Steve Pond's Blog, page 2024
January 2, 2020
‘The Grudge’ Film Review: Classy Cast Gets Trapped Inside Played-Out Sequel
“The Grudge” may have started in Japan with the horror film “Ju-on,” but after four installments, 16 years, and a villain that cannot die as long as there’s an ounce left of box-office potential in its intellectual property, it’s become a quintessentially American franchise.
Unfortunately, the intriguingly different — and, perhaps vitally, unspecific — set of cultural myths that drove Takashi Shimizu’s 2004 remake of his earlier work to more than $187 million at the box office has not only long since fallen out of commercial vogue, but also seemingly exhausted its own mysteries.
Even gussied up with a cast of prestigious character actors including Andrea Riseborough, Demián Bichir, John Cho, Betty Gilpin and Jacki Weaver, this new “Grudge” does little more than revive the visual lexicon of its predecessors without adding new mythic, narrative or emotional dimensions to the ongoing story of an unseen force that forever passes along its unstoppable evil.
Watch Video: 'The Grudge' Trailer: John Cho Gets Trapped in the Shower With a Demon in Horror Remake
Riseborough plays Detective Muldoon, a widow searching for distractions after the death of her husband from cancer. Teamed with lonely Detective Goodman (Bichir), the duo is assigned to investigate the mysterious death of Lorna Moody (Weaver), whose badly mangled body is discovered on the outskirts of town.
Goodman maintains his distance from the case, especially after clues suggest it may share elements in common with the deaths of the Landers family two years earlier, which he never solved and which slowly drove his partner Wilson (William Sadler) crazy. But after Muldoon encounters Faith Matheson (Lin Shaye), injured and seemingly insane, in the Landers’ home, she becomes determined to get to the bottom of these violent, unexplained deaths.
Also Read: Sony Bumps 'Grudge' Reboot Out of Prime Summer 2019 Release, Moves to Next Year
Muldoon’s investigation uncovers information about Faith and her husband William (Frankie Faison), who moved into the Landers home after she was diagnosed with a terminal disease, which eventually leads Muldoon to the case of Peter (Cho) and Nina Spencer (Gilpin), expecting parents who were killed while coming to terms with challenging news about their unborn child. But in spite of Goodman’s discouragement, Muldoon continues to search for the truth, even as she begins to experience strange visions herself.
As her worries mount that whatever caused these deaths has somehow attached itself to her and her son, Muldoon makes a desperate bid to expose this cycle of violence for what it is before they fall victim to its evil designs.
Directed and co-written by Nicolas Pesce (“The Eyes of My Mother”), “The Grudge” is almost slavishly devoted to the original (or “original”) film, taking place between 2004 and ’06 as a way to keep its continuity synchronized. At the same time, Pesce inexplicably opts to focus on Muldoon as his main character, while simultaneously jumping forward and back in time between the stories of various characters impacted by The Grudge without successfully uniting the morsels of information from each timeline into a cohesive (much less suspenseful) present. The audience learns details — about these couples, these families, as they descend into madness and murder — that none of the characters could know, with only a single takeaway: namely, that The Grudge is an evil force, and it cannot be stopped.
The nonlinear structure keeps Muldoon foregrounded throughout the film, but it accomplishes little else except distract viewers from the mounting list of important questions that never get answered. Meanwhile, Bichir’s Goodman seems to have evaded getting Grudged simply because he never went inside the house where the first murders occur; although that puts him a uniquely intriguing position to witness and react to (and maybe try to stop) this cycle of violence again and again, the character instead appears only to smoke cigarettes, provide useful expository information and then go away.
Pesce directs the whole thing with a handsome austerity that suggests a more thoughtful, reality-based interpretation of this long-running ghost story, and bolsters its seriousness with a cast of considerable acting if not commercial weight. (Gone are the Sarah Michelle Gellar days.) Riseborough wrestles with her role as cop and grieving mother-wife with more energy than the movie probably deserves, while Bichir lends his Sphinx-like stillness to Goodman in ways that are both effective and occasionally maddening.
But Cho and Gilpin are stuck in a domestic drama that gets interrupted by a monster movie, and Weaver’s natural effervescence — put to great use in the past in roles that underscored a character’s menace — makes her seem absolutely daffy as a woman who performs assisted suicides. Meanwhile, Faison gets a wonderful monologue about grief and remembrance of people lost that touches on ideas the rest of the movie can’t keep up with.
