McAvoy, Fassbender, McKellen, Stewart, Lawrence and Hoult ALL on board for new X-Men film

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Director Bryan Singer has gotten the band back together for X-MEN: DAYS OF FUTURE PAST. Not only will James McAvoy, Michael Fassbender, Jennifer Lawrence and Nicholas Hoult all be back….but Patrick Stewart and Ian McKellen will be joining as the older versions of Professor X and Magneto (portrayed by McAvoy and Fassbender in X-MEN: FIRST CLASS).
Singer tweeted the news:


Singer stepped in for Matthew Vaughn on the fifth X-Men film which is expected to cover some of the story elements from the classic comics storyline that involved time travel to a bleak alternate future. Casting both young AND old versions of Professor X and Magneto would fit right in with this plan.

Okay, color us Fandango.
patrick stewart McAvoy, Fassbender, McKellen, Stewart, Lawrence and Hoult ALL on board for new X Men film

ian mckellan McAvoy, Fassbender, McKellen, Stewart, Lawrence and Hoult ALL on board for new X Men film

james mcavoy McAvoy, Fassbender, McKellen, Stewart, Lawrence and Hoult ALL on board for new X Men film

Michael Fassbender McAvoy, Fassbender, McKellen, Stewart, Lawrence and Hoult ALL on board for new X Men film

jennifer lawrence McAvoy, Fassbender, McKellen, Stewart, Lawrence and Hoult ALL on board for new X Men film

Nicholas Hoult McAvoy, Fassbender, McKellen, Stewart, Lawrence and Hoult ALL on board for new X Men film

Comments

  1. Synsidar says:

    Avoiding a dreadful alternate future might be okay in a close-ended story, but I’d argue that bringing alternate futures into a superhero series is a mistake. The striking, dramatic, and extreme circumstances portrayed in those futures make modern-day events look dull, and limit the writer’s freedom, in terms of plot material.

    No alternate future scenario in a superhero series that’s really worked well comes to mind.

    SRS

  2. I was hoping to get more of Havoc in this movie. But the biggest news to me from this article is that Patrick Stewart and Ian Mckellen are on twitter. that’s kind of awesome.

  3. Torsten Adair says:

    The problem with “what if” is that it either presents a better future (making the canon look bad), or something extremely dystopian (extremely bleak and unsettling). Or you know how the future turns out, and you can’t stop it from happening.

    Astro City makes it work, both with the Samaritan and the Silver Agent.

    In a series, it works, because the reader wonders if it will come to pass, or was the future changed? If the alternate characters appear in the canon universe, then some interesting stories might develop, like with The Age of Apocalypse.

    It worked in Terminator. It could work in X-Men, if the series continues. Does “First Class” tie into the earlier/later X-Men movies? Could this be used to push a new timeline, like Star Trek did? Start with the “old” X-Men, Senator Kelly (dead in the first movie, impersonated in the second), and the ongoing hysteria.

  4. Okay, this sounds awesome.

  5. Synsidar says:

    In a series, it works, because the reader wonders if it will come to pass, or was the future changed?

    “Days of Future Past” didn’t work, aesthetically, because if mutants were the future of humanity–evolution in action–then they couldn’t be a minority. Evolution is a species-wide change, or set of changes, not random changes in individuals. You might have heard, not long ago, that a mutation produced white skin in humans. Tens of thousands of years later–

    It might have worked (still work) in the X-verse, purely on a story-to-story basis, to have the mutants continually talk about being Homo superior and to have new mutants come into existence, and to alternate those stories with stories about mutants being persecuted, but the results are stories that go nowhere. If the mutants represent evolution, then have the human race actually evolve! Adults don’t need lectures about persecution. Children learned about accepting differences by watching the Teletubbies.

    And as far as alternate futures are concerned, the material might work as a didactic story warning about a real threat, in which the time travel mechanics don’t matter, but it’s as impossible to make sense of characters from an alternate future hanging around, or appearing repeatedly, as it is for someone to go forward into his own future. He can’t be in two places at once.

    A story that is written to make a point of some sort is better than one that isn’t.

    SRS

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