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Look, up on the internet! It’s a clip, it’s a teaser… No! It’s the full Superman trailer we’ve been waiting for! After giving us bits and pieces, DC Studios has finally released a massive three-minute trailer for this summer’s Superman, written and directed by James Gunn. The sizzle reel finally gives a sense of the […]

The post Superman Trailer: 5 Awesome Things You Might Have Missed appeared first on Den of Geek.

Look, up on the internet! It’s a clip, it’s a teaser… No! It’s the full Superman trailer we’ve been waiting for!

After giving us bits and pieces, DC Studios has finally released a massive three-minute trailer for this summer’s Superman, written and directed by James Gunn. The sizzle reel finally gives a sense of the central conflict of the movie, in which Lex Luthor (Nicholas Hoult) takes advantage of public opinion turning against Superman when he stops a war in foreign lands. We also are hinted that these actions create ripples within the Daily Planet newsroom and cause friction with the movie’s pseudo-Justice League. Also somehow Lex Luthor is able to invade the Fortress of Solitude where he wrecks things with a character called the Engineer! And if you don’t know who the Engineer is, boy do we have some details to reveal to you…

“Ms. Lane,” 2025 Style

For all the kaiju and extra meta-humans that he’s including in Superman, Gunn has always insisted that the movie is primarily about Superman and the triangle between Clark, Lois, and Lex. The trailer makes that point in its first scenes, which also call back to a beloved moment in the original Superman movie from 1978.

Once again, we have Lois (Rachel Brosnahan) interviewing Superman (David Corenswet) to satisfy the world’s curiosity. But the tone is quite different from any version we’ve seen in the past. Owing perhaps to the already comfortable relationship between a Lois and Clark where she knows he is Superman, we see a feistier version of the Man of Steel. He almost gets defensive at Lois’ questions, with the hero insisting that he did good because it needed to be done, and that matters more than issues of international law.

More importantly though, we get to see one of the most crucial parts of any Superman performance, the transformation between mild-mannered Clark Kent and the Man of Steel. That transition was pulled off beautifully by Christopher Reeve in the original movie where he became a totally different person within one unbroken shot. It is a favorite moment for many in that movie, including Gunn.

Cut to 2025 and Corenswet does the same thing here, albeit it’s much more subtle. He’s slouched and sitting back when Clark agrees to let Lois interview Superman. But when it’s time for the interview to begin, he sits up and squares his shoulders. He gives a confident, hopeful look and drops his voice by an octave to begin. While not as pronounced as Reeve’s changes, the subtly matters. As demonstrated by the emphasis on Smallville here, with Pa Kent (Pruitt Taylor Vince) giving an inspirational voiceover, a job usually reserved for Supes’s Kryptonian father Jor-El, this Superman is both a son of Krypton and a son of Kansas. Neither is a fake. Both are his real identity and thus the lines between them will blur.

The Engineer’s Authority

The trailer underscores Lex Luthor’s role as the ultimate big bad. Driven by jealousy and refusing to respect an alien, Luthor thinks his mistrust has been proven correct when Superman stops a war. However, the well-groomed CEO has got a lot of other heavy hitters to help him out, including a woman in black leather whose hands turn into blades as they destroy the Fortress of Solitude.

That is the Engineer, played by María Gabriela de Faría, and she takes some explaining. The Engineer first debuted in 1999’s The Authority #1, written by Warren Ellis and penciled by Bryan Hitch. Part of the Wildstorm Universe, a comic book universe separate from the DC stable, the Authority were a collection of heroes who set themselves to making a better world by enforcing their will. Under the pen of Ellis and other writers, including Mark Millar and Grant Morrison, the Authority applied amoral realpolitik to superheroes, something antithetical to heroes such as the Justice League. In fact, the famed Superman story “What’s So Funny About Truth, Justice, and the American Way” saw Superman stand up to and rebuke a team modeled on the Authority. However, when DC took full control of the Wildstorm line, they integrated the Authority into the DC Universe where they are heroes with questionable tactics.

Judging by the trailer, Gunn plans to use the Engineer as more of a villain or at least antagonist. As in the comics, the Engineer has nano technology that allows her to change her body into a weapon, not unlike the T-1000 from Terminator 2. She’s clearly working alongside Lex here, but it’s hard to imagine that Gunn won’t have Supes teach the Engineer something about how to create a better world through inspiration instead of force.

Is That Ultraman? Bizarro?

Joining the Engineer in the fight against Superman is a hulking male figure in all leather. We’ve seen this figure before, duking it out with Superman in a stadium. But this is the best look that we’ve had at him so far, and the best look we’ve gotten at the emblem on his chest.

That “U” shaped design is familiar to comic book readers who recognize that as the emblem of Ultraman, the Superman of Earth-3. In the DC multiverse, Earth-3 is the evil dimension, in which Ultraman, Owlman, and Superwoman lead the Injustice League of America, taking the place of Superman, Batman, and Wonder Woman of the Justice League of America.

