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Jon Bernthal

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Marvel Releases BTS Photos to Debunk Viral Punisher VFX Moment
entertainment11 days ago

Marvel Releases BTS Photos to Debunk Viral Punisher VFX Moment

Marvel and Disney released behind-the-scenes photos for Punisher: One Last Kill to confirm that a viral scene with an odd unfinished-VFX look was staged; Bernthal and a stunt double swapped positions during filming, and a 3D model of Bernthal’s face was used in some takes. The shot was an intentional part of the production, and the perceived CGI quirks stem from how the footage was captured and edited. The special is set before Spider-Man: Brand New Day and marks Bernthal’s fourth MCU turn as the Punisher (with Brand New Day being his first feature film).

Punisher: One Last Kill Delivers Brutal Origin, But Struggles with Purpose
entertainment13 days ago

Punisher: One Last Kill Delivers Brutal Origin, But Struggles with Purpose

The Punisher: One Last Kill is an almost hour-long Marvel One-Shot that serves as a brisk, violent refresher of Frank Castle’s origin, anchored by Jon Bernthal’s performance; it delivers visceral action and a clear look into the Punisher’s psyche, but its purpose feels unclear as it doesn’t neatly bridge to Daredevil: Born Again or Spider-Man: Brand New Day, leaving viewers wondering how it all connects.

Punisher: One Last Kill’s Viral Shot Was a Real In-Camera Stunt, Not Unfinished VFX
television13 days ago

Punisher: One Last Kill’s Viral Shot Was a Real In-Camera Stunt, Not Unfinished VFX

Io9 reports the viral moment in Punisher: One Last Kill isn’t an unfinished VFX shot. The sequence combines a real in-camera stunt performed by Jon Bernthal (with a stunt double landing on the rig) and a later face replacement to resemble Bernthal. The shot is imperfect, but it’s a deliberate practical effect, and it doesn’t undermine the rest of Marvel’s special.

Bernthal’s Punisher Goes All-In on Trauma in Brutal MCU Special
entertainment14 days ago

Bernthal’s Punisher Goes All-In on Trauma in Brutal MCU Special

Jon Bernthal's Punisher returns in Punisher: One Last Kill, a brutal 48-minute Marvel Special Presentation that doubles as a PTSD-driven character study. The action is relentless and the gravesite scene is haunting, delivering a darker, more mature tone than typical MCU fare, while raising questions about how the anti-hero will fit into a PG-13 Spider-Man universe.

Punisher: One Last Kill Is a Twist, Not the End, Says Director
entertainment14 days ago

Punisher: One Last Kill Is a Twist, Not the End, Says Director

Director Reinaldo Marcus Green says the Disney+ special’s title One Last Kill is a deliberate misdirection meant to subvert expectations rather than signal the Punisher’s end. The piece frames the project as a deep, one-shot character study that hints at Frank Castle’s continued presence in the MCU with tones that will vary across titles, including a substantial role in Spider-Man: Brand New Day.

The Bear Unveils Hidden Richie Flashback Episode: Gary
tv-news20 days ago

The Bear Unveils Hidden Richie Flashback Episode: Gary

FX’s The Bear stealth-dropped a surprise hour-long flashback special called “Gary” on Disney+/Hulu, pairing Ebon Moss-Bachrach and Jon Bernthal to explore Richie and Mikey’s relationship and deepen Richie's backstory ahead of Season 5. Directed by Christopher Storer, the standalone episode follows a work trip to Gary, Indiana and promises new emotional context that reframes the duo from the very beginning.

The Bear Unveils a Secret Prequel Episode with Bernthal and Moss-Bachrach
tv-and-movies21 days ago

The Bear Unveils a Secret Prequel Episode with Bernthal and Moss-Bachrach

Rolling Stone reports a surprise prequel episode of The Bear titled 'Gary,' featuring Mikey (Jon Bernthal) and Richie (Ebon Moss-Bachrach) on a trip to Gary, Indiana, set before Season 1 to deepen Mikey’s mental state and Richie's origins. The episode exists outside Hulu’s main The Bear hub and must be found by searching 'Gary' on Hulu; with The Bear’s fifth and final season expected this summer, it adds crucial emotional context to the characters.

