Super Mario Bros. Movie is the first 2023 film to earn over $1 billion USD

The Super Mario Bros. Movie, produced by Nintendo and Universal, has achieved a remarkable feat by surpassing the $1 billion USD milestone, making it the first film of 2023 to do so. The movie achieved this global box office record in just 26 days after its release, earning $490 million USD in North America and $532 million USD internationally.

 

Photo Credit to Universal Studios

The film is only the fifth pandemic-era movie to join the $1 billion USD club, along with other blockbusters such as Spider-Man: No Way Home, Top Gun: Maverick, Jurassic World Dominion, and Avatar: The Way of Water. The Super Mario Bros. Movie had a massive opening weekend, grossing $204 million USD in just five days, the biggest opening weekend of the year and the second-biggest debut ever for an animated film. The film is currently the highest-grossing movie of 2023 and the highest-ever for a video game-based movie, surpassing the 1993 live-action movie that was considered a flop. The animated film features the voices of Chris Pratt as Mario, Anya Taylor-Joy, Jack Black, and Seth Rogen. 

 Here's The Super Mario Brothers Trivia:

•     Super Mario Bros. was first released in 1985 and was the first video game to feature Mario, who was originally known as Jumpman.
•     The character of Mario was named after Nintendo of America's warehouse landlord, Mario Segale.
•     The popular game Super Mario Bros. was initially released in Japan as a sequel to a less popular game called Mario Bros.
•     The original Super Mario Bros. game was designed by Shigeru Miyamoto, who is also the creator of other famous Nintendo franchises such as The Legend of Zelda and Donkey Kong.
•     The mushroom that Mario eats in the game to grow larger is based on the Amanita Muscaria mushroom, which is known for its hallucinogenic properties.
•     In the original game, the clouds and bushes in the background were actually the same image, just colored differently.
•     Mario's signature red hat and blue overalls were chosen by Miyamoto because of the limitations of the graphics at the time. The bright colors helped Mario stand out better against the game's background.
•     Super Mario Bros. 2, which was released in Japan as Super Mario USA, was not originally a Mario game. It was actually a game called Doki Doki Panic that was rebranded with Mario characters for its release in North America.
•     The original Super Mario Bros. game has sold over 40 million copies worldwide, making it one of the best-selling video games of all time.
•     Mario has appeared in over 200 video games since his debut in 1985, making him one of the most recognizable video game characters in the world.

Red Notice Movie Review

You can’t argue with the muscular marquee value of headlining Dwayne Johnson, Ryan Reynolds and Gal Gadot in a slick, fast-paced action thriller laced with playful comedy, even if it’s an empty-calorie entertainment like Red Notice. Like many Netflix star vehicles, writer-director Rawson Marshall Thurber’s busy crime caper has more glossy industrial sheen than unique personality. But it’s diverting enough to justify the sequel so clearly set up in its final scenes, even if it’s unlikely to linger in the minds of many viewers beyond the end credits. Mostly, the derivative adventure keeps you occupied checking off the many films from which it borrows. It starts well enough with an engaging opening that sets up the MacGuffins of the film, which are the three ornate eggs that Mark Antony supposedly gifted to Cleopatra on their wedding day. Two were recovered, with one in a museum in Rome and the other in the private collection of a wealthy arms dealer, while the third exists only in rumor. The Rome-based egg is targeted for thievery on the black market, which spurs FBI special profiler and art specialist John Hartley (Johnson) and Interpol Inspector Das (Ritu Arya) to confirm that it’s still secure. It is not, because famed art thief Nolan Booth (Reynolds) has already absconded with the priceless piece, creating the first of many, many chases involving the two men trying to outmaneuver one another physically, mentally, or, in Reynolds’ case, with an arsenal of “dad joke”-level quips. The other player in this quest is Gadot’s Sarah Black, a slinky art thief who considers herself the greatest in the world, and makes it her life’s work to be just one step ahead of both Hartley and Booth as she’s pursuing the eggs for a buyer willing to pay $300 million for their collection and delivery.

