<p>The <a href="https://www.wionews.com/entertainment/hollywood/news-three-batmans-in-2022-robert-pattinson-ben-affleck-and-michael-keaton-to-playmasked-superhero-in-the-same-year-354530">news of three Batmans existing in the same year as part of DC’s Extended Universe or DCEU</a> has taken fans by surprise. The presence of three masked crusaders indicates the introduction of the multiverse in the cinematic universe of DC, a universe that is still finding its footing in terms of developed storylines and better execution.&nbsp;</p>

<p>The multiverse is a familiar concept in comic books, where standalone series like ‘Superman: Red Son’ can offer a new take on a popular character without affecting overall continuity. And of course, different universes can cross over whenever DC wants, like how Affleck’s Batman might encounter Michael Keaton’s Batman in the upcoming Flash movie in 2022. While the idea looks exciting on paper, it’s the execution where the troubling thoughts come in.&nbsp;<br />
<br />
In comics, multiverses play out over several issues and series, so there’s more room to get used to the idea. DC has played the concept of the multiverse with its TV series, namely, ‘The Flash’, ‘Arrow’, ‘Supergirl’ and ‘Legends of Tomorrow’. The concept was still digestible on television, as the medium allows, for longer-form storytelling that can navigate the intricacies of multiverse mechanics. However, even then, the crossovers and the many Earths possibilities were confusing, even by the most dedicated followers of the series. The concept being tested on a limited-time big screen, where not many have the patience and deep understanding, is a point to be taken into consideration by the makers.&nbsp;<br />
&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Yj0l7iGKh8g" width="560"></iframe></p>

<p>The studio is relying heavily on the assumption of the audience being well-versed in the DC Universe already, but what about the ones who are not too familiar with the darker comics world?&nbsp;<br />
<br />
DC Films also plans to release one or two movies directly onto HBO Max. These are considered to be riskier projects, which may not generate the necessary revenue needed to justify a $200 million production budget and another $100 million on marketing. They will, however, help bolster HBO Max subscribers if they work as intended.</p>

<p>DC Films President Watler Hamada has an ambitious vision. The studio will also use theatrical releases to launch spinoff TV shows, which will stream on HBO Max. GCPD will stem from The Batman, while Peacemaker is a John Cena-led spinoff based on his character of the same name in James Gunn’s Suicide Squad. “With every movie that we’re looking at now, we are thinking, ‘What’s the potential Max spinoff?’” Hamada told the Times.<br />
<br />
<a href="https://www.wionews.com/entertainment/from-the-suicide-squad-to-zack-snyders-justice-league-check-out-the-dc-fandome-trailers-322545">From 'The Suicide Squad' to 'Zack Snyders Justice League': Check out the DC FanDome trailers</a><br />
<br />
Just like Marvel’s strategy where Doctor Strange as a character ties into WandaVision, which ties back into Doctor Strange in the Multiverse of Madness. The same for Yelena in Black Widow (theatrical release) appearing in Hawkeye (Disney Plus show).<br />
<br />
<a href="https://www.wionews.com/entertainment/hollywood/news-tobey-maguire-andrew-garfield-to-feature-in-tom-hollands-spider-man-3-348698">Also read:&nbsp;Tobey Maguire, Andrew Garfield to feature in Tom Holland's 'Spider-Man 3'?</a><br />
<br />
<br />
There are a lot of questions about how this will all work. What about Greg Berlanti’s Arrowverse, for example? And all those other DC shows on the CW? Will they just continue existing in their own space the same way DC Universe’s original series (Titans, Doom Patrol, Harley Quinn) do on HBO Max? What if DC Films decides it wants to make a Batgirl spinoff — do two Batgirl TV shows just coexist alongside each other? Remember when Jeph Loeb created an entire Marvel universe on Netflix, Hulu, and ABC — and then Marvel Studios effectively scrapped all of it?<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/g59rUQbVlIw" width="560"></iframe><br />
<br />
Currently, DC releases about one or two movies a year and has seen mixed success. Birds of Prey and Shazam! failed to perform well, while Aquaman and Wonder Woman saw impressive box office returns. In 2019, Warner Bros. also saw tremendous success with Joker — a movie not tied into the greater DC universe that nonetheless became an unexpected hit.<br />
<br />
Under the new strategy, there will be two cinematic universes under the DC banner: the DC Extended Universe (DCEU) and the DC Films multiverse. Films like Joker and The Batman will exist as part of DC Films’ multiverse, which will be comprised of individual stories based on DC characters that do not tie into a bigger narrative arc.<br />
<br />
Movies like Wonder Woman, Shazam!, Aquaman, Flash, and likely future Superman and Green Lantern movies will fall under the DCEU. Wonder Woman and the gang will have their own stories and then come together in some kind of Justice League setting again. This means there can be two different Batmans (Batmen?) around the same time: Robert Pattinson can have his own adventure in Matt Reeves’ The Batman and Ben Affleck or a new actor can play Bruce Wayne in the DCEU. This will chart a complex path for the followers of the series and there is going to be a point when things will get complicated, beyond the studio, to be managed, resulting in cancellations and mid-way endings.&nbsp;<br />
<br />
If DC is planning to go by the Marvel way, they have to remember that the Marvel Cinematic Universe has been one entity since the beginning. When Favreau’s Iron Man became a hit, the Jackson cameo at the end became the key to a new kind of franchise, a movie universe that had architecture. “I could arguably say what we’re planning for the year 2021,” Feige had told WIRED back in 2013 “Will that happen? I don’t know. But what we planned for 2015 in 2006 is happening.”<br />
<br />
Since its inception Marvel always had a tighter continuity than DC, however even they had a trial and error with X-Men and the Fantastic Four being contracted to Fox, and Spider-Man to Sony. Under that structure, those characters would never meet. When Marvel became an independent production company in 2009, though, it retained the rights to many of the other characters with less recognition among non-fans and even casual readers. Things took a bigger, grander shape with the acquisition of Disney and it became an entity where multiverse became a possibility without being chaotic. Moreover, the confidence built by MCU over the years is a testament that the cinematic universe makers have a key hold over the execution. The point that Marvel is lighter, in terms of characters and stories, helped in this case giving makers creative freedom, even with the hardcore fans. Unfortunately, DC hardly enjoys any of those privileges.&nbsp;</p>

<p>The world of DC &nbsp;is more dark, layered, and complex. The comic characters have more shade than those of Marvel and a dense storyline. Playing field with the multiverse in an already complex universe is indeed playing with fire. The fact remains that when Marvel was toying around with ‘Iron Man’, Christopher Nolan gave another dimension to DC’s ‘Batman’ with his ‘The Dark Knight’ series. The association of Nolan in the DC verse attracted the most sincere cinephile towards the world not necessarily meant for them. The result? The eyes were always on the complexity of the film, then its relevance and connectivity in a grander Universe.&nbsp;<br />
&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/3cxixDgHUYw" width="560"></iframe></p>

<p><br />
Nolan, as executive producer on Snyder’s Man of Steel, could presumably have inserted Marvel-style Easter eggs into that movie, but the short-sightedness of the studio heads failed them. DC's Green Lantern tried it with Angela Bassett’s character Amanda Waller, who has a connective-tissue role in the DC universe similar to Nick Fury’s in Marvel. But the failure of the film ruined it for the studio and they shut the spark of an idea.&nbsp;</p>

<p><br />
Marvel's status as the king of superhero movies was earned because of their ambitious, multi-film plan to build towards the first superhero team-up movie, 2012's The Avengers, worked seamlessly. Marvel's strategy continued to reap even greater results throughout the 2010s as their Phase 2 and Phase 3 films built towards 2018's Avengers: Infinity War and 2019's Avengers: Endgame.</p>

<p>DC Films abandoned Zack Snyder's vision for their cinematic universe after the poor reception of 2016's Batman V Superman: Dawn of Justice and later in 2017's controversial Justice League, which became the lowest-grossing DCEU film at the time.&nbsp; DC experienced good response with stand-alone hits like 2017's Wonder Woman, Aquaman, and Joker, so the studio didn’t move beyond superhero movies with strong visions from directors. Until now, which appears to be a bit late in terms of building a plan.&nbsp;</p>

<p><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/0WWzgGyAH6Y" width="560"></iframe><br />
<br />
DC comics boasts the original comic book Multiverse, but the DCEU films haven't been as overt about simultaneous existing realities. Instead, it was the Arrowverse on TV that established the DCEU films live within a Multiverse when Ezra Miller's movie Flash made an appearance in ‘Crisis On Infinite Earths’ and met the TV Flash played by Grant Gustin.&nbsp;</p>

<p>However, the recent announcement that Michael Keaton is in talks to play Batman again in director Andy Muschietti's The Flash movie strongly hints at a Flashpoint-like storyline, wherein the Scarlet Speedster visits other realities, including the Gotham City Tim Burton's movies introduced in 1989's Batman and 1992's Batman Returns.<br />
<br />
&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dgC9Q0uhX70" width="560"></iframe></p>

<p><br />
DC's plans are just beginning to unveil, but they could prove to be equally ambitious since Michael Keaton's role as Batman in The Flash is believed to be the first of multiple appearances in other DCEU films. Further, Keaton's Batman is said to be the DCEU's equivalent to the MCU's Nick Fury (Samuel L. Jackson): a hero who brings other heroes together. This hints at a bigger, unrevealed master plan in the works, which would be a cause to unite heroes from different realities.&nbsp;</p>

<p><br />
DC has a lot of ground to cover to prove to fans they can pull off Marvel-style team-ups and integration in their movies since their greatest successes have been standalone films. The case here is of lack of confidence in the DC filmmakers. However, if successful, this might be the most rewarding for comic world fans.&nbsp;</p>

<p><br />
Ultimately, Multiverses will be a huge game-changer for both Marvel and DCEU films in this coming decade, and they will be the next evolution of the superhero movie genre. The race has just begun, and by the looks of it, the road looks uphill for DC, as it has a lot of ground to cover and most importantly, the confidence of the fans to win.&nbsp;</p>

<p><em><strong>(Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)</strong></em></p>


The news of three Batmans existing in the same year as part of DC’s Extended Universe or DCEU has taken fans by surprise. The presence of three masked crusaders indicates the introduction of the multiverse in the cinematic universe of DC, a universe that is still finding its footing in terms of developed storylines and better execution.

