It was quite a weird wait to get to this point, though, because of how dramatically “Avengers: Infinity War” upended the entire MCU when Thanos snapped his fingers and wiped out half of all life in the universe. We’ve been chomping at the bit for any kind of info about what’s coming next in “Avengers: Endgame” in April — and while “Captain Marvel” doesn’t directly tie into the fight against Thanos in “Infinity War” and “Endgame,” it does set up Carol Danvers as a character. And that’s a very good thing because she’s set to be an important figure in “Endgame.”

So if you’re here reading this article, you have one and only one question: does “Captain Marvel” deliver what is at this point is the standard Marvel movie experience by delivering a bonus scene or two to tease a future movie during or after the credits? Does it have a post-credits scene?

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The answer is yes, “Captain Marvel” does contain two extra scenes, one that comes midway through the credits and another at the very end of the credits. You’ll definitely want to stick around for at least the mid-credits scene, which provides a brief glimpse at “Avengers: Endgame.” The extra scene at the end of the credits is more of a non-essential but hilarious bonus — if you’re really gotta get out of there, you won’t be missing any hugely crucial bit of content.

If you don’t wanna know any of the details for these bonus scenes, you should close this tab now.

Yes, we are saying there are spoilers ahead for the mid- and post-credits scenes in “Captain Marvel.”

You have been warned.

Also Read: 'Captain Marvel': So Where Did Carol Go for 25 Years Before 'Avengers: Endgame'?

So the first extra scene, which comes at the break between the cool animated first stage of the credits and the actual credits scroll, is what appears to be an actual scene from “Avengers: Endgame.” It’s a scene we’ve seen pieces of before, back in the first trailer in December.

It begins with Bruce Banner (Mark Ruffalo), Steve Rogers (Chris Evans), Natasha Romanov (Scarlett Johansson) and Colonel James Rhodes (Don Cheadle) hanging out in Avengers HQ surveying the aftermath of the finger snap. It would appear that this scene takes place relatively soon after “Infinity War,” as we see a death counter that continues to rise as we watch.

Meanwhile, they’ve got Nick Fury’s (Samuel L. Jackson) beeper hooked up to some kind of device, and it’s sending its signal. But as we watch it turns itself off. Our heroes don’t know what the pager is doing, but they know it must be important so they try to get it started again. But before they’re able to do that Carol Danvers (Brie Larson) appears out of nowhere and asks, in a disturbed tone, where Fury is. And then the scene ends.

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There’s not much info to glean from that, beyond the fact that Carol seemed to appear out of thin air. It’s likely that this scene is condensed somewhat and that it will last longer in “Endgame,” but we do have to consider the possibility that Carol is actually able to materialize like that. Or teleport in.

Meanwhile, the end credits scene features scene stealer Goose the cat, who was revealed earlier in the movie to be a Flerken. Goose stumbles up to Nick Fury’s desk, starts heaving like he’s having a hairball, and then suddenly throws up the Tesseract (which he swallowed earlier on Mar-vell’s laboratory). This is, in the MCU tradition, is your more comedic bonus scene .

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The action/adventure feature is based on the comic book series created by J. Scott Campbell and Andy Hartnell about an all-female-team of super-spy adventurers.

“Danger Girl” is a priority for Constantin, which plans to begin filming by 2020. Wadlow, who is currently directing Sony’s upcoming “Fantasy Island,” will do additional rewrites on the script. Umair Aleem wrote the initial drafts.

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“Danger Girl,” beginning with a 1998 limited series and continuing through several subsequent miniseries and one-shots, follows the adventures of Abbey Chase, a reluctant recruit into the eponymous all-female secret spy organization. Paired with operatives Sydney Savage, Natalia Kasstle and “Silicon Val,” she embarks on a globe-trotting adventure to locate a series of objects with destructive power and keep them out of the hands of the evil Hammer Syndicate.

“Danger Girl” was adapted as a video game for Sony PlayStation 2000.

Robert Kulzer of Constantin Film, Jeremy Bolt of JB Pictures, and Adrian Askarieh of Prime Universe Films are producing. Executive Producers are Constantin Film’s Martin Moszkowicz, along with J. Scott Campbell and Andy Hartnell.

Wadlow was repped on the deal by Artists First, UTA, and attorney David Matlof.

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Tsujihara wasn’t actively involved in the day to day management of the DC brand, according to three sources familiar with the situation. So his exit won’t be too disruptive.

“They will not be affected by his departure,” said one insider with knowledge of the situation.

Toby Emmerich, chairman of Warner Bros.’ motion picture group, already had the power to greenlight films, and will keep it. Walter Hamada, the president of the DC Films production unit who oversees the development of the DC Films properties, reports directly to Emmerich.

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Meanwhile, Richard Brener oversees projects like “Shazam” and the upcoming “Black Adam” as the president and chief creative officer of Warner Bros.’ New Line unit.

John Stankey said in a memo to employees that an “interim leadership structure” would be announced on Tuesday. The interim leadership team will most likely include Emmerich.

Tsujihara’s tenure included films like the successful “Batman v Superman: Dawn of Justice” and “Wonder Woman,” as well the disappointing “Justice League.” It’s biggest success, last year’s “Aquaman,” has earned $1.1 billion worldwide.

Tsujihara, who has worked for two decades at the studio and served as chairman for the last six years, stepped down Monday, ten days after The Hollywood Reporter published texts indicating that actress Charlotte Kirk sought his help landing acting jobs while they were in a sexual relationship. Both have denied any wrongdoing.

Tsujuhara said in a memo to staff Monday that his leadership could become a “distraction and an obstacle to the company’s continued success.”

“The hard work of everyone within our organization is truly admirable, and I won’t let media attention on my past detract from all the great work the team is doing,” he said.

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“Captain Marvel” may not have provided all that much in the way of backstory setup for “Avengers: Endgame” — kind of disappointing given how close Marvel placed the two movies to each other on the calendar. But does add an interesting new chapter to the story of the most well known of the Infinity Stones — the Tesseract — and if you’re acquainted with the Mar-Vell character from the comics then some of the liberties taken with that character here will no doubt come as a major surprise.

And no, I’m not talking about the choice to have Mar-Vell be played by a woman (Annette Bening) instead of a man, though that’s obviously a pretty cool change. I’m talking about the big twist, that the Kree are actually the bad guys and Carol Danvers’ (Brie Larson) Skrull foes are actually just refugees. And that Mar-Vell was working with them and against her Kree masters.

Mar-Vell, who may or may not have carried the Captain Marvel mantle before she was killed by Yon-Rogg (Jude Law) in 1989, was on Earth because that’s where the Tesseract was at that time — she was trying to develop what various characters refer to as a “lightspeed engine” though would, likely among other things, help the Skrull refugees led by Talos (Ben Mendolsohn) escape from the gaze of the Kree.

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That work would eventually result in Carol herself obtaining her powers — which, since said abilities are fueled by Tesseract energy, could be measures greater even than the ones she has in the comics. The Tesseract, of course, is the casing for the Infinity Stone known as the Space Stone.

But there’s a fascinating detail in “Captain Marvel” that could throw you for a loop: when we first see the Tesseract in the movie, it’s secreted away aboard a cloacked spaceship that Mar-Vell had been using as a laboratory. The film doesn’t explicitly explain why it was up there rather than at the human base where Mar-Vell worked while in disguise, but we can infer based on other movies in the Marvel Cinematic Universe and clues that “Captain Marvel” itself dropped.

It’s been a while, but you may recall how in the first “Captain America” movie the Tesseract was found by Hydra leader Red Skull (Hugo Weaving), and he used it to create a whole bunch of dastardly new weapons, including bombs that he was going to drop on every major world capital. But Captain America (Chris Evans) foiled that plan, and the Tesseract was briefly lost in the Atlantic Ocean, where Howard Stark found it.

Also Read: 'Captain Marvel': What It Could Mean for 'Avengers: Endgame' That Carol Has Tesseract Powers

The next time we saw the Tesseract was in the first “Avengers” movie. At the beginning of that film the Tesseract was in the possession of SHIELD and the United States government at a base that housed Project Pegasus, which existed to study the Tesseract and attempt to harness its energy for various projects. Then Loki stole it and went on his rampage across the planet which culminated in the Battle of New York at the end of the movie.

