Specifically, fans now have a chance to win a special Xbox Series S inspired by the upcoming Ms. Marvel series on Disney+. The console features Ms. Marvel with the backdrop of the psychedelic art style that’s been used in the show’s marketing. The included wireless controller sports the same colour scheme alongside Ms. Marvel’s signature lightning bolt logo.
The contest is open worldwide, including in Canada. The full rules can be found here.
Premiering on Disney+ on June 8th, Ms. Marvel follows Pakistani-American teenager Kamala Khan as she balances new superpowers with family commitments and high school. Notably, Markham, Ontario newcomer Iman Vellani plays Kamala, and she’ll be reprising the role in next year’s The Marvels alongside Captain Marvel‘s Brie Larson and WandaVision‘s Teyonah Parris.
Disney has confirmed that Marvel Studios’ Doctor Strange in the Multiverse of Madness will begin streaming on Disney+ Canada on June 22nd. This is less than two months after the film opened in theatres on May 6th.
Helmed by Spider-Man trilogy director Sam Raimi, Doctor Strange in the Multiverse of Madness follows the eponymous sorcerer as he teams up with dimension-hopping teenager America Chavez to fight a threat to the entire multiverse. It’s important to note that the film picks up after the events of the TV series WandaVision, which is now streaming on Disney+.
Doctor Strange in the Multiverse of Madness stars Benedict Cumberbatch (Doctor Strange), Elizabeth Olsen (Wanda Maximoff/The Scarlet Witch), Benedict Wong (Wong), Xochitl Gomez (America Chavez), London, Ontario’s own Rachel McAdams (Christine Palmer) and Chiwetel Ejiofor (Baron Mordo).
The next Marvel film, Thor: Love and Thunder, hits theatres on July 8th. On the small screen, Marvel also has Ms. Marvel, starring Markham, Ontario’s Iman Vellani, which will premiere on Disney+ on June 8th.
Disney confirms that the now annualized Disney Plus Day celebration is returning on September 8th, 2022. Focusing on the company’s streaming service, it’s likely we’ll see new announcements and footage across projects from Marvel, Pixar, Star Wars, and National Geographic.
Last year, Disney held its Disney Plus Day festivities on November 12th. It was here that the company showcased a large assortment of projects to hit the streaming service over the next calendar year and beyond. Quick highlights included Marvel’s Moon Knight, She-Hulk, and Star Wars’ Obi-Wan Kenobi. Disney hasn’t confirmed what fans can expect to see from Disney Plus Day this year.
Given what we’ve seen from Disney Plus Day in the past, we have a rough idea of what the company has in store. With expectations set from the year prior, it’s safe to say we’ll see new announcements and footage across, films, shows and specials. The streaming service holds a ton of content so expect to see a broad range shown. The company confirms it will “host special experiences for fans and subscribers.”
The other major unknown is the format. Last year, the majority of announcements were made to the public via a Twitter thread. While this method gave way to a long list of trailers, interviews, etc. it was hard to keep up with as the “event” unfolded in real-time. It will be interesting to see if Disney maintains that format or moves to a live-streamed event.
On top of announcing Disney Plus Day, the company released a teaser trailer for the live-action Pinocchio film starring Tom Hanks. The film premieres on Disney+ on September 8th.
Finally, all of the festivities lead right into D23 Expo: The Ultimate Disney Fan Event in Anaheim, California. Slated for September 9th through September 11th, D23 Expo aims to host panels, events and more for fans around the world.
Netflix has released the first trailer for The Gray Man, its highly anticipated action movie from Avengers: Infinity War and Endgame directors, The Russo Brothers.
In the film, a top CIA mercenary, Sierra Six (London, Ontario’s own Ryan Gosling) discovers dark agency secrets, making him the target of international assassins, including his unhinged former colleague, Lloyd Hansen (Captain America himself, Chris Evans).
The Gray Man is notable for a number of reasons.
To start, it’s said to be Netflix’s most expensive film to date, thanks to a budget of around $200 million USD (about $257 million CAD). Further, the film re-teams The Russo Brothers with Captain America star Evans, as well as screenwriters Christopher Markus and Stephen McFeely. Joe Russo penned the script for The Gray Man — based on Mark Greaney’s eponymous novel series — alongside Markus and McFeely, who previously wrote The Russo Brothers’ four Marvel films: Captain America: The Winter Soldier, Captain America: Civil War, Infinity War and Endgame.
