Set at Christmas, the first season of Hawkeye brought an entirely different vibe to Marvel Studios first wave of streaming series. It wasn’t all holly and jolly, however, as the project took viewers into New York City’s world of organized crime and reintroduced Vincent D’Onofrio‘s Kingpin into the MCU. For a while, it seemed as though the first season–which was well-received by critics and fans–woule be the only season but over the last year, buzz has steadily grown about Marvel’s interest in putting together a second round of episodes.
I cannot speak to future plans in the tradition of secrecy. Again, the show coming out, you never know how it’s going to be received and it has been amazing to see how warmly people have taken it and enjoyed it. And it’s been great to see Hailee’s character embraced and sort of land so firmly in the MCU. I sincerely look forward to where that character goes next. And yes, I loved walking on the streets of the MCU and would gladly enjoy doing it again.
On the heels of Winderbaum’s comments, a new report on the new season’s potential plot has emerged, further fueling hopes that Clint and Kate are headed back to D+.
The new information comes from Richtman and while it rehashes some older rumors, it includes some interesting updates to the story of the potential second season. According to the insider, inspired by Die Hard, Hawkeye Season 2 will see Clint and Kate pinned down in one location while having to fight off an onslaught of attacks by assassins. Most interestingly, it sounds as though the final boss will be the villain Trickshot, otherwise known as Barney Barton!
This is not the first time Barney has been associated with the project and it’s easy to see how given the project’s potential plot, both The Raid and Die Hard could have been used as inspiration. And with Die Hard in the DNA, it does sound as though Season 2 of Hawkeye will be once again set and Christmastime!
As exciting as it is, it is worth remembering that Winderbaum has also consistently warned MCU fans that the television branch of the studio is developing far more projects than they will ever produce. And the recent revelation that Terror Inc., Strange Academy and Nova were all pushed to the back of the queue should also serve to remind us all that until we start seeing set photos, trailers and official release dates, nothing should be taken for granted.
With the proliferation of MCU scoopers on the scene over the past five years, it’s become increasingly rare that Marvel Studios can ever truly pull of a surprise. Plot points, castings and even new projects are typically shared by social media scoopers before the trades or Disney get the news out. However, 2025 has been full of surprises with the trades announcing that Marvel had paused development on a series nobody new was being developed, leaked concept art revealing all kinds of interesting plans and news of a Special Presentation featuring Frank Castle, which came straight from the Marvel TV boss’s mouth.
It’s like a shotgun blast of a story, but also has all the pathos and emotion that you want out of a Frank Castle story.
-Brad Winderbaum on The Punisher Special Presentation
In an interview with THR, Bernthal described the story of the Special Presentation as one that “this character deserves.”
I care very deeply about Frank, I’m really grateful that I’m getting the opportunity to tell the story that I think the fans deserve. We’re giving it our all and we’re trying to tell a Frank Castle story that we’re going to turn our back on the audience — it’s not going to be easy, it’s not going to be light, and I think it’s the version that this character deserves and I’m just beyond honored and grateful that we get the opportunity.
-Jon Bernthal
It also sounds as though fans who enjoyed the two seasons of the Bernthal’s hyper-violent Netflix series, The Punisher, will also enjoy the new project, which is reportedly debuting in 2026.
“It’s going to be dark; Frank has no interest in breaking out the darkness. It’s not going to be easy,” said Bernthal when asked how the Special Presentation would compare to the original Netflix series. “I don’t know if that’s the Netflix tone then that’s what it’s going to be. It will not be Punisher-lite, I promise you that.”
In the lead up to its release, Marvel Studios is working hard to make sure audiences don’t think Thunderbolts* is just another typical MCU joint. The film’s star–and one of Marvel’s greatest talents–Florence Pugh told Empire the film, helmed by Jake Schreier, “ended up becoming this quite badass indie, A24-feeling assassin movie with Marvel superheroes.” And Schreier claims to have drawn inspiration for the film from Toy Story 3 which is simply the last film you’d expect to hear inspired a film full of sort-kinda bad guys.
Once upon a time, the film was more or less a sequel to Black Widow and early word around Hollywood was that it wasn’t pretty; however, it may be the first theatrical project under Bob Iger‘s second regime to be saved by pumping the brakes and making sure a high quality version was ready to go. Early response to the film’s teasers and market has been positive but there has been one concerning fan theory that has made the rounds.
Based on what’s been seen so far, fans are convinced that Taskmaster, played once again Olga Kurylenko, will bite the dust early on. And a new look at the film via Letterboxed has done nothing to disprove that theory.
