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Kiefer Sutherland and Boyd Holbrook to star in The Fugitive reboot for Quibi

Kiefer Sutherland in Mirrors

Story by Jack Foley

KIEFER Sutherland and Boyd Holbrook are to co-headline a reboot of The Fugitive for shortform streaming platform Quibi.

Emmy winner Stephen Hopkins (The Life and Death of Peter Sellers) will direct the series, which will focus on Mike Ferro (Holbrook), a passenger on an LA subway train that is bombed.

Ferro just wants to make sure his wife and 10-year-old daughter are safe, but faulty evidence on the ground and ‘tweet now, confirm later’ journalism make it look like he was responsible for the bombing.

Wrongfully but publicly accused, Ferro must prove his innocence by finding the real perpetrator before chasing Detective Clay Bryce (Sutherland), who’s heading the investigation, can catch him.

The Fugitive marks a reunion for Sutherland and Hopkins, who previously worked together on landmark series 24. Hopkins directed 12 episodes of 24‘s first season in 2001-02, including the series pilot and the season one finale. Read our review of the first season

The Fugitive is among more than two dozen scripted projects set up at Quibi, which is set to launch in spring 2020 and offer series in eight- to 10-minute ‘chapters’ designed for viewing on mobile devices.

Succession: Season 2, Episode 6 (Damage Control) - Review


Review by Rob Carnevale

IndieLondon Rating: 4.5 out of 5

DAMAGE Control, the sixth episode of the stupendous second season of Succession, simmered beautifully for long periods, before exploding to life for a spectacular climax.

Jesse Armstrong’s drama cranked up the pressure on family patriarch Logan Roy (Brian Cox) and, in so doing, offered a masterclass in sustained tension. But he also dropped in moments of brilliant humour.

The main thrust of the episode took place at Argestes (‘See, Hear, Do, Be’), a prestigious conference for the rich and prosperous, at which ATN looked to rebrand and reposition itself as a better news deliverer, and which – more relevantly – Logan and his legal team looked to sign the deal with for the acquisition of PGM.

What the Roys hadn’t reckoned on, however, was the looming storm posed by an imminent article by New York magazine, designed to offer an exposé on sexual misconduct in Waystar Royco’s cruise division. The potential for damage was akin to the iceberg hitting the Titanic, especially in terms of the PGM deal.

To add to the storm, media-mogul rivals Sandy Furness and Stewy, are also present, keen to upset the PGM deal so that they can further their own ambitions to buy Waystar.

What ensued was a high stakes chess match in which the Roys, for once, seemed always to be one step away from finding themselves in check-mate.

An attempt to strong-arm New York magazine, for example, backfired spectacularly and prompted the early online release of the story, thereby scuppering the imminent deal with PGM. Kendall (Jeremy Strong) also attempted to ‘reach out’ to Stewy in his own muddled way, to ward him off furthering his buy-out attempt, only to have the approach thrown back in his face.

What Damage Control did so brilliantly, however, was once again highlight the ongoing tussle between old money and new: as well as contemporary thinking against out-dated business models, thereby encompassing such hot button topics as the #MeToo movement.

The series has already touched upon #MeToo but in this episode the sins of the past came home to roost. The Roys may not have ever condoned the behaviour of some of their male employees, but they didn’t do anything to deter such practices either. Rather, in the case of Matthew Macfadyen’s hapless Tom, they sought to shred the evidence and bury it.

Now, though, they were forced to confront it. Shiv (Sarah Snook) opted for a swift condemnation and a moving on, whilst refusing to be the figurehead for any public commentary. Kendall, on the other hand, sought to take ownership of it and properly do right by the victims. Logan just wanted to find the quickest way forward to deal with it, so that he could concentrate on bringing home the PGM deal.

Needless to say, the family mis-handled the whole debacle. Kendall first broke ranks and opted to pursue his course of action, Shiv unwisely referred to her father as a ‘dinosaur’ (before back-tracking) and Roman (Kieran Culkin) once more found himself racing to catch up.

