Over the weekend, a rumor surfaced suggesting Sacha Baron Cohen had joined the Marvel Cinematic Universe as none other than Mephisto. Now, Deadline has seemingly confirmed that Cohen has joined the MCU and that he is, in fact, playing Mephisto. The outlet also suggests Cohen will appear in other titles within the MCU. The outlet also goes on to speculate that Cohen’s Mephisto could appear in the WandaVision spinoff, Agatha: Coven of Chaos, although that is not confirmed.
Cohen is, of course, best known for his role as Borat. However, the actor has built up quite the resume over the years beyond Borat. He’s appeared in Alice Through the Looking Glass, The Brothers Grimsby, and Les Misérables.
Ironheart, which consists of six-episodes, hails from head writer Chinaka Hodge and stars Dominique Thorne as Marvel character Riri Williams. Olayiwola joins a cast that includes Anthony Ramos, Shakira Barrera, Manny Montana, Alden Ehrenreich, Regan Aliyah, Shea Couleé, and Zoe Terakes. Sam Bailey (Dear White People) and Angela Barnes (Atlanta) are directing the forthcoming Disney+ series.
After starring in the Predator prequel this summer, actress Amber Midthunder is already looking ahead to her future. The actress was in attendance at the Newport Beach Film Fest and spoke briefly with the folks at Variety. Midthunder was asked if there was a franchise she would love to be a part of, or if there was something she’d dreamed of doing.
She responded by expressing her enjoyment of the Marvel Cinematic Universe, especially the Avengers films, as well as Fox’s X-Men films. Interestingly enough, though, Midthunder opted to play coy regarding which character she could potentially play.
I’m definitely a big MCU fan. I’ve always loved the X-Men movies, all the Avengers movies. I’ve always been a big fan of the MCU. We’ll talk about [who I could play] later.
If Midthunder were to join the Marvel Cinematic Universe, it is of note that this wouldn’t be her first time starring in a Marvel project. Midthunder previously appeared in the FX series, Legion, as Kerry Loudermilk. Other credits to her name include the CW’s Roswell, New Mexico, Banshee and Longmire. Following her work on Hulu’s Prey, Midthunder is next set to appear in Netflix’s live action adaptation of Avatar: The Last Airbender.
With the release of Werewolf By Night, Marvel Studios has given us yet another format in which to experience and further explore the MCU. Following feature films, one-shots, and TV shows, fans have now been treated to its first Special Presentation, with The Guardians of the Galaxy Holiday Special, Marvel’s second go at the format, just a few weeks away. And one thing is certain: if it ends up being as well received as Werewolf By Night has been, the demand for further projects within the same framework is bound to rise.
James Gunn has stated that his upcoming Holiday Special will be under 40 minutes in length and considering that Werewolf clocks in at around 48 minutes (not counting end-credits) the basic parameters for this kind of project seem to be fairly straightforward. Tv-episode-length with a higher budget, and a more concise and focused script than a feature film. Could this structure become the go-to format for Marvel Studios when it comes to their Disney+ content? As with many debates, the truth usually lies somewhere in the middle.
Considering how most Marvel Studios Disney+ shows have been a bit lackluster, there is no doubt that there is still work to be done when adapting the MCU to an episodic format. The Special Presentation type of show does allow Marvel to keep its feature film formula—a formula that works more often than not—a bit more intact, but while that may serve particular stories, there is still much that can be gained by giving certain characters and storylines additional room to breathe by going the 6+ episode route. If anything, Special Presentations allow Marvel to have a sort of middle-ground between a feature film and a TV show, so that when the story does ask for a shorter runtime but still not garnering sufficient relevance for the big screen there is still a way to make it work. It wouldn’t be hard to picture a series like The Falcon and the Winter Soldier being developed as a one-hour tv special, telling the story of how both Sam and Bucky went from Endgame to Captain America: New World Order and Thunderbolts, respectively. The same case could be made for Hawkeye that, as FatWS, would take advantage of previously established characters to streamline the narrative, swiftly leading into the next project. WandaVision would perhaps be the exception since it took the episodic format to heart and made it intrinsic to its essence. As for all Marvel Studios series introducing titular heroes, along with their own set of side characters, from Moon Knight to Ms. Marvel and She-Hulk, the longer runtime provided by several episodes seems completely warranted. Taking time to properly explore their origin, in their own corner of the MCU, without all the noise provided by the evergrowing mob of characters that will eventually engulf them seems fair.