Red Notice starts with a lot of energetic potential but then devolves into a pastiche of other, better films, cribbing scenes that feel like they were lifted straight from a myriad of films from Indiana Jones to Dirty Rotten Scoundrels. Of the three mega-star leads, Dwayne Johnson acquits himself the best to committing to his FBI profiler as more of a brainy hero rather than just brawn, and it works. Reynolds exists as a quip machine who gets tiresome quick, while Gadot feels like she’s barely in it. While this may be positioned as a new franchise, there’s nothing here that sets up any urgency or excitement to go on more adventures with this trio.

 

 

 

 

In the first act, Thurber teases with a breezy and well-choreographed museum escape that he’s going to subvert the big, loud set pieces expected in these kinds of films with something different, and then he doesn’t deliver. As the players jump from Rome to Bali to London to Valencia and finally, Argentina, playing find the eggs, the less each scenario feels original or fresh. Several action sequences are framed like first-person video games with the camera inside cars during chases, or handheld during fistfights to put us inside the action, but it’s far from innovative or exhilarating. It just feels like gimmicky video game cut scenes that aren’t anything new to the choreography, framing, or even fun of the fights. There’s also the issue of the audience ever buying that Reynolds is going to hold his own longer than a full-blown punch or two with Johnson in a fist fight. Then Gadot is added to the melee, easily holding her own, or just plain besting both of them. While I appreciate that Gadot’s Black at least gets to take her heels off for major fights, none of these people are superheroes, which means the only one brawling with any cred is Johnson, so there’s a lot of suspension of disbelief required.

And that’s carried through to Reynolds’ Booth, who is a test to the nerves with his constant, terrible running commentary of comebacks and snarkery about everything. Yes, it’s Reynolds’ signature schtick, but in Red Notice, he operates like an obnoxious talking doll with a broken pull string. In yet another suspension of disbelief, it’s unbelievable that neither Gadot or Johnson’s characters wouldn’t gag him with a sock by the second act, especially when Booth gets weirdly emotional with Hartley. Who needs bro bonding in a heist, relic, caper? Thurber makes a lot of other odd choices in the film, like not letting Chris Diamantopoulos go full weird with his short-man-syndrome arms dealer, Sotto Voce (yes, that’s the character’s name.) Instead, he’s allowed to rasp his lines like he’s in dire need of a lozenge, but never ends up taking the space an intentional bad guy should have in a movie like this. In fact, there’s no real antagonist of note to hang the stakes of the film on at all, and that’s because Thurber is more interested in maintaining the moral liquidity of all the characters so you’re left guessing about their true intentions instead of feeling any sense of danger at any point. It’s just an endless race from museums to Russian prisons to bullfighting rings and jungles, which all blur together without giving anything time to breathe, as we wait for someone to double-cross someone because that’s all the whole movie keeps giving us.

Plus, by the second and third act, every set piece feels derivative from another movie. Ocean’s 11, Indiana Jones and the Temple of Doom, National Treasure, The Mummy, and even Mr. and Mrs. Smith could all rightfully accuse Red Notice of stealing their scenes. What makes it even worse is the fact that this cast is up to doing something truly different. Gadot, when she appears, plays Black like she’s having a lot of fun. Reynolds is more than capable of not coming across like a human blooper reel, but that’s all he’s asked to do here. And Johnson does his best to bring a competent hotness to Hartley so he’s not just the muscle, which makes him the MVP here. But the dialogue and strange, forced bromance that Booth demands of Hartley, even if it’s a joke, is tiring and not as engaging as the filmmakers think it is. Red Notice really needed a script with a much lighter touch all around. It should have been sexier and smarter, with less action, and more original storytelling. Instead, it’s a mindless diversion that’s blandly familiar, yet thinks it’s far cleverer than it really is.

Watch The First Trailer Released for Disney's Animated Movie Encanto

A magical house, filled with equally magical people. This one has super strength, that one can shapeshift, and another makes gorgeous flowers bloom wherever she goes. It seems like everyone in Encanto’s family has a special gift. Well, with one exception.