The news of three Batmans existing in the same year as part of DC’s Extended Universe or DCEU has taken fans by surprise. The presence of three masked crusaders indicates the introduction of the multiverse in the cinematic universe of DC, a universe that is still finding its footing in terms of developed storylines and better execution. The multiverse is a familiar concept in comic books, where standalone series like ‘Superman: Red Son’ can offer a new take on a popular character without affecting overall continuity. And of course, different universes can cross over whenever DC wants, like how Affleck’s Batman might encounter Michael Keaton’s Batman in the upcoming Flash movie in 2022. While the idea looks exciting on paper, it’s the execution where the troubling thoughts come in. In comics, multiverses play out over several issues and series, so there’s more room to get used to the idea. DC has played the concept of the multiverse with its TV series, namely, ‘The Flash’, ‘Arrow’, ‘Supergirl’ and ‘Legends of Tomorrow’. The concept was still digestible on television, as the medium allows, for longer-form storytelling that can navigate the intricacies of multiverse mechanics. However, even then, the crossovers and the many Earths possibilities were confusing, even by the most dedicated followers of the series. The concept being tested on a limited-time big screen, where not many have the patience and deep understanding, is a point to be taken into consideration by the makers. The studio is relying heavily on the assumption of the audience being well-versed in the DC Universe already, but what about the ones who are not too familiar with the darker comics world? DC Films also plans to release one or two movies directly onto HBO Max. These are considered to be riskier projects, which may not generate the necessary revenue needed to justify a $200 million production budget and another $100 million on marketing. They will, however, help bolster HBO Max subscribers if they work as intended. DC Films President Watler Hamada has an ambitious vision. The studio will also use theatrical releases to launch spinoff TV shows, which will stream on HBO Max. GCPD will stem from The Batman, while Peacemaker is a John Cena-led spinoff based on his character of the same name in James Gunn’s Suicide Squad. “With every movie that we’re looking at now, we are thinking, ‘What’s the potential Max spinoff?’” Hamada told the Times. From 'The Suicide Squad' to 'Zack Snyders Justice League': Check out the DC FanDome trailers Just like Marvel’s strategy where Doctor Strange as a character ties into WandaVision, which ties back into Doctor Strange in the Multiverse of Madness. The same for Yelena in Black Widow (theatrical release) appearing in Hawkeye (Disney Plus show). Also read: Tobey Maguire, Andrew Garfield to feature in Tom Holland's 'Spider-Man 3'? There are a lot of questions about how this will all work. What about Greg Berlanti’s Arrowverse, for example? And all those other DC shows on the CW? Will they just continue existing in their own space the same way DC Universe’s original series (Titans, Doom Patrol, Harley Quinn) do on HBO Max? What if DC Films decides it wants to make a Batgirl spinoff — do two Batgirl TV shows just coexist alongside each other? Remember when Jeph Loeb created an entire Marvel universe on Netflix, Hulu, and ABC — and then Marvel Studios effectively scrapped all of it? Currently, DC releases about one or two movies a year and has seen mixed success. Birds of Prey and Shazam! failed to perform well, while Aquaman and Wonder Woman saw impressive box office returns. In 2019, Warner Bros. also saw tremendous success with Joker — a movie not tied into the greater DC universe that nonetheless became an unexpected hit. Under the new strategy, there will be two cinematic universes under the DC banner: the DC Extended Universe (DCEU) and the DC Films multiverse. Films like Joker and The Batman will exist as part of DC Films’ multiverse, which will be comprised of individual stories based on DC characters that do not tie into a bigger narrative arc. Movies like Wonder Woman, Shazam!, Aquaman, Flash, and likely future Superman and Green Lantern movies will fall under the DCEU. Wonder Woman and the gang will have their own stories and then come together in some kind of Justice League setting again. This means there can be two different Batmans (Batmen?) around the same time: Robert Pattinson can have his own adventure in Matt Reeves’ The Batman and Ben Affleck or a new actor can play Bruce Wayne in the DCEU. This will chart a complex path for the followers of the series and there is going to be a point when things will get complicated, beyond the studio, to be managed, resulting in cancellations and mid-way endings. If DC is planning to go by the Marvel way, they have to remember that the Marvel Cinematic Universe has been one entity since the beginning. When Favreau’s Iron Man became a hit, the Jackson cameo at the end became the key to a new kind of franchise, a movie universe that had architecture. “I could arguably say what we’re planning for the year 2021,” Feige had told WIRED back in 2013 “Will that happen? I don’t know. But what we planned for 2015 in 2006 is happening.” Since its inception Marvel always had a tighter continuity than DC, however even they had a trial and error with X-Men and the Fantastic Four being contracted to Fox, and Spider-Man to Sony. Under that structure, those characters would never meet. When Marvel became an independent production company in 2009, though, it retained the rights to many of the other characters with less recognition among non-fans and even casual readers. Things took a bigger, grander shape with the acquisition of Disney and it became an entity where multiverse became a possibility without being chaotic. Moreover, the confidence built by MCU over the years is a testament that the cinematic universe makers have a key hold over the execution. The point that Marvel is lighter, in terms of characters and stories, helped in this case giving makers creative freedom, even with the hardcore fans. Unfortunately, DC hardly enjoys any of those privileges. The world of DC is more dark, layered, and complex. The comic characters have more shade than those of Marvel and a dense storyline. Playing field with the multiverse in an already complex universe is indeed playing with fire. The fact remains that when Marvel was toying around with ‘Iron Man’, Christopher Nolan gave another dimension to DC’s ‘Batman’ with his ‘The Dark Knight’ series. The association of Nolan in the DC verse attracted the most sincere cinephile towards the world not necessarily meant for them. The result? The eyes were always on the complexity of the film, then its relevance and connectivity in a grander Universe. Nolan, as executive producer on Snyder’s Man of Steel, could presumably have inserted Marvel-style Easter eggs into that movie, but the short-sightedness of the studio heads failed them. DC's Green Lantern tried it with Angela Bassett’s character Amanda Waller, who has a connective-tissue role in the DC universe similar to Nick Fury’s in Marvel. But the failure of the film ruined it for the studio and they shut the spark of an idea. Marvel's status as the king of superhero movies was earned because of their ambitious, multi-film plan to build towards the first superhero team-up movie, 2012's The Avengers, worked seamlessly. Marvel's strategy continued to reap even greater results throughout the 2010s as their Phase 2 and Phase 3 films built towards 2018's Avengers: Infinity War and 2019's Avengers: Endgame. DC Films abandoned Zack Snyder's vision for their cinematic universe after the poor reception of 2016's Batman V Superman: Dawn of Justice and later in 2017's controversial Justice League, which became the lowest-grossing DCEU film at the time. DC experienced good response with stand-alone hits like 2017's Wonder Woman, Aquaman, and Joker, so the studio didn’t move beyond superhero movies with strong visions from directors. Until now, which appears to be a bit late in terms of building a plan. DC comics boasts the original comic book Multiverse, but the DCEU films haven't been as overt about simultaneous existing realities. Instead, it was the Arrowverse on TV that established the DCEU films live within a Multiverse when Ezra Miller's movie Flash made an appearance in ‘Crisis On Infinite Earths’ and met the TV Flash played by Grant Gustin. However, the recent announcement that Michael Keaton is in talks to play Batman again in director Andy Muschietti's The Flash movie strongly hints at a Flashpoint-like storyline, wherein the Scarlet Speedster visits other realities, including the Gotham City Tim Burton's movies introduced in 1989's Batman and 1992's Batman Returns. DC's plans are just beginning to unveil, but they could prove to be equally ambitious since Michael Keaton's role as Batman in The Flash is believed to be the first of multiple appearances in other DCEU films. Further, Keaton's Batman is said to be the DCEU's equivalent to the MCU's Nick Fury (Samuel L. Jackson): a hero who brings other heroes together. This hints at a bigger, unrevealed master plan in the works, which would be a cause to unite heroes from different realities. DC has a lot of ground to cover to prove to fans they can pull off Marvel-style team-ups and integration in their movies since their greatest successes have been standalone films. The case here is of lack of confidence in the DC filmmakers. However, if successful, this might be the most rewarding for comic world fans. Ultimately, Multiverses will be a huge game-changer for both Marvel and DCEU films in this coming decade, and they will be the next evolution of the superhero movie genre. The race has just begun, and by the looks of it, the road looks uphill for DC, as it has a lot of ground to cover and most importantly, the confidence of the fans to win. (Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

DC Universe is playing with fire by introducing 'Multiverse' in its complex world. Here’s why

<p>There are only a few things in life that matter. The will to appreciate life is the purpose one needs to strive for, and people often forget, while running behind their dreams and passion. <strong>Pixar’s latest animated film ‘Soul’ </strong>talks exactly about that. The passion to live over the passion to achieve something grand.&nbsp;</p>

<p>Told brilliantly through the life of a music teacher who is trying hard to make it into the world of jazz music, while holding on to a job as a temporary middle-school music teacher. His life turns upside-down (literally), when he dies on the very day he gets the gig of his dreams and reaches the path to ‘the great beyond’. Flustered by the sudden happening, he tries his best to make it back to his body and reach the ‘purpose’ of his life, he’s waited for his entire life. On his quest to reach the Earth, he meets a soul called 22, an Earth-virgin soul who has no plans to enter the mortal world despite being mentored and ridiculed by the souls of Mother Teresa, Abraham Lincoln, and more. However, circumstances have them both sent to Earth and their adventure leads them to greater revelations.&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xOsLIiBStEs" width="560"></iframe></p>

<p>Voiced by Jamiee Fox and Tina Fey, the key characters of the story Joe Gardener and Soul 22, are as adorable as any other Disney-Pixar characters. The beauty of these characters is their relatability in the year 2020, the year infamously crowned as hopeless. The vigour of Joe to reach his dreams is marred by an unforeseen circumstance, forcing him to step back. Something everybody in 2020 faced, when their long-due plans were pushed back by the ongoing pandemic, however the push back also made everyone take the necessary break and reflect, just like Joe. With soul 22, the nihilist in us realized the importance of the bare minimum and how essential it is to recognise the beauty of mundane life.</p>

<p>The entire life-affirming journey is told in an interesting, humorous manner that leaves you teary-eyed by the end of the film - a typical Disney-Pixar trait. There’s a great chance that it will provoke you to think beyond the reaches of your goals and reflect on life with an easy glare. Of course, life is hard and dreams are definitely worth chasing, but they are not the purpose. The purpose is to live life to every moment and cherish being in every moment. Because, in the end, it’s all you ever have - a moment. While big achievements give you character, tiny little moments make you human and that’s all the spark you need to be happy.&nbsp;</p>

<p>The music in the film deserves a special mention, as it captures the essence of jazz and celebrates creativity. It picks up the traditional points and takes them to another dimension creating something truly enjoyable.&nbsp;<br />
<br />
&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/txdUE10OopA" width="560"></iframe></p>

<p>It’s beautiful how ‘Soul’ deals with the complexity and heaviness of life-theory through a child-gaze and brings out a rosy picture while acknowledging the struggles. Writers Pete Docter Mike Jones and Kemp Powers deserve all the credit here. The film is a captivating journey of joy that leaves you hopeful and at ease, something that one should feel after a stressful year like this.&nbsp;</p>

<p>Make ‘Soul’ your much-needed year-end watch and you won’t regret it. The film is currently streaming on Disney+Hotstar.</p>

<div class="adL" style="text-align:start; -webkit-text-stroke-width:0px">
<div class="im">&nbsp;</div>
</div>


There are only a few things in life that matter. The will to appreciate life is the purpose one needs to strive for, and people often forget, while running behind their dreams and passion.

There are only a few things in life that matter. The will to appreciate life is the purpose one needs to strive for, and people often forget, while running behind their dreams and passion. Pixar’s latest animated film ‘Soul’ talks exactly about that. The passion to live over the passion to achieve something grand. Told brilliantly through the life of a music teacher who is trying hard to make it into the world of jazz music, while holding on to a job as a temporary middle-school music teacher. His life turns upside-down (literally), when he dies on the very day he gets the gig of his dreams and reaches the path to ‘the great beyond’. Flustered by the sudden happening, he tries his best to make it back to his body and reach the ‘purpose’ of his life, he’s waited for his entire life. On his quest to reach the Earth, he meets a soul called 22, an Earth-virgin soul who has no plans to enter the mortal world despite being mentored and ridiculed by the souls of Mother Teresa, Abraham Lincoln, and more. However, circumstances have them both sent to Earth and their adventure leads them to greater revelations. Voiced by Jamiee Fox and Tina Fey, the key characters of the story Joe Gardener and Soul 22, are as adorable as any other Disney-Pixar characters. The beauty of these characters is their relatability in the year 2020, the year infamously crowned as hopeless. The vigour of Joe to reach his dreams is marred by an unforeseen circumstance, forcing him to step back. Something everybody in 2020 faced, when their long-due plans were pushed back by the ongoing pandemic, however the push back also made everyone take the necessary break and reflect, just like Joe. With soul 22, the nihilist in us realized the importance of the bare minimum and how essential it is to recognise the beauty of mundane life. The entire life-affirming journey is told in an interesting, humorous manner that leaves you teary-eyed by the end of the film - a typical Disney-Pixar trait. There’s a great chance that it will provoke you to think beyond the reaches of your goals and reflect on life with an easy glare. Of course, life is hard and dreams are definitely worth chasing, but they are not the purpose. The purpose is to live life to every moment and cherish being in every moment. Because, in the end, it’s all you ever have - a moment. While big achievements give you character, tiny little moments make you human and that’s all the spark you need to be happy. The music in the film deserves a special mention, as it captures the essence of jazz and celebrates creativity. It picks up the traditional points and takes them to another dimension creating something truly enjoyable. It’s beautiful how ‘Soul’ deals with the complexity and heaviness of life-theory through a child-gaze and brings out a rosy picture while acknowledging the struggles. Writers Pete Docter Mike Jones and Kemp Powers deserve all the credit here. The film is a captivating journey of joy that leaves you hopeful and at ease, something that one should feel after a stressful year like this. Make ‘Soul’ your much-needed year-end watch and you won’t regret it. The film is currently streaming on Disney+Hotstar.

'Soul' review: Pixar’s latest is all about appreciating little things in life in a hopeless year

<p><meta charset="utf-8" /></p>

<p>There are films which are bad, films that are crass and then there are films which are unnecessary. David Dhawan's newly recreated 'Coolie No.1' belongs to the latter category.&nbsp;</p>

<p>Starring Varun Dhawan and Sara Ali Khan, the film promises to bring back 90s magic of Govinda and Karisma Kapoor, telling a comical tale of a coolie who finds himself in a situation when he falls in love with a daughter of a rich man. To be honest, this is an oversimplification of the entire storyline, but it's too inconsequential to dwell into it more.&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/XaZ7jAPdecc" width="560"></iframe></p>

<p>The entire film sees Varun Dhawan mimicking everyone from Amitabh Bachchan to Mithun and even Salman Khan, all in the shadow of Govinda. There comes a time when you wonder why a 'star' who is totally capable of bringing his own talent on the table, is made to copy actors from the past, so much so that his identity is lost. Sara Ali Khan once again proves to be nothing more than a face required opposite an actor. It's not like the story had a lot of meat for the female lead, but whatever scope was there, is finished by the stone-faced Sara, who has nothing more to bring to the film than her wide-eyed astonished look.&nbsp;</p>

<p><img alt="c" data-entity-type="file" data-entity-uuid="5e48ee81-efe8-4a11-8391-a80616980f6c" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%20%2897%29_3.jpg" /></p>

<p>In terms of the supporting cast, David Dhawan does bring out the best from his bag - from Paresh Rawal, Jawed Jeffery to Shikha Talsania and even Johnny Lever and Rajpal Yadav. It's a pity that even all these powers combined can bring out nothing more than a chuckle at odd moments.&nbsp;</p>

<p>'Coolie No.1 ' is a perfect example of why some things from the 90s shouldn't come back, not only because they are problematic, but also, the essence of the entire plot is irrelevant now. The culture and brotherhood of coolie union in 2020 is not the same. In the age of trolley bags, internet and social media, it's hard to imagine a conning theme like that of the film. It feels outdated to the core. Let's not even get started on the cringe-inducing jokes laden with sexual innuendos, body-shaming, mocking and demeaning the other person.</p>

<p><img alt="c" data-entity-type="file" data-entity-uuid="a553711c-6942-4ca8-9760-3de26a107ca3" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%20%2899%29_4.jpg" /></p>

<p>Maybe, the director wanted to give the audience an escape in the age of Corona, but the question is was it required? It's not like the generation now is untouched by the magic that was 90s Govinda, or the unevolved humour of David Dhawan. Nobody needs to see the same thing again, with actors that have the potential to do better. David Dhawan proved himself as a director in the past, it's time he realises that he needs&nbsp;an awakening of his own and become a director of the present. It's time he stops dragging his son to the past, and rather present him with films matching his calibre.&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/EQlYzDdOLxI" width="560"></iframe></p>

<p>In the age and stage when OTT has a plethora of options for the audience, 'Coolie No. 1' is a huge misfit - from the idea to the execution. Better watch a re-run and experience the original chemistry and innocence of Govinda and Karisma Kapoor, than this stale, dated version. A big let down on all fronts.&nbsp;</p>

<p>The film is streaming on Amazon Prime.&nbsp;<br />
&nbsp;</p>


There are films which are bad, films that are crass and then there are films which are unnecessary. David Dhawan's newly recreated 'Coolie No.1' belongs to the latter category.

