Most of the first trailer for Ironheart reminds viewers of what we learned in Black Panther: Wakanda Forever: that Riri Williamsis a genius. Under pressure and threat of danger, she figures out a way to escape an elevator death trap, establishing her credibility as the greatest engineering mind since Tony Stark. But there’s one thing that Riri Williams has in common with most people, including those watching the trailer at home. As her friend puts it, “You know nothing about this man.” The man in question is Parker Robbins, played by Anthony Ramos. He appears in the trailer as a sort of morally dubious benefactor to Riri, but the most notable part of him is his unique style of dress. In most scenes, Robbins wears a leather cloak, which appears to have mystical powers. Marvel Comics readersrecognize Robbins as “The Hood,” a relative newcomer to the world of comics but a character with the power to shake up the MCU. Robbins made his debut in 2002’s The Hood, written by Brian K. Vaughanand penciled by Kyle Hotz. As part of Marvel’s mature-readers MAX line, The Hood took a sideways glance at the Peter Parker archetype, giving us a likable everyman who operated in the world of Marvel’s criminals. When Parker took a burglary job to pay for his sick mother’s treatment, he discovered a mystical cape and pair of boots, clothing that granted him the powers of flight and invisibility. While that initial story made Parker more of a normal guy who makes bad choices in difficult situations, subsequent tales have leaned into soap opera, transforming him into more of an unrepentant supervillain. In Daredevil, he sought to become the new Kingpin of Crime and he regularly butted heads with the New Avengers. During the Secret Invasion and Secret Wars storylines, Parker became a member of the Cabal, a sort of evil Illuminati, alongside villains such as Norman Osborn and Doctor Doom. Later, he joined the Thunderbolts and clashed with Hawkeye, then the team’s leader. More recently, stories about the Hood have emphasized his mystical powers, tying him to Ghost Rider and Doctor Strange’s arch-enemy Dormammu. And that’s where Parker has real potential to change the MCU. Magic has always been a key part of the MCU, ever since Thor and the first scene of Captain America: The First Avenger. More recently, movies such as Spider-Man: No Way Home and shows such as Agatha All Along have explored the magical side of the universe, indicating how it underpins everything the characters do. As seen briefly in the Ironheart trailer, the MCU version of the Hood has those same mystical powers and, if the brief shot of Parker writhing as runes form on his back is any indication, the powers may overwhelm him. Clearly, the abilities are greater than even he realizes. Furthermore, rumors have once again suggested that Mephisto, the Marvel Universe’s equivalent to Satan and a character tied to the comic book version of the Hood, will finally appear in Ironheart, played by Sacha Baron Cohen. Yes, people have been saying that since WandaVision but, given the recent Mephisto name drop in Agatha All Along, it now seems more likely. All of which raises a question: Why all this magic in Ironheart, a show about a technical genius who uses her science skills? The answer is that this clash between technology and magic has long been a theme in the Marvel Universe, going back to Iron Man‘s battles with the Mandarin, a far more magicalcharacter in the comics. The bigger question involves the show’s depiction of Parker Robbins. A veteran of Hamilton and, more recently, Twisters, Ramos knows how to play a fresh-faced and likable character. Will he be able to keep audiences on his side, even as he goes deeper into the dark arts? Or will he quickly become an unrepentant villain, like his comic book counterpart. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Ironheart comes to Disney+ on June 24, 2025 #ironheart #trailer #reveals #magical #villain