Disney has released the first teaser trailer for Encanto today. It’s an animated musical about the magical, charmed Casa Madrigal in Colombia where every member of the Madrigal family has a unique magical talent save Mirabel (Brooklyn Nine-Nine’s Stephanie Beatriz), a 15-year-old girl wearing glasses that put The Mitchells vs. the Machines’ Katie Mitchell to shame. Mirabel appears to be the only one in her family without a magical gift. However, as you can see in the teaser, she’s not about to let that slow her down. “Mirabel is a really funny, loving character who also deeply yearns for something more,” Beatriz said in a statement. “She’s also not afraid to stand up for what she knows is right something I love and relate to very much. Encanto is helmed by Zootopia’s Jared Bush and Byron Howard, alongside Charise Castro Smith and Lin-Manuel Miranda. This marks Miranda’s first start-to-finish collaboration with a Disney animated project, as he was brought in to write the songs for Moana after the project was already well underway. In a previous interview with io9, the composer shared how he was excited for this film because of how much it stands out from other typical Disney animated musicals. Even though Mirabel is the protagonist, this movie is very much about the family working together and sticking by each other.  

 “One of the things that we really kind of all talked about all the creators, Charise and Byron and Jared and I we were like, ‘We really want to tell a family, an intergenerational family story with all the complexity that brings,’” Miranda said. “So often when you get into story mode, it turns into the hero and the quest and you lose characters, then you lose complexity because everything becomes the quest. And I think what’s been thrilling about this is, since that’s been our mission statement, it’s been really fun to sort of write, you know, musical family dynamics in a really fun and complicated way. I’m really excited for the world to finally see it.” 

What do you think of the first trailer for Disney's Encanto? Are you excited for the film's new music? Let us know in the comments!

Fast and Furious 9 Ending Is a Game Changer

In F9 it’s revealed that Han faked his death to protect a young orphan named Elle (Anna Sawai) in Tokyo. Nonetheless, the man Dom thought killed another surrogate brother was invited to the family barbecue in the last movie. Jakob did not kill anyone in Dom’s new family… but he did try to hurt Elle, whose blood held the Ares access codes. He certainly kidnapped her and threatened an extended member of the family. It’s also unclear if Jakob played a role in shooting down the plane Mr. Nobody (Kurt Russell) was on before the movie started, but he did work with Cipher at the time the woman who also killed the mother of Dom’s child. We of course don’t know if Mr. Nobody is alive or dead, but he was a close enough associate to Dom’s kin that they wanted to investigate his disappearance and save him if they could. In other words, Jakob is only a few degrees removed from Jason Statham’s villainous Shaw who was so quickly forgiven. But then, I suppose that’s why we never learn Mr. Nobody’s fate; nor is Jakob quite yet at the stage of being at the family cookout. That can come later, as there are at least two more mainline Fast and Furious movies in the works. In the meantime, the film closes on Dom once again at the grill. Trej and Roman have returned from space after spending weeks on the International Space Station.

 

