time has passed and how much we have moved on with our lives, the grief of losing someone dear to us is everlasting. Actress Fazura experienced a bittersweet moment when she was presented with her outfit for one of the shows at Kuala Lumpur Fashion Week. On seeing the dress, she could not help but be overwhelmed with emotion, as the attire featured something, or someone, very dear to her. Watch: Over the weekend, TikTok user Ajim Salleh posted a video on his page showing Malaysian actress-singer Fazura getting ready to attend the final day of this year's KL Fashion Week. Fashion designer Zaimi Zulkafli came into frame to present the outfit he had specially made for her to wear to the event. She remarked on how beautiful the dress was, but was soon in tears when she realised it featured a portrait of her with her late father. The starlet could not hold back her emotions and grabbed tissues from her dressing table to wipe away her tears. Thankfully, a woman, presumably her assistant or stylist, comforted her as she continued to admire the special gift before her. 'Ya Allah, what did I do to deserve this?,' she can be heard saying in the video, before thanking the fashion designer for the beautifully crafted dress. The TikTok went viral, garnering more than 311,600 views. Netizens left comments offering words of comfort to the mother-of-one, noting that she is also someone's daughter whose father loved her. Some offered prayers that she would continue to thrive in her career, knowing she has good people around her. Others thanked Zaimi Zulkafli for his effort in making a special dress for the actress. We can confirm that Fazura looked absolutely stunning in the dress when she attended the last day of KL Fashion Week last Sunday (10th August). We hope to learn more about the process if either she or the designer decides to share that story on social media. Watch the viral clip below: Source: TikTok
San Francisco Chronicle
03-08-2025
- Entertainment
- San Francisco Chronicle
Animated ‘Eyes of Wakanda' is a worthy, but too short, addition to the MCU
Marvel Studios has always prided itself on being a universe of interlocking stories, but one of the quieter strengths of Disney's superhero factory has been the ability to pivot into new and different genres while keeping the connective tissue intact. That was true when 'Guardians of the Galaxy' introduced space opera into the mix and again when 'WandaVision' flirted with sitcom surrealism in the aftermath of 'Avengers: Endgame.' With 'Eyes of Wakanda,' Marvel has a new animated anthology of four half-hour episodes that feels both impressively expansive and disappointingly fleeting, even as it spans millennia. It's a lavishly realized glimpse into a corner of the MCU, executive-produced by 'Black Panther' director (and Oakland native) Ryan Coogler and developed by veteran Marvel storyboard artist Todd Harris, but each episode's brevity works against the whole. While the Dora Milaje — the warrior bodyguards led by Danai Gurira's Okoye — have become mainstays of Wakanda's onscreen mythology, the spotlight here is on the War Dogs: deep-cover operatives tasked with recovering stolen artifacts and safeguarding Wakanda's secrets. The series uses these missions as narrative waypoints, jumping from 1260 B.C. to the 19th century to lend new context to important historical and mythological moments. If that sounds like a setup rife with possibilities, it is. And therein lies both the show's appeal and its frustration. Each episode introduces new characters, establishes the mission at hand and then wraps before the audience has had time to form much of a connection. This isn't entirely the fault of the storytelling, of course. A show spanning thousands of years is bound to rely on thematic rather than character continuity. Still, the result is an experience that's rich in scope but emotionally thin. What's on offer, however, is undeniably striking. The animation eschews the cel-shaded hybrid look of the recently concluded 'What If…?' in favor of lush backgrounds, painterly compositions and action sequences that often resemble moving concept art. Harris' history as a visual artist shows in every frame. From windswept battlefields to shadowy palaces, the rich visual palette grounds the fantasy in Coogler's live-action films while still establishing its own aesthetic identity. The voice cast also rises to the occasion, including Cress Williams as the Lion — a rogue War Dog whose betrayal sets the series' central conflict and mission into motion — and Winnie Harlow as Noni, a former Dora Milajae tasked with stopping him. Throughout the season, we also hear strong work from Larry Herron, Lynn Whitfield and Gary Anthony Williams, among others. Of course, for MCU obsessives, the ties to the broader Marvel mythology are always half the fun. Without giving too much away, the series introduces a new iteration of Iron Fist (Jona Xiao) bound to overshadow the execrable Netflix version. At the same time, the finale neatly lays out plot threads that reframe aspects of the 'Black Panther' mythology. In that respect, 'Eyes of Wakanda' mirrors the best of Marvel's one-shots: supplemental material enriching the story's larger world while carving out its own identity. In this instance, the scale and ambition hint at a series that could and should be much larger. Ultimately, that's the paradox of 'Eyes of Wakanda.' In an era where Marvel projects are routinely dinged for being too long, here's one that's not long enough — that's over just as it feels like it's finding its rhythm. That may not be the worst problem, but it does mean this debut season plays more like a prologue than the next great chapter of the MCU. Zaki Hasan is a freelance writer.
