As He-Man in ‘Masters of the Universe,' Nicholas Galitzine shows off ‘intense training' in first look
Wielding the iconic Power Sword and boasting a muscular build, actor Nicholas Galitzine is showing off his take on He-Man for the upcoming live-action adaptation of 'Masters of the Universe.'
The 'Red, White & Royal Blue' and 'Idea of You' star posted a first-look image on social media, writing that the anticipated movie is now in production. Amazon MGM Studios, Mattel and the film's accounts posted the same.
Mattel created the 'Masters of the Universe' franchise, based on a genre-bending, sci-fi and medieval story set on the planet Eternia, in the early '80s. With the popularity of MOTU toys, books and comics came video games, films and multiple animated series. There was a previous live-action movie in 1987, starring Dolph Lundgren as He-Man and Frank Langella as the villain Skeletor.
He-Man is the franchise's central hero, known for his superhuman strength. The bulk of the franchise's adaptations focus on He-Man's conflict with Skeletor, who will be played by Jared Leto in the upcoming film.
The rights to a film adaptation have changed hands many times, but in May 2024, Amazon MGM Studios announced the big-budget live-action project with director Travis Knight at the helm.
Days before the release of the teaser image, more cast members were revealed, including Idris Elba as Duncan/Man-at-Arms, Alison Brie as Evil-Lyn, Camila Mendes as Teela, Morena Baccarin as Sorceress, Sam C. Wilson as Trap Jaw and Jóhannes Haukur Jóhannesson as Fisto. The cast also includes James Purefoy, Sasheer Zamata, John Xue Zhang, Christian Vunipola, Charlotte Riley, Hafthor Bjornsson and Kojo Attah.
'Our director Travis Knight has assembled the most incredible ensemble cast and created a stunning tapestry of Eternia and its surrounding world,' Galitzine wrote on Instagram after saying he went through 'several months of intense training' for the role. 'I can't wait for you to see. More to come, but until then, here's a sneak peek at the Sword of Power. By the power of Grayskull!'
To transform into 'the strongest man in the universe,' as he described his character to W Magazine in January, Galitzine said he was doing a lot of stunt work, weightlifting and eating.
'I'm eating about 4,000 calories a day, but the amount of physical work I'm doing, you end up hungry at the end of the day, which is quite surprising,' he told the magazine. 'This is the fun part. I will eventually go into what's called the cutting phase, where I'm going to be starved and so rude to everyone. I can only apologize for the person I'm going to become in a few months' time.'
'Masters of the Universe' is set to be released June 5, 2026.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
9 minutes ago
- Yahoo
Q&A: Pulitzer Prize winner Robin Givhan chronicles Virgil Abloh's rise to fashion fame
NEW YORK (AP) — With his calm and cool demeanor, fashion disruptor and multi-hyphenate Virgil Abloh artfully challenged the fashion industry's traditions to leave his mark as a Black creative, despite his short-lived career. In the years since his 2021 death at just 41, his vision and image still linger. Pulitzer Prize-winning writer Robin Givhan sheds new light on how Abloh ascended the ranks of one of the top luxury fashion houses and captivated the masses with her latest book, 'Make It Ours: Crashing the Gates of Culture with Virgil Abloh.' In the book out Tuesday, Givhan documents Abloh's early life growing up as the son of Ghanaian immigrants in Rockford, Illinois, his days as graduate student studying architecture and his working relationship and friendship with Kanye West. Before taking the helm of Louis Vuitton as the house's first Black menswear creative director, Abloh threw himself into his creative pursuits including fine art, architecture, DJing and design. Abloh remixed his interests with his marketing genius and channeled it into fashion with streetwear labels like Been Trill and Pyrex Vision. These endeavors were the launchpad for his luxury streetwear label Off-White, known for its white diagonal lines, quotation marks, red zip ties and clean typeface. Off-White led to Abloh's collaboration with Ikea, where he designed a rug with 'KEEP OFF' in all-white letters and also with Nike where he deconstructed and reenvisioned 10 of Nike's famous shoe silhouettes. Throughout his ventures, Abloh built a following of sneakerheads and so-called hypebeasts who liked his posts, bought into his brands and showed up in droves outside his fashion shows. Social media made Abloh accessible to his fans and he tapped into that. Off-White had built a loyal following and some critics. Givhan, a Washington Post senior critic-at-large, openly admits that she was among the latter early on. Givhan said she was fascinated that Abloh's popularity was more than his fashion. 'For me, there was something of a disconnect really,' she said. 