Rewrites, reshoots and additional photography have become routine partsof the Marvel Studios production machine. It’s safe to say that no two projects undergo the same amount of changes and that they’re not always all-encompassing nor always favorable.
Both Captain America: Brave New World and Daredevil: Born Again were significantly reworked following the 2023 Hollywood work stoppages to varying degrees of success. Brave New World reshot its first act battle, gave The Leader a concerning makeover and shot a very awkward post-credit scene, none of which were well-received by fans. On the other hand, the creative retooling of Daredevil: Born Again, intended to connect it to the original Netflix series, seemed to please the bloodthirsty legion of edge lords who believe the character should suffer in darkness and misery. However, perhaps no project underwent a more complete overhaul than Thunderbolts*.
Originally drafted by Eric Pearson as a sequel to Black Widow, the project’s script was handed off to both Joanna Calo and Lee Sung Jin. Typically, it’s never made clear by the studio just how much a script changes from beginning to end; however, director Jake Schreier veered from the norm in an interview with EW, explaining that very little of the film’s original conceit survived.
"More powerful than all The Avengers rolled in one."
According to Schreier, the only big idea from the original script that made it to the big screen was the idea of the mismatched team of damaged people being revealed as the MCU’s New Avengers at the end. The idea was “in the script from the very first draft,” Schreier told EW, adding “Even though a lot of things, almost everything, changed around it.“
“There was the core idea of these operatives sent to kill each other, which I thought was such a neat twist on people expecting Marvel’s Suicide Squad,” Schreier explained. “And then that was the ending, and it went to a very different place, but that was the one thing that was like, no matter what we do, it’s going to end in that place.” Whatever the original version may have been, there will be very few fans disappointed with the direction the studio ultimately chose for the film.
As is Marvel Studios’ tradition, Thunderbolts*included some additional scenes during the credits. Though the first scene featuring David Harbour‘s Red Guardian was played for laughs, the second scene jumped 14 months into the MCU’s future, providing a look at the New Avengers regrouping at The Watchtower. Unlike several of the studio’s post-credit scenes, this one felt important, providing information about Captain America and his team of Avengers while also teasing the arrival of the Fantastic Four on Earth-616. Yelena’s New Avengers were decked out in new uniforms, including Bucky sporting a new star logo very reminiscent of the one his character recently sported in the pages of Marvel Comics as The Revolution, and were just learning about a “space crisis,” which is almost certainly an Incursion.
TL:DR, the 2-minute and 54-second scene is doing a lot of table setting for Avengers: Doomsday and it turns out that’s because it was filmed by the directors of the upcoming Marvel project.
In an interview with Comic Book, Thunderbolts* director Jake Schreier revealed that the post-credit scene was filmed on the set of Avengers: Doomsday while strongly hinting that Joe and Anthony Russo were behind the camera for it.
So a couple things about that. I didn’t film that scene. I was there when it was filmed and I can say that it comes from the set of a production that might be starting production right around now. So that might be fun for people to stay and watch.
-Jake Schreier
The knowledge that the Russos filmed the scene adds a little extra weight to the information contained within. Too frequently, the studio’s stingers are poorly thought out and following up on them becomes the problem of “the next guy.” Since the Russos directed this and are “the next guys,” this scene can more or less be thought of as part of Avengers: Doomsday, which we can safely assume begins a year and two months after the events of Thunderbolts*, set in 2027. With that, we now know that the next Avengers film will be set in 2028, keeping the MCU timeline ahead of the real world by a couple of years.
Thunderbolts* is now in theaters and Avengers: Doomsday is now in production ahead of its May 1, 2026 release.
Marvel Studios took a chance with Thunderbolts* but all signs point toward the film, directed by Jake Schreier, opening to a solid weekend at the box office following very positive reviews by critics. With the surviving members of the eclectic group of anti-heroes already confirmed to appear in Avengers: Doomsday, it looks like the Thunderbolts are here to stay…at least in the short term. But in what capacity?