Finally, the rules of The Grudge are explained at the beginning, but they don’t make a lot of real sense, and they’re thrown out by the end of the film when new abilities are introduced to create suspense at the expense of common sense. But then again, unless you’re a dedicated fan of this franchise or the Japanese one that inspired it, little of this is likely to fit together in any cohesive or satisfying way.
“The Grudge” 2020 is a prestige drama sidelined by lackluster, incoherent horror, ruining the scares and undercutting the humanity of its characters. Mind you, this is the first theatrical installment of this franchise to receive an “R” rating, so I suppose there’s something appealing about the opportunity to really exploit that. But the scariest thing about Pesce’s film is imagining that someone believed this particular intellectual property had any actual life in it to revive.
Related stories from TheWrap:
How 'The Lighthouse' Delivers Ominous Horror Through Simple Cinematography
The 9 Most Divisive Horror Films of the Decade, From 'Human Centipede' to 'mother!' (Photos)
Netflix Wins Horror Film 'The Unsound' With David F Sandberg Directing
'The Conjuring' Writers Developing Horror Films Based on Haunted LaLaurie Mansion
Harry Hamlin Says He Lost Indiana Jones Role After Dissing Steven Spielberg in Hidden-Camera Audition
Harry Hamlin claims that he was close to playing Indiana Jones, but lost the role to Harrison Ford because of an audition with Steven Spielberg that did not go as he expected.
In an interview with Page Six, Hamlin says that he met with Spielberg in 1978 alongside Stephanie Zimbalist, who was auditioning to play Indy’s companion, Marion Ravenwood. Spielberg told the two actors that George Lucas, executive producer on “Raiders,” was going to be late for the meeting and, strangely, asked them to make a chocolate cake while they waited for Lucas to arrive.
“He closed the door and left and we were standing alone in this kitchen,” Hamlin said. “I said, ‘Stephanie, have you ever made a chocolate cake?’ And she said, ‘No…'”
Also Read: Steven Spielberg's 'West Side Story' Offers First Look at Ariana DeBose as Anita
Hamlin claims that the cooking request was actually a hidden camera audition set up by Spielberg and Lucas to see if he and Zimbalist had chemistry. While they were trying to make a cake in the production studio’s kitchen, Hamlin told Zimbalist about stories he had heard about Spielberg from his friend, Amy Irving, who went on to marry Spielberg in 1985.
“I was talking about how Amy was calling her friend group in LA and saying that this guy, this director guy was stalking her in New York and how she was kind of getting annoyed because this guy, Steven Spielberg, was showing up at the stage door every night with flowers,” he said.
“It never occurred to me … that we were actually in the audition while we were making the cake.”
Also Read: Steven Spielberg's 'West Side Story' Adds 'Dear Evan Hansen' Star Mike Faist, Singer Ana Isabelle
Ultimately, it was Harrison Ford who got the job as Indiana Jones, while Marion Ravenwood would be played by Karen Allen. Hamlin, meanwhile, went on to star in “Clash of the Titans” and the hit ’80s TV series “L.A. Law,” but has never done a film with Spielberg to this day.
“I didn’t get the part, OK, and I’ve never worked with Steven Spielberg, and I grant you that I never will work with Steven Spielberg and I never learned how to make a cake.”
Representatives for Spielberg did not respond to TheWrap’s request for comment. Spielberg is currently working on his adaptation of the hit musical “West Side Story,” set for release in December.
Related stories from TheWrap:
Watch How the 'E.T.' Sequel Xfinity Ad Got Made — And Approved by Steven Spielberg (Video)
Apple Orders Follow Up to 'Band of Brothers' and 'The Pacific' From Tom Hanks and Steven Spielberg
Steven Spielberg's 'West Side Story' Offers First Look at Ariana DeBose as Anita
RuPaul’s Daytime Talk Show Not Moving Forward
RuPaul Charles’ self-titled daytime talk show is not moving forward following its trial run.
The show, titled “RuPaul,” aired on select Fox-owned stations — including WNYW FOX 5 in New York and KTTV FOX 11 in Los Angeles — for three weeks this past summer, but will not continue with new episodes, according to an individual familiar with the matter.
Produced by Warner Bros. Television’s syndicated arm, Telepictures, the show was described as the “RuPaul’s Drag Race” host’s “modern take on the talk format.”
Also Read: RuPaul Hits the Road in First Trailer for Netflix's 'AJ and the Queen' (Video)
The series featured the drag queen-turned-TV host sitting down for interviews, discussing pop culture and providing beauty and makeup tips. Guests included James Corden, Paula Abdul, Senator Cory Booker and HGTV’s Property Brothers, Jonathan and Drew Scott.