There are films which are bad, films that are crass and then there are films which are unnecessary. David Dhawan's newly recreated 'Coolie No.1' belongs to the latter category. Starring Varun Dhawan and Sara Ali Khan, the film promises to bring back 90s magic of Govinda and Karisma Kapoor, telling a comical tale of a coolie who finds himself in a situation when he falls in love with a daughter of a rich man. To be honest, this is an oversimplification of the entire storyline, but it's too inconsequential to dwell into it more. The entire film sees Varun Dhawan mimicking everyone from Amitabh Bachchan to Mithun and even Salman Khan, all in the shadow of Govinda. There comes a time when you wonder why a 'star' who is totally capable of bringing his own talent on the table, is made to copy actors from the past, so much so that his identity is lost. Sara Ali Khan once again proves to be nothing more than a face required opposite an actor. It's not like the story had a lot of meat for the female lead, but whatever scope was there, is finished by the stone-faced Sara, who has nothing more to bring to the film than her wide-eyed astonished look. In terms of the supporting cast, David Dhawan does bring out the best from his bag - from Paresh Rawal, Jawed Jeffery to Shikha Talsania and even Johnny Lever and Rajpal Yadav. It's a pity that even all these powers combined can bring out nothing more than a chuckle at odd moments. 'Coolie No.1 ' is a perfect example of why some things from the 90s shouldn't come back, not only because they are problematic, but also, the essence of the entire plot is irrelevant now. The culture and brotherhood of coolie union in 2020 is not the same. In the age of trolley bags, internet and social media, it's hard to imagine a conning theme like that of the film. It feels outdated to the core. Let's not even get started on the cringe-inducing jokes laden with sexual innuendos, body-shaming, mocking and demeaning the other person. Maybe, the director wanted to give the audience an escape in the age of Corona, but the question is was it required? It's not like the generation now is untouched by the magic that was 90s Govinda, or the unevolved humour of David Dhawan. Nobody needs to see the same thing again, with actors that have the potential to do better. David Dhawan proved himself as a director in the past, it's time he realises that he needs an awakening of his own and become a director of the present. It's time he stops dragging his son to the past, and rather present him with films matching his calibre. In the age and stage when OTT has a plethora of options for the audience, 'Coolie No. 1' is a huge misfit - from the idea to the execution. Better watch a re-run and experience the original chemistry and innocence of Govinda and Karisma Kapoor, than this stale, dated version. A big let down on all fronts. The film is streaming on Amazon Prime.

'Coolie No 1' review: Varun Dhawan, Sara Ali Khan starrer is as unnecesary as Kanye West is to politics

<p>&nbsp;</p>

<p><meta charset="utf-8" /></p>

<p>Actor Kirti Kulhari is all set to play an accused in Hotstar’s second season of Criminal Justice. The crime, courtroom drama will see her in a vulnerable role, something that she enjoyed playing. Speaking to WION about the series and her serious role, she said, “Criminal Justice Season 2 is one of the most challenging roles I’ve played in my career so far. While I’ve done serious roles before, this one required the involvement of a psychiatrist and psychotherapists, because of the condition of the role. While the process was insightful, it was emotionally and mentally challenging.”</p>

<p>Kirti will be seen sharing the screen with Pankaj Tripathi and Jishu Sengupta. Talking about her experience with the seasoned actors, she noted, “It’s always nice to work with actors you can observe and learn from. I love working with actors who don’t have an air around them and are rooted in their craft. Acting is a learning process, and while you learn with everyone in and around the set, the humility of an actor is always the most striking component for me.”<br />
<br />
&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/KPyNH7mZkGc" width="560"></iframe></p>

<p>Criminal Justice: Behind Closed Doors is in stark contrast with Kirti’s previous role in women-led comedy-drama ‘Four More Shots Please’. The second season of the show received international acclaim and the actor is grateful for the recognition. “Recognition in any form feels extremely nice to any actor, when it is international, it becomes even more special. I’m grateful that people loved the series of four women living their lives, so much.”</p>

<p><a href="https://www.wionews.com/entertainment/bollywood/news-kirti-kulhari-watches-film-on-big-screen-as-mark-of-support-to-cinema-halls-346780">Kirti was recently in news for visiting a cinema hall when the guidelines around COVID-19 were eased</a> and cinema halls were opened. Speaking about her experience and her motive behind the visit, she shared, “This year has been tumultuous for everyone working in any industry and in the entertainment industry. With the cinema closed down, many livelihoods were challenged. I went to the theatres to support my industry and to tell people that this is the new normal and it’s better to get used to it. We all have to start living in the new world and help those who are a part of this industry, or any industry. It’s important to get back on our feet.”<br />
<br />
&nbsp;</p>

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<p>&nbsp;</p>

<p>On being asked what is the one thing that she’s taking away from this year, Kirti quickly replies, “Minimalism”.</p>

<p>“This year has made people realise that we can survive with minimum stuff and be more conscious. Spending time with my family has been the best part and one positive aspect of the lockdown. The dependence on materialism decreased and the human connections increase, for me, this year. “</p>

<p>Kirti will next be seen in Parineeti Chopra starrer ‘The Girl On The Train’ and third season of ‘Four More Shots Please’.</p>


Actor Kirti Kulhari is all set to play an accused in Hotstar’s second season of Criminal Justice. The crime, courtroom drama will see her in a vulnerable role, something that she enjoyed playing.

Actor Kirti Kulhari is all set to play an accused in Hotstar’s second season of Criminal Justice. The crime, courtroom drama will see her in a vulnerable role, something that she enjoyed playing. Speaking to WION about the series and her serious role, she said, “Criminal Justice Season 2 is one of the most challenging roles I’ve played in my career so far. While I’ve done serious roles before, this one required the involvement of a psychiatrist and psychotherapists, because of the condition of the role. While the process was insightful, it was emotionally and mentally challenging.” Kirti will be seen sharing the screen with Pankaj Tripathi and Jishu Sengupta. Talking about her experience with the seasoned actors, she noted, “It’s always nice to work with actors you can observe and learn from. I love working with actors who don’t have an air around them and are rooted in their craft. Acting is a learning process, and while you learn with everyone in and around the set, the humility of an actor is always the most striking component for me.” Criminal Justice: Behind Closed Doors is in stark contrast with Kirti’s previous role in women-led comedy-drama ‘Four More Shots Please’. The second season of the show received international acclaim and the actor is grateful for the recognition. “Recognition in any form feels extremely nice to any actor, when it is international, it becomes even more special. I’m grateful that people loved the series of four women living their lives, so much.” Kirti was recently in news for visiting a cinema hall when the guidelines around COVID-19 were eased and cinema halls were opened. Speaking about her experience and her motive behind the visit, she shared, “This year has been tumultuous for everyone working in any industry and in the entertainment industry. With the cinema closed down, many livelihoods were challenged. I went to the theatres to support my industry and to tell people that this is the new normal and it’s better to get used to it. We all have to start living in the new world and help those who are a part of this industry, or any industry. It’s important to get back on our feet.” View this post on Instagram A post shared by Kirti Kulhari (@iamkirtikulhari) × On being asked what is the one thing that she’s taking away from this year, Kirti quickly replies, “Minimalism”. “This year has made people realise that we can survive with minimum stuff and be more conscious. Spending time with my family has been the best part and one positive aspect of the lockdown. The dependence on materialism decreased and the human connections increase, for me, this year. “ Kirti will next be seen in Parineeti Chopra starrer ‘The Girl On The Train’ and third season of ‘Four More Shots Please’.

'Criminal Justice: Behind Closed Door' has been my most challenging role yet: Kirti Kulhari

<p>2020 has been the year where many lost hope. A year when the world was struck by a pandemic and everything was shut down keeping health in mind. In these dark times, one thing that kept people going was music. While Taylor Swift, Shawn Mendes, Ariana Grande and other western music stars made music that appealed to the masses, it was the group from the east that actually dominated the hearts and charts across the globe. <strong>Korean-pop band BTS,</strong> was recently named<a href="https://www.wionews.com/entertainment/bts-named-entertainer-of-the-year-by-time-magazine-348944"> 2020 Entertainer of the Year by Time, and rightly so.&nbsp;</a></p>

<p><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/gdZLi9oWNZg" width="560"></iframe><br />
<br />
The group of seven, extremely lovable men, making music and living together, making sure to release content in order to keep their billions of fans (the ARMY) entertained and informed, have risen to fame inexplicably in the west this year. Their first-ever English<strong> song 'Dynamite',</strong> breaking records within hours of getting released, proving that the <strong>BTS ARMY</strong> has grown far and wide out of Korea and East-Asian countries. The song also got nominated for <strong>Grammy Awards 2021</strong>, making them the<a href="https://www.wionews.com/entertainment/bts-creates-history-at-grammys-earns-first-ever-nomination-for-a-k-pop-band-345183"> first-ever Korean band to be nominated for the prestigious awards.</a><br />
<br />
They've been number one on iTunes in over 91 countries and regions with their last album 'Map Of The Soul: 7', have got over 26 million subscribers on YouTube and are the first<strong> K-pop band </strong>ever to top the US album charts.&nbsp;</p>

<p><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/gwMa6gpoE9I" width="560"></iframe><br />
<br />
<strong>BTS are a K-pop (or Korean pop) group</strong> made up of seven members - Jin, Suga, J-Hope, RM, Jimin, V and Jungkook - who come from all over South Korea. They launched in 2013 and have since rocketed to global stardom. According to Billboard, their album 'Love Yourself: Tear', which is sung in Korean, became "the first primarily foreign-language No 1 album in over 12 years."</p>

<p>So what makes BTS stand out? Well, the journey started with the unique subjects of the song. While many K-pop songs are about relationships and love, BTS cover subjects like bullying, elitism and mental health, subjects with a mass appeal, not just in Korea, but throughout the world. While love is a universal language, nothing brings you closer to music than agony, and BTS tapped onto ragging issues that were personal yet needed mass attention.</p>

<p><br />
Apart from the subject of the song, the art and artistic expression played a huge role in the popularity of the band. With their slick dance routines and extremely impressive music videos, they've attracted a loyal group of fans who have fallen in love with their music even more. The style of the seven members is undeniably chic and there’s a reason why the group's youngest member Jungkook was named People’s most sexist men alive.&nbsp;</p>

<p><br />
The internet - and in particular social media - has played an enormous part in the success of the group. In a previous interview, Suga told BBC Radio 1: "I think we're so lucky to be born at the right time. Without social media, we wouldn't have been so successful." In 2018, the boys won a Billboard Music Award for Top SocialArtist, beating huge names like Justin Bieber, Ariana Grande and Selena Gomez. They were the first K-Pop group to win one. Today, the band enjoys a following earlier experienced by the likes of ‘The Beatles’.&nbsp;<br />
<br />
<a href="https://www.wionews.com/photos/from-debut-to-breaking-own-records-a-look-back-at-bts-incredible-journey-335468">Also see: From Debut to Breaking Own Records: A Look back at BTS incredible journey</a><br />
<br />
Their followers are not only musically aware but are also socially aware. The ARMY received international attention for their viral digital activism such as matching the K-pop group's $1 million donations to the Black Lives Matter movement. K-pop fans also said they reserved thousands of tickets for President Donald Trump's rally in Oklahoma before not showing up (rows of seats remained empty at the rally though it's unclear if the viral campaign by K-pop fans was the reason why).</p>

<p>In September 2018, BTS made headlines for becoming the first Korean pop music group to address the United Nations (UN). RM, who's the leader of the band, spoke about overcoming insecurities and urged other young people to do the same." I've made many and plenty of mistakes in my life," he said. "I have many faults and I have many more fears, but I'm going to embrace myself as hard as I can. And I'm starting to love myself gradually just little by little." In 2020, when vulnerability was the closest achievement for many, there’s no wonder that the band struck the chord with many, despite having their maximum songs in Korean. The group collectively deals with growth, fallings, fighting and overcoming, within themselves and not just the society. This honesty, through their music and their interviews, oozes out hope, something that 2020 lacked and required the most.&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/zJCdkOpU90g" width="560"></iframe></p>

<p>Another beauty of <strong>BTS's music</strong> is its authenticity. The music is centred around their identity as <strong>Korean artists</strong>, which he says was rarely seen in the industry previously. The group incorporates social commentary on issues local to Korea, includes Korean dialects in their music and wears traditional Korean Hanbok clothing. The group has adopted their identity as a responsibility and while they do want to attract western audiences with ‘Dynamite’, they do make sure that the album stays in Korean as that’s where their roots lie.</p>

<p><a href="https://www.wionews.com/entertainment/k-pops-bts-marks-year-of-the-pandemic-with-be-album-and-single-life-goes-on-344318">BTS’ latest album 'BE' topped the charts once again </a>and interestingly, the entire album was created by each and every member collaborating intricately for the first time- from album art to recording and sound engineering, the boys did it all. Talking about the album, RM shared: "We believe all of our albums are important and have played important roles in our career. 'BE' is an album that we created to reflect our current thoughts and emotions and deliver a message of hope to our fans all over the world."</p>

<p><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-5q5mZbe3V8" width="560"></iframe><br />
<br />
Like the meaning of the title track, 'Life goes on', and BTS comforted a rather distressed population through the message that life will continue even in this difficult moment. And when this difficult moment is over, BTS will continue to dominate the world, not just through screens but with real-time concerts, ruling the western grounds with their charisma and sheer talent.&nbsp;</p>

<p>2020 proved that the world actually belongs to BTS, and we are all here giving out purple hearts, trying to be a responsible part of the ARMY.&nbsp;</p>


2020 has been the year where many lost hope. A year when the world was struck by a pandemic and everything was shut down keeping health in mind. In these dark times, one thing that kept people going was music.

