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Behold The 2018 Oscar Nominations, And Embrace The Most Unpredictable Oscar Race In Years

For the first time in recent memory, I have no idea what will win Best Picture. And that’s good!

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If you spend as much time reading about film on the internet as I do (which, come on, you do), you would know just how much time and attention is spent on predicting the Oscars every year. Deserved or not, they are a big deal in the field, both within the industry and in covering the industry, and much is made ever Fall season in trying to predict them. Usually, it’s an easy thing — the Best Picture frontrunner arrives months in advance, and tends to dominate all the other awards (PGA, WGA, SAG, Golden Globes, etc.) in its lead up to winning the big prize.

But, last year, something change. The Oscar frontrunner, La La Land, failed to win the big prize (and did so in a pretty memorable way, in fact.) Instead, underdog Moonlight won, which was as shocking as it was deserved (even for someone like me, who had La La Land as his number one film of 2016 — that film didn’t need any more awards to secure its legacy.) But giving Moonlight the big prize proved that the new Oscars (which underwent a massive membership change a few years ago after #OscarsSoWhite) would be far less predictable than in the past. And this year’s Oscar season has certainly proved that to be true.

It’s been a wild one for sure, with so much division amongst the big awards and critics circles in who gets the big prize. The Golden Globes gave Three Billboards Outside Ebbing Missouri its Best Picture prize…but being the Golden Globes, gave its OTHER Best Picture prize to Lady Bird, an equally worthy contender. The Producers Guild gave its Top Prize to The Shape of Water, who also has a chance simply due to Guillermo del Toro’s Directing win at the Globes. And then there’s Get Out, which is the clear audience favorite.

In recent weeks Three Billboards has gained momentum as a frontrunner, but I don’t think its lead over the others is as substantial as you might think. The film has its fair share of (I would argue unfair) backlash, and it’s very likely that it could end up the La La Land of this year’s Oscar race. But if it becomes La La Land, what the hell becomes Moonlight? I literally have no idea, which more than anything speaks to how strong a year it has been for film. Pretty much all the nominees (announced earlier today) are deserving of the big prizes, and though some categories are easier to predict than others, I think we’ll still be in for some surprises come Oscar night. Which, by all means, I approve of. Unpredictability can be fun, no?

But, for now, at least the nominations are set in stone. Below is the complete list of 2018 Oscar nominations, alongside some commentary for the bigger awards:


Best Picture

Call Me By Your Name
Darkest Hour
Dunkirk
Get Out
Lady Bird
Phantom Thread
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: Come on Academy, you have 10 available slots! You couldn’t have thrown The Big Sick or The Florida Project in there? I don’t know why they unofficially decided nine nominees was the way to go (it’s been that way for a few years now), but it bugs the crap out of me. Go big or go home, Oscars!


BEST DIRECTOR:

Paul Thomas Anderson, Phantom Thread
Greta Gerwig, Lady Bird
Guillermo del Toro, The Shape of Water
Christopher Nolan, Dunkirk
Jordan Peele, Get Out

Commentary: No complaints here! Nice to see Paul Thomas Anderson squeeze in for the Phantom Thread, though it did take down Spielberg’s spot for The Post. Only so much room, unfortunately. And nice to see the Oscars correct the Golden Globes egregious mistake and give Greta Gerwig her due for Lady Bird.


ACTOR IN A LEADING ROLE:

Timothée Chalamet, Call Me by Your Name
Daniel Day-Lewis, Phantom Thread
Daniel Kaluuya, Get Out
Gary Oldman, Darkest Hour
Denzel Washington, Roman J. Israel, Esq.

Commentary: Washington clearly subbed in for James Franco here — otherwise, I can’t see how something as forgettable as Roman J. Israel, Esq. could land an Oscar nom. Should have been Jake Gyllenhaal for Stronger, IMO.

ACTRESS IN A LEADING ROLE:

Sally Hawkins, The Shape of Water
Frances McDormand, Three Billboards Outside Ebbing, Missouri
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Meryl Streep, The Post

Commentary: This was the most locked category for a while now, with no real surprises here. But all five are fantastic, so no complaints here.