'That here was this person who had clearly had an enormous impact within the fashion industry and outside of the fashion industry, and yet it wasn't really about the clothing. It was about something else.' For her latest project, Givhan spoke with The Associated Press on how she approached each of Abloh's creative undertakings and his legacy during a period of heightened racial tension in America. This interview has been edited for brevity and clarity. AP: Tell me why you felt it was important to include the context of what was happening at the time Abloh was growing up as well as on his rise up through the fashion industry, with him ultimately ending up at Louis Vuitton. GIVHAN: Fashion doesn't just sort of happen in a vacuum. People are the product of their parents, their family, their environment, their timing, their interests, all of those things. I always like to see, what is swirling around people when they make certain decisions? What is sort of in the water that you're absorbing, that you are not even conscious that you're absorbing it. AP: Can you talk about the process of writing about all of his creative endeavors and how they shaped his career? GIVHAN: The skater culture — in part because it was such a sort of subculture that also had a very specific aesthetic and was such a deep part of the whole world of streetwear — and then the DJing part intrigued me because so much of his work as a designer seems to reflect a kind of DJ ethos, where you're not creating the melody and you're not creating the lyrics. You're taking these things that already exist and you're remixing them and you're responding to the crowd and the crowd is informing you. And so much of that, to me, could also be used to describe the way that he thought about fashion and the way that he designed. AP: What role would you say that Virgil has had in the fashion industry today? GIVHAN: He certainly raised the question within the industry of what is the role of the creative director? How much more expansive is that role? ... And I do think he has really forced the question of how are we defining luxury? Like what is a luxury brand? And is it something that is meant to sort of have this lasting impact? Is it supposed to be this beautifully crafted item? Or is it really just a way of thinking about value and beauty and desirability? And if it's those things, then really it becomes something that is quite sort of quite personal and can be quite based on the community in which you live. AP: How did he use social media to his advantage and to help catapult his career? GIVHAN: He really used social media as a way of connecting with people as opposed to just sort of using it as kind of a one-way broadcast. He was telling his side of things, but he was also listening to other people. He was listening to that feedback. That's also what made him this larger-than-life person for a lot of people, because not only was he this creative person who was in conversation with fans and contemporaries, but he was this creative person inside. He was this creative person at the very top of the fashion industry. For a lot of people, the idea that you could ostensibly have a conversation with someone at that level, and they would seemingly pull back the curtain and be transparent about things — that was really quite powerful. AP: You write about his relationship to Kanye in the book. Were you able to get any input from him on their relationship for the book? GIVHAN: Their individual ambitions, aesthetic ideas and curiosity kind of propelled them forward in separate directions. I did reach out to Kanye after a lot of the reporting because he obviously is this thread that is woven throughout the book. And, ultimately, he elected not to engage. But I was lucky enough to get access to an unpublished conversation that Virgil had had around, I think it was 2016-ish, where he talked at length about his working relationship with Kanye and sort of the differences between them and the similarities and the ways in which ... Kanye inspired him and sort of the jet fuel that he got from that relationship. More than anything, because Virgil's personality was in so many ways kind of the opposite of Kanye's, that for every door that Kanye was kind of pounding on, Virgil was able to politely sort of walk through. AP: Why do you think his legacy continues to persist? GIVHAN: For one, he had such an enormous output of work. I think there's a lot of it to consider. Also, sadly, because his career was cut so short that there is this sense of someone who sort of stops speaking mid-sentence. I've been thinking about how Virgil might have responded, how his creativity might have responded to this moment because so much shifted post-George Floyd that like this is another inflection point and it makes me wonder, 'OK, how would he have responded today?' And with the person who said, 'I'm not a rebel and I'm not a flame thrower,' would he have picked up some matches? I don't know.