2020 has been the year where many lost hope. A year when the world was struck by a pandemic and everything was shut down keeping health in mind. In these dark times, one thing that kept people going was music. While Taylor Swift, Shawn Mendes, Ariana Grande and other western music stars made music that appealed to the masses, it was the group from the east that actually dominated the hearts and charts across the globe. Korean-pop band BTS, was recently named 2020 Entertainer of the Year by Time, and rightly so. The group of seven, extremely lovable men, making music and living together, making sure to release content in order to keep their billions of fans (the ARMY) entertained and informed, have risen to fame inexplicably in the west this year. Their first-ever English song 'Dynamite', breaking records within hours of getting released, proving that the BTS ARMY has grown far and wide out of Korea and East-Asian countries. The song also got nominated for Grammy Awards 2021, making them the first-ever Korean band to be nominated for the prestigious awards. They've been number one on iTunes in over 91 countries and regions with their last album 'Map Of The Soul: 7', have got over 26 million subscribers on YouTube and are the first K-pop band ever to top the US album charts. BTS are a K-pop (or Korean pop) group made up of seven members - Jin, Suga, J-Hope, RM, Jimin, V and Jungkook - who come from all over South Korea. They launched in 2013 and have since rocketed to global stardom. According to Billboard, their album 'Love Yourself: Tear', which is sung in Korean, became "the first primarily foreign-language No 1 album in over 12 years." So what makes BTS stand out? Well, the journey started with the unique subjects of the song. While many K-pop songs are about relationships and love, BTS cover subjects like bullying, elitism and mental health, subjects with a mass appeal, not just in Korea, but throughout the world. While love is a universal language, nothing brings you closer to music than agony, and BTS tapped onto ragging issues that were personal yet needed mass attention. Apart from the subject of the song, the art and artistic expression played a huge role in the popularity of the band. With their slick dance routines and extremely impressive music videos, they've attracted a loyal group of fans who have fallen in love with their music even more. The style of the seven members is undeniably chic and there’s a reason why the group's youngest member Jungkook was named People’s most sexist men alive. The internet - and in particular social media - has played an enormous part in the success of the group. In a previous interview, Suga told BBC Radio 1: "I think we're so lucky to be born at the right time. Without social media, we wouldn't have been so successful." In 2018, the boys won a Billboard Music Award for Top SocialArtist, beating huge names like Justin Bieber, Ariana Grande and Selena Gomez. They were the first K-Pop group to win one. Today, the band enjoys a following earlier experienced by the likes of ‘The Beatles’. Also see: From Debut to Breaking Own Records: A Look back at BTS incredible journey Their followers are not only musically aware but are also socially aware. The ARMY received international attention for their viral digital activism such as matching the K-pop group's $1 million donations to the Black Lives Matter movement. K-pop fans also said they reserved thousands of tickets for President Donald Trump's rally in Oklahoma before not showing up (rows of seats remained empty at the rally though it's unclear if the viral campaign by K-pop fans was the reason why). In September 2018, BTS made headlines for becoming the first Korean pop music group to address the United Nations (UN). RM, who's the leader of the band, spoke about overcoming insecurities and urged other young people to do the same." I've made many and plenty of mistakes in my life," he said. "I have many faults and I have many more fears, but I'm going to embrace myself as hard as I can. And I'm starting to love myself gradually just little by little." In 2020, when vulnerability was the closest achievement for many, there’s no wonder that the band struck the chord with many, despite having their maximum songs in Korean. The group collectively deals with growth, fallings, fighting and overcoming, within themselves and not just the society. This honesty, through their music and their interviews, oozes out hope, something that 2020 lacked and required the most. Another beauty of BTS's music is its authenticity. The music is centred around their identity as Korean artists, which he says was rarely seen in the industry previously. The group incorporates social commentary on issues local to Korea, includes Korean dialects in their music and wears traditional Korean Hanbok clothing. The group has adopted their identity as a responsibility and while they do want to attract western audiences with ‘Dynamite’, they do make sure that the album stays in Korean as that’s where their roots lie. BTS’ latest album 'BE' topped the charts once again and interestingly, the entire album was created by each and every member collaborating intricately for the first time- from album art to recording and sound engineering, the boys did it all. Talking about the album, RM shared: "We believe all of our albums are important and have played important roles in our career. 'BE' is an album that we created to reflect our current thoughts and emotions and deliver a message of hope to our fans all over the world." Like the meaning of the title track, 'Life goes on', and BTS comforted a rather distressed population through the message that life will continue even in this difficult moment. And when this difficult moment is over, BTS will continue to dominate the world, not just through screens but with real-time concerts, ruling the western grounds with their charisma and sheer talent. 2020 proved that the world actually belongs to BTS, and we are all here giving out purple hearts, trying to be a responsible part of the ARMY.

Yearender 2020: How K-Pop band BTS became the beacon of hope in a distressed year

<p>'The Mandalorian'&nbsp;season 2 finale is here and it’s as mindblowing as you’d expect it to be. To put it straight after doing fan-service with Ahsoka Tano and Boba Fett, let’s say the makers saved the biggest surprise for the last.</p>

<p><meta charset="utf-8" /></p>

<p>Any fan of the series would be feeling numb&nbsp;at the fact that the series finale, which was laden with cameos from around the galaxy, paid homage to the franchise in the most beautiful manner possible. While the fan-fictions were having their own speculations as to who would take Grogu under their wing and which Force the little green guy would up yielding, the sky looks blue for him (that’s enough spoiler to be given in this review).</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/eW7Twd85m2g" width="560"></iframe></p>

<p>The finale sees almost all the important characters introduced this season joining&nbsp;hands to rescue the child from Moff Gideon. Mando, with the help of Bo-Katan, Koska Reeves, Cara Dune, and Fennec Shand make their way to the Imperial vessel. Mando wants The Child back, and Bo-Katan wants the Darksaber and Gideon’s head, as well as his spaceship. However, Cara wants the Imperial Boss alive in tonight’s gripping season 2 finale which was directed by Peyton Reed and written by series creator Jon Favreau.<br />
<br />
<a href="https://www.wionews.com/entertainment/hollywood/news-the-mandalorian-season-2-review-first-two-episodes-promise-a-thrilling-journey-into-the-known-star-wars-galaxy-341380">Also read:&nbsp;First two episodes of 'The Mandalorian' season 2 promise a thrilling journey into the known 'Star Wars' galaxy</a><br />
<br />
Filled with blasting action, some dark trooper scare and the power of baskar, the finale is everything one expects it to be. The finale has answered a lot many questions that were built up throughout the series, but have also opened the gates for major new ones, as to, where is the series headed next, is this the end of Mando-Grogu adventures? Will the man in Baskar’s next adventure be all about claiming Mandalore?</p>

<p>Oh as for <a href="https://www.wionews.com/entertainment/the-mandalorian-spin-off-series-announced-for-disney-350809">Boba Fett, there’s a special post-credit scene declaring a new series based on the beloved character</a> (this does not count as a spoiler). There are so many stories that have been churned out of the galaxy and already three spin-offs from The Mandalorian itself, the fear is, creatively the studio might spread itself too thin. After two blockbuster seasons, that’ll be heartbreaking for creator Jon Favreau. However, as we all know how big a fan-service oriented filmmaker he is, the pieces might all fall into place and we might get a Universe full of stories known-unknown and cameos that’ll satisfy the George Lucas fans in us.</p>

<p>'The Mandalorian' Season 2 finale, if only it was released on a big screen, the Star Wars fans might’ve had their own mini ‘Avengers Assemble’ goosebump moment with shouts and shrieks. If the real world is not engulfed by aliens or viruses, we might have some clues and little answers by next Christmas.&nbsp;</p>


'The Mandalorian' season 2 finale is here and it’s as mindblowing as you’d expect it to be. To put it straight after doing fan-service with Ahsoka Tano and Boba Fett, let’s say the makers saved the biggest surprise for the last.

'The Mandalorian' season 2 finale is here and it’s as mindblowing as you’d expect it to be. To put it straight after doing fan-service with Ahsoka Tano and Boba Fett, let’s say the makers saved the biggest surprise for the last. Any fan of the series would be feeling numb at the fact that the series finale, which was laden with cameos from around the galaxy, paid homage to the franchise in the most beautiful manner possible. While the fan-fictions were having their own speculations as to who would take Grogu under their wing and which Force the little green guy would up yielding, the sky looks blue for him (that’s enough spoiler to be given in this review). The finale sees almost all the important characters introduced this season joining hands to rescue the child from Moff Gideon. Mando, with the help of Bo-Katan, Koska Reeves, Cara Dune, and Fennec Shand make their way to the Imperial vessel. Mando wants The Child back, and Bo-Katan wants the Darksaber and Gideon’s head, as well as his spaceship. However, Cara wants the Imperial Boss alive in tonight’s gripping season 2 finale which was directed by Peyton Reed and written by series creator Jon Favreau. Also read: First two episodes of 'The Mandalorian' season 2 promise a thrilling journey into the known 'Star Wars' galaxy Filled with blasting action, some dark trooper scare and the power of baskar, the finale is everything one expects it to be. The finale has answered a lot many questions that were built up throughout the series, but have also opened the gates for major new ones, as to, where is the series headed next, is this the end of Mando-Grogu adventures? Will the man in Baskar’s next adventure be all about claiming Mandalore? Oh as for Boba Fett, there’s a special post-credit scene declaring a new series based on the beloved character (this does not count as a spoiler). There are so many stories that have been churned out of the galaxy and already three spin-offs from The Mandalorian itself, the fear is, creatively the studio might spread itself too thin. After two blockbuster seasons, that’ll be heartbreaking for creator Jon Favreau. However, as we all know how big a fan-service oriented filmmaker he is, the pieces might all fall into place and we might get a Universe full of stories known-unknown and cameos that’ll satisfy the George Lucas fans in us. 'The Mandalorian' Season 2 finale, if only it was released on a big screen, the Star Wars fans might’ve had their own mini ‘Avengers Assemble’ goosebump moment with shouts and shrieks. If the real world is not engulfed by aliens or viruses, we might have some clues and little answers by next Christmas.