The beauty in the writing was echoed by the performances. As the tension built, so did individual pressure cooker situations. Shiv went and saw Rhea (Holly Hunter) to gauge PGM opinion. In fact, she all but dug her own grave, appearing hopelessly out of her depth as she attempted to play her own chess match with the far more wily Rhea.

The scene in question provided utterly gripping viewing as Rhea continually found a way to gain the upper hand over Shiv, while Shiv wriggled uncomfortably in her seat, eager to please the woman before her without undermining her own position, or risk garnering the wrath of her father any further. The two women played the scene beautifully.

But this was just a taster for what was to come. By the episode’s end, Logan blew. The pressure had become too much. With PGM on the verge of pulling out of the deal, mostly due to the indignation of Nan (Cherry Jones), and with his children continually bickering, Logan lashed out, physically and verbally.

Roman caught the worst of it (literally), being struck across the face by his father. But Shiv also saw her own position at the top of the tree once more dealt a potentially fatal blow. The impact of Logan’s meltdown was mesmerising, and contained small tells. Kendall, for instance, showed more backbone than ever before in standing up to Logan and defying him to strike Roman any further. It almost jolted him out of his subservience, but also prompted the question: would Roman have done the same for his brother if the shoe had been on the other foot?

Is there a way back for Shiv, now that she’s dropped yet another clanger?

The stakes have never seemed so high, for if the PGM deal cannot be closed, then the wolves may be able to move in for Waystar in general. Logan knows it. He despairs at the thought of it. Hence, the loss of cool as the episode came to its close, as a desperate Logan pursued Nan out of the conference centre in one final, fool-hardly attempt to salvage the deal.

But the power had shifted. Where Logan had held the upper hand by the end of the previous episode, he now cut a disconsolate, almost pathetic figure. And viewers were in new territory for him.

If those final moments marked Succession at its most potent and dramatic, then it’s also worth praising some of the more humourous, tension-dissipating scenes that came before: none more so than the brilliantly comic exchange between Tom (Macfadyen) and Greg (Nicholas Braun) about ATN’s new slogan: ‘we’re listening’.

As ever with this partnership, there was mirth amid the mayhem, as both men attempted to grapple with the implications of the ‘we’re listening’ faux pass and come up with a new, similarly sounding logo. Their decision to settle with ‘we hear for you’ (ambiguous message and all) was a master-stroke of comic timing… while the denouement of that joke, as Tom unveiled the logo at the conference (mis-spelt for heightened ineptitude) was brilliantly understated… but so wonderfully well played.

It’s this magical mix of humour and drama, of hot button issues versus strained family dynamics, and greed offset by tragedy, that makes Succession such essential, inspired viewing.

Read our verdict on the previous episode – Tern Haven

Gemma Arterton leads all-star cast in BBC's Black Narcissus adaptation

Tamara Drewe

Story by Jack Foley

GEMMA Arterton is to lead an all-star cast in a new three-part adaptation of the 1939 classic literary novel Black Narcissus.

BAFTA award-winning writer Amanda Coe has adapted Rumer Godden’s iconic tale of sexual repression and forbidden love for BBC One and FX Productions, with Arterton (The King’s Man, The Escape) taking the iconic role of Sister Clodagh.

She will be joined by Alessandro Nivola (American Hustle, Chimerica) as Mr Dean, Aisling Franciosi (The Nightingale, I Know This Much Is True) as Sister Ruth, Diana Rigg (Game Of Thrones, Victoria) as Mother Dorothea, Jim Broadbent (Paddington 1 & 2, The Iron Lady) as Father Roberts, Gina McKee (Catherine The Great, Bodyguard) as Sister Adela, Rosie Cavaliero (Prey, Unforgotten) as Sister Briony, Patsy Ferran (Tom And Jerry, Jamestown) as Sister Blanche, Karen Bryson (MotherFatherSon, Safe) as Sister Philippa and Dipika Kunwar as Kanchi, who makes her television debut.

