Latest news with #DavidSGoyer
Yahoo
12-07-2025
- Entertainment
- Yahoo
Who Is FOUNDATION's the Mule? The Powerful and Mysterious Baddie, Explained
Season three of Foundation is here, and with it comes the long-awaited arrival of the Mule. The super-baddy has been a distant threat, slowly approaching in the background, much like Thanos over the second half of the Infinity Saga. When he arrives on the scene, the Mule has a similar cataclysmic impact on the story as the Mad Titan of Marvel, too. Everything inevitably bows before his supersized persona and otherworldly power. But who is the Mule in Foundation? Here's what you need to know about him. In the case of the Mule, the fearsome warlord element isn't quite as pronounced. He doesn't use a gigantic sword or don battle armor. Asimov's great villain of the Foundation series wields a different kind of power. It is one that comes not from brawn but from a brain capable of cowing any individual and even entire planets when he wills it. Before we get too far into the details of the man of mystery himself, I want to point out that Apple+ and showrunners David S. Goyer and Bill Bost have spent three seasons adapting what many have called 'unadaptable' source material. And despite a host of necessary shifts in the storylines, they're killing it. Trust me. As someone who has read this series more than once, this isn't an easy task. That said, the Mule is arguably the best part of the story, and the show is actually adapting his part closer to the source material than any other part of the show thus far. What does this have to do with who the Mule is? Let's ask the author himself… Asimov cloaked the character of the Mule in intense mystery in his novels. This means it's hard to know much about him, even as his part in the story expands. For some context, here's how the guy is introduced in the book Foundation and Empire. 'The Mule …. Less is known of 'The Mule' than of any character of comparable significance to Galactic history. Even the period of his greatest renown is known to us chiefly through the eyes of his antagonists and, principally, through those of a young bride… — Encyclopedia Galactica.' The Mule is built to be an unknown. He doesn't get a name, and most people never see him or know what he looks like. Despite the facade, over the course of the original story, we do find out a few key factoids about the Mule. One is that he has fierce telepathic ability (something called a 'mentalic' in Asimov's world). He can mess with people's minds and can suppress the thoughts and hopes of entire planets. This makes it easy to attack his enemies, as he can turn his fiercest adversaries into puppy-like followers in an instant. This is going to be important, as the warlord assaults Foundation and Empire alike in the show, upending Seldon's plans in the process. The Mule's home world is also a key part of his story. He hails from Gaia, an utterly unique planet of mentalics founded and shaped by robot wisdom. (Its origin is altered a bit in the show.) Its people are raised to be telepathic and have learned to connect with the flora and fauna. This turns the planet into a super-organism that plays a critical role in the later stages of the Foundation story. As far as the Mule is concerned, he leaves Gaia when he rejects the collective, turning his back on the 'together we are better than apart' philosophy as groupthink mumbo jumbo and choosing to use his mental powers to cow and conquer others. Again, this is a very important point for later in the story. RELATED ARTICLE Lee Pace Is a Ripped Messiah in FOUNDATION Season 3 Trailer But for now, suffice it to say that the Mule is an exiled mutant who is despised in his homeland. One other thing worth pointing out? He's not who you think he is. In both the show and the books, the Mule is deceptive and clever. Keep an eye on this one (if you can) as Foundation season three plays out, or the Mule pull the wool over your eyes, along with everyone else's.
Forbes
10-07-2025
- Entertainment
- Forbes
What Time Does ‘Murderbot' Season Finale Begin Streaming?
"Murderbot" partial poster featuring Alexander Skarsgård. Murderbot — the critically acclaimed sci-fi action-comedy series starring Alexander Skarsgård — wraps up this week on Apple TV+. What time will it begin streaming? The official summary for Murderbot reads, 'Based on Martha Wells' bestselling Hugo and Nebula Award-winning book series The Murderbot Diaries, Murderbot is a sci-fi thriller/comedy about a self-hacking security construct who is horrified by human emotion yet drawn to its vulnerable clients. 'Played by Skarsgård, Murderbot must hide its free will and complete a dangerous assignment when all it really wants is to be left alone to watch futuristic soap operas and figure out its place in the universe.' Murderbot also stars Noma Dumezweni, David Dastmalchian, Sabrina Wu, Akshay Khanna, Tattiawna Jones and Tamara Podemski. Murderbot was created by Paul Weitz and Chris Weitz and executive produced by David S. Goyer. Episode 10 of Murderbot, titled The Perimeter, will begin streaming on Apple TV+ on Friday, July 11, at 12:01 a.m. PT/3:01 a.m. ET. The first nine episodes are already available on Apple TV+ If you do not subscribe to Apple TV+, the streaming service offers ad-free programming for $9.99 per month after a seven-day free trial. 'Murderbot' EP Says Alexander Skarsgård Immediately Nailed The Tone Of The Character During a Zoom conversation with Murderbot exective producer David S. Goyer prior to the premiere of the series in May, the prolific filmmaker said Alexander Skarsgård gave the perfect read on the character. 'A lot of very good actors auditioned [for the role], but they were just taking it too seriously,' Goyer said. 'Alexander didn't audition — he was an offer — but we had a number of conversations first and he was really eager. He immediately realized the kind of opportunity [the role presented], that you love because [it's] crotchety and weird and super on the spectrum and blurts out things. That's why you love [it].' On top of that, Goyer said of Skarsgård, 'He's funny in real life and also just a really lovely guy. He's very self-deprecating.' The season finale of Murderbot will begin streaming on Apple TV+ on Friday at 12:01 a.m. PT/3:01 a.m. ET.
