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Avengers: Endgame directors Anthony and Joe Russo argue the Fantastic Free needs a Endgame Online movie” after two big screen iterations failed to properly adapt Marvel’s Watch Avengers Endgame Online family, but how and when that happens is under the purview of Marvel Studios president Kevin Feige.

“We don’t know what Kevin’s plans are For Endgame. He’s been very specific about just ending the Infinity Saga,” Joe told Business Insider of the 22-movie saga wrapped with Endgame. “But Fantastic Four needs a definitive movie at some point.”

Disney-owned Marvel Studios won the right to develop the Fantastic Four and X-Men properties upon Disney completing its $71.3 billion acquisition of 20th Century Fox’s entertainment assets, granting the Marvel Cinematic Universe the ability to utilize such ancillary characters as fan-favorites Deadpool, Doctor Doom, and the Silver Surfer.

“There’s a whole layer of complexity to the whole equation that had to play out first. The business issue was announced and achieved first,” added Anthony. “Now the creative work begins.”

After four back-to-back Marvel movies, the Russo brothers are putting a pause on superheroes. But temptation to handle certain characters could draw them back into the fold.

“It’s just about finding the right story that inspires us. That’s why we get out of bed every day [laughs],” said Joe. Asked which characters would do that, the director pointed to the ever-lovin’ blue-eyed Thing.

“I mean, I love Ben Grimm from the Fantastic Four. Doctor Doom was always one of my favorite villains,” Joe said. “Wolverine, but I think he’s got to be set aside for a little while.”

With just the Phase 3-ending Spider-Man: Far From Home left on the docket, Marvel is expected to unveil its coming slate later this year. But the X-Men — who next star in June’s Fox-produced Dark Phoenix — aren’t expected to reach the MCU for “a very long time.”

“It’ll be a while. It’s all just beginning and the five-year plan that we’ve been working on, we were working on before any of that was set,” Feige previously told io9 of the mutant superheroes.

“So really it’s much more, for us, less about specifics of when and where [the X-Men will appear] right now and more just the comfort factor and how nice it is that they’re home. That they’re all back. But it will be a very long time.”

When these blockbuster properties debut in the continuity home to Spider-Man (Tom Holland), Black Panther (Chadwick Boseman), Captain Marvel (Brie Larson), and a slew of other superheroes, Avengers: Endgame co-writer Christopher Markus expects their arrival to signal an all-new Marvel Cinematic Universe.

“It’ll be fascinating to see what Kevin Feige does with the properties he’s now getting from the Fox merger with X-Men and Fantastic Four,” Markus told the Los Angeles Times.

“And to see what the MCU version of those things is, because I very much doubt it will be something that resembles what you’ve seen before. So that will be very exciting.”

With Avengers: Endgame, Marvel Studios kicked down the door to the future of the MCU and opened up the franchise to a multiverse of possibilities. But there was one specific line early in the film that perked many fans ears, wondering if the Marvel Cinematic Universe was getting ready to introduce Atlantis and its monarch, Namor (Marvel) .

And while directors Joe and Anthony Russo remained coy about the possibilities of Namor’s debut in the future, Avengers: Endgame writers Christopher Markus and Stephen McFeely came clean and admitted that the mention of an earthquake on the ocean floor was NOT a reference to classic Marvel Comics character.

“I wish we were that smart,” Markus told the Hollywood Reporter, revealing that fans might have to wait a while longer before seeing Namor’s debut.

The Russo brothers were a lot more teasing toward the fans when they were asked about it during their appearance on the Happy Sad Confused podcast, with Joe immediately responding “Maaaybe.”

“Some people may interpret it that way,” said Anthony.

Host Josh Horowitz pointed out that Joe “smiled when he said maybe.”

Added Joe, “It could just be an earthquake.”

People at Marvel Studios might be eager to see one of the comic publisher’s oldest characters debut on the big screen, but the issue is much more complicated than fans might think. As producer Kevin Feige made it clear, there are rights issues with other movie studios presenting the character’s debut.

“I think there’s a way to probably figure it out but it does have — it’s not as a clean or clear as the majority of the other characters,” Feige said.

Feige has addressed the issues before when the Fox deal was not yet complete, adding that he’s eager to get every character under the banner of Marvel Studios.

“There are some with a couple of other players involved that would have to be negotiated with,” he explained. “Then, of course, Spider-Man is still with Sony, independent of our agreement to do the films together. But most of them are home now. If that Fox thing happens, yeah, that’ll be the majority.”

So while it might be a while before we see Namor, fans shouldn’t lose hope just yet.

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Pokémon Detective Pikachu where Pokémon and humans coexist, a Charmander works Online a shift as a Free sous chef, using Detective Pikachu Online tail’s flame Full to grill food to perfection. Downtown, a squad of Squirtles aids firefighters in extinguishing a blaze, while Growlithes march in and out of a police station with their human officer counterparts.