The Bear Drops Surprise Prequel Episode: 'Gary' Unveiled on Hulu
entertainment21 days ago

The Bear Drops Surprise Prequel Episode: 'Gary' Unveiled on Hulu

The Bear released an hour-long surprise prequel on Hulu titled 'Gary,' written by Ebon Moss-Bachrach and Jon Bernthal and directed by Christopher Storer, following Richie and Mikey in Gary, Indiana before the main series. The episode arrives ahead of the fifth season, which is expected to premiere in the summer, with the show widely believed to be ending after season five.

The Bear Unveils Surprise Hulu Episode 'Gary' Delving Into Mikey and Richie's Past
tv21 days ago

The Bear Unveils Surprise Hulu Episode 'Gary' Delving Into Mikey and Richie's Past

FX’s The Bear released a surprise standalone episode on Hulu titled 'Gary,' a flashback centered on Richie (Ebon Moss-Bachrach) and Mikey (Jon Bernthal) during a work trip to Gary, Indiana. The installment, co-written by Moss-Bachrach and Bernthal with Christopher Storer directing, explores their complicated relationship and Mikey’s mental state to add emotional context to Season 1, and it arrives ahead of Season 5’s anticipated June release (likely the series’ finale).

Punisher: One Last Kill Trailer Teases Bernthal's Violent Marvel Return
entertainment1 month ago

Punisher: One Last Kill Trailer Teases Bernthal's Violent Marvel Return

Jon Bernthal returns as the Punisher in the Marvel TV special Punisher: One Last Kill, with a violent trailer that shows him set on fire and hearing hallucinations as he pursues vengeance. The special debuts on Disney+ May 12, a week after Daredevil: Born Again’s Season 2 finale, and is directed by Reinaldo Marcus Green, who co-wrote it with Bernthal.

Broadway's Dog Day Afternoon Triggers Attica Buzz From Critics
entertainment1 month ago

Broadway's Dog Day Afternoon Triggers Attica Buzz From Critics

Playbill covers the Broadway premiere of Stephen Adly Guirgis's Dog Day Afternoon, an adaptation of the 1975 film, which opened March 30 at the August Wilson Theatre with Jon Bernthal and Ebon Moss-Bachrach under Rupert Goold’s direction. The article lists reviews from major outlets and notes that Playbill will update the roster as coverage continues, highlighting broad anticipation and the production’s notable design and acting team.

Broadway's Dog Day Afternoon Reimagined as a Tender, Timely Heist
theater1 month ago

Broadway's Dog Day Afternoon Reimagined as a Tender, Timely Heist

On Broadway, Stephen Adly Guirgis’s Dog Day Afternoon reimagines the 1975 classic as an actor-forward drama directed by Rupert Goold. Jon Bernthal’s Sonny Amato is charismatic and deeply felt, with Ebon Moss-Bachrach as Sal; the production foregrounds character, love, and political conscience rather than a simple heist. The show uses David Bowie cues and a New York–tinged sensibility to explore Sonny’s queer love for Leon and broader social stakes, including trans rights and economic inequality. While it departs from Lumet’s film, it remains a humane, timely portrait of people on the edge of the night.

Broadway's Dog Day Afternoon: Strong Stagecraft, But Not The Film’s Haunting Power
theater1 month ago

Broadway's Dog Day Afternoon: Strong Stagecraft, But Not The Film’s Haunting Power

A Broadway transfer of Dog Day Afternoon brings Jon Bernthal to the lead as Sonny in Rupert Goold’s production, using a rotating bank-set to stage the hostage drama with taut stagecraft. The adaptation offers a more explicit, sentimental take on Sonny and Leon and translates the film’s energy to live theater, but it ultimately cannot match Sidney Lumet’s movie for haunting power or ironic bite.

Bernthal’s Broadway Dog Day Afternoon Marred by Tone and Tempo
theater1 month ago

Bernthal’s Broadway Dog Day Afternoon Marred by Tone and Tempo

A Broadway adaptation of Dog Day Afternoon, led by Jon Bernthal and directed by Rupert Goold with a script by Stephen Adly Guirgis, is criticized for turning the film’s tense, human-centered bank heist story into a broad, misfired farce. While Bernthal shows occasional humanity, the production is described as a “garish disaster” of tone and tempo, with miscast performances, clunky direction, and a crowd-chant Attica moment that undercuts Lumet’s original energy.