Five years after their indie film, The Peanut Butter Falcon, garnered wide-ranging acclaim as a charming, character-driven adventure, director Tyler Nilson and Michael Schwartz are back on the scene with their follow-up film, Los Frikis. Described by Schwartz as “Spanish-language Cuban movie about HIV and punk rockers,” Los Frikis was a passion project for the pair who turned down major studio offers following their successful debut. However, as they look ahead to what’s next, Nilson and Schwartz may move away from their indie roots.
In an interview with THR, Nilson and Schwartz revealed that one possibility for their next project is a 70s, “Australian surfer” version of the 1950 Disney film, Treasure Island.
After nearly 20 years in development as an animated film, Disney pivoted and produced Treasure Island, adapted Robert Louis Stevenson‘s 1883 novel of the same name, as its first live-action film. A pirate adventure through and through, the film features Long John Silver, played by Robert Newton, whose over-the-top accent and antics have become ingrained in pirate pop culture. Over fifty years later, the studio finally delivered its animated adaptation, the sci-fi space adventure, Treasure Planet.
While Nilson and Schwartz’s new take on Treasure Island is still in development, it sounds as though it will be anything but another beat-for-beat Disney remake. “It has the patina of the 1970s surf world. It’s all there,” explained Nilson of the duo’s vision for the project. “It’s an Australian surfer version of TreasureIsland,” said Schwartz, “and if they ever make it, it would be so fun. It has the vibes that we do, and there’s found family, brotherhood, drama and outsider energy.“
Only halfway through its first season, the DC Studios’ Max streaming series, Creature Commandos, has been renewed for a second season of monster madness.
We are excited to continue this wild ride with our partners at Max. You want more monsters, you’re getting more monsters!
-Peter Girardi, WB Animation
“We’re thrilled to team up to team up with Max for another season of Creature Commandos mayhem,” said DC Studios’ co-chair and series creator James Gunn. Despite the quick green light for another batch of episodes, unless production on the series is already under way at DC Studios, it could be quite some time before they hit Max. Despite all the advantages offered through animation, such projects are notoriously slow to get from the idea stages to a fully-realized series.
Only James Gunn could have conjured this wild band of misfit monsters who tug at your heart and force you to root passionately for them. We couldn’t be more delighted to continue their stories with James, Dean Lorey, Peter Safran and our fantastic partners at DC Studios and Warner Bros. Animation.
-HBO & Max comedy programming head Amy Gravitt
With four more episodes of the first season left and Gunn already having taken one of the Commandos out of commission already, it’s unclear which cast members, if any, will return for a second season of the animated adventure.
The first four episodes of Season 1 of Creature Commandos are now available on Max with the fifth episode debuting this Thursday.
The first teaser for DC Studios’ Superman garnered over 250 million views in its first day, making it, according to DC Studios’ co-chair and the film’s director James Gunn, the most viewed trailer in the history of DC and its parent company, Warner Bros. Given the latter’s century-long history of producing some of Hollywood’s biggest movies, that’s an incredible accomplishment.
The teaser provided the first look at David Corenswet‘s Man of Steel and the all-new DCU and it looks as though there will be a lot going on both in Metropolis and around the globe. In fact, it’s possible that at least a few of those 250 million views came from fans checking out the trailer multiple times while trying to uncover some clues about a mysterious figure seen on the front page of The Daily Planet.
Visible in several different scenes, the front page story of the paper boasts the headline “Hammer of Boravia Creates Havoc Downtown” next to a photo of said Hammer. Without a clear look at the photo, fans began to theorize about who the character may be with classic DC villain and Legion of Doom member Gorilla Grodd a popular pick. The character does, after all, appear in Creature Commandos and the blurry image does contain a pretty bulky figure. However, a high-res copy of the paper obtained by Twitter user DCU Updates reveals exactly who the chaos causer is and some very intriguing details that add context to the teaser.