Exclusive new look at @MarvelStudios' THUNDERBOLTS* starring Florence Pugh, Sebastian Stan, David Harbour, Wyatt Russell, and Julia Louis-Dreyfus 👀
The new teaser, which is really quite wonder, lists off the members of the team, including The Winter Soldier who technically doesn’t exist anymore, without listing Taskmaster.
Whether or not Tasky’s absence is just clever exploitation of a popular fan theory or if the character truly doesn’t make it out alive, the new teaser will only drive more buzz around Thunderbolts*.
The MCU fanboy fascination with the runtimes of streaming episodes and films is worthy of psychological study. Prior to viewing each new project, social media experts manage to judge the quality of said project simply by how long it is. Strangely enough, there’s no rhyme or reason to it nor has there really ever been any acceptable standard for the length of an episode or film. Everything is just too short.
In reality, if The Silence of the Lambs can tell its terrifying tale in under two hours and Forrest Gump and Pulp Fiction can wrap up in less than three, it’s probably ok if most Marvel Studios films don’t keep audiences in the theater for 3+ hours. What should matter is the story and the creatives for each project should be able make sure that comes first and adjust the runtimes accordingly.
In the case of Joe and Anthony Russo‘s time with Marvel Studios, story has seemed to take precedence over runtime. Their four MCU films have ranged from 2 hours and 16 minutes long to just over 3 hours long and averaged 2 hours and 33 minutes of screentime. Now in preparation for their return to Marvel to wrap up the Multiverse Saga in Avengers: Doomsday and Avengers: Secret Wars the brothers Russo already seem to have an idea of how much time it will take to tell their next two stories.
“If I were a betting man, I would say the first one is two and a half, and the second one’s three hours,” the Russos told Collider while promoting their new Netflix film, Electric State.
If that seems familiar, it’s likely because that’s pretty much how it went with Avengers: Infinity War (2:29) and Avengers: Endgame (3:01) in 2018 and 2019, respectively. Five and a half hours provided plenty of narrative runway then and will likely do so now, even if fans are already expressing concern that the combined runtime won’t be enough to wrap up the Multiverse Saga.
The average runtime of an MCU flick is 2 hours and 12 minutes and has been for quite some time. Interestingly, even though the Multiverse Saga included the shortest film in the MCU to date (The Marvels fast-paced story wrapped up in just 1:45), overall the post-Endgame films have been a touch longer than those in the Infinity Saga, averaging a 2 hour and 15 minute runtime.
Other than a few surprising casting announcements, Marvel Television’s Paul Bettany-led Vision series remains a pretty well-kept secret. The project, which was conceived as a WandaVision spinoff created by Jac Schaeffer, has been rebuilt by Star Trek: Picard showrunner Terry Matalasand given the studio’s choice of directors, it’s likely to be one of Marvel’s weirdest series yet.
Aside from Bettany and James Spader, who will return as the villainous AI Ultron, the cast consists of Ruaridh Mollica, Faran Tahir and Todd Stashwick, who is set to play a mysterious assassin. Fans have been waiting for news on the series, which was expected to kick off production in the UK in February and now, thanks to Stashwick, there’s finally something to report.
Posting to his Instagram from London, Stashwick expressed gratitude for being able to “live out some serious dreams” while revealing he was “buzzing from a week of night shoots.” And so it seems principal photography on Vision is underway.
Should things go smoothly, it is expected that Vision will join Season 2 of Daredevil: Born Again and The Punisher Special Presentation as Marvel Television’s live-action offerings in 2026.
Marvel Comics’ first Hispanic hero, Hector Ayala, never really got a turn to take the lead. First appearing in the Shang-Chi book, Deadly Hands of Kung Fu, in 1975 and then taking on a semi-regular supporting role in the late 70s/early 80s title, Peter Parker, The Spectacular Spider-Man, Ayala, also known as the White Tiger, had some wild adventures across the Marvel Universe. However, it wasn’t until Brian Michael Bendis‘ early 2000s run on Daredevil that Ayala really took center stage in a popular title. The defendant in Bendis‘ “The Trial of the Century”, Ayala’s vigilante efforts as the White Tiger lead to him being falsely accused of killing a police officer which, interestingly enough, means that the courtroom–and not the streets of New York where he risked his life for his community–became the setting for Ayala’s time in the spotlight. Before he could beat the bunk charges, Ayala was killed by the cops and, ultimately, his legacy and the legacy of the White Tiger grew into something greater than he ever imagined when he first picked up the Jade Tiger amulets that granted him superhuman powers.