The Russos have specifically said that The Gray Man is meant to be a political action thriller in the vein of The Winter Soldier, which is regarded as one of the best Marvel films.
Beyond Gosling and Evans, The Gray Man features an all-star cast that includes Ana De Armas (Knives Out), Regé-Jean Page (Bridgerton), Jessica Henwick (The Matrix: Resurrections), Billy Bob Thornton (Fargo) and Tamil acting icon Dhanush (Vadachennai).
The Gray Man will begin streaming on Netflix on July 22nd.
Marvel Entertainment has pulled the curtain back on its new game, Marvel Snap, arriving on PC and mobile. The company describes Marvel Snap as a “fast-paced, action-packed, collectible card game.”
Although the name invokes feelings of the Mad Titan’s snap, Marvel Snap is not a Thanos-centric game. Instead, the game is inspired by Blizzard Entertainment’s Hearthstone. This title is developed by Second Dinner and published by Nuverse. Players are able to collect iconic characters and form a roster of heroes and villains. The game also lets players “collect endless styles of card backs.”
Based on the announcement, featured characters include Ms. Marvel, who is finally getting the spotlight on Disney+, as well as Iron Man, Venom, Miles Morales, Dr. Doom, and a Black Panther-inspired Hulkbuster. Each character has its own styling; some are very comic-accurate, while others, like Groot, look more Chibi-like.
As per the announcement, a core feature of the game is its fast-paced matches. A single match of Marvel Snap can take anywhere around three minutes. Players take their turns simultaneously to keep the action moving and avoid waiting.
In Marvel Snap, players arrange cards under one of three areas on the board, playing their cards effectively to gain control of more of them. Once a player takes control of two of the three areas, that player wins the match. Adding the “snap” element, players can raise the takes and double their rewards if they feel confident in their chances of winning.
There are also over 50 locations to play on. Each pulls from iconic locations across the Marvel Universe. Marvel Snap already teases Wakanda and Asgard. Second Dinner is committing itself to adding new locations each week.
Eager heroes can sign up for access to a closed beta on Android devices. There’s currently no word on when the beta begins. Though, selected users will be notified via email “shortly.” The beta is being held in Canada, the U.S, Australia and other select countries.
After years of rumours and speculation, it seems like Marvel’s Devil of Hell’s Kitchen is returning for another series.
Varietyreports that Marvel Studios is now developing a Daredevil show for Disney+. Matt Corman and Chris Ord (Cover Affairs) are writing and executive producing the series.
While Marvel hasn’t officially commented on the project, and Variety didn’t provide further details, it’s safe to assume this series will star fan-favourite actor Charlie Cox. He originally played Matt Murdock/Daredevil in Netflix’s beloved Daredevil series, as well as its Defenders spin-off, before it was cancelled. However, Marvel clearly understood his popularity, as Cox was brought back as Murdock for a cameo in Spider-Man: No Way Home, which, like other Marvel Cinematic Universe titles, was otherwise not connected to Netflix’s shows.
The biggest clue for Cox’s involvement, though, comes from Marvel Studios president Kevin Feige himself. In December, Feige coyly told CinemaBlend that “If you were to see Daredevil in upcoming things, Charlie Cox, yes, would be the actor playing Daredevil.”
Adding fuel to the fire is the fact that Disney+ just got Daredevil and all of the other Netflix shows. On top of that, Vincent D’Onofrio, who played Daredevil villain Kingpin on the Netflix series, reprised his role in Marvel’s Hawkeye, so both characters have been re-introduced to audiences. A costume designer for the Hawkeye spin-off Echo later appeared to leak that both Cox and D’Onofrio are in the show.
Given all of this, it seems like Marvel has been building to a grand television return for Daredevil. It remains to be seen, however, whether other actors from the original series, like Deborah Ann Woll (Karen Page) and Elden Henson (Foggy Nelson), will return.
To learn more about what went into making Marvel’s Guardians of the Galaxy more accessible, MobileSyrup spoke via email to two of the key developers at Eidos Montreal behind these efforts: Améliane F. Chiasson, accessibility lead, and Daniel Fortier (lead UI programmer). They spoke about the development of Marvel’s Guardians of the Galaxy, the importance of accessibility as a whole and what the larger industry and gamers alike can do to make games more inclusive for everyone.
Question: Your background in QA and User Research led into your current role of Accessibility Lead. What is it about focusing on prioritizing players’ experiences that appeals to you, and what does it mean for you to now be formally focused on accessibility with your own dedicated team?
