Original Silver Surfer Actor Doug Jones Would ‘Jump at the Chance’ to Return in the MCU

Jones previously played the character in 2007’s Fantastic Four: Rise of the Silver Surfer, which was not a hit with critics or fans. However, Marvel Comics …

Doug Jones would “jump at the chance” to star in a Silver Surfer movie within the Marvel Cinematic Universe. Jones previously played the character in 2007’s Fantastic Four: Rise of the Silver Surfer, which was not a hit with critics or fans. However, Marvel Comics fans were beyond excited to see Norrin Radd on the big screen and were hoping that his spin-off movie was going to happen in the near future. J. Michael Straczynski was hired by Fox in 2007 to script the spin-off, but it never came into fruition.

In 2018, Fox decided to bring Brian K. Vaughan to develop the Silver Surfer movie, though it would later be gobbled up by Disney’s acquisition of Fox. Now, Marvel Studios has all of the previously owned Fox properties under their umbrella, which includes the Fantastic Four and X-Men characters. In a new interview, Doug Jones was asked whether or not he’d reprise the role of Norrin Radd. He had this to say.

RELATED: Agents of S.H.I.E.L.D. Star Nominates Himself to Play Silver Surfer in the MCU

“If they were going to bring the Silver Surfer back to film, [if] it was offered to me, I would jump at the chance. I loved playing him. He was so heroic and angelic and Christ-like even. He’s the kind of superhero that I want to be in my real life. And beautiful. He had the best ass I’ve ever had on film. So if I could play him again, I would jump at the chance, sure.”

Doug Jones portrayed Norrin Radd in the Fantastic Four sequel, but his voice was provided by Laurence Fishburne. As of now, it’s not clear what Marvel Studios plans to do with the Fox properties that they recently acquired. The overall goal is to incorporate them, though only Marvel Studios boss Kevin Feige knows how that will work out.

Ant-Man writer Adam McKay has said that a Silver Surfer movie is at the top of his list to make. “That’s the one I want to do. I would do anything to do Silver Surfer,” he said back in 2018. “Visually… You could do what the Wachowskis did with Speed Racer, with the Silver Surfer. At the same time, there’s a great emotional story in there, where a guy has to make the choice to save his planet.” A lot of comic book fans agree with McKay and hope that Kevin Feige has a solid plan to bring Norrin Radd back to the big screen.

As for incorporating X-Men characters into the MCU, it appears that Marvel Studios could be doing it in a subtle way. The Wakanda Files book was released earlier this week and it holds a ton of MCU info inside of it, including the insinuation that Quicksilver and Scarlet Witch may have been mutants this whole time. It certainly looks like there is some retconning going on to bring the Fantastic Four and X-Men characters to the MCU. The interview with Doug Jones was originally conducted by Comic Book.

Topics: Silver Surfer

Kevin Burwick at MoviewebKevin Burwick at Movieweb

Kevin Burwick

2020 Philanthropy

2020 Philanthropy. The charity benefit model of the past is, frankly, history. Local organizations face a new challenge: Taking their annual soirees to …
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Mele Sosa

Mele Sosa

“We were all in different parts of the U.S., but we felt so close. I dressed up, even though I was at home, because for me it was a big celebration!”—Mele Sosa, wine educator and ambassador for Bodega Garzon

A majority of “attendees” of this year’s University of Minnesota WineFest didn’t wear tuxedos or ball gowns. And philanthropists connected to the 2020 Children’s Cancer Research Fund’s Dream Gala didn’t rub elbows with the CEO of This Company or the president of That Group. Instead, participants in two of the Twin Cities’ most successful annual fundraisers cozied up at home with their laptops—just like many of us have for happy hours, birthday parties, and seemingly everything else the last six months.

“We tried to throw the word ‘Zoom’ out of everything we did and said, This is a dedicated link to watch a livestream, to let people know that everything we’re doing is organically driven,” says Nick Engbloom, the University of Minnesota Foundation’s director of community partnerships. “We didn’t want to mimic other events, and we didn’t want it to be your typical Monday-to-Friday Zoom meeting.”

Katie Harms and Dana Harms

Katie Harms; Dana Harms, orthopedic surgeon at Allina

Katie Harms and Dana Harms

“I was surprised I got just as excited about silent auction bidding from a video platform as I would in person!” —Katie Harms, living spaces specialist at Space Options ID

But that’s not easy to accomplish—even when livestream events include emotional messages from young patients and messages from Twin Cities notables. And it comes at a price. WineFest, which benefits the U’s Masonic Children’s Hospital, was on track to raise $2 million at its May in-person gala. After initially postponing until 2021, the event team decided it was too important to the funding of the hospital—and the community—to miss out this year. The team started planning the June 13 virtual event less than two months before it happened, with a new goal of $500,000 (which they met).

Team leaders for another pillar community event, the CCRF Dream Gala, faced the same challenge: cancel and lose key funding for the year, or try something totally new and go digital. The first-ever Dream Stream took place in late April and raised more than $330,000 for cancer research—almost $1 million less than last year’s in-person event.