Episode 2 of Daredevil: Born Again introduces Ayala and his White Tiger alter ego to the MCU, slightly altering the scenario that leads to his arrest and trial but–somewhat incredibly–embracing the mystical nature of his powers in a corner of the world that’s not always taken full advantage of the opportunities such capabilities provide. Highlighted by the late Kamar de los Reyes‘ understated performance as beaten up and washed Ayala, “Optics” is an excellent offering that allows the audience an extended view of the other side of Matt Murdock’s life. Though fans haven’t seen Episode 3 yet, paired with Episode 2, the MCU’s version of The Trial of the Century is must-see DD, allowing Murdock to flex his wits in what is truly a tense courtroom drama. The traits that serve Murdock so well as the Devil of Hell’s Kitchen are indeed the very same that make him a really good lawyer and as Ayala’s trial unfolds, Murdock proves that as in combat, he can take a punch in the courtroom and dig deep to find a way to stay in the fight.
Though there’s little bloodshed and much of the episode takes place during the day (gasp!), “Optics” proves just as important to the Frank Miller-heavy noir world of Daredevil as any other episode. Any great NYC crime drama will, of course, include dirty piggies and Episode 2 introduces the audience to the dirtiest and though it may not be readily apparent just yet, be sure that your time spent watching this episode will pay off as the series moves forward. A reborn Matt Murdock didn’t need to take Ayala’s case, especially once he became aware that Ayala wasn’t sharing everything with him, but the serendipitous intersection of his commitment to justice and Ayala’s commitment to doing the right thing was too hard to pass up. Up against the NYPD, Ayala is the ultimate underdog as an accused cop killer…but even when outmatched, Murdocks can take a beating and stay in the fight until the devil in ’em comes out.
And following a palpably tense scene in which the dirty NYC cops look to take Murdock’s key witness off the board, the devil that Matt believed he has so securely tucked away does get out. The episode’s violent closing minutes may seem to exist solely to soothe the blood lust of the edge lord crew; however, paired with Wilson Fisk’s lunch meeting with NYC Police Commissioner Gallo, the scenes remind the fans that neither of these men can ever truly be anyone other than who they are. They want–perhaps even truly desire–to become the men they try so hard to be but when push comes to shove, these men, shaped so completely by their environments for so long, will always fall back on the skills of their true identities.
As the follow-up to the new crew’s violent pilot episode, “Optics” stands in stark contrast and while it may feel slow, it begins scaffolding every major storyline of Season 1 of Daredevil: Born Again. Possibly my favorite episode of the season (if not, it’s Episode 3), “Optics” serves as a prime example of how much can be accomplished in a streaming episode and how this Daredevil revival’s efforts to trim the fat have made it an upgrade over the original Netflix series.
While promoting the first season of Daredevil: Born Again, series showrunner Dario Scardapane revealed that an integral part of his pitch to get the show back on track was bringing back Daredevil co-stars Elden Henson and Deborah Ann Woll, both of whom were absent from Marvel’s original plans for the new series. “I was willing to lose a job over this one,” Scardapane told Empire, adding that pitching the returns of Foggy Nelson and Karen Page was “one of the first things I said to the bosses.“
You can’t do this show without Karen and Foggy. They’re Matt’s family. They’re the heart of his world. You can’t take them out without explaining why, and if that explanation doesn’t ring true, don’t take them out.
“Because Season 3 of the Netflix show ended with a dream, with the names on that napkin,” Scardapane explained, adding, “If you don’t pay that off, you’re not giving your characters context. You can’t ignore that dream.” And so, Episode 1 of Daredevil: Born Again, “Heaven’s Half Hour,” does indeed make good on that dream as Nelson, Murdock and Page emerge from their dream office for another of many nights on the town. And what follows is a bamboozling nightmare that might just prevent fans from ever trusting anyone at Marvel Studios again.
If bringing back Henson and Woll was meant to bring a preestablished order to Daredevil:Born Again, then the first 16 minutes of the first episode are the most entropic of a series built around chaos. Crafted by Scardapane after he and directors Justin Benson and Aaron Moorehead boarded the project, Episode 1 apparently exists to prove that you can indeed “do this show without Karen and Foggy.”