ACTOR IN A SUPPORTING ROLE:

Willem Dafoe, The Florida Project
Woody Harrelson, Three Billboards Outside Ebbing, Missouri
Richard Jenkins, The Shape of Water
Christopher Plummer, All the Money in the World
Sam Rockwell, Three Billboards Outside Ebbing, Missouri

COMMENTARY: Excited about Richard Jenkins getting in (he’s incredible in The Shape of Water), but disappointed that Michael Stuhlbarg couldn’t get SOMETHING. And though it was the longest of long shots, Patrick Stewart REALLY deserved a nom for Logan, in a perfect and just world.


ACTRESS IN A SUPPORTING ROLE:

Mary J. Blige, Mudbound
Allison Janney, I, Tonya
Lesley Manville, Phantom Thread
Laurie Metcalf, Lady Bird
Octavia Spencer, The Shape of Water

COMMENTARY: A few surprises here, including Mary J. Blige in Mudbound, Lesley Manville in Phantom Thread (which overall performed much better than I thought it would at the awards), and Octavia Spencer in The Shape of Water. All deserving I suppose, although it sucks that it pushed Helen Hunt out of the race. She was so damn good in The Big Sick.

Best Writing (Adapted Screenplay):

Call Me By Your Name
The Disaster Artist
Logan
Molly’s Game
Mudbound

Commentary: Overall, a solid list. It was kind of a light year for Adapted Screenplay (surprisingly), but some good stuff here. LOVED Logan scoring a nod, because at least it got SOMETHING. Shame Blade Runner 2049 couldn’t shove in here too, though.


Best Writing (Original Screenplay)

The Big Sick
Get Out
Lady Bird
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: No beef here with any of these. And at least The Big Sick got a screenplay nod, even though it was pushed out of Best Picture. :/


Best Animated Feature:

The Boss Baby
The Breadwinner
Coco
Ferdinand
Loving Vincent

Commentary: THE BOSS BABY?? THE FREAKING BOSS BABY? Shameful, Academy, especially because The Lego Batman Movie absolutely deserved the nod. What is with the Oscars and their hatred of the Lego movie franchise? They must be a MegaBlocks organization.

Best Cinematography:

Blade Runner 2049
Darkest Hour
Dunkirk
Mudbound
The Shape of Water

COMMENTARY: YEAH, GO DEAKINS. FINALLY GIVE THIS MAN AN OSCAR FOR THE MOST BEAUTIFUL FILM OF 2017, ACADEMY. C’MOOOOOOON.


Best Film Editing:

Baby Driver
Dunkirk
I, Tonya
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: Sweet to see Baby Driver here, because man is the editing in that film wonderful. But this is Dunkirk’s Oscar to lose, and I would argue deserves the prize with its hands tied behind its back.


Best Visual Effects:

Blade Runner 2049
Guardians of the Galaxy Vol. 2
Kong: Skull Island
Star Wars: The Last Jedi
War for the Planet of the Apes

Commentary: Oh man, I am so torn on this one between Blade Runner 2049 and War for the Planet of the Apes. Both look absolutely amazing, but my gut says the Academy will give it to Blade Runner. We will see, though.

Best Original Score:

Dunkirk
Phantom Thread
The Shape of Water
Star Wars: The Last Jedi
Three Billboards Outside Ebbing, Missouri

Commentary: Overall a great assortment of scores. I would have loved for Giacchino to get something for his incredible work in War for the Planet of the Apes, but other than that can’t complain. The fact all of them conceivably have a chance to win is telling.


And here’s the rest of the categories, which I have no particular comments on.

Best Foreign Language Film:

A Fantastic Woman (Chile)
The Insult, Ziad Doueiri (Lebanon)
Loveless, Andrey Zvyagintsev (Russia)
On Body and Soul (Hungary)
The Square (Sweden)

Best Documentary Feature:

Abacus: Small Enough to Jail
Faces Places
Icarus
Strong Island
Last Men in Aleppo

Best Production Design:

Beauty and the Beast
Blade Runner 2049
Darkest Hour
Dunkirk
The Shape of Water

Best Costume Design:

Beauty and the Beast
Darkest Hour
Phantom Thread
The Shape of Water
Victoria and Abdul

Best Make-Up and Hairstyling:

Darkest Hour
Victoria and Abdul
Wonder

Best Original Song:

“Mighty River,” Mudbound
“Mystery of Love,” Call Me By Your Name
“Remember Me,” Coco
“Stand Up for Something,” Marshall
“This Is Me,” The Greatest Showman

Best Sound Mixing:

Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Sound Editing:

Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Short Film (Live-Action):

Dekalb Elementary
The Eleven O’Clock
My Nephew Emmett
The Silent Child
Watu Wote/All of Us

Best Short Film (Animated):

Dear Basketball
Garden Party
Lou
Negative Space
Revolting Rhymes

Best Documentary (Short Subject)

Edith+Eddie
Heaven is a Traffic Jam on the 405
Heroin(e)
Knife Skills
Traffic Stop

The 90th Annual Academy Awards airs on ABC on March 4.