Telegraph
03-07-2025
- Entertainment
- Telegraph
The Sandman remains brilliant, but Neil Gaiman's involvement casts a shadow
The second series of Netflix's adaptation of cult graphic novel The Sandman is a brilliantly surreal, escapist fantasy that has all the makings of a substantial hit – or at least it would if its creator, Neil Gaiman, hadn't been cancelled last year. Gaiman for decades positioned himself as a card-carrying male feminist and ally of trans and gay people. It was as much part of his brand as The Sandman, which tells the story of Morpheus, the moody lord of dreams (based in equal measures on a young Gaiman and top goth Robert Smith of The Cure). But he has gone from nerd hero to villain and cautionary tale after a number of women accused him of abusive and coercive behaviour. He has rejected the allegations, saying he 'never engaged in non-consensual sexual activity with anyone'. Yet despite those denials, his career is effectively over. And with it, The Sandman, which Netflix is bringing to a premature close after a truncated two seasons. In terms of damage limitation, the decision is a no-brainer. That said, this fantastically unconventional and sumptuously crafted show surely deserves better, with just two (and a bit) of the 10 original graphic novels adapted. 'I'd be crazy to say it wasn't weird,' is how producer David S Goyer characterised the experience of working on The Sandman as the allegations surfaced. He was careful to add that Gaiman wasn't as heavily immersed in the production as in series one. His lack of involvement is no loss as the story picks up the tale of Morpheus, aka Dream – played with sublime solemnity by Tom Sturridge. He is one of the family of 'Endless' who embody various elements of the human experience. The Sandman has already introduced Mason Alexander Park as Desire and Kirby Howell-Baptiste as Death (a fan favourite, in part inspired by Gaiman's friend, singer Tori Amos). This time, Morpheus catches up with Delirium (a brilliantly brittle Esmé Creed-Miles, daughter of Samantha Morton) and the mysterious black sheep of the clan (Barry Sloane). Jenna Coleman is back, too, as Joanna Constantine – a paranormal investigator from Elizabethan England. Ruairi O'Connor, meanwhile, has a small but crucial part as a close relative of Morpheus with a tendency to lose his head. There are also fun cameos by Steve Coogan, Freddie Fox, Sanjeev Bhaskar, Stephen Fry and Jack Gleeson, aka wicked Prince Joffrey from Game of Thrones. Goyer – and Gaiman, to the extent he was involved – have done a great job of transposing to the screen the stream-of-consciousness tone of the comic books (as per Netflix's custom, the season is divided into two with the final four episodes arriving on July 24). Taking a sort of free-jazz approach to storytelling, The Sandman graphic novels don't have a plot so much as a vibe. In a fitting reflection of the subject matter, they follow a charming dream logic as Morpheus travels the cosmos, embarking on many unusual adventures. These include a run-in with Shakespeare (it turns out Morpheus inspired A Midsummer Night's Dream) and an awkward encounter with a bored Lucifer (Gwendoline Christie). The Sandman isn't for everyone. This is hardcore geek material – portentous, pretentious and not big on humour. If you enjoy a good cosy crime binge watch then avoid. Especially the bit where a demon has sex with a giant spider lady. However, even people who like this kind of thing may be conflicted, given the backlash against Gaiman. Though wonderfully made and acted, the allegations against the show's creator have robbed The Sandman of a great deal of its lustre. It's a shame the adaptation is over almost before it began. But for Netflix, you suspect this dreamy tale has become a waking nightmare that can't end too soon.