The death of Foggy Nelson at the hands of the deranged and somehow-still-alive-after-casually-being-thrown-off-a-roof-what-the-fuck Bullseye catapults Matt Murdock’s world into a state of such significant disorder that no further changes can take place within it. And so, Murdock is born again into an all-new, all-different world, one brighter and more hopeful than any the writers of the original Netflix series ever imagined.
Abashed the Devil stood, And felt how awful goodness is.
-John Milton, Paradise Lost
Bereft of his besties, Murdock locks the Devil of Hell’s Kitchen away and leans into lawyering and living, thriving in a shockingly satisfying new status quo. A new firm (Murdock & McDuffie), a new love interest (Margarita Levieva‘s fascinating Heather Glenn) and some new glasses set Matt up to move forward in a direction that the Netflix showrunners never knew existed. And just as that wonderful new world gains its own momentum, Wilson Fisk is born again.
Set sometime in 2025, the “current events” of Episode 1 of Daredevil: Born Again set the foundation for a fascinating first season of a four season series. A decidedly douchey Daniel Blake and a stunningly Sisyphean BB Urich aside, “Heaven’s Half Hour” does exactly what it needs to do by giving both Matt Murdock and the fans every reason to forget everything they’ve held dear about the original Netflix series. The lunch meeting between the series’ leads reveals that neither man can truly put his past behind him, establishing the inevitability of hostility even as Fisk’s pursuit of the mayorship of New York City would seem to make him untouchable.
Fisk’s role in the season is so large that, as one promotional poster seems to hint, the series could just as well be titled Kingpin: Born Again. As Matt learns to move forward without his heart and soul, Fisk seeks to close the gap that has grown between him and his wife, Vanessa, who ran the criminal empire while her husband was away (see Echo). Like Murdock, Fisk has chosen a new path forward and in doing so, claims to have locked away the Kingpin of Crime.
Of course, Marvel Studios didn’t revive this series and being back both Cox and D’Onofrio for what looks to be a total of 17 episodes for them to have tea. A showdown is looming and Episode 1, created by Scardapane following the creative overhaul, wonderfully put the two men on seemingly parallel paths that are somehow bound to intersect.
When Marvel Studios brought Dario Scardapane on to overhaul the first season of Daredevil: Born Again, the new showrunner’s first instinct was to bring back Elden Henson and Deborah Ann Woll, both of whom were not originally part of the revival. His second instinct, apparently, was to have Henson’s Foggy murdered, throwing Matt Murdock’s life into chaos. Scardapane was so preoccupied with whether or not he could, he didn’t stop to think if they should.
But what’s done is done, of course, and such a catastrophic event should never be undone. And so Foggy, who was Murdock’s best friend and partner and, according to Scardapane, one part of the “heart and soul” of Daredevil, has gone to heaven, hopefully a half hour before the devil knew he was dead. However, Scardapane has also made it clear that he believes “you can’t do this show without Foggy and Karen, so as production begins on Season 2, he seems to have created a bit of a conundrum. But apparently he’s also already solved his own problem.
In a post-premiere interview, Marvel’s head of TV, streaming and animation, Brad Winderbaum addressed Foggy’s death and let slip a bit of information that is sure to cause fans of the show to head into a tizzy.
“Without going into spoiler territory, I will say that both Deborah and Elden are coming back for Season 2,” Winderbaum revealed to Phase Hero’s Brandon Davis. Woll‘s return was already confirmed but news of Henson‘s return will certainly cause a frenzy of wild theories and assorted nonsense.
In the world of comic books and in particular the world of Daredevil, deaths are routinely undone. In this case, it would seem an incredibly poor choice to undo Foggy’s death given it’s the catalyst for Murdock’s all-new, all-different life. Wild theories aside, Henson‘s return could easily–and probably more reasonably–be necessary for flashbacks to the good old days of Nelson, Murdock and Page because, you know, we never saw those days.
This is a type of new origin story for Matt. He’s the type of character that in just like all classic Marvel stories, they’re affected by some sort of tragedy.
-Dario Scardapane
For his part, Scardapane isn’t giving anything away. “Listen, he’s not gone forever. That’s all I can say – it’s not the last thing you’re gonna see of him,” he said of Foggy, while claiming that the creative team, who decided to kill Nelson, love him too. “So, I understand. We also understand the heartbreak, and we did not take this lightly. I get upset. We were upset on the day, we were upset watching it. All of these things are true.“
Perhaps Franklin has just been hanging out at the butcher shop all this time..