Also published on Medium.

Matthew Legarreta is the Editor and Owner of Freshly Popped Culture. A big ol' ball of movie, TV, and video game loving flesh, Matthew has been writing about pop culture for nearly a decade. Matthew also loves writing about himself in the third person, because it makes him feel important (or something.)

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Disney Is Rebooting The Muppets (Yes, Again) And A Whole Bunch of Other Dormant Properties For Their New Streaming Service

Honey I Shrunk the Kids, Father of the Bride, The Parent Trap, the concept of time itself. You know, the usual.

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Disney has conquered mainstream Hollywood. That is an undeniable fact, if you ask me — between their Marvel and Star Wars output (not to mention their live action remakes, animated films, and projects from Pixar), Disney seems to be the only big studio thriving in the modern age. But as much as that seems like a compliment to Disney, it’s also something of a dour note for the industry overall — things are rough for theatrical film, for a variety of reasons. But perhaps the most substantial one is competition from the world of cable, Broadcast, and (especially) streaming outlets. When you are routinely getting things of the same (if not better) quality out of TV and streaming, why even go to the theater? The question is baffling to me (because it’s a movie theater, that’s why!), but not for the majority of Americans — ticket sales are the worst they have been in decades, as people would rather get their entertainment fix by staying at home and watching Netflix.

And Disney knows this. They are content with having conquered the ashes of traditional Hollywood, but they aren’t idiots — the media landscape is changing, and they want to be just as viable in the new one as a Netflix or HBO. So they are creating their own streaming service, and taking the battle for entertainment supremacy to Netflix in a big way.

But in building their new streaming outlet, I was rather curious how Disney planned to convince people to subscribe to their service when there were dozens more out there competing for the same eyeballs (and monthly set of dollar bills.) Well, today we got a pretty big hint in how Disney plans to build out their streaming portfolio and, no surprise, it’s taking advantage of their biggest asset: all the well-liked shit they have made and/or acquired over the last century. Brands are king for Disney, and they very much seem to be putting those at the forefront as they dive into this new frontier. Call it a safety blanket if you want (I will: it’s a safety blanket), but it has served Disney well in the last decade, so
…reboot time it is!

Of course, many of Disney’s bigger properties have already been rebooted or remade on the big screen, leading the selections for their streaming stuff to be a bit lower tier. The biggest property announced today for the potential reboot treatment is The Muppets, who Disney acquired from The Jim Henson Company back in 2004, and have since been left scratching their heads at what exactly to do with it. Things seemed great at first when the Jason Segal-led reboot film managed to enliven the love for the franchise, and perform pretty great at the box office to boot. But then Muppets Most Wanted came out and, despite being a whole lotta fun, underwhelmed at the box office. It seemed The Muppets would not be the blockbuster franchise Disney was hoping for.

Rebooting The Muppets

So they transferred the property back to TV, relaunching a new series simply entitled The Muppets. This series had a promising hook (basically The Muppets meets 30 Rock, through the mockumentary lens of The Office) but it failed to get an audience on ABC and, quite frankly, wasn’t even all that good to begin with. Then a whole controversy broke out when longtime puppeteer/Kermit the Frog voice actor Steve Whitmire was fired from working on the property. He argued that Disney’s plans for the character was against what Henson would have stood for. They argued he was a shitty worker who didn’t play well with others, and everyone else was glad to be rid of him. The truth probably rests somewhere in between the two stances, but that didn’t make the controversy anymore crippling for The Muppet brand. They laid low for a year or so, only popping up to make wacky promotional videos and the like for the franchises’ various social media pages.

But apparently, Disney still thinks they can make this thing work in a big way, as The Hollywood Reporter confirms the Mouse House intends to bring the property to their new streaming service. Which, by the way, could use a name pronto. I’m tiring of just calling it “their new streaming service.” Judging by what they seem to want to put on it, maybe simply “Reboot” will do?