Charlotte Bruus Christensen makes her directorial debut having previously been Director of Photography on hit films such as Girl On A Train, A Quiet Place, Fences as well as DNA and BBC Films’ Far From The Madding Crowd.

Returning this haunting love story to its original setting in the 1930s, Black Narcissus follows Sister Clodagh (Arterton) and the nuns of St Faiths, who travel to Nepal to set up a branch of their order in the remote palace of Mopu.

In the unfettered sensuality of the so-called House of Women, Sister Clodagh finds herself increasingly attracted to the handsome and damaged land agent, Mr Dean (Nivola). But as the repressed memories of Clodagh’s past become entangled with the tragic history of Princess Srimati, history seems doomed to repeat itself.

Are there really ghosts here in the Himalayas, or are the nuns just succumbing to long-repressed primal desires? And which of them is prepared to die – or kill – for love?

Announcing the project, writer Amanda Coe said: “I’m thrilled to be adapting Black Narcissus for BBC One. It’s a truly extraordinary love story, as well as a brilliantly unsettling piece of 20th century gothic about the power of a place to get under your skin and the dangers of refusing to learn from history.”

Black Narcissus was previously adapted for screen in 1947 by Powell and Pressburger and subsequently won two Oscars for Cinematography (Jack Cardiff) and Art Direction (Alfred Junge).

Peaky Blinders: Season 5, Episode 5 (The Shock) - Review

Peaky Blinders

Review by Rob Carnevale

IndieLondon Rating: 4 out of 5

THE penultimate episode of the fifth season of Peaky Blinders achieved some series highs, as well as highlighting its ongoing problems with femininity.

First, the positives. And there were many, not least a barnstorming speech from Sam Claflin’s Sir Oswald Mosley, which simultaneously managed to combine appropriate historical context with ‘on the money’ contemporary pot-shots at everything from Brexit to Donald Trump. It was a dazzling display of writing, anchored by a tour-de-force performance from Claflin.

The speech in question came early in the hour, as Mosley unveiled his grand plan to create a new political party, the British Union of Fascists, which would put the rights of everyday workers above the more affluent likes of Jews. The speech was abhorrent, as evidenced by Aberama Gold (Aiden Gillen)’s fantastic response – a spit into the wind, to underline the disdain felt about its sentiments.

But it did serve to show how well placed rhetoric can be used to stir rebellion and create change. Mosley leant on class division and his words weren’t without some truth. Yet it masked the danger of the real ideologies within, thereby paving the way for the tidal wave of fascism that was about to sweep Europe throughout the ’30s, culminating in the rise of dictators such as Adolf Hitler and Benito Mussolini.

And yet, Steven Knight also managed to lend the speech contemporary resonance, nodding towards the social divides that Brexit has caused (especially over issues such as immigration and, therefore, tolerance) as well as the rise of a modern day ‘dictator’ such as US President Donald Trump… he even managed to include the word ‘trump’ at one point, while having Mosley lash out at the newspapers for delivering ‘fake news’.

The speech really was a bravura piece of writing, given added impetus and potency by the brilliance of Claflin’s delivery. This was his Mosley stepping out of the shadows to deliver his rallying call and it delivered quite a punch… stirring the audience it was aimed at, while truly revealing him to be the ‘big bad’ of this fifth season.

Alas, if that speech marked Peaky Blinders at its absolute best, the moments that followed did serve to highlight Peaky Blinders at its worst. Mosley’s villainy was already such that it didn’t really need to then have a scene of him ‘fucking’ a swan (or ballet dancer), ferociously tackling her from behind in the most degrading way possible as if to underline the show’s ongoing problem with feminism.