However, Ultraman usually has no problem showing his face and often runs around in a blue and red getup, not this leather number. And he certainly wouldn’t take orders from a weenie like Lex Luthor. So who is that guy? Given his massive powers and his hidden face, smart money suggests that the figure is in fact Bizarro, a flawed but super-strong clone of Superman. It would follow that Lex would make his own version of Superman and, in a blow against his hubris, get it wrong. That origin has been used for Bizarro in the comics, and it would fit within the themes that Gunn seems to be exploring.

Rick Flag Sr. of the Creature Commandos

One of the more confusing parts about James Gunn’s tenure as the co-head of DC Studios is that he’s doing only a partial reboot of the now defunct DCEU. Sure, Henry Cavill is out as Superman and it seems that the events of Justice League and Batman v Superman: The Dawn of Justice didn’t happen. But The Suicide Squad and Creature Commandos, or at least some version of them, did happen.

Thus far the only bridge between these worlds is Rick Flag Sr., who is played by Frank Grillo. We first met Flag in animated form in Creature Commandos, where he was assigned by Amanda Waller to lead Task Force M. Throughout that series, Flag expresses sorrow at the death of his son Rick Flag Jr., who was played by Joel Kinnaman in Suicide Squad and The Suicide Squad.

Flag doesn’t get to do much in this trailer other than look very serious and escort Superman into custody, alongside the Engineer and maybe-Bizarro. But his sober expression suggests that he still has a mistrust of guys who take things into their own hands, owing perhaps to his anger at Flagg’s death at the hands of Peacemaker during the mission to stop the Thinker from exploiting Starro the Conqueror in Corto Maltese. Remember?

The Superhero Prison With Metamorphosis and Amethyst(?!?)

The scenes of Superman in custody apparently lead to images of him in a sort of prison made of cubed glass, reminiscent of Magneto’s holding pen in X-Men or the monster cages in The Cabin in the Woods. Initially we see soldiers beating on Superman within the prison. Later he seems to have gained the power to bust out. In between we get a shot of Metamorpho, one of the more highly-anticipated characters in the movie. Played by Anthony Carrigan, Metamorpho has the ability to turn himself into any element (including Kryptonite, maybe?), and we see a bit of that power at work when his hands start to dissipate in a strange way.

Metamorpho is just one of the heroes who show up in the trailer, which also gives us better looks at Hawkgirl (Isabela Merced) flying through the sky, Mister Terrific (Edi Gathegi) using his T-spheres, and the Green Lantern Guy Gardner (Nathan Fillion) using his power ring in a particularly jerky way. But we also see glimpses of other figures in the prison, suggesting that there are somehow even more metahumans than we realized. It’s hard to see any of the others, save for the woman imprisoned in the cube to Superman’s left. There we see a blond woman in a pink dress who reacts in horror.

On one hand, that might just be a regular lady in a pink dress who, for some reason, gets sent to the same jail as Metamorpho and Superman. However, the outfit doesn’t look too different from the one worn by a C-list fantasy hero called Amethyst. Created by writers Dan Mishkin and Gary Cohn and artist Ernie Colón, Amethyst first debuted in 1983’s The Legion of Super-Heroes #298 and was soon spun off into her own comic. Amethyst is the princess of a magical place called Gemworld where she has high fantasy adventures.

Amethyst has carried her own series from time to time but doesn’t enjoy the same level of popularity as even Guy Gardner. But if Gunn’s going to delve into different genres for his version of the DC Universe, Amethyst is a great way to bring more fantasy into the world of superheroes.

Superman flies into theaters on July 11, 2025.

The post Superman Trailer: 5 Awesome Things You Might Have Missed appeared first on Den of Geek.

This article contains spoilers for Andor season 2 episodes 10, 11, and 12 and Rogue One. It feels like the Tony Gilroy-created Andor is already over before it even began. While season 1 of the sci-fi spy thriller moved at breakneck speed, the bold decision to split the final run of 12 episodes into four […]

The post Andor: Dedra Meero Gets the Most Fitting Fate of Any Star Wars Villain appeared first on Den of Geek.

Look, up on the internet! It’s a clip, it’s a teaser… No! It’s the full Superman trailer we’ve been waiting for!

After giving us bits and pieces, DC Studios has finally released a massive three-minute trailer for this summer’s Superman, written and directed by James Gunn. The sizzle reel finally gives a sense of the central conflict of the movie, in which Lex Luthor (Nicholas Hoult) takes advantage of public opinion turning against Superman when he stops a war in foreign lands. We also are hinted that these actions create ripples within the Daily Planet newsroom and cause friction with the movie’s pseudo-Justice League. Also somehow Lex Luthor is able to invade the Fortress of Solitude where he wrecks things with a character called the Engineer! And if you don’t know who the Engineer is, boy do we have some details to reveal to you…

“Ms. Lane,” 2025 Style

For all the kaiju and extra meta-humans that he’s including in Superman, Gunn has always insisted that the movie is primarily about Superman and the triangle between Clark, Lois, and Lex. The trailer makes that point in its first scenes, which also call back to a beloved moment in the original Superman movie from 1978.