Yahoo
19 minutes ago
- Yahoo
Beyoncé Dominates London: COWBOY CARTER Tour Shatters Records and Serves Fashion, Power, and History at Tottenham Hotspur Stadium
Beyoncé did not come to play. She came to obliterate. And obliterate, she did, in heels, on a horse, draped in couture, and with receipts that scream global domination. Last night, Her Royal Highness of Cultural Supremacy wrapped up an earth-shattering six-night residency at London's Tottenham Hotspur Stadium as part of her genre-defying, boundary-obliterating COWBOY CARTER TOUR, and the numbers are as disrespectfully iconic as the woman herself. Over the course of six sold-out, seismic, and soul-snatching nights (June 5, 7, 10, 12, 14, and 16), Beyoncé welcomed over 275,000 fans through the stadium gates and walked away with £45 million (that's over $61.5 million USD if you're nasty). In doing so, she didn't just break the stadium's records. She broke her own. Let that sink in. This woman outdid herself, and you know you're That Girl when your only real competition is you. In simpler terms, no one is touching this. Not in a decade. Not in a generation. Not in this lifetime. Maybe in the next dimension. Maybe. The COWBOY CARTER TOUR is more than just a music tour. It's a thunderclap of cultural reclamation, fashion warfare, and untamed Black Southern excellence. Each three-hour performance is a choreographed fever dream of Americana reimagined through Beyoncé's kaleidoscopic lens. Country, gospel, soul, rock, and R&B swirl like a sonic hurricane while visuals worthy of an Oscar ceremony elevate every note. The London stretch brought the looks, darling. And I do mean the looks. Beyoncé debuted jaw-dropping custom creations from British fashion juggernauts Stella McCartney, Burberry, and Vivienne Westwood. She served futuristic cowgirls from emerging UK darlings like Poster Girl and Off-White under Ibrahim Kamara. She still found time to flaunt Versace, Dolce & Gabbana, Ferragamo, and a glittering set of Shola Branson jewelry like it was light work. It wasn't just a performance. It was an intergalactic rodeo of couture chaos and historic showmanship. Now that Beyoncé has transformed Tottenham Hotspur into her personal runway, church, and throne room, she's headed for Paris for a divine three-night engagement at Stade de France (June 19, 21, and 22). After that? She gallops back to the United States to serve celestial chaos in Houston, Washington D.C., Atlanta, and Las Vegas. Oh yes, she's taking this sparkling rhinestone revolution globally, and nobody is safe. Let's not forget the empire behind the glamour. The COWBOY CARTER TOUR is produced by Parkwood Entertainment and promoted by Live Nation, with curated experiences provided by Vibee. Premium whiskey is poured courtesy of SirDavis, and unforgettable glam is delivered through Cécred, Beyoncé's own haircare brand. The Cécred Roadshow, a chrome-wrapped temple of follicular glory, will be making pit stops across America, featuring exclusive merch, samples, fan cams, and more. Naturally, Ulta Beauty, the nation's largest beauty retailer, is backing it all as the official beauty retail partner. Because when Beyoncé does beauty, she doesn't just drop products. She builds an entire universe of texture, fragrance, and follicles blessed by God herself. And in case you were wondering if the Queen does anything without purpose, no, darling. The BeyGOOD Foundation is riding alongside the tour with over $3 million in direct community investments, supporting scholarships, entrepreneurship programs, and disaster relief initiatives, including aid for wildfire survivors in Los Angeles. She's changing lives in a stadium, on a horse, and from the heart. There are tours. And then there's whatever COWBOY CARTER is. It's not just about selling out stadiums. It's about redefining genre, challenging whitewashed country narratives, and planting the Black feminine flag right at the center of America's musical mythology. Beyoncé's giving you Dolly, Tina, Aretha, and a lil' sci-fi cyborg showgirl all in one body and doing it in couture and custom boots. She's not just riding into town. She owns the damn town. The post Beyoncé Dominates London: COWBOY CARTER Tour Shatters Records and Serves Fashion, Power, and History at Tottenham Hotspur Stadium appeared first on Where Is The Buzz | Breaking News, Entertainment, Exclusive Interviews & More.
