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How Netflix’s ‘Castlevania’ Opens A Corridor To a Possible Direct Crossover With ‘Devil May Cry’

A new veteran character may have finally opened a link to the long speculated possibility of a future Netflix’s Castlevania crossover with their new animated Devil May Cry series…

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Mild Spoilers Ahead for Season 3!

Castlevania’s newest season has finally arrived on Netflix and with it comes a whole lot of new spoilers to talk about. While there is so much to dapple into when discussing the future of the most critically acclaimed video game adaptation to date, many fans seem to be overlooking the fact that the introduction of one of the show’s newest veteran character may have finally opened a link to the long speculated possibility of a future Castlevania crossover with Netflix’s new animated Devil May Cry series- a highly realistic possibility that was teased two years ago by American film producer Adi Shankar who is currently working on both series.

For those unaware, back in late 2018, series executive producer of Netflix’s Castlevania, Adi Shankar, officially unveiled that he had been working on a new animated adaptation of Capcom’s Devil May Cry series. In an exclusive interview with IGN’s Jack Jing where he discussed his involvement in the project and new details on the upcoming season of Castlevania, Shankar stated that his new adaptation of the Devil May Cry series “will join Castlevania in what we’re now calling the bootleg multiverse.” Shankar is currently working on several video game projects that he hopes will join forces in his multiverse of various video games such as but not limited to Heart Machine’s independent hit Hyperlight Drifter and Ubisoft’s Assassins Creed series.

That same day after the announcement, Shankar went on to post an edited photo on Twitter of himself dressed as the series protagonist of Devil May Cry Dante along with the caption “Open for business.” The photo has since been accompanied by tons of congratulations and disappointed reactions from fans of The Legend of Zelda series as it was rumored by multiple gaming outlets the day before that Shankar was creating an adaptation of Nintendo’s world of Hyrule for the major streaming platform.

Adi Shankar said in his interview with IGN “let the speculation begin” before walking off camera. Castlevania on Netflix now seems to be the key factor in creating Shankar’s possible future crossover as the recently released episode six of season three, “The Good Dream” reveals the true power behind what in Castlevania‘s lore is known as the Infinite Corridor. Through the Infinite Corridor, users such as the speaker magician Saint Germain can potentially travel to different universes, timelines, and even alternate dimensions. In the episode, Saint Germain sees several locations outside of the Castlevania universe including ships that vaguely match those from the movie Alien, the actual Uluru – or rather what is widely known as Ayers Rock in Australia, and a bipedal walking mech that resembles Metal Gear D from Hideo Kojima’s MSX2 Computer cult classic Metal Gear 2: Solid Snake. A possible gateway – or rather a corridor – has been opened between the two different video game universes but of course who would bring the Devil Hunters and Belmonts together is still a mystery.

It is also worthy to note that eagle-eyed fans such as Reddit user lucasgmkp have spotted Dante’s main weapon displayed on a wall in the background of Castlevania’s newest season (as seen in the image above). Although the show has featured numerous other references to video games series both owned and not owned by Konami in the past, there has not been an easter egg as vivid as this before. A close examination shows that the shaping of the blade and handle are clearly that of Devil Sword Dante.

In Castlevania: Curse of Darkness, the Infinite Corridor – or what is known in Japan as the Corridor of The Inferno – is a small alternate realm that lies in another dimension. As the main protagonist Hector, your goal in this particular area of the game was to fight a boss version of a classic recurring Castlevania enemy known as Dullahan. Derived from Irish and Celtic mythology, Dullahan is a headless skeleton that wields a massive reaper. He is often referred to as the “Headless Hunter.” While it is unlikely that we will see Dullahan play a larger role in the future of the Netflix series it is always possible that he could potentially make a quick cameo, be a part of Issac’s night creature horde, or perhaps even be featured in a future fight scene with Saint Germain.

In our review of Castlevania season three, I said that “with the pairing of a marvelous award-winning comic book mind like Warren Ellis and the violently beautiful animation overseen by Powerhouse, Castlevania is undeniably still my personal favorite show on Netflix.” Castlevania’s newest ten episodes are now streaming exclusively on Netflix- and trust us it is absolutely worth your time if you have not watched it yet.

Creative writer, producer, and Games Editor. I have always held a high interest in the fields of professional writing and communications. You can find me with my head deep in the espionage genre or in a kayak upstream. I’ll always be first in line for the next Hideo Kojima or Masahiro Sakurai game.

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The Boys Season 2 Episode 3 Review: “Over the Hill With the Swords of a Thousand Men”

The Boys’ marks an improvement and pays big dividends in an explosive, violently revealing hour.