Once again, we have Lois (Rachel Brosnahan) interviewing Superman (David Corenswet) to satisfy the world’s curiosity. But the tone is quite different from any version we’ve seen in the past. Owing perhaps to the already comfortable relationship between a Lois and Clark where she knows he is Superman, we see a feistier version of the Man of Steel. He almost gets defensive at Lois’ questions, with the hero insisting that he did good because it needed to be done, and that matters more than issues of international law.

More importantly though, we get to see one of the most crucial parts of any Superman performance, the transformation between mild-mannered Clark Kent and the Man of Steel. That transition was pulled off beautifully by Christopher Reeve in the original movie where he became a totally different person within one unbroken shot. It is a favorite moment for many in that movie, including Gunn.

Cut to 2025 and Corenswet does the same thing here, albeit it’s much more subtle. He’s slouched and sitting back when Clark agrees to let Lois interview Superman. But when it’s time for the interview to begin, he sits up and squares his shoulders. He gives a confident, hopeful look and drops his voice by an octave to begin. While not as pronounced as Reeve’s changes, the subtly matters. As demonstrated by the emphasis on Smallville here, with Pa Kent (Pruitt Taylor Vince) giving an inspirational voiceover, a job usually reserved for Supes’s Kryptonian father Jor-El, this Superman is both a son of Krypton and a son of Kansas. Neither is a fake. Both are his real identity and thus the lines between them will blur.

The Engineer’s Authority

The trailer underscores Lex Luthor’s role as the ultimate big bad. Driven by jealousy and refusing to respect an alien, Luthor thinks his mistrust has been proven correct when Superman stops a war. However, the well-groomed CEO has got a lot of other heavy hitters to help him out, including a woman in black leather whose hands turn into blades as they destroy the Fortress of Solitude.

That is the Engineer, played by María Gabriela de Faría, and she takes some explaining. The Engineer first debuted in 1999’s The Authority #1, written by Warren Ellis and penciled by Bryan Hitch. Part of the Wildstorm Universe, a comic book universe separate from the DC stable, the Authority were a collection of heroes who set themselves to making a better world by enforcing their will. Under the pen of Ellis and other writers, including Mark Millar and Grant Morrison, the Authority applied amoral realpolitik to superheroes, something antithetical to heroes such as the Justice League. In fact, the famed Superman story “What’s So Funny About Truth, Justice, and the American Way” saw Superman stand up to and rebuke a team modeled on the Authority. However, when DC took full control of the Wildstorm line, they integrated the Authority into the DC Universe where they are heroes with questionable tactics.

Judging by the trailer, Gunn plans to use the Engineer as more of a villain or at least antagonist. As in the comics, the Engineer has nano technology that allows her to change her body into a weapon, not unlike the T-1000 from Terminator 2. She’s clearly working alongside Lex here, but it’s hard to imagine that Gunn won’t have Supes teach the Engineer something about how to create a better world through inspiration instead of force.

Is That Ultraman? Bizarro?

Joining the Engineer in the fight against Superman is a hulking male figure in all leather. We’ve seen this figure before, duking it out with Superman in a stadium. But this is the best look that we’ve had at him so far, and the best look we’ve gotten at the emblem on his chest.

That “U” shaped design is familiar to comic book readers who recognize that as the emblem of Ultraman, the Superman of Earth-3. In the DC multiverse, Earth-3 is the evil dimension, in which Ultraman, Owlman, and Superwoman lead the Injustice League of America, taking the place of Superman, Batman, and Wonder Woman of the Justice League of America.

However, Ultraman usually has no problem showing his face and often runs around in a blue and red getup, not this leather number. And he certainly wouldn’t take orders from a weenie like Lex Luthor. So who is that guy? Given his massive powers and his hidden face, smart money suggests that the figure is in fact Bizarro, a flawed but super-strong clone of Superman. It would follow that Lex would make his own version of Superman and, in a blow against his hubris, get it wrong. That origin has been used for Bizarro in the comics, and it would fit within the themes that Gunn seems to be exploring.

Rick Flag Sr. of the Creature Commandos

One of the more confusing parts about James Gunn’s tenure as the co-head of DC Studios is that he’s doing only a partial reboot of the now defunct DCEU. Sure, Henry Cavill is out as Superman and it seems that the events of Justice League and Batman v Superman: The Dawn of Justice didn’t happen. But The Suicide Squad and Creature Commandos, or at least some version of them, did happen.