Kidding aside, The Muppets isn’t the only reboot Disney plans to anchor the service with. Also in the mix according to THR is film properties like Honey I Shrunk the Kids (you, know the Rick Moranis movie about shrinking kids), Father of the Bride (you know, the Steve Martin movie about being the father of the bride), and The Parent Trap (you know, the Lindsay Lohan movie about trapping parents.) This is in addition to previously announced reboot fodder like High School Musical and The Mighty Ducks which, yeah, were all certainly things at one point in time. They have name value, and that’s all that matters to the house that Micky Mouse built!  At least there will be some top shelve franchise extinctions from brands like Star Wars, Marvel, and Pixar’s Monster’s Inc. And, who knows, maybe an original property might sneak its way in there!

…But no promises.


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Let’s Speculate Wildly: Is Marvel Laying The Groundwork For A Thor Crossover In Black Panther 2?

The endings of Thor: Ragnarok and Black Panther could open up quite the intriguing storyline for Black Panther 2…if the studio chooses to explore it.

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***This post contains spoilers for the end of both Thor: Ragnarok AND Black Panther. Don’t read this if you haven’t watched either film. You have been warned.***

I had a lot of thoughts floating through my head as I watched Black Panther this weekend. First and foremost was awe — Marvel pulled off another great movie, which is increasingly becoming the norm for that company. Secondly was tremendous respect for Ryan Coogler, who managed to not only deliver an incredibly fun superhero movie, but a blockbuster with something important and fascinating to say. Third was a simple wish to have Letitia Wright as my new best friend which, c’mon, shouldn’t be that hard, right?!

But one thought that was in the back of my mind throughout most of Black Panther was, admittedly, a rather geeky one. And the kind of geeky thought that stems from nothing more than the rather childish instincts of having all my favorite toys playing together. Sure, that is a major part of the fun that the Marvel Cinematic Universe represents, but it doesn’t make the instinct of “oh, what if these two met and became BEST FRIENDS?!” any less of a reductive thought. All that being said…wouldn’t it be super awesome if Thor: Ragnarok’s Valkyrie met the Wakandians?! I mean, she would LOVE it there, right? A warrior culture of advanced lifeforms who are primarily protected by a troop of badass, all-female fighters? She would have SO MUCH fun! And since she was the undeniable MVP of Thor: Ragnarok (next to Korg, at least), it would be a lot of great to see her hang out with the great ensemble that was built up in Black Panther. 

…Which got me thinking.

The way Thor: Ragnarok ended left a huge question mark in that particular area of the MCU. Choosing to literally destroy all of Asgard, leaving its occupants in flight and in search of a new home, was kind of a ballsy choice for the sequel. And then when Thor suggested immigrating to Earth in the final line of the film, I couldn’t help but stifle a chuckle. The world can barely handle the people it has — Thor is in for a rude awakening if he thinks that they will just invite a whole crop of alien refugees to share their resources. In a post Brexit, Syrian refugee crisis world, the idea of the Asgardians just coming to Earth and being welcomed with open arms is (sadly) laughable.

But, regardless, the question still remained: what would become of the Asgardians as they made their way to Earth? Clearly, Marvel has a plan here, as it would be very unlike them to set up this plot point without ever addressing it again in the future. If they had no plan for the ship full of Asgardians, why even save them? Well, I have a theory: they were saved because they will serve an important purpose in a future MCU installment. Namely? Black Panther 2. Or whatever it will end up being called. Marvel doesn’t like numbers anymore.

But that’s beside the point. Let’s now shift focus to the aforementioned Black Panther, which concluded with King T’Challa finally realizing (through the inactions of his ancestors) that Wakanda could no longer be a nation of isolationist. That, in the modern world, Wakanda could just not turn its back on people who need aid. He spoke to the UN about creating “bridges” rather than barriers to outside countries, which made for a rather rousing and uplifting message for the film to conclude on.