Daredevil has always dealt in duality. Even before Frank Miller redefined the character–and the city in which he spent his days and nights–by introducing a gritty, noir-inspired take on the hero, Matt Murdock still split his time fighting for justice in a courtroom while also dispensing justice as a vigilante. Though Miller‘s drastic reinvention of the character took him to far darker places as a lawyer-by-day, vigilante-by-night type of hero, the character has always been a fascinating study of psychological inconsistency and cognitive dissonance. And so as Marvel Studios relaunches one of the most beloved superhero shows ever made with the first season of Daredevil: Born Again, it is fitting that the new series is teeming with dichotomies.
For nearly one-third of the season, Daredevil: Born Again dares to tease the unthinkable for Charlie Cox‘s Matt Murdock. Following an audaciously aggressive reintroduction to the world of the Devil of Hell’s Kitchen that shatters the comfort zone so carefully constructed over three seasons of Netflix’s Daredevil, Marvel Television’s revival allows Murdock to feel how awful goodness is. But fear not, true believers, the studio could not resist the urge to drag Daredevil back into the darkness, once more choosing Frank Miller over the field.
Who fate gave the ability to hear and smell and touch better than anybody in the world can, which is a great way to catch all the misery of being alive
The first episode of Marvel Studios’ Daredevil: Born Again chaotically catabolizes everything that both Matt Murdock and the fans of Netflix’s Daredevil hold dear, abruptly and refreshingly changing the status quo for the beleaguered vigilante. Stripped bare, Murdock is born again into a brighter world full of new relationships, professionally and personally, and one that ironically holds hope for the hero. However, just when Matt thought he was out, they pull him back in!
Just as Matt seems to be free of his dark past, it comes rushing in to upset the shaky new scaffolding. As has been clear since the series was first announced in 2022, Daredevil: Born Again could just as well have been titled Kingpin: Born Again and the new and improved Wilson Fisk’s ambitions and love for New York City set the pair on a path that challenges each’s best intentions. A tense meeting over coffee in which both men swear they’ve left their alter egos behind them slowly devolves into a pissing match between the better angels of their natures; indeed, the next three episodes prove that neither man ever moved too far away from his true self and follows the co-leads as they slowly let their devils out of whatever cage they believed to have contained them, setting them on a path toward yet another inevitable confrontation.
Tonally divergent from the ethos of the Netflix series for the first seven episodes of the season, Daredevil: Born Again constructs a brighter world around a more devil-may-care Matt; unfortunately, both that world and Matt ultimately fall victim to the darkness of the city and its inhabitants as a serial killer throws the city into a frenzy. By the time the series heads into what will stream as a two-part finale, the replacement creative team of showrunner Dario Scardapane and directors Justin Benson and Aaron Moorehead put together what could only be described as “peak Netflix”, allowing both Daredevil and Kingpin to be “Born again.” Steering the show back in that direction is a frustrating decision, even if foreseeable; however, it’s not damaging to the quality of the series in any way and works to push the characters to a precipice that will have to wait to be resolved in Season 2.
Less bloated than any season of the Netflix series, Season 1 of Daredevil: Born Again spins a tight, well-paced narrative that impressively stands strong despite the mid-stream change of creatives. Though the marketing for the series isn’t necessarily the most honest work Marvel Studios has ever done, the show does return to its gritty, noir roots despite spending a large chunk of time playing in the sun, delivering the “whole new deal” Cox once promised while also relishing in the edgey brutality of the old deal. A wonky VFX scene or two, a bit of overacting here and there and a few superfluous characters aren’t enough to tip the scales here: Daredevil: Born Again is, from start to finish, a fantastic series. With its hero and its villain equally saturated in blood and emotional trauma, the show examines the futility of pursuing sustainable change without addressing the deeply nested layers of human behavior.
Despite standing tall not only among Marvel Studios’ streaming series but also among the three original seasons of Daredevil, Daredevil: Born Again is also frustrating in its insistence on keeping Murdock’s story drenched in blood. While sanguinary and savage storytelling defined the Netflix era of The Man Without Fear, it’s not the defining trait of the character who has been a staple of Marvel Comics since the 1960s. While Miller‘s reinvention did elevate the character to new heights, it’s bizarre to see his dark and violent vision for Daredevil become THE vision for the character. Miller‘s Daredevil portfolio is hardly prolific (8 other writers have spent more time on Daredevil books than Miller) and perhaps the particular itch for wanton violence would be better scratched in the MCU by Punisher or Moon Knight. And so to see the series briefly flirt with a new direction inspired, it would seem, by Mark Waid‘s long run on the book only to retreat into darkness again begs the question: why do the writers hate Matt Murdock?