Peaky Blinders has long had a history of depicting sexual violence towards women, a statement underlined by the fact that most episodes come with a warning about such content before they air. But while progress has certainly been made in its portrayal of most of the female protagonists (with Ada Shelby and Polly both emerging with most credit this series), there is still an alarming tendency to have more peripheral female characters demeaned.

Mosley didn’t need to add sexual deviance to an already vile character.

Two more examples of the best and the worst were to be found in this episode’s big set pieces. The best saw the unexpected death of Colonel Ben Younger (Kingsley Ben-Adir) in a car bomb explosion, possibly at the hands of Special Branch, Section D, in response to his investigation of Mosley.

The fact that the explosion also claimed the life of an innocent 10-year-old child was especially potent, allowing a rare moment of poignancy for Cillian Murphy’s Tommy, as well as more inner torment. He has another innocent life to atone for… and the toll of a lifetime’s worth of killing is already taking a heavy toll on the character this season. Murphy played the scene and its aftermath brilliantly.

In contrast, Arthur’s machine gun rampage against the Titanic gang in Poplar was evidence of Peaky Blinders at its most ludicrous. Paul Anderson’s character would almost certainly have ben gunned down in the confrontation if the scene hadn’t been played so over the top, thereby reducing said scene to virtual parody and dissipating any tension.

Anderson fared far better during the moments following the shooting of his beloved Linda, during which she invited him to stay among the living to stew in his own torment. In those few seconds, Anderson conveyed the tumultuous nature of his fractured psychology to perfect effect… neatly offsetting a certain self-loathing with a warm embrace of his more psychotic inclinations during a final act confrontation with the Billy Boys’ Jimmy McCavern (Brian Gleeson).

For all of the criticisms of Peaky Blinders as a whole, The Shock did ultimately serve to highlight the series at its very best, neatly setting things up for the season finale next week with plenty of enemies to dispatch and uncertainty surrounding every character hanging in the air.

It should be quite a climax to a mostly excellent fifth series.

Jeff Bridges and John Lithgow to star in FX CIA drama The Old Man

R.I.P.D, Jeff Bridges

Story by Jack Foley

JEFF Bridges and John Lithgow are to star in new CIA drama The Old Man for FX.

Based on a novel by Thomas Perry, the series stars Bridges in his first series-regular role as Dan Chase, who fled from the CIA decades ago and has been living off the grid ever since.

However, when an assassin finds and tries to kill Chase, the former operative learns that to ensure his future, he must reconcile his past.

Lithgow will play Harold Harper, an intelligent and tough former FBI agent, who is also called back to the bureau after suffering a terrible personal loss.

But owing to the fact he has a complicated past with Chase, he becomes uniquely suited to hunting him down.

Jon Watts, best known for Spider-Man movies Homecoming and Far From Home, is to direct.

The Old Man is being written by Jon Steinberg and Robert Levine (Black Sails), who is executive producing with Watts.

BBC reveals November world premiere date for His Dark Materials series

His Dark Materials (HBO)

Story by Jack Foley

HIS Dark Materials, Jack Thorne’s adaptation of Philip Pullman’s acclaimed series of novels, will have its global premiere on Sunday, November 3, 2019, on BBC One and BBC iPlayer.

The eight-part adaptation tells the story of Lyra, the young protagonist who lives in Jordan College, Oxford. Placed there at the request of her Uncle, Lord Asriel, she lives a sheltered life amongst the scholars and college staff while under the watchful protection of The Master and Librarian Scholar Charles.

When the glamorous and mesmeric Mrs Coulter enters Lyra’s life she embarks upon a dangerous journey of discovery from Oxford to London. Here she meets Father Macphail, Lord Boreal and journalist Adele Starminster at a glittering society party where she first hears about the sinister General Oblation Board.

Lyra is subsequently thrown into the nomadic world of the boat dwelling Gyptians – Ma Costa, Farder Coram, John Faa, Raymond Van Geritt, Jack Verhoeven and Benjamin de Ruyter who take her North in her quest. Once in the North she meets charismatic aeronaut and adventurer Lee Scoresby who joins them on their epic journey and who becomes one of Lyra’s closest allies.

