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Harry Potter 3’s Most Important Cut Story Created 2 Problems

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An important storyline cut from the film adaption of Harry Potter and the Prisoner of Azkaban created two major problems for the rest of the movies.

A cut storyline from Harry Potter and the Prisoner of Azkaban created two major problems. While the Harry Potter movies have been a huge success with both audiences and critics, the third installment, Harry Potter and the Prisoner of Azkaban has always been singled out as an exceptional adaptation of its source material and arguably the best feature installment of the franchise.

In the original book of Harry Potter and the Prisoner of Azkaban, Harry Potter receives the Marauder’s Map, which shows the location of every person on the entire grounds of Hogwarts. The map was created by the Marauders: Moony, Wormtail, Padfoot, and Prongs. It is later revealed in the book that the real identities of the Marauders were Remus Lupin, Peter Pettigrew, Sirius Black, and James Potter, and the nicknames were based on whichever animal they could transform into.

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There are hints in the Prisoner of Azkaban movie that those four friends are the Marauders; however, it is never outright stated in the adaptation, nor is it ever confirmed in any of the subsequent movies. While film adaptions often cut storylines for time, the Marauders’ identities and backstory being omitted caused two problems. By not confirming their identities, the movie doesn’t let the audience in on major character moments for the Marauders, even changing some of their backstories. It also makes key moments in other Harry Potter movies when the Marauders are mentioned confusing for viewers who haven’t read the books.


When the Marauders’ identities are revealed in the Prisoner of Azkaban book, it is accompanied by how they came up with the names and created the map. It is explained that when Sirius, Peter, and James found out Remus was a werewolf, they decided to become animagi — wizards who can change into a specific animal — to keep Remus company when he transformed. This showed how close the group of friends were in the past, making Peter’s revealed betrayal that much more devastating. By taking this out, that emotion is lost in the movie version. In the adaptation, Remus tells Harry that while the boy’s father “had a talent for trouble,” his mother Lily was “there for me at a time when no one else was.” This implies that it was actually Lily who was there for Remus during his werewolf transformations instead of James and the others. This changes a lot about the character of James Potter, making him seem aloof and uncaring versus the loyal and self-sacrificing friend he was in the book.


The Marauders’ identities are also constantly referred to in the other movies in the series. In Harry Potter and the Goblet of Fire, Peter Pettigrew is consistently called Wormtail by Voldemort. Calling a traitor by the nickname previously used by the friends he betrayed is in line with the kind of mind games Voldemort would play with his followers. This would not be evident to viewers who only watch the movies, however, as Peter is never referred to as Wormtail in the Prisoner of Azkaban adaptation. In Harry Potter and the Order of the Phoenix, Harry refers to Sirius as Padfoot several times, most importantly when he tries to give Snape a coded message that Sirius is in trouble. This moment would go over the heads of audience members who don’t know the Marauders’ identities, and therefore the tension from the scene is lost, as are the implications of Snape denying that he understands Harry’s message to save Sirius from Voldemort.


While the Harry Potter movie series managed to make entertaining and cohesive adaptions of the beloved books, Harry Potter and the Prisoner of Azkaban’s lack of confirmation of the Marauders’ identities was more of a blunder than a necessary sacrifice. The Marauders are fan-favorite characters, and the Harry Potter audience — both book readers and moviegoers alike — should have gotten to see their whole story told rather than only see them as troublemakers who were up to no good.

Next: Harry Potter: The Marauders & How They Got Their Names Explained




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Hollywood Returns (Cautiously) to Super Bowl With Spots for ‘The Flash’ and ‘Fast X’

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During the peak of COVID, as movie theaters were struggling to stay open and blockbusters were getting delayed again and again, Hollywood tightened its wallet for expensive Super Bowl spots. Why spend a casual $6 million — or more — to promote a film that may not see the light of day any time soon?

But the movies are back, baby. And there’s no better place to guarantee America’s undivided attention than the most-watched television event of the year. Over 100 million viewers are expected to tune into this year’s showdown, between the Kansas City Chiefs and Philadelphia Eagles, slated for broadcast on Fox on Feb. 12.