An important detail in “Captain Marvel” that would be easy to miss is that the base that Mar-Vell worked at in 1989, and which Carol Danvers and Nick Fury (Samuel L. Jackson) infiltrated in 1995, is none other than that same Project Pegasus base that we saw in “Avengers.”

So what we can infer, then, is that Mar-Vell, in disguise as Wendy Lawson, was able to simply take the Tesseract up to her space laboratory because she was in charge of Project Pegasus. It was probably a big deal that the Tesseract went missing for six years before being returned at the end of “Captain Marvel,” but it’s likely that project officials simply thought it had been destroyed in the crash that resulted in Mar-Vell’s death.

Also Read: 'Captain Marvel': So Where Did Carol Go for 25 Years Before 'Avengers: Endgame'?

At the end of the movie, in the post-credits stinger, Goose the Flerken puked up the Tesseract onto Nick Fury’s desk and Project Pegasus continued on until the events of “The Avengers.”

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Gunn was fired from Disney’s “Guardians of the Galaxy” franchise last July after online critics discovered years-old tweets in which he joked about rape and pedophilia. Gunn apologized and said he had grown as a person in the years since the jokes. Despite calls from many fans to reinstate him, Disney made clear at the time that Gunn would not direct the third “Guardians of the Galaxy.”

Disney said in a statement from Walt Disney Studios Chairman Alan Horn that the jokes were “indefensible and inconsistent with our studio’s values.” According to an individual with knowledge, the decision to rehire Gunn was made months ago following conversations.

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Gunn said in a statement on Twitter Friday, his first tweet back since his firing, that he is “always learning.”

“I am tremendously grateful to every person out there who has supported me over the past few months. I am always learning and will continue to work at being the best human being I can be,” Gunn said Friday on Twitter. “I deeply appreciate Disney’s decision and I am excited to continue making films that investigate the ties of love that bind us all. I have been, and continue to be incredibly humbled by your love and support. From the bottom of my heart, thank you. Love to you all.”

In January, TheWrap reported that Gunn was in talks to direct “The Suicide Squad” for DC. The sequel to 2016’s “Suicide Squad” will hit theaters on August 6, 2021, Warner Bros. announced Wednesday. Peter Safran and Charles Roven will produce. He will complete this film first, with production to start in September, before returning to Disney for “Guardians 3.”

As TheWrap first reported, Gunn wrote the script for “The Suicide Squad.” The film is said to have a completely new take on the property, in which DC supervillains are recruited by the government to carry out secret missions too dirty for the likes of Superman and Batman.

The “Guardians of the Galaxy” franchise has made over $700 million at the box office, with the last installment scoring an opening weekend of $146 million two years ago. Both films were highly praised by critics and fans alike.

Also Read: Will Smith Exits James Gunn's 'Suicide Squad' Sequel

Dave Bautista, who plays Drax in the “Guardians” films, was vocal about Gunn’s firing. Bautista tweeted that it was “pretty nauseating” working for Disney after it empowered “a smear campaign by fascists #cybernazis.”

“It’s a bitter-sweet conversation — um, no it’s a bitter-bitter conversation because I’m not really happy with what they’ve done with James Gunn,” Bautista said on “The Jonathan Ross Show” last August. “They’re putting the movie off. It’s on hold indefinitely. To be honest with you I don’t know if I want to work for Disney.”

Deadline first reported the news.

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Tickets are still available for AMC Metreon in San Francisco, Cinesphere Ontario Place in Toronto and Indiana State Museum in Indianapolis.

All three of Christopher Nolan’s Batman films starring Christian Bale, a.k.a. “The Dark Knight” trilogy, are returning to IMAX screens and on 70mm film for a five-city, special engagement starting at the end of the month, Warner Bros.’ president of domestic distribution Jeff Goldstein announced Tuesday.

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The first stop on the tour will take place on March 30 at the Universal Cinema AMC at CityWalk Hollywood. Warner Bros. will screen 2005’s “Batman Begins,” 2008’s “The Dark Knight” and 2012’s “The Dark Knight Rises” back-to-back-to-back. Between the second and third films, Nolan will join the audience for a moderated Q&A discussion on the movies.

On April 13, the trilogy will screen at AMC Lincoln Square in New York City and AMC Metreon in San Francisco, followed by Cinesphere Ontario Place, Toronto, and IMAX Theatre at the Indiana State Museum, Indianapolis, on April 20. Each of the subsequent screenings will be accompanied by the footage of Nolan’s Los Angeles Q&A.

The films will screen on IMAX 70mm in all five cities. Nolan used IMAX cameras to shoot both “The Dark Knight” and “The Dark Knight Rises.”

“Christopher Nolan broke new ground with the ‘Dark Knight’ trilogy, and this is a rare chance for today’s audiences to experience these extraordinary films as they were meant to be seen,” Goldstein said in a statement. “To have the added privilege of hearing Chris’s insights firsthand makes this a once-in-a-lifetime opportunity.”

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Dave Callaham is writing the script that will ultimately modernize the Shang-Chi story and character arc. Marvel Studios’ Kevin Feige is producing the film. Marvel’s Louis D’Esposito, Victoria Alonso, and Jonathan Schwartz are executive producers on the project.

Marvel Studios is looking to tap into that authentic filmmaking superpower that brought “Black Panther” to cinematic life by bringing on Cretton and a predominantly Asian-American and Asian cast.

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Cretton is currently directing “Just Mercy,” a feature film he also wrote which stars Brie Larson and Michael B. Jordan. Larson first worked with Cretton when she starred in his second feature film “Short Term 12.” His other directorial credits include “The Glass Castle.” In addition to Larson and Jordan, Cretton has worked with several Marvel Cinematic Universe filmmakers including “Black Panther” director Ryan Coogler, with whom Cretton developed the television series “Scenes for Minors.”

Marvel Comics’ original Shang-Chi character is a half-Chinese, half-American superhero. He was created by writer Steve Englehart and artist Jim Starlin. In the comics, Shang-Chi is an extraordinary master of numerous unarmed and weaponry-based wushu styles, including the use of the gun, nunchaku and jian.

Shang-Chi first appeared in Special Marvel Edition #15 (December 1973) by Steve Englehart and Jim Starlin.

Cretton is represented by WME.

Deadline first reported the news.

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Creber’s Oscar nominations came for his work as a production designer on “The Greatest Story Ever Told” (1964), “The Poseidon Adventure” and “The Towering Inferno” (1975) for which he also received a BAFTA nomination. Creber was nominated for a Primetime Emmy in 1964 for “Voyage to the Bottom of the Sea” and was honored with an Art Directors Guild Lifetime Achievement Award in 2005.

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“This was the man who designed and then flipped cruise ships, burned skyscrapers, and created an entire ape culture,” said Nelson Coates, president of the Art Directors Guild in a statement to TheWrap. “Though his last feature was 21 years ago, Bill Creber remained a vital influence in the industry, with his institutional memory, sharing of relevant production solutions, and his amazing skills devising, executing, and teaching incredible methods of in-camera visual fx.”

Creber was also celebrated for his work on the original “Planet of the Apes” (1968) followed by “Beneath the Planet of the Apes” (1970) and “Escape from the Planet of the Apes” (1971). Among his many additional credits are “Islands in the Stream,” “Any Which Way You Can,” “Flight of the Navigator” and the TV series “Mod Squad.” Creber’s last credit was for 2001’s “The Last Brickmaker in America.”

Creber is survived by his wife Sally Queen and son Ken Creber. Details for a memorial service will be announced shortly.

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Gavin O’Connor and Anthony Tambakis wrote a draft of the script in 2017. Tambakis is now doing a rewrite.

Gianni Nunnari and Bernie Goldmann are producing.

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The remake centers on the Nazi forces’ world-class English soccer coach John Colby, a POW with a history of trying to escape, effort to put together a team of other POW soccer stars for a game against the German national team in front of Hitler in occupied Paris. When given the opportunity to escape during the game, the players must decide whether to humiliate the Nazis in the eyes of the world and spark a resistance or to save their own lives.