The stellar cast for His Dark Materials includes Dafne Keen as Lyra, Ruth Wilson as Mrs Coulter, Lin-Manuel Miranda as Lee Scoresby, James McAvoy as Lord Asriel, Clarke Peters as The Master of Jordan College, James Cosmo as Farder Coram and Anne-Marie Duff as Ma Costa, with Will Keen as Father McPhail and Ariyon Bakare as Lord Boreal.

His Dark Materials is produced by Bad Wolf and New Line Cinema for BBC One and HBO.

Succession: Season 2, Episode 5 (Tern Haven) - Review

Succession: Tern Haven

Review by Rob Carnevale

IndieLondon Rating: 5 out of 5

OLD money may have collided with new money and journalistic integrity took on fake news in the latest episode of Succession but there was only one clear winner: money.,

Tern Haven, the fifth episode of a superlative sophomore season, offered another masterclass in writing and acting. It was bang on the money in terms of its world view, highlighting the cold hard fact that money does, indeed, make the world go round. Anyone can be bought. Ethics and morals will only get you so far.

But then again, with such a skewed morality on play throughout, it wasn’t always easy to divide the good from the bad. If anything, you inadvertently ended up rooting for the Roys over the Pierces, such was the hypocrisy on show.

Yet, as if to underline the twisted genius of Succession as a whole, the most sympathetic characters were, arguably the most damaged… and there was still a perverse delight in seeing everyone sabotage themselves.

Sound complicated? It kind of was. The set-up was simple, though. With Logan Roy’s deal to clinch PGM very much on, the Pearces asked the wider Roy family to spend a weekend with them at their estate, so that they could see and asses the Roys’ moral character first-hand.

Hence, each Roy had a role to play, rather like a football team. Kendall (Jeremy Strong) had to grapple with Naomi Pearce (Annabelle Dexter-Jones), the unexpected family member who hitherto had a history of sitting things out business-wise. She had the potential to block the whole deal.

Shiv (Sarah Snook) and Roman (Kieran Culkin) also have their own targets, while Tom (Matthew Macfadyen) is the ‘straw man’, or patsy, for ATN… the man in line to take a fall. No one is comfortable with their roles, least of all Tom. But then even Logan (Brian Cox) will find himself tested during the course of the get-together.

As ever with Succession, barbed humour sat snuggly alongside extreme tension as well as the occasional moments of heartbreak. For as despicable as these characters can undoubtedly be to each other, the acting is so good that you can often see the hurt that such actions cause.

Snook, for example, excelled in this episode. Her paranoia at being played by her father festered and bubbled beneath the surface until it eventually exploded. Hence, when a Pearce family member dared to ask the million dollar question concerning a successor to Logan, a clearly put upon Shiv broke ranks to exclaim: “Dad, just tell them it’s going to be me.” The silence that followed was palpable. Looks were exchanged – either shocked or in disdain.

If Shiv ‘shit the bed’ figuratively, then there was still more faeces to come. Kendall managed to forge an unlikely bond with Naomi over their mutual addictions, resulting in a highly surprising romantic bond that seemed destined to end in good things for Kendall. But, the following morning, he woke up having, quite literally, shit the bed. And therein lies Kendall’s capacity to break your heart. If there were winners in this episode, then Kendall could count himself among them… but at what cost personally once more?

The hurt and anxiety that’s always inherent in Macfadyen’s Tom was also evident once more as he was thrown to the wolves by the wider Roy clan. His head had been on the chopping block even before Shiv’s outburst… but Tom can now expect to bear the brunt of Logan’s fury at Shiv’s outburst. As desperately unlikeable as some of Tom’s actions often can be, there is a feeling he knows how despicable he has become, and dislikes himself for it.