Daily Record
01-08-2025
- Entertainment
- Daily Record
MOVIE REVIEW: Family comes first in MCU comic-book adventure 'Fantastic Four: First Steps'
Infectiously entertaining ride sees palpable chemistry between the heroic quartet. Ironically, the fourth movie iteration of the Fantastic Four is the best as the superpowered family finally make their MCU bow. Set in the backdrop of a 1960s-inspired, retro-futuristic world, Reed (Pedro Pascal), Sue (Vanessa Kirby), Johnny (Joseph Quinn) and Ben (Ebon Moss-Bachrach) must defend Earth from space god Galactus (Ralph Ineson) and his Herald, Silver Surfer (Julia Garner). Family is very much the key word here and the chemistry between the heroic quartet is palpable. It's what drives every decision made in the film and leaves you understanding why a seemingly small in the grand scheme of things sacrifice to save all of humanity isn't made. The world long-time television director Matt Shakman ( WandaVision, It's Always Sunny in Philadelphia) and his visual effects team have created feels vibrant. lived-in and unlike anything seen before in the MCU. And setting events on a different Earth from the one we've been used to in the comic-book mega franchise allows the writing team to develop an original world where the Fantastic Four are the only superheroes - and anything can happen. Pascal plays it low key as the worrisome, always-thinking genius Reed, Kirby's Sue is wonderfully wholesome and commanding, Quinn's Johnny is more than the wise-cracking playboy we're used to seeing from the character and Moss-Bachrach's charm, loyalty and concern shine through Ben's rocky exterior. It's still crazy to me to see Finchy from The Office popping up in big Hollywood productions but Ineson lends Galactus the gravitas and sheer intimidation required, while Garner makes for an enigmatic presence. The brisk opening montage showing our heroes in action and blending in details about their origin sets the tone for an infectiously entertaining flick that never loses sight of the little things regardless of how destructive the carnage becomes. A mid-credits sting also acts as a cracking cliffhanger for next year's Avengers: Doomsday. Thankfully, it looks like the fabulous new Fantastic Four will have a key part to play. ● Pop me an email at and I will pass on any movie or TV show recommendations you have to your fellow readers. ●Fantastic Four: First Steps is showing in cinemas now.