Collet-Serra, who is also attached to direct “Waco” for Annapurna, is currently in post-production on Disney’s “Jungle Cruise,” which is set to star Dwayne Johnson. Collet-Serra recently directed “The Commuter” for Lionsgate which starred Liam Neeson and made $120 million worldwide on a budget of $30 million. His other credits include genre hit “Orphan,” Unknown,” “Non-Stop,” “Run All Night” and shark thriller “The Shallows,” which grossed $119 million worldwide on a $17 million budget.

Serra is repped by CAA.

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One of “Captain Marvel” coolest surprises was the fact that the Kree hero Mar-Vell is a woman, played by Annette Benning, instead of a man as in the comics. During the recent “Captain Marvel” press junket in Beverly Hills, Marvel Studios Chief Kevin Feige explained that making that change to the comics lore was essential to telling the story of Carol Danvers in film.

“It was really about the development of this story, and about how best to showcase Carol Danvers growth, and development as a hero, and the notion that she had a female best friend, a female mentor, seemed important to us, and was something that was an idea that Anna had as the script is as she and Ryan were doing their pass at their script, and it all sort of fell together, particularly then with Annette Bening being able to play both of those spoilery parts,” said Feige.

In the comics, Mar-Vell is a man — and the original Captain Marvel. Created in 1967 by Stan Lee and Gene Colan, he was a celebrated Kree warrior sent to earth disguised as a human to observe and assess if we are a threat to the Kree. After using his powers to save several people’s lives, he’s embraced as a new superhero (called “Marvel” because people mispronounced his name). Eventually, decides to stand with humanity and rejects the Kree empire. He later serves as a mentor to Air Force pilot Carol Danvers, and is involved in the accident that gave her superpowers. She operates as the hero “Ms. Marvel” for a time, but after Mar-Vell dies, Carol assumes the title Captain Marvel in tribute to him.

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In the film, Mar-Vell is a Kree scientist who rebels against her government’s wars of conquest and aggression who comes to earth in the 1980s disguised as a human scientist named Wendy Lawson. Mar-Vell heads up a secret research project using the Tesseract (aka the Space infinity stone, which MCU fans know was on earth in S.H.I.E.L.D. possession) to try to develop an experimental “Lightspeed Engine,” which she hopes can help Skrull refugees escape from Kree persecution.

But like the comic book version, Mar-Vell still serves as a mentor to Carol Danvers, and is also involved in the events that give her superpowers. In short, she’s just as instrumental in Carol’s life here as she is in the comics, possibly even more. You can read more about that here.

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The promotions were made during the company’s annual retreat.

Barry Buren, Carly Fromm, Nikki Goldfarb, Ilana Goren, Jacob Schiff, and Jiah Shin have been promoted to Agents in CAA’s Television division. Based in CAA’s Los Angeles office, Goren, Schiff, and Shin will serve in Scripted Television, with Buren in Television Talent. Fromm and Goldfarb are in the Alternative Television department, with Fromm operating out of the New York office, and Goldfarb in Los Angeles.

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Five trainees have been elevated to Agent in CAA’s Touring division, which in 2018 represented nearly 40% of the Top 100 music and comedy tours in North America. Akin Aliu and Lizzie Holdforth have been promoted to Agents in Music Touring, with Aliu based in Los Angeles, and Holdforth in London. Olivia Farrell and Guy Howes have been promoted to Agents in the Music Brand Partnerships department. Farrell will continue to operate from the New York office, with Howes based in London. Ethan Kurtzman has been promoted to Agent in Comedy Touring, and will be based in New York.

Layne Murrow and Harrison Waterstreet are now Agents in CAA’s Motion Pictures Talent department, while Natan Bogin has been elevated to Agent in CAA’s Media Finance department, specializing in the packaging, financing, and distribution of content across a variety of formats.

Berni Barta has been promoted to Agent in CAA’s Books department, focusing on book-to-film/television and publishing activities.

Barta, Bogin, Murrow, and Waterstreet are all based in Los Angeles.

New York-based Maddi Mobley has been promoted to Executive in CAA Brand Consulting, comprised of 230 employees in the U.S., London, Germany, and China, who are advising, managing, and activating on more than $3 billion in sponsorship rights deals for blue-chip global clients. Alexandra Wakefield has been elevated to Executive in CAA Sports’ Golf Consulting group and will continue to operate from the Agency’s Jacksonville, Florida, office.

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Sam Rose have been elevated to Agents in CAA Sports’ Basketball department, which represents 75 All-Star and emerging NBA players, including 42 first-round Draft selections, 50 All-Star player appearances, and 36 All-NBA selections. He continues to be based in the New York office. Additionally, Cavan Walsh has been elevated to Agent in CAA’s Sports’ Coaches department and is based in the Chicago office.

Kip Ludwig is now an Agent in CAA’s Speakers department and is based in New York, Scott Zanghellini is now an Agent in Commercial Endorsements, based in Los Angeles.

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“Anna [Boden] and her directing partner, Ryan [Fleck], did an amazing job, and made the movie what it is, so yes, so we did believe it was very important that this story be told with a female voice behind the camera, many female voices behind the camera in this case,” said Feige. “It’s all about going forward. We won’t discuss anything past ‘Endgame’ and ‘Spider-Man: Far From Home,’ but there are many things coming.”

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“People also ask sometimes about ‘Black Panther.’ So, the notion of representation on screen, in front of and behind the camera, somebody asked me once, so is ‘Black Panther’ a one-off? I said, no, it’s not a one-off. This is the future. This is the way the world is, and the way, certainly, our studio’s going to be run going forward, because it brings about better stories. The more diverse the group of people making the movie is, the better the stories,” added Feige.

“Captain Marvel,” Marvel’s first female-led superhero film, made an estimated $20.7 million in Thursday box office previews. This total is the fifth biggest preview gross for any MCU title, behind “Infinity War,” “Age of Ultron,” “Black Panther” and “Captain America: Civil War.”

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So how did the filmmakers land on that to be the standee that gets blasted, and were there any other not-great ’90s movies that almost got that spot? During the “Captain Marvel” press conference which took place last month at The Beverly Hilton, co-director Ryan Fleck gave the answer.

“I think we tried to use ‘The Mask’ with Jim Carrey and we thought that would be funny,” said Fleck.

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“But the studio did not give us permission to use it, so, ah — bummer,” he added.

Right now, independent trackers have the latest MCU film earning an opening weekend of as much as $145 million. But between the overwhelming interest in seeing the first Marvel solo female superhero movie and its connection to the even more anticipated “Avengers: Endgame,” analysts who spoke to TheWrap say there’s a chance that “Captain Marvel” could beat the female lead opening record of $158 million, which was set by “Catching Fire” in November 2013.

And if “Captain Marvel” really over-indexes, it’s not out of the realm of possibility that it could break the March opening weekend record of $174.7 million, set by the 2017 remake of “Beauty and the Beast.” Already, Fandango notes that “Captain Marvel” has had the most ticket presales on their site of any film since “Avengers: Infinity War.”

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Smith exited the project due to scheduling conflicts. He is set to begin shooting the “Bright” sequel for Netflix in July, according to another person with knowledge of the projects, while Warner Bros. is set to begin production on the “Suicide Squad” sequel in September.

The first “Suicide Squad,” which starred Smith and Margot Robbie, earned nearly $750 million worldwide on a $175 million budget before promotion and advertising.

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Former “Guardians of the Galaxy” director James Gunn was brought on board to helm the project. He also wrote the script and will have a completely new take on the property, in which DC supervillains are recruited by the government to carry out secret missions too dirty for the likes of Superman and Batman.

The “Suicide Squad” sequel, being produced by Peter Safran and Charles Roven, is expected to hit theaters on August 6, 2021.

Elba will next be seen playing the villain in “Fast and Furious” spinoff “Hobbs and Shaw” opposite Dwayne Johnson and Jason Statham. Elba will also be seen next month in new Netflix comedy series, “Turn Up Charlie,” as a struggling British DJ trying to get his break in the music business.

Elba is repped by WME, The Artist Partnership, and Ziffren Brittenham.

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[Spoiler alert: Do not read on or watch the video above if you are worried about any kind of “Captain Marvel” spoiler or tease at all.”]

The embargo for Marvel’s first female superhero film, “Captain Marvel,” has lifted, and TheWrap’s resident fanboy Umberto Gonzalez, and film reporter Beatrice Verhoeven are here to give you their thoughts.