As explained here, following the team’s battle against The Void–the omnipotent dark shadow of Lewis Pullman‘s Sentry–Julia Louis-Dreyfus‘ Valentina Allegra de Fontaine, who is facing impeachment charges, saves face by introducing the group as The New Avengers…and Bob. With that big reveal, the 2-hour and 6-minute run time of Thunderbolts* draws to a close but, as audiences have come to expect from Marvel Studios’ projects, there’s more in store for those who stick around for the credits.
The film’s Mid-Credits scene features David Harbour‘s bombastic Alexi Shostakov and makes good on the Wheaties box premise of one of the project’s promotional posters. While out grocery shopping, a cleaned-up Alexi proudly shows off a box of The Breakfast of Champions, which features the New Avengers on the front. Though it’s mostly there to add another laugh when Alexi fails to convince a woman to purchase a box, the scene implies that the cast of castoffs have indeed become the public-facing heroes Yelena aspired to be, completing their redemption arcs.
Post-Credit
Set 14 months after the conclusion of the film, the second scene–which runs a Marvel record 2 minutes and 54 seconds–finds the team, complete with fancy new uniforms–regrouping at their new HQ, The Watchtower. Though it’s not clearly stated, the New Avengers seem to have an assistive AI helping them out as that may well be an homage to C.L.O.C. or Centrally Located Organic Computer, who helped run The Watchtower in the pages of Marvel Comics. While the team’s discussion about Sam Wilson filing a lawsuit to prevent them from calling themselves The Avengers leads Shostakov to reveal his “New Avengerz” outfit, Yelena’s conversation discloses that they are aware of a “space crisis.” As they process that, the computer warns them of an extra-dimensional ship entering Earth’s atmosphere. That ship? The Excelsior, belonging to The Fantastic Four!
While it’s not entirely clear what circumstances bring The First Family from their Earth to Earth-616, trailers for The Fantastic Four: First Steps have shown Reed Richards to be working on the math behind inter-dimensioal travel and with both The New Avengers and Fantastic Four slated to play big roles in Avengers: Doomsday, the scene teases the first meeting between the two.
Over the years, Marvel Studios’ approach to storytelling has increasingly been the focus of criticism. The framework within which the studio chooses to spin its narrative, the “Marvel formula,” has come under fire for its predictable plot structure, overreliance on humor, and willingness to sacrifice character-driven stories to advance the MCU’s longform story. As the studio’s Multiverse Saga has moved forward, the type of nuanced performances that allow for true excavation of a character have been forgone in favor of spectacle and it has become increasingly difficult to “spectacle” an audience that grew up with fully realized heroes flying around on screen. That hasn’t stopped Marvel from attempting to outspectacle its latest spectacle and the result has been a saga largely composed of vapid films, void of any emotional resonance. And along comes Thunderbolts*…
Piecemealed together by a series of writers, Thunderbolts* cavorts in insouciance for the Marvel formula, delivering something audiences haven’t seen from the studio in quite some time: a story galvanized and energized by its characters rather than visual effects and nostalgia. Eric Pearson, Joanna Calo and Lee Sung Jin Frankensteined a script that provided director Jake Schreier the opportunity to tell an MCU-set Jekyll and Hyde (that’s an entirely different monster) story, steeped in metaphysics and exploring ontological dependence. A non-empty set depends on its elements and the respective successes of both the Thunderbolts and the Thunderbolts* are entirely dependent on their respective elements.