Thus far the only bridge between these worlds is Rick Flag Sr., who is played by Frank Grillo. We first met Flag in animated form in Creature Commandos, where he was assigned by Amanda Waller to lead Task Force M. Throughout that series, Flag expresses sorrow at the death of his son Rick Flag Jr., who was played by Joel Kinnaman in Suicide Squad and The Suicide Squad.

Flag doesn’t get to do much in this trailer other than look very serious and escort Superman into custody, alongside the Engineer and maybe-Bizarro. But his sober expression suggests that he still has a mistrust of guys who take things into their own hands, owing perhaps to his anger at Flagg’s death at the hands of Peacemaker during the mission to stop the Thinker from exploiting Starro the Conqueror in Corto Maltese. Remember?

The Superhero Prison With Metamorphosis and Amethyst(?!?)

The scenes of Superman in custody apparently lead to images of him in a sort of prison made of cubed glass, reminiscent of Magneto’s holding pen in X-Men or the monster cages in The Cabin in the Woods. Initially we see soldiers beating on Superman within the prison. Later he seems to have gained the power to bust out. In between we get a shot of Metamorpho, one of the more highly-anticipated characters in the movie. Played by Anthony Carrigan, Metamorpho has the ability to turn himself into any element (including Kryptonite, maybe?), and we see a bit of that power at work when his hands start to dissipate in a strange way.

Metamorpho is just one of the heroes who show up in the trailer, which also gives us better looks at Hawkgirl (Isabela Merced) flying through the sky, Mister Terrific (Edi Gathegi) using his T-spheres, and the Green Lantern Guy Gardner (Nathan Fillion) using his power ring in a particularly jerky way. But we also see glimpses of other figures in the prison, suggesting that there are somehow even more metahumans than we realized. It’s hard to see any of the others, save for the woman imprisoned in the cube to Superman’s left. There we see a blond woman in a pink dress who reacts in horror.

On one hand, that might just be a regular lady in a pink dress who, for some reason, gets sent to the same jail as Metamorpho and Superman. However, the outfit doesn’t look too different from the one worn by a C-list fantasy hero called Amethyst. Created by writers Dan Mishkin and Gary Cohn and artist Ernie Colón, Amethyst first debuted in 1983’s The Legion of Super-Heroes #298 and was soon spun off into her own comic. Amethyst is the princess of a magical place called Gemworld where she has high fantasy adventures.

Amethyst has carried her own series from time to time but doesn’t enjoy the same level of popularity as even Guy Gardner. But if Gunn’s going to delve into different genres for his version of the DC Universe, Amethyst is a great way to bring more fantasy into the world of superheroes.

Superman flies into theaters on July 11, 2025.

The post Superman Trailer: 5 Awesome Things You Might Have Missed appeared first on Den of Geek.

The old school action movie hero, like the old school movie star, is a dying breed. Tom Cruise is acutely aware of this since pretty much all of his franchised efforts in the 2020s have been about the glories of the fading old days and ways. Top Gun: Maverick, for example, explained why we still […]

The post Mission: Impossible – The Final Reckoning Review – Tom Cruise Fights the Big Goodbye appeared first on Den of Geek.

Look, up on the internet! It’s a clip, it’s a teaser… No! It’s the full Superman trailer we’ve been waiting for!

After giving us bits and pieces, DC Studios has finally released a massive three-minute trailer for this summer’s Superman, written and directed by James Gunn. The sizzle reel finally gives a sense of the central conflict of the movie, in which Lex Luthor (Nicholas Hoult) takes advantage of public opinion turning against Superman when he stops a war in foreign lands. We also are hinted that these actions create ripples within the Daily Planet newsroom and cause friction with the movie’s pseudo-Justice League. Also somehow Lex Luthor is able to invade the Fortress of Solitude where he wrecks things with a character called the Engineer! And if you don’t know who the Engineer is, boy do we have some details to reveal to you…

“Ms. Lane,” 2025 Style

For all the kaiju and extra meta-humans that he’s including in Superman, Gunn has always insisted that the movie is primarily about Superman and the triangle between Clark, Lois, and Lex. The trailer makes that point in its first scenes, which also call back to a beloved moment in the original Superman movie from 1978.

Once again, we have Lois (Rachel Brosnahan) interviewing Superman (David Corenswet) to satisfy the world’s curiosity. But the tone is quite different from any version we’ve seen in the past. Owing perhaps to the already comfortable relationship between a Lois and Clark where she knows he is Superman, we see a feistier version of the Man of Steel. He almost gets defensive at Lois’ questions, with the hero insisting that he did good because it needed to be done, and that matters more than issues of international law.

More importantly though, we get to see one of the most crucial parts of any Superman performance, the transformation between mild-mannered Clark Kent and the Man of Steel. That transition was pulled off beautifully by Christopher Reeve in the original movie where he became a totally different person within one unbroken shot. It is a favorite moment for many in that movie, including Gunn.