But while the story itself should be the main reason when choosing what format to go with, there are also more specific points working in favor of the new format. For one: talent availability. With the success of the Marvel formula, the franchise is either attracting A-listers to its key roles or turning unknown actors into household names. In either case, unless previously signed contracts so dictate, it will become increasingly hard to get the desired names to be completely available for the time that it takes to shoot the usual 6 to 9 episodes of a regular Marvel Studios series. By having the Special Presentation format available, the studios could keep production schedules shorter, stars happier, and probably even bring about a bit more of that Strange Alchemy that the Russo Brothersvalued so much (something that happens when characters who never interacted in previous projects share the screen for the first time) by making everyone’s schedule a bit more team-up prone.
There is also another issue, especially relevant when it comes to streaming services, that the Special Presentation format sort of bypasses, not on its own but due to the sheer volume of premium original Disney+ content. The importance of keeping active subscribers all-year round is a big reason for investing in episodic series to be a good business model. But since Disney+ already has other equally massive franchises that are aiming at pumping out content frequently, there is no reason for Disney, when looking at the bigger picture, to not be ok with a few Marvel shows becoming glorified one-shots and not having to drive online discourse for several weeks since there are other shows that will keep subscribers busy for that same period.
What is perhaps a bit more dubious, but that could actually be a reality, is what the shorter runtime (when compared to a TV series) might do in terms of rewatchability and how that relates to the ease with which Marvel properties have been able to enter the cultural zeitgeist since 2008. For years Marvel Studios made…movies. Fans had to wait months in-between projects and what did they do when a new one was about to premiere? They rewatched the previous ones. And with that, everything about the movies permeated the discourse, from the biggest set pieces to the smallest of dialogue lines. It feels difficult for the same thing to happen when instead of 120 minutes that can be easily experienced over, and over again, fans have to sit through double that same amount of time, especially when there is always something new coming right up. By trimming the actual minutes of content being released, Marvel might be doing themselves a favor since instead of trending due to having constantly something new out, they might give fans the pause to reconnect with the material in a way that’s way more sustainable in the long run, thus imbuing Marvel Studios projects with what made them relevant to begin with.
As for what the future holds for the Special Presentation format, only time can tell. But things are seemingly on the right track for it to become an MCU staple on Disney+.
Much has been said about the apparent lack of connecting tissue uniting most of the MCU’s Phase 4. Even though the climax for Marvel’s post-Endgame storylines being pretty straightforward from the moment the Multiverse came into play, most fans only came to terms with it in July 2022. This was when Kevin Feige announced the upcoming Avengers: Secret Wars, scheduled to be released on November 7, 2025, and in a single instant, it became easy to unite every separate storyline into a single narrative thread, in a way only the Multiverse can.
But there are levels to this. If on the surface, in terms of character movement, things should be moving in closer together for the foreseeable future, mimicking the final days of the Infinity Saga, there might be more assembling going on. And Werewolf By Night, even as detached from the usual look and feel of the MCU as it is, with little to no connection to other projects besides, you know, being set in the same universe, will probably have something to offer in that regard.
Marvel Studios’ Shang-Chi and The Legend of The Ten Rings (2022)
Phase 4 has been all about reinventing and reframing legacy characters all while introducing new faces, both heroes and villains, to an evergrowing canvas of intertwined stories. But it is also quietly revealing strange new artifacts, with apparent similar origins albeit vastly different capabilities, that might come together play a part in the multiversal war that is to come. And this is where Werewolf By Night’s Bloodstone comes into play.
Both in Shang-Chi and The Legend of The Ten Rings and Ms. Marvel, we’ve been introduced to relics that have been slightly reinterpreted from their comic book origins, all while bringing them together in terms of origin. As for the Ten Rings, they were seen as too much like the Infinity Stones, as each ring initially had its own color and ability, and so not only their look but their previously mentioned origin was significantly changed, with the Shang-Chi post-credit scene hinting at an alien origin. As for Ms. Marvel’s bangle, it became the item that ultimately unlocked Kamala’s powers, unlike in the comics where she develops her superpowers when the Terrigen Mists are released. The bangle is, like the Ten Rings, also hinted at as having an alien origin since it’s mentioned that Kamala’s ancestor initially found it on the arm of a blue alien.