“I walked away from it feeling empowered as a woman, I think it sends a great message to young girls of not needing to conform to what people tell you to do, to embrace your inner strength… it’s very different from other movies,” Verhoeven said. “Brie [Larson] is a revelation, and I think the message is different from other Marvel movies, and I think it’s going to play really well among young girls.”

Early tracking for Marvel Studios’ “Captain Marvel” is projecting that the film will have an opening weekend of more than $100 million when it hits theaters on March 8, which would make it the first big box office hit of 2019.

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Aside from “Black Panther’s” mammoth $201 million opening last year, this film is on pace to be the highest opening for a debut superhero installment in the Marvel Cinematic Universe. By comparison, 2016’s “Doctor Strange” opened to $85 million, while 2014’s “Guardians of the Galaxy” opened to $94 million. This tracking also means that “Captain Marvel” could rival or even top the last film to feature a female superhero, “Wonder Woman,” which opened to $103 million in 2017 and went on to gross $412.5 million domestic and $821 million worldwide.

“Captain Marvel” stars Brie Larson as Carol Danvers, an Air Force pilot who was recovered by the Kree after mysterious circumstances and was transformed into the titular superhero at the cost of her memories. After crash-landing back on Earth during the 1990s, Carol must recover her past self and save the planet from getting caught in an intergalactic conflict with the help of future SHIELD director Nick Fury.

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“Overall, not the best Marvel movie, but it’s very solid and if there is one little spoiler-ish thing… does it lead into ‘Avengers: Endgame?’ The answer is yes,” Gonzalez said.

“Captain Marvel” is directed by Anna Boden and Ryan Fleck from a screenplay they co-wrote with Geneva Robertson-Dworet and Jac Schaeffer. Samuel L. Jackson, Ben Mendelsohn, Djimon Hounsou, Lee Pace, Lashana Lynch, Gemma Chan, Annette Bening, Clark Gregg, and Jude Law star alongside Larson.

Watch the reaction video above.

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Harris’ role is being kept under wraps.

“Morbius” is one of several projects being developed by Sony based on characters from the “Spider-Man” comics. The franchise paid dividends for the studio in 2018 with “Venom,” which grossed $855 million worldwide, and “Spider-Man: Into the Spider-Verse,” which grossed $327 million and earned a Best Animated Feature Oscar last week. Both films have sequels in the works.

Daniel Espinosa will direct the film from a script by Matt Sazama and Burk Sharpless. Avi Arad, Matt Tolmach and Lucas Foster are producing with Palak Patel overseeing for the studio.

Also Read: Matt Smith in Final Talks to Join Sony Marvel Film 'Morbius'

The Morbius character was created by Roy Thomas and Gil Kane and first appeared in “The Amazing Spider-Man” issue no. 101 in 1971. In the comics, Michael Morbius is a Nobel Prize-winning biochemist who is transformed into a vampire while attempting to cure a rare blood disease with a highly experimental approach involving electroshock therapy… and vampire bats.

As a “pseudo-vampire,” Morbius does not possess all the powers of an actual vampire, and isn’t subject to all the traditional limitations and weaknesses thereof, according to Marvel lore.

He must digest blood to survive and has a strong aversion to light, like most vampires. But he also has the ability to fly, and superhuman strength, speed and healing abilities. His bite tends to be lethal, but his victims do not necessarily become vampires themselves.

Morbius almost made it to the big screen before. In 2000, when Avi Arad was president and CEO of Marvel Studios, the company entered into an agreement with Artisan Entertainment to turn at least 15 Marvel superhero franchises into live-action films, television series, direct-to-video films or internet projects. Morbius would have been among the franchises.

Harris, best known for his roles on AMC’s “Mad Men” and Netflix’s “The Crown,” is repped by ICM, Gateway Management and Independent.

Deadline first reported the news.

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Last chance. Huge Spoiler Warning!

Still with us? OK, in the opening moments of the new trailer, Jean Grey/Dark Phoenix (Sophie Turner) murders shape-shifting mutant Mystique (Jennifer Lawrence)! In an interview with EW, Kinberg explains what made him want to reveal such a shocker in the new trailer.

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“Well, the thought process behind that was to primarily show that this is a movie that is unlike other X-Men movies,” said Kinberg. “It’s a movie where shocking things happen, where intense, dramatic things happen. People don’t just fall off buildings and dust themselves off and walk away. There’s a reality to this movie and a consequence to this movie. Even more than that, it was to show that Jean/Dark Phoenix is genuinely a threat to everyone, including the X-Men.”

“I felt it was the strongest, most dramatic thing for the movie, and sometimes you have to make those kinds of hard decisions to service the larger story,” added Kinberg. “And the larger story really is Jean cracking up, losing control because she’s more powerful than anyone else in the world. To dramatize that properly, you have to show real loss, you have to show real pain and show real threat and menace.”

For those who don’t know, the film is based on the highly celebrated and influential “X-Men” storyline of the same name by Chris Claremont and John Byrne, as detailed in “Uncanny X-Men” #101-108 (1976-1977) and “Uncanny X-Men” #129-138 (1980). In that story, Jean Grey merges with a cosmic entity that embodies the universal energy of creation and destruction, giving her vastly enhanced psychic abilities that transform her into “Dark Phoenix,” a genocidal force of unimaginable power.

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The film was written and directed by Kinberg, and also stars Jessica Chastain, Michael Fassbender, Tye Sheridan, James McAvoy, Nicholas Hoult and Evan Peters.

“X-Men: Dark Phoenix” hits theaters June 7.

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“Tropic Thunder” and “Get Hard” writer Etan Cohen will pen the script. “American Sniper” producer Andrew Lazar will produce via his Mad Chance banner. Brolin is also producing via his Brolin Productions banner and Dinklage is producing as well via his Estuary Films banner. David Ginsberg is also producing for Estuary.

Details about the project are being kept under wraps but it is in the vein of Ivan Reitman’s 1988 “Twins” comedy which starred Arnold Schwarzenegger and Danny DeVito. “Brothers” centers on both Brolin and Dinklage who are playing a pair of unlikely brothers.

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Brolin, who recently booked the role of Gurney Halleck in Denis Villeneuve’s film adaptation of “Dune,” will also reprise his role as Thanos in the upcoming “Avengers: Endgame.” Dinklage who recently played actor Hervé Villechaize in HBO’s “My Dinner With Herve” will return in April for the eighth and final season of HBO’s “Game of Thrones.”

Brolin is repped by CAA. Dinklage is repped by CAA and Jackoway Austen. Cohen, who penned the upcoming “Men in Black 3” for Sony, is repped by CAA, Mosaic Media Group and Lichter Grossman.

The Hollywood Reporter first reported the news.

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Carol Channing, who was nominated for Best Supporting Actress for her performance in the 1967 film “Thoroughly Modern Millie” and died in January, was also omitted during the tribute to showbiz people who died in the past year.

Gustavo Dudamel conducted the Los Angeles Philarmonic to a track from 1978’s “Superman: The Movie.”

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Donen, whose death was announced Saturday at the age of 94, helped reinvent the big-screen musical, with a series of hits that included “On the Town,” 1954’s “Seven Brides for Seven Brothers,” 1957’s “The Pajama Game,” 1958’s “Damn Yankees!” and 1957’s “Funny Face,” with Audrey Hepburn and Fred Astaire.

Despite receiving an honorary Oscar in 1998 for “a body of work marked by grace, elegance, wit and visual innovation,” he never received so much as a nomination for any of his films.

Locke earned her Oscar nomination in 1968 for her supporting role in the adaptation of Carson McCullers’ “The Heart Is A Lonely Hunter.” It was her first acting role, which led to roles in films like “Willard” and “The Second Coming of Suzanne.”

Troyer, who was diagnosed with achondroplasia dwarfism, played Mini-Me in the “Austin Powers” films and also starred as Griphook the goblin in “Harry Potter and the Philosopher’s Stone.”

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Miller began his acting career in the 1950s in the theater before moving to Los Angeles, kicking off his six-decade career in film with hundreds of credits. He’s best known for his role in director Joe Dante’s “Gremlins” and its sequel, “Gremlins 2: The New Batch.” Miller played Murray Futterman, a World War II veteran haunted by memories of the creatures from the war, who gets his chance to fight back against the creatures when they attack a small Midwestern town during Christmas.