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It’s a scene as mundane to the people onscreen as it is unparalleled wish fulfillment for fans of Pokémon’s 24-year strong gaming, card, and anime mega-franchise—finally, here in live-action, the iconic critters feel “real,” with digitized fur, feathers, scales and all. Most Pokémon stories are conflict-oriented, with heroes and villains catching and training the creatures for high-stakes battle. But in Ryme City, where battling is outlawed, Pokémon work 9-to-5s in harmony with humans—a weird, wondrous eccentricity glimpsed mostly in the background of a noir-tinged mystery surrounding a boy, his father, and a talking electric mouse.

At least, that’s how the film’s co-writers, Pokémon superfans Dan Hernandez and Benji Samit (One Day at a Time, The Tick), saw the moment their hero first steps into Ryme City after a life spent far, far away from adventure. Tim (Justice Smith) is thrust into the city’s ecosystem like Luke Skywalker stumbling into the Mos Eisley cantina: he’s overwhelmed by the alien spectacle around him, yet intrigued all the same—and so are we. “You don’t know what it all means but you know you want to learn more,” says Hernandez. It’s a setting both lived-in yet foreign.Braviaries flit across the sky delivering mail. And a Machamp stands in an intersection, using four burly arms to direct traffic around a Snorlax caught snoozing in the middle of the road—a known habit of the narcoleptic Pokémon.

Courtesy of Warner Bros. Pictures
But if Detective Pikachu is Pokémon Star Wars, it’s an installment that forgoes certain staples of the franchise. Writing a Pokémon story in which “there are no pokéballs, no trainers, and no battles,” Samit says, is like imagining “a Star Wars story where you can’t have any lightsabers or the Force in it.” Except here, that’s the draw. Detective Pikachu isn’t about catching ’em all, or being the very best (like no one ever was). It’s about a father and son’s broken relationship, a wise-ass Pikachu, and a side of the Pokémon universe that hasn’t been explored onscreen. “We didn’t just want to show stuff we’ve all seen before, but now it’s in live-action” he explains. “We wanted a reason for the movie to exist.”

In lieu of catching, battling, and training, Detective Pikachu’s writers honed in on the concept of Pokémon evolution. “Pokémon evolving is such a fundamental part of this property,” Hernandez says. They set out to tell a story “not just about Pokémon evolution, but asking the question of whether people can evolve, too—can relationships between fathers and sons evolve? That was kind of our guiding principle in connecting us to the lore that came before us.”

The emotion of the story and the kick of watching Pokémon perform everyday jobs come second to the movie’s real novelty, though: beholding “live-action” Pokémon at all. The uncanny sight of actual taste buds on Lickitung, hair follicles on Jigglypuff, and individual strands of yellow fur on Pikachu proved jarring for fans when the film’s trailer debuted. But on the big screen, the textures add welcome bits of weirdness (as with Mr. Mime), scariness (Gengar’s ghostly quality was modeled after Harry Potter’s dementors) and of course, cuteness to the animal-like characters. (The movie’s coffee-addicted Pikachu is almost criminally adorable.)

Around 65 Pokémon appear in the movie, each hand-picked to represent seven “generations” (the franchise’s original 151 Pokémon has expanded to include upwards of 800). “The ones we gravitated toward for this movie were the ones that had a really obvious neurosis or character trait,” Hernandez says, explaining how the perpetually migraine-struck Psyduck ended up with the movie’s No. 2 role after Pikachu. “He has an inherent comedy to him,” he laughs. “There’s a personality attached to it that really creates a great three-dimensional character.”

Mr. Mime, the center of one of the film’s funniest sequences, was another standout choice. Ditto Magikarp, a fish Pokémon which is famously useless in battle and something of a punchline, but which finds vindication in a hero-saving set piece. And ditto, uh, Ditto, the shape-shifting Pokémon known for sometimes having trouble replicating faces. “We sort of started with our dream list and narrowed it down to the ones that appear in the movie,” Samit says. “Dan and I had so many others that for various reasons seemed to get cut.”

Director Rob Letterman (Goosebumps, Monsters vs. Aliens) is blunt on that point: The Pokémon “got narrowed down dramatically for budgetary reasons,” he laughs. “It’s insanely expensive to bring these characters to life.” He spent the year before shooting working with the Pokémon Company to develop the tone and physical appearance of each Pokémon, along with art director Ravi Bansal and visual effects supervisor Erik Nordby. The goal, he says, was to “make a movie for fans of Pokémon first” and appeal to viewers less familiar with the franchise second.