There was something quite sad in seeing him fight for his own worth against Shiv during a time out in the Pearce hallway, before then having to put his own ambition to one side, fleetingly, in order to build her back up – without ever coming close to having that kind of emotional support reciprocated.

But such are the nuances of Succession. They are so damn addictive. So cleverly written and portrayed.

By the time Logan had to face his challenge, the tension had reached boiling point. And for all of the Roys’ emotional failings and ethical shortcomings, it came down to a question of cash.

Would Logan agree to pay $1 billion more for his prized asset? And would he also be prepared to confirm Shiv as his successor? Those were the terms, as coldly laid out by Nan Pearce (a consistently excellent Cherry Jones), in a bid to put integrity before shock values… and old money ‘nobility’ before new money excess (her family even quoted Shakespeare along the way).

Would Logan have to roll over to get what he wanted? Not a chance. Logan bit back. He wouldn’t be bullied into announcing his successor. He would do it on his own time. That reply, alone, sent a shiver down the spine of an already frightened Shiv.

But then the final, telling line, delivered with such relish by Cox. A firm no. Followed by: “Do you want to know what my favourite Shakespeare passage is? Take the fucking money!”

With that, the deal appeared to have collapsed. The Roys departed, tails between their legs, and Logan was furious.

But such disappointment was fleeting. In the time it took the Roys to return to New York, the Pearces had capitulated and accepted the deal. Money had won, just as money always wins. Old money could continue to bask in the spoils of the takeover, while new money could revel in its ability to conquer all.

Cox’s Logan was cock-a-hoop with joy. Yet, there was no reprieve for Shiv. She has been left to stew on her mistakes, ever more mindful that – just like Kendall last season – the crown is beginning to slip from her grasp (if it was ever there in the first place).

But then another great joy of Succession is that we have no clue what’ll follow either. We’re hopelessly addicted to the Roys, thereby exposing that ruthless streak in ourselves, and thirsting for more time in their company.

Tern Haven was yet another tour-de-force in a series that just keeps getting better and better.

Read our verdict on the previous episode

Richard Dormer boards BBC America's The Watch

Richard Dormer

Story by Jack Foley

RICHRD Dormer is to star in new BBC America series, The Watch, based on Terry Pratchett’s Discworld novels.

Dormer, best known for playing Beric Dondarrion on the HBO megahit Game of Thrones, follows a group of misfit cops who rise up from decades of helplessness to save their corrupt city from catastrophe.

Adam Hugill (1917), Jo Eaton-Kent, Marama Corlett (Blood Drive), Lara Rossi (Robin Hood) and Sam Adewunmi (The Missing) also star in the series, which is set to begin production in late September in South Africa.

The Watch is based on the City Watch subset of Pratchett’s Discworld series. It’s set in the fictional city of Ankh-Morpork, where crime has been legalized.

Dormer will play Sam Vimes, captain of the Watch, who has seen his department’s jurisdiction reduced to almost nothing.

The actor commented: “I’m so thrilled to be part of this brilliant madness and mayhem. I was immediately drawn to the multitude of layers to Sam Vimes, and I find the dynamic between him and his band of disenfranchised comrades very compelling.”

Eaton-Kent will play Constable Cheery, an ingenious, non-binary forensics expert, while Hugill will play Constable Carrot, an idealistic and naïve new recruit.

Corlett plays the mysterious Corporal Angua, who’s charged with training Carrot and keeping him alive; Rossi will play Lady Sybil Ramkin, the last scion of Ankh-Morpork’s nobility, who tries to fix the city via vigilantism, and Adewunmi plays Carcer Dun, a wounded and wrong man out to take control of the city and exact revenge on an unjust reality.

Lead writer and executive producer Simon Allen (The Musketeers) commented: “Sir Terry Pratchett is in the bloodstream of popular culture. He has a distinctly British kind of literary heart and humour, but his ideas are defiantly human and universal.