You’re talking about a group of characters that have done a lot of bad things, and maybe are struggling with feeling good about themselves. There’s an element that does speak to mental health, and loneliness, and how some of the darkness that we experience in our lives can’t be necessarily fixed, but can only really be made lighter through connection and finding others
Working solo, the titular team wouldn’t survive the film’s first act and, reading between the lines of some comments recently made by Schreier, it sounds as if the film might have been on track to turn out to be another hollow, one-note action flick (Schreier described it as a small-scale “Die Hard thing”) that wouldn’t have survived a critical bashing before Calo and Sung Jin weaved heart and emotion into Pearson‘s original script. Instead of another potential dud, the reworked script turned into the studio’s most impressive Multiverse Saga film to date, putting character first without sacrificing spectacle, delivering some of the most impressive action sequences the MCU has seen in a decade, while telling a story about human trauma that powerfully reverberates with the audience. Whatever Thunderbolts* originally was, it evolved into one of the studio’s most entertaining and evocative films.
Making a superhero film featuring a cast of charming, misfit losers meant that Thunderbolts* was inevitably going to be compared to Warner Bros. Suicide Squad films and Marvel’s own Guardians of the Galaxy. Thunderbolts* never feels derivative of those projects, however, because it leans so much harder into darker, more uncomfortable emotions and corners of human nature that are typically not part of superhero fare. For reasons each their own, Yelena Belova, John Walker, Ava Starr and Antonia Dreykov–all of whom find themselves in the employ of Julia Louis-Dreyfus‘ Valentina Allegra de Fontaine–have lived large portions of their lives as disposable tools to be used at the whims of others. Bucky Barnes and Alexi Shostakov–neither of whom are working for Julia Louis-Dreyfus‘ Valentina Allegra de Fontaine–have suffered the same fate. In one of the film’s more powerful moments, Bucky, who should know better than anyone given his past as The Winter Soldier, finds himself standing in the same shoes as those who were his masters in the past, seeking only to use the others as tools for his own ends without any value for consideration for them as human beings. Indeed his desire to succeed and inability to see them as anything other than means to an end prevents him from acknowledging their warnings about the film’s true threat. While parts of the scene are played off humurosly, it’s deeply tied to the film’s exploration of how emptiness can consume and how power can corrupt.
And we all have Paul Jenkins to thank for that. At the center of Thunderbolts* is Lewis Pullman‘s Bob, a tortured meth addict who volunteered to be a test subject for a program he’s told will help him and humanity reach new heights: Project Sentry. Though the studio kinda-sorta tried to hide it, Bob is Robert Reynolds, aka The Sentry, a Marvel Comics character created by Paul Jenkins. Jenkins always intended for Reynolds to be a study in mental health and while the MCU’s iteration of the character is not a beat-for-beat adaptation, he is as Jenkins intended him to be. Pullman‘s quirky, unassuming Bob–the only new character on the film’s main cast–enters the fray in the first act and quickly becomes the centerpiece of a story that subverts what fans have come to expect from the Marvel Cinematic Universe.
So I knew from the beginning that Sentry was the Void, and this story was about mental health. It was about two sides of him. And in part, it was about the part that he couldn’t accept. The Void is part of him.
Schreier‘s subversion of the Marvel formula comes attached to a story centered around the continued bastardization of a formula foundational to the ongoing MCU narrative: the Super Soldier Serum. As Stanley Tucci‘s Abraham Erskine forewarned, the Super Soldier Serum amplifies everything that already exists inside the subject. Steve Rogers–a good man–became Captain America, the Senintel of Liberty and the Symbol of Truth–while Johann Shmidt became the Red Skull–the aberrant face of the Nazi Third Reich. A bit of dialogue in the second act of Thunderbolts* illumintates just how far the science of the MCU has progressed since then, however, as Bucky Barnes, Alexis Shostakov and John Walker compare and contrast their varieties of the serum, all while the most volatile and unethical version of the serum has created the most imperfect Super Soldier yet in the Sentry. By injecting the latest and greatest version of the serum into someone broken and hollow, Valentina Allegra de Fontaine makes good on Erskine’s warning, amplifying the void inside Robert Reynolds to the point where it manifests itself as The Void, an omnipotent shadow version of The Sentry. Over the course of the film, The Void seems to be held at bay by Bob, though physical contact with him drags the characters into memories of their own, dark traumas. However, once he’s finally unleashed in what begins as an Avengers-esque third act, the film takes a welcome detour from the Marvel formula. This Battle of New York, fought inside The Void, is the battle we must all fight from time to time: a battle against our worst self. And none of these characters can make it out without the others.
