Paul Rudd says his latest Marvel film ‘may be the end of Ant-Man’

Published

2 years ago

February 17, 2023

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Paul Rudd says he has no idea if this Marvel film will be his last.

The third in the Ant-Man series, following 2015’s Ant-Man and 2018’s Ant-Man And The Wasp, it’s the first of the films he hasn’t also co-written.

“Maybe it is the end of Ant-Man,” Rudd told Sky News.

“I don’t really know. As far as what’s next, the only thing I can say for sure is that the Kang the Conqueror is going to be a very big part of whatever it is.”

The film’s director, Payton Reed, has previously referred to the film as the end of the Ant-Man trilogy.

But with 31 films in the ever-growing Marvel Cinematic Universe (MCU) and counting, it’s not necessarily reason to believe Scott Lang’s time is at an end.

Being part of the Marvel films isn’t something Rudd has taken lightly: “They feel huge working on them because, you know, they are. And I think that [Marvel] have a way of making films that are different from other studios… Everyone who works at Marvel trusts in the machine a little bit. They’re good at making the things that they make.”

A big part of that, he says, is down to the people who work on the business-side of the enterprise, including the president of Marvel Studios.

Rudd’s unlikely comic book past

“Kevin Feige and some of the producers, they know what it is that they want to see because they’re comic book fans, they are Marvel fans. They’ve grown up reading the comics. They are fanboys and fangirls. And so, they really, I think, care about the product.”

But despite Rudd’s loyalty to the franchise, he wasn’t always so attentive.

Supplied by an English uncle (Rudd’s parents both hailed from London), the actor admits: “I read the Beano and Dandy more than I read any Marvel Comics, that’s for sure.”

Veteran stars return

Michael Douglas, who plays Dr Hank Pym – the character who invented Pym Particles, allowing Ant-Man to reduce and increase in size – is also a long-time member of the cast.

He says being back in the Marvel family is “like wearing an old coat”.

“It’s like the old film days, when actors did movies together all the time. It’s just comfortable.”

Much of his screen time is spent with fellow screen legend Michelle Pfeiffer, 64, who pays his wife Janet.

And far from being put off by all the technology involved in modern-day superhero films, the 78-year-old star says it was the tech that first lured him into the franchise.

“I’d never done a green screen before, which is one of the reasons why I wanted to do it, to see how it all works.”

But he admits that along with the highlights of Marvel come responsibilities: “Once you’re onboard, there is such secrecy about the whole process… You don’t see a script until maybe a couple of weeks before the picture starts, and then you don’t have much input.”

He also says it’s different to other films thanks to its source material – the “very strict Bible” of the Marvel comics.

‘You’re actually in the Quantum Realm’

Filmed at Pinewood Studios in the UK, the production had a whopping eight stages and 48 sets. And thanks to an excess of action and VFX, it’s a job that tends to demand more technical than emotional acting from its stars.

Kathryn Newton, who plays Ant-Man’s daughter, Cassie Lang, told Sky News: “It’s very much like you’re standing on your mark. OK, now you have to cry. And that is. That is hard.”

Evangelina Lilly, the Canadian actress behind Hope Van Dyne and describes one of the more technical stages – dubbed “The Volume” – as “overwhelming”.

She explained: “Instead of a green screen stage, The Volume is a stage that has thousands of small LED screens that cover the walls and the ceiling, and they project on to it. Everything you’re actually seeing in the Quantum Realm.

“So, the quantum landscape is all around you. And when they change the camera’s angle, it changes the landscape so that you see something different. It’s immersive. You’re actually in it. You’re in the Quantum Realm.”

Unlike the first two Ant-Man movies, which were set in San Francisco, this film is based almost entirely in the Quantum Realm – an alternative universe hidden within the multiverse, where time follows its own rules.

A place so-far unique to the Ant-Man films, director Payton Reed says it’s a location he was keen to explore: “It’s not outer space from Guardians Of The Galaxy or Asgard from the Thor movies. It’s a subatomic world.”

Partly inspired by electron microscope photography, he admits he genned up on Quantum Theory For Dummies ahead of his first Ant-Man film, exploring things like quantum entanglement in the last film, and Schrodinger’s cat in this one.