Gizmodo
23-06-2025
- Entertainment
- Gizmodo
Good News: Two of Apple TV+'s Most Slept-On Sci-Fi Shows Have Hopeful Plans for More
If you're a sci-fi fan, you really must check out Apple TV+—streaming home of so many of the best genre shows right now. Two standouts happen to have the same executive producer among their credits: David S. Goyer, who's part of team Murderbot as well as team Foundation. Murderbot's first season wraps up July 11, the same day Foundation returns for its third season. Neither show has been renewed beyond that, but to hear Goyer tell it, the future is looking bright. 'I don't want to give away too much, but I will say that moving from season season to season four is the first time we do not jump forward centuries,' Goyer said of Foundation. (The show's third season does indeed pick up 152 years after season two, as the season two finale had promised.) 'So in a way, one might think of season three and season four as one sort of 20-episode season.' That's exciting for fans of the Asimov adaptation to contemplate, as is his tease of season three, which builds out what fans have seen in the teaser and trailer so far: the story's big bad, the Mule (played by Game of Thrones' Pilou Asbæk), will play a major part this time around. 'I had always said, 'The Mule is season three. We have to earn the Mule,'' Goyer said. 'The reason why the Mule is so effective in the books is because it comes midway through the second novel, and you have to sort of set up the Foundation and set up the ways that its psychohistory seems to be kind of infallible and then the Mule is something that turns everything—the Mule doesn't work unless you've seen the Foundation succeed a number of times.' As for the future of Murderbot—which is based on Martha Wells' Murderbot Diaries book series—Goyer is similarly optimistic, echoing what series creators Chris and Paul Weitz told io9 ahead of the season premiere about its potential longevity, while pointing out the show has a surprisingly broad appeal. 'We've hit our Byzantine-metric threshold and I think it has performed well enough that there will be another season. It's not guaranteed, but I believe that to be the case,' Goyer said. 'And the response, critically, I think, could not have gone better. And what we're really interested in is, we knew we would get the sci-fi people in and the fans of the books, but we're just interested in sort of branching out beyond people that typically don't consider themselves fans of science fiction. Like my wife loves it, and she's not a science fiction fan. And so that's the audience that we're going for and we're hoping that that will continue.' Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
Gizmodo
15-06-2025
- Entertainment
- Gizmodo
20 Years Ago, Batman Began a New Era of Hollywood
There are plenty of constants in popular culture, and Batman is near the top of the list. He's everywhere in some fashion, particularly in movies, and his various cinematic versions have been significant in some way that speaks to how both the audience and Warner Bros. view the character. Of those, Batman Begins may be the most important. The first chapter of an eventual trilogy from director Christopher Nolan and writers David S. Goyer and Jonathan Nolan released on June 15, 2005, and marked his return to film after Batman & Robin's critical panning back in 1997. Various creatives tried getting a new movies off the ground first, but the duty eventually fell to Nolan and Goyer, who aimed for a darker direction compared to its predecessors. Despite the goodwill both built up with their previous individual works—Memento and Insomnia for Nolan, the first two Blade films Goyer—the bad blood of & Robin left people very skeptical Begins would be any good. But good it was, some would even say great. With positive reviews, an Oscar nomination for its cinematography, and a $373.3 million box office under its belt, Batman Begins renewed interest in Batman's cinematic prospects. Its sequels, 2008's The Dark Knight and 2012's The Dark Knight Rises, garnered even bigger acclaim and money, and collectively, the three have since been recognized as one of the best film series ever made. During and after its lifecycle, it became the franchise to imitate: rebooted versions of James Bond, Star Trek, and Spider-Man were openly influenced, and creatives behind various films—from Gareth Edwards' Godzilla to Jon Favreau's Iron Man and Cathy Yan's Birds of Prey—cited the trilogy as inspiration. The Dark Knight series was so big, Warner Bros. held onto Nolan for the next 15 years. He stayed in DC's realm for a spell as a producer for several DC Extended Universe like Man of Steel (which he helped conceive the story for) and Batman v. Superman: Dawn of Justice. Outside superheroes, the studio distributed his non-franchise works of the 2010s, Inception, Interstellar, and Dunkirk. And while things eventually fell apart owing to the COVID pandemic and WB's subsequent treatment of Tenet, resulting in him taking Oppenheimer and 2026's The Odyssey to Universal, that partnership nonetheless made the studio an enticing one for filmmakers to do business with. Well, at least until it became WB Discovery. Batman Begins became associated with 'dark and gritty,' and Batman himself followed suit. Its impact on his TV life is debatable, given the significance of Batman: The Animated Series on the medium, but it's different elsewhere. His comic book storylines leaned into a darker, grittier direction—Joker owes a lot of his current-day popularity and general creative pivot across media to Heath Ledger's portrayal in Dark Knight—and in games, the DNA of Begins and its sequels are all over Rocksteady's Arkham games. Matt Reeves' in-progress Batman Epic Crime Saga stands in Nolan's shadow, and if the new DC movie universe follows through on delivering Brave and the Bold, it'll also be in conversation with this trilogy, even just by the sheer fact that it'll bring Robin back to the big screen in live-action for the first time in decades. Depending on who you ask, the focus on realism and grounded stories (to a point) has left Batman in a point of creative stagnation on the big and small screen. If creatives aren't trying to emulate Nolan's movies, they're doing it with Animated Series, but with one eye on the films regardless. As such, can you really blame people for feeling Batman'd out over the past decade, or giving Marvel its flowers just for being lighter and more fantastical by comparison? Complaints about the character's omnipresence and the fan-dictated brand war have existed since the dawn of time and will exist well through the end of it, but these movies did help exacerbate things by their existence and continued signficance on the character and every Bat-thing he touches. In Batman Begins and its sequels, Nolan and Goyer did something with the character that'll likely never get to happen again: they presented their vision of Batman to the world and subsequently moved on, not even pretending like looking back was ever in the realm of possibility. That restraint may help explain why, despite its problems, the trilogy continues to be looked back on with such fondness, and why there'll never be a day in our lifetimes where Batman isn't one of the most popular characters in the world.
