Category: Blog

If we’re talking about who’s the best Spider-Man, then the original Peter Parker has no competition. There’s a reason why nearly every adaptation focuses on him, with only a handful changing the character either completely or with a few alterations. But the multiverse has more Spider heroes to offer.

What we have today are the best Spider-Man variants that do something different with the formula, either perfecting it, flipping it on its head, or straight up ignoring it. While 616 Peter will forever exist in our hearts, there is also room for some wackier versions of the character as well.

The post The Best Versions Of Spider-Man appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

Taika Waititi’s adaptation of Kazuo Ishiguro’s beloved dystopian sci-fi novel Klara and the Sun was first announced in 2020 and finished filming all the way back in April 2024, but Sony Pictures has only now finally pulled it off the shelf and announced an October 23 release date. The studio has also blessed us with […]

The post Klara and the Sun Trailer: Scream Queen Jenna Ortega Tries Sci-Fi in Delayed Taika Waititi Movie appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

Some actors build careers defined not by quantity, but by consistency. While most filmographies include a mix of hits and misses, there are a few performers whose names alone signal a certain level of quality. Whether it’s sharp script selection, collaboration with top directors, or an instinct for strong material, these actors rarely attach themselves to projects that fail to resonate. Over time, they develop a reputation for reliability, where even smaller or unconventional films tend to land well with audiences or critics. Here are fifteen movie stars who have built careers on almost never making the wrong choice.

The post 15 Movie Stars Who Just Never Miss appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

Every fandom has a handful of facts that get repeated so often they practically become part of the movie itself. Mention a beloved sci-fi, fantasy, comic book, or adventure film, and someone will inevitably bring up a famous behind-the-scenes detail.

The funny thing is that many of these facts are no longer obscure. They’ve been shared in documentaries, interviews, conventions, and countless internet posts for years. Yet movie nerds still love dropping them into conversations as if they’re revealing a closely guarded secret. These are the kinds of movie facts that real fans adore reminding everyone about, whether anyone asked or not.

The post 15 Movie Facts Nerds Love to Pretend Other People Don’t Know appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

Sometimes, we see a movie (usually an old one) and wonder what the life of that person must have been. Well, those actors might have been young in that film, but they continued on with their lives, often without us even noticing. A full life can be lived out of the spotlight.

Their careers may have peaked years before their deaths, creating the impression that they were gone long before they actually were. These celebrities all lived remarkably long lives, often spending decades beyond the period when most people stopped seeing them regularly on screen.

The post 15 Celebrities You Didn’t Realize Lived So Long appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

Movie fans will rewatch their favourite films over and over again with a joyful smile, remembering how it felt to watch those moments for the first time. Certain scenes, however, hold the same impact no matter how many times you watch them, making them particularly special.

Here, we’ve gathered the scenes that have most impacted audiences in cinema, although it is only a small selection. Even if your standout moment isn’t here, you won’t be able to deny the iconic nature of these moments, what they meant to cinematic history, and the power they still hold over audiences.

The post Movie Scenes That Still Give Us the Chills Each Time We Watch Them appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

Earlier this month, Backrooms director Kane Parsons, who helmed the highest-grossing film to date for studio A24, said, “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.” Smash cut to this week, and […]

The post Google and A24’s AI Partnership Announcement Is Not Going Down Well appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

At the end of 2021’s Spider-Man: No Way Home, Doctor Strange (Benedict Cumberbatch) cast a spell that ensured no one would remember Peter Parker or that he is the MCU’s friendly neighborhood webslinger, but in Sony’s upcoming fourquel, Brand New Day, there is someone who remembers Spidey’s secret identity. Brand New Day star Tom Holland, […]

The post Who Remembers That Peter Parker Is Spider-Man in Brand New Day? appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

Any X-Men fan knows that the team just isn’t complete without a certain optic-blaster. Thankfully, the NetEase Games developers behind Marvel Rivals seem to feel the same way. On June 12, Cyclops made his debut in the team-based hero shooter as part of the game’s season 8.5 update, finally bringing the X-Men’s field leader to […]

The post Marvel Rivals’ Biggest Roster Problem Isn’t Mutants, It’s Role Balance appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why. […]

The post Supergirl’s Milly Alcock Reveals Favorite Scene from Woman of Tomorrow Comics appeared first on Den of Geek.

This week’s upcoming Supergirl movie starring Milly Alcock and directed by Craig Gillespie isn’t entirely adapted from Tom King and Bilquis Evely’s famed graphic novel, per se, but it’s heavily influenced by it. And if you’ve ever cracked open Woman of Tomorrow and its sci-fi, space-opera riff on True Grit, it’s easy to see why.

Even Milly Alcock admits to being blown away when she first devoured the book in preparation—and on social media—for Supergirl.

“It’s such a visceral world, it’s so vivid, and I was so seduced by the colors and the imagery of the world Tom King and Bilquis Evely presented,” Alcock tells us when we catch up in Beverly Hills. “Also the story was so surprising, I did not expect to read a comic book and find this messy, resilient, and incredibly kind person within the book.”