Cut to 2025 and Corenswet does the same thing here, albeit it’s much more subtle. He’s slouched and sitting back when Clark agrees to let Lois interview Superman. But when it’s time for the interview to begin, he sits up and squares his shoulders. He gives a confident, hopeful look and drops his voice by an octave to begin. While not as pronounced as Reeve’s changes, the subtly matters. As demonstrated by the emphasis on Smallville here, with Pa Kent (Pruitt Taylor Vince) giving an inspirational voiceover, a job usually reserved for Supes’s Kryptonian father Jor-El, this Superman is both a son of Krypton and a son of Kansas. Neither is a fake. Both are his real identity and thus the lines between them will blur.

The Engineer’s Authority

The trailer underscores Lex Luthor’s role as the ultimate big bad. Driven by jealousy and refusing to respect an alien, Luthor thinks his mistrust has been proven correct when Superman stops a war. However, the well-groomed CEO has got a lot of other heavy hitters to help him out, including a woman in black leather whose hands turn into blades as they destroy the Fortress of Solitude.

That is the Engineer, played by María Gabriela de Faría, and she takes some explaining. The Engineer first debuted in 1999’s The Authority #1, written by Warren Ellis and penciled by Bryan Hitch. Part of the Wildstorm Universe, a comic book universe separate from the DC stable, the Authority were a collection of heroes who set themselves to making a better world by enforcing their will. Under the pen of Ellis and other writers, including Mark Millar and Grant Morrison, the Authority applied amoral realpolitik to superheroes, something antithetical to heroes such as the Justice League. In fact, the famed Superman story “What’s So Funny About Truth, Justice, and the American Way” saw Superman stand up to and rebuke a team modeled on the Authority. However, when DC took full control of the Wildstorm line, they integrated the Authority into the DC Universe where they are heroes with questionable tactics.

Judging by the trailer, Gunn plans to use the Engineer as more of a villain or at least antagonist. As in the comics, the Engineer has nano technology that allows her to change her body into a weapon, not unlike the T-1000 from Terminator 2. She’s clearly working alongside Lex here, but it’s hard to imagine that Gunn won’t have Supes teach the Engineer something about how to create a better world through inspiration instead of force.

Is That Ultraman? Bizarro?

Joining the Engineer in the fight against Superman is a hulking male figure in all leather. We’ve seen this figure before, duking it out with Superman in a stadium. But this is the best look that we’ve had at him so far, and the best look we’ve gotten at the emblem on his chest.

That “U” shaped design is familiar to comic book readers who recognize that as the emblem of Ultraman, the Superman of Earth-3. In the DC multiverse, Earth-3 is the evil dimension, in which Ultraman, Owlman, and Superwoman lead the Injustice League of America, taking the place of Superman, Batman, and Wonder Woman of the Justice League of America.

However, Ultraman usually has no problem showing his face and often runs around in a blue and red getup, not this leather number. And he certainly wouldn’t take orders from a weenie like Lex Luthor. So who is that guy? Given his massive powers and his hidden face, smart money suggests that the figure is in fact Bizarro, a flawed but super-strong clone of Superman. It would follow that Lex would make his own version of Superman and, in a blow against his hubris, get it wrong. That origin has been used for Bizarro in the comics, and it would fit within the themes that Gunn seems to be exploring.

Rick Flag Sr. of the Creature Commandos

One of the more confusing parts about James Gunn’s tenure as the co-head of DC Studios is that he’s doing only a partial reboot of the now defunct DCEU. Sure, Henry Cavill is out as Superman and it seems that the events of Justice League and Batman v Superman: The Dawn of Justice didn’t happen. But The Suicide Squad and Creature Commandos, or at least some version of them, did happen.

Thus far the only bridge between these worlds is Rick Flag Sr., who is played by Frank Grillo. We first met Flag in animated form in Creature Commandos, where he was assigned by Amanda Waller to lead Task Force M. Throughout that series, Flag expresses sorrow at the death of his son Rick Flag Jr., who was played by Joel Kinnaman in Suicide Squad and The Suicide Squad.

Flag doesn’t get to do much in this trailer other than look very serious and escort Superman into custody, alongside the Engineer and maybe-Bizarro. But his sober expression suggests that he still has a mistrust of guys who take things into their own hands, owing perhaps to his anger at Flagg’s death at the hands of Peacemaker during the mission to stop the Thinker from exploiting Starro the Conqueror in Corto Maltese. Remember?

The Superhero Prison With Metamorphosis and Amethyst(?!?)

The scenes of Superman in custody apparently lead to images of him in a sort of prison made of cubed glass, reminiscent of Magneto’s holding pen in X-Men or the monster cages in The Cabin in the Woods. Initially we see soldiers beating on Superman within the prison. Later he seems to have gained the power to bust out. In between we get a shot of Metamorpho, one of the more highly-anticipated characters in the movie. Played by Anthony Carrigan, Metamorpho has the ability to turn himself into any element (including Kryptonite, maybe?), and we see a bit of that power at work when his hands start to dissipate in a strange way.