Extra.ie
01-08-2025
- Entertainment
- Extra.ie
FILM REVIEW OF THE WEEK: Fantastic Four: First Steps
The latest iteration of the Fantastic Four arrives as a refreshing recalibration of the superhero genre. Unburdened by the labyrinthine continuity of the broader MCU, it reintroduces Marvel's first family with a stripped-down sincerity and a sharp stylistic vision. The setup may seem familiar to longtime comic book fans – four astronauts transformed by cosmic radiation – but the execution is stylish and enjoyable. Like James Gunn in Superman, director Matt Shakman (WandaVision, The Great) bypasses the origin template, dropping us into a world where the team is already established and adored. But this isn't the celebrity-inflected satire of The Boys or the anxiety-riddled introspection of The Batman. Instead, Shakman offers something closer to a retro-modern fairytale: a mid-century sci-fi Manhattan soaked in analogue futurism and optimism, where flying cars hover above the skyline and reel-to-reel computers predict galactic anomalies. It's a setting at once whimsical and weighty, evoking the spirit of Jack Kirby's original vision while updating it with cinematic elegance. The plot of Fantastic Four pivots on an unexpected pregnancy and an impossible moral dilemma. Reed Richards (Pedro Pascal, The Last of Us, The Mandalorian, everything on your TV and cinema screens right now), the stretchy super-genius known as Mr. Fantastic, and his wife Sue Storm (Vanessa Kirby, The Crown, Mission: Impossible – Fallout), aka the Invisible Woman, are expecting a child. As the foursome grapples with the implications of a super-powered baby, the cosmos delivers a dire ultimatum in the form of Julia Garner's hauntingly serene Silver Surfer, heralding the arrival of Galactus, the infamous Eater of Worlds (Ralph Ineson, The Witch, Game of Thrones). The heralding of an impending creature set to upend your universe feels like an apt metaphor for pregnancy, and these two storylines – personal and galactic – collide in an emotionally-charged climax. At the heart of this revitalised Fantastic Four are four performances that sell the premise not through spectacle but through chemistry. Pedro Pascal plays Reed Richards as a man trying, and occasionally failing, to balance genius with empathy, and brings his trademark ability to convey grit, tenderness and the weight of the world on his shoulders. But it's Vanessa Kirby's performance that is the film's emotional linchpin. Her Sue Storm is less the sidelined female superhero of past versions and more the de facto leader: assertive, nurturing, and unshakably moral. She can turn invisible, yes, but this version of Sue refuses to fade into the background, becoming the heart of the film and driver of many of the action sequences. Joseph Quinn (Gladiator II, A Quiet Place: Day One) brings a welcome reinvention to Johnny Storm, the Human Torch. Ditching the brash jock routine, Quinn plays Johnny as a thrill-seeking, attention-hungry younger brother who masks insecurity with swagger. His crackling flirtation with the Silver Surfer gives the film some of its most affecting scenes, culminating in a sequence where Johnny attempts to reason with a cosmic being not with weapons but with empathy. Meanwhile, Ebon Moss-Bachrach (The Bear, Girls, Andor) is wonderful if underused. His Ben Grimm is neither a brooding monster nor comic relief, but a soft-spoken, gravel-voiced everyman trapped in a rock-covered body. Moss-Bachrach infuses Ben with nobility and quiet humour, though it feels like his backstory was cut short. Supporting players also shine. Julia Garner's Silver Surfer is celestial in appearance, but painfully human in her doubts. Ralph Ineson lends Galactus a weary menace, more ancient god than comic-book tyrant. The CGI is thankfully better than in the trailers, and the production design by Kasra Farahani (Luce, Everything Everywhere All at Once, The Batman), is impressive in its futurist mid-century combination of Mad Men by way of The Jetsons, where CRT monitors plot hyperspace jumps and vending machines dispense Yoo-Hoo beside blueprints for warp drives. The film also works hard to reward longtime fans with sly callbacks and deep-cut references – from nods to Sue's potential twins to lines cribbed from the old Hanna-Barbera cartoon – but never at the expense of newcomers. It's the rare Marvel outing that doesn't require a ten years of MCU homework to enjoy it. In the end, Fantastic Four feels like a love letter: to the source material, to mid-century aesthetics, and to characters who, for too long, have been sidelined or misunderstood. It's not perfect. Pacing lags in the third act. Johnny and Ben could use more screentime. And while witty and with emotional arcs, it lacks Big Memorable Moments in the realms of humour, emotion and action, offering a quieter charm that risks feeling a little forgettable. But after many failed attempts of representing these characters onscreen, this version understands what makes the Fantastic Four fantastic: not their powers, but their bond. Like Superman's determination to highlight kindness, Fantastic Four: First Steps has a viewpoint, reminding us that family, both chosen and forged, still matters most. Directed by Matt Shakman. Written by Josh Friedman, Eric Pearson, Jeff Kaplan, Ian Springer. Cinematography by Jess Hall. Starring Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, Joseph Quinn, Ralph Ineson, Julia Garner, Natasha Lyonne, Paul Walter Hauser, Sarah Niles, Mark Gatiss. 115 mins