It’s no surprise to me, I am my own worst enemy, ’cause every now I then I beat the living shit out of me.
-Lit
Fascinatingly, Thunderbolts* instantly becomes the standard for “new Marvel” while paying homage to one of the MCU’s most important legacies. Perhps coincidentally, it also works wonderfully as commentary on the struggles of the Multiverse Saga. The Thunderbolts and Thunderbolts* ride parallel rails. Pullman‘s Bob becomes analogous with Marvel’s Multiverse Saga struggles. Just as Julia Louis-Dreyfus‘ Valentina Allegra de Fontaine carelessly dosed Robert Reynolds, a hollow shell of a man, with an all-new, all-different formula intended to grant him the power of a thousand exploding suns, the studio carelessly assumed the Marvel formula would carry the hollow shells that were Ant-Man and The Wasp: Quantumania and Thor: Love and Thunder to all-new heights. But that did not happen. The MCU was in jeopardy, both in and out of universe…and along came the Thunderbolts and Thunderbolts*.
The serum amplifies everything that is inside, so good becomes great; bad becomes worse. This is why you were chosen. Because the strong man who has known power all his life, may lose respect for that power, but a weak man knows the value of strength, and knows… compassion.
-Doctor Abraham Erskine, Captain America: The First Avenger
Playing with a stacked deck that nobody saw coming, Thunderbolts* combines fresh visuals (Schreier‘s eye for action and unique shots will have him on every studio’s list), a pair of emotionally powerful performances by Marvel’s brightest star, Florence Pugh, and Pullman, and, yeah, some MCU humor delivered by David Harbour and, surprisingly, Wyatt Russell. If Thunderbolts* is representative of what can be accomplished when the studio is willing to tinker with its formula, these new* heroes will be at the forefront of an intriguing renaissance for Marvel Studios.
One month after Marvel Studios slowly revealed over two dozen members of the cast of Avengers: Doomsday, principal photography on the film has officially begun in the UK. Though it’s only just getting underway, photos of the construction of a large-scale practical set and rumblings of an opening scene at the X-Mansion have made their way online in recent weeks; now, a behind-the-scenes photo released by the Russo brothers looks to confirm the latter.
Shared on Instagram, the first official look from the set of Avengers: Doomsday does not seem to give much away at first glance, though some might argue that seeing “Victor Von Doom” on the director’s chair might settle some concerns that Robert Downey Jr. is playing a Stark Variant. However, a closer look at the background could indeed confirm that the first scenes to be filmed for the movie are set at Charles Xavier’s School for Gifted Youngsters.
Given that it’s been some time since the interior of the X-Mansion has been visited on screen, it might be easy to overlook that Downey’s chair is positioned to intentionally provide a look at the wall of what can be assumed to be the location for filming on day one…and that wall does indeed look like it belongs inside Xavier’s school. The oak paneling is consistent with how the school has looked in the Fox films and with a large chunk of the cast of the original X-Men trilogy returning for Avengers: Doomsday, that’s unlikely to be a coincidence.
While it’s safe to assume the Russos won’t be following the exact formula they used in making Avengers: Infinity War and Avengers: Endgame, it is likely there will be some resonance in some of the choices they make. Opening Avengers: Doomsday by having Victor Von Doom take on and possibly take out Fox’s OG X-Men would serve the same purpose as having Thanos easily defeat the Hulk and Thor while killing Loki. With X-Men: Days of Future Past having created a divergent timeline in which the events of the original trilogy were undone and the team was alive and well in 2023, the X-Men should be an incredibly formidable superteam and if they can’t stop Doom, who can?