'The Mandalorian' S2 review: A blasting finale of a cameo-packed season 

<p>Anger, naivety, passion, trauma mixed with blues and you get a perfectly balanced cocktail called 'Ma Rainey's Blck Bottom'. Chadwick Boseman’s last appearance on-screen, the film is a testament of his performance as an actor and of Viola Davis' fiery presence. The film gets you excited, makes you tap your shoes, smile at Lavee and the band's conversations and leaves you teary-eyed and frustrated by the end of it. Now if that’s not all the notes to touch while listening to a song-story, I don’t know what else is. ‘Ma Rainey’s Black Bottom’ flows like one of Mother of Blues’ songs and this is exactly what it intended to do.&nbsp;<br />
<br />
Directed by George C. Wolfe and based on the play of the same name by August Wilson, the story takes place in a day’s event at a recording studio where Ma Rainey’s is recording her songs with the band. The one hour thirty minutes see the temperature rise within the studios as many shades of characters develop and change, as you learn more about them.<br />
<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ord7gP151vk" width="560"></iframe><br />
At the center is Levee, a passionate young member of trailblazing performer Ma Rainey’s band, who wants to pump up the world with music people can dance to. On the other hand is Ma Rainey, a woman who has created a niche in the world of blues and has learnt how to keep things moving in her favour, both come with their own struggles and trauma attached. How these two control the situations and how the situations control the two, leaving both empty-handed by the end of the film, is what makes the film. Poetry where the heroes know the path they are taking, yet are appalled by the circumstances that occur by the end of their action, is hauntingly beautiful.&nbsp;</p>

<p>There’s always some beauty in films that rely heavily on storytelling and one on one dialogues, rather than just expressions. The film has a lot of heavy talking, but it never feels boring. The most tear-jerking moments in the film are said in the film, rather than shown, and both of them are explained through words of Ma Rainey and Lavee, expressed only through eyes and a lot of anguish.&nbsp;<br />
<br />
<a href="https://www.wionews.com/entertainment/hollywood/news-race-music-strong-women-at-heart-of-movie-ma-rainey-350581">Also read: Race, music, strong women at the heart of movie 'Ma Rainey'</a></p>

<p>As for Chadwick Boseman, Ma Rainey’s is a perfect swansong. You see him as a young, passionate Lavee who loves to live in style, has dreams as big as his shoe’s budget, and a darkness that’s even bigger. A man who gains and loses it all within the span of the film. &nbsp;There is a fight that breaks out between Cutler ( Colman Domingo) and him over god ignoring his black devotees and it breaks your heart, relating it to incidents of 2020. The relevance gets to you. The anger is real and the questions still worth pondering over.&nbsp;</p>

<p>Viola Davis’ Ma is fierce, controlling and legit, however, she knows till where she can control the narrative. She fights fair, but she has given her all to reach where she is now. In the film, she very fondly talks about blues and how it helps her get out of bed every morning, she goes on to say, “I ain’t invent the blues, the blues always been there,” and yet owns her action of making blues popular by adding, “but if they want me to call the mother of blues, I ain’t complaining”<br />
<br />
<a href="https://www.wionews.com/photos/yearender-2020-chadwick-boseman-to-sean-connery-hollywood-stars-weve-lost-in-2020-346455">Also see: Chadwick Boseman to Sean Connery: Hollywood stars we’ve lost in 2020</a></p>

<p>There’s a lot of layers that the film offers. Living as a black person in the 1920s is just one of them. The deeper layers exist in the human portrayal of these people. The fear of failure, the will to be in control and the lack-lustrous ambition to just live another day, to be a leftover.&nbsp;</p>

<p>Ma Rainey’s Black Bottom is a poem in the rhythm of the blue. The chords sit well, yet make you uncomfortable, in a sad well-intentioned way. Don’t you skip on it, this track will get you hooked. &nbsp;<br />
&nbsp;</p>


Anger, naivety, passion, trauma mixed with blues and you get a perfectly balanced cocktail called 'Ma Rainey's Blck Bottom'. Chadwick Boseman’s last appearance on-screen, the film is a testament of his performance as an actor and of Viola Davis' fiery presence.

Anger, naivety, passion, trauma mixed with blues and you get a perfectly balanced cocktail called 'Ma Rainey's Blck Bottom'. Chadwick Boseman’s last appearance on-screen, the film is a testament of his performance as an actor and of Viola Davis' fiery presence. The film gets you excited, makes you tap your shoes, smile at Lavee and the band's conversations and leaves you teary-eyed and frustrated by the end of it. Now if that’s not all the notes to touch while listening to a song-story, I don’t know what else is. ‘Ma Rainey’s Black Bottom’ flows like one of Mother of Blues’ songs and this is exactly what it intended to do. Directed by George C. Wolfe and based on the play of the same name by August Wilson, the story takes place in a day’s event at a recording studio where Ma Rainey’s is recording her songs with the band. The one hour thirty minutes see the temperature rise within the studios as many shades of characters develop and change, as you learn more about them. At the center is Levee, a passionate young member of trailblazing performer Ma Rainey’s band, who wants to pump up the world with music people can dance to. On the other hand is Ma Rainey, a woman who has created a niche in the world of blues and has learnt how to keep things moving in her favour, both come with their own struggles and trauma attached. How these two control the situations and how the situations control the two, leaving both empty-handed by the end of the film, is what makes the film. Poetry where the heroes know the path they are taking, yet are appalled by the circumstances that occur by the end of their action, is hauntingly beautiful. There’s always some beauty in films that rely heavily on storytelling and one on one dialogues, rather than just expressions. The film has a lot of heavy talking, but it never feels boring. The most tear-jerking moments in the film are said in the film, rather than shown, and both of them are explained through words of Ma Rainey and Lavee, expressed only through eyes and a lot of anguish. Also read: Race, music, strong women at the heart of movie 'Ma Rainey' As for Chadwick Boseman, Ma Rainey’s is a perfect swansong. You see him as a young, passionate Lavee who loves to live in style, has dreams as big as his shoe’s budget, and a darkness that’s even bigger. A man who gains and loses it all within the span of the film. There is a fight that breaks out between Cutler ( Colman Domingo) and him over god ignoring his black devotees and it breaks your heart, relating it to incidents of 2020. The relevance gets to you. The anger is real and the questions still worth pondering over. Viola Davis’ Ma is fierce, controlling and legit, however, she knows till where she can control the narrative. She fights fair, but she has given her all to reach where she is now. In the film, she very fondly talks about blues and how it helps her get out of bed every morning, she goes on to say, “I ain’t invent the blues, the blues always been there,” and yet owns her action of making blues popular by adding, “but if they want me to call the mother of blues, I ain’t complaining” Also see: Chadwick Boseman to Sean Connery: Hollywood stars we’ve lost in 2020 There’s a lot of layers that the film offers. Living as a black person in the 1920s is just one of them. The deeper layers exist in the human portrayal of these people. The fear of failure, the will to be in control and the lack-lustrous ambition to just live another day, to be a leftover. Ma Rainey’s Black Bottom is a poem in the rhythm of the blue. The chords sit well, yet make you uncomfortable, in a sad well-intentioned way. Don’t you skip on it, this track will get you hooked.

'Ma Rainey's Black Bottom' review: Chadwick Boseman's swansong is a gut-wrenching tale of trauma and ambition

<p dir="ltr">2020 has been a year of surprises and well, not all have been bad. After releasing her 8th studio album ‘Folklore’ in July, <a href="https://www.wionews.com/entertainment/taylor-swift-is-on-a-roll-releases-new-album-evermore-song-willow-349067">the singer-songwriter once again treated her fans with a surprise album drop.</a> Titled Evermore, it’s a sister album of Swift’s eighth and clearly carries the flavour of gothic folktales, while hitting new avenues.<br />
<br />
Making the announcement, Taylor Swift had said "to put it plainly, we just couldn’t stop writing songs. To try and put it more poetically, it feels like we were standing on the edge of the folklorian woods and had a choice: to turn and go back or to travel further into the forest of this music. We chose to wander deeper in.” And as you peel the album one song at a time you realise what she meant with the post.</p>

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<p>The first song of the album ‘Willow’ has been released along with a music video, giving listeners a clear idea that Evermore is as magical and mystical as ‘Folklore’, taking the golden ‘pixie-dust’ aura and exploring it further. There are a lot of similarities between the two albums, yet ‘Evermore’ feels more free and experimental. Carrying forward the legacy of building a story with her album, ‘Evermore’ has two of them.&nbsp; One of a woman trying to make it big in Hollywood while leaving her love and small town behind only to return in the festive season. The songs ‘Dorothea’ and ‘tis the damn season’ build that story of aspiration, half-done love and coming back only to leave once again.<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/RsEZmictANA" width="560"></iframe><br />
<br />
Another story is of an illicit affair and how it’s engulfing a woman who is on a lookout for a celebratory love but couldn’t find it in her husband, but someone else. The songs ‘tolerate it’ and ‘ivy’ are beautifully written song on infidelity, ignorance and picturing a love that’s all-consuming.<br />
<br />
<br />
Of Course, there are trademark Taylor songs referring to her own life and somewhat her feud with Scooter Braun, in the pretext of the universal language of heartbreak. Songs ‘long story short’ and ‘closure’ are the tracks that one can make out are personal to the singer. However, it’s ‘gold rush’ and ‘champagne problems’ that will send the Swift Universe into a frenzy. The references are real but is the story too? There’s a lot of tea out there.<br />
<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Pz-f9mM3Ms8" width="560"></iframe><br />
<br />
Then we have the title track ‘Evermore’ and ‘Happiness’ which send you in a lyrical, musical trance you don’t want to come back from. The evolution of Taylor, into alternative music, is tremendous and ‘Evermore’ only cements that fact. Without abandoning her touch of relatability, Taylor has morphed herself into this versatile singing storyteller which is a treat to listen to.<br />
<br />
The standout track in the album is her collaboration with Haim's sister. The country-story song ‘no body, no crime’ is a peppy track which is going to be in your head with its tune and its American Crime Story vibe.<br />
<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/IEPomqor2A8" width="560"></iframe><br />
<br />
The acoustic-minimalistic palette of Taylor's previous album is taken to another height with a mix of piano, beats and even carolling vibes considering the album is Swift’s birthday treat AND a Christmas treat to her fans. Electronics and furtive pizzicato strings in ‘Marjorie’, Taylor’s fond tribute to her grandmother, Marjorie Finlay, the musical details on the entire album is to hear for.<br />
<br />
While it’s always a surprise with Swift, as to what could be her next move, from ‘Reputation’ to ‘Evermore’, her transition as an artist has been one to chronicle. While her earlier albums were all about baring her soul, she has learnt the art of narrative-writing with Folklore and given us a sequel with ‘Evermore’. A little distant from her real-life, yet all the more alluring. The folklorian woods have captured the heart of the singer and ‘Evermore’ brings that affection, dedication and beauty to the listeners. Another golden string in Taylor’s multi-faceted guitar, it seems.&nbsp;</p>


2020 has been a year of surprises and well, not all have been bad. After releasing her 8th studio album ‘Folklore’ in July, the singer-songwriter once again treated her fans with a surprise album drop.

2020 has been a year of surprises and well, not all have been bad. After releasing her 8th studio album ‘Folklore’ in July, the singer-songwriter once again treated her fans with a surprise album drop. Titled Evermore, it’s a sister album of Swift’s eighth and clearly carries the flavour of gothic folktales, while hitting new avenues. Making the announcement, Taylor Swift had said "to put it plainly, we just couldn’t stop writing songs. To try and put it more poetically, it feels like we were standing on the edge of the folklorian woods and had a choice: to turn and go back or to travel further into the forest of this music. We chose to wander deeper in.” And as you peel the album one song at a time you realise what she meant with the post. View this post on Instagram A post shared by Taylor Swift (@taylorswift) × The first song of the album ‘Willow’ has been released along with a music video, giving listeners a clear idea that Evermore is as magical and mystical as ‘Folklore’, taking the golden ‘pixie-dust’ aura and exploring it further. There are a lot of similarities between the two albums, yet ‘Evermore’ feels more free and experimental. Carrying forward the legacy of building a story with her album, ‘Evermore’ has two of them. One of a woman trying to make it big in Hollywood while leaving her love and small town behind only to return in the festive season. The songs ‘Dorothea’ and ‘tis the damn season’ build that story of aspiration, half-done love and coming back only to leave once again. Another story is of an illicit affair and how it’s engulfing a woman who is on a lookout for a celebratory love but couldn’t find it in her husband, but someone else. The songs ‘tolerate it’ and ‘ivy’ are beautifully written song on infidelity, ignorance and picturing a love that’s all-consuming. Of Course, there are trademark Taylor songs referring to her own life and somewhat her feud with Scooter Braun, in the pretext of the universal language of heartbreak. Songs ‘long story short’ and ‘closure’ are the tracks that one can make out are personal to the singer. However, it’s ‘gold rush’ and ‘champagne problems’ that will send the Swift Universe into a frenzy. The references are real but is the story too? There’s a lot of tea out there. Then we have the title track ‘Evermore’ and ‘Happiness’ which send you in a lyrical, musical trance you don’t want to come back from. The evolution of Taylor, into alternative music, is tremendous and ‘Evermore’ only cements that fact. Without abandoning her touch of relatability, Taylor has morphed herself into this versatile singing storyteller which is a treat to listen to. The standout track in the album is her collaboration with Haim's sister. The country-story song ‘no body, no crime’ is a peppy track which is going to be in your head with its tune and its American Crime Story vibe. The acoustic-minimalistic palette of Taylor's previous album is taken to another height with a mix of piano, beats and even carolling vibes considering the album is Swift’s birthday treat AND a Christmas treat to her fans. Electronics and furtive pizzicato strings in ‘Marjorie’, Taylor’s fond tribute to her grandmother, Marjorie Finlay, the musical details on the entire album is to hear for. While it’s always a surprise with Swift, as to what could be her next move, from ‘Reputation’ to ‘Evermore’, her transition as an artist has been one to chronicle. While her earlier albums were all about baring her soul, she has learnt the art of narrative-writing with Folklore and given us a sequel with ‘Evermore’. A little distant from her real-life, yet all the more alluring. The folklorian woods have captured the heart of the singer and ‘Evermore’ brings that affection, dedication and beauty to the listeners. Another golden string in Taylor’s multi-faceted guitar, it seems.