“It’s been such a privilege to work with our world-class director [Craig Viveiros], producers and writers on building a television show that honours his legacy while striking out on its own in his name and spirit. Like the man whose genius inspired it, The Watch is a hopeful show that believes it’s better to light a candle than curse the darkness. I can’t wait for everybody to see our joyously brilliant cast light candles and, of course, flamethrowers.”

Joy Wilkinson (Doctor Who), Catherine Tregenna (Torchwood), Amrou Al-Kadhi (Little America) and Ed Hime join Allen as writers on the eight-episode series from BBC Studios and Narrativia.

John C Reilly replaces Michael Shannon in HBO's Los Angeles Lakers drama

John C Reilly in Cyrus

Story by Jack Foley

JOHN C. Reilly is to replace Michael Shannon in HBO’s drama pilot about the 1980s Los Angeles Lakers.

Reilly will play Jerry Buss in the project, who bought the Lakers, the NHL’s Los Angeles Kings and the Forum in Inglewood in 1979, is a self-made millionaire whose success served to heighten his proclivity for risk.

He went on to redefine American sports, celebrity and wealth by transforming the Lakers into a dynasty.

However, his house of cards threatens to collapse on him and the people he loves most.

Jason Clarke, of Dawn of the Planet of the Apes fame, has also joined the cast as Lakers legend Jerry West, the team’s general manager in the ’80s.

Thus far, the pilot has yet to be named. But HBO have stated that the drama will chronicle the professional and personal lives of the ’80s Lakers, both on and off the court.

It is based on Jeff Pearlman’s book Showtime: Magic, Kareem, Riley and the 1980s Los Angeles Lakers Dynasty.

The pilot is being executive produced and directed by Adam McKay, whose recent work includes the heavy-hitting dramas The Big Short and Vice.

The role of Buss would be Reilly’s first as a series regular in primetime. Original star Shannon has reportedly exited due to creative differences, according to The Hollywood Reporter.

Hailee Steinfeld in talks for Disney+ Hawkeye series

True Grit, Hailee Steinfeld

Story by Jack Foley

HAILEE Steinfeld is in talks to join Disney+‘s new Hawkeye series.

The actor is in being eyed to play Kate Bishop, a young hero trained by Jeremy Renner’s Clint Barton to fight crime with the help of a bow and arrow.

In the comics, her character debuted in 2005’s Young Avengers No. 1 and was created by Wonder Woman screenwriter Allan Heinberg and artist Jim Cheung.

She started out as an amateur athlete who later joined the Young Avengers, a group of teen heroes inspired by the Avengers.

Bishop quickly established herself as a fan favourite who became known for her athletic smarts and sarcastic personality. She went on to star in the critically-acclaimed 2012 Hawkeye comic book, which saw her train under Barton.

Eventually, she took up his mantle and top-lined the 2017 Hawkeye series.

Steinfeld, who earned an Oscar nomination and was launched to stardom with 2010’s True Grit, also headlined the successful Transformers spin-off Bumblebee last year.

She also became a member of the Marvel family last year, when she voiced Spider-Gwen in the Oscar-winning animated film Spider-Man: Into the Spider-Verse, which is part of Sony’s separate universe based on Spider-Man characters.

The Hawkeye series is expected to be ready to make its debut on Disney+ in autumn 2021 and is one of multiple Disney+ series in the works at Marvel Studios starring its big-screen talent, including Falcon & The Winter Soldier, WandaVision and Loki.

Marvel is also planning to introduce new heroes to headline future Disney+ shows, with She-Hulk, Moon Knight and Ms Marvel also in the works.

Former Mad Men writer Jonathan Igla will write and executive produce Hawkeye.

The only potential stumbling block in Steinfeld’s casting is that she is also committed to starring in another new series, Dickinson, for rival streaming service Apple, who – according to The Hollywood Reporter – have not cleared the actress for anything as yet.