Once upon a time, Thunderbolts* seemed to be on track to be a relatively run of the mill Marvel Studios movie that would serve as a sequel to 2021’s Black Widow. A few rewrites and an almost totally unknown director later, it sounds as though the studio’s work behind the scenes may have transformed Thunderbolts* into an MCU all-timer.
Without giving away too much, a lot of what David [Harbour] and Florence [Pugh] are working with as material in this movie relates to that past relationship. And there’s resonance to that, so I think it’s important to everyone to preserve that legacy of something that emotionally meant so much to people and make sure that we refer to that in the right way, and we protect it and make sure that it means something. I think we’re pulling from all of their histories and then trying to tell something new. I don’t think that it feels like a Black Widow sequel. I think it feels like it’s a sampling of people from different parts [of this universe]. It’s definitely a part of our story but it’s not the driving force that leads into this film.
-Jake Schreier
Following the film’s European premier and series of early screenings Thunderbolts* is being hailed as an overwhelming success, featuring the kind of heart missing from many recent efforts.
Also I need to sit with the film a little more but I think this is the best-looking MCU movie in years, not a single sequence that looks like rushed CGI or anything. Practical action sequences for the win!
THUNDERBOLTS: it was AMAZING, SHOCKING, and AWESOME in every way. Florence Pugh and Lewis Pullman are absolutely STELLAR in this film and they're the highlights of the movie. Also, that asterisk reveal will SURPRISE you and make sure to stick for BOTH POST CREDITS. #Thunderboltspic.twitter.com/qJpZPjyzHY
#Thunderbolts is a real breath of fresh air for the MCU. Absolutely LOVED the team dynamic! It’s also rich with emotions tackling pretty serious self worth issues. Yelena carries the movie. Best part it’s 95% stand alone with 5% setup. But that 5% tho👀 Really felt like old MCU. pic.twitter.com/0O987OkxRI
According to multiple socmed accounts, Thunderbolts* is carried by strong performances across the board with Florence Pugh and Lewis Pullman leading the way.
#Thunderbolts is one of Marvel’s most enjoyable films in a while. It feels different than most of the studio’s projects. Its bold, funny, filled with great action and an unexpected emotional punch.
Florence Pugh is the star that shines the brightest. There’s a lot to love here.… pic.twitter.com/8wjgx9caIS
— The Hollywood Handle (@HollywoodHandle) April 22, 2025
Well #Thunderbolts is easily one of the best MCU movies in a long time (and maybe one of my new personal faves). Has so much spark, charisma, and tells a genuinely emotional story you connect with. A tear was shed. Florence Pugh in particular superb, just walks away with it pic.twitter.com/U7AzBgGZMl
I haven't felt this giddy leaving an MCU movie in YEARS! #Thunderbolts is FANTASTIC. A Phase One style character piece about finding fulfillment, embracing our demons and the support system needed to save us from the pull of the void. A witty, mature, singular vision from Jake… pic.twitter.com/zty4hD2sfj
While early screenings always generate “best ever” reactions, reading between the lines here reveals that Jake Schreier‘s approach to the project injected the film–and perhaps the MCU–with the shot of adrenaline it needed as it heads into the final phase of the Multiverse Saga.
Of the 70,000+ characters created by Marvel Comics over the years, Doctor Doom is arguably the most well-crafted among them. Years of retcons have resulted in a flawed megalomaniac who remains entirely relatable to the Everyman. When Marvel Studios acquired the live-action rights to the character in 2019 as part of Disney’s acquisition of 21st Century Fox, hopes wre high that after a pair of poor representations of Doom were brought to the screen in 2005 and 2015, Marvel might get it right. Those hopes have begun to fade.
How can we not go backwards? How can we not disappoint expectations? How can we continue to beat expectations? And he brought up Victor Von Doom. I looked into this character. Later on, he goes, ‘Let’s get Victor Von Doom right.’
