In their youths, T'Challa and Hunter were close, and would compete in childish games like footraces. He was consoled by his father's second wife Ramonda, who was also a foreigner, having been born and raised in South Africa, and the two grew as close as mother and son despite sharing no blood. Hunter was raised a Wakandan, but constantly felt that he was seen as an outsider by the rest of the nation. They sought King T'Chaka to settle the argument, who solved the situation by adopting the child for himself. The sole survivor, he was found by the Mtume family Pa Mtume, assuming they had angered the gods, wished to drown the child, but Ma, who hoped for their family to finally have a child of their own, wanted to adopt it. Hunter was born in the African nation of Mohannda, but was with his parents when they died in a plane crash over the bordering Wakanda. Those principles he learned covering the 2020 election, Palestine, and so much more are brought here to Collider where he has gleefully written on everything from the SAG-AFTRA and WGA strikes to Nathan Lane baby-birding sewer boys.Hunter looking at T'Chaka and baby T'Challa Between The IV Leader at Illinois Valley Community College and The Pegasus at Eureka, he spent the majority of his college career publishing articles on everything from politics to campus happenings and, of course, entertainment for the student body. Outside of entertainment, he's a graduate of Eureka College with a Bachelor's in Communication where he honed his craft as a writer. When it comes to gaming and anything that takes inspiration from it, he is deeply opinionated on what's going on. Whether it's taking in a baseball game, a new season of Futurama or Castlevania: Nocturne, or playing the latest From Software title, he is always finding ways to show his fandom. He is also an experienced baseball writer with five years of articles between multiple outlets, most notably FanSided's CubbiesCrib. Ryan O'Rourke is a Senior News Writer at Collider with a specific interest in all things adult animation, video game adaptations, and the work of Mike Flanagan. It's an emblematic scene of a new dawn for both Elsa and the Bloodstone family in general, as Giacchino explains: The estranged daughter of the Bloodstone family returned to the manor to take their namesake relic and thus take on the family's legacy, hoping to steer it in a new direction away from Ulysses Bloodstone's indiscriminate monster-hunting practices. Giacchino saw that ending where black and white gives way to color as key thematically to Elsa's ( Laura Donnelly) whole journey. "I think the first time you see it, you should see it in black and white because there is one thing about the color that is interesting, and I always wondered how that would play or not play, and that's at the end when Elsa sits down in that chair, and she has the Bloodstone, and then you start to hear “Somewhere Over the Rainbow,” and the colors start to emanate from Elsa on out," he said. For him, the answer was simple thanks to a key moment at the end of the special that he feels somewhat loses its effectiveness if the whole special is in color. The presentation holds a special place for the director-composer as it marked his first major project behind the camera. Collider recently hosted a color screening of Werewolf By Night followed by a Q&A session where Steve Weintraub asked director Michael Giacchino this very question about the special.
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