Here is the high res version of the paper and below is the article, written by Clark Kent of course pic.twitter.com/WiXhUtFEza
It turns out the mysterious “Hammer of Boravia” is actually just the Hammer of Boravia, a character it seems that Gunn created for the movie rather than someone drawn from DC Comics’ lore. And he’s made the front page The Daily Planet because he came to town looking to tangle with Superman after the Man of Steel took it upon himself to end Boravia’s invasion of its neighboring country, Jarhanpur.
Metropolis was targeted by a superpowered mystery man on Sunday, resulting in over 20 million dollars in damage to the city. The self-titled “Hammer of Boravia” attacked Downtown Metropolis claiming it was retribution for the recent political interventions in Boravia by Superman. This vengeful expedition turned into a terrorist assault on American soil, hospitalizing 22 Metropolis citizens. Boravia has been the source of numerous headlines worldwide in recent weeks as it invaded its neighboring country Jarhanpur, only for the brief war to be swiftly ended by the Superman. The President of Boravia, Vasil Glarkos(?), maintains the Hammer of Boravia is not a representative of the national government, but rather an independent vigilante.
As theorized here, Superman seems to have taken inspiration from one of the character’s earliest comic book adventures which saw him single-handedly put a stop to a civil war raging in Boravia. It remains to be seen what stake, if any, LuthorCorps has in the Boravian invasion of Jarhanpur and if that’s how Superman ends up in the sights of Nicholas Hoult ‘s Lex Luthor.
When addressing the political ramifications of his actions, Superman said, “While critics thousands of miles away from this conflict continue to argue if what I did was right or wrong, the bottom line is peoples lives were threatened. I had to act.”
The notion of Superman inserting himself into global geopolitics isn’t novel, having played a major role in the character’s DC Comics history, with the character once having renounced his U.S. citizenship in Action Comics #900. “I’m tired of having my actions construed as instruments of U.S. policy,” the hero said, adding “Truth, justice and the American way – it’s not enough anymore. The world’s too small. Too connected” And that certainly seems to be the vibe Gunn was after by having the character involved in the invasion of Jarhanpur.
As one of the world’s greatest minds would tell you, everything dies. People, planets, suns, galaxies and universes all have expiration dates because they all have natural lifespans. Over a decade ago, Reed Richards understood and accepted that and explained it to his fellow heroes as Jonathan Hickman launched the dual runs on Avengers and New Avengers that would ultimately lead to Secret Wars. As Marvel Studios Multiverse Saga makes its way toward the same inevitable end in 2027’s Avengers: Secret Wars, fans of the MCU should start to get comfortable accepting that same inevitability; however, for myriad reasons, Reed Richards isn’t around to help them understand that just yet. So while What If…?, the studio’s multi-season multiversal adventure arrives at its end, it does so too early for fans to fully appreciate its coda.
Though no fault of its own, the final season of Marvel Animation’s first canonical adventure arrives about two and a half years too early for the magnitude of its multiversal mayhem to make the impact it should. Once upon a time, the Multiverse Saga was set to conclude on November 7, 2025, less than one year from the launch of What If…? Season 3. Had Marvel Studios adhered to that timeline, revealed at SDCC ’22, the final eight episodes of What If…? would almost certainly have hit differently. They didn’t, so they didn’t and so the final season, which contains some of the series’ most imaginative and chaotic offerings, might ultimately find its relative importance delayed by a few years.
From the opening episode, which introduces a multiversal iteration of the Mighty Avengers, through the final episode, which teases something beyond this iteration of the Multiverse, the final season of What If…? lands as an almost too self-aware commentary on the state of the MCU and could reasonably be viewed, for the most part as one giant size episode of “What If…the Multiverse Saga Had Gone as Planned?” Despite growing sentiment on social media by folks who haven’t watched an episode, the third season does indeed align with the intended premise of the anthological comics. For example, the first episode, “What If…The Hulk Fought the Mech Avengers?”, imagines what would have happened if Sam Wilson encountered Bruce Banner on his morning jog instead of Steve Rogers…and it ain’t good! Indeed Bryan Andrews, Matthew Chauncey, Stephen Franck, Ryan Little and A.C. Bradley deliver some Top 10 What If…? bangers here. Though the two-part finale doesn’t quite live up to the Season 2 double dip, it does deliver a deserving denouement for the series leads while also calling back to key moments from prior seasons. If you’ve liked What If…? so far, you’ll like it again; if you haven’t liked it so far, you won’t be watching it anyway.
