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Benedict Cumberbatch isn't keeping secrets on 'Avengers: Doomsday' (because he's not going to be in the movie)

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Benedict Cumberbatch isn't keeping secrets on 'Avengers: Doomsday' (because he's not going to be in the movie)

Doctor Strange is going on hiatus in the next Marvel sequel, “Avengers: Doomsday,” according to a spoiler-happy, secret-spilling Benedict Cumberbatch.

“Is that a spoiler?” the actor asked Variety in a recent interview. “F— it!”

Speaking of no effs to give, the Oscar-nominated “The Imitation Game” and “The Power of the Dog” star also helped explain a “good WTF,” thanks to Marvel and Robert Downey Jr.’s surprise announcement at Comic-Con last summer that Downey would be returning to the Marvel Cinematic Universe as someone other than Iron Man.

Cumberbatch found out about Downey’s Marvel homecoming while watching live coverage of the 2024 Comic-Con presentation. So, according to Variety, he immediately grabbed his phone and sent a message to Marvel Studios chief Kevin Feige.

“I texted, ‘What the f—?’ and then quickly added, ‘Good what-the-f—. I mean, good what-the-f—,’” the 48-year-old star told the outlet.

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For Cumberbatch, Downey’s return is a good WTF that would keep things light on set, despite the pressure of making the multimillion-dollar movies, he said. The British actor, whose parents also were thespians, told Variety that Downey would refer to him as “Mr. Shakespeare” and make quips about them both playing literary detective Sherlock Holmes onscreen. (Unfortunately, a meta line about their past roles didn’t make it into the film, he said.)

The “Sherlock” and “Star Trek Into Darkness” star, who joined the MCU with 2016’s “Doctor Strange,” said watching Downey play billionaire playboy Tony Stark and hearing his banter with Spider-Man Tom Holland in 2017’s “Spider-Man: Homecoming” helped him take a looser approach to his character, whom he believes he played too stiffly in early appearances.

“I learned a lot by seeing how at ease and improvisatory they are,” Cumberbatch said. “It’s hard because you have this huge apparatus around you, but it’s so important.”  

Cumberbatch, along with his SunnyMarch production company, has been leaning slightly toward “European sort of world cinema” with his latest projects, including “The Thing With Feathers, which premieres at this week’s Sundance Film Festival, and Netflix’s “Eric” and “Roses.” Although the Marvel films take time away from his auteur-driven projects, Cumberbatch describes the franchise — with its 34 films and counting — as “the modern myths of our times” and appreciates how the epics “transport” audiences to different worlds.

“Yes, it’s huge and unwieldy, but Marvel is so committed to getting it right,” Cumberbatch said. “Even when we make one of these Avengers films and it gets exponentially huger, we’re still just kids playing in the sand pit. We’re still just making s— up and having fun with it.”

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Oscar winner Downey famously launched the blockbuster MCU when he starred as the title superhero in the 2008 comic-book adaptation “Iron Man.” He concluded his run as the lead Avenger when his character sacrificed himself to save the universe in 2019’s “Avengers: Endgame.” Downey is set to take on the role of the villainous Victor von Doom, a.k.a. “Doctor Doom,” a character who originated in Marvel’s “Fantastic Four” comic books. The new villain in “Doomsday” is believed to be a variant of Stark, according to reports.

Alas, with all that groundwork to lay, rebooted “Fantastic Four” characters to introduce this summer and a reported return of Chris Evans to the MCU, “Doomsday” is getting awfully crowded. So, it appears, Cumberbatch’s neurosurgeon-turned-Sorcerer Supreme will not return in the May 2026 film. Although “momentarily horrified by his candor” about that plot point, Cumberbatch proceeded to spill the beans about the ultra-secretive studio’s plans for the next phase of Marvel movies.

The actor explained that much had to change when Jonathan Majors was fired last year after being convicted of assault. Majors, who played the enigmatic villain Kang the Conqueror, was lined up to be the main antagonist in the upcoming installments, but the studio had to pivot after letting him go.

Enter: Downey’s big bad Doctor Doom. With that reshuffle, Cumberbatch, whose character last appeared in 2022’s “Doctor Strange in the Multiverse of Madness,” said he won’t be in “Doomsday” because his character is “not aligning with this part of the story.”

Again acknowledging that he probably shouldn’t be saying it, Cumberbatch revealed that his Doctor Strange is “in a lot” of the “Doomsday” sequel “Avengers: Secret Wars,” which is slated for theatrical release in 2027. Both films will be directed by Anthony and Joe Russo, who co-directed the climactic “Infinity War” and “Endgame” installments.

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“[Doctor Strange is] quite central to where things might go,” Cumberbatch said, hinting that the character will appear in a third stand-alone film.

He also praised the Disney-owned studio for being collaborative, saying that it was open to discussing where Doctor Strange goes next, who he would want to write and direct the forthcoming film, and what part of the character’s comic lore he would want to explore “so that Strange can keep evolving.”

“He’s a very rich character to play. He’s a complex, contradictory, troubled human who’s got these extraordinary abilities, so there’s potent stuff to mess about with,” Cumberbatch said.

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Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

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Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

 

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

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My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.

Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”

“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.

“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”

A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”

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According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.

“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.

Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.

Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.

“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”

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Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.

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‘Hoppers’ review: Pixar’s best original movie in years

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‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway. 

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

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That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged. 

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

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HOPPERS opens in theaters Friday, March 6th.

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