Metamorpho is just one of the heroes who show up in the trailer, which also gives us better looks at Hawkgirl (Isabela Merced) flying through the sky, Mister Terrific (Edi Gathegi) using his T-spheres, and the Green Lantern Guy Gardner (Nathan Fillion) using his power ring in a particularly jerky way. But we also see glimpses of other figures in the prison, suggesting that there are somehow even more metahumans than we realized. It’s hard to see any of the others, save for the woman imprisoned in the cube to Superman’s left. There we see a blond woman in a pink dress who reacts in horror.

On one hand, that might just be a regular lady in a pink dress who, for some reason, gets sent to the same jail as Metamorpho and Superman. However, the outfit doesn’t look too different from the one worn by a C-list fantasy hero called Amethyst. Created by writers Dan Mishkin and Gary Cohn and artist Ernie Colón, Amethyst first debuted in 1983’s The Legion of Super-Heroes #298 and was soon spun off into her own comic. Amethyst is the princess of a magical place called Gemworld where she has high fantasy adventures.

Amethyst has carried her own series from time to time but doesn’t enjoy the same level of popularity as even Guy Gardner. But if Gunn’s going to delve into different genres for his version of the DC Universe, Amethyst is a great way to bring more fantasy into the world of superheroes.

Superman flies into theaters on July 11, 2025.

The post Superman Trailer: 5 Awesome Things You Might Have Missed appeared first on Den of Geek.

Warning: contains spoilers for The Handmaid’s Tale season six episode eight “Exodus”. It wasn’t a red wedding; it was more subtle than that – subtler than bloodhungry fans were probably hoping. Who else was waiting for the Handmaids to unleash screaming frenzy in that chic ballroom and set upon the commanders in an anime-style storm of blades, […]

The post The Handmaid’s Tale Season 6 Episode 8 Review: Exodus appeared first on Den of Geek.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.

And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir. But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it. Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld. As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.

Marvel’s Great Depression

The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J. Jonah Jameson, only to find Spider-Man standing over him. Images such as this are well-known to fans of the wallcrawler, but this one is different. It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15. It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.

Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder. But the very shock of the image does underscore the tone of Spider-Man: Noir. Gone is the quippy Spidey, with his relationship problems and lovable hard-luck. In its place is a Spidey who dwells on the edges of society. He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.

Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash. Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon. Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.

All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect. The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.

Seriously Dark

The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era. In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon. But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.

It’s a good joke, but not the sort of thing that can sustain an entire television series. So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie. Granted, though, that some things need to be changed. Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics. Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May. She and Ben would be long gone by the time sexagenarian Spidey is working. However, she could still have been a leftist, perhaps a union organizer or suffragist.

More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s. That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference. Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center. Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.

Spider-Noir will stream on MGM+ in 2026.

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

Through three seasons and well over 100 episodes, Avatar: The Last Airbender companion podcast Avatar: Braving the Elements has faithfully recapped episodes of and expanded upon the lore for the all-time classic Nickelodeon animated series. Since the show finished covering The Last Airbender‘s third and final season last October, however, it’s been radio (or podcast) […]

The post Avatar: Braving the Elements Podcast Teases Korra Revelations in Season 4 Trailer appeared first on Den of Geek.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.

And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir. But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it. Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld. As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.

Marvel’s Great Depression

The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J. Jonah Jameson, only to find Spider-Man standing over him. Images such as this are well-known to fans of the wallcrawler, but this one is different. It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15. It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.

Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder. But the very shock of the image does underscore the tone of Spider-Man: Noir. Gone is the quippy Spidey, with his relationship problems and lovable hard-luck. In its place is a Spidey who dwells on the edges of society. He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.

Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash. Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon. Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.

All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect. The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.

Seriously Dark

The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era. In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon. But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.

It’s a good joke, but not the sort of thing that can sustain an entire television series. So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie. Granted, though, that some things need to be changed. Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics. Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May. She and Ben would be long gone by the time sexagenarian Spidey is working. However, she could still have been a leftist, perhaps a union organizer or suffragist.

More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s. That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference. Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center. Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.

Spider-Noir will stream on MGM+ in 2026.

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

It’s been 25 years since the original Final Destination film hit screens and began terrorizing audiences with its deeply memorable (and memeable) Rube Goldberg-like murder tableaus, which get more and more intricate and anxiety-inducing as the franchise goes on. Yet it’s somehow been 14 years since the last entry into the series—the campy, fun, and […]

The post Final Destination: Bloodlines Review – Death’s Welcome Return appeared first on Den of Geek.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.

And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir. But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it. Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld. As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.