Mike Moore and Scott Hierlinger

Mike Moore; Scott Hierlinger, vice president at Nelson

Mike Moore and Scott Hierlinger

“This year wasn’t short on fun and helping the U of M Masonic Children’s Hospital! ” —Mike Moore, director of sales at Star Tribune

“It’s hard to say we exceeded our goal or didn’t meet our goal, because we didn’t even know how to set a goal,” says CCRF’s senior events coordinator, Sarah Ober. Raising money virtually—without live auctions, person-to-person connections, and the halo effect that comes from the shared-giving vibe of the room—is challenging. On the flip side, hosting virtually comes at a much smaller investment—no expenses for caterers, venues, florists, and other services that add up quickly. Still, that doesn’t necessarily mean the organizations are coming out on top.

Event teams are quick to acknowledge what they learned and can change and add to future virtual and in-person events. “I’m trying not to see these new virtual events as being temporary fixes for 2020,” Ober says.

Organizations also realize that with free “admission” to virtual galas and the ability to log on from anywhere, more people have access to events—people who previously couldn’t afford a three-figure ticket, or those who may have attended the event in the past but now live elsewhere. Families were able to introduce their kids or parents to philanthropic organizations they’re passionate about. Many in-person galas and fundraisers will still have ticket prices in the future, but organizations are considering free digital elements to engage broader audiences.

“We learned that even in the time that we’re living in, with this pandemic, people still want to make a difference and give back,” Engbloom says. “And we saw our dedicated donors are going to stay dedicated.”

Disney delays Black Widow in new setback for cinemas

Big chains including AMC Entertainment and Cineworld Plc’s Regal Cinemas have reopened in other U.S. cities. The few blockbusters left on this …

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Walt Disney on Wednesday postponed the release of superhero movie Black Widow and Steven Spielberg’s West Side Story until 2021, a setback to cinema operators hoping for a late-year surge in moviegoing.

The films were among the biggest titles remaining on Hollywood’s schedule for 2020. Black Widow was delayed by six months until May 2021 and West Side Story, a movie version of the classic Broadway musical, by a year to December 2021.

The changes follow disappointing efforts to get Americans back into movie theaters after the coronavirus pandemic shuttered cinemas worldwide in March.

Theaters remain closed in Los Angeles and New York, the two largest moviegoing hubs in the United States. Big chains including AMC Entertainment and Cineworld Plc’s Regal Cinemas have reopened in other U.S. cities.

The few blockbusters left on this year’s include James Bond movie No Time to Die, due to debut on Nov. 20, and Wonder Woman 1984, which recently moved to Dec. 25.

Disney and others have shuffled their schedules several times as they try to gauge when the pandemic will fade enough to bring audiences back to multiplexes. Some movies have skipped theaters and gone straight to streaming services.

Black Widow, starring Scarlett Johansson as the Marvel action hero, had originally been scheduled for May before Disney moved it to Nov. 6.

Disney on Wednesday also moved back Agatha Christie mystery Death on the Nile to December 2020 from October, and Marvel’s Eternals to November 2021 from February 2021.

“Marvel made the right & responsible decision,” Eternals star Kumail Nanjiani wrote on Twitter. “There’s a pandemic. Nothing is more important than health & lives. I can’t tell (people) to go to a movie theater until I feel safe going to one.”

Disney still plans to release animated Pixar movie Soul in theaters on Nov. 20.

Tenet (12A) review

Mooky Greidinger, chief executive of Cineworld, has called the release of Nolan’s film “a turning point”. Showcase Cinemas reported a 75% rise in …

Mooky Greidinger, chief executive of Cineworld, has called the release of Nolan’s film “a turning point”. Showcase Cinemas reported a 75% rise in ticket sales for Tenet over the weekend. After Tenet comes Marvel’s Black Widow (October 28), and the new Bond movie (November 12).

Cinema was one of the first industries to go into lockdown and one of the last out. Scotland only gave the go-ahead for the doors to open again in July.

With no major titles in the offing, some cinemas opted to stay dark and wait for Tenet. Others have rerun audience favourites such as Star Wars, Mamma Mia and Jurassic Park. The Glasgow Film Theatre will reopen on August 31 with Tenet.

Going to the cinema has been high on the list of post-lockdown desires, but it comes with concerns. Audiences will be socially distanced and masked, and staff will apply the by now familiar hygiene protocols. Yet as director Oren Moverman told Variety recently: “There is the science and there is the psychology. When are people going to feel safe?”

Much has altered while cinemagoers have been away. During the lockdown some major studios put their forthcoming releases on ice. Others sent films straight to streaming and video on demand (VoD) instead of waiting to give cinemas the usual three month theatrical window.

First to break from the pack was Universal with Trolls World Tour. Disney will release Mulan on its own channel on September 4.

