Chris Hemsworth's Extraction 3 is back, Find out about filming status, the reason for delay, the confirmed cast and what the sequel has in store for your fans.
Director Sam Hargrave has revealed details about Chris Hemsworth’s Extraction 3 and it seems like the fans will have to wait a little longer. At the Apple TV+ premiere of his series “The Last Frontier,” Hargrave mentioned in passing that production is slated to begin in 2026. “We roll cameras in 2026, we’ll see how it goes,” which sounds like there’s still some leeway in the date. The most big issue of the delay and Hargrave let his fans wait for the next part of Extraction due to Chris Hemsworth’s busy schedule, especially with his Marvel Avengers films.
Production hold-up is due to several disagreements. Chris Hemsworth stressed the need to make the story-to-script right, telling Collider, “We just wanna make sure that we’ve got it right, that we’ve got a script that’s good enough to go follow the last two, because I am really proud of what we’ve done previously”.
The creative team is now concentrated on the development of the script and the story. As Joe Russo explained, “We’re in the process of writing that story right now. Hard at work”. In addition to this, managing Hemsworth’s busy agenda, including his Marvel obligations, also extended the timeline.
The Extraction franchise has become the best action thriller series on Netflix. The original 2020 film was watched by more than 99 million households in its first month, shattering Netflix records and becoming the platform’s most-viewed original film at the time.
Extraction 2, was released in June 2023, continuing the success with more than 85 million views within its first ten days. The franchise broke the record by being the first movie series to hold Netflix’s no.1 and no.2 spots for two straight weeks.
The films follow Tyler Rake (Chris Hemsworth), a black ops mercenary with a troubled past. Extraction had him rescuing the kidnapped son of an Indian crime lord in Bangladesh. Extraction 2 featured a risky prison extraction in Georgia, where Rake saved his ex-wife’s sister and her children from her violent gangster husband.
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Extraction 3 is due to start immediately after the end of the second film, opening up with the cliffhanger ending. Tyler and Nik were released after a harrowing mission in Georgia when Idris Elba’s mysterious character, Alcott, intervened. But there’s a catch: he’s got a new job for them, as Digital Spy stated, from his shadowy and apparently ultra-hard boss.
Joe Russo has teased not only Idris Elba’s role will be a big one this time around, but the actor is going to have some interesting dynamics with Chris Hemsworth’s character. If you liked the chemistry this duo in Extraction 2, rest assured this sequel will serve more of that cocktail. Plus: Alcott’s employer, who is called a “gnarly motherfucker.” Sounds like there’s a lot of action and mystery right up my alley!
Director Sam Hargrave and writer Joe Russo have now revealed some exciting new information regarding Extraction 3, teasing that the story is going to explore more of Tyler Rake’s emotional state. Russo said Tyler’s character is interesting because he’s emotionally wounded, and his relationship with violence is motivated by self-loathing and guilt.
It sounds like there’s a lot of play in his backstory that can be told. Hargrave calls the series “a redemption story through sacrifice,” with Tyler seeking meaning through these high-stakes assignments. Fans will also be able to enjoy the series’ signature intense action sequences, all while getting an ever closer look at what makes Tyler tick. Looks like this next installment will bring a nice balance of heart-stopping thrills and tear-jerking moments.
Extraction 3 is going to be even more action-packed thrills with Tyler Rake back in the forefront ready to adapt to new challenges. Filming in 2026 with a story that promises an exciting continuation … but now, there’s a neat twist. Idris Elba joins the cast in a secret role tied to an influential employer, adding even more layers (and lore) to the franchised mythology. Viewers can expect explosive action, heartbreaking drama, and a new layer of mystery as the show takes us to new corners of its world. Looks like a lot more to look forward to here!
Marvel shocks fans by firing Jonathan Majors and replacing Kang with Robert Downey Jr.’s Doctor Doom in Avengers: Doomsday. MCU Phase 6 reimagined!
The MCU underwent one of its biggest back-end shakeups in recent memory, with massive ramifications for not only the direction of Phase 6 but the entire Multiverse Saga. What started as a grand design revolving around Kang the Conqueror has shifted into an entirely different story, with Doctor Doom emerging as the main Villain.
The change began with dire legal problems for Jonathan Majors, who was set to be the MCU’s next big villain after Thanos. In March 2023, Majors was taken into custody on charges of assault and harassment against his ex-girlfriend Grace Jabbari. The matter intensified when in December 2023 he was convicted by a New York jury of reckless assault and second-degree harassment, The Guardians stated.
Marvel Studios fired Jonathan Majors just hours after his conviction to be charged with assault and harassment in his ex-girlfriend’s case associated their charges Jonathan Majors was facing a similar hammer blow to his career as the next MCU big bad villain after Thanos. The actor had already played multiple Kang variants in Loki seasons 1 and 2, and Ant-Man and the Wasp: Quantumania. His termination presented a monumental storytelling issue for Marvel, as Kang was supposed to be the overarching menace throughout Phases 4, 5 and 6.
