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Even as He-Man fans await the second half of Netflix's Masters of the Universe: Revelation, Dark Horse Comics continues to expand on this fantastical saga. IGN can exclusively reveal the first details on Dark Horse's newest MotU project, The Art of Masters of the Universe: Revelation.
Like Dark Horse's numerous other art books, The Art of Masters of the Universe: Revelation is a lavish hardcover featuring numerous behind-the-scenes interviews, sketches, concept art and other glimpses at the development of the animated series. Check out the cover art below:
The Art of Masters of the Universe: Revelation is priced at $49.99 and is scheduled for release on April 6, 2022.
Dark Horse previously launched a Revelation comic book series that acts as a prequel to the show. The publisher also announced the collected edition of that prequel series will hit stores on February 22, 2022.
IGN's Matt Fowler gave Masters of the Universe: Revelation Part 1 an 8, writing "Kevin Smith's Masters of the Universe: Revelation is a big take-having, big swing-taking He-Man sequel that superbly flips the script on the mythos and characters. It makes the bold choice that Prince Adam and He-Man should be integral to the story, but not central, allowing them to push forward others' arcs in interesting new ways."
Dickinson Season 3 premieres on Apple TV+ with three episodes on Nov. 5.
The first episode of the third (and final) season of Dickinson tells us that “most people did not think of Emily Dickinson as the voice of a nation.” Similarly, when Dickinson first premiered in 2019, most people didn’t think of the Apple+ series as one that would make an impact.
But over the course of three years, showrunner Alena Smith’s innovative take on American literature’s most reclusive poet has done just that. Dickinson is a show that’s always been unafraid to break boundaries, and its final season drives that home via wild storytelling, clever bottle episodes, fun guest stars (an almost unrecognizable Billy Eichner makes an appearance as Walt Whitman, fully playing into his eccentrics) — and of course, epic needle drops (only Dickinson could make a sewing party feel like a rave).
If you’ve been watching the series for awhile, you’ll know that these are all things we’ve seen before. But while there might not be anything different about the season on a larger scale, the first three episodes make it clear that there’s something special that sets it apart. For one, each actor owns their character in a way that feels more distinct (Jane Krakowski is clearly out here living her best comedic life). There’s also a sense of finality; just as Death (Wiz Khalifa) and his carriage constantly hide in the shadows of Emily’s world, so too does the knowledge that this is the last time these characters will appear on our screens.
This is, after all, the end of Emily Dickinson’s story. And the world is a different place than when we left it in Season 2.
We start Season 3 with war, specifically the Civil War, which is hanging over the heads of the Dickinson family. Men are being drafted daily and women are doing their best to contribute to the cause while still being chained to an 18th century way of life. While America is falling apart on the battlefield, the Dickinson household is falling apart inside the walls of their Amherst homestead. Mr. Dickinson (Toby Huss) is re-evaluating what it means to carry a legacy, Mrs. Dickinson (Krakowski) is coming to terms with her own personal grief over a family death, and Lavinia (Anna Baryshnikov) is questioning her place as a woman and daughter who has had more than a few failed (and dead) relationships. Meanwhile, Austin (Adrian Blake Enscoe) has fallen into a self-destructive spiral that threatens to put a permanent rift between him and his wife, Sue (Ella Hunt) — not to mention his whole family.
And at the center of it all is Emily Dickinson (Hailee Steinfeld), who just wants to keep everyone together and write poems that mean something.
Overall, the first three episodes are delightful and engaging.
The first three episodes do a satisfying job of establishing the major plots that will carry us through all of Season 3’s 10 episodes while also making it clear what Emily herself is struggling with: the challenge of breaking out of “expected” female behavior and a desperate need to mend her family’s internal conflicts. The foundation of those struggles, as it has been for the past three years, is Hunt’s Sue Dickinson — Emily’s sister-in-law and her one true love.
In Season 2, Emily fought for Sue’s attention while she fulfilled her role as Austin’s wife and dipped her toes into the world of Amherst socialites, a story that culminated in one of the most intimate scenes the show has given us so far. In Season 3, the roles are reversed: Sue wants nothing more than to spend each moment by Emily’s side but the young poet can’t commit. There are family issues she needs to focus on, the world is at war, and of course, her poems come first.