Given all the media hype that followed the news that Scardapane, Benson and Moorehead were brought on board, one would assume that the trio swooped in and saved the series from disaster. In reality, upon seeing the entire season, it hardly feels that way at all but rather feels that the new creatives were brought in because Daredevil: Born Again was not Netflixy-enough. To everyone’s credit, the blending of “new” and “old” is seamless throughout; if you didn’t know there was a creative overhaul on the series before you sat down to watch, nothing would alert you to it while watching the series. Episodes 2 and 3, which adapt Brian Michael Bendis‘ “Trial of the Century” arc from his early 2000s run on the book, deliver the best courtroom drama in the history of the series. The trial of Hector Ayala challenges Murdock and his new partner, Kirsten McDuffie, at every turn, creating true tension that will be palpable to viewers. High profile and high stakes, the trial puts Matt in the spotlight and, unfortunately, in a position where a win can’t just be a win.
Following Ayala’s trial, what would seem to have been the original outline for the show looked to be headed to some dark enough places. Cleverly written with a narrative throughline that continually pulled Murdock further away from the new life he believed he had established, Episodes 2 through 7 are incredibly engaging and if this show were a binge release, fans would have a hard time walking away as Hector’s trial bleeds into the search for a serial killer who unknowingly has put himself right in the middle of Murdock’s life. We may never know where the first season was originally going to land and where the original team meant to go next; however, it’s safe to say that Scardpane‘s Season 2 of Daredevil: Born Again, which should hit D+ in 2026, might just as well be titled Daredevil Season 4.
No matter which material they worked with, Cox and Vincent D’Onofrio delivered top-tier performances, especially in their brief time together. Jon Bernthal‘s return as Frank Castle comes complete with all the squealing brutality one might expect from The Punisher while also serving as a wonderfully necessary foil for Murdock. The late Kamar de los Reyes stands out as Hector Ayala, whose legacy is left to be explored should the powers that be choose to do so; Margarita Levieva‘s subdued Heather Glenn ends up a much more interesting character than her comic book counterpart; and Ayelet Zurer‘s Vanessa works as a driving force behind the central plot. The Fisks’ relationship works as an interesting parallel to that of Matt and Heather and the intersection of the two ultimately leads to the season’s biggest surprise.
For nearly a year, Marvel Studios has been operating according to a new strategy behind the scenes as shifting priorities have led them to focus on developing series that can premiere annually. It’s clear that the studios intends for Daredevil: Born Again to be both the canary in the coal mine in that regard but that they also have enough faith in it that they’ve already established it as the flagship of the new era of Marvel Television. To that end, each new season must entice viewers to return for subsequent seasons while also being able to stand alone not only as a season but with weekly episodes that drive conversation and interest. Season 1 of Daredevil: Born Again accomplishes that mission. Its weekly releases will have people buzzing (I’m looking forward to the response to the series St. Patrick’s Day-set bottle episode) and the response to the season finale may actually trigger Richter scales. Grace and retribution. Reward and punishment. Hopes and fears. Daredevil: Born Again‘s return to the streets of New York City is frustratingly incongruous in its treatment of its Guardian Devil and a contradiction in itself but I’ll be damned if it isn’t an incredible season of TV.
Marvel Studios has a merchandising problem. No studio works harder to keep its secrets than Marvel does, however, on multiple occasions, those secrets they worked so hard to keep have been spoiled by toys, T-shirts and promotional images. Now, it’s happened again, revealing the identity of a character the studio worked so hard to protect in production despite multiple leaks.
Ahead of coming available for purchase online this week, pictures of the line of Funko Pops for Thunderbolts* have appeared online. While 4 of the beloved collectibles reveal nothing, the fifth provides the first look at Sentry, the super-powered Super Soldier unwittingly set loose by the team in the film.
Ultimately, unless the studio plans to drop another trailer very soon, it’s poor planning by Marvel to let fans’ first look at Sentry come via merchandise pre-order. While most hardcore Marvel Studios fans have been aware that the character was part of the film for quite some time, this may be the first time that a different group of fans learns that Lewis Pullman’s Bob is actually Robert Reynolds, aka Sentry.
The latest blunder comes on the heels of Funkos confirming that Joe Locke‘s Teen was indeed Wiccan/Billy Maximoff in Agatha All Along and McDonald’s Happy Meals giving away Diamondback toys despite the character being cut from Captain America: Brave New World.
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