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A new Godzilla vs. Kong trailer dives deeper into the ancient rivalry between the two titans and explains the human teams supporting each beast. The showdown between the cinema's two most popular monsters has been highly anticipated since the beginning of the MonsterVerse. Director Adam Wingard has promised that a decisive victor will be chosen by the end of the film. Godzilla vs. Kong releases in theaters and on HBO Max on March 31. Previous trailer footage for Godzilla vs. Kong has revealed that the two monsters’ rivalry has roots in an ancient titan war, which pitted their species against one another. The new film will show more of the MonsterVerse’s Hollow Earth, where many of the titans come from, and its ancient history will be even more relevant as more and more beasts arise to terrorize the surface. With two alphas vying for dominance, the lesser titans may be forced to choose sides. Previous footage has made Godzilla out to be the movie's clear villain, but the fact that both titans have human characters fighting on their behalf seems to even the playing field a bit. It’s been heavily hinted that Godzilla is being manipulated into his violent behavior – likely by the MonsterVerse’s new Apex group – or that he isn’t even the real Godzilla at the start. The human “teams” for each titan are also outlined, with Alexander Skarsgård, Kaylee Hottle, and Rebecca Hall’s characters championing Kong, while Millie Bobby Brown, Brian Tyree Henry, and Julian Dennison’s characters fight to defend Godzilla. Therefore, the mission of “Team Godzilla” will be to uncover the mystery of his rampage, while “Team Kong” seems dedicated to protecting humanity at all costs. Though the fight between Godzilla and Kong is the main attraction of the film, other titans have been teased entering the fray as well. Most notably, Mecha-King Ghidorah is reported to appear, which could upend the titans' natural balance all over again. Several brand-new monsters will also feature in the film, making for a large cast of titanic characters when Godzilla vs. Kong arrives on March 31.

AMC, the world’s largest movie theatre chain, has reported that it lost $4.6 billion in 2020. The losses came as a result of the ongoing COVID-19 pandemic, which has devastated numerous business sectors throughout the world, hitting cinemas especially hard. Even now, as a vaccine appears to be helping, theaters are still struggling to remain afloat. From the early days of global lockdowns last year, the situation was not looking good. Obviously, the biggest concern was how Covid would impact global populations, but in time, as scientists and doctors began to understand more about the disease, it became clear that the pandemic wasn’t going to disappear anytime soon. For businesses that relied on large public crowds, like restaurants, nightclubs and movie theaters, this was a very precarious turn of events. It didn’t take long at all for the impact of Covid and lockdown to truly be felt among theater owners, and while large multinational chains like AMC grappled with the sudden challenge to their business model, many independent theaters found that it was no longer possible for them to exist in the current, incredibly unexpected climate. However, simply because theaters like AMC had far more financial clout behind them, didn’t guarantee they were immune to Covid’s clutches. As a new year continues to deal with Covid’s impact, information regarding the disease’s effect on 2020’s theatrical business model is unsurprisingly grim. According to Variety, AMC lost $4.6 billion last year. Compared to pre-pandemic tallies in 2019, AMC’s revenues fell 77.3% in 2020, with 2019’s totals hitting a now unfathomable $5.5 billion. Fortunately, with the Covid vaccine gradually finding its way to people of all ages, movie theaters are slowly able to ease restrictions. Still, at the current rate that things are moving, it will be quite some time before the likes of AMC can financially find themselves back where they once were. Then again, there’s no shortage of those who believe that businesses around the world will never return to the comfortable state they found themselves in prior to Covid. Paramount is just one of several major studios that has already drastically cut the window for the jump from theatrical release to streaming, and this new emphasis on streaming over the theatrical model has the potential to completely replace cinemas. Of course, this fear is nothing new, but the arrival of Covid proved to many how very real it is. It remains to be seen if theater chains can continue to thrive in what has become a very difficult environment. Simply getting audiences back into theaters isn’t the only challenge here, and AMC is well aware of how threatening the looming success of subscription streaming services is. Few businesses could ever hope to lose $4.6 billion in a year and still be fighting for life, so in that respect, AMC has a slight advantage. At the same time, however, without a clear indication that audiences will maintain their support for cinemas over streaming providers, the future of the traditional release model faces some dark days