It’s left ambiguous how there was enough food or oxygen for their unplanned visit, and how this wasn’t a global incident. (Also would international governments see them as heroes for stopping a terrorist like Cipher? And if so, would that not be a front page story around the world?) Whatever, they’re back from orbit and are now chilling in East LA with Dom. And as food is put on the table, everyone waits for the one person whose chair remains empty. While the movie has the good grace not to CGI Paul Walker’s face into another scene, the unseen driver running late to the dinner is of course Brian. At least in this universe, the reunion is whole. … And if you stay for the post-credits Han may yet truly bury the hatchet with the family’s most controversial member: Jason Statham. But that’s another story for another time. Family. It’s the mantra by which Vin Diesel’s Dom Toretto has lived his life for nine movies, and it’s long been the handy slogan for the Fast and Furious franchise, too. But perhaps fittingly for an installment which sees director Justin Lin step back behind the camera, the theme of one’s chosen family has never been more pronounced. What it means to be in Dom’s “mi familia” is central to F9. After all, this is the film where we learn Dom and his dear sister Mia (Jordana Brewster) have another sibling who they never speak of: John Cena’s morally ambiguous Jakob. As becomes clear over the course of the film, Brian might’ve been the brother Dom chose, but that was only after choosing to disown his actual little brother. But it’s kind of a funny story about the past: it can come roaring back at you like a Mustang flying beneath a military jet. Hence when the F9 ending comes around, all those inner conflicts come bubbling to the surface. Indeed, the actual narrative stakes of the finale are almost an afterthought. The basic mechanics of the ending are fairly simple. Jakob and his oily business partner, poor little rich boy Otto (Thue Ersted Rasmussen), have successfully stolen access to Ares, a digital weapon operated from a satellite that gives its owners control over every operating system in the world. Or as Ludacris’ Tej points out, “Ares is the God War; if Jakob gets his hands on this, he’ll be the God of Damn Near Everything.” Once its upload is complete, Jakob and Otto will more or less be able to hold the whole world hostage. The actual folks who save the day, then, are really Tej and Roman (Tyrese Gibson) who ride a rocket-powered Pontiac Fiero into space. By driving the car straight through the satellite, they prevent Otto from gaining control of the whole world’s digital space. But back on earth, he’s already cut Jakob out at this point, making a new deal with his brief prisoner Cipher (Charlize Theron). Which on a certain level you have to respect since she burned Otto harder than a thousand mean tweets with that “You’re Yoda” line. By teaming with Cipher, the silver spoon prick sets Jakob up to die. Instead Dom’s little brother forms a new alliance with his long lost siblings, and together they bring down Otto’s truck and Cipher’s drone-controlled plane. More important than the plot mechanics of space travel and digital MacGuffins, however, is the relationship between Dom and Jakob. Established with total straight faced sincerity in the opening credits, Dom and Jakob’s backstory rewrites the very first The Fast and the Furious movie where we were told Dom went to prison for beating near to death the man responsible for his father’s racing crash. As we now discover through flashback, that was a lie that Dom only wishes was the truth. While the man who got wrenched might have helped cause their father to crash, Papa was set up to lose the race due to Jakob sabotaging the vehicle. This is the dirty secret which caused Dom to banish Jakob from his sight after he got out of prison, and it is why Jakob remade himself into… well, John Cena. He wanted to be his own man and a greater alpha than his big brother could ever dream of becoming. Dom Toretto, the ultimate paterfamilias, pushed his actual flesh and blood away and has been attempting to replace him ever since. It’s an interesting retcon which gives Toretto’s “Family” a little more depth and also sets Cena up to be a franchise mainstay, presumably replacing the unmentionable Luke Hobbs (Dwayne Johnson), whose offscreen beef with certain co-stars makes a return unlikely. Because, of course, Jakob really didn’t try to kill his father; it was Dom’s misunderstanding because their Dad asked Jakob to help him throw the race. And through the compassionate influence of Mia, Jakob discovers he really still wants to be Dom’s little bro. It’s a nice sentiment, although it plays an interesting contrast to another major subplot in F9. Much of the film is rightly about bringing justice to Han (Sung Kang), who died in Fast & Furious 6/Tokyo Drift (the timeline is complicated). Yet his murderer was forgiven and accepted as a member of the family in The Fate of the Furious.

Transformers: Rise of the Beasts Review

For those who grew up watching the cartoon series Beast Wars, the premise of the next movie in the Transformers franchise may sound familiar. The Maximals and Predacons from the original 1990s cartoon will make a return in Transformers: Rise of the Beasts, alongside the addition of a new threat, the Terrorcons. “Returning to the action and spectacle that first captured moviegoers around the world 14 years ago with the original Transformers, Transformers: Rise of the Beasts will take audiences on a ‘90s globetrotting adventure and introduce the Maximals, Predacons, and Terrorcons to the existing battle on earth between Autobots and Decepticons,” a press release reads.