'Evermore' album review: Taylor Swift gives a magic-laden birthday treat to music lover

2020 has been the toughest year for Marvel and DC fans. A year that was supposed to be a jam-packed season in the Superhero Universe, turned upside down and hollow due to the real-life calamity called the COVID-19 pandemic.

2020 has been the toughest year for Marvel and DC fans. A year that was supposed to be a jam-packed season in the Superhero Universe, turned upside down and hollow due to the real-life calamity called the COVID-19 pandemic. When real life turned into an apocalyptic movie, it was inevitable that the reel-world had to wait. As Hollywood studios are slowly treading deep waters by resuming shoot of big-budget films in a post-COVID world, the wheels are slowly catching the pace for the stalled movies as well. The MCU found itself in a dull phase where no movie from the mega-studios made its way to the viewers. This has been the longest pause in the cinematic ‘verse since 'The Incredible Hulk' (2008) was followed two years later by 'Iron Man 2'. Another major setback for the studios was the sudden demise of ‘Black Panther’ Chadwick Boseman. While the studio and the fans grieved all around the world, it also put the plans for 'Black Panther 2' on hold. DC, on the other hand, found itself in murky waters after Zack Snyder started his own ‘Snyderverse’ and the new Batman film went through an epidemic of its own. The Marvel Cinematic Universe roadmap feels a little less clear than it did after the rousing success of 'Endgame' last year when the world seemed a lot simpler. Considering the fact that the MCU functions in Phases and even the slightest delay can cause major changes in the timelines of all the subsequent films. By now, we were supposed to have seen the Black Widow prequel film, Amazonian warrior ‘Wonder Woman’ was supposed to take us to 1984 and the fanbase would’ve been getting hyped for ‘Eternals’. Now, “Black Widow” has been moved to summer 2021 and ‘Eternals’ to fall 2021. We don’t fully know how the COVID-19 pandemic will impact films still in development. As of now, here’s what the future looks like for MCU and DC Universe currently: Wonder Woman 1984 (December 25, 2020) There are still many mysteries surrounding the plot of ‘Wonder Woman 1984’, but Patty Jenkins has noted that the year simultaneously featured both the best and worst of humanity on the global scale. Gal Gadot will be back in her classic armour for the adventure as Wonder Woman, while (surprisingly) Chris Pine will also be back as the formerly-dead Steve Trevor. Kristin Wiig will be playing one of the central villains of the film, the classic Wonder Woman antagonist Cheetah (though she starts the story as Diana's nerdy gal pal Barbara Ann Minerva), and Pedro Pascal is playing Maxwell Lord – a scrupulous businessman who is selling people their dreams... for a horrible price. Black Widow (May 2021) Directed by Cate Shortland, Black Widow will see Scarlett Johansson returning as Natasha Romanoff; Stranger Things’ David Harbour as Alexi; Florence Pugh as Yelena Belova (a “sister figure to Natasha” who takes up the Black Widow mantle in the comics, hint, hint); O-T Fagbenle as Mason, and Rachel Weisz as Melina Vostokoff AKA Iron Maiden in the comics. The Taskmaster will also be in the Black Widow movie, but we don't know who's behind the mask just yet. The story, according to director Cate Shortland, will have the audience understanding Black Widow’s past and “she gets to put all the pieces of herself back together.” Shang-Chi: And the Legend of the Ten Rings (July 2021) Releasing on July 9, 2021, the first Asian-led superhero movie will feature Simu Liu as Shang-Chi, the Master of Kung-Fu. Tony Leung will be playing the real Mandarin and leader of the Ten Rings. Awkwafina will also appear in Shang-Chi in an as-yet-unnamed role. View this post on Instagram A post shared by Marvel Studios (@marvelstudios) × The Suicide Squad (August 2021) Although David Ayer's Suicide Squad was not exactly critically-acclaimed, the film was definitely still successful enough at the box office to warrant a sequel. And what's more, the DC Extended Universe has dipped into the Marvel Studios talent pool to help get the film made. After being fired from Guardians of the Galaxy Vol. 3 by Disney, it was revealed that Warner Bros. pursued James Gunn to write the script for Suicide Squad 2, and after a long period of speculation he signed on to direct it as well. The film will be titled The Suicide Squad, and it’s been said that it won’t really be a direct follow-up to Ayer’s movie, but instead will take the premise in a different direction while still featuring some of the same characters. Margot Robbie, Jai Courtney, Viola Davis, and Joel Kinnaman are all set to return as Harley Quinn, Captain Boomerang, Amanda Waller, and Rick Flag, respectively, and the rest of the cast includes David Dastmalchian as Polka-Dot Man, John Cena as Peacemaker, Daniela Melchior as Ratcatcher 2, Idris Elba as Bloodsport, Flula Borg as Javelin, Nathan Fillion as T.D.K., Peter Capaldi as The Thinker, Pete Davidson as Blackguard. Eternals (November 2021) Eternals will now be the third Phase 4 movie and is releasing on November 5, 2021. It's also had a name change: Eternals instead of The Eternals. The Eternals cast includes Richard Madden as Ikaris, Angelina Jolie as Thena, Kumail Nanjiani will be playing Kingo, Salma Hayek (Ajak, the “leader of the Eternals,” according to Feige), Brian Tyree Henry (Phastos, a “genius,” says the actor), Don Lee as the hulking Gilgamesh, while Lia McHugh and The Walking Dead’s Lauren Ridloff rounds out the currently confirmed cast, playing Sprite and Makkari respectively. Game of Thrones actor Kit Harington will also appear as the Black Knight. Feige himself has given a small peek into what to expect from the Eternals story, having told ComicBook.com: “It will be a story that will introduce you to this incredibly eclectic group of immortals, they're the focus of the story." He said of the setting: "It takes place in our universe – it takes place in the MCU.” Spiderman 3, (December 2021) The untitled Spider-Man 3 has been confirmed for December 17, 2021 after a delay and will be part of Marvel Phase 4. The masked hero of the neighbourhood went through its own identity crisis this year. First, Sony and Marvel's Spider-Man agreement broke down. The result? Spider-Man was out of the MCU. Then Tom Holland spoke out about it, saying: "It's been a crazy week... I love you 3000." Sony Pictures chairman Tony Vinciquerra even firmly stated "the door is closed" on a Spider-Man return. View this post on Instagram A post shared by Tom Holland (@tomholland2013) × Later, Spider-Man returned to the MCU in late September, alongside news of a Spider-Man threequel (something Tom Holland had previously called, "something very special") and that the character would appear in a "future Marvel Studios" project. Holland's Peter Parker will also feature in Sony movies moving forward. Thor: Love and Thunder (February 2022) Thor: Love and Thunder – initially the last movie of Marvel Phase 4 before a release date reshuffle – is coming on February 11, 2022, and will see Jane Foster (Natalie Portman) as the new Thor (now officially called Mighty Thor). Chris Hemsworth will be back at the God of Thunder, while Tessa Thompson is playing Valkyrie for the third time in the MCU. Taika Waititi is also returning to direct and write Love and Thunder. The villain of the piece is reportedly none other than ex-Batman actor Christian Bale. The Batman (March 2022) Batman is a project that has certainly had more than its fair share of ups and downs. At one point this was to be a DC Extended Universe film directed by Ben Affleck and was going to feature the titular hero going up against Joe Manganiello as Deathstroke. But that’s not at all the form in which the movie now exists. Instead, director Matt Reeves is now at the helm, and the franchise has decided to go in a totally new direction with the Caped Crusader, specifically by hiring Robert Pattinson to play the new big-screen version of Bruce Wayne a.k.a. Batman for what can be described as an Elseworld story. Doctor Strange in the Multiverse of Madness (March 2022) All has changed in the Sanctum Sanctorum for the Doctor Strange sequel, which is now slated for March 25, 2022. The sequel was initially meant to come before Thor: Love and Thunder but was moved to after in a release date reshuffle. Director Scott Derrickson, who helmed the original Doctor Strange, has departed Multiverse of Madness, citing “creative differences.” No replacement has yet been officially announced, though Sam Raimi told a conference call at which GamesRadar+ was present that he will be involved in the project. Many films are already in the pipelines including ‘Black Panther 2’, ‘Captain Marvel 2’ in the MCU and ‘Aquaman 2’, ‘The Flash’ in the DC Universe. This year, the superheroes, well-equipped to fight the Nazis, aliens, secret world and magical beings, found themselves lost in the pandemic. It’ll be nice to see how the heroes bring back hope in a world that has become more gloomy and dark. The makers will be at their wit’s end to include some fraction of the dramatic reality being experienced by all, the fans are all in to see that. The schedule till 2022 looks exciting, provided, no other virus attacks the world.

How the uncertainty of 2020 affected films from Marvel and DC Universe

<p dir="ltr">There are reality-based shows that you love, shows that you like and shows that you binge out of habit. Then there is Karan Johar’s Dharmatic Productions' ‘Fabulous Lives of Bollywood Wives’, a show that so badly wants to be a guilt binge, that it even fails at being a proper cringe.<br />
<br />
'Fabulous Lives of Bollywood Wives' dwindles somewhere between ‘Keeping Up With The Kardashians’ and ‘Real Housewives of Beverly Hills’. The four women in the series - Bhavana Panday, Maheep Kapoor, Seema Khan and Neelam Kothari Soni - are celebs, living lives&nbsp;beyond the&nbsp;media spotlight. Bhavana, Chunky Panday's wife and mother of Ananya Pandey. Maheep is the wife of Sanjay Kapoor and is part of one of Bollywood’s legacy families. Seema Khan is Sohail Khan's wife, and a fashion designer and then we have 80s popular face and now a jewellery designer Neelam who is married to actor Samir Soni.<br />
<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/5IQ645-UUV4" width="560"></iframe><br />
It has all the elements to attract any person invested in Bollywood (urm.. Nearly half of India) with names that are famous enough to gossip about, but not enough to gain the national spotlight. The eight-episode series wants to be flashy but lacks the sheen.<br />
<br />
It had the spunk in the idea but alas, the four wives fail to make it appetising enough. At the age and stage when Kardashian-worshippers gobble up anything and everything ‘celebrity reality’ through the internet, ‘Bollywood Wives’ is too outdated.<br />
<br />
The four women are irrelevant and remain so till the end of the show. They try so hard to be pretentious enough for the viewers to peek into their lives, but even their shallowness feels shallow. Everything feels staged, from their talks to their reactions and the extra effort put in by Karan to turn segments into an unfiltered Koffee With Karan (lite). Maheep Kapoor tries her best to be this obnoxious yet lovable leader of the clan, with her undying urge to stay millennial-friendly. However, it feels someone failed to give her a memo that not every word needs to be this loud and about to gain attention, the lazy presence of the other three anyway helps her the most to shine (if you would like to call it that). Bhavana Pandey feels like a misfit in the series. Either she is too poised or too scared to be in a show that promises to bare-all about their lives. Seema Khan is respite in a few episodes, promising to stir some drama effortlessly but then it fizzles out when focus shifts to our fourth Bollywood wife Neelam.<br />
<br />
One can say that the whole show was kind of orchestrated to bring Neelam back on the public radar. The emphasis on her getting back to acting is so much, and so staged that it felt unreal. All the conversation feels imposed, otherwise which tight-knit group of 25 years acts like they’ve never been on a vacation together and discovering (don’t confuse it with re-discovering) a different side of one another.<br />
<br />
The plus of any reality-based show is its intrigue and power to present a narrative that is glamorous yet relatable. Here, the makers have made it glamorous but forgot to make it even a bit relatable. It might have worked as a Netflix fiction show about four middle-aged women, but as a reality show, it’s just lazy and disappointing.<br />
<br />
<a href="https://www.wionews.com/entertainment/karan-johar-strikes-pose-with-bollywood-wives-as-fabulous-lives-premiers-on-netflix-345859">Also see:&nbsp;Karan Johar strikes pose with 'Bollywood wives' as 'Fabulous Lives' premiers on Netflix</a><br />
<br />
The final episode is the only one where the viewer feels the magic of the show-biz and that’s because of the presence of Shah Rukh Khan and Gauri. Had the makers taken her along with the likes of Twinkle Khanna, Sussanne Khan and Malaika Arora, that would’ve made for a killer binge-show, but then that’s wishful thinking. At times the show also feels like a justification on Nepotism by the likes of Maheep who says ‘what can one do about it’ and Karan Johar trying to give it an emotional spin, making the show feel soppy rather than spunky.<br />
<br />
Honestly, as a connoisseur of cringe-binge, I had high hopes from '....Bollywood Wives' but it just failed to be ‘too bad that’s it’s good’. All this show gives you is a yawn, a dashing Shah Rukh Khan for 10 mins and an accent that comes and goes at its own convenience. Oh and also a future announcement that Neelam is coming back onscreen, most likely in some ‘Dharmatic Production’.<br />
<br />
If Karan is seriously considering making ‘Fabulous Lives’ into a franchise, it would be better to cast the kids next. They seriously felt more intriguing and interesting than their mothers, who think that hummus is the most difficult dish to make on this earth.<br />
<br />
To be honest more drama happened in my life while watching the show, than in the lives of four women combined. If that doesn’t speak B-O-R-I-N-G, I don’t know what else will.</p>


There are reality-based shows that you love, shows that you like and shows that you binge out of habit. Then there is Karan Johar’s Dharmatic Productions' ‘Fabulous Lives of Bollywood Wives’, a show that so badly wants to be a guilt binge, that it even fails at being a proper cringe.