Plus, he describes the “balancing act” of being at the helm of one of the franchise’s many productions: “It has to sort of somehow fit into this larger architecture of this grand MCU story that’s being told but not be smothered by that.

“The way it tends to work is we make decisions and come up with ideas for our movie and all the movies and things that come after us have to deal with the ramifications. And of course, we inherit things too.”

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Indeed, this film kicks off Phase Five of the MCU, with two more films are scheduled this year alone – the third instalment of Guardians Of The Galaxy in May and The Marvels in July.

And as Rudd confirms, there’s one character who is guaranteed a return – time-travelling terrorist Kang. The villain, who has killed the Avengers so many times across different timelines he literally can’t keep track, is played by Lovecraft Country star Jonathan Majors.

In a universe with endless possibilities, alternate realities and super-charged powers, Kang’s oppressive presence is one sure-fire certainty in Marvel movies over the next few years.

Ant-Man and The Wasp: Quantumania is in cinemas now.

Entertainment

‘The heartbeat of Blondie’: Drummer Clem Burke dies aged 70

Published

13 hours ago

April 7, 2025

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'The heartbeat of Blondie': Drummer Clem Burke dies aged 70

Blondie drummer Clem Burke has died at the age of 70

The band said Blurke had been diagnosed with cancer, and described his death as a “profound loss”.

He featured on all the Debbie Harry-fronted group’s studio albums since joining a year after their formation in 1975.

Blurke was with the band from their self-titled debut, through their 1978 classic Parallel Lines, to 2017’s Pollinator.

In a statement on Blondie’s Instagram, Harry and the band’s guitarist, Chris Stein, said: “It is with profound sadness that we relay news of the passing of our beloved friend and bandmate Clem Burke following a private battle with cancer.

“Clem was not just a drummer, he was the heartbeat of Blondie.

“His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable.

“Beyond his musicianship, Clem was a source of inspiration both on and off the stage. His vibrant spirit, infectious enthusiasm and rock solid work ethic touched everyone who had the privilege of knowing him.

“Clem’s influence extended far beyond Blondie, a self-proclaimed ‘rock and roll survivalist’, he played and collaborated with numerous iconic artists.”

Burke featured on Iggy Pop’s 1982 album Zombie Birdhouse and also performed with Bob Dylan, The Ramones, The Who guitarist Pete Townshend and Joan Jett.

The statement went on to say Burke had left an “indelible mark on every project he was part of”.

It added: “We extend our deepest condolences to Clem’s family, friends, and fans around the world. His legacy will live on through the tremendous amount of music he created and the countless lives he touched.”

Burke, who performed on classic tracks such as Call Me, Heart Of Glass and One Way Or Another, made his final live appearance with Blondie last year.

Among those paying tribute to him was Kinks guitarist Dave Davies, who said: “I feel saddened that Clem Burke was taken from us so soon.

“May he rest in peace, spectacular drumming, we were friends.”

Nancy Sinatra said: “My heart is shattered. Clem became an icon as a member of Blondie, but he was also an important part of my band, the K.A.B. I was blessed to call him my friend.

“If I ever needed him, he was there. Always. Sending healing prayers and comfort to his widow, Ellen, his family, and all who loved him.”

Entertainment

Olivier Awards: US actor says ‘special relationship firmly intact’ despite Trump’s tariffs

Published

1 day ago

April 7, 2025

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Olivier Awards: US actor says 'special relationship firmly intact' despite Trump's tariffs

British star Lesley Manville and American actor John Lithgow have won the acting categories at this year’s Olivier Awards, which recognise excellence in London theatre.

Lithgow, 79, played Roald Dahl in Giant, which is about the children’s author wondering whether to make a public apology.

While accepting his award he appeared to reference the current controversy over Donald Trump’s second term as US president.

The Conclave star quipped: “It’s not always easy to welcome an American into your midst, and at this particular moment, it’s probably a little more complicated than usual.”

He also told the audience at the Royal Albert Hall that the “special relationship is still firmly intact”, despite Mr Trump imposing tariffs on British exports to the US.

His co-star, English actor Elliot Levey, took best actor in a supporting role.

Giant was also named best new play.

Manville, 69, was honoured for her performance in the Greek tragedy Oedipus at the Wyndham’s Theatre.

She said she felt “emotional” while accepting her statuette because it was a production she had “felt very strongly about being” in.