That emphasis on messy, and kind, is the recipe Alcock, Gillespie, and screenwriter Ana Nogueira are specifically following for a Supergirl movie that feels distinct from many other caped movies out there. While the marketing has obviously emphasized the space adventure aspect of the tale, which echoes producer James Gunn’s Guardians of the Galaxy trilogy at Marvel Studios, the actual Kara Zor-El film has a fairly somber and wistful tone.

The colors of Evely’s pages were eschewed in favor of a grungier, faintly dystopian aesthetic by Gillespie—whose vision has been compared not unfairly to Mad Max—but the core narrative of the book remains: a disaffected and traumatized superheroine gets roped into a road-trip journey with a young girl named Ruthye (Eve Ridley) after Ruthye’s family is slain by a space brigand. One element that especially carries over is witnessing the action from Ruthye’s POV.

Nogueira tells us framing the set pieces this way was another Gillespie choice, but the broader sense of adapting the graphic novel’s narrative with a child’s perspective was something the screenwriter brought to the material before a director was ever attached.

“It’s because Kara doesn’t feel extraordinary in her own life,” Nogueira explains about the two-hander nature of the story. “She feels like she’s less than, but in the eyes of this little girl she is the most incredible being Ruthye has ever come across, and so it was important to see Kara through the eyes of that child, and hopefully Kara can eventually see herself through the eyes of that child and learn to love herself and accept this mantle that feels so large.”

Indeed, Alcock reveals to us and Nogueira both that her favorite scene in the book is a simple sequence where King’s prose takes a backseat and Evely meticulously draws across two pages Kara teaching Ruthye, a provincial from a planet that is a cross between the Old West and feudal Japan, how to use running water.

“My favorite scene within the comic book is the scene where Kara teaches Ruthye how to wash her hands,” Alcock says. “That broke my heart, because it gave me such an insight into this person who has such extremities to care for others, I just adored it.”

An appreciation for the source material seems acute on this one, though, with co-star Jason Momoa getting to live his own adolescent fantasy by at last playing Lobo, the space-biker bounty hunter. Technically Lobo isn’t in King and Evely’s Woman of Tomorrow, but it proved true to another comic fan’s vision.

“I remember the walls of my comic book store in Iowa, and I remember being there with a friend who was the guy who introduced me to everything,” Momoa muses. “I don’t remember which one I got first. At that time I just bought a bunch of stuff, and it was just tons and tons of comic books.”

The ones featuring Lobo cumulatively left an impression on the Hawaiian actor, too, who originally lobbied to play the bounty hunter years ago before being cast instead as Aquaman in Zack Snyder’s version of the DC Universe in the 2010s. And it was also Momoa who directly texted James Gunn when news first trickled out that Gunn was probably rebooting the DCU in this decade. Much of the iconography we associate with Lobo—the motorcycle, the cigar, the leather—is here, as are elements that the actor invented wholecloth, such as giving Lobo basically metal talons on his fingers.

“It’s just more weapons,” says Momoa. “I think it’s just fun to be able to rip someone’s face off with claws. He’s got the fangs and everything, he’s just a big beast…. he’s a Grizzly Bear.”

Momoa seems to be a genuine fan of the material. When we even mention an infamous comic book story wherein Lobo is hired by the Easter Bunny, the actor interjects “to kill Santa Claus” before we finish our sentence. With that said, he’s not sure his Lobo would take that job.

“I mean, it’s tough to say. I like Santa Claus,” Momoa laughs. “I’m a fan of the character. But sure, I think there should be something funny in there, and Santa should definitely be in there, and I should definitely give him the eye.”

Of course not everything that works in a comic book works in a movie and vice versa. Some of this is due to commercial considerations, such as the fact that while Tom King’s Kara swears like a sailor, Alcock’s is only permitted one F-bomb in a PG-13 rating. Hence why they shot multiple scenes where Alcock dropped the four-letter word, leaving choices in the final edit.

“I had a favorite but it didn’t get in, it didn’t make the final cut,” Alcock sighs with a chuckle. “I can’t say what it is, because it might spoil things, but yeah, I had a favorite, and it didn’t make it in.”

It’s apparently the same as Nogueira’s, who half-jokingly teases that maybe on the Blu-ray they will include “all the F-bombs that we had.”

Other elements that are left out of the film are, perhaps, more fantastical, such as Supergirl’s winged Pegasus-like horse who can soar through the cosmos, Comet. Then again, while the magical steed (and his shockingly complex backstory) is not in Supergirl, the screenwriter doesn’t rule out the possibility of revisiting the character down the road.

“The Comet situation,” explains the screenwriter, “needs its own [story]—the reason it’s not here is there are certain things you need to move away from, but they need their own run to let the rest of the audience know about him.”

Perhaps in another movie Kara can form her own team of super-pets with Krypto the Super-Dog and Comet the Space Horse?

Supergirl is in theaters on Friday, June 26.

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