Marvel Studios’ Ms. Marvel (2022)
As for the Bloodstone (a.k.a. the Bloodgem), its comic book origin is, you guessed it, also alien. It is said to be the fragment of a meteorite that crashed on Earth somewhere around 8250 B.C, and that eventually founds its way onto the hands of Ulysses Bloodstone, who became immortal by being in possession of the stone. This could fit the powers of the Bloodstone as mentioned by Ulysses’s widow, Verusa, in Werewolf by Night:
What aspect of the Blood Stone are we after exactly? The strength it lends? The protection? Oh… longevity.
Verusa
Marvel Studios’ Werewolf by Night (2022)
The stone is described as a powerful supernatural relic, a weapon unlike any other, something that fits the profile—and likely the origin—of the other two artifacts mentioned above. If the future of the MCU will bring them all together to serve as instruments in the conflicts to come, remains to be seen. But whereas the Infinity Stones were meant to be wielded together, working in unison towards one single goal, having the Ten Rings, Kamala’s Cosmic Bangle, and the Bloodgem doing the same, even if achievable, might be a bit more tricky. But also incredibly more entertaining.
Werewolf by Night is now streaming, only on Disney+
As the Marvel Cinematic Universe heads towards the end of Phase Four and into the beginning of Phase Five, one of the most anticipated projects for fans is Guardians of the Galaxy vol. 3. With that, those in attendance at San Diego Comic-Con this past month were able to view a first look at what’s in store for the final chapter of this specific saga. And now, in addition, director James Gunn has given further intel on what to expect from his upcoming film. In an interview with Gamespot, Gunn discussed the tone of Guardians of the Galaxy vol. 3 and how it differs from the first two iterations of the franchise.
It’s an incredibly emotional story. Much more mature than the other Guardian stories in a way because, you know, we started making these movies that were 10, 11 years old when they saw the first one, and now they’re 20, 21 years old. The movie has grown up with them.
James Gunn
The news of a more emotional and mature story for Guardians of the Galaxy vol. 3 is sure to pique the interest of fans who will be curious as to how exactly this will transpire. One could make the assumption that the introduction of Chukwudi Iwuji as the High Evolutionary will be the impetus for a relatively darker story in dealing with the trauma that Rocket Raccoon has at the hands of his creator. In addition, the San Diego Comic-Con exclusive trailer showcased the dramatic nature in which Chris Pratt’s Peter Quill is dealing with the ramifications of trying to rebuild a relationship with Zoe Saldana’s Gamora. This despite the Gamora of this film being a multiversal variant after the death of Earth-616’s version during the events of Avengers: Infinity War.
The more mature narrative for this film would also be in line with a trend often seen in recent Marvel Cinematic Universe franchises in which the third film of a saga changes deviates from the general tone of the previous two. These have included the likes of Thor: Ragnarok, Spider-Man: No Way Home, and will seemingly continue with the upcoming Ant-Man and The Wasp: Quantumania (which also arrives in theaters in 2023).
Guardians of the Galaxy vol. 3 is currently scheduled to open exclusively in theaters on May 5th, 2023.
When superheroes first became a fixture on the big screen, they were saddled with a pretty specific caveat. Studios seemed to believe that if these movies were going to land with the mainstream culture, they had to find a way to ground themselves in reality. Cartoonish oddities would only be allowed if they were coated by some form of gritty, down-to-Earth paint job. Whether it be swapping colorful spandex for solid black leather or trading the Batmobile for a speedy tank, the unwritten rule was that comic book movies should not actually feel like comic books. On July 7th, when Thor: Love and Thunder hammers its way into theaters, audiences will learn this is no longer the case.
One of the best sketches to come out of Key & Peele‘s impeccable run was ‘Gremlins 2′ Brainstorm, in which Hollywood’s greatest “sequel doctor” raids the creative meeting for Gremlins 2 and radiantly exaggerates every idea the writers have. “What about a brainy Gremlin?,” one scripter asks. The doctor replies excitedly, “You’re talking about a Gremlin with glasses who can talk and sing ‘New York, New York’? That’s brilliant. It’s in the movie. Done.” This is how I imagine the writers’ room for Love and Thunder played out, but with Taika Waititi at the helm instead. The level of absurdity that the film operates on suggests that the famously eccentric writer/director never encountered an idea that he wasn’t able to use. It’s Ragnarok on steroids, filled to the brim with vibrant hilarity, energetic chaos, and ball-breaking action.