Marvel’s Great Depression

The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J. Jonah Jameson, only to find Spider-Man standing over him. Images such as this are well-known to fans of the wallcrawler, but this one is different. It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15. It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.

Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder. But the very shock of the image does underscore the tone of Spider-Man: Noir. Gone is the quippy Spidey, with his relationship problems and lovable hard-luck. In its place is a Spidey who dwells on the edges of society. He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.

Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash. Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon. Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.

All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect. The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.

Seriously Dark

The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era. In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon. But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.

It’s a good joke, but not the sort of thing that can sustain an entire television series. So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie. Granted, though, that some things need to be changed. Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics. Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May. She and Ben would be long gone by the time sexagenarian Spidey is working. However, she could still have been a leftist, perhaps a union organizer or suffragist.

More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s. That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference. Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center. Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.

Spider-Noir will stream on MGM+ in 2026.

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

Theoretically, Suits LA had a lot of things going for it. It was released on the heels of Suits’ Netflix renaissance, it came from the same creator as the original series, Aaron Korsh, and even promised the return of fan-favorite original characters like Harvey Specter (Gabriel Macht) and Louis Litt (Rick Hoffman). But unfortunately, none […]

The post Bringing Back Original Cast Members Wasn’t Enough to Save Suits LA appeared first on Den of Geek.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.

And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir. But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it. Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld. As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.

Marvel’s Great Depression

The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J. Jonah Jameson, only to find Spider-Man standing over him. Images such as this are well-known to fans of the wallcrawler, but this one is different. It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15. It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.

Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder. But the very shock of the image does underscore the tone of Spider-Man: Noir. Gone is the quippy Spidey, with his relationship problems and lovable hard-luck. In its place is a Spidey who dwells on the edges of society. He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.

Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash. Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon. Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.

All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect. The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.

Seriously Dark

The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era. In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon. But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.

It’s a good joke, but not the sort of thing that can sustain an entire television series. So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie. Granted, though, that some things need to be changed. Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics. Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May. She and Ben would be long gone by the time sexagenarian Spidey is working. However, she could still have been a leftist, perhaps a union organizer or suffragist.

More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s. That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference. Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center. Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.

Spider-Noir will stream on MGM+ in 2026.

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

There’s a routine, but profoundly telling moment when many visitors complete their first walkthrough at Future Pastime, the exhibition of paintings by the visionary artist and visual futurist Syd Mead currently on display in Manhattan’s Chelsea neighborhood. “His outlook on the future is so positive. I thought Syd Mead was dystopian,” many attendees exclaim, as […]

The post Syd Mead Is Not Science Fiction appeared first on Den of Geek.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.

And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir. But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it. Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld. As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.

Marvel’s Great Depression

The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J. Jonah Jameson, only to find Spider-Man standing over him. Images such as this are well-known to fans of the wallcrawler, but this one is different. It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15. It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.

Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder. But the very shock of the image does underscore the tone of Spider-Man: Noir. Gone is the quippy Spidey, with his relationship problems and lovable hard-luck. In its place is a Spidey who dwells on the edges of society. He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.

Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash. Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon. Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.

All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect. The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.

Seriously Dark

The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era. In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon. But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.

It’s a good joke, but not the sort of thing that can sustain an entire television series. So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie. Granted, though, that some things need to be changed. Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics. Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May. She and Ben would be long gone by the time sexagenarian Spidey is working. However, she could still have been a leftist, perhaps a union organizer or suffragist.

More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s. That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference. Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center. Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.

Spider-Noir will stream on MGM+ in 2026.

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come […]

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.

And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir. But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it. Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld. As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.

Marvel’s Great Depression

The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J. Jonah Jameson, only to find Spider-Man standing over him. Images such as this are well-known to fans of the wallcrawler, but this one is different. It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15. It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.

Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder. But the very shock of the image does underscore the tone of Spider-Man: Noir. Gone is the quippy Spidey, with his relationship problems and lovable hard-luck. In its place is a Spidey who dwells on the edges of society. He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.

Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash. Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon. Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.

All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect. The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.

Seriously Dark

The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era. In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon. But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.

It’s a good joke, but not the sort of thing that can sustain an entire television series. So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie. Granted, though, that some things need to be changed. Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics. Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May. She and Ben would be long gone by the time sexagenarian Spidey is working. However, she could still have been a leftist, perhaps a union organizer or suffragist.

More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s. That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference. Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center. Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.

Spider-Noir will stream on MGM+ in 2026.

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

This review contains spoilers for The Last of Us season 2 episode 5. The Last of Us returns this week with another action-packed episode as Dina (Isabela Merced) and Ellie (Bella Ramsey) continue their quest for revenge in Seattle. The stakes continue to be raised as the violence between the W.L.F. and Seraphites escalates and […]

The post The Last of Us Season 2 Episode 5 Review: There’s Something in the Air appeared first on Den of Geek.