Marvel TV boss Brad Winderbaum has made it clear that, at least for now, the studio is ready to put What If…? out to pasture and though the series ends on a bit of a cliffhanger, that’s probably ok. It’s probably ok, at least partly, because the Multiverse Saga is on its way to its (kind of) natural conclusion and, at least in the comics, realities cycle through birth, destruction and rebirth. However, as fun as two-thirds of this season of What If…? is, the feeling that the studio dropped the ball on its release date is hard to shake. Though it isn’t entirely clear, the series finale feels as though it is at least partially connected to the studio’s intended plans for the end of the Multiverse Saga. Sure, we can all go back and watch it around the time Avengers: Secret Wars hits theaters but it’s probably fair to wonder what the rush was on the studio’s part to get it to D+ now. Everything dies…but What If…? could have stayed in stasis a bit longer, allowing Pedro Pascal‘s Reed Richards to provide some additional context for its super sci-fi, super comic book ending. Watch it and enjoy it for what it is because it may be some time before the studio takes the type of chances it did with this animated adventure.
As was the case with Spider-Man: No Way Home, Marvel Studios and Sony’s next Spidey collab has been subject to an absurd amount of rumors and speculation ahead of its expected Summer 2025 start of production. With so many wild and wide-ranging reports making the rounds, it has become incredibly difficult to make sense out of what to actually expect from the film when it hits theaters in 2026. However, assuming the studios intended to follow the path upon which they set their hero at the end of No Way Home, some possibilities do make more sense than others.
One of the more realistic routes the film might take would be to follow Peter Parker’s new life in which his old friends no longer remember him and he transitions to a more traditional Spider-Man. It’s reasonable to assume that might include Parker enrolling in college, perhaps at Empire State University, where, in the comics, he met a whole new group of characters who played major roles in his life including Harry Osborn and Gwen Stacy. And now a new report from a trusted insider has people beginning to believe that the latter may be headed to the MCU in Spider-Man 4.
According to Daniel Richtman, Marvel is considering Furiosa: A Mad Max and The Queen’s Gambit star Anya Taylor-Joy for an unknown role in Spider-Man 4.
While some corners of social media are flocking toward speculation that the actress may be in the running for the role of Felicia Hardy/Black Cat, another intriguing possibility has also generated some by buzz as fans consider that Taylor-Joy would make for a pretty damn great Gwen Stacy.
Of course, it speaks to both the actresses range of talents and popularity that Taylor-Joy’s name would be associated with two very different characters, both of whom played integral roles in both parts of Pete’s life. While this would mark the third live-action iteration of Gwen (with Bryce Dallas Howard and Emma Stone each having portrayed the characters in Sony’s previous Spider-Man franchises), Hardy has really never been fully realized in a Spider-Man film.
Certainly should Taylor-Joy portray one or the other of the two characters, it would not necessarily mean the other would be ruled out of an appearance in the film. Previous rumors have circulated that Marvel was interested in Sydney Sweeney and a “Madelyn Cline-type” actress for a role in the film. Either of those stars could arguably fill the role of Felicia Hardy alongside Taylor-Joy as Gwen. At this point, even though trades will likely break casting news in the new year, it may be some time before the true nature of the new film, and the roles within in, becomes clear.
Spider-Man 4 is currently expected to swing into theaters on July 24th, 2026.