My first recognition plaque as an Accessibility Lead 💜
Thankful and humbled everyday for this opportunity I call a job. This is only the beginning. pic.twitter.com/hlF0kJfjRA
Améliane Chiasson: My entire career, I’ve always had to put myself in the shoes of our players. Whether it was ensuring our games were clear of game-breaking bugs or ensuring that our experiences were enjoyable — my mind was and will always be set on ensuring that the players’ experiences are a priority. They are the ones who buy our games and engage with our creations, so I feel we must think of them — all of them — all throughout our development process. We can make games that we love, that represent us, but we must never forget we aren’t making games just for ourselves (that wouldn’t be a very business-savvy mindset, anyways).
Q: What are some basic accessibility features that you think should, ideally, be in every game?
Daniel Fortier: Subtitles customization is a must for sure. Allowing the player to adjust the difficulty of the challenges is also something that should make its way to becoming standard in games, as it directly translates to a better experience for everyone, which is what games strive for at their core.
Chiasson: Echoing Daniel’s comment, subtitles presentation and customization is absolutely crucial. I will also add full control remapping, input alternatives, closed captions and menu narration.
After that, it becomes a little more intricate, but — design-wise — ensuring all information is communicated through multiple channels (for example: audio cues also have visual cues and optionally haptics, too). Also making sure your UI/HUD, as well as environmental design (if you have in-game hints, signs or indications), are colourblind-friendly.
Q: Marvel’s Guardians of the Galaxy has received a lot of praise for its accessibility features. What work went into a) identifying key accessibility features and b) successfully implementing them?
Fortier: Accessibility was an ongoing discussion right at the start of the production phase of the project. The game has a lot of conversations and banter and it was clear that subtitles were to be very useful for player to get every last bit of it, so we made sure it was designed and implemented early to get the best results possible. Around the same time, we had a lot of discussions on the fact that we wanted this game to be playable and experienced by a large audience of all kinds, and that we wanted to throw down the barriers that might come on the way to that objective. That led to the design of the difficulty customization, which was centered around basically exposing values that are traditionally hidden from the player by designers, thus giving them total control to the player to adjust what they want in their experience of the game.
Through Star-Lord’s visor, players are given various colour contrast options.
Chiasson: Being aware of the core pillars of our game, as well as the intentions that went with them, really helped in identifying what were the priorities and focus when it came to accessibility. And this was true even before our department was created. So when we got on board on the project, we already had a clear scope of what to expect. That being said, making and implementing those features—and doing it well—required the dedication and commitment of many team members. This was a new process for a lot of people, and we’re lucky we had the production’s support to make it happen.
Designing and implementing for accessibility was not a structured process for us before, so we learned a lot during our time with Marvel’s Guardians of the Galaxy and hope to apply those learnings for our future projects.
Q: What’s especially notable about your [Chiasson’s] role is that you’ve worked on several Square Enix games, not just Eidos Montreal’s. Since you’re based in Montreal, what’s the process like in terms of collaborating with the international teams on games like Just Cause and Life is Strange? [Note: this interview was conducted prior to the announcement that Square Enix is selling Eidos Montreal and other studios to Embracer Group.]
Chiasson: Our department’s level of involvement — and my own — will vary depending on a few factors. Of course when it comes to our internal projects, it’s a little bit easier to be more hands-on and be there early. But for our external games for example, we usually will connect with key members of the team who will act as accessibility champions and help connect that bridge with us. We will equip them with documentation, meet with them on a set basis, provide feedback on their work, connect them with consultants and review the game whenever needed. The earlier we can be involved, the better and easier it is to tackle accessibility. And this goes for all projects!
Q: I’ve spoken to accessibility consultant Steve Saylor, who you worked with [on this game]. He noted that a key reason many games lack meaningful accessibility features is because they’re not thought of early in development. What should developers do to ensure that accessibility is considered early on throughout all facets of design?
Fortier: Steve is totally right in his assessment, and the process is already underway in our current in-development projects. Another way to see that issue is that accessibility is often seen as something that you add to a feature to make it more accessible to disabled or impaired people, rather than something that actually improves the feature by making it more comprehensible, functional and, in the end, fun! So the best way to fix this is to change the mindset around it, discuss it as soon as conception and ideating to explore new ways to make the features accessible to everyone by design, rather than “fix” them later in the process. Everyone benefits from some kind of customization in games, might as well make it part of the design!