That’s why major studios, including Disney, Universal and Paramount, are returning — with a bigger presence, compared to earlier pandemic days — to the Big Game with looks at “Fast X,” the latest installment in the sprawling “Fast & Furious” franchise, the adaptation of “Dungeons and Dragons” and “Cocaine Bear,” a comedy about — you guessed it! — a bear on cocaine. The goal, of course, is turning those marketing dollars into box office ticket sales.

Major movie studios have long been a pillar of the Super Bowl ad roster, with the three aforementioned ones typically providing the bulk of the category’s commercial spending for the gridiron classic. But, as of late, some of that cash has been used to tout streaming hubs for venues such as Paramount+, Amazon Prime Video and Netflix. Indeed, Paramount+ is set to run a Super Bowl ad starring Sylvester Stallone, the star of its show “Tulsa King.” Streaming services and broadband hubs shelled out $58.5 million to tout their wares in the 2022 Super Bowl broadcast on NBC, according to Kantar, a tracker of ad spending. That’s more than the money spent by crypto firms; big beer brewers; and consumer-goods manufacturers, three other Super Bowl category stalwarts.

As for other traditional players, Warner Bros. is reportedly bringing “The Flash,” a superhero adventure starring Ezra Miller, though the studio’s spokesperson Candice McDonough didn’t respond to multiple requests for comment. Attendees of DC Fandom and CinemaCon were treated to teasers of “The Flash,” but it’ll be the public’s first look at the anticipated summer tentpole, which has been declared by James Gunn, the new head of DC Comics, as “probably one of the greatest superhero movies ever made.” (Objectively speaking, of course.)

Otherwise, studios are expected to offer new marketing materials for movies that have already been heavily advertised — such as “Scream,” which opens in March; and “Transformers: Rise of the Beasts,” which debuts in June. A spot for “Fast X” is getting prime placement, but it’ll come a few days after Universal hosts an official trailer premiere in Los Angeles.

Disney is likely to promote several of its upcoming releases during the big game, but the studio isn’t sharing which ones will get airtime. Among the other major players, Sony, MGM and Lionsgate aren’t expected to bring the goods on Super Bowl Sunday. However, plans could always change prior to the main event.

Some of the usual suspects are trying a shift in strategy. Disney’s own plans may be foggy for the moment, but the company’s Marvel Studios is already showing up in an ad for Heineken. Actor Paul Rudd, the hero of the studio’s upcoming “Ant-Man and the Wasp: Quantumania,” appears as Scott Lang in a recent teaser from the beer. Mmm, tastes like corporate synergy.

Netflix is taking a similar route. It’s not running any stand-alone Super Bowl ads, according to Marian Lee, the company’s giant’s chief marketing officer, but the streamer has elected instead to team up with Anheuser-Busch InBev and General Motors with spots from those two advertising stalwarts to tout various Netflix series. An ad for Michelob Ultra also contains a QR code that lets viewers see a sneak peek of the golf documentary series “Full Swing.” And a one-minute GM spot featuring Will Ferrell will nod to Netflix shows including “Bridgerton,” “Squid Games” and “Stranger Things.”

Elsewhere, Michelob Ultra’s “Caddyshack” tribute, a “Breaking Bad” reunion centered around PopCorners and Meghan Trainor’s “look” at Pringles will keep the commercial breaks stuffed.



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Spider-Verse Art Imagines HotD Star as Live-Action Spider-Gwen

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House of the Dragon’s young Rhaenyra Targaryen star, Milly Alcock, becomes the perfect live-action Spider-Gwen in striking fan art.


Prior to the June release of Spider-Man: Across the Spider-Verse, House of the Dragon star Milly Alcock gets presented as the spitting image of Spider-Gwen in exciting live-action fan art. The Spider-Verse animated franchise began with 2018’s Academy Award-winning Spider-Man: Into the Spider-Verse. The movie introduced main character Miles Morales to different Spider-Man variants from the multiverse, including Spider-Gwen. Since her Spider-Verse debut, demand has been high for Spider-Gwen to be brought into live-action, and this fan art makes a compelling case for Alcock to take on the role.

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Digital artist Bosslogic shared on Instagram a fan art of what Alcock could look like as the live-action Spider-Gwen.

The Spider-Gwen mantle would be the first prominent role Alcock takes after House of the Dragon, consolidating the young actress in one of the top shelves of current pop culture. As presented by the fan art, Alcock looks exactly like the Spider-Man version of Gwen Stacy, but her ability to play the character goes beyond her looks.