Ever since James Gunn announced the full cast for Superman, people have been scratching their heads. Sure, we expected that the cast would include Superman, Lois Lane, and Lex Luthor–played by David Corenswet, Rachel Brosnahan, and Nicholas Hoult, respectively. But as the cast list grew, so did the names of other superheroes. Edi Gathegi and Mister Terrific? Isabela Merced as Hawkgirl? Nathan Fillion as Guy Gardner? Is this a Superman movie or a Justice League movie?

Gunn has clarified on social media that Superman focuses on the central triangle of Clark, Lois, and Lex, but also that his movie sees the Man of Steel joining a world already populated with superheroes, superheroes who have lost their way. And in the first teaser for season two of Peacemaker, a show all about those lost superheroes who preceded Superman, we get a sense of what that main team might be.

The Secret Gospel of Maxwell Lord

The teaser begins with an embarrassing moment for Peacemaker a.k.a. Christopher Smith, played by John Cena. He visits a shabby studio to interview for a part in a superhero team. His interviewers include Hawkgirl and Guy Gardner, but they’re flanked by a face familiar to anyone who has seen a James Gunn project, Sean Gunn. Although he’s already appeared in DC projects, voicing G.I. Robot and Weasel in Creature Commandos and cameoing as the Calendar Man in The Suicide Squad, here he’s got a different job, playing Maxwell Lord.

DC movie fans may remember Maxwell Lord as the enterprising businessman that Pedro Pascal played in Wonder Woman: 1984. There, his greed turned him into a villain who almost destroyed the world, only saved when Wonder Woman appealed to his better side at the end of the movie.

However, Gunn’s Lord functions much more like his original comic book counterpart. First introduced in 1987’s Justice League #1, written by J. M. DeMatteis and Keith Giffen and penciled by Kevin Maguire, Maxwell Lord was the opportunistic businessman who assembled his own Justice League after the long-running team had disbanded in disgrace. Thanks to his maneuvering and business acumen (and, it must be said, light mind-control powers introduced later in the run), Lord put together an unconventional team that featured longtime mainstays like Batman and Martian Manhunter, but mostly oddballs such as Guy Gardner, Booster Gold, and Fire and Ice.

The DeMatteis/Giffen/Maguire League (known colloquially as Justice League International [JLI], due to the title of the book during its most formative issues) has long been a fan-favorite thanks to its humorous and character-driven approach to mainline superheroics. The JLI would battle huge baddies like the alien conqueror Despero or the mind-controlling Gray Man, but they would also get involved in failed get-rich-quick schemes or devote an entire issue to the crass Guy Gardner going on a date with the demure Ice.

In other words, JLI is exactly the type of book that informs James Gunn’s approach to the DC Universe, in which C- and D-list heroes spend more time bickering than they do saving the day.

I Can’t Believe It’s Not the Justice League

However, the Peacemaker season 2 trailer is the first time we’ve really seen how Gunn plans to integrate the JLI into his version of the cinematic DC Universe. As demonstrated in this clip, Lord is recruiting new members into his team, ultimately serving as the deciding factor. Guy Gardner and Hawkgirl are once again wearing matching outfits, costumes that look quite different than their comic book versions, suggesting that they are all part of the same team.

Given the black and white motif worn even by Guy Gardner, a Green Lantern who usually has more of an emerald look, many have speculated that the team would be a variation of the Terrifics, a group led by Mister Terrific. Some have also speculated that the team would work at the behest of Simon Stagg, another millionaire in the DC Universe, whose building is prominently displayed in the Superman teaser.

While both of these elements may still be integrated into the Superman line-up, the Peacemaker trailer makes it clear that the main team will be a variation of the JLI, complete with Max Lord at the head. And, as demonstrated by the barbs that Lord and co. unwittingly toss at Peacemaker, they’ll be the same unserious group that we initially saw in the comics.

Inspiring the Heroes

What does this mean for Superman? Within the pages of DC Comics, the JLI were unusual, but they were still heroes, and earned the respect of even Batman, who often served alongside them. However, the team largely trusted Maxwell Lord, at least until a retcon in the mid-2000s turned him into a powerful mind controller and maniacal villain, who shot his buddy Blue Beetle in the head.

Superman may very well seek to split the difference between the two depictions. The pseudo-JLI of the movie may have the potential to be great, but that potential has been hampered by cynicism. They can only do good if they have the support of a rich guy like Lord. It would fit with the inspirational tone that Gunn is striking in his Superman marketing materials for Superman to inspire the JLI to become greater heroes.

Will they actually become the Justice League? While that would be fun, one hopes that the League of Gunn’s DC Universe will be more in line with the classic team, with Batman, Wonder Woman, and Superman at the core. But there’s always been room for more teams in the DC Universe, especially when they’re being written by James Gunn, a guy who loves his little-known weirdos.

Superman takes flight into theaters on July 11, 2025.

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