The consequences of Majors’ termination were much more than the removal of a single actor. Marvel entirely dropped the Kang-centric plotline which had been developing since 2021. The fifth Avengers movie, Avengers: The Kang Dynasty, was renamed Avengers: Doomsday. This was a radical departure from multiversal villainy centered on Kang to dealing with a more “realistic” but just as threatening antagonist.
Marvel had originally centered the entire Multiverse Saga on Kang after being impressed with Majors’ turn as He Who Remains in Loki. The time-traveling, reality-altering villain’s age made him a perfect choice for a story that would take place across multiple timelines and dimensions. However, it has been reported that Marvel Studios had reservations about Kang and the Multiverse Saga even prior to Majors’ legal troubles, suggesting there were some doubts internally as to the direction.
In one of the most surprising MCU news of all time, Robert Downey Jr. was confirmed to be returning to the franchise as Victor von Doom/Doctor Doom at San Diego Comic-Con 2024. Downey’s dramatic unmasking of himself onstage during the announcement sent shockwaves through the entertainment industry.
The casting decision is a “daring creative pivot” as the former Iron Man actor now embodies one of Marvel’s most iconic villains. Iron Man 3 director Shane Black predicts this casting will “singlehandedly reignite the entire comic book movie industry”. Black said, “I think he’s going to singlehandedly reinvigorate the entire comic book movie industry with that. At first, it seemed like a cynical move, you know, like “Oh, let’s just go back to the well of the one guy that seems to always save us.” But it’s going to be. It’s going to be great.
The entertainment industry has been cautiously optimistic about these seismic shifts. Marvel waited until Majors was convicted to fire him, an act of restraint compared to the industry norm of immediately dismissing actors on the basis of accusations as shared.
A number of MCU alumni have voiced their enthusiasm at Downey’s return, although many were surprised by the news. Jeremy Renner disclosed that he had “no idea” about the casting, and that Downey “said nothing” to his MCU colleagues. Tom Hiddleston described the casting as “remarkable” and “absolutely extraordinary”.
Some fans have complained about the casting, fearful of Doom being given a revised origin that includes Tony Stark.Still, the bar is set extremely high, with a lot of people seeing this as Marvel’s shot at recapturing the magic of the Infinity Saga.
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Doctor Doom will be the main villain of Avengers: Doomsday (2026) and Avengers: Secret Wars (2027). The Russo Brothers, who helmed Infinity War and Endgame, are back to direct both movies. This is a massive deviation from the original Kang-centric narrative, however there are rumors that Marvel might still find a way to finish off the story for Kang via a potential recast.
The changes are not just about swapping out the villain. Marvel is slashing its content output drastically`, with as few as two films a year, rather than up to four in recent years shared by Screenrant. The change is part of a larger Disney strategy to prioritize quality over quantity after some mixed feelings about recent MCU offerings.
The Phase 6 overhaul is arguably the most significant plot twist the MCU has ever seen. What was meant to be a multiverse story focused on Kang has now become something else entirely, with Doctor Doom seemingly going to end the Multiverse Saga. Early reviews from the cast are that Downey’s performance as Doom is outstanding, with Vanessa Kirby calling it “some of the most amazing work I’ve seen” in. The success of this recalibration will ultimately dictate the MCU’s future path. With Marvel now proceeding with Avengers: Doomsday in December 2026, the entertainment world wonders if the breathtaking turn of events behind the scenes is going to lead to a resurgence of creativity or become a cautionary tale about the perils of planning franchise far ahead in a volatile world.
The Marvel Phase 6 storyline changes entirely and gives everyone a big shock with its new plot. The decision of changing the biggest villain of the Multiverse Saga is tough for Russo Brother but they came back with a surprise casting after Jonathan Majors got fired, Robert Downey Jr. is returned as a villain in Avengers next film Avengers: Doomsday. Marvel entirely dropped the Kang-centric plotline that was supposed to be the overarching menace throughout Phases 4, 5 and 6 and adopt renamed it with Doomsday.
Rewatch 'Kill Bill' to rediscover the iconic fights, hidden details and cinematic homages that shaped Tarantino's masterpiece. Explore the moments. Learn more!
Among the records of 21st-century film, very few works can claim the unparalleled position held by Kill Bill Vol. Ostensibly a revenge thriller, the film functions less as a story and more as a spirited look back at film history: a “curated museum” whose high art and exploitation cinema boundaries dissolve.
Seeing a film like Kill Bill is to see a dervish at work—homing in on a “roaring rampage of revenge” to examine how genre works, the aesthetics of violence, and the lasting power of the screen image. If volume 1 is a blistering tribute to Eastern cinema (wuxia, samurai chanbara, and anime), volume 2 makes a sudden shift to the West, adopting the dry tempos of the Spaghetti Western.
This article unpacks the minuscule details — from cereal brands to philosophical monologues which elevate Kill Bill from a film to a masterpiece.
Tarantino and Thurman conceived “The Bride” in casual conversations while life mimicked art in the six years it took to write. When Thurman got pregnant before shooting, Tarantino delayed production instead of recasting, saying,
“If Josef Von Sternberg is planning to make Morocco and Marlene Dietrich gets pregnant, he waits for Dietrich!”