Why Milly Alcock Could Be a Great Spider-Gwen

Spider-Gwen landing in a scene from Spider-Man Into The Spider-Verse

Alcock became known worldwide after her important role in the debut season of HBO’s Game of Thrones spinoff, House of the Dragon. Some were initially skeptical about embarking on a new adventure across Westeros because of how divisive the Game of Thrones final season has remained. The first half of House of the Dragon focused on Alcock’s Rhaenyra, who instantly captivated audiences and almost single-handedly turned general opinion on the Game of Thrones franchise around.

Alcock pumped the young Rhaenyra Targaryen full of personality, with the heir to King Viserys’ throne being shown as a free spirit — rebellious and curious. While Rhaenyra was ultimately a woman who escaped the trappings of the medieval laws of society present in the world of Westeros, the young girl knew exactly when to change her demeanor to get what she wanted, being able to appear perfectly regal and authoritarian if need be. Those character traits from the young Rhaenyra are exactly what the variant Gwen Stacy should have, making Alcock’s casting as the live-action Spider-Gwen a match made in heaven.

Gwen Stacy is most commonly known in comic books as the deceased girlfriend of Peter Parker; however, she is so much more than that. Ever since Gwen had one of the most iconic comic book deaths in the history of the genre back in 1973, writers have been hard at work with different versions of the character to show Gwen’s full potential. Spider-Gwen is one of such attempts, and perhaps the most popular. Debuting in the comics in 2014’s Edge of Spider-Verse #2, Spider-Gwen is a more modern version of the character, possessing many of the traits from Alcock’s Rhaenyra, such as a strong sense of justice and a “cool” edge to her personality. Spider-Gwen’s tragic backstory of losing her Peter Parker would be perfectly represented in live-action by Alcock, perhaps following this year’s Spider-Man: Across the Spider-Verse release.

Source: Bosslogic/Instagram

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  • Spider-Man Across the Spider Verse Part One Custom Poster

    Spider-Man: Across the Spider-Verse



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Jafar Panahi Goes on Hunger Strike to Protest Still Being in Jail After His Sentence Has Been Overturned

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Jafar Panahi has gone on a hunger strike to protest being still held in Tehran’s Evin prison even though Iran’s supreme court has overturned the conviction that led to the dissident director’s detention.

Panani has issued a statement from prison saying that to protest against the “illegal and inhumane” treatment by the Islamic Republic’s judiciary and security forces and their “hostage-taking” he will stop eating, drinking, and taking his medications until “maybe my lifeless body would be released from this prison.”

The statement announcing Panahi’s decision to go on a hunger strike was posted by Panahi’s wife Tahereh Saeedi and son Panah Panahi on their Instagram accounts.

Panahi, 62, is known globally for prizewinning works such as “The Circle,” “Offside,” “This is Not a Film,” “Taxi,” and most recently “No Bears,” winner of last year’s Venice’s Special Jury Prize. He was arrested last July in Tehran in the wake of the country’s conservative government crackdown. Panahi had been there to visit Tehran’s prosecutor’s office to follow up on the situation of fellow dissident filmmaker Mohammad Rasoulov, who had been incarcerated a few days earlier after signing an appeal against police violence.

Since his arrest, Panahi’s lawyers in October managed to successfully overturn the six-year sentence issued against the director in 2010 for “propaganda against the system,” in Iran’s highest court according to Panahi’s lawyer, Saleh Nikhbakht. That sentence has become obsolete due to the country’s 10-year statute of limitations and Panahi’s case has been sent to an Iranian court of appeals. But the directors’ wife and laywers say that Iranian security are now forcing the judiciary to keep him behind bars.

Rasoulov and Panahi’s imprisonment took place before the wave of protests sparked in September by the death of 22-year-old Mahsa Amini while she was held in custody for allegedly wearing a loose hijab. Those protests have caused more than 500 civilians to be killed by government security forces and more than 100 members of the Iranian film industry to be arrested or banned from making movies.

On Jan. 4, Iranian authorities released Taraneh Alidoosti, the star of Asghar Farhadi’s Oscar-winning film “The Salesman,” almost three weeks after she was jailed for criticizing a crackdown on the anti-government protests.



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