To do that, the film’s creative team connected directly with Ken Sugimori, the original character designer and art director of Pokémon, and peeked into the “design bible” of original animation models (with differently-angled views and technical diagrams of each Pokémon) used for the franchise’s first anime in 1997. The film’s concept artists used those designs along with a photo reference texture sheet for potential real-world surfaces to use on each character, while Letterman’s team flew back and forth to Tokyo presenting the Pokémon Company with ideas, getting notes, and adjusting.

The hardest character to nail down, of course, was Pikachu. “We put a lot of extra, extra care into that one,” Letterman promises. The film needed to “make it adorable and still adhere to what makes Pikachu Pikachu”—with an extra complication in another uncertain first for the franchise’s most recognizable character. Pikachu never speaks apart from squeaking its own name, but is here voiced by a characteristically chatty Ryan Reynolds. Suddenly, Pikachu has a lot to say.

For his part, Reynolds helped shape Pikachu’s personality over two days in Los Angeles with the director and Justice Smith, finding the pair’s chemistry and riffing on the screenplay. “I really wanted his improv and I wanted him to ad lib,” Letterman recalls. He reworked the screenplay to include Reynolds’ quips, but swears the actor’s Pikachu is more than just Deadpool-lite: “There’s a lot of heart in this movie and Ryan keyed in on that early on,” he says. “So it is a balance of all his wit and humor but with a very grounded, heartfelt performance.”

There’s a lot of heart in this movie and Ryan keyed in on that early on. So it is a balance of all his wit and humor but with a very grounded, heartfelt performance.

It helps that his Pikachu’s comedy doesn’t begin or end with one-liners—it’s in the very idea of what he is. While the film is based on the Detective Pikachu Nintendo 3DS game, Hernandez and Samit drew on classic noir stories, from Double Indemnity to Raymond Chandler’s crime classics Little Sister and Farewell, My Lovely, in sketching out the persona of their star detective. “The way that they speak, the sort of tough-guy language that they invoke—the second that you have it coming out of this little Pikachu, it’s going to be very funny,” Hernandez explains with a laugh.

Many of the movie’s more surreal moments, meanwhile, include costar Bill Nighy as a billionaire fascinated by the concept of Pokémon evolution, and Ken Watanabe as a police lieutenant whose partner is a Snubbull (it looks like a frilly pink bulldog). Letterman combusts at the memory of directing “these award-winning, classically-trained actors” to react to invisible, cutesy CGI costars. “The fact that they did it without even blinking was awesome,” he laughs. “It’s such a weird world, we needed them to ground it to make it believable.” (The project was mutually beneficial: Nighy emerged a true Pokémon fanatic.)

Letterman enlisted cinematographer John Mathison to shoot on 35mm film, and shot the movie’s Ryme City scenes on location in London, sometimes using zoom lenses from six blocks away to catch Smith in rush-hour traffic. “It wasn’t just a pretentious ‘I want to shoot on film’—I mean, it was a little bit of that, but there was a purpose to it,” he explains. “We had very cartoony characters that I needed to make real, living, breathing creatures in the world.”

Pokémon battle, which only serves as an impulse to the plot

A region that prides itself on not being like its other neighbors on the globe and where the visionary Howard Clifford helped build Ryme City, something like a utopia where humans and Pokémon coexist peacefully and pokébolas are banned . Of course in every paradise there is a snake and it is there where in the form of illegal underground fights we appreciate the closest thing to a Pokémon battle, which only serves as an impulse to the plot.Speaking of the plot, it involves without much cohesion a young human protagonist named Tim Goodman (Justice Smith), former aspiring coach and who arrives in Ryme City in search of his father, a missing detective who went to investigate matters that He should not and he was strangely involved in an accident. He joins the journalism practitioner Lucy Stevens (Kathryn Newton), who with his Psyduck and his journalistic nose do their best to unravel the mystery of a gas that makes the Pokémon exposed crazy and aggressive.

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Sam Wilson, aka Falcon.Another thing that creates doubt for some fans

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Erick, one of the important messages in the Endgame is fighting

Erick admitted that he had watched the films made by Anthony Russo and Joe Russo twice. For the Mahaka Group boss, the Marvel Studios film has several important meanings.”Why watch Avengers: Endgame, because in this film there are many important messages,” Erick said to reporters after Nobar.According to Erick, one of the important messages in the Avengers: Endgame is fighting, war and riots that only cause many victims. The former President of Inter Milan then linked him to competition in the 2019 Election.According to him, it would be wonderful when the elections held every five years ended with friendship and unity. “The American captain just ended up looking for a quiet life, right? Of course, on the other hand, it’s the same,” he said.Erick asserted, now is the time to reunite building a nation. “If we are busy blaming each other, look for the negative, the pessimistic, finally our nation will be left behind,” he said.

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