Manville, who played Princess Margaret in The Crown, added that she was taking an early flight to Dublin on Monday to do some filming, and would not be getting “much sleep tonight”.

Best actress in a supporting role went to Romola Garai for her performance in The Years, based on a memoir by French writer Annie Ernaux.

Garai, whose film credits include Scoop and Atonement, was nominated in the same category for Giant.

Dame Imelda Staunton won a fifth Olivier, for best actress in a musical for the London revival of classic musical Hello, Dolly!

The Curious Case Of Benjamin Button won best new musical, a best actor musical award for Lark Rise To Candleford actor John Dagleish, and the outstanding musical contribution award.

The annual event was co-hosted by British singer Beverley Knight and Pose star Billy Porter.

Entertainment

Pete Townshend’s Quadrophenia talked about modern masculinity before Gen Z was born

Published

3 days ago

April 5, 2025

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Pete Townshend's Quadrophenia talked about modern masculinity before Gen Z was born

Despite The Who’s Quadrophenia being set over 60 years ago, Pete Townshend’s themes of identity, mental health, and modern masculinity are just as relevant today.

The album is having a renaissance as Pete Townshend’s Quadrophenia A Mod ballet is being brought to life via dance at Sadler’s Wells East, and Sky News has an exclusive first look.

As Townshend puts it, the album he wrote is “perfect” for the stage.

“My wife Rachel did the orchestration for me, and as soon as I heard it I said to her it would make a fabulous ballet and we never really let that go,” he tells Sky News.

“Heavy percussion, concussive sequences. They’re explosive moments. They’re also romantic movement moments.”

If you identify with the demographics of Millennial, Gen Y or Gen Z, you might not be familiar with The Who and Mod culture.

But in post-war Britain the Mods were a cultural phenomenon characterised by fashion, music, and of course, scooters. The young rebels were seen as a counter-culture to the establishment and The Who, with Roger Daltry’s lead vocals and Pete Townshend’s writing, were the soundtrack.

Quadrophenia the album is widely regarded as an essay on the British adolescent experience at the time, focusing on the life of fictional protagonist Jimmy – a young Mod struggling with his sanity, self-doubt, and alienation. 

Townshend sets the rock opera in 1965 but thinks its themes of identity, mental health, and modern masculinity are just as relevant today.

He says: “The phobias and the restrictions and the unwritten laws about how young men should behave. The ground that they broke, that we broke because I was a part of it.

“Men were letting go of [the] wartime-related, uniform-related stance that if I wear this kind of outfit it makes me look like a man.”

This struggle of modern masculinity and identity appears to be echoing today as manosphere influencers like Andrew Tate, incel culture, and Netflix’s Adolescence make headlines.

For dancer Paris Fitzpatrick, who takes on the lead role of Jimmy, the story resonates.

“I think there’s a connection massively and I think there may even be a little more revival in some way,” he tells Sky News.

“I love that myself. I love non-conforming to gender norms and typical masculinity; I think it’s great to challenge things.”

Despite the album being written before he was born, the dancer says he was familiar with the genre already.

“I actually did an art GCSE project about Mods and rockers and Quadrophenia,” he says.

“I think we’ll be able to bring it to new audiences and hopefully, maybe people will be inspired to to learn more about their music and the whole cultural movement of the early 60s.”

In 1979, the album was adapted into a film directed by Franc Roddam starring Ray Winstone and Sting but Townshend admits because the film missed key points he is “not a big fan”.

“What it turned out to be in the movie was a story about culture, about social scenario and less about really the specifics of mental illness and how that affects young people,” he adds, also complimenting Roddam’s writing for the film.

Perhaps a testament to Pete Townshend’s creativity, Quadrophenia started as an album, was successfully adapted to film and now it will hit the stage as a contemporary ballet.

It appears that over six decades later Mod culture is still cool and their issues still relatable.

Quadrophenia, a Mod Ballet will tour to Plymouth Theatre Royal from 28 May to 1 June 2025, Edinburgh Festival Theatre from 10 to 14 June 2025 and the Mayflower, Southampton from 18 to 21 June 2025 before having its official opening at Sadler’s Wells Theatre, London on 24 June running to 13 July 2025 and then visiting The Lowry, Salford from 15 to 19 July 2025.