Lionsgate first announced the John Wick spinoff Ballerina in 2017 and put it on the fast track to production in 2019. That track turned out to be very bumpy. The film was initially scheduled for release in June 2024 but got pushed back to this year. In the interim, John Wick co-director Chad Stahelski assumed control of the overall franchise and spent two weeks doing additional photography to enhance director Len Wiseman’saction sequences. The final trailer for the film, which hits theaters on June 6, shows off a bit of that spectacle. It emphasizes the assassin vs. assassin conflict between Eveand John Wickset between the events of John Wick: Chapter 3 – Parabellum and John Wick: Chapter 4. The battles include Eve — who is trained at the Ruska Roma ballet school Wick visits in Parabellum — staving off a cleaver attack, wielding a flamethrower and an ice pick, and running a guy through with a katana.  There are cameos from Norman Reedus warning Eve that the Continental Hotel is being surrounded as well as the building’s owner Winston Scott. In another sign of just how long this film has been in the works, the trailer also features an appearance by the Continental’s concierge Charon, played by Lance Reddick, who died in 2023. Hopefully the road to the recently announced John Wick 5 will be a bit smoother and faster with Stahelski at the helm the entire time. #final #trailer #john #wick #movie

The UK-founded design and engineering giant will support the Nordic Office of Architecture, which has studios in Norway, Denmark and Iceland, and Oslo-based Rodeo Arkitekter. The team won the commission ahead of Bjarke Ingels Group (BIG) in collaboration with Danish practice AART Architects and local practices Snøhetta with LINK Arkitektur. Entries were judged anonymously. The building, located at Normannsløkka in Oslo, will be arranged across two sections: a four-storey base, aligned with the surrounding urban scale, containing studios, workshops, newsrooms and support spaces; and a recessed, circular upper structure offering modern workspaces with panoramic views across the city.Advertisement The upper structure reflects the public broadcaster’s circular branding. It will include 60,000m² of gross floor area and 50,000m² of utility floor area, to include modern studios, publishing desks, post-production facilities, concert studios, workshops, and warehouses. A statement from the Nordic Office of Architecture said its sustainable development would ‘enhance the visibility and integration of NRK in the cityscape, promoting interaction with the local community’. It also described the ‘signal building surrounded by a park that extends onto the roof, with stormwater management and biodiversity enhancing the environment and ecological connections’. NRK broadcasting director Vibeke Fürst Haugen, who was on the competition jury, said panel members supported the Nordic Office of Architecture/Arup/Rodeo proposal unanimously, adding: ‘The solution appears good, robust, open and inviting.’Advertisement Arup director Nick Jackson said the facility would become a ‘world-class media production and an outstanding workplace for future generations’. He added: ‘The collaboration on its new headquarters reflects a shared ambition to create a flexible, future-ready media environment that fosters creativity, collaboration and innovation.’ Planning permission is still being sought for the building, with the broadcaster hoping to occupy it in 2029. Jackson said the win built on Arup’s London team’s recent win with Nordic Office of Architecture on a new stadium for the northern Norwegian football team FK Bodø/Glimt. The wood and recyclable aluminum Arctic Arena, for this season's Europa League semi-finalists, is set to have a capacity of 10,000. Source: https://www.architectsjournal.co.uk/news/arups-architecture-team-wins-contest-for-norwegian-state-broadcasters-new-hq #arups #architecture #team #wins #contest #for #norwegian #state #broadcasters #new

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney. And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir. But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it. Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld. As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing. Marvel’s Great Depression The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J. Jonah Jameson, only to find Spider-Man standing over him. Images such as this are well-known to fans of the wallcrawler, but this one is different. It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15. It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun. Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder. But the very shock of the image does underscore the tone of Spider-Man: Noir. Gone is the quippy Spidey, with his relationship problems and lovable hard-luck. In its place is a Spidey who dwells on the edges of society. He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure. Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash. Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon. Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S. All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect. The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs. Seriously Dark The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era. In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon. But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color. It’s a good joke, but not the sort of thing that can sustain an entire television series. So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie. Granted, though, that some things need to be changed. Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics. Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May. She and Ben would be long gone by the time sexagenarian Spidey is working. However, she could still have been a leftist, perhaps a union organizer or suffragist. More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s. That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference. Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center. Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow. Spider-Noir will stream on MGM+ in 2026. Source: https://www.denofgeek.com/tv/spider-noir-teaser-retains-the-spirit-of-the-marvel-comics/ #spidernoir #teaser #retains #the #spirit #marvel #comics