 

The film will be directed by Steven Caple Jr., with Steven Spielberg serving as executive producer, among others. Judas and the Black Messiah’s Dominique Fishback and Anthony Ramos of the recently released In the Heights, will star in the Paramount Pictures and Skydance production. Fishback will portray Elena, who works as an artifact researcher at a museum, while Ramos will play Noah, a Brooklyn-born military veteran who has recently returned home from service and is a natural when it comes to electronics. No specific plot details have been made public yet, but the movie has just entered production and will be partially set in Brooklyn. Transformers: Rise of the Beasts is scheduled to arrive in theaters on June 24, 2022. For more entertainment news, take a first look at Michael Keaton as Bruce Wayne in The Flash.

Raya and the Last Dragon Movie Review

If Raya and the Last Dragon proves anything, it’s that Disney is trying to tell a more modern “Disney Princess” story with their latest animated effort. Commercially, Disney’s transition into the 21st century has been a smooth one. While the shuttering of Disney theme parks in the last year due to the pandemic has cost the billions-dollar conglomerate money, Disney has many, many revenue streams, and the Disney brand remains strong. And much of that brand still relies on the studio’s signature Disney Princess movies, which have not had as seamless a narrative transition into modern storytelling as many fans might have hoped. Rigidly faithful live-action adaptations of the animated classics that millennials grew up with are now recognized for their narrow romantic messaging, and the often racist, colonialist world-building that’s used to prop up this type of storytelling.

Meanwhile Walt Disney Animation Studios has attempted to complicate and modernize the Disney Princess template in interesting ways, but they’ve never quite nailed it narratively. Frozen was a step in the right direction with its emphasis on sisterly love, but it couldn’t resist shoehorning a thematically superfluous romance into its plot with the Kristoff character. Moana, which features Disney’s first Polynesian heroine, makes great strides in giving viewers a more authentic representation of a non-European culture, but still makes some classic colonialist mistakes blindspots that will always surface when the chief creative forces behind a film are appropriating a culture or cultures they are paid to understand that keep its fresh setting from truly shining. Disney is working to tell more modern stories not because it is good for our culture and world (though individuals involved in the production of Disney films might be motivated by this value), but because there is money to be made in telling new stories that give us fresh, feminist takes on the many cultures that influence the melting pot (or salad bowl) that is modern America and the territories of the larger global box office. Raya and the Last Dragon, which will be in theaters and available via Disney+ Premier Access on March 5, makes headway from both the thematic surplus of Frozen and the cultural appropriation of Moana. In doing so, it gives us the best, post-Renaissance “Disney Princess” story yet. Raya lives in a fictional land once known as Kumandra, a place where humans and dragons co-existed in harmony. Five hundred years before the start of our story, monsters known as the Druun came to Kumandra, turning both people and dragons to stone. Dragons sacrificed themselves to save humanity, but fear and paranoia tore Kumandra apart into five distinct lands, each named after a different part of the dragon: Heart, Tail, Spine, Talon, and Fang. Raya lives in Heart, where her family has tasked itself with guarding the Dragon Gem, the MacGuffin that the last dragon used to save the world a half-millennia prior. When the Dragon Gem is broken and the Druun return, Raya sets out to find the mythical last dragon, Sisu, and to fix the world. We are told that this story takes place long ago, but Raya’s vibrant world is already well-lived in when we come to it. The societies of Kumandra are different from both the European castles of Beauty and the Beast or Frozen, and the more rural aesthetic of Pocahontas or Moana. Pushing back against the false binary of the “civilized” city and the indigenous wilderness of other Disney Princess movies, the world of Raya is both urban and organic. The filmmakers traveled throughout Southeast Asia to do research for the film, and it shows. Visually, Raya’s Heart homeland looks like Cambodia’s Angkor Wat, a vestige of the mighty Khmer empire. A trip to Talon reveals a merchant town seemingly in perpetual night market mode. It’s a Disney-fied version of the Banana Pancake Trail more than a specific cultural vision, but that doesn’t totally undercut the excitement the fresh Disney Princess setting infuses into its narrative. The world of Raya and the Last Dragon is both teeming and accessible at the same time, suggestive of a richness and depth that welcomes rather than intimidates. It is more reminiscent of Avatar: The Last Airbender than anything Disney has done before. To be clear, like Avatar before it, Raya and the Last Dragon is still very much an American story. While the setting may be a fictionalized world inspired by Southeast Asian cultures, Raya‘s premise is classic Hollywood: Raya suffers a familial tragedy and then must set out on her own quest to save the world. Raya brings that storytelling structure into the 21st century by eschewing the traditional trappings of romance or personal glory (which can be done in modern, interesting ways, but, given the redundancy of those stories needs to be worked harder toward), and leaning into themes of healing, forgiveness, and community. The biggest stakes here aren’t about securing a love or marriage which, at least in Western media, has inextricable ties to the consolidation of privilege and power but rather the (figurative) soul of humanity. While Raya is, broadly speaking, a princess (her father Chief Benja is the leader of Kumandra’s Heart land), Raya’s quest to collect all of the pieces of the Dragon Gem is explicitly depicted to be about a fair redistribution of power and resources. The Druun are simple monsters, yes, but they are also effective stand-ins for the much more intangible forces that threaten our present and future: namely climate change and the devastating conflict that arises from the instability it creates. In Raya, our heroine’s mission is never about regaining or consolidating power. It’s about healing a community and, with it, the natural world two necessary pieces of the same solution. Raya and the Last Dragon has a diverse team behind its story. Written by Vietnamese-American playwright Qui Nguyen (Dispatches From Elsewhere, The Society) and Malaysian-born American Adele Lim (Crazy Rich Asians), the movie was co-directed by American filmmaker (and Moana co-director) Don Hall and by Mexican-American filmmaker Carlos López Estrada (Blindspotting). Thai artist Fawn Veerasunthorn served as the Head of Story for the film. It’s hard to imagine a predominantly white creative team telling this same story with anywhere close to the same success.