There are reality-based shows that you love, shows that you like and shows that you binge out of habit. Then there is Karan Johar’s Dharmatic Productions' ‘Fabulous Lives of Bollywood Wives’, a show that so badly wants to be a guilt binge, that it even fails at being a proper cringe. 'Fabulous Lives of Bollywood Wives' dwindles somewhere between ‘Keeping Up With The Kardashians’ and ‘Real Housewives of Beverly Hills’. The four women in the series - Bhavana Panday, Maheep Kapoor, Seema Khan and Neelam Kothari Soni - are celebs, living lives beyond the media spotlight. Bhavana, Chunky Panday's wife and mother of Ananya Pandey. Maheep is the wife of Sanjay Kapoor and is part of one of Bollywood’s legacy families. Seema Khan is Sohail Khan's wife, and a fashion designer and then we have 80s popular face and now a jewellery designer Neelam who is married to actor Samir Soni. It has all the elements to attract any person invested in Bollywood (urm.. Nearly half of India) with names that are famous enough to gossip about, but not enough to gain the national spotlight. The eight-episode series wants to be flashy but lacks the sheen. It had the spunk in the idea but alas, the four wives fail to make it appetising enough. At the age and stage when Kardashian-worshippers gobble up anything and everything ‘celebrity reality’ through the internet, ‘Bollywood Wives’ is too outdated. The four women are irrelevant and remain so till the end of the show. They try so hard to be pretentious enough for the viewers to peek into their lives, but even their shallowness feels shallow. Everything feels staged, from their talks to their reactions and the extra effort put in by Karan to turn segments into an unfiltered Koffee With Karan (lite). Maheep Kapoor tries her best to be this obnoxious yet lovable leader of the clan, with her undying urge to stay millennial-friendly. However, it feels someone failed to give her a memo that not every word needs to be this loud and about to gain attention, the lazy presence of the other three anyway helps her the most to shine (if you would like to call it that). Bhavana Pandey feels like a misfit in the series. Either she is too poised or too scared to be in a show that promises to bare-all about their lives. Seema Khan is respite in a few episodes, promising to stir some drama effortlessly but then it fizzles out when focus shifts to our fourth Bollywood wife Neelam. One can say that the whole show was kind of orchestrated to bring Neelam back on the public radar. The emphasis on her getting back to acting is so much, and so staged that it felt unreal. All the conversation feels imposed, otherwise which tight-knit group of 25 years acts like they’ve never been on a vacation together and discovering (don’t confuse it with re-discovering) a different side of one another. The plus of any reality-based show is its intrigue and power to present a narrative that is glamorous yet relatable. Here, the makers have made it glamorous but forgot to make it even a bit relatable. It might have worked as a Netflix fiction show about four middle-aged women, but as a reality show, it’s just lazy and disappointing. Also see: Karan Johar strikes pose with 'Bollywood wives' as 'Fabulous Lives' premiers on Netflix The final episode is the only one where the viewer feels the magic of the show-biz and that’s because of the presence of Shah Rukh Khan and Gauri. Had the makers taken her along with the likes of Twinkle Khanna, Sussanne Khan and Malaika Arora, that would’ve made for a killer binge-show, but then that’s wishful thinking. At times the show also feels like a justification on Nepotism by the likes of Maheep who says ‘what can one do about it’ and Karan Johar trying to give it an emotional spin, making the show feel soppy rather than spunky. Honestly, as a connoisseur of cringe-binge, I had high hopes from '....Bollywood Wives' but it just failed to be ‘too bad that’s it’s good’. All this show gives you is a yawn, a dashing Shah Rukh Khan for 10 mins and an accent that comes and goes at its own convenience. Oh and also a future announcement that Neelam is coming back onscreen, most likely in some ‘Dharmatic Production’. If Karan is seriously considering making ‘Fabulous Lives’ into a franchise, it would be better to cast the kids next. They seriously felt more intriguing and interesting than their mothers, who think that hummus is the most difficult dish to make on this earth. To be honest more drama happened in my life while watching the show, than in the lives of four women combined. If that doesn’t speak B-O-R-I-N-G, I don’t know what else will.

'Fabulous Lives of Bollywood Wives' review: Lack of drama & oomph makes it a skippable cringe rather than guilt-binge

<p>This is the season of Christmas Corona. So it’s obvious for the heart, that’s been trained so well to appreciate extra cheesy and warm romantic comedies during the festivities, to look for a spark of familiar magic, even in a year as tragic as 2020. And Netflix’s ‘Dash and Lily’ is exactly that. A familiar warm spark of magic on a cold winter night.&nbsp;</p>

<p>The eight-episode series is based on David Levithan and Rachel Cohn’s young adult novel - ‘Dash &amp; Lily’s Book of Dares.’ The story speeds past, making you root for characters as you prepare for the holidays in a glum year. It puts a new spin on the Christmas rom-com that feels fresh, entertaining and a bit edgy.&nbsp;</p>

<p><br />
The series begins with grumpy, Grinch-like Dash (Austin Abrams), who stumbles upon a mysterious notebook at The Strand labelled “Do you dare…?” The notebook consists of clues that could potentially lead him to the girl that might be the one for him. A flashback shows Lily (Midori Francis), a peppy but lonely girl, creating the notebook and filling it with clues in hopes of finding love during an otherwise disappointing Christmas. They communicate and bond via the notebook, daring each other through a New York City-wide book exchange. Throughout this ‘dare-venture’ the two never meet in person, which allows them to be more open with each other.&nbsp;<br />
<br />
&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/AmW5GO6btMM" width="560"></iframe></p>

<p><br />
‘Dash &amp; Lily’ builds on an equally lovable supporting cast, with standouts like Dash’s forbearing best friend, Boomer (Dante Brown), who helps connect the pair by secretly talking to Lily. Lily’s supportive brother (Troy Iwata) and his boyfriend (Diego Guevara) to her strict Asian American grandfather (James Saito) and her free-spirited Asian American great aunt (Jodi Long). The contrasting characters create a carefree world that’s easy to slip into for a few hours. Conflict arises when Dash’s ex-girlfriend, Sofia (Keana Marie), returns to the city and wants to get back together and Lily confronts her school-bully Edgar.&nbsp;</p>

<p>Throughout the story, the characters connect with each other in a spirited Christmas fashion, yet the vibrancy feels real and something you would love to see happen in reality. The vibrant mise en scene adds to the charm of ‘Dash &amp; Lily’. With clips of Dyker Heights’ Christmas decorations, New York Central’s beautiful madness, local pizza and video rental store, the show provides a glimpse into “real” New York. Even the events that the characters dare each other to attend — like a Hanukkah punk show — more accurately reflect life in New York than what is typical in romantic comedies. There are many iconic landmarks shown in passing like Radio City Music Hall and Rockefeller center along with lesser-known ones like The Strand, satisfying book nerds everywhere. The backdrop of New York for Dash and Lily’s budding romance keeps you invested and looking for more.&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/d_Bb8wRx_T4" width="560"></iframe></p>

<p>The show lets you sink into a fantastic world of possibility with the classic note of ‘love triumphs all’. However, 'Dash and Lily' does go an extra mile in making it even more relevant in 2020, with certain family dynamics, understanding the culture of bullying and challenging the notion of ‘fairy tales as stories written by men to make them feel more secure about their masculinity’. Interestingly, the story itself plays on numerous references, particularly from ‘Alice in Wonderland’ and ‘Cinderella’, asserting that the series is a romance for the ‘misfits of the world’.</p>

<p>With its charismatic cast and refreshing view of New York City, this show takes its audience on a ride that has everyone hanging on tight until it’s over. The dynamics between the characters are thoughtfully constructed throughout the series of clues and dares to have you rooting for the duo to get together in the end.&nbsp;</p>

<p>If you’re yet to start your Christmas binge and are confused where to start from ‘Dash &amp; Lily’ is the perfect start. It’s a must-binge for a dash of lightheartedness in a gloomy year and lily-like freshness to the overdone genre of Christmas romance. <a href="https://www.wionews.com/entertainment/hollywood/news-watch-nick-jonas-and-brothers-make-a-cameo-in-new-netflix-show-dash--lily-342219">Oh and also, there’s Nick Jonas giving you some insight into his proposal to Priyanka Chopra.</a>&nbsp;</p>

<p>PS: A Jonas concert at Hudson Yards is just an added marshmallow in this hot cup of perfect teenage romance.&nbsp;</p>


This is the season of Christmas Corona. So it’s obvious for the heart, that’s been trained so well to appreciate extra cheesy and warm romantic comedies during the festivities, to look for a spark of familiar magic, even in a year as tragic as 2020.

This is the season of Christmas Corona. So it’s obvious for the heart, that’s been trained so well to appreciate extra cheesy and warm romantic comedies during the festivities, to look for a spark of familiar magic, even in a year as tragic as 2020. And Netflix’s ‘Dash and Lily’ is exactly that. A familiar warm spark of magic on a cold winter night. The eight-episode series is based on David Levithan and Rachel Cohn’s young adult novel - ‘Dash & Lily’s Book of Dares.’ The story speeds past, making you root for characters as you prepare for the holidays in a glum year. It puts a new spin on the Christmas rom-com that feels fresh, entertaining and a bit edgy. The series begins with grumpy, Grinch-like Dash (Austin Abrams), who stumbles upon a mysterious notebook at The Strand labelled “Do you dare…?” The notebook consists of clues that could potentially lead him to the girl that might be the one for him. A flashback shows Lily (Midori Francis), a peppy but lonely girl, creating the notebook and filling it with clues in hopes of finding love during an otherwise disappointing Christmas. They communicate and bond via the notebook, daring each other through a New York City-wide book exchange. Throughout this ‘dare-venture’ the two never meet in person, which allows them to be more open with each other. ‘Dash & Lily’ builds on an equally lovable supporting cast, with standouts like Dash’s forbearing best friend, Boomer (Dante Brown), who helps connect the pair by secretly talking to Lily. Lily’s supportive brother (Troy Iwata) and his boyfriend (Diego Guevara) to her strict Asian American grandfather (James Saito) and her free-spirited Asian American great aunt (Jodi Long). The contrasting characters create a carefree world that’s easy to slip into for a few hours. Conflict arises when Dash’s ex-girlfriend, Sofia (Keana Marie), returns to the city and wants to get back together and Lily confronts her school-bully Edgar. Throughout the story, the characters connect with each other in a spirited Christmas fashion, yet the vibrancy feels real and something you would love to see happen in reality. The vibrant mise en scene adds to the charm of ‘Dash & Lily’. With clips of Dyker Heights’ Christmas decorations, New York Central’s beautiful madness, local pizza and video rental store, the show provides a glimpse into “real” New York. Even the events that the characters dare each other to attend — like a Hanukkah punk show — more accurately reflect life in New York than what is typical in romantic comedies. There are many iconic landmarks shown in passing like Radio City Music Hall and Rockefeller center along with lesser-known ones like The Strand, satisfying book nerds everywhere. The backdrop of New York for Dash and Lily’s budding romance keeps you invested and looking for more. The show lets you sink into a fantastic world of possibility with the classic note of ‘love triumphs all’. However, 'Dash and Lily' does go an extra mile in making it even more relevant in 2020, with certain family dynamics, understanding the culture of bullying and challenging the notion of ‘fairy tales as stories written by men to make them feel more secure about their masculinity’. Interestingly, the story itself plays on numerous references, particularly from ‘Alice in Wonderland’ and ‘Cinderella’, asserting that the series is a romance for the ‘misfits of the world’. With its charismatic cast and refreshing view of New York City, this show takes its audience on a ride that has everyone hanging on tight until it’s over. The dynamics between the characters are thoughtfully constructed throughout the series of clues and dares to have you rooting for the duo to get together in the end. If you’re yet to start your Christmas binge and are confused where to start from ‘Dash & Lily’ is the perfect start. It’s a must-binge for a dash of lightheartedness in a gloomy year and lily-like freshness to the overdone genre of Christmas romance. Oh and also, there’s Nick Jonas giving you some insight into his proposal to Priyanka Chopra. PS: A Jonas concert at Hudson Yards is just an added marshmallow in this hot cup of perfect teenage romance.