But what made Black Panther a great movie is how it didn’t rely on moral absolutism, even for things that seemed obvious (i.e you should help those that need it.) Killmonger was one of Marvel’s best villains because he had a point, and was correct in many of his stances towards how Wakanda was doing a disservice to the world. But opening the doors to the outside world has its fair share of potential issues and problems too, which the film briefly addresses as light rebuttals to Killmonger’s main points. If Wakanda shared its advance knowledge with the world, how much of it would be used for ill? What responsibility does Wakanda even have towards the world at large? Should it take precedence over their well being as a singular culture? The film wisely doesn’t provide clear-cut answers for these issues and, though what T’Challa does is ultimately the “right” thing, the right thing can often lead to consequences of their very own.

Which is what I imagine the potential sequel will tackle. Just like how Iron Man 2 delt with the fallout of Tony revealing his identity to the world, and how Captain America: Winter Soldier dealt with the fallout of Steve Rogers being a man out of time, Black Panther 2 will absolutely have to tackle how the massive change in status quo for Wakanda impacts its people and their king. And what better way to do that then by actually showing Wakanda literally opening its doors to another people? Say another people with an equally strong sense of culture and traditions, who are currently floating through space without a home of their own? If my theory is even slightly correct, than Wakanda would be the perfect place for the Asgardians refuges to settle…and Black Panther 2 would be a perfect place to give such a move its due.

After all, such a migration would lend a Black Panther sequel a ton of interesting, relevant themes to dwell upon, themes that can build upon those of the first Black Panther, and can be just as politically relevant and insightful. What kind of conflicts arises when two ancient, powerful cultures are forced to share the same living space? What becomes of the nation of Wakanda when it actually puts its money where its mouth is and adopts a more multi-cultural approach to its civilization? Would doing so risk diluting the culture of Wakanda as it stands, erasing the identity of the people with it? And how would the Asgardians, previously a nation of conquerors and “protectors” over all others, move into a more submissive position in which they have to rely on another people for support? And how would the two kings caught in the middle (Thor and T’Challa) deal with such a cultural clash? Now normally I wouldn’t predict a superhero blockbuster to so strongly address a real-world issue (in this case, the Syrian refugee crisis), but I sure as hell didn’t expect Black Panther to address the themes it did either. So if any modern blockbuster series would, it would be this one. The themes are already baked into its DNA, after all, and the way the way the overall story is moving in the MCU itself would seem to lead to such a plot turn.

And while I can see certainly see a bit of cynicism to the concept of Black Panther 2 so heavily absorbing another branch of the MCU (“What, does Marvel not think Black Panther is a strong enough series to support itself without a big crossover?), I think the potential of the story outweighs the fear of this becoming a paint-by-numbers superhero team-up film. And recent Marvel history not only shows how open and willing they are to play with their characters in this way, but also gives them the benefit of the doubt to do it. Even if this hypothetical Black Panther includes Thor and his brood of supporting characters (who at this point are only Valkyrie and Heimdall, really — technically Loki is with him too but, let’s be honest, that dude is TOAST come Infinity War), I trust the people at Marvel can find a way to add these characters into the world while still allowing the movie to be a Black Panther sequel. Throwing in Hulk for Thor: Ragnarok never made that one feel like less of a Thor movie. And, despite what could have happened, Spider-Man: Homecoming remained a Spider-Man film, and didn’t ever become “Iron Man and His Amazing Web-Swinging Friend” as initially feared. Hell, Captain America: Civil War included nearly all the Avengers in substantial roles, and I still feel like the center of the story was on Steve Rogers and his overall arc. I see no reason why bringing in Thor, Valkyrie, Heimdall (and, of course, Korg) would take away from the focus of the story being on T’Challa, Shuri, Nakia, Okoye, W’Kabi, M’Baku, et al. And the dramatic potential this story could have on the Black Panther AND Thor characters far outweighs the potential negatives, in my mind.

Of course, I have to end all this blatant fan theorizing by stating the obvious: I have no idea whatsoever what will happen in future Black Panther installments, or the rest of the MCU for that matter. Everything I am writing here is pure conjecture, based on nothing, and I very well could be wrong about where this entire thing is heading. After all, Avengers: Infinity War is going to come and blow all my MCU theories out of the water anyways. What the shape of this universe will be post-Infinity War/Avengers 4 is anyone’s guess. For all I know, Infinity War might go full Alien 3, and begin with Thanos killing off every Asgardian aside from Thor. But, like I said, I have more faith in Marvel’s storytelling abilities than that.