Ermey, a Marine Corps veteran, made his film debut in Francis Ford Coppola’s “Apocalypse Now,” and went on to play authority figures in films like “Mississippi Burning,” “Se7en” and the “Toy Story” films (where he voiced Sarge, leader of the plastic Army men).

A representative for the Academy did not immediately respond to TheWrap’s request for comment.

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The “Pose” star donned a velvet tuxedo gown by Christian Siriano, and is one of the most-talked-about looks of the evening so far. Will he be topped?

Tommy Hilfiger

The designer’s ensemble was probably one of the loudest of the night, with different colors and flannel prints all over the place… paired with marijuana loafers.

Stephan James

The “If Beale Street Could Talk” wore a red velvet tuxedo with a red bow tie and a brooch. Eye-catching!

Spike Lee

The director, who is nominated in the Best Director category for his movie “BlacKkKlansman,” threw it back to “Do the Right Thing,” and donned a purple ensemble with rings sporting “LOVE” and “HATE.”

Adam Lambert

Lambert will be performing alongside Queen during the show, but he had fans talking way ahead of showtime in his tuxedo paired with exaggerated large french cuffs (sans cuff links), no tie or bow tie, and an orchid brooch. His earrings made quite the statement as well.

Questlove

The musician took on a more casual look this evening and opted for some color pops of red with a patterned shirt and a red necklace under his black suit.

Richard E. Grant

Another actor wearing red velvet, Richard E. Grant sported a dark red jacket with grey lapels, grey vest and a black bowtie.

Henry Golding

“Crazy Rich Asians” star Henry Golding sported a white vest and accessorized with a pocket watch chain. Looking sharp!

Chadwick Boseman

“Black Panther” headliner sported an elegant ensemble straight out of Wakanda.

“Heather Parry will be leaving Live Nation, effective immediately,” the company said in a statement. “Live Nation is committed to the Live Nation Productions division and to our pipeline of artist-driven projects which will be led moving forward by current executives Ryan Kroft, Matt Stein, and Chad Wasser.”

The former executive, who ran the television and film arm of Live Nation Productions for three years, was put on leave on Dec. 21 as the company hired Los Angeles-based attorney Paul Hasting to conduct an investigation, according to Billboard. Lead investigator Elena Baca interviewed numerous current and former employees at the production division, where 33 employees have either quit, been fired or pushed out in the last three years, according to the outlet.

Also Read: Justice Department Investigates Live Nation for Complaints of Threatening Concert-Ticket Competitors (Report)

Citing a Live Nation source, Billboard said that the investigation “did not validate claims” that Parry was racist or homophobic. However, according to the source, the probe found that the work environment under Parry did not meet the company’s “expectation of leadership.”

In a statement published by Billboard, Parry said, “I’m grateful that the company’s independent inquiry showed that I am not racist or homophobic … Being accused in the media of something I’m not has been incredibly painful.”

According to a report in Variety, Live Nation’s human resources department had been warned that Parry was verbally abusing her subordinates. She was also accused of using offensive slurs in the workplace. Parry denied using discriminatory language and issued an apology, saying it was unintentional.

Parry came to Live Nation after spending a decade as an executive at Adam Sandler’s company, Happy Madison Productions.

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“We can confirm that the information received from the individuals questioned by police earlier in the Empire case has in fact shifted the trajectory of the investigation,” Chicago Police Department chief communications officer Anthony Guglielmi said in a statement. “We’ve reached out to the Empire cast member’s attorney to request a follow-up interview.”

The two brothers identified by CBS as Olabinjo Osundairo and Abimbola Osundairo — though police did not release their names — were questioned this week as “potential suspects” then released without charges “due to new evidence” on Friday. CNN cited two law enforcement sources, who said the two men are now cooperating fully with law enforcement.

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In a statement Saturday night, attorneys for Jussie Smollett strongly denied that the “Empire” star faked the attack he reported on Jan. 29, and said “anyone claiming otherwise is lying.”

Smollett’s attorneys, Todd S. Pugh and Victor P. Henderson, said in their statement that the actor “has been further victimized” by these claims, and identified one of the men police arrested, then released without charges on Friday, as Smollett’s personal trainer.

The trainer, who was unnamed in the statement, was preparing Smollett for a music video, the statement said. “It is impossible to believe that this person could have played a role in the crime against Jussie or would falsely claim Jussie’s complicity,” the statement continues.

Here’s the full statement:

As a victim of a hate crime who has cooperated with the police investigation, Jussie Smollett is angered and devastated by recent reports that the perpetrators are individuals he is familiar with. He has now been further victimized by claims attributed to these alleged perpetrators that Jussie played a role in his own attack. Nothing is further from the truth and anyone claiming otherwise is lying.

One of these purported suspects was Jussie’s personal trainer who he hired to ready him physically for a music video. It is impossible to believe that this person could have played a role in the crime against Jussie or would falsely claim Jussie’s complicity.

Jussie and his attorneys anticipate being further updated by the Chicago Police Department on the status of the investigation and will continue to cooperate. At the present time, Jussie and his attorneys have no inclination to respond to “unnamed” sources inside of the investigation, but will continue discussions through official channels.

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CNN’s sources said records show that the two brothers, whom TheWrap confirmed with police are of Nigerian descent, purchased the rope at an Ace Hardware store in Chicago.

The actor has pushed back on past speculation, shared on social media, that the attack was a hoax. In an interview with “Good Morning America” this week, he said people would be more likely to believe him if he had said his attackers were Muslim, Mexican or black.

An attorney for the two men, Gloria Schmidt, did not respond to requests for comment.

But the Chicago Tribune reported Schmidt has previously said that the two brothers have worked with Smollett on “Empire” and work out at the same gym as the actor. Smollett follows their bodybuilding page (@team_abel) on Instagram.

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Smollett was hospitalized on Jan. 29, and reported to police that he was assaulted near his Chicago home by two men who shouted racist and homophobic slurs and referenced “MAGA.” According to a police statement, the actor reported that he was battered “about the face,” that “an unknown chemical substance” was poured on him, and that the attackers wrapped a rope around his neck. The substance turned out to be bleach.

On Saturday morning, a rep for Smollett denied reports that the actor had hired defense attorney Michael D. Monico. Monico, who is currently on Michael Cohen’s defense team, had said Thursday on WGN’s “The Roy Conn Show” that Smollett was his client “at the moment.”

Monico declined to comment when contacted by TheWrap Saturday about whether he repped Smollett.

A Fox representative declined comment Saturday.

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“HOBBS & SHAW is officially wrapped,” Johnson said on his Instagram account posted along with a photo of him, Statham and a helicopter rigged off the ground.

“Easily the most challenging film I’ve ever produced and starred in,” Johnson wrote, adding that it is also shaping up to be his most rewarding film. He then gave kudos to Statham, giving him a “HUGE bald and brotherly MAHALO” for trusting him and their chemistry, and who “‘pushed all his chips in’ to make something bad ass and fun for the fans.”

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Read Johnson’s complete message to fans below.

View this post on Instagram

Last men standing. HOBBS & SHAW is officially wrapped. Easily the most challenging film I’ve ever produced and starred in, however based on the fans’ insanely hyped “break the internet” reactions to our first trailer — this film is also shaping up to be my most rewarding. A HUGE bald and brotherly MAHALO to the man who trusted me and our chemistry and “pushed all his chips in” to make something bad ass and fun for the fans. My uso @jasonstatham. He’s one legit talented and tough bastard and the pure joy I got from making him laugh so fucking hard during the our takes he couldn’t even talk, I will always remember with evil ???? glee. Finally, one of the best heli pilots in the world @fred_north demonstrating here our extreme commitment we all had to deliver the goods to our worldwide audience. #ThatsAWrap #LastMenStanding #AllChipsIn #HOBBSANDSHAW AUGUST 2nd @sevenbucksprod

A post shared by therock (@therock) on Feb 15, 2019 at 9:29pm PST

When we last saw Luke Hobbs and Deckard Shaw in “The Fate of the Furious,” the two bitter enemies had reconciled after joining forces to defeat Cipher. Now the two are taking a break from Dominic Toretto’s family to stop an international terrorist played by Idris Elba.