Most importantly, however, it feels like watching a comic book. Marvel Studios has spent the past few years dipping further and further into full-blown funny paper territory, and the fourth Thor may be the project that has finally put the studio over the edge. Fans have known since the release of the film’s early trailers that several shots during its runtime are lifted directly from the illustrated page. Yet, it’s the essence of nonconformity that really sells the schtick. There’s a certain emotional freedom that comes with watching a movie so completely free of expectation. Of course, no direct adaptation can exist without some degree of presupposition, it’s just that Love and Thunderdoesn’t care what logic says it’s “supposed” to be. It simply lives as itself, and viewers will be better off surrendering to the magic of the moment than they will be trying to fight it off.
The title, Love and Thunder, has more than one meaning, which will become apparent to fans by the time the credits roll. Taken literally though, the titular nouns represent the two main aspects of the film. “Love,” for the central plot concerning the protagonist’s growing dependence on his own emotions, and “Thunder,” for the absolute exuberance emitted from every scene. The backbone of the movie is composed of “Love,” which is why it works as well as it does. Always present amongst the madness is a central theme connecting it all back to an admittedly endearing sense of humanity. Fantasy is fun, but it can’t work if it isn’t somehow relatable. It’s the “Love” that permits the “Thunder” to continue rolling, and roll it does. Thor, Mighty Thor, and their supporting cast have never been funnier or, simultaneously, cooler than they are here. The action is often creatively jaw-dropping, and the project’s unending well of energy means you probably won’t find a good time to use the bathroom.
Adding to the joy is the movie’s cast, arguably the only ones having a better time than the viewers themselves. Chris Hemsworth, who was once ready to throw in his godly towel, appears to be more comfortable in the role than ever, and Natalie Portman, who really did once walk away from the franchise, no longer seems to be playing Dr. Jane Foster against her will. The actors also suddenly have genuine chemistry with each other, something that was never present in their previous interactions, perhaps as a result of both actually wanting to be there. Tessa Thompson is a predictable delight, portraying a more developed Valkyrie than we’ve seen before. It’s truly a feat when a performer can be in the majority of a movie and still leave the audience wishing she was around for more.
In actuality, though, it’s likely Christian Bale‘s scene-stealing Gorr the God Butcher who deserved more screen time. The villain isn’t in a ton of the film, even if his presence is always looming over the general merriment, and that may be the story’s greatest weakness. Nevertheless, when he is on screen, the Academy Award winner demands to be watched. Bale plays the character with an unexpectedly terrifying glee. His menacing, sickening smile, combined with an intensely threatening aura, makes for one of the more intriguing Marvel Cinematic Universe baddies in recent memory. Gorr’s motives take up the recent trend of superhero antagonists with a tinge of sympathy, but make no mistake, he’s still out for blood. When the God Butcher enters the room, all manner of commotion stands still.
Altogether, Thor: Love and Thunder is the most entertaining a comic book adaptation has been in a while, and it feels like Hemsworth and Marvel Studios are just getting started with this fresh take on the God of Thunder. While this sort of thing has been said about most recent blockbuster releases, this time it could actually be true. It’s a comic book come to life, with all the vibrant colors and out-of-this-world surrealism one might expect from the pages of a Walt Simonson, or more accurately, Jason Aaron monthly magazine. If you don’t believe me, go find out for yourself. I promise it’ll be worth it.
Marvel Studios has spent the last couple years introducing a plethora of characters to its ever-expanding cinematic universe. One of the first new faces that fans met in the Marvel Cinematic Universe’s fourth phase was Wyatt Russell’s John Walker, the government-sponsored Captain America who quickly became a thorn in the side of Anthony Mackie’s Sam Wilson and his best frenemy Bucky Barnes (played by Sebastian Stan). By the end of The Flacon and the Winter Soldier’s six episodes, Wilson had taken over as Captain America while Walker took on a fresh identity as U.S. Agent. Russell’s character was last seen coming into the employ of Julia Louis-Dreyfuss’ mysterious Val, and has not made an appearance since.
While promoting his latest project, FX’s Under the Banner of Heaven, the former Black Mirror star was asked about a potential crossover with co-star Andrew Garfield in the Marvel Cinematic Universe. Both actors appear in Banner of Heaven, and Russell told THR he’d be more than willing to do anything Marvel asked of him:
Sure. I’ll let you pitch that to Kevin Feige. If you come to Marvel, you can go pitch that to Kevin Feige and see if he likes it. I’ll do a crossover with anyone they tell me to do a crossover with.