'Dash and Lily' review: This Netflix series is a perfect start to Christmas binge season

<p>A legacy in television’s horror-fiction genre has come to an end with 'Supernatural'. A legacy that started in 2005, with a small vision of creating a space that terrifies people, intrigues them and pays homage to the urban legend of America. It’s 2020, and that small space of horror transformed itself into a phoenix that rose from the doubts and critique of people and flew high enough to be seen as a pathbreaking interpretation of a genre - weaving everything from biblical myths to never-seen-before brotherly bonds.<br />
<br />
&nbsp;</p>

<div class="ui-state-default" contenteditable="false">
<div class="twitter-block" draggable="false">
<blockquote class="twitter-tweet">
<p dir="ltr" lang="en">The end of an era 😭 Stream the series finale of <a href="https://twitter.com/hashtag/Supernatural?src=hash&amp;ref_src=twsrc%5Etfw">#Supernatural</a> now: <a href="https://t.co/qZmBzKkln2">https://t.co/qZmBzKkln2</a> <a href="https://t.co/c8jRKoIkZx">pic.twitter.com/c8jRKoIkZx</a></p>
— Supernatural (@cw_spn) <a href="https://twitter.com/cw_spn/status/1329832286846640129?ref_src=twsrc%5Etfw">November 20, 2020</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script></div>
<a class="close-mark close-div" href="#" id="jqclosemark">×</a></div>

<p>&nbsp;</p>

<p><br />
<br />
From the fan-boy of urban legends to the father of the giant Supernatural family that evolved and grew every season for 15 years, Eric Kripke, would be a proud man today. The SPN family is in mourning as the show comes to an end. Supernatural began as a story of two brothers, distinctly different from one another, going in search of their father in an Impala, hunting monsters and ‘things’ lurking in the dark. This story went on to be an epic saga of the apocalypse, devils vs angels, light vs dark, life vs death and in between all the earthly monsters. However, the key string among this all remained - Sam and Dean Winchester. Played by Jared Padalecki and Jenson Ackles, respectively.<br />
<br />
The bond between the brothers on a television space was never seen before. A sibling duo that was inseparable, come what may. Even death couldn’t do them part. This bond went on to become&nbsp;the heart and soul of the show, something the fans connected with more than the mythical storytelling or the actions. The concept of family staying by your side, through thick or thin, be it God or Lucifer, struck the chord with&nbsp;so many people. Thus, resulting in it being repeated in several other&nbsp;CW shows (The Vampire Diaries, The Originals, etc.)<br />
<br />
'Supernatural'&nbsp;was always a show I watched in snippets during school days because it was horror, it went from being that utterly satisfying horror show to a never-ending tale of overcoming human misery more than anything. With every season finale, there was a hope of return. When the show almost ended with the apocalypse (Season 5), there was a part of me that knew Sam would return and he did. Then the concept of death became futile, more like another adventure for the Winchester boys, till ‘Carry On’. The finale of Season 15 saw death being embraced like a friend, like peace, and from that, you know the adventure of Winchester boys has finally reached its destination.<br />
&nbsp;</p>

<div class="ui-state-default" contenteditable="false">
<div class="twitter-block" draggable="false">
<blockquote class="twitter-tweet">
<p dir="ltr" lang="en">They always knew this time would come. <a href="https://twitter.com/hashtag/Supernatural?src=hash&amp;ref_src=twsrc%5Etfw">#Supernatural</a> <a href="https://twitter.com/hashtag/SPNFamilyForever?src=hash&amp;ref_src=twsrc%5Etfw">#SPNFamilyForever</a> <a href="https://t.co/ISMg20y1KC">pic.twitter.com/ISMg20y1KC</a></p>
— Supernatural (@cw_spn) <a href="https://twitter.com/cw_spn/status/1329612508718514177?ref_src=twsrc%5Etfw">November 20, 2020</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script></div>
<a class="close-mark close-div" href="#" id="jqclosemark">×</a></div>

<p>&nbsp;</p>

<p><br />
<br />
What Supernatural means to the fans is something hard to explain. It’s a treat for horror-fantasy fans. It’s original, engaging and humorous in a dark, twisted, complicated way. The reason it was widely accepted despite average reviews on most occasions by the critics, because it appealed to a lot, in ways that were beyond just the makings and workings of a good show. It sat at an emotional level with fans, who grew-up each day with the complications of Sam and Dean and their broken lives. They adjusted into lives with Castiel and searched and re-evaluated their beliefs, and above all they learnt to never give up on family - blood or chosen- even when death hands you its scythe (quite literally).<br />
<br />
The take on mythology by the series was another interesting aspect that kept the show going for 15 long years. From biblical creatures and concepts of hell and heaven, the show shed light on everything with a humane perspective. Here, not everything was like we know of it. Demons understood humans, angels were not guardians, monsters were friends, and God was this narcissistic, self-centred loner who orchestrated things like a story, to keep himself amused. Everything that had a life, either damned or divine, moved in the grey area in the Supernatural world, thus making it as real to life as possible.<br />
&nbsp;</p>

<div class="ui-state-default" contenteditable="false">
<div class="twitter-block" draggable="false">
<blockquote class="twitter-tweet">
<p dir="ltr" lang="en">They're free to write their own stories. Stream the latest <a href="https://twitter.com/hashtag/Supernatural?src=hash&amp;ref_src=twsrc%5Etfw">#Supernatural</a>: <a href="https://t.co/qZmBzKkln2">https://t.co/qZmBzKkln2</a> <a href="https://t.co/C5maxa57ov">pic.twitter.com/C5maxa57ov</a></p>
— Supernatural (@cw_spn) <a href="https://twitter.com/cw_spn/status/1328382440793116675?ref_src=twsrc%5Etfw">November 16, 2020</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script></div>
<a class="close-mark close-div" href="#" id="jqclosemark">×</a></div>

<p>&nbsp;</p>

<p><br />
<br />
It’s hard to pinpoint for a fan, as to what worked for so long for the series. There were times when the plotline seemed stretched and life got too busy to continue watching a childhood show, but the grip never left. The urge to peek into the lives of the Winchesters and their adventures. The innate sense of closure, praying for a peaceful, deserving end for the central characters, like any fan favourite. So when the penultimate episode of the final season aired, it was a fitting end to wrap up the season story - the story of God and the story of Jack. However, the finale had to be about tying the ends of Winchesters, and closing the loop that started the series. ‘Carry On’ did just that. More than an episode, it was an ode to the screen-lives of the Winchesters, what they stood for and what they ultimately deserved - to be with each other till the end of time.<br />
<br />
When your favourite show comes to an end, there’s always a void that’s left behind. Interestingly, with Supernatural that’s hardly going to be the case. As it is going to leave behind a special memory with all its crazy, meta episodes, with all its interpretations of good-old stories, and with a long road of memory that goes both ways - to the end and to the beginning. Now that we fans know the end, it’ll be easier to take the binge road to the beginning and start all over again.<br />
&nbsp;</p>

<div class="ui-state-default" contenteditable="false">
<div class="twitter-block" draggable="false">
<blockquote class="twitter-tweet">
<p dir="ltr" lang="en">Freaky Moment #3: The walking dead 🧟Catch more to-die-for moments before <a href="https://twitter.com/hashtag/Supernatural?src=hash&amp;ref_src=twsrc%5Etfw">#Supernatural</a>'s series finale on November 19 and <a href="https://twitter.com/hashtag/freakymovie?src=hash&amp;ref_src=twsrc%5Etfw">#freakymovie</a>'s release this Friday the 13th, starring <a href="https://twitter.com/kathrynnewton?ref_src=twsrc%5Etfw">@kathrynnewton</a>. <a href="https://twitter.com/UniversalHorror?ref_src=twsrc%5Etfw">@UniversalHorror</a> <a href="https://t.co/CqsXkoJMyx">pic.twitter.com/CqsXkoJMyx</a></p>
— Supernatural (@cw_spn) <a href="https://twitter.com/cw_spn/status/1326540192858185728?ref_src=twsrc%5Etfw">November 11, 2020</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script></div>
<a class="close-mark close-div" href="#" id="jqclosemark">×</a></div>

<p>&nbsp;</p>

<p><br />
<br />
To the show that meant more than just another horror story, a show that showed family can be chosen, a show that showed enchanting vulnerabilities between two brothers and a show that taught that faith is all about saving people no matter the sacrifice. And, a show that lived up to every word of Kansas’ song ‘Carry On My Wayward Son’, a song that became synonymous to the show.<br />
<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/2X_2IdybTV0" width="560"></iframe><br />
Indeed, in the end, there was peace when they got done. A long well deserved rest to a show that wrote it’s own legacy. To ‘saving people, hunting things’, forever, till the end of time.</p>


A legacy in television’s horror-fiction genre has come to an end with 'Supernatural'. A legacy that started in 2005, with a small vision of creating a space that terrifies people, intrigues them and pays homage to the urban legend of America.

A legacy in television’s horror-fiction genre has come to an end with 'Supernatural'. A legacy that started in 2005, with a small vision of creating a space that terrifies people, intrigues them and pays homage to the urban legend of America. It’s 2020, and that small space of horror transformed itself into a phoenix that rose from the doubts and critique of people and flew high enough to be seen as a pathbreaking interpretation of a genre - weaving everything from biblical myths to never-seen-before brotherly bonds. The end of an era 😭 Stream the series finale of #Supernatural now: https://t.co/qZmBzKkln2 pic.twitter.com/c8jRKoIkZx — Supernatural (@cw_spn) November 20, 2020 × From the fan-boy of urban legends to the father of the giant Supernatural family that evolved and grew every season for 15 years, Eric Kripke, would be a proud man today. The SPN family is in mourning as the show comes to an end. Supernatural began as a story of two brothers, distinctly different from one another, going in search of their father in an Impala, hunting monsters and ‘things’ lurking in the dark. This story went on to be an epic saga of the apocalypse, devils vs angels, light vs dark, life vs death and in between all the earthly monsters. However, the key string among this all remained - Sam and Dean Winchester. Played by Jared Padalecki and Jenson Ackles, respectively. The bond between the brothers on a television space was never seen before. A sibling duo that was inseparable, come what may. Even death couldn’t do them part. This bond went on to become the heart and soul of the show, something the fans connected with more than the mythical storytelling or the actions. The concept of family staying by your side, through thick or thin, be it God or Lucifer, struck the chord with so many people. Thus, resulting in it being repeated in several other CW shows (The Vampire Diaries, The Originals, etc.) 'Supernatural' was always a show I watched in snippets during school days because it was horror, it went from being that utterly satisfying horror show to a never-ending tale of overcoming human misery more than anything. With every season finale, there was a hope of return. When the show almost ended with the apocalypse (Season 5), there was a part of me that knew Sam would return and he did. Then the concept of death became futile, more like another adventure for the Winchester boys, till ‘Carry On’. The finale of Season 15 saw death being embraced like a friend, like peace, and from that, you know the adventure of Winchester boys has finally reached its destination. They always knew this time would come. #Supernatural #SPNFamilyForever pic.twitter.com/ISMg20y1KC — Supernatural (@cw_spn) November 20, 2020 × What Supernatural means to the fans is something hard to explain. It’s a treat for horror-fantasy fans. It’s original, engaging and humorous in a dark, twisted, complicated way. The reason it was widely accepted despite average reviews on most occasions by the critics, because it appealed to a lot, in ways that were beyond just the makings and workings of a good show. It sat at an emotional level with fans, who grew-up each day with the complications of Sam and Dean and their broken lives. They adjusted into lives with Castiel and searched and re-evaluated their beliefs, and above all they learnt to never give up on family - blood or chosen- even when death hands you its scythe (quite literally). The take on mythology by the series was another interesting aspect that kept the show going for 15 long years. From biblical creatures and concepts of hell and heaven, the show shed light on everything with a humane perspective. Here, not everything was like we know of it. Demons understood humans, angels were not guardians, monsters were friends, and God was this narcissistic, self-centred loner who orchestrated things like a story, to keep himself amused. Everything that had a life, either damned or divine, moved in the grey area in the Supernatural world, thus making it as real to life as possible. They're free to write their own stories. Stream the latest #Supernatural: https://t.co/qZmBzKkln2 pic.twitter.com/C5maxa57ov — Supernatural (@cw_spn) November 16, 2020 × It’s hard to pinpoint for a fan, as to what worked for so long for the series. There were times when the plotline seemed stretched and life got too busy to continue watching a childhood show, but the grip never left. The urge to peek into the lives of the Winchesters and their adventures. The innate sense of closure, praying for a peaceful, deserving end for the central characters, like any fan favourite. So when the penultimate episode of the final season aired, it was a fitting end to wrap up the season story - the story of God and the story of Jack. However, the finale had to be about tying the ends of Winchesters, and closing the loop that started the series. ‘Carry On’ did just that. More than an episode, it was an ode to the screen-lives of the Winchesters, what they stood for and what they ultimately deserved - to be with each other till the end of time. When your favourite show comes to an end, there’s always a void that’s left behind. Interestingly, with Supernatural that’s hardly going to be the case. As it is going to leave behind a special memory with all its crazy, meta episodes, with all its interpretations of good-old stories, and with a long road of memory that goes both ways - to the end and to the beginning. Now that we fans know the end, it’ll be easier to take the binge road to the beginning and start all over again. Freaky Moment #3: The walking dead 🧟Catch more to-die-for moments before #Supernatural's series finale on November 19 and #freakymovie's release this Friday the 13th, starring @kathrynnewton. @UniversalHorror pic.twitter.com/CqsXkoJMyx — Supernatural (@cw_spn) November 11, 2020 × To the show that meant more than just another horror story, a show that showed family can be chosen, a show that showed enchanting vulnerabilities between two brothers and a show that taught that faith is all about saving people no matter the sacrifice. And, a show that lived up to every word of Kansas’ song ‘Carry On My Wayward Son’, a song that became synonymous to the show. Indeed, in the end, there was peace when they got done. A long well deserved rest to a show that wrote it’s own legacy. To ‘saving people, hunting things’, forever, till the end of time.

'Supernatural' Season 15 finale: A long road home to peace for the Winchester boys

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