Action director David Leitch (“John Wick,” “Deadpool 2”) directed the film, which was written by longtime “Fast and Furious” screenwriter Chris Morgan.

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The film also stars Vanessa Kirby, Helen Mirren, and Johnson’s cousin and WWE wrestler Roman Reigns, who filmed his scenes while recovering from a leukemia diagnosis that put his wrestling career on hold.

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Monico said during an interview on WGN’s The Roe Conn Show on Thursday and then confirmed in a report in Variety Friday that Smollett was his client.

“I’d like to get your thoughts [on] Jussie Smollett here, but we can’t get your thoughts on Jussie Smollett because [of] this big developing story today, and it turns out you’re the attorney for Jussie Smollett, too,” Conn said to Monico.

“Yes, at the moment, I am,” Monico replied.

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Smollett’s rep denied the report when contacted by TheWrap on Saturday, and Monico declined to comment on the matter.

According to Breitbart, Monico and his law partner, Barry Spevack, took over as Cohen’s attorney, his press representative Lanny Davis said on Jan. 28. Monico and Spevack took over for Guy Petrillo, a criminal defense attorney who previously served as the Manhattan U.S. Attorney’s Office’s criminal division chief.

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Smollett told detectives he was attacked near his Chicago home by two men on Jan. 29 yelling about “MAGA,” as well as spewing racist and homophobic slurs. According to a police statement, the actor reported that he was battered “about the face,” that “an unknown chemical substance” was poured on him, and that the attackers wrapped a rope around his neck.

Two males were arrested and questioned as “potential suspects” then released without charges “due to new evidence” on Friday.

Police have said that Smollett continues to be considered a victim in relation to the investigation, contesting two recent news reports saying investigators have raised the possibility that Smollett may have orchestrated the attack himself.

“Media reports about the Empire incident being a hoax are unconfirmed by case detectives,” Chicago police tweeted Thursday. “Supt Eddie Johnson has contacted @ABC7Chicago to state on the record that we have no evidence to support their reporting and their supposed CPD sources are uninformed and inaccurate.”

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Australian director Cate Shortland, best known for the Nazi drama “Lore,” is on board to direct. Blacklist Screenwriter Jac Schaeffer wrote the previous draft of the script.

Black Widow debuted in “Iron Man 2” and since then has appeared in both “Avengers” films, as well as “Captain America: The Winter Soldier” and “Captain America: Civil War.” Interest in a standalone outing for the character has been consistently high, with a 2016 Fandago poll  finding “Black Widow” as Avengers fans’ top pick for a solo film.

“Black Widow” boosters also note Johansson’s high box office draw outside the Marvel Cinematic Universe, with her 2014 action hit “Lucy” earning almost $500 million worldwide.

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Marvel hasn’t set a release date for the “Black Widow” film just yet. The studio has a full slate of projects dated through 2019, ending with “Avengers: Endgame,” which is also likely to feature Black Widow. But Marvel chief Kevin Feige said in 2016 that the studio and parent company Disney are “committing” to giving the character her own movie and possible franchise.

Talking to TheWrap in 2016, “Captain America: Civil War” screenwriters Stephen McFeely and Christopher Markus broke down the character’s arc in the MCU, saying that her “journey, over her various appearances, is one coming out of the shadows and into the light.”

Benson’s credits include “The Disappearance of Eleanor Rigby” and “Wall Street: Money Never Sleeps.” Benson is repped by UTA.

Marvel declined to comment.

Collider first reported the news.

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The adaptation of Frank Herbert’s classic 1965 sci-fi novel has been loading up on big names in recent months. Timothee Chalamet is set to star alongside Rebecca Ferguson, Dave Bautista, Stellan Skarsgård, Charlotte Rampling, Javier Bardem, and Josh Brolin. Javier Bardem and Jason Momoa are also in talks to join the cast. 

Momoa is in talks to play Duncan Idaho, an ace pilot and loyal warrior who serves the Atreides family. The actor is coming off a huge run at the box office as the star of Warner Bros.’ “Aquaman,” which has grossed $1.1 billion worldwide.

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Set in the distant future, “Dune” tells the story of Paul Atreides, played by Chalamet, whose family accepts control of Arrakis, a planet that is the only known producer of a highly coveted resource and is thus contested among several elite families. After Paul and his family are betrayed, he must lead a rebellion to restore his family’s control of Arrakis.

The project will be produced by Mary Parent, Cale Boyter, and Villeneuve. Thomas Tull will executive produce along with Brian Herbert, Byron Merritt and Kim Herbert for the Frank Herbert estate and Kevin J. Anderson will serve as a creative consultant.

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The new release date is April 8, 2020. The film marks Daniel Craig’s return to the storied 007 franchise.

Cary Joji Fukunaga, the American filmmaker best known for directing the Emmy-winning first season of HBO’s “True Detective,” will direct the as-yet untitled 25th film in the franchise.

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Fukunaga, whose feature credits include “Sin Nombre,” “Jane Eyre” and “Beasts of No Nation,” also becomes the first American director in the decades-long history of the franchise under MGM. (American Irving Kershner directed Warner Bros. 1983 Sean Connery entry “Never Say Never Again” — which was not produced by Wilson and Broccoli’s Eon.)

The new film, in which Daniel Craig returns for his fifth (and presumably final) outing as secret agent 007, will begin shooting on March 4, 2019.

Sam Mendes directed the last two films in the franchise: 2012’s “Skyfall,” which grossed $1.1 billion worldwide, and 2015’s “Spectre,” which reached $880 million at the box office.

MGM, which is producing the film with Eon, will distribute the film domestically with Annapurna Pictures, while Universal handles international territories.

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The adaptation of Frank Herbert’s 1965 classic novel has been loading up on big names in recent months. Timothee Chalamet is set to star alongside Rebecca Ferguson, Dave Bautista, Stellan Skarsgård, Charlotte Rampling, Javier Bardem, and Josh Brolin. Javier Bardem is also in talks to join the cast. 

Set in the distant future, “Dune” tells the story of Paul Atreides, played by Chalamet, whose family accepts control of Arrakis, a planet that is the only known producer of a highly coveted resource and is thus contested among several elite families. After Paul and his family are betrayed, he must lead a rebellion to restore his family’s control of Arrakis.

Also Read: Josh Brolin Joins the Cast of Denis Villeneuve's 'Dune'

Momoa is in talks to play Duncan Idaho, an ace pilot and loyal warrior who serves the Atreides family. The actor is coming off a huge run at the box office as the star of Warner Bros.’ “Aquaman,” which has grossed $1.1 billion worldwide.

The project will be produced by Mary Parent, Cale Boyter, and Villeneuve. Thomas Tull will executive produce along with Brian Herbert, Byron Merritt and Kim Herbert for the Frank Herbert estate and Kevin J. Anderson will serve as a creative consultant.

Momoa is repped by WME.

Brolin will play the role of Gurney Halleck. The role was previously portrayed by Patrick Stewart in David Lynch’s 1984 adaptation. He joins Timothée Chalamet, Rebecca Ferguson, Dave Bautista, Stellan Skarsgård, Charlotte Rampling and Javier Bardem, who will all feature in the film.

The film will be directed by “Arrival” and “Blade Runner 2049” director Denis Villeneuve. The script was written by Villeneuve, Eric Roth and Jon Spaihts, with Villeneuve producing alongside Mary Parent and Cale Boyter. Thomas Tull will executive produce along with Brian Herbert, Byron Merritt and Kim Herbert for the Frank Herbert estate and Kevin J. Anderson will serve as a creative consultant.

Also Read: Javier Bardem in Talks to Join Denis Villeneuve's 'Dune'

Set in the distant future, “Dune” tells the story of Paul Atreides, whose family accepts control of the desert planet Arrakis. The planet is the only source of the coveted spice melange, which means control of Arrakis is highly contested among the noble families. After Paul and his family are betrayed, the story explores themes of politics, religion and man’s relationship to nature, as Paul leads a rebellion to restore his family’s control of Arrakis.

Lynch’s adaptation was a commercial and critical failure. In the following decades, attempts have been made to adapt it again, including by Paramount in 2008. After Paramount dropped its rights in 2011, Legendary acquired them in November 2016 and signed on Villeneuve to direct three months later.