San Francisco Chronicle
an hour ago
- San Francisco Chronicle
Q&A: Pulitzer Prize winner Robin Givhan chronicles Virgil Abloh's rise to fashion fame
NEW YORK (AP) — With his calm and cool demeanor, fashion disruptor and multi-hyphenate Virgil Abloh artfully challenged the fashion industry's traditions to leave his mark as a Black creative, despite his short-lived career. In the years since his 2021 death at just 41, his vision and image still linger. Pulitzer Prize-winning writer Robin Givhan sheds new light on how Abloh ascended the ranks of one of the top luxury fashion houses and captivated the masses with her latest book, 'Make It Ours: Crashing the Gates of Culture with Virgil Abloh.' In the book out Tuesday, Givhan documents Abloh's early life growing up as the son of Ghanaian immigrants in Rockford, Illinois, his days as graduate student studying architecture and his working relationship and friendship with Kanye West. Before taking the helm of Louis Vuitton as the house's first Black menswear creative director, Abloh threw himself into his creative pursuits including fine art, architecture, DJing and design. Abloh remixed his interests with his marketing genius and channeled it into fashion with streetwear labels like Been Trill and Pyrex Vision. These endeavors were the launchpad for his luxury streetwear label Off-White, known for its white diagonal lines, quotation marks, red zip ties and clean typeface. Off-White led to Abloh's collaboration with Ikea, where he designed a rug with 'KEEP OFF' in all-white letters and also with Nike where he deconstructed and reenvisioned 10 of Nike's famous shoe silhouettes. Throughout his ventures, Abloh built a following of sneakerheads and so-called hypebeasts who liked his posts, bought into his brands and showed up in droves outside his fashion shows. Social media made Abloh accessible to his fans and he tapped into that. Off-White had built a loyal following and some critics. Givhan, a Washington Post senior critic-at-large, openly admits that she was among the latter early on. Givhan said she was fascinated that Abloh's popularity was more than his fashion. 'For me, there was something of a disconnect really,' she said. 'That here was this person who had clearly had an enormous impact within the fashion industry and outside of the fashion industry, and yet it wasn't really about the clothing. It was about something else.' For her latest project, Givhan spoke with The Associated Press on how she approached each of Abloh's creative undertakings and his legacy during a period of heightened racial tension in America. This interview has been edited for brevity and clarity. AP: Tell me why you felt it was important to include the context of what was happening at the time Abloh was growing up as well as on his rise up through the fashion industry, with him ultimately ending up at Louis Vuitton. GIVHAN: Fashion doesn't just sort of happen in a vacuum. People are the product of their parents, their family, their environment, their timing, their interests, all of those things. I always like to see, what is swirling around people when they make certain decisions? What is sort of in the water that you're absorbing, that you are not even conscious that you're absorbing it. AP: Can you talk about the process of writing about all of his creative endeavors and how they shaped his career? GIVHAN: The skater culture — in part because it was such a sort of subculture that also had a very specific aesthetic and was such a deep part of the whole world of streetwear — and then the DJing part intrigued me because so much of his work as a designer seems to reflect a kind of DJ ethos, where you're not creating the melody and you're not creating the lyrics. You're taking these things that already exist and you're remixing them and you're responding to the crowd and the crowd is informing you. And so much of that, to me, could also be used to describe the way that he thought about fashion and the way that he designed. AP: What role would you say that Virgil has had in the fashion industry today? GIVHAN: He certainly raised the question within the industry of what is the role of the creative director? How much more expansive is that role? ... And I do think he has really forced the question of how are we defining luxury? Like what is a luxury brand? And is it something that is meant to sort of have this lasting impact? Is it supposed to be this beautifully crafted item? Or is it really just a way of thinking about value and beauty and desirability? And if it's those things, then really it becomes something that is quite sort of quite personal and can be quite based on the community in which you live. AP: How did he use social media to his advantage and to help catapult his career? GIVHAN: He really used social media as a way of connecting with people as opposed to just sort of using it as kind of a one-way broadcast. He was telling his side of things, but he was also listening to other people. He was listening to that feedback. That's also what made him this larger-than-life person for a lot of people, because not only was he this creative person who was in conversation with fans and contemporaries, but he was this creative person inside. He was this creative person at the very top of the fashion industry. For a lot of people, the idea that you could ostensibly have a conversation with someone at that level, and they would seemingly pull back the curtain and be transparent about things — that was really quite powerful. AP: You write about his relationship to Kanye in the book. Were you able to get any input from him on their relationship for the book? GIVHAN: Their individual ambitions, aesthetic ideas and curiosity kind of propelled them forward in separate directions. I did reach out to Kanye after a lot of the reporting because he obviously is this thread that is woven throughout the book. And, ultimately, he elected not to engage. But I was lucky enough to get access to an unpublished conversation that Virgil had had around, I think it was 2016-ish, where he talked at length about his working relationship with Kanye and sort of the differences between them and the similarities and the ways in which ... Kanye inspired him and sort of the jet fuel that he got from that relationship. More than anything, because Virgil's personality was in so many ways kind of the opposite of Kanye's, that for every door that Kanye was kind of pounding on, Virgil was able to politely sort of walk through. AP: Why do you think his legacy continues to persist? I've been thinking about how Virgil might have responded, how his creativity might have responded to this moment because so much shifted post-George Floyd that like this is another inflection point and it makes me wonder, 'OK, how would he have responded today?' And with the person who said, 'I'm not a rebel and I'm not a flame thrower,' would he have picked up some matches? I don't know.