The nostalgia-heavy first teaser for DC Studios’ Superman certainly provided plenty for fans to talk about over the next seven months while they wait for its release. The cleverly edited teaser gave first looks at not only Clark Kent/Kal-El and Lois Lane but also several other heroes who are already established in the all-new DCU, a villain or two and several members of Superman’s supporting cast. It also revealed the first look a several familiar settings, including Metropolis and the Fortress of Solitude, which will obviously be integral not only to the story that unfolds in Superman but also the larger DCU narrative. Additionally, a closer look at the teaser reveals a third setting that serves both as a call back to one of Superman’s earliest comic book adventures and may ultimately be tied to the film’s central conflict.
While addressing the opening shot of the teaser, which sees a bloody Superman crash into the Arctic tundra likely near his Fortress of Solitude, director James Gunn explained the symbolism of portraying the hero who has always fought for truth, justice and the American way in such a state. “We do have a battered Superman at the beginning, and I think that is our country,” explained Gunn. “I believe in the goodness of human beings,” he added, “and I believe that most people in this country despite their ideological beliefs or politics are doing their best to get by and are trying to be good people despite what it might seem like to the other side or what that other side might be, and I think this movie is about that.” And if Gunn didn’t hesitate to include commentary on the current state of politics in America, it’s reasonable to assume he may have drawn from other ongoing sociopolitical conflicts as well.
The latter third of the trailer contains an eye-catching moment in which a little boy, surrounded by gunfire and explosions, struggles to raise a flag adorned with the symbol of the House of El while seemingly calling out for Superman’s help. Later in the trailer, the same brave boy can be seen on a Luthorcorps monitor as part of GBS News’ coverage of a border dispute involving Boravia. Though it’s not explained in the trailer, additional casting along with a reference in this week’s fourth episode of Creature Commandos have led to the theory that the country on the other side of the border is Jarhanpur and the front page of the Daily Planet seen in the teaser indicates that Boravians–perhaps led by Gorilla Grodd– are likely preparing to invade Jarhanpur when the movie starts which means that’s probably what’s happening when the boy cries out for Superman. And while that invasion may or may not have taken inspiration from a significant real-world border dispute, Superman has found himself involved in disputes in both nations in the pages of DC Comics and his visit to Boravia over 80 years ago may give some insight into what’s happening in the film.
In a story titled “Superman Champions Universal Peace” contained in 1939’s Superman #2, the Man of Steel found himself amid a civil war in Boravia after following a character by the name of Bartow into the country. Bartow, as it turns out, was hired by a Boravian warlord to deliver a horrific chemical weapon to him to help turn the tide of the civil war. As the champion of universal peace, Superman chose to put a stop not only to the usage of the weapon but also the civil war by helping speed up the negotiation process between the two sides.
Gunn has stated that while both Superman and Lex Luthor have been active in their own individual ways for some time when the movie begins, they have not met each other. It’s possible, and potentially supported by another scene in the trailer, that should Superman heed to young boy’s call and intercede in the Boravian invasion of Jarhanpur, he and some of the film’s other heroes may stumble into some nefarious involvement in the invasion by LuthorCorp. Though it’s purely speculative, it’s possible that the scene in the trailer in which Mr. Terrific finds himself under fire by LuthorCorp goons in what appear to be prototype warsuits could reveal Lex Luthor’s involvement in the Boravian invasion. And should Superman choose to step in and, as he did in Superman #2, put an abrupt end to the war, that would certainly garner the attention of Lex. Of course, there are numerous other scenarios that could explain Lex’s disdain for Kal-El; however, given Gunn’s respect for all of Superman’s history, it would not be surprising in the least to find out he drew inspiration from one of the Man of Steel’s earliest comic book adventures.
After a nearly decade at Marvel Studios in which he built the foundation for the MCU’s Cosmic corner, James Gunn has now endeavored to build something far more massive. As the co-CEO of DC Studios, Gunn seeks to find the sweet spot that allows for DC Comics rich stable of characters and stories to carve out its own space in the spotlight while also providing a way to ensure the fledgling shared universe has the same kind of staying power Marvel Studios has managed to display.