Wyatt Russell
He continued to reveal just how incredible his experience with the company really was, and insisted he’ll return as soon as they’re ready to have him back:
I really enjoy playing the character, and my experience working with Marvel was an unbelievable working experience and collaborative, working with Anthony Mackie and Sebastian Stan, and Kari Skogland. The teams they have there are unbelievable. It’s why they make great things. So, anytime I get the opportunity or hear about the chance to reprise a character or work for Marvel again, it’s very exciting because the people are wonderful. So, hopefully, I’ll get to do it again. We’ll see.
Wyatt Russell
There are currently no public plans for U.S. Agent to make another appearance in the MCU, but the nature of his final scene would suggest Kevin Feige probably has something up his sleeve for the character’s future. Until then, fans can see Russell in Under the Banner of Heaven, now streaming on Hulu.
The Marvel Cinematic Universe is not only the biggest movie franchise of its time but the biggest movie franchise of all time. Even if it might have peaked for some when Avengers: Endgame hit theaters in 2019, there’s little reason to think that its cultural impact in 2022 hasn’t surpassed that. With Disney+ now available, the number of projects being released each year has more than doubled, and Marvel Studios doesn’t seem to be slowing down any time soon with more than two dozen projects set for release in the next few years alone. But all good things must come to an end and this means that the MCU as we know it should eventually do the same, although on its own terms so as to become something more.
New Avengers #1 (2013)
New Avengers #1 (2013)
It certainly does not come down to a lack of demand, but that should not be the only metric Marvel Studios should take into account when making franchise-wide decisions. Identifying issues that might be hurting a massive franchise that has passed its 14th anniversary is extremely important, especially if Marvel has its sights set not only on the next few years but, more significantly, on the next couple of decades.
Storyline Issues
The stories being told are the core of the MCU and issues that prevent them from being as good as can be should be addressed as a top priority. These can be due to several things, but most end up being a consequence of the same core issue: the shared universe.
Avengers: Endgame (2019)
Due to the intricacy of having so many stories being told through different IPs that either need to come together or stay apart in a way that feels justifiable, it’s perhaps fair to say that both movies and TV shows have had to compromise when it comes to the stories they set out to tell. A character that would have been perfect for a certain situation might not be available due to having a scheduled appearance somewhere else. Or maybe it is felt that its introduction deserves a bigger stage. While choices being made always aim at a better overall franchise, they end up not helping each individual project to be as good as it could be. This problem is only getting bigger and more noticeable as the years go by with the number of storylines, characters, and major events being introduced, especially since earlier storylines didn’t take into account the now real possibility of using a number of previously unavailable characters. While it still seems manageable at the moment, Marvel Studios should now be looking into how to stop while they’re ahead, in order not to hurt the entire brand in a way that might put their past achievements on the line.
Accessibility Issues
Going back to 2019, as Avengers: Endgame was set to premiere, both new and old fans were often gearing up for a complete MCU rewatch as the culmination of 11 years of storytelling was soon approaching. At the time, it only took watching 21 movies, something that while being no small feat, pales in comparison to what is needed to accomplish the same thing today.
Doctor Strange in the Multiverse of Madness (2022)
As of now, the post-pandemic MCU has not only added 5 new feature films (soon to be 6), but also 6 new TV shows (soon to be 7), something that likely isn’t helping with how new fans approach the franchise as a whole since it is becoming increasingly difficult to go back and experience it in its entirety. This will probably lead to casual fans choosing select projects to watch while feeling daunted by the magnitude of the rest of the franchise, meaning they’ll probably be missing out on the connective tissue between IPs that makes the MCU so special. So, in a way, and considering the previous point regarding storylines, they might be experiencing lackluster stories without the bonus of the shared universe experience. Die-hard fans will have another vision, as living through the interconnectivity between the projects might somewhat help to hide the imperfections needed to get there. But since Marvel Studios should be focused on bringing in new fans, while of course still appeasing old ones, the fact that the MCU has become too big for newcomers should be a cause for concern. A nice jumping-on point would do the trick, since new fans haven’t gotten that yet, not even after Avengers: Endgame.
How it Should All End
So, considering all this, should Marvel Studios just call it a day and shut down? Of course not. As stated above the MCU as we know it should perhaps end, but only for a neo-MCU to rise from its ashes. And as all signs point to the overall storyline being told at the moment leading to a Secret Wars-inspired event, Marvel Studios might just have an ace up its sleeve when it comes to approaching its future beyond the aforementioned event. If they choose to, obviously.