Chiasson: Steve and Daniel are correct. I would add that as a best practice, including accessibility in your intentions and vision can help your team commit to it from almost day one. The ideal process for this is to have an accessibility team be involved in key design processes with your core team from the early days… but if you don’t have such a team yet, identifying accessibility champions on your project to act as owners is a great way to ensure accessibility is never left on the backburner. Having a plan and clear objectives is essential — even if that plan evolves or changes — at least you’ll have people who are nurturing and pushing this important mission.
Q: What are some other examples of games that you think offer well-rounded accessibility options?
Chiasson: I’m very inspired by the work of many other studios when it comes to accessibility — AAA and independent studios alike. From unique, innovative games like The Vale: Shadow of the Crown to huge releases like The Last of Us Part II or Forza Horizon 5, there’s amazing new best practices and creative solutions setting new standards for us to work and strive for. Other companies like Xbox (Microsoft) are also at the forefront of this mission, setting new guidelines, offering services for testing games and developing adaptive technology for disabled video games enthusiasts.
It doesn’t matter who works for who; when it comes to accessibility, when one of us succeeds… we all win.
Q: The 2022 Game Developers Conference State of the Industry survey found that more developers are now implementing accessibility measures into their games. However, one respondent noted that “there is still a lot of pushback in implementing accessibility features.” Why do you think there’s this pushback and what can be done to help combat this resistance?
Fortier: As I mentioned before, there is this idea that still persists in some capacity that accessibility is something you use if you are disabled, not something that everyone could benefit. There’s also a misguided thinking that accessibility will impact and diminish the creative vision of a project, by making it easier than it was designed to be. The reality is that while in effect, it can make games “easier” with difficulty options, for example, it is also an opt-in experience, which allows players to decide what they want as their experience of the game.
The interesting thing is that this has been there for most of modern gaming history. Take, for example, Wolfenstein 3D, which allowed selecting the difficulty level when starting a new game. I think the resistance comes from a misunderstanding of what accessibility really is, which makes the best way to combat is to continue discussing it, making it an integral part of the creative process and then, as weird as it sounds, making it so standard that it becomes invisible.
The Vale: Shadow of the Crown is an audio-only game developed by Niagara Falls, Ontario’s Falling Squirrel. (Image credit: Falling Squirrel)
Chiasson: I think mainly there’s a lot of misconceptions about what our objectives and intentions are when we talk about making games accessible. We don’t want to “make your game easier” or throw a wrench at your creative vision. We want to work with you to welcome even more people into the world and experience you’re creating. Disabled people are part of your target audiences. And even beyond that, it’s been demonstrated time and time again that accessibility options and considerations are also appreciated and used by players who don’t consider themselves as disabled.
There’s also sometimes a frustration to acknowledge from developers who are swamped with work towards the end of a project that didn’t have an accessibility program in place and who are being asked to retroactively break barriers. These types of last-minute requests can be very difficult and at times impossible due to resources, budget and tech limitations. Those same developers may then have a bone to pick with people who talk to them about accessibility… when their issue truly isn’t with accessibility, but the lack of planning. That’s why we need to have these discussions early to avoid later hindrances that can cause bitterness about the subject. It’s never too late to see what can be done (if you didn’t do it before), but it’s important to be aware of the state and resources of a project in order to bring actionable solutions to the table.
Q: We also see gamers who just don’t seem to understand — or even try to understand — why accessibility matters. This especially seems to happen whenever people bring up adding assistive options to difficult games like Elden Ring or Sifu. What would you say to these people to help them become more empathetic?
Fortier: There will always be gate-keeping in every cause, and accessibility sadly isn’t an exception. That being said, as with all these other causes, the best way to fight this is open communication, reaching out, patience, and above all, not letting it affect ourselves. As developers and artisans, there is nothing more rewarding and touching than to see players of all walks of life succeed in a difficult quest or boss fight and see the pride in their eyes. Sharing that experience at large can only help make that empathy blossom in everyone.
Chiasson: Humans, in general, tend to deal in individualism, and it sometimes feels like a lot of us are unable to put ourselves in other people’s shoes. Fostering empathy in the gaming community can be hard on multiple levels, whether we’re talking about toxicity, social issues or accessibility. There is also a misunderstanding of what accessibility means and how it should be addressed in games. If you’re struggling to understand why accessibility matters, go and watch talks available on the subject coming directly from disabled players and accessibility specialists. Educate yourself before making assumptions. That being said, I don’t waste my time with people acting toxic for the sake of trolling.