And even if Black Panther 2 doesn’t have anything to do with the universe of Thor and its characters…I have to imagine there will be a grander purpose for the Asguardian refugees. And with the movie directly after Thor: Ragnarok concluding with a separate, powerful group deciding to open their borders and help those in need (including by taking in refugees, as directly stated by Nakia earlier in the film)…well? All I can do as a viewer is try to connect the dots.

…AND fanboy out about my favorite characters meeting some of my other favorite characters. Valkyrie and Okoye need to swap war stories about protecting kings. And share fighting tips. And just be awesome, in general. And since the MCU is built specifically to facilitate such team-ups, I argue: why the hell not? We might end up getting something pretty damn interesting out of it along the way.


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Thanks For The New Incredibles 2 Sneak Peek, Disney, But…Please, Sir, May I Have Some More?

Or just move the release date to tomorrow. You know, whatever works.

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Fourteen years. Fourteen goddamn years. That’s how long we’ve all been waiting for a follow-up to Pixar’s The Incredibles, and I quite frankly can’t wait another second longer. Unfortunately, the film isn’t coming out until this summer, so I’m left waiting many million seconds more. Approximately 10,398,000 of them, in fact. But, ha ha, who’s counting?!

Yes, the wait has been rough but, at this point, we’ve already waited nearly a decade and half…what’s another three months? That’s what I am telling myself, at least. And unlike in the previous years, we’re actually getting to see something from the film, and receiving concrete proof that yes, this sequel is real and coming soon. And though the initial teaser trailer and posters only gave us a quick hint at what was to come for the film, this new “sneak peek” aired last night during the Winter Olympics gives us by far our biggest glimpse yet of the superhero sequel.

Why is it referred to as a “sneak peek,” you ask? Honestly, it beats the hell out of me. At a minute and a half, this more than qualifies as a teaser trailer, even more so than the 55-second one released in November. And this trailer actually delves into the plot of the film, which is once again more than you can say for the first teaser trailer. But, for Disney, this is nothing but a mere “sneak peek.” Let’s just hope the semantics are only to serve the release of a full-length trailer in the not to distant future (maybe with Wrinkle in Time in March? With a final trailer in front of Avengers: Infinity War in May? I certainly hope so!)

But labeling of marketing material aside, let’s talk what actually happens in this “sneak peek.” The footage opens right from where the first one ended (with the attack of the Underminer), which is a nice little bit of continuity between the two films. But though the original Incredibles ended with the promise of the superpowered family being able to fight crime as public heroes, this footage quickly establishes that it wouldn’t be so easy. And considering the impressive world that was built in the first, that’s not too much of a shocker — the golden age of heroes making a comeback seemed like it would be an uphill struggle, and Mr. Incredible makes that quite clear in the opening of this footage.

Of course, it doesn’t take long before the superhero shenanigans commence once more, this time around led by Elastigirl/Mrs. Incredible, and bankrolled by new character Winston Deavor, very clearly (and delightfully) voiced by Bob Odenkirk. Of course Deavor will probably turn out to have interior motives in trying to restore the world of super-heroics (and working with Elastigirl to do it.) For now though, Elastigirl gets to have a cool motorcycle and cool grey outfit, which is enough for this sneak peek.

Other than that though, the brunt of the new footage rests with Mr. Incredible in stay at home Dad mode, first teased in the last trailer. As funny as some of this looks to be (I particularly laughed at Mr. Incredible’s rant about how math is different, both very much in character for him AND performer Craig T. Nelson), I will admit, this plotline runs the danger of being somewhat hokey. While I’m all for Elastigirl taking the lead (and essentially upending the status quo of the last film), I do think this story runs the risk of being the standard “ha ha, Dad’s can’t parent, what a buffoon!” storyline we’ve seen time and time again. I mean, do we really need Mr. Mom with superheroes? Eh, maybe. If anyone could make it work, it would be Pixar.

And, besides, fuck reservations — I’m supposed to be excited for this one, and this sneak peek mostly made me plenty. I mean, look, it’s Frozone! And Edna Mode! And the Demon form of Jack-Jack! Come on now, my excitement remains through the roof. And if I’ve learned anything from long in development sequels like The Phantom Menace, Ghostbusters, The Hobbit, and Tron Legacy, it’s that being unreasonably excited for something is a recipe for being completely, 100% satisfied. Always!

Incredibles 2 (no “The,” it’s cleaner) hits theaters June 15.


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