Gunn’s experience at as a filmmaker Marvel, where he directed three films and one special presentation in the Guardians of the Galaxy franchise, certainly wasn’t entirely positive. While Guardians of the Galaxy was nearly universally beloved, each of its sequels presented their own unique challenges, including, according to Gunn, some of his own making and one in particular that he’s eager to avoid as he builds the base of the DCU.
While talking to Phase Hero about DC Studios’ first theatrical project, Superman, Gunn was asked if the film would feature any end credits scenes, a tradition fans of superhero projects have grown accustomed to thanks to Marvel Studios. Gunn‘s response indicated that his ideas on the popular scenes have evolved over time.
“Sort of,” said Gunn when asked by Brandon Davis is Superman would have a credits scene. Before explaining what his plans were, he explained what they are not.
“If you look at my credits scene on the Marvel movies, the one time I fucked myself was when I put Adam Warlock inbecause then I’m like, ‘Oh shit, now I gotta put Adam Warlock in the next movie,’ which actually was a pain in the ass.”
-James Gunn
Admitting to having painted himself into a corner by having to work Adam Warlock into Guardians of the Galaxy Vol. 3 isn’t all that surprising both because Gunn has always been incredibly introspective and because it was fairly obvious to anyone who watched the film that the character wasn’t a great fit for the story. Gunn’s awareness that Marvel’s credits scene tradition, which began as fun, well-intended source of “water cooler conversation”, has developed into an issue for the studio is refreshing. The scenes have distracted from the films, aren’t always followed up and have dipped in quality over the years; in short, it’s time for them to go, or at least become less important. And it sounds as though that’s what Gunn has in mind for whatever credit scenes he has cooked up for Superman.
“SoI’m not gonna set up whole universes with end credits scenes,” Gunn told Savis. “I love giving audiences who sit through all of the credits end credits scenes but I’d rather it be something that’s fun for fans and not necessarily ‘Hey, we’re setting up the whole next part of the universe.” So while Nathan Fillion‘s Guy Gardner, who will debut in Superman, will have a role in the streaming series Lanterns, maybe don’t expect a scene that sets the stage for his role in the series… because that scene can just be included in the first episode of Lanterns and allow Superman to tell Superman’s story.
As if Gunn’s pragmatic, experience-based reasoning isn’t enough, there’s also the fact that developing superhero projects has proven to be a very fluid process, something of which he’s keenly aware as DC Studios gets up, up and away. As he’s made clear, being in development and being in production are two very different ideas at DC Studios.
Projects which seemed to be close to being realized when the DCU slate was first revealed in January 2024 have moved down the list while others have been bumped up. Gunn recently stated that Supergirl: Woman of Tomorrow was not initially intended to be the DCU’s second film and Clayface, which will go into production early next year, wasn’t even part of the original list of Chapter One projects. So, as Gunn points out, why add something important to the end of a project when so much can change.”Because I know how it goes and I know what it’s like,” said Gunn of why the credits scenes shouldn’t carry so much importance. “You think of the best credits scene, but then you gotta adhere to that down the road.”
It’s not easy being Jean. Despite having an entire film dedicated to her in each of Fox’s X-Men in the original Fox trilogy and in the alternate timeline reboot that followed X-Men: Days of Future Past, it is resoundingly safe to say that we still haven’t gotten a solid live-action version of Jean Grey. An Omega-level telepath whose true upper limit to her power remains undefined, Grey was never given proper agency in either iteration and was reduced to a supporting character in both of Fox’s efforts to tell a classic comic book story in which she is the main character. Watch X-Men: The Last Stand and ask yourself, if as Logan kills Jean, if you feel worse for her or him.
To be fair, the problem isn’t unique to the Fox films. Outside of Chris Claremont‘s time writing her, Jean hasn’t always been treated much better in the pages of Marvel Comics. The fact remains, however, that as one of the five original members of Charles Xavier’s X-Men, Jean Grey–codename Marvel Girl–has always been and should always remain an integral part of the team’s story and should be at the center of any efforts to tell it. And as Marvel Studios prepares to put its spin on the uncanny team of mutant heroes, a new report indicates that its version will not only include Jean but also that one name has risen to the top of a list to portray the MCU’s version.