“The Oprah Winfrey Show” alum Jill Van Lokeren served as executive producer on the talk show alongside Fenton Bailey, Randy Barbato and Tom Campbell of World of Wonder.
Charles will continue to serve as host of the “RuPaul’s Drag Race” franchise, which was recently renewed for a 12th season at VH1 and is also produced by World of Wonder. Charles is also star of the scripted Netflix series “AJ & the Queen,” which he co-created alongside “Sex and the City” mastermind Michael Patrick King.
Related stories from TheWrap:
RuPaul Hits the Road in First Trailer for Netflix's 'AJ and the Queen' (Video)
RuPaul Becomes the 'Legendary' Ruby Red in First Teaser for Netflix's 'AJ and the Queen' (Video)
'RuPaul's Drag Race' Franchise Adds Celebrity Edition at VH1
The Golden Globes Go Vegan for 2020 Ceremony
The Hollywood Foreign Press Association announced Thursday that for the first time ever, the 2020 Golden Globes ceremony will serve only vegan food to guests at the Beverly Hilton’s International Ballroom, where the event is held every year.
“New this year! We’re working toward a more sustainable #GoldenGlobes by serving an all-vegan menu on January 5th,” the HFPA said in a tweet.
Matthew Morgan, executive chef at the Beverly Hilton, told The Hollywood Reporter that the menu will include chilled golden beet soup with locally-grown chervil and amaranth as an appetizer, and for the main dish, king oyster mushrooms presented like scallops and paired with a cheese-less wild-mushroom risotto, roasted baby brussels sprouts, globe carrots and pea tendrils. For dessert, there will be a vegan opera cake.
Also Read: Why the Oscars Could Be Walking Into a Diversity Minefield This Season
Mark Ruffalo, two-time Golden Globe nominated actor and outspoken climate change advocate, chimed in to express his approval.
“Our industry leads by example. Vegetarian food is delicious and healthy and reduces green house gasses about as much as driving electric cars,” the actor tweeted. “The HFPA should be commended for this and all the other awards shows should follow suit.”
Animal rights advocacy group PETA also gave the move a thumbs-up.
“Kudos to Golden Globes organizers for this kind move, which is a win for animals, our planet, and the attendees, many of whom are already vegan–including Joaquin Phoenix, PETA’s 2019 Person of the Year,” the organization said in a statement Thursday. “Animals in the food industry are beaten, mutilated, denied everything that’s natural and important to them, and violently killed–and PETA is calling on other award ceremonies to take note and leave meat and dairy on the cutting room floor.”
Environmental activist and Globe nominee Leonardo DiCaprio also celebrated the decision. “Thank you HFPA,” he tweeted.
Related stories from TheWrap:
Golden Globes 2020: Predictions in All 25 Film and TV Categories (Photos)
Golden Globes 2020 Predictions: Expect Wins for Scorsese, Tarantino and Bong Joon Ho
Golden Globes Party Preview 2020: Here Are Hollywood's Top Invites
Gina Carano Says She ‘Passed Out’ Twice While Filming ‘The Mandalorian’ Action Scene
Gina Carano, who plays Cara Dune on Disney+’s “The Mandalorian,” revealed on social media that she “passed out” twice filming an action scene.
Would you believe us if we told you fan-favorite Baby Yoda is responsible? “I’m going to tell you something just between us,” Carano tweeted. “I legitimately passed out twice while shooting that scene. So.. ya.. it was pretty great. That little ones force choke is no joke.”
I’m going to tell you something just between us. I legitimately passed out twice while shooting that scene. So.. ya.. it was pretty great. That little ones force choke is no joke. ???? https://t.co/TLOXAZvQs2
– Gina Carano (@ginacarano) January 2, 2020
Also Read: 'The Mandalorian': What You Need to Know About Moff Gideon's Weird Sword
The scene in question is in the seventh episode of “The Mandalorian,” Cara Dune arm wrestles Pedro Pascal’s Din Djarin while Baby Yoda watches. Thinking Djarin is in some sort of danger, Baby Yoda proceeds to force choke Dune in order to protect Djarin.
“The Mandalorian” dropped its first season last Friday and later that day, series creator Jon Favreau revealed that the Disney+ “Star Wars” live-action series’ second season will premiere in Fall 2020.