Zack Snyder's 300 Has Arrived On 4K Ultra HD Blu-ray With Standard and SteelBook Editions

Zack Snyder has been in the news a lot lately with his new cut of Justice League coming to HBO Max and the Army of the Dead film and anime series coming to Netflix. His 2007 mega hit film 300 (based on the Frank Miller graphic novel of the same name) is also arriving on 4K Ultra HD Blu-ray + Digital tomorrow, October 6.

The 300 4K UHD Blu-ray is available to pre-order here on Amazon for $24.99. However, the Best Buy exclusive SteelBook might be the better choice. It features an even better design and it can be ordered right here for only $5 more. As far as bonus features go, the 4K edition doesn't contain anything new, but there's more than enough from the previous releases to keep you occupied. A breakdown of those features can be found below:

• Commentary with director/co-writer Zack Snyder, co-writer Kurt Johnstad and director of photography Larry Fong
• The 300: Fact or Fiction
• Who Were the Partans? The Warriors of 300
• Preparing for Battle: The Original Test Footage
• The Frank Miller Tapes
• Making of 300
•  Making 300 in Images
• Webisode: Production Design
• Webisode: Wardrobe
• Webisode: Stunt Work
• Webisode: Lena Headey
• Webisode: Adapting the Graphic Novel
• Webisode: Gerard Butler
• Webisode: Rodrigo Santoro
• Webisode: Training the Actors
• Webisode: Culture of the Sparta City/State
• Webisode: A Glimpse from the Set: Making 300
• Webisode: Scene Studies from 300
• Webisode: Fantastic Characters of 300
• Deleted Scenes with introduction by Zack Snyder
  

300 takes a fictional look at the battle of Thermopylae, the iconic part of the ancient war between Greece and the Persian Empire, during the time of King Xerxes' imperial attempt to conquer the world. Leonidas and his 300 Spartans famously held the "Hot Gates" leading to from the shore to Grecian lands against an onslaught of thousands of Persian soldiers.

Watchmen's Regina King Wins Emmy Award for Outstanding Lead Actress in a Limited Series or Movie

The 2020 Emmy Awards took place in a unique, virtual event hosted by Jimmy Kimmel broadcasting live from the Staples Center in Los Angeles Sunday night. While things were certainly different for the ceremony the show went on with the Academy of Television Arts & Sciences recognizing some of the best in television from the past year -- including Regina King. The actress took home the award for Outstanding Lead Actress in a Limited Series or Movie for her role as Angela Abar/Sister Night in HBO's Watchmen.
 