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The Boys Over the Hill With the Swords of a Thousand Men

Half bottle episode and half coming out party, “Over the Hill With the Swords of a Thousand Men” is a sneaky little showcase for The Boys, and just how big its world’s suddenly gotten in season two. Though ostensibly an episode designed around two events – the boys getting stuck on the boat, and Stormfront revealing her inner racist sociopath – “Over the Hill” navigates a number of brewing conflicts in fascinating ways, building and building until the violent explosion at the episode’s conclusion. With a nimble script and a game group of performers, The Boys‘ second season is turning out to be a distinct pleasure – albeit one heading down a gruesome, dark path I sure hope it’s capable of navigating.

“Over the Hill With the Swords of a Thousand Men” navigates a number of brewing conflicts in fascinating ways, building and building until the violent explosion at the episode’s conclusion.

It does take a little while for “Over the Hill With the Swords of a Thousand Men” to get going; beginning three miles offshore with The Boys and the reunited super-siblings, the first quarter feels like it’s simply restating the stakes. It’s a nimble trick, though; led by Kimiko and Kenji, The Boys begins to feel like it is approaching a true moral quandary for the group. Which door descending into hell will they choose?

The Boys Over the Hill With the Swords of a Thousand Men

While The Boys often likes to posture its presenting characters with complex dilemmas, the show’s unnerving nihilism often upends any sort of nuance it looks for in its debates around “necessary” violence. Here, Kimiko’s presence throws a fascinating wrench into the proceedings; with most of the group’s members clinging to whatever mirage of family they have left (save for Hughie, who has… forgotten his dad exists?), even Butcher can’t deny having conflicting feelings about what to do with Kenji, and the deal that’s been offered to him if he turns him in.

Elsewhere, “Over the Hill” throws the brazen personalities of The Seven into their own little blenders, as Stormfront begins to sow discord through Vought, and abuse her powers to casually murder a lot of people – nearly all of them minorities, in a way that feels like an explosion of character, rather than an unpeeling of some complicated identity. Stormfront simply doesn’t give a fuck; and with her supernatural ability to manipulate feminist views (her speech to the reporters is magnificent, both in how it develops Stormfront’s character and nods to the simplistic ways in which the evilest people in society disguise themselves among the “good”).

While she’s kicking up tornadoes and electrocuting everyone that gets in her way, characters like The Deep and Homelander continue to benefit from the much-improved writing of season two. The show is still struggling to make Becca something more than the Ultimate Mother Protector trope, but Homelander’s warped sense of responsibility to his son is interesting, surely a bad sign for the upbringing of this world’s Superboy (will he also don a cool leather jacket and weird cyberpunk sunglasses? Who knows!). It’s clearly not going well; even he seems to recognize the danger in bringing his son’s powers to the surface, as its the first time in his life he’s facing a challenge as the world’s strongest hero (that is, until Stormfront doubles that total later in the episode, further frustrating Homelander’s attempts to hold domain over everything in his grasp).

The Boys Over the Hill With the Swords of a Thousand Men

It’s not going well for The Deep, either, as his slow descent into cult life is bringing his desperation for acceptance further to the surface. Like with Homelander’s stories, I wish The Deep’s story was a little tighter and more thoughtful (some of the body image stuff seems to be treated trivially, in a way that borders on insensitive and uninformed for the sake of easy jokes), but there’s no denying his character is infinitely more interesting this season, a test case for what a superhero trying to learn their own limits would struggle with. The Deep works best as a pathetic character, but not when it’s a pathetic character The Boys just kick around with bad punchlines; when he’s treated as a byproduct of a deeply flawed human being trying to find a path to good intentions, his fumbles and weak-minded rhetoric is much more amusing – and at times, the tiniest bit empathic (his sadness over Billy’s, well, butchering of his whale buddy was such an earnest, raw and twistedly funny moment).

The Boys has needed to accelerate its internal stakes for a while; the introduction of “super terrorists” to the world by Homelander, and Compound V’s reveal to the public might make the show’s world feel a bit smaller than intended – I think a lot about the “big” fight scenes at the end of Arrow‘s third season, where the ‘entire city’ is fighting, but there’s never more than six people around – The Boys does that on a narrative level sometimes. But as the stories of the show dig a little deeper into its characters – Maeve’s disillusionment, Homelander’s failure to emulate paternal behavior, A-Train’s desperation, it’s beginning to feel like the writers have a deeper understanding of its characters and world, and how to wield its inherent sadistic cynicism to more interesting ends. “Over the Hill With the Swords of a Thousand Men” benefits massively from that, setting up a number of intriguing dominoes for the back half of season two to knock over (in bloody fashion).