According to Jeff “The In” Sneider, Stranger Things and The Whale star Sadie Sink has emerged as the front runner to portray Jean Grey in the MCU.
Though it may seem a touch early for the studio to be on the lookout for one of the stars of their X-Men reboot, Sneider provided some additional context about Sink’s potential involvement. Despite Marvel Studios’ X-Men film still being in the scripting stages and not expected to be released during the Multiverse Saga, Sneider’s sources believe that the studio is keen on casting the role of Jean Grey now to allow the character to appear in either or both of its next two Avengers films, Avengers: Doomsday and Avengers: Secret Wars.
Allowing important characters to debut in other properties before taking center stage in their own is a tactic Marvel Studios has employed to some success in the past. Both Black Panther and Spider-Man debuted in Captain America: Civil War ahead of starring in their own projects. Making the rumor more believable is that both Doomsday and Secret Wars are being directed by Joe and Anthony Russo who directed Civil War and who have, in the past, expressed a desire to be involved with the MCU’s X-Men. It could all be a coincidence, of course, and being a frontrunner is much different than being cast; however, it wouldn’t be surprising at all to see more mutants than just Jean–and more mutants than just the ones the studio plans to move forward with in the future–before the Multiverse Saga comes to a close.
The monster creative team of Deniz Camp, Eric Zawadzki, Jordie Bellaire and Hassan Otsmane-Elhaou have teamed up on an ongoing anthology book published by Image Comics. Set on a world where “time is having a crisis”, Assorted Crisis Events will “follow in the footsteps of normal people who are just trying to get through a normal day, but instead have to deal with time loops and space portals, confused time travelers from different eras, and alternate dimensional versions of themselves…all while just taking a stroll down the street.“
In Assorted Crisis Events, time is having a crisis. Mingling in the red-light district, you can find actual cavemen, medieval knights, and cyborg soldiers on leave from World War IV. Victorian debutantes amble their way into cell phone stores, confused and bewildered (what is a data plan?). On their way to work, bleary-eyed commuters get trapped in time-loops, assaulted by alternate-reality versions of themselves, and try to avoid post-apocalyptic wastelands. And LOOK: the 3:15 bus just took a wrong turn…into the neolithic era. Rising stars Camp and Zawadzki, and Eisner-winners Bellaire and Otsmane-Elhaou, are proud to present Assorted Crisis Events, an ongoing, zig-zagging anthology series about the compromised clicks of our clocks—full of one-shot stories both beautiful and ugly, tragic and redemptive, surreal and somehow all too familiar. Stories of people (and reality) in crisis—trying to keep it together while the world is falling apart, second by twisted second…
-Official Description provided by Image Comics
“Assorted Crisis Events is like Crisis on Infinite Earths if it was happening to normal, everyday people, or Black Mirror, if the fabric of space and time were breaking down,” said the book’s writer, Deniz Camp. “But going deeper, Assorted Crisis Events has been one of the most ambitious and rewarding creative experiences of my life. The challenge of making every issue complete and personal and inventive, while playing out the larger story of the Crisis—what is causing it, can it be solved, who is The Broken Man?—across the series has been thrilling! Every member of the creative team adds so much to every issue—no one is just doing a job, they’re all artists in the truest sense, and I think every issue ranks among some of the best I’ve ever been a part of. If you’ve liked anything I’ve ever written before, please pick this up. You will not be disappointed.”