Brolin was nominated for an Academy Award for his role in “Milk.” Other credits include his role as Thanos in Marvel’s “Guardians of the Galaxy,” “Avengers: Age of Ultron,” “Avengers: Infinity War,” and the upcoming “Avengers: Endgame.” Other roles include “Deadpool 2” and “Sicario.”

Brolin is represented by CAA.

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Johnson-McGoldrick co-wrote the first “Aquaman” with Will Beall based on a story by Geoff Johns, Beall, and James Wan.

Wan and Peter Safran are producing.

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“Aquaman” has grossed $1.12 billion worldwide, becoming Warner Bros.’ first billion-dollar box office hit since “The Dark Knight Rises” in 2012. It is also the first billion-dollar release from a studio other than Disney or Universal since “Transformers: Age of Extinction” in 2014.

The road to $1 billion began with the film’s release in China on the first weekend of December, when it opened to a studio-record $94 million.

Warner Bros. did a significant reshuffling of their studio’s DC division after the disappointing results of “Justice League,” which served as Aquaman’s big-screen introduction but only made $657 million worldwide despite also featuring Superman, Batman and Wonder Woman.

The news follows last week’s announcement that  Warner Bros. is developing an “Aquaman” spinoff “The Trench,” an individual with knowledge of the project told TheWrap. Screenwriters Noah Gardner and Aidan Fitzgerald have been tapped to write “The Trench.”

Johnson-McGoldrick’s credits include “The Conjuring 2” and “The Conjuring 3” along with “Dungeons and Dragons” and “Orphan.”

Johnson-McGoldrick is repped by Paradigm and Behr Abramson Levy.

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Trailers for Warner Bros.’ upcoming “Shazam!” have been a lot of fun, but so far they haven’t actually shown the big red cheese in action. Until today, thanks to a new promotional clip featuring scenes of the DC superhero fighting the villain Dr. Sivana. Watch it above.

The clip is an edited-down version of footage showed off by “Shazam!” director David Sandberg and producer Peter Safran during a preview event on the Warner Bros. lot last Friday, which also included: an extended look at the Rock of Eternity scene where Billy Batson (Asher Angel) first meets the Wizard (Djimon Hounsou) and receives the power of Shazam;  more scenes of Shazam (Zachary Levi) getting accustomed to his new powers with the help of his friend Freddy (Jack Dylan Grazer); Shazam’s super speed as he tries to stop a robbery; and an longer version of the grocery store scene where Shazam discovers he is bulletproof.

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During the event, Sandberg and Safran also explained why Dr. Sivana (Mark Strong) was used as the main villain instead of Black Adam, another Shazam mainstay who will be portrayed by Dwayne “The Rock” Johnson in a future film.

“Sivana is kind of the oldest villain almost for Shazam,” said Sandberg. “It was always that, when I come on board, it was always Sivana. I think they sort of played with the idea of having the first movie be both Shazam and Black Adam and felt like it needs more setup than you want to spend.”

That’s true: created by Bill Parker and C. C. Beck, he debuted alongside Shazam (the called Captain Marvel) himself in “Whiz Comics” #2 (1940).

“Shazam’s origin story is big enough to merit its own film, and I think that’s really what everybody discovered early on and when you see the movie you’ll see that’s what it deserved and that’s what it got,” added Safran.

And for those hoping rumors that Johnson’s Black Adam might show up in a “Shazam!” post-credit scene are true, stop hoping. Safran says it isn’t happening.

“Complete myth. He might have been available,” said Safran. “That’s the only thing about that statement that might be true. I don’t know if he was or not, but no. There was never a conversation with him about a post-credit sequence.”

That is not to say audiences won’t see Black Adam in a SHAZAM! sequel. Sandberg added, “You’d want to see it at some point, cause he’s a classic villain.”

“He’s a perfect adversary,” added Safran. “One would hope that eventually, you see those two on-screen together, at some point, but not going to be in this one.”

“SHAZAM!” will be released in theaters on April 5.

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Up until “Justice League,” the DC Snyderverse was conspicuous for bucking the superhero movie trope of including a bonus scene after the credits to tease future movies or just have some fun (or both, as is the case with most Marvel movies). None of “Man of Steel,” “Batman V Superman” or “Wonder Woman” included a post-credits scene, but “Justice League” did — teasing a direction for the DC movies that may or may not ever happen.

In any case, the James Wan-directed “Aquaman” represents a new day for DC on the big screen. It’s a film that has no obligations to the way past DC movies worked, so whether its predecessors had post-credits scenes isn’t relevant to whether “Aquaman” has one.

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So let’s get down to it: Does “Aquaman” have any extra scenes after the credits you need to stick around for, or is it safe to head out once the credits roll if you need to?

The answer is yes, “Aquaman” has one extra scene, which comes mid-way through the credits. This mid-credits scene reveals the fate of Black Manta, and teases his future working alongside Randall Park’s alarmist pundit character, Dr. Shin, who made a brief appearance early in the film.

For more info on what all that means, you can check out our explainer here.

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That is however the only extra scene in “Aquaman” — there’s nothing at the very end of the credits. So once you see the scene I described above, you’re all set. Though, of course, we do always encourage all moviegoers to stick around through the credits in appreciation for the many people responsible for bringing the film to life. But if you’ve gotta go, you can rest assured knowing there’s just the one extra scene, and no post-credits scene.

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Screenwriters Noah Gardner and Aidan Fitzgerald have been tapped to write the script. James Wan and Peter Safran are producing.

According to DC Comics, The Trench were introduced in Geoff Johns and Ivan Reis’s AQUAMAN #1 comic book back in 2011. The Trench are a race of monstrous sea creatures who came from a trench in the bottom of the sea. Actually, not just any trench, the Marianas Trench, one of the deepest and most mysterious canyons in the ocean floor. The Trench used to be normal, human-looking Atlantean citizens, back before the city sank beneath the sea. When King Atlan drowned the city, the surviving Atlanteans were split off into not two, but three independent groups: the Atlanteans we know today, the Xebelians who existed in the Bermuda Triangle, and the Trench who fell into the deepest parts of the sea. Thanks to their isolation and extreme conditions, the Trench evolved, or perhaps devolved into a monstrous, mindless swarm set on consuming anything in their path.

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Gardner and Fitzgerald were previously assistants at Bad Robot. The duo previously scripted a submarine thriller titled “The Volos.”

Gardner and Fitzgerald are repped by WME.

The Hollywood Reporter first reported the news.

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Director Stanley Nelson dropped by TheWrap’s studios at Sundance to talk about the challenges of making a two-hour documentary about legendary musician Miles Davis.

“It was really challenging but I think in some ways it was a two-hour story,” Nelson told TheWrap’s Steve Pond. “Everybody wants to do a series now and so many times they seem inflated. I think you have to have something else going on besides just a straight biography if it’s six hours.”

“We tried to get some of every era in there,” added Nelson. “So many people concentrate on the late ’50s-early ’60s Miles, but we wanted also to talk about the ’70s and ’80s Miles.”

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Watch the rest of the interview with Nelson in the embed above.

According to a synopsis of the film, “Using words from Miles Davis’ autobiography, ‘Miles Davis: Birth of the Cool’ offers an incisive insight into our understanding of the legendary musician.”

“Newly released archival material, alongside interviews with preeminent historians and personal friends like Quincy Jones, illustrate a man of intensity and devotion to his craft,” the synopsis continues. “Despite the indignities of America during the time of segregation, nothing was going to stop Davis from realizing his dream: to create a new form of musical expression. Davis worked like a physicist with his collaborators to push musical experimentation and widen the tones and lyricism of jazz–the effects of which are felt to this day.”

“As the film delves into his past loves, personal relationships and addictions, a clearer portrait of Davis the man emerges,” the synopsis continues. “Davis is fearless and engaging throughout, and his intellectual fervor is only tempered by his insecurities. Director Stanley Nelson’s epic biopic collects the strands of a creative life and weaves them together for us to understand one of the great modern American artists like never before.”

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“I Still Believe” starts shooting this spring and will open on March 20, 2020 in wide release.

The Erwin Brothers will direct from a script by Jon Erwin and Jon Gunn.

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Kevin Downes and the Erwin Brothers will produce their Kingdom banner.