It indicates the character Bride is not just a simple role but a specifically designed around Thurman’s physicality.
The movie might have been very different. The part of Bill was first written for Warren Beatty, as a suave, Bond-villain kind of guy. When David Carradine was cast, the character shifted to a tough martial arts icon, drawing on Carradine’s background as the lead of Kung Fu, which originally aired in the early 1970s.
| Character | Actor Cast | Original Choice | Impact of Change |
| Bill | David Carradine | Warren Beatty / Bruce Willis | Shifted Bill from a suave suit to a rugged, flute-playing martial arts legend. |
| O-Ren | Lucy Liu | Generic Japanese Actress | Rewritten as Chinese-Japanese-American to accommodate Liu, adding racial tension to her Yakuza rise. |
| Budd | Michael Madsen | Robert Patrick | Madsen’s weary persona perfectly suited the “loser” brother living in a trailer. |
| Johnny Mo | Gordon Liu | Michael Madsen | Gordon Liu (he is a Shaw Brothers legend) was given the opportunity to take on two roles (Johnny Mo and Pai Mei), connecting the two volumes. |
Bloodied, terrified, and immobilized, The Bride has a stark black-and-white close-up of her face. This decision to film the slaughter aftermath in black and white has several reasons. While this is mostly justified as an homage to 70s TV censorship of kung fu movies, it is also an aesthetic choice. It creates a detachment, and the violence is transformed into nightmarish and abstract rather than realistic.
The needle drop of Nancy Sinatra’s “Bang Bang (My Baby Shot Me Down)” is among the most iconic musical cues in cinema history. The song is also used as a literal narration:
“Bang bang, he shot me down… bang bang, that awful sound.”
The sad tremolo guitar establishes a mood of tragic inexorability. Instead of a regular action flick beginning with high-octane stunts, Kill Bill begins with failure and grief, laying out the emotional deficit The Bride needs to replenish with vengeance.
The battle concludes at the death of Vernita Boreas, observed by her four-year-old daughter, Nikki. The Bride’s line here is an important one:
“It was not intentional and for that I am sorry. But you can take my word for it, your momma had it comin.”
Then she provides the child with a future means for vendetta: “When you get a little older, if you still feel raw about it, I’ll be waiting”.This is at least an acknowledgement that revenge is cyclical.
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The “sniper shot,” as O-Ren kills a politician, is a highlight in visual storytelling. The space, the quiet, the abrupt violence all serve to define O-Ren as an emotionally cold, remote character. The return to live action O-Ren’s single tear, bridges the stylized animated trauma and the real life villain The Bride will take on.
The Bride’s yellow tracksuit with black stripes is the film’s most obvious visual nod, an homage to Bruce Lee’s outfit in Game of Death (1978). This wardrobe choice places The Bride among the martial arts greats. But she is armed with a katana, so that visually she blends the Chinese kung fu tradition with the Japanese samurai tradition.
The battle with Gogo Yubari (Chiaki Kuriyama) alters the “schoolgirl” cliché. Gogo is a cruel murderer who uses a ”meteor hammer” (a form of the flying guillotine weapon).
The sound here is fastidious; When Gogo, is defeated and lands on a table, the crash has the sound of bowling pins being knocked over quietly layered in – a sonic joke to the violent absurdity.
The fight ends with a moment of grisly precision — The Bride cuts off the top of O-Ren’s head. Inversion of a usual decapitation. It exposes O-Ren’s brain, making her vulnerable both literally and figuratively.
“I sincerely apologize for my haste in judgment and for trivializing the circumstances in not knowing the full case.”
Are O-Ren’s final words and a return to the samurai code of honor. It elevates the action from a simple kill to a shared moment of warrior respect.
Elle brings a Black Mamba snake, The Bride’s codename in Kill Bill vol to kill him. The scene in which she reads trivia about the snake from a notepad
“The amount of venom… can be gargantuan”
Is a moment of dark humor. Elle makes the link between the reptile and the woman, essentially informing Budd that “The Bride” has already killed him, even if she wasn’t physically there.
Gordon Liu, who portrayed Johnny Mo in Volume 1, reprises his role as Pai Mei. This double casting is an homage to Liu’s stature as a martial arts legend, Screenrant mentioned. The lesson is on the “Three-Inch Punch,” a variant of Bruce Lee’s “One-Inch Punch.”
This method is the narrative key to The Bride’s escape from the casket. In having so much of the film be taken up with the repeating of this movement. The bloody knuckles and fatigue of The Bride — Tarantino “earns” the improbable act of punching through a coffin lid two-thirds of the way through.
Kill Bill is a celebration of how cinema can consume itself and regenerate. It’s the film about two lovers of movies telling the story with the language of movies. The “legendary moments” discussed here, reveal a level of precision and attention that makes the movie more than just a pastiche.
Watching Kill Bill again is like reading a text that is constantly opening up. It is also a tale of identity, The Bride’s view that identity is mutable (she moves from killer to mother). It is a tale about the “forest” of revenge — A place that has been known to disorient travelers.
