Priyanka Chopra Jonas’ ‘The Bluff’ Inspired From The Real Life Pirate Queens
Priyanka Chopra Jonas’ The Bluff draws inspiration from real pirate queens like Grace O’Malley, Anne Bonny, and Ching Shih.
Priyanka Chopra Jonas’ The Bluff draws inspiration from real pirate queens like Grace O’Malley, Anne Bonny, and Ching Shih.
Hollywood’s depiction of a woman pirate was, for many years, a romanticized caricature-a corseted sidekick or the occasional option roguish lead surrounded by familiar hearth and home arcs. But as we get ready to see Priyanka Chopra Jonas step into the shoes of Ercell Bodden in The Bluff, the narrative is at long last shifting.
As anyone who bothers to look at history will tell you, women pirates didn’t just “go along for the ride.” These were ruthless, calculating, and sometimes more horrifying malevolent forces than the men they led. Chopra Jonas’s take on Ercell, a woman who must reclaim her “warrior identity,” and is inspired by four legendary women who genuinely ruled the waves.
If Ercell Bodden is defined by her “maternal ferocity,” she rests on the foundation of Grace O’Malley. But not only was O’Malley a pirate who had come to command a fleet at a title that made her the “Pirate Queen of Connacht,” she was the ruler of an empire.

She reportedly gave birth on a ship and was back on deck a few hours later armed with a blunderbuss to help defend her men. Like Ercell, O’Malley was never really a greedy pirate – it was just about staving off hunger for her family and people. She even had a famous confrontation with Queen Elizabeth I, dispelling the myth that a pirate couldn’t be a canny political operator and a mother at the same time.
In The Bluff, we witness Ercell’s transformation from a deadly assassin to a suburban mom and the violent “unmasking” that follows. This is in the lives of Anne Bonny and Mary Read.

These 18th century pirates spent much of their lives passing as men, making their way in a world that offered them no place at the table. In the heat of battle they were said to be more “bloodthirsty” than the males. They are the “feral” energy Ercell must recapture to defend her home.
While Ercell battles on behalf of a tiny community in the Cayman Islands, her tactical prowess is a mirror image of Ching Shih (Madame Cheng). As the admiral of the Red Flag Fleet consisting of 1,500 ships and 80,000 pirates—Shih was perhaps the most prosperous pirate ever.

Significantly, she is also one of the few who actually managed to “retire” and live to tell the tale. That is the essential tension at the center of The Bluff: Ercell has found her peace, but as Ching Shih knew, your past is a shadow that never quite goes away.
Referred to as “Back from the Dead Red,” the biography of Jacquotte Delahaye is survival at its highest degree. faked her death to get away from the government, and then came back to the water with a vengeance.

This motif of “reanimation” is at The Bluff’s heart. Ercell is essentially “dead” to her former life until the wicked Captain Connor arrives and she must once again embrace her warrior spirit.
| Feature | Historical Reality | The Bluff (2026) |
| Weaponry | Improvised, heavy, and practical. | Conch shells, tactical traps, and “dirty” fighting. |
| Motivation | Political autonomy and family. | Maternal ferocity and redemption. |
| Outcome | Usually a short life or a quiet exile. | A focused, muscular 101-minute survival arc. |
The Bluff is more than just a survival thriller, it’s a celebration of women who survived against the odds in the face of the unforgiving ocean. Priyanka Chopra Jonas gives a portrayal that bleeds into fiction of the fiercest women in history.
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Spider-Man: Brand New Day explained with comic history, One More Day fallout, Peter Parker's reset, and how Marvel reshaped the character's future.

The beginning of Spider-Man’s “Brand New Day,” starting at the top of The Amazing Spider-Man #546 in January 2008, was a clean slate for the character. Following “One More Day,” this era re-envisioned Peter Parker’s life by moving him from his married adulthood back to his origins as a single man and an aspirant. This contentious choice was taken in order to make the character more relatable and timeless for future generations.
Though they were out to make the character viable for at least the next few decades, how they went about doing so provides a textbook example of both imaginative thinking and the dangers of heavy-handed editorial mandates.
To get “Brand New Day,” you have to start with the ruins of “One More Day” (OMD). To fix Peter’s public unmasking during Civil War, Marvel had Peter literally make a “deal with the devil.” To save Aunt May’s life, the demon Mephisto wiped out Peter’s marriage to Mary Jane Watson from history.

This “Devil’s Bargain” erased two decades of continuity. For his part, Editor in Chief Joe Quesada has said that an older married Peter is too “aged” and in that sense less relatable. But it’s a forced regression — and it’s unearned, too. It was like a supernatural “undo” key, rather than traditional character development, and many fans felt it discounted their long-term investment in the series.
The most interesting thing about BND was not just the story, but the logistics. Marvel dropped several Spider-Man books to concentrate on one flagship title, The Amazing Spider-Man, three times monthly.

This necessitated a “brain trust” of rotating writers (such as Dan Slott, Mark Waid and Zeb Wells) and artists. This method enabled the book to mimic the speed of serialized television. They could sow “slow-burn” seeds — such as the mystery of the ‘Spider-Tracer Killer’ that would pay off months or even years down the road.
BND, however, also devoted a lot more attention to Peter’s life without the mask. Moving him back in with Aunt May and making him a freelance photographer once again Marvel played up “humanizing” the hero through urban hardship.
Return of Harry Osborn: Resurrecting Harry reintroduced a social mooring and a “best friend” dynamic that had been missing for years.