Ben Affleck was influenced by the Arkham Asylum games in designing the action of his planned Batman solo movie. With just over a week left before the HBO Max debut of Zack Snyder's Justice League, the anticipation for the film's release is also converging with a sense of longing by many fans of what it could have led to had the movie not been so heavily altered in its 2017 theatrical release. One of the biggest examples of this is what Ben Affleck's Batman film would have looked like, and what role Deathstroke would have played as its villain. Affleck abdicated directing duties for The Batman in 2017 before stepping down from playing the Dark Knight altogether in early 2019, with Matt Reeves stepping into the director's chair and Robert Pattinson assuming the role of Bruce Wayne. Following the Snyder Cut's announcement in May 2020, Affleck subsequently signed on to return to the role in the Multiverse-exploring The Flash, and also returned for additional photography on the Snyder Cut this past fall, as did Manganiello. As for what Affleck had in store with his Batman movie before his departure, details have begun to trickle out, and it ironically relates to Deadpool director Tim Miller. In an interview with Josh Horowitz on the Happy Sad Confused podcast, Manganiello said that Affleck was influenced by Batman: Arkham Origins in his approach to the film's action, stating he and Affleck watched the "Arkham Origins Deathstroke versus Batman [promotional] video," which was directed by Miller, with Affleck and Manganiello discussing "how that was going to relate to the action sequences." Manganiello further stated that this also involved a discussion of "one big action piece and what that was going to entail." This isn't the first time Manganiello has offered details about what Affleck's Batman movie would have been like. Manganiello previously stated that the story would have involved Slade Wilson "dismantling Bruce's life from the inside out," also revealing that Slade "killed everyone close to Bruce and destroyed his life," with Manganiello likening Affleck's story to David Fincher's 1997 thriller The Game. Additionally, there were also plans for a Deathstroke solo movie, which would have been helmed by Gareth Evans, but this ended up falling by the wayside (though Manganiello has expressed hope for it to be resurrected in the wake of the Snyder Cut's debut). Arkham Origins' famed Batman and Deathstroke smackdown video drove excitement for the game through the roof ahead of its debut, so it makes sense that Affleck would look to it as an influence in the action of his Batman movie. Batman v Superman: Dawn of Justice itself set a very high bar for Batman fight scenes with the film's warehouse battle, and Affleck would surely have wanted to maintain that caliber of action in his solo movie. Furthermore, with none other than Gareth Evans, director of The Raid movies, to have tackled Slade's movie, it sounds like audiences were in some for some seriously incredible action scenes between the two. With both Affleck and Manganiello having come back for the Snyder Cut's additional filming, fans will get to see them share the screen at last. Millions of fans will surely hope for Affleck's Batman solo movie to get a second chance to come to fruition on HBO Max in light of Manganiello's revelations. For the time being, however, their appearance together in the Knightmare future will be the closest thing to it.

Joe Manganiello's Deathstroke could continue on in the DC Extended Universe after his role in Zack Snyder's Justice League. Manganiello first appeared as Deathstroke in the post-credits scene of the 2017 version of Justice League. That appearance teased his role in the Injustice League, something it seemed like Jesse Eisenberg's Lex Luthor hoped to form. After the premiere of Justice League, though, things rapidly changed. As DC scrambled to lay out the future for its troubled franchise, Deathstroke seemed to become an after thought for the studio that once had big plans for the character. Deathstroke was set to appear in Ben Affleck's solo Batman film, but Affleck eventually left the role. Manganiello says that, at one point, there were several different Deathstroke projects in the works, but those, too, were shelved. Now, Snyder is set to bring the character back for an extended Knightmare sequence. How expansive Manganiello's role is will remain unknown until the Snyder Cut's premiere, but it sounds like the actor is hopeful Deathstroke's appearance in Zack Snyder's Justice League could turn the tides.

While Disney+ shows don’t typically have ad breaks, the commercials on WandaVision are one of the coolest aspects of the series. They evolve along with the sitcom aesthetic, with each one feeling like it was made in a specific decade, and they add to the larger theme of the story in creepy and subtle ways. Admittedly they have led to some head-scratching from fans in the wake of the finale, as there isn’t any kind of direct explanation provided for viewers about their nature – but if you’ve been left asking questions, we now have some answers thanks to director Matt Shakman. I interviewed the filmmaker this week during WandaVision’s post-finale virtual press day, and my own curiosity about the commercials led me to ask about how they exist and what they are within the Marvel Cinematic Universe. I directly asked if the actors who appear in all of the ads – played by Ithamar Enriquez and Victoria Blade – are residents of Westview, New Jersey that Scarlet Witch is also manipulating, and Shakman confirmed it, adding, As noted in the show, one aspect of Scarlet Witch’s hex in WandaVision is that she gives the residents better jobs as a means of keeping hem docile under her control – so maybe the credited “Commercial Man” and “Commercial Woman” are local stage actors who, in their minds, have landed a series of plum TV gigs. What makes the advertisements particularly interesting in that context, however, is the idea that they are an expression of an alternative part of Wanda’s mind. It’s shown multiple times in the show that Wanda has the capacity to erase or get rid of things that cause her to think about pain or grief, which are then presented as cuts or rewinds, but the commercials seem to be scripted by her subconscious. This is made evident when you recognize that each of the breaks in the WandaVision episodes can be connected to disturbing events from the heroine’s past. From the Stark Toaster being reminiscent of the missile that landed in the Maximoff house in Sokovia, to the Lagos paper towels referencing the tragedy in the opening sequence of Captain America: Civil War, the commercials are all about trauma. This is something we’ve speculated about before, but Matt Shakman confirmed as much as he continued: WandaVision, in addition to being about Scarlet Witch discovering the potential of her powers, is about processing grief – in her personal case it being about coming to terms with the death of her parents, the death of her brother, and the death of the synthezoid that she loves (twice over). The commercials are hints at this broader theme along the way, and make for an even better narrative tool when you fully understand all of the dimensions in which they are used.

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