That doesn’t mean Emily loves Sue any less though, and Season 3 starts with a very specific reminder of this. The two remain the heart of Dickinson’s final season, carrying their chemistry across every episode — even the ones that don’t directly involve their relationship.
As previously mentioned, every actor has a chance to do some of their best work, whether that’s an emotional exchange or a completely wild moment of performance art. It’s fun to finally see Enscoe tap into Austin’s personality more deeply and stretch beyond the limits of what he’s done with the character, while Baryshnikov — always supremely underrated for the comedic genius she is — goes all in showing off Lavinia’s personality (fans who loved Baryshnikov’s “stripper dance” last season? You’re in for a treat). Steinfeld, as always, shines, and it’s hard to think of another actress who could have so effortlessly channeled Emily’s charm, wit, awkwardness, and passion for the past three years. She commands the screen with the confidence of someone who has not only lived with this character but who clearly understands how she’s evolved as a woman, a writer, a sister, and a friend.
Overall, the first three episodes are delightful and engaging, with themes of legacy, pushing boundaries, and creating your own future at the forefront. With its final season, Dickinson accomplishes what feels impossible: it balances the tricky work of preserving the mystery of Emily Dickinson while giving us a peek into the life of one of the world’s most reclusive poets.
A new action movie from celebrated director John Woo is on its way, starring Joel Kinnaman.
According to Deadline, Kinnaman, who recently starred in The Suicide Squad, has been cast in the leading role of Silent Night, a new no-dialogue action movie which sees Hong Kong director John Woo return to Hollywood.
The movie, which is said to be “without a word of dialogue”, will be John Woo’s first US action movie in decades, since the 2003 Ben Affleck flick, Paycheck.
According to Deadline’s sources, the plot will revolve around a father who heads into the criminal underworld to avenge his young son’s death. Although little else is known about the movie, industry buyers are apparently “buzzing” about John Woo’s return to Hollywood.
The film is currently in negotiations to be financed by Captone, with John Wick producers Basil Iwanyk, Erica Lee, Christian Mercuri, and Lori Tilkin on board to produce alongside Joe Gatta and Ruzanna Kegeyan from Capstone.
Although Joel Kinnaman will presumably take the title role, no other casting news has been announced. However, additional casting is currently underway.
John Woo is perhaps best known for his late 90s action flicks, including Broken Arrow, Face/Off and Mission Impossible II. Face/Off, which starred Nic Cage and John Travolta in an identity-swapping action caper, is reportedly getting a sequel from Godzilla v. Kong director, Adam Wingard. Originally thought to be a remake, the upcoming Face/Off movie will instead continue the story of John Woo’s 1997 cult classic.
“I would never make a remake of Face Off,” said Wingard in an interview with IGN. “I would never make a reboot. I've seen a lot of people, even after I said that this is a direct sequel, they keep calling it a reboot hybrid sequel or remake hybrid sequel. It's none of that.”
“This is Face Off Two,” he stressed. “And I can't say what that means exactly, but this is either going to be the definitive follow-up to that movie and everything that entails, or I'm not going to make it, because everything's got to line up perfectly.”
Although Wingard confirmed back in February that the script for Face/Off II was almost complete, little has been heard about the project since.
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Sega and Microsoft have announced that they have agreed to a “strategic alliance” that will see Sega produce games built on Microsoft’s Azure cloud platform.
Announced in a press release, Sega explained that the agreement is part of the company’s “Super Game” initiative, which aims to create “new and innovative” games with a focus on global online communities.
“This proposed alliance represents SEGA looking ahead, and by working with Microsoft to anticipate such trends as they accelerate further in future, the goal is to optimise development processes and continue to bring high-quality experiences to players using Azure cloud technologies,” said Sega’s statement.
Azure is Microsoft’s cloud computing service. It should be noted that Azure offers a variety of software, platform, and infrastructure services, and so Sega’s use of Azure does not necessarily point to Sega working on games played in the cloud, or a cloud gaming service. The cloud is being used for many aspects of game development, including AI, and so Sega and Microsoft’s partnership has many potential outcomes.