Cinemas fear that if the window of exclusivity is shortened, or abandoned, their profits will be hit, not least those from the sale of food and drink.

Both Cineworld and Odeon banned Universal films in the wake of Trolls. But shutting out Universal would mean closing the door to the new Bond – unthinkable in the current climate.

Dr Andy Dougan, lecturer in film and television studies at The Royal Conservatoire of Scotland, believes cinema has a future, but there will be big changes. For a start, the gulf between blockbusters and independent movies will become wider.

“With cinemas being restricted to about 50% capacity that is going to mean a two-tier system. There will be the blockbusters, which will fill the multiplexes, but the issue is whether you want to show indie/arthouse films in this environment.

“If you can only get 50% of your custom in then you are going to need to sell every available seat for every performance and that’s a big ask.”

The natural home for independent movies will be streaming platforms such as Netflix and Amazon, said Dr Dougan. He thinks other studios will follow the example of Universal and shrink the window of theatrical exclusivity.

“It’s the way to go. Most films are dead in the water after three weekends so it makes sense to move them on VoD. Ironically this may free up screens to take a chance on less commercial fare or reruns of classics. The issue is the VoD price point – it has to be high enough to value the ‘exclusivity’ but low enough to be affordable.”

Like millions of movie lovers he would hate to think cinema could be on the way out due to Covid-19.

“What will be lost is that collective experience. Since prehistoric times when we huddled round a campfire to hear the storyteller recount the oral history of the tribe, we are hard-wired to experience stories collectively.”

REVIEW

Tenet (12A)

***

Dir: Christopher Nolan

With: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh

Runtime: 150 minutes

HERE it is then, the one to lead the cinema-starved hordes out of the light and into darkness again. Will it be all you desire? It depends what you are after.

The tale opens in thrilling style with a terrorist attack on a packed concert hall in the Ukraine. Special forces are drafted in, among them a character known only as the Protagonist. Having distinguished himself in action, the Protagonist is given a new mission – save the world.

Armed only with a code word – Tenet – and a locked fingers gesture, he naturally seeks clarification. We’re trying to prevent World War Three, some science type tells him.

“Nuclear holocaust?” asks the Protagonist.

“No, something worse.”

Blimey, not England winning the world cup again?

Turns out there is a new cold war going on, one that is being fought “beyond real time”. Someone in the future wishes the planet ill, but how can anyone in the present stop him?

So we go down the rabbit hole with writer-director Nolan. He certainly serves up the full cinematic experience. The first thing you notice is how LOUD everything is. Ludwig Goransson’s heart-pounding soundscape is the backdrop to thrilling car chases, shoot-outs with bullets flying backwards, explosions, and a fight involving a cheese grater (really). This is Nolan on typically spectacular form. Who needs Netflix on the telly now?

The cast is first class, from relative newcomer John David Washington as the Protagonist to his crime-fighting partner Neil (Robert Pattinson). Acting everyone else off the screen is Kenneth Branagh as a megalomaniac Russian oligarch, with Elizabeth Debicki as his cowed wife.

All terrific, but then we come to the story. A riddle wrapped in a mystery inside an enigma is just the start of it. Adding to the confusion is dialogue that for long stretches is impossible to make out. There is clever, and there is too clever by half. Nolan’s tale is the latter, and his picture is poorer for it.

DeathStalker APT Targets SMBs with Cyber Espionage

Victim companies are primarily private entities in the financial space, including law offices, wealth consultancy firms, financial technology companies, …
The hacker-for-hire group, operating since at least 2012, primarily targets financial firms.

Small and midsize businesses (SMBs) should have a new advanced persistent threat (APT) on their collective radar: DeathStalker has been targeting SMBs in the financial sector since at least 2012.

Kaspersky researchers tracking the group since 2018 report DeathStalker has targeted companies around the world. Attackers don’t seem motivated by financial gain; they don’t deploy ransomware or steal payment data. The focus is sensitive business data, which could mean DeathStalker offers hacker-for-hire services, or serves as a sort of “information broker,” in financial circles, they write in a new analysis.

The group caught researchers’ attention with Powersing, a PowerShell-based implant. This is one of three malware families tied to DeathStalker’s activity and the one researchers have used to track the group since 2018. The other two malware families, Evilnum and Janicab, were first reported by other security vendors. Code similarities and victimology among the three families enabled researchers to connect them to each other “with medium confidence,” they report.

DeathStalker uses tailored spear-phishing emails to deliver archives containing malicious files. When a victim executes the script, it downloads more components from the Internet to give attackers control over the machine. When Powersing lands on a device, it can take screenshots and execute PowerShell scripts. Depending on the security solution, it can also evade detection.

Victim companies are primarily private entities in the financial space, including law offices, wealth consultancy firms, financial technology companies, and similar organizations. In one case, the group was seen targeting a diplomatic entity. It’s believed DeathStalker chooses its victims based on perceived value or based on customer requests, though research believe any financial firm, regardless of location, could be at risk.

Read more details here.

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