Secret Wars #0 (2015)
Marvel Studios has been pretty loose when adapting comic events. Age of Ultron, Civil War, and Infinity War are all examples of that. So even if Secret Wars is coming, there is still much room for how it will end up getting translated into live-action. But if the ending somehow stays similar, it may solve just about every issue pointed out above faced by the MCU. At the end of the 2015 comic series, following the collapse of the multiverse and the creation of Battleworld, Earth is restored as Marvel’s Earth-Prime. While not making everything that came before meaningless—in fact, it was everything leading up until then that made this new Earth both a possibility and a reality—this allowed for stories to be retold from a fresh perspective, while also allowing for better integration of all storylines into a single, unified universe. And this is what the MCU will need by the end of its Secret Wars.
Why It Will Be for the Best
For several years, there wasn’t either the budget or the character rights to put the perfect MCU on screen from the start. And nowadays, it has become an issue how to integrate certain characters that should have been a part of it earlier on. Certain storylines were simply avoided due to those constraints while others, even though they worked, had to be adapted in a way that perhaps diminished their appeal and overall impact. Allowing the MCU to scale itself down only to follow that up with a steady-paced growing, aware, and capable franchise that is willing to use all its moving parts/characters/storylines in the best possible way, could only mean good things for this new incarnation of the MCU in the long run.
Secret Wars #9 (2016)
Several actors could keep playing the same characters, new ones would enter the frame, and even legacy characters would be able to return without making audiences feel cheated in the way they were invested in their previous iterations. It would just be a case of letting go in order to both cherish and appreciate the past but also accept that a brighter future might be ahead. No sacrifice made up until then would have been in vain and it would all still have started in a cave with a box of scraps.
When Game of Thrones and Misfits actor Iwan Rheon joined the cast of Marvel and ABC’s Inhumans, many had high hopes for the property. Unfortunately, the ABC series ultimately proved to be a disaster, both at the box office and among critics. Despite being a part of the poorly received series, Rheon is ready to join the Marvel Cinematic Universe.
In a new interview with Comicbook, Rheon was asked if he would ever consider returning as Maximus again. The actor seemed more than eager to return as the Inhuman, should the Inhumans formally make their Marvel Cinematic Universe debut, but he also showed interest in tackling any role within the MCU. “I’ll take anything really. I’d love to have another crack at — I’d love to do Maximus again,” the actor said.
Although Inhumans was critically panned, Rheon was often considered one of the highlights of the ill-fated series. He was menacing as Maximus and often commanded the screen during his scenes. As of now, Marvel has not suggested the Inhumans will be making their big-screen debut anytime soon, and it seems highly unlikely the ABC series will be considered canon in the greater MCU. Still, Rheon is interested in continuing Maixmus’ story, or potentially taking on another role, noting that he’s not picky. “I think he’s a really interesting character. And also I feel a bit sorry for him, because he is just stuck on the Moon still, but yeah, I’d love to do any of that stuff. Anything. I’m not fussy, give me anything.”
When it comes to Wolverine, it often feels like many actors have been rumored to take on the iconic character in the Marvel Cinematic Universe. One actor that is commonly mentioned, however, is none other than Harry Potter actor, Daniel Radcliffe. In the past, Radcliffe has suggested he’s never heard the rumors regarding him being in contention for the role. Still, the actor didn’t seem against the rumors. “I don’t see myself, I don’t see them going from Hugh Jackman to me. But who knows? Prove me wrong, Marvel.”
Now, his The Lost City co-star Sandra Bullock is ready for Marvel to cast him in the role. In a recent interview with It’s Gone Viral to promote The Lost City, the duo talked about Radcliffe’s long-rumored past with the role. As Radcliffe explains he’s been dealing with the rumors for quite a few years now. “Mate, that’s been happening to me semi-annually for the last three years.”
This led to Bullock asking why he simply didn’t just take on the role of Wolverine. Per the actor, however, he still hasn’t been approached by Marvel Studios or anyone associated with the studio regarding any Wolverine casting. Bullock then threw her support behind Radcliffe getting the role, urging Marvel to get on it already. “Wolverine people, can you please just f***ing cast him. Just do it. Stop tiptoeing around and having people ask at press junkets. Just cast the man.”
As it stands, it is unknown when Wolverine will finally appear in the Marvel Cinematic Universe. However, until someone is cast, it seems likely Radcliffe will have to endure the Wolverine rumors for a bit longer.
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