“Season 2 of #TheMandalorian coming Fall 2020,” Favreau tweeted, revealing that it’s gonna be a while until you get to see Baby Yoda force choke again.
Related stories from TheWrap:
'The Mandalorian' Season 2 to Premiere in Fall 2020
Giancarlo Esposito on Baby Yoda and Joining 'Star Wars' Franchise in 'The Mandalorian' | Video
Can Baby Yoda and 'The Mandalorian' Save the 'Star Wars' Franchise?
How Jamie Foxx Channeled His Own Father’s Jailing in ‘Just Mercy’ (Video)
The making of the new drama “Just Mercy” was a highly personal experience for Jamie Foxx, who plays a real-life Alabama logger named Walter McMillian wrongly convicted of murder and sentenced to death in the 1980s.
“For me as a black man, I felt a responsibility of all of us saying, ‘OK, take a look at what can happen to you,'” Foxx said in a moving conversation about the film with his co-star Michael B. Jordan, who plays defense lawyer Bryan Stevenson and is also the film’s co-producer.
Stevenson, the founder of the Equal Justice Initiative, fought to get McMillian off death row and exonerated.
Also Read: The Echoes of 'Just Mercy' in Montgomery, Alabama - and Beyond
Foxx, who grew up in Texas, felt a strong connection to the film’s story of a miscarriage of justice because his own father, a teacher in south Dallas for 25 years, was convicted and sent to jail when he was still a child.
“I’m from the South,” Foxx told Jordan. “My father was put in jail for $25 worth of illegal substance. … The very judge that he would have come visit the school and talk to the kids was the judge that presided in this case, putting him in jail for seven years. Now he’s sitting in jail with people who he used to teach.”
Foxx said he drew on that emotion to portray McMillian in his frustration, confusion and despair.
Jordan said that he felt a need to bring a broad audience to this story. There are “so many people I know that are great people that just had a s—ty deck of cards,” he said. “People need to see this story, they need to know this exists.”
He also credited Stevenson’s inspiration for him — and potentially for others as well. “Listening to him speak, it is a call to action,” Jordan said. “He puts things in such layman’s terms — you feel you can do anything. The big issue doesn’t feel so paralyzing. I can vote, I can be part of the solution.”
Watch their full conversation in the video above. And see Stevenson speak about the film and why he took on McMillian’s case in this video.
Related stories from TheWrap:
The Echoes of 'Just Mercy' in Montgomery, Alabama – and Beyond
Michael B. Jordan on Importance of Civil Rights Drama 'Just Mercy': 'I Don't Want to Mess This Up'
'Just Mercy' Film Review: Michael B Jordan and Jamie Foxx Power Solid Racism Drama
Women Directed Fewer Top-500 Grossing Films in 2019 Than the Previous 2 Years, Study Finds
Women directed a higher percentage of films in 2019 than any year on record, but the number of women employed across the top-grossing films in other key behind the scenes positions actually inched downward compared to the previous two years.
According to the latest “Celluloid Ceiling” study by Dr. Martha Lauzen, the executive director for the Center for the Study of Women in Television and Film at San Diego State University, 14% of the top 500 films in domestic box office last year had a female director or co-director — down from 15% in 2018 and 18% in 2017 (though still higher than the 11% recorded in 2016).
Lauzen also found that women directed 12% of the top-100 grossing films of the year, a figure consistent with Smith’s study and 13% of the Top 250 films.
Also Read: Women Directed Record 12% of Top 100-Grossing Films in 2019, Study Finds
The same slow progress can be found in representation by female writers, producers, executive producers, editors and cinematographers. In 2019, women worked on 20% of the top-100 grossing films, up from 16% in 2018, and they saw a slight increase to 21% among the top-250 films. But if you broaden the field to the top 500 films, women worked in key roles on just 23% of all films, the same as in 2018.
“While the numbers moved in a positive direction this year, men continue to outnumber women 4 to 1 in key behind-the-scenes roles. It’s odd to talk about reaching historic highs when women remain so far from parity,” Lauzen said in a statement. “It will be tempting to look at the increase of women directing top 100 and top 250 films and conclude that 2019 was a major turning point for women’s employment. That may be true, but we won’t know if 2019 was a single good year or the beginning of an upward trend until we see the numbers for 2020 and 2021.”
In 2019, nearly one third of the top 250 movies employed just one or no women in the roles considered for the study, and only 2% employed 10 or more women. By comparison, 69%, over two-thirds of all films, had more than 10 men employed.