“I Still Believe” centers on the uplifting and inspiring true-life story of Camp and his remarkable journey of love and loss that proves there is always hope and that faith tested is faith worth sharing.

Camp is a Grammy-nominated singer and songwriter who has sold over 5 million albums and has toured all over the world. He has received four RIAA-certified Gold albums, two American Music Awards nominations, multiple ASCAP awards, 38 No. 1 songs, a gold digital single (“There Will Be A Day”), and a multi-platinum DVD.

The Erwin Brothers and Downes are represented by WME’s Dave Wirtschafter and Matthew Johnson at Ziffren, Brittenham. Camp is an artist on the Capital CMG label. He is represented by his manager Matt Balm at Flatout Entertainment and was further assisted in the deal by attorney Samuel Curphey.

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Development on the project will likely continue, says an insider with knowledge of the project.

First reported by The Playlist, the sequel was eyeing a lengthy shoot in five different countries and a six-month shoot in Atlanta, and the plug was pulled due to budgetary concerns. David Fincher was going to direct the sequel with Pitt toplining. According to the Hollywood Reporter, Paramount and producers at Pitt’s Plan B shingle began making calls to the crew on Wednesday morning. Had the sequel gone forward, it would be the fourth time the director and producer/star have worked together, having previously joined forces on “Se7en,” “Fight Club” and “The Curious Case of Benjamin Button.” Fincher is currently editing the second season of “Mindhunter” for Netflix

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“World War Z,” an adaptation of the Max Brooks novel, went on to earn $540 million worldwide at the box office despite having a rocky production and expensive reshoots.

Initially, director J.A. Bayona was attached to direct the “World War Z” sequel, however, the Spanish director left the project to direct “Jurassic World 2” for Universal and executive producers Steven Spielberg and Colin Trevorrow.

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Todd Feldman, Risa Gertner, Joel Lubin and Jack Whigham have been elevated to co-heads of the Motion Picture Group. In addition, motion picture agent Maha Dakhil and Roeg Sutherland, head of CAA Media Finance, have assumed leadership positions overseeing CAA’s International Film Group, focusing on expanding the Motion Picture Group’s global footprint. In their newly created roles, this collective will guide the overall strategic direction of the agency’s motion picture activities and jointly oversee its ongoing collaborations – on behalf of storytellers – across the entertainment landscape.

Dave Bugliari and Franklin Latt have been promoted to Motion Picture Talent department co-heads. Bugliari and Latt, who both began their careers at CAA, collectively represent such celebrated artists as Academy Award nominees Bradley Cooper and Glenn Close, in addition to Margot Robbie and Lucas Hedges, among others.

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The Motion Picture Literary department will be co-led by Dan Rabinow and Ida Ziniti. Rabinow, a 10-year CAA veteran, and Ziniti, who joined the agency in 2014, represent many of today’s most accomplished writers, directors and producers, including Academy Award winner and current nominee Jordan Peele, and Academy Award nominees Melissa McCarthy and Phil Johnston, plus Rachel Brosnahan, and Reed Morano (“The Handmaid’s Tale”), among others.

Benjamin Kramer, a 13-year CAA veteran, has been named co-head of CAA Media Finance and will work alongside Sutherland to lead the department’s continued work in the packaging and representation of independently financed film, television and digital content. The Media Finance group has also been instrumental in structuring production companies and the formation of market-leading domestic and international distribution entities.

Rachel Rusch has been named head of CAA’s Comedy department. Rusch, whose clients include Trevor Noah, James Corden, Raphael Bob Waksberg, Natalie Morales, Neal Brennan and Leslie Jones, among others, will lead the agency’s extensive Comedy business across film and television.

Michelle Weiner will continue to lead the Books department, overseeing the agency’s book-to-film/television and publishing activities. CAA’s Books department has become a dominant force in the industry, with client books featured on The New York Times Best-Seller list more than 300 times last year.

“Our leadership team has been instrumental to the Motion Picture department’s tremendous success. They have pioneered ground-breaking deal structures and activated all areas of the agency to service clients in the best way possible. This new role provides an opportunity for them to execute on broader initiatives and continue to power our drive for innovation,” said CAA president Richard Lovett. “With this next generation of leadership, CAA is better positioned than ever in the global marketplace to serve our clients across all areas of opportunity.”

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Disney Chairman and CEO Bob Iger on an earnings call with investors Tuesday said that Disney will continue to make R-rated “Deadpool” movies and other adult-oriented Marvel movies after its acquisition of Fox.

“We will continue in that business,” said Iger. “There’s certainly popularity with those types of films.”

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Iger also added the importance of “carefully branding them so we’re not in any way confusing the consumer.”

The media and entertainment giant reported adjusted earnings per share of $1.84 for the quarter, ending in December, which was down slightly compared with the company’s earnings of $1.89 per share during the same quarter a year ago. Disney’s first-quarter earnings, however, were above analysts’ expectations via Yahoo Finance of $1.55 per share.

Revenue for the quarter hit $15.30 billion, which was a decrease compared with the $15.34 billion in revenue the company reported a year ago during the same period. Analysts tracked by Yahoo Finance expected, on average, revenue of $15.18 billion for the quarter.

Disney is expected to finalize its acquisition of Fox assets in the early part of 2019, which include 20th Century Fox film and TV studios, cable networks FX, FXX and Nat Geo, and Fox’s stake in streaming service Hulu. In the fourth quarter of this year, Disney will launch its own streaming offering.

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The festival will once again ignite screens with the best the Latino community has to offer. Partners include Comcast, NBCUniversal, Telemundo, American Airlines, AMC Theatres and the Motion Picture Association of America. The festival, which will return to the summer, is a welcome addition to the season’s Latino offerings, and will strengthen New York’s position as the place to be for all things Latino. Final dates will be announced soon.

“As we (Latinos) continue to dominate the box office, and the conversation surrounding diversity and inclusion is at the forefront of all things, we are truly proud to be here,” said NYLFF Founder Calixto Chinchilla. “We’re thankful to be recognized as the premier platform for fresh, creative, and diverse voices. We are appreciative to our existing partners who continue to see in the importance in what we do, and we welcome new partners to join in NYLFF’s return to celebrate its 16th edition.”

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“Now, more than ever, we are honored to partner with NYLFF to offer Latino creatives the opportunity to present, represent, and define their culture and experiences in their own voices,” added Dennis Williams, HBO senior vice president, corporate affairs and social responsibility.

NYLFF is currently accepting submissions until April 26. Projects in a language other than English must have English-language subtitles. Films cannot have been broadcast (television or Internet) or distributed commercially in the U.S. prior to the festival. Exceptions may be granted for short films and documentaries. The submission portal can be found by visiting: NYLatinoFilmFestival.com

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Bardem would play the role of Stilgar, who was previously played by Everett McGill in David Lynch’s 1984 Dune Film Adaptation.

The film will be directed by “Arrival” and “Blade Runner 2049” director Denis Villeneuve. The script was written by Villeneuve, Eric Roth and Jon Spaihts, with Villeneuve producing alongside Mary Parent and Cale Boyter. Thomas Tull will executive produce along with Brian Herbert, Byron Merritt and Kim Herbert for the Frank Herbert estate and Kevin J. Anderson will serve as a creative consultant.

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Set in the distant future, “Dune” tells the story of Paul Atreides, whose family accepts control of the desert planet Arrakis. The planet is the only source of the coveted spice melange, which means control of Arrakis is highly contested among the noble families. After Paul and his family are betrayed, the story explores themes of politics, religion and man’s relationship to nature, as Paul leads a rebellion to restore his family’s control of Arrakis.

“Dune” was previously adapted into a film directed by David Lynch in 1984 and was a commercial and critical failure. In the ensuing decades, attempts have been made to adapt the film again, including by Paramount in 2008. After Paramount dropped its rights in 2011, Legendary acquired them in November 2016 and signed on Villeneuve to direct three months later.

Bardem won an Oscar for his role in “No Country for Old Men” and received multiple nominations for his roles in “Before Night Falls” and “Biutiful.” Other credits include “Pirates of the Caribbean: Dead Men Tell No Tales,” “Mother!,” and “Skyfall.”

Bardem is represented by WME and Bloom Hergott Diemer Rosenthal Laviolette Feldman Schenkman & Goodman.

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