Chiasson: I think, mainly, that there’s a lot of room for more accessibility coverage in journalism and game reviews. And I’m not just talking about accessibility-focused articles, but normalizing discussing accessibility when reviewing games and covering announcements and development updates.
Also, I’d love to see accessibility being added in the curriculum of game development education, whether it be in universities or online courses. We need the developers of tomorrow to be aware and educated on the matter so we can continue to move forward in the right direction.
Q: Looking ahead, Amélie — you were one of a small group of people inducted into last year’s The Game Awards Future Class for your work on accessibility. (Congratulations!) What does it mean to be recognized like that, and what are you looking forward to doing with the Class?
Chiasson: Thank you, thank you! I was very happy and humbled to be part of this impressive class of inspiring creators, entertainers and game-changers. I love that The Game Awards started to recognize individuals who are pushing this industry to new horizons. I also love that marginalized communities are being brought to the spotlight because this can lead to more exposure and more professional opportunities. I’m looking forward to learning from my fellow class members about how they experience their own journeys, how we can help support each other and potentially identify areas where we can collaborate in concrete ways to instigate positive initiatives in the games industry. I was positively surprised to notice that we’re invited to meet rather often and that the organizers are treating us with impactful learning sessions from inspiring industry folks. The TGA Future Class program definitely isn’t just for show!
This interview has been edited for language and clarity.
Marvel’s Guardians of the Galaxy is now available on PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S, Nintendo Switch (cloud only) and PC.
This interview was conducted to coincide with Global Accessibility Awareness Day, which falls on May 19th, 2022. The annual event is intended to promote access and inclusion for the one billion-plus people around the world who live with disabilities.
Notably, She-Hulk stars Regina’s own Tatiana Maslany (Orphan Black) as Jennifer Walters, a lawyer who develops superpowers from her cousin, Bruce Banner/The Hulk. Mark Ruffalo returns as Banner/Hulk from the Marvel Cinematic Universe films, while Tim Roth reprises the role of Emil Blonsky/Abomination from The Incredible Hulk.
She-Hulk is Marvel’s third Disney+ show of 2022, following Moon Knight, which premiered in late March, and Ms. Marvel, which debuts on June 8th. The latter show also stars a Canadian: Markham, Ontario’s Iman Vellani as Kamala Khan/Ms. Marvel.
She-Hulk and Ms. Marvel are just two of many Disney+ productions to prominently feature Canadians. You can read more on that here.
Meanwhile, Michael Giacchino’s untitled Halloween special and James Gunn’s Guardians of the Galaxy Holiday Special are also set to hit Disney+ by the end of the year.
It was the studio’s first feature film to be solely directed by a woman, Toronto’s own Domee Shi (the Oscar-winning short Bao), as well as its first to feature a predominantly Asian cast. What’s more, the movie was a rare opportunity for Toronto to play itself, rather than an American city, while also featuring Canadian talent like Ottawa’s Sandra Oh (Killing Eve) and Mississauga’s Maitreyi Ramakrishnan (Never Have I Ever).
Turning Red also, incidentally, was just the first in a slew of new Disney+ originals featuring significant Canadian connections. In fact, a quick glance at the streamer’s upcoming film and TV slate reveals many projects in which Canadians play prominent roles both in front of and behind the camera. The future of Marvel and Star Wars, in particular, is looking quite Canadian.
With all of that said, here’s a breakdown of major upcoming Disney+ titles, in order of release, that heavily feature Canadians:
Obi-Wan Kenobi — May 27th, 2022 (two-episode premiere)
Synopsis: Ten years after the events of Revenge of the Sith, Jedi Master Obi-Wan Kenobi comes out of hiding to embark on a critical mission.
Genre: Sci-fi
Canadian connections: While Obi-Wan himself is once again played by Scottish actor Ewan McGregor, two of the key players that he’s working with on Obi-Wan Kenobi are Canadian.
Notably, the seriesreunites Obi-Wan with his former apprentice, Anakin Skywalker/Darth Vader, with Vancouver’s own Hayden Christensen reprising the role from George Lucas’ Star Wars prequels. (Christensen is also expected to return in the currently undated Ahsoka series, which stars Rosario Dawson as the eponymous former Jedi and apprentice of Anakin.)
On top of that, Toronto-raised Deborah Chow, who helmed multiple episodes of The Mandalorian, is directing all six episodes of Obi-Wan Kenobi. In an interview, Chow even talked about sharing “Canadian pride” on set with Christensen.