Also Read: The Decade When Hollywood Cracked Open - In Praise of the 2010s
Breaking it down specifically by role, women accounted for 19% of writers, 21% of executive producers, 27% of producers, 23% of editors and 5% of cinematographers working on the top 250 films. This year’s study also found that women comprised 40% of music supervisors, 23% of production designers, 31% of art directors, 4% of special effects supervisors, and 6% of visual effects supervisors.
And naturally, when women are employed as directors, they tend to employ other women in key roles more than their male counterparts. 59% of the top 500 movies directed by women were also written by a woman, whereas just 13% of the movies directed by men employed a female screenwriter.
Lauzen’s “Celluloid Ceiling” study has tracked female employment on films for the last 22 years, reviewing over 70,000 film credits in that time. Her study is not to be confused with the report by Stacy Smith of USC’s Annenberg Inclusion Initiative, which also unveiled its findings on Thursday.
Related stories from TheWrap:
Women Directed Record 12% of Top 100-Grossing Films in 2019, Study Finds
Female Representation Saw 'Historic' Gains Last Year Both on and off Screen, New Study Finds
Newsroom Jobs at US Newspapers Dropped by Half in Last Decade, Study Finds
Women Directed Record 12% of Top 100-Grossing Films in 2019, Study Finds
A record 10.6% of the directors of 2019’s top 100-grossing movies were women, according to the latest study by Stacy L. Smith and USC Annenberg Inclusion Initiative.
A woman directed or co-directed 12 of last year’s biggest hits, the best gender representation since Smith and her team began studying the prevalence of female directors in 2007 — though the overall percentage remains 4.8% across all 13 years of the research. The top-grossing female filmmaker was Jennifer Lee, who co-directed the year’s No. 4 domestic box office hit, “Frozen II,” with Chris Buck.
“This is the first time we have seen a shift in hiring practices for female film directors in 13 years,” Smith said, noting that Universal alone had five films in the top 100 with female directors: Jill Culton’s “Abominable,” Melina Matsoukas’ “Queen & Slim,” Tina Gordon’s “Little,” Gail Mancuso’s “A Dog’s Journey” and Kasi Lemmons’ “Harriet” (through art-house division Focus Features). “Yet there is still much more progress needed to reach parity for women behind the camera.”
The study also found that the percentage of nonwhite directors reached 16.8% in 2019, a dip from 2018’s high of 21.4%. Four women of color directed a top 100 movie in 2019: Gordon, Lemmons, Matsoukas and “Breakthrough” director Roxann Dawson.
Despite the higher representation last year, Smith noted that less than 1% of all directors of top-grossing movies over the last 13 years were women of color. “In fact, 13 women have directed a top film in 13 years,” Smith said. “While 2019 is a banner year for women, we will not be able to say there is true change until all women have access and opportunity to work at this level.”
Smith’s study also found no differences in the average or median Metacritic scores for male- or female-directed movies, or for those by white versus nonwhite directors. However, female directors of color “received the highest median and average Metacritic scores for their films compared to white male-, underrepresented male-, and white female-directed content,” Smith said. “Yet, women of color are least likely to work as directors across the top 100 films each year. These findings suggest that when companies seek to hire ‘the best person for the job,’ they are not relying on objective criteria, but on a subjective view of storytellers.”
Also Read: 50/50 in 2020? Half of Next Year's 10 Highest Grossing Films Could Have Female Directors
Over the last five years, the researchers found that the percentage of female directors at the top eight Hollywood studios was 9.8%, with the highest percentage — 15% — coming last year. Only 35% of the 40 slates included a woman of color as a director.
By comparison, 20% of Netflix’s 2019 directors of U.S. fictional films were women, the study found. And the pipeline for upcoming directors also looks promising, with women directing 34.5% of the feature films in U.S. Dramatic Competition at the Sundance Film Festival between 2015 and 2019.
“Netflix’s value for inclusion is reflected in their 2019 slate,” Smith said.. “Legacy studios must recognize that the world and the talent pipeline looks vastly different from their hiring practices and act to reflect that reality.”
The study also spotlighted the lack of award recognition for female filmmakers. Only 5.1% of Best Director award nominees across the Golden Globes, Academy Awards, DGA Awards, and Critics’ Choice Awards were women. Only four individual women — Kathryn Bigelow, Ava DuVernay, Greta Gerwig and Angelina Jolie — received nominations for any of these awards and just one woman won: Bigelow for 2009’s “The Hurt Locker.”