Artist Eric Zawadzki was tasked with bringing the wild concept to life but was happy to take on the challenge. “This comic has been a dream project from the start. Deniz’s ambitions with pushing the boundaries of the medium of comics match my own,” he said. “Every script is a new challenge for me and it’s resulted in the proudest work of my career. I can’t believe my luck, being able to work with one of the best colourists and one of the best letterers in the comics industry, Jordie and Hassan, both of whom won the Eisner award for their respective crafts in 2024.“
The all-star award-winning team of writer Deniz Camp (20th Century Men, The Ultimates, Absolute Martian Manhunter), artist Eric Zawadzki (Heart Attack, House of El), colorist Jordie Bellaire (They’re Not Like Us, Birds of Prey), and letterer Hassan Otsmane-Elhaou (Time Before Time, Poison Ivy) are teaming up for the new timeless ongoing anthology series, Assorted Crisis Events. Time has no bounds in this world, and readers will follow in the footsteps of normal people who are just trying to get through a normal day, but instead have to deal with time loops and space portals, confused time travelers from different eras, and alternate dimensional versions of themselves…all while just taking a stroll down the street. Meanwhile, the overarching story dives into what caused the rules of time to suddenly shift, and if it’s possible to reverse the damage. Fans of Crisis on Infinite Earths, Black Mirror, and Doctor Who will enjoy this time-bending, clock-shattering new series, with the first issue hitting shelves this March.
Assorted Crisis Events #1 will available in your LCS on March 12, 2025.
It’s all connected. For a decade, that tagline defined the MCU to the extent that it used as the subtitle for the first Marvel Cinema Universe Guidebook. Fans fawned over every fragment of connectivity, theorizing which character might show up where and how each post-credit scene might set up the next big thing. However, as Marvel Studios moved into the Multiverse Saga and a new era of streaming their own series on Disney Plus, comfort turned into confusion with the rapid expansion of projects and characters.
There was a lot of pressure post-Avengers: Endgame on the public to feel obligated to watch absolutely everything in order to watch anything. Part of the rebranding was a signal to the general audience that we’re creating a lot of options, and you can follow your tastes within this brand. Some will be more comedic, some will be more dramatic, some will be animated, some will be live-action. Marvel is more than just one thing — it is actually many different genres that just happened to coexist in a single narrative.
Marvel’s head of streaming, television and animation, Brad Winderbaum, on the studio’s rebranding, May 2024
Now that some time has passed, now that we actually see how well-integrated the stories are, I personally, Brad Winderbaum, will confidently say that they are part of the Sacred Timeline.
-Brad Winderbaum
And while Winderbaum gave his stamp of approval to the canonicity of the Netflix series, he dodged, ducked, dipped, dove and dodged the issue of another fan-favorite series from the mid-2010s: Marvel’s Agents of S.H.I.E.L.D. “I want to go down this road with you, you know I do, but we’re just gonna take a deep breath for a second,” said Winderbaum in an August 2024 interview with Screen Rant. Hardly a strong show of support for Phil Coulson and crew.
As one might expect, Winderbaum‘s comments weren’t warmly received by AoS fans; however, given his position at Marvel, he would certainly be the one to know…and four months later, it seems nothing has changed.
In a new interview with Screen Rant’s Joe Deckelmeier, Winderbaum was pressed once more about the canonicity of Marvel TV’s ABC shows and he hasn’t budged on his stance. When asked by Deckelmeier if Marvel TV’s Agent Carter, which ran for two seasons on ABC, was considered MCU canon, not only did Winderbaum refuse to confirm that it was but he also lumped it in with all of Marvel’s ABC shows.
“Well, I’ll tell you this, and put it to you like this. It’s exciting for me to think about how to square those ABC shows with the canon,” said Winderbaum, indicating that while he has thought about how to canonize Agents of S.H.I.E.L.D., Agent Carter and Inhumans, he hasn’t figured out how to do so just yet.”That, to me, if you know me and the way my brain works, that is fun territory to imagine,” confirming that for now, imagination is the only place in which those series should be considered canon.
While that’s made quite clear on Disney Plus, where those shows, along with a few others, can be found in an “Agents and Inhumans” category rather than in the “Complete MCU Timeline” category, fans of the series still find plenty of ways to make the events of the shows tie into the ongoing story of MCU. And at the end of the day, that’s just fine and what being a fan is all about.
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