Other thoughts/observations:

  • Look, I’m bummed how the Kenji character played out; he was such an interesting character, an examination of everything horrible about what power and war can do to a human being. It’s sad to see The Boys dispose of such an intriguing presence, especially as its a death of a minority character in service of mostly white-related stories – however, with such a hateful, nasty character like Stormfront waiting in the wings, it is easy to see how the writers found their way down that path. (like, she could’ve killed Black Noir and this show would’ve literally lost nothing… just sayin’).
  • Can A-Train just collapse or whatever, so we can get this storyline moving? We’ve been doing this since the second episode!
  • Why haven’t we seen any reaction to Becca seeing Butcher in person at the end of season one? She hasn’t mentioned it or even had a longing look off-screen to violin music.
  • Man, I’m so glad they cast Aya Cash as Stormfront.
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The Best Golden Girl is Sophia Petrillo

Sophia Petrillo was a legend in her own mind who always had her way and like Mighty Mouse, always won.

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Sophia Petrillo The Golden Girls

A seemingly harmless little old lady with curly white hair, oversized glasses, and an innate ability to tell a great story shows up on her daughter’s doorstep when the retirement home she was put in by said daughter burns down. With a simple, “Hi there,” the world meets Sophia Petrillo. For seven years on NBC’s The Golden Girlsa show about the senior set—Sophia lived with her intelligent and extremely sarcastic divorced daughter Dorothy Zbornak and her two roommates, sexy, eternally horny southern belle Blanche Devereaux and sweet but dim-witted Minnesotan Rose Nylund. Each is memorable in their own way, but it’s Sophia, “feisty, zesty, and full of old-world charm,” that stands out the most.

When TV was full of generic, sweet grandma types, Sophia was anything but. Sure, she looked the part with her bifocals, pearls, and now iconic straw and bamboo-beaded handbag, but Sophia was always trying to make a quick buck. She conned Rose into going into a sandwich-making business that pit them against the mob, faked being paralyzed to try and collect insurance, and constantly “borrowed” money from Dorothy’s purse. Instead of helping Dorothy, Blanche and Rose get out of jail when they are mistaken for hookers (don’t ask, just Youtube it). She stole their tickets to go to a party and meet Burt Reynolds. She also stole Rose’s car, worked at a fast-food restaurant, and won a marathon. Not bad for a woman in her eighties. Sophia had a sharp wit and an acerbic tongue, blaming her stroke for leaving her without the ability to self-censor. She was always ready with a zinger or a comeback, some of which she saved for her very own daughter.

Sophia Petrillo The Golden Girls

Sophia Petrillo is the Secret Star of The Golden Girls

That’s not to say she’s all schemes and insults. Beneath her tough exterior is a kind woman with a big heart who loves her family and friends. Viewers don’t often get to see her softer side, which makes the moments they do seem that much more special. One of the best Sophia episodes showed her reaction to the death of her son, Phil. She put up a wall of anger which Rose was finally able to break down in the final moments of the episode, revealing Sophia’s true feelings of guilt over Phil’s cross-dressing as she bursts into tears. Another favourite was when Dorothy expressed concern about her mother not doing enough with her days. We then get to see exactly what she gets up to sticking up for her friend and causing a scene at the grocery store while claiming to represent a fictional senior citizens union, volunteering at a sick kids hospital and later, conducting a senior citizens jazz band. Meanwhile, Dorothy, Rose, and Blanche do next to nothing except sit around and eat. When she’s asked what she did all day upon her return, she simply says she bought a nectarine, and Dorothy, Rose, and Blanche are none the wiser.

But if Sophia has one claim to fame, it is her colorful old-world tales about Sicily, which often as not, contain a pearl of wisdom or embellishment of some kind. We would have loved to have known her during her “picatta period (a wedge of lemon and a smart answer for everything),” when she was the most beautiful girl at a resort and all the men fought over her (so beautiful, in fact, that she had “a butt you could bounce a quarter off of”). She was also once painted by Picasso and was best friends with Mama Celeste. But I digress. Sophia Petrillo was a legend in her own mind who always had her way and like Mighty Mouse, always won. Her hunches were never wrong, and rarely, if ever did she meet her match. Sophia was, in short, a one-woman show. And thanks to re-runs and fan appreciation, that show will never be gone.

  • Dasilva

Editor’s Note: This article was originally published under our old brand, Sound On Sight.

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30 Years Later: The Fresh Prince of Bel-Air

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30 Years Later: The Fresh Prince of Bel-Air
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