“A bias that fails to acknowledge women’s leadership is pervasive throughout the entire awards ecosystem,” Smith said. “We see that women’s achievements behind the camera are still not seen or celebrated by their peers or the press. Until we shatter the stereotype of who can be lauded as a director, we will not see change in this area.”
Related stories from TheWrap:
Female-Led 'Wonder Woman 1984' and 'Black Widow' Top Fandango Poll of 2020's Most Anticipated Movies
9 Female-Led Superhero Films in 2020, From 'The Eternals' to 'Wonder Woman 1984' (Photos)
50/50 in 2020? Half of Next Year's 10 Highest Grossing Films Could Have Female Directors
January 1, 2020
Robert Durst Admits To Writing Tip-Off Note in 2000 Murder of Former Friend
In a court document filed Christmas Eve and reviewed by TheWrap, lawyers for Robert Durst acknowledged he authored a 2000 note that led Beverly Hills police to the body of Susan Berman. The real estate heir has long denied writing the tip-off note and has also denied killing Berman, a longtime friend that served as his spokesperson after the 1982 disappearance of his first wife, Kathleen McCormack.
While being interviewed in 2015 for HBO’s “The Jinx,” Durst said the note was something “only the killer could have written.” The note, written on a single sheet of spiral notebook paper, simply said “cadaver” and included an address. The documentary had portrayed Berman as knowing too much information about McCormack’s disappearance.
Durst faces trial for Berman’s murder in February.
In response to the latest development, Durst’s lawyer Dick DeGuerin told TheWrap, “The stipulations speak for themselves. This doesn’t change the facts that Bob Durst did not kill Susan Berman and doesn’t know who did.”
“Durst was held to answer for murder with the special circumstances of witness killing and lying in wait by Los Angeles County Superior Court Judge Mark Windham,” the D.A.’s office said in a statement in 2018, adding that Durst also faces gun use allegations.
Durst is charged with murdering Berman on or about Dec. 23, 2000. Her body was discovered in her Benedict Canyon home on Christmas Eve. He was arrested in March 2015 by FBI agents in New Orleans.
Also Read: Robert Durst Ordered to Stand Trial in Susan Berman Murder Case
Durst’s arrest came one day before the finale of HBO’s “The Jinx,” which chronicled Durst’s life and the death of three people close to him — McCormack, Berman and a neighbor in Galveston, Texas. He was not charged with the disappearance of McCormack and acquitted in the death of the neighbor.
Pamela Chelin contributed to this report.
Related stories from TheWrap:
Robert Durst Ordered to Stand Trial in Susan Berman Murder Case
‘Captain America: The First Avenger’ Actress Charged With Killing Her Mom
Mollie Fitzgerald, an actress who had a bit part in “Captain America: The First Avenger” was arrested in Olathe, Kan. on Tuesday for fatally stabbing her mother.
According to the Johnson County Sheriff’s department, Fitzgerald was charged with second-degree murder in the Dec. 20 slaying of Patricia “Tee” Fitzgerald.
Police had responded to an armed disturbance and found the elder Fitzgerald deceased from stab wounds. Her daughter’s bond was set at $500,000 bond and she is due in court Thursday.
Also Read: Disney+ Moves 'WandaVision' From 2021 to 2020
According to her , Fitzgerald played an unnamed “Stark Girl” in the 2011 Marvel Studios movie. She also has several small producer/director credits to her name, including 2014’s “The Lawful Truth” and 2017’s “The Creeps.”
“Captain America: The First Avenger” tells the origin story of Steve Rogers (Chris Evans), a WWII soldier transformed into a shield-wielding superhero via the Super Solder serum. Captain America played a central role in the Marvel Cinematic Universe, finally passing his mantle to Bucky Barnes (Sebastian Stan) at the end of “Avengers: Endgame.”
Barnes will be seen in the upcoming Disney+ series “The Falcon and The Winter Soldier,” alongside Anthony Mackie.
Check out the Olathe Police media release detailing Fitzgerald’s arrest below:
— Olathe Police (@OlathePolice) December 31, 2019
Related stories from TheWrap:
How 'Avengers: Endgame' Capped a Decade of Change for Movie Theaters
'Avengers: Endgame' Lands on Oscars Visual Effects Shortlist, 'Bombshell' Leads Makeup & Hairstyling
Trump Campaign Tweets Video of POTUS as 'Avengers: Endgame' Villain Thanos
Steve Pond's Blog