Ms. Marvel — June 8th, 2022
Synopsis: Pakistani-American teen Kamala Khan balances family responsibilities and school with newfound superpowers.
Genre: Superhero
Canadian connections: Kamala is played by Markham, Ontario’s Iman Vellani, a newcomer who’s previously worked with TIFF and, like Kamala, is an Avengers fangirl. On top of the Disney+ series, Vellani will co-star in next year’s The Marvels alongside Brie Larson (Captain Marvel) and Teyonah Parris (Monica Rambeau).
She-Hulk — TBA 2022
Synopsis: We don’t have official story details yet, but we do know that the series will focus on Jennifer Walters, lawyer and cousin of Bruce Banner/The Hulk, as she turns green and develops her own powers.
Genre: Superhero
Canadian connections: Regina’s own Tatiana Maslany (Orphan Black) leads the cast as Jennifer Walters/She-Hulk, while Mark Ruffalo and Tim Roth reprise their MCU roles of Banner/Hulk and Emil Blonsky/Abomination, respectively.
Secret Invasion — TBA 2022
Cobie Smulders’ Maria Hill with Samuel L. Jackson’s Nick Fury in Spider-Man: Far From Home. (Image credit: Sony/Marvel)
Synopsis: Nick Fury re-teams with the alien Talos to stop the shapeshifting Skrulls, who have infiltrated all aspects of life on Earth.
Genre: Superhero
Canadian connections: While Samuel L. Jackson (Fury), Ben Mendelsohn (Talos) and most of the remaining principal cast aren’t Canadian, Secret Invasion does see Vancouver’s Cobie Smulders reprise her long-running MCU role of Maria Hill. It’s also worth noting that the series had a secret one-day shoot in Toronto to wrap filming.
Synopsis: David Lowery (Pete’s Dragon) directs this live-action remake of the Disney animated classic Peter Pan, starring Alexander Molony as the titular hero, Ever Anderson as Wendy, Yara Shahidi as Tinker Bell and Jude Law as Captain Hook.
Genre: Fantasy adventure
Canadian connections: On top of being filmed in Vancouver, Alberta-raised Cree actor Alyssa Wapanatâhk plays Tiger Lily, a Warrior Princess of Neverland’s Indigenous tribe.
Reservation Dogs (Season 2) — TBA 2022
Pictured: (Left to Right): Paulina Alexis as Willie, Devery Jacobs as Elora, D’Pharaoh Woon-A-Tai as Bear, Lane Factor as Cheese in Season 1 of Reservoir Dogs. (Image credit: FX)
Synopsis: Specific details for Season 2 have yet to be revealed, but the show is focused on four Indigenous teenagers who live on a reservation in rural Oklahoma.
Genre: Comedy-drama
Canadian connections: Three of the four leads are Canadian: Kahnawake, Quebec’s Devery Jacobs (American Gods) as Elora, Toronto’s D’Pharaoh Woon-A-Tai (Murdoch Mysteries) as Bear and Edmonton’s Paulina Alexis (Ghostbusters: Afterlife) as Willie. All three, plus Lane Factor (Cheese), will return for Season 2. On top of that, Jacobs has joined the all-Indigenous writer’s room for the second season.
Note: Reservation Dogs is a Hulu series in the U.S. that streams exclusively in Canada on Disney+ under the streamer’s ‘Star’ banner.
Synopsis: Exact story details for Echo are unclear, but the series is confirmed to be a spin-off of Hawkeye featuring Alaqua Cox’s deaf Native American character, Maya Lopez. Fan favourites Charlie Cox and Vincent D’Onofrio are also expected to return as Daredevil and Kingpin, respectively, given their characters’ close ties to Echo.
Genre: Superhero
Canadian connections: If Reservation Dogs wasn’t enough, Devery Jacobs was also recently cast as one of Echo‘s lead characters, who Deadline reports will be a “resilient and strong-willed” woman named Julie.
Moana (series) — TBA 2024
Moana and Maui from 2016’s Moana. (Image credit: Disney)
Synopsis: TBA
Genre: Musical
Canadian connections: Walt Disney Animation Studios opened a new office in Vancouver last year to focus on original shows, and its first co-production with the flagship Burbank, California location will be this Moana musical series.
Synopsis: Artists and repertoire junior executive Nora manages the Electric Mayhem Band as they try to record their first studio album. The Goldbergs creator Adam F. Goldberg is writing and directing the series.