New Rogues: The era was prolific in new villains. Mister Negative was the breakout, presenting a stark visual “negative” of the Peter/Spidey duality.
New Faces: New characters Carlie Cooper (a CSI forensics expert) and Vin Gonzales (Peter’s Spider-Man-hating roommate) were also added to capture a contemporary, pan-op/NYC feel.
Controversial as it always was, BND’s DNA is stamped on everything today. The 2018 Marvel’s Spider-Man game took a lot of cues from this period, including Mister Negative and the F.E.A.S.T. shelter.

More importantly, the BND model is what the MCU is now following. Tom Holland’s Peter is, by the end of No Way Home, living in a small apartment, unknown to the world and devoid of his Stark tech. The 2026 film, apparently titled Spider-Man: Brand New Day, heralds a “fresh start” much like the 2008 relaunch – though presumably with a more heroic justification than a deal with Mephisto.
“Brand New Day,” was a radical rewrite designed to update the character by returning to his roots. Though it led to some of the best single stories in the character’s history, it also demonstrated that “narrative debt” is real. You can reset a character’s clock, but you can’t always reset the reader’s memory.
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Kylo Ren's memorable The Last Jedi line changed Star Wars, upending the Skywalker legacy and how fans would engage with the franchise moving forward. Read more!

Kylo Ren uttered a line in 2017 that still makes the fan community go berserk: “Let the past die. Hide it under a rock, if that’s what you need to do. That’s the only way to become what you are meant to be.” We thought he was just a broody dark-sider having a mid-thirties crisis. Looking back on how the Star Wars sequels flailed their way to solid footing, it turns out Ben Solo wasn’t just a villain — he was a saving grace for the franchise.
For nearly half a century, the Star Wars “Skywalker Saga” has been the gravity well of Star Wars. But if it’s going to survive for another half-century, the franchise will need to get away from this Earth. We’re finally coming into an age where movies and games aren’t just ‘side stories’ to Luke’s lineage — they’re a statement of independence.
The sequel trilogy needed to push the continuity forward; yet it found itself anchored all too firmly to the Original Trilogy (OT). This isn’t to say legacy characters are bad; instead, narratives can’t lean on them as a primary structural crutch.

Reaction to Luke Skywalker showing up in the Mandalorian wasn’t universally positive, among fans. A lot of people embraced it, while others dismissed it as “nostalgia bait” — a digital mask to hide an absence of narrative risk. Box office sales wise, playing it safe by making movies about known IP is a guaranteed winner for studios: 100% of the 10 highest grossing Star Wars films have a Skywalker, or a tie to the 1977-1983 era. But the critical exhaustion is tangible. For Star Wars to expand, it has to show it can be without a Skywalker on the credits.
The new film slate marks the most significant departure in franchise history. While The Mandalorian & Grogu will certainly placate the “Filoni-verse” fans with some familiar faces, the real meat is in the unknown:

It’s been five years since the chapter (Rise of Skywalker) ends, and now here we are. Rumors are that there is no legacy character. If it gets that lived-in feel just right — without a single lightsaber ignite or a “hello there” — it could very well shift what the industry thinks Star Wars is.
Mangold is skipping ahead 25,000 years, so by doing so he’s not only stepping around legacy characters, he’s stepping around the entire notion of the Force as we understand it. No Sith, no Jedi Council—just the raw excavation of the galaxy’s mystic energy. This is the “Godfather of the Force” story we’ve been waiting for.
This is the precarious balancing act. Rey may have assumed the Skywalker name, but in order for the franchise to grow, she needs to construct something that isn’t just a mirror image of the failed Academy of the past. If she’s for the entire film talking to Luke’s Force Ghost, we haven’t gotten anywhere, we’ve just switched out the window dressing.

Waititi has said he wants to “broaden out” the world. If his film evokes the cheerful, “used-future” style of the OT without relying on a single legacy cameo, it will demonstrate that the feeling of Star Wars is more powerful than the names in Star Wars.
The films have been wary, but Star Wars games have long been the point of experimental narrative storytelling. The future roadmap indicates a full separation from the “Vader-era” crutch:
| Project | Era | Legacy Risk |
| Star Wars: Zero Company | Late Clone Wars | Moderate. Anakin and Rex are still active here. |
| Star Wars: Galactic Racer | Post-OT | Low. Focused on the underworld and speed. |
| Star Wars: Eclipse | High Republic | Low. Set 200 years before The Phantom Menace. |
| Fate of the Old Republic | Old Republic | Zero. More than a millennium before the films. |
Star Wars Jedi Fallen is the offender right now for taking “Vader-as-a-boogeyman.” For the third game to really connect, Cal Kestis needs to stop being a footnote in the Rebellion’s shadow. He needs a destiny that doesn’t finish with him being “too busy” to give Luke a hand in Episode IV.
If there is one thing the new age should learn, it is the Andor Lesson. Andor showed you can have legacy characters (Mon Mothma, Saw Gerrera, K-2SO) without them feeling like cameos. They didn’t exist because the marketing department wanted a trailer clip, they existed because the plot needed them there.
Star Wars, to its credit, has sometimes been skewered for having precisely no diversity of viewpoint, concerned consistently with a fantasy 1% of the galaxy (the Jedi and the High Command).

In fact the Star Wars audience is diverse: roughly 40% of the active fanbase is female, and international audiences now represent more than half of the box office. Stepping away from the Skywalkers, the saga can tell stories that speak more to this broad, modern audience: tales about smugglers and soldiers and civilians who just happen to not have magic coursing through their veins.
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Kylo Ren was right, but with a caveat: we don’t owe the past “killing,” we just have to stop residing in its basement. As it jets to the High Republic, the distant future, and the distant past, Lucasfilm is at last giving the galaxy some room to breathe. Star Wars’ Future Begins Where the Skywalkers (Masterpiece) End.
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