One of Watchmen's impressive 26 total Emmy nominations, King had some strong competition in the category. Also nominated was Cate Blanchett for Mrs. America, Sira Haas for Unorthodox, Octavia Spencer for Self Made, and Kerry Washington for Little Fires Everywhere. King's win this year marks her fourth Emmy win having previously won Outstanding Supporting Actress in a Limited Series or Television Movie for her role in American Crime in both 2015 and 2016 as well as Outstanding Lead Actress in a Limited Series or Television Movie for Seven Seconds in 2018.

Watchmen was also up for numerous other awards specific to Sunday's ceremony, including Outstanding Limited Series, Outstanding Lead Actor in a Limited Series or Movie for Jeremy Irons (Adrian Veidt/Ozymandias), Outstanding Supporting Actor in a Limited Series or Movie for Yahya Abdul-Mateen II (Cal Bar/Jon Osterman/Doctor Manhattan), Jovan Adepo (Will Reeves/Hooded Justice), and Louis Gossett Jr. (Will Reeves/Hooded Justice), and Outstanding Supporting Actress in a Limited Series or Movie for Jean Smart (Laurie Blake).

 

During the previously-awarded Creative Arts Emmys, Watchmen brought home several awards as well: Outstanding Sound Mixing for a Limited Series or Movie, Outstanding Single-Camera Picture Editing for a Limited Series or Movie, Outstanding Fantasy/Sci-FI Costumes, Outstanding Cinematography for a Limited Series or Movie, and Outstanding Music Composition for a Limited Series, Movie or Special (Original Dramatic Score), given to composers Trent Reznor and Atticus Ross.

Tonight's Emmy win also isn't the first award King has won for her Watchmen role. She previously won the Critic's Choice Television Award for Best Actress in a Drama Series for the role as well.

The Old Guard Cracks the Netflix All-Time List One Week After Premiere

Netflix delivered subscribers The Old Guard just last week, but the streaming service has revealed that the comic book adaptation has already become one of their most-watched films, with the service claiming that it could earn 72 million views in its first four weeks on the service. With the world being caught in a quarantine and with no movies landing in theaters, surely more viewers are checking it out than potentially would have without these unique circumstances, but given the number of films available to audiences, this is still an impressive feat, made all the more exceptional by this marking the first time a film directed by a Black woman has cracked the top 10.

"The Old Guard is breaking records! The Charlize Theron blockbuster is already among the top 10 most popular Netflix films ever — and Gina Prince-Bythewood is the first Black female director on the list," Netflix shared on Twitter. "The film is currently on track to reach 72M households in its first 4 weeks!"

In the film, "Led by a warrior named Andy (Charlize Theron), a covert group of tight-knit mercenaries with a mysterious inability to die have fought to protect the mortal world for centuries. But when the team is recruited to take on an emergency mission and their extraordinary abilities are suddenly exposed, it’s up to Andy and Nile (KiKi Layne), the newest soldier to join their ranks, to help the group eliminate the threat of those who seek to replicate and monetize their power by any means necessary. Based on the acclaimed graphic novel by Greg Rucka and directed by Gina Prince-Bythewood (Love & Basketball, Beyond the Lights), The Old Guard is a gritty, grounded, action-packed story that shows living forever is harder than it looks."

Some fans were already familiar with the narrative due to the two released comic book series from Rucka, with the writer having previously teased that he aimed to deliver three total books in the series. In this regard, fans are already gearing up for a possible sequel or spinoff film.

"It'll be based on the graphic novel," Prince-Bythewood explained to Games Radar of what she'd like to do with a sequel. "In terms of what Greg [Rucka] has written, Quynh has reared her head, and that causes some issues, absolutely. But also, there's a very grounded story tackling problems within the world, which again brings more villains that are not with immortality, so it's a really cool balance between the two, in the graphic novel."