Genre: Musical comedy
Canadian connections: Toronto’s Lilly Singh (A Little Late with Lilly Singh) is set to star as Nora.
Darkwing Duck reboot — TBA
Darkwing Duck in the original ’90s series. (Image credit: Disney)
Synopsis: A reboot of the original ’90s series about a duck superhero, who lived an ordinary life under the secret identity of Drake Mallard.
Genre: Animated superhero
Canadian connections: Vancouver’s own Seth Rogen and Evan Goldberg (Superbad) are developing the reboot through their production company, Point Grey Pictures.
Real Steel series — TBA
Hugh Jackman in 2011’s Real Steel. (Image credit: Disney)
Synopsis: A series based on the 2011 film in which a man builds a robot with his son to compete in a boxing match.
Genre: Sci-fi, sports drama
Canadian connections: Since the project was said to be in “early development” as of January, exact details remain unknown, including whether Hugh Jackman or other actors from the film may return. We do know, however, that Montreal’s Shawn Levy, who directed Real Steel, is developing the series through his production company, 21 Laps.
Miscellaneous
Under the Banner of Heaven, Hulu’s acclaimed new true crime drama series starring Andrew Garfield, is coming to Disney+ Star in Canada later this year. (Image credit: Hulu)
Here’s an assortment of other Disney+ projects that have smaller, but still notable, Canadian connections:
Sneakerella musical comedy film (May 13th, 2022) — filmed in and around Toronto
Chip ‘n Dale: Rescue Rangers film (May 20th, 2022) — co-starring Toronto’s Will Arnett and Vancouver’s Seth Rogen
Under the Banner of Heaven drama starring Andrew Garfield (TBA 2022) — filmed in Calgary
Predator prequel film Prey (TBA summer 2022) — filmed in Calgary
Live-action Percy Jackson series starring The Adam Project’s Walker Scobell (TBA) — will film in Vancouver
Of course, that only covers the streaming side. Upcoming big-screen Disney productions set to feature Canadians include this month’s Doctor Strange in the Multiverse of Madness (London, Ontario’s Rachel McAdams), the untitled Shang-Chi sequel starring Mississauga’s Simu Liu and the third Deadpool film from Vancouver’s Ryan Reynolds and the aforementioned Shawn Levy.
Which of these projects are you most excited about? Let us know in the comments.
Every week, MobileSyrup outlines some of the most notable movies and TV shows that recently hit Canadian streaming platforms.
Our ‘Streaming in Canada’ column typically focuses on new content from Amazon Prime Video, Crave and Netflix, but other services like Apple TV+ and Disney+ will be mentioned when relevant. Premium video on demand (PVOD) platforms are also fair game as movies continue to come to digital early amid the COVID-19 pandemic.
Finally, we’ll highlight shows or movies that are made by Canadian companies, involve notable Canadian cast or crew and/or are filmed in Canada.
Amazon Prime Video
The Outlaws [Amazon Exclusive]
Seven strangers serve a community service sentence until they find a bag full of money, unaware that dangerous people are seeking it.
The Outlaws was created by Elgin James (Mayans M.C.) and Stephen Merchant (The Office) and stars Christopher Walken (Catch Me If You Can), Merchant, Rhianne Barreto (Honour), Gamba Cole (His House) and Darren Boyd (Spy).
Original TV broadcast run: October to November 2021
Amazon Prime Video premiere date: April 1st, 2022 Genre: Comedy, crime thriller Runtime: Six episodes (57 to 59 minutes each)
The full list of movies and shows that hit Amazon Prime Video in March can be here. A roundup of April’s new content is available here.
Apple TV+
Slow Horses [Apple Original]
Led by an obnoxious boss, a dysfunctional team of MI5 agents works to defend England from sinister forces.
Based on Mick Herron’s novel of the same name, Slow Horses stars Gary Oldman (The Darkest Hour), Olivia Cooke (Bates Motel), Jonathan Pryce (The Two Popes), Kristin Scott Thomas (Four Weddings and a Funeral) and Jack Lowden (Dunkirk).
Apple TV+ Canada premiere date: April 1st, 2022 (first three episodes, new episodes every Friday) Genre: Spy thriller Runtime: 12 episodes (around 40 minutes each)
This drama is based on the life of the late television chef Julia Child.
Created by Daniel Goldfarb (The Marvelous Mrs. Maisel), Julia stars Sarah Lancashire (Happy Valley), David Hyde Pierce (Frazier), Bebe Neuwirth (Cheers), Brittany Bradford (Fear The Walking Dead) and Franz Kranz (The Cabin in the Woods).
Crave premiere date: March 31st, 2022 (first three episodes, new episodes every Thursday)
Genre: Biographical drama Runtime: Eight episodes (around 45 minutes each)
Starting in early 2020, director David France (Welcome to Chechnya) explores the global efforts to develop and roll out the COVID-19 vaccines over the course of the following 18 months.
In dystopian 2044 North America, a Cree woman joins a resistance movement fighting against the military government in an effort to save her daughter.
Written and directed by La Ronge, Saskatchewan’s Danis Goulet (Wakening) in her feature directorial debut, Night Raiders stars Cardston, Alberta’s Elle-Máijá Tailfeathers (The Body Remembers When the World Broke Open), Surrey, B.C.’s Brooklyn Letexier-Hart (Burden of Truth) and Alex Tarrant (NCIS: Hawai’i).
In addition to the mostly Canadian cast and crew, it’s worth noting that the film was shot in and around Toronto.
Original release date: October 8th, 2021 Crave premiere date: April 1st, 2022
Genre: Sci-fi Runtime: 1 hour, 41 minutes
Filmmaker Jay Rosenblatt (Phantom Limb) revisits a bullying event from 50 years prior in an attempt to understand his complicity and the shared nature of such incidents.
A standard Crave subscription is priced at $19.99/month, with Starz costing an additional $5.99/month. A mobile-only subscription is also available for $9.99/month.
The full list of movies and shows that hit Crave in March can be found here. A roundup of April’s new content is available here.
Disney+
Better Nate Than Ever [Disney+ Original]
When 13-year-old Nate doesn’t land the school play, he and his best friend sneak off to New York to hit up Broadway.
Written and directed by Tim Federle, based on his 2013 novel of the same name, Better Nate Than Ever stars Rueby Wood (Broadway’s Charlie and the Chocolate Factory), Aria Brooks (All That) and Lisa Kudrow (Friends).
Disney+ premiere date: April 1st, 2022
Genre: Musical, family comedy Runtime: 1 hour, 31 minutes
Detective Hercule Poirot investigates a murder on a riverboat during a vacation in Egypt.
Death on the Nile was directed by Kenneth Branagh (Murder on the Orient Express) and features an ensemble cast that includes Branagh, Tom Bateman (Murder on the Orient Express), Annette Bening (The Kids Are Alright), Gal Gadot (Wonder Woman) and Rose Leslie (Game of Thrones).
Original theatrical release date: February 11th, 2022
Disney+ premiere date: March 30th, 2022
Genre: Mystery Runtime: 2 hours, 7 minutes
Marc Spector, a mercenary with dissociative identity disorder, is drawn into a deadly mystery with the gods of Egypt.
Based on the Marvel Comics character of the same name, Moon Knight stars Oscar Isaac (Scenes From a Marriage), Ethan Hawke (First Reformed) and May Calamawy (Ramy).
Disney+ premiere date: March 30th, 2022 (first episode, new episodes every Wednesday)
Genre: Superhero Runtime: Six episodes (around 45 minutes each)
The full list of movies and shows that hit Disney+ in March can be found here. A roundup of April’s new content is available here.
Netflix
Apollo 10 1/2: A Space Age Childhood [Netflix Original]
A man narrates his childhood fantasies during the 1969 Apollo 11 Moon landing.
Apollo 10 1/2: A Space Age Childhood was written and directed by Richard Linklater (Boyhood) and stars newcomer Milo Coy, Glen Powell (Scream Queens), Zachary Levi (Shazam!), Josh Wiggins (Giant Little Ones) and Jack Black (School of Rock) as the narrator.
Amid the COVID-19 pandemic, a group of actors travels to a closed set to film the latest entry in a massively popular dinosaur franchise.
The Bubble was co-written and directed by Judd Apatow (Knocked Up) and features an ensemble cast that includes Karen Gillan (Guardians of the Galaxy), Fred Armisen (Portlandia), Maria Bakalova (Borat: Subsequent Moviefilm), David Duchovny (The X-Files) and Pedro Pascal (The Mandalorian).
Netflix Canada premiere date: March 30th, 2022 (first episode, new episodes every Wednesday)
Genre: Comedy Runtime: 2 hours, 6 minutes