-Robert Downey Jr. on Kevin Feige’s pitch for him to return to the MCU
Downey’s 60th birthday celebration took place in the UK where the star has been for some time in preparation for the beginning of principal photography on Avengers: Doomsday and a very special invitation was sent out to those lucky enough to be in consideration to attend. Joined by a pair of Doombots, Downey’s Doom appears to be wearing combat fatigues, sporting a pair of black gauntlets and a gold mask. His ensemble is topped off with a fancy purple cape.
While it would be easy–and perhaps best–to pass this off as simply some artistic choices, the fact that the character’s hair resembles the new look Downey was seen sporting at his party has led people to believe the invite is based closely on how Downey’s Doom will look in the film. And if that is the case, it’s unlikely to relieve concerns about this iteration of the character. Though the invitation does seem to indicate that this Doom will, like his comic book counterpart, be a mastrr of the mystic arts and a scientist, at some point it’s ok to wonder when Marvel Studios will stop attempting to reinvent the wheel each time they bring a major character into the MCU. Simply put, there is only Doom and he doesn’t need to be altered to be great.
Avengers: Doomsday will be in theaters on May 1, 2026.
With all the major production studios in Las Vegas for CinemaCon 2025, Sony didn’t want to come up short leading off the event, which brings theater owners from around the world together to preview upcoming slates. As part of its two-hour panel, Sony played a pre-recorded video message from Spider-Man star Tom Holland in which he revealed the title of the next installment in the franchise.
After apologizing for not being able to attend in person because of his filming schedule on Christopher Nolan‘s The Odyssey, Holland promised a “fresh start” for the Web-Slinger in the new film before sharing the title.”I know we left you with a massive cliff hanger at the end of No Way Home, so Spider-Man: Brand New Day is a fresh start. It is exactly that. That’s all I can say. That’s all I’ve been allowed to say,” said Holland, who then (sort of) jokingly added “And I’m well over the hump of giving away spoilers, so don’t be worried. I’m not going to do that today.“
Director Daniel Destin Cretton, who was on stage in Las Vegas, gave some insight into the prep work he and the rest of the creative crew on the film are putting in ahead of production.”I’m spending my time exploring the next stage of this amazing character with a team of the most incredible artists in the world,” teased Cretton. “We’re all, just daily, nerding out over the suit, how to swing, how to create an event, an emotional story, and a ride that we haven’t really seen before,” said Cretton of Brand New Day, which was confirmed to be headed into production this summer.
While it’s now clear that neither of those two rumored plots will unfold in Spider-Man: Brand New Day, the title reveal does call to mind a November 2024 report from Production Weekly in which the not-always-reliable outlet shared a synopsis for the fourth Spider-Man film while also accurately revealing the correct subtitle.
Following the events of Doomsday, Peter Parker is determined to lead a normal life and focus on college, stepping back from his responsibilities as Spider-Man. However, peace is short-lived when a deadly new threat emerges, endangering his friends and forcing Peter to reconsider his promise.With stakes higher than ever, Peter reluctantly returns to his Spider-Man identity and finds himself teaming up with an unlikely ally to protect those he loves.
While the plot of the new film remains a tightly-guarded secret,the Brand New Day subtitle will certainly ring a bell with comic book readers as Dan Slott’s follow up to the controversial One More Day arc that saw Peter Parker strike a deal with the devil, making it the perfect subtitle for the new film given that Spider-Man: No Way Home loosely adapted One More Day.
All Chris Evans wants is to be done with his Marvel roles…but he won’t quit coming back. While he’s yet to step back into to MCU as its First Avenger after 2019’s Avengers: Endgame, Evans reprised the role of Johnny Storm for a foul-mouthed appearance in 2024’s Deadpool & Wolverine. Beyond that, Evans has been true to his word, having yet to pick up the shield again despite regular rumors to the contrary.
Yeah, maybe. I’ll never say never, just because it was such a wonderful experience. But I’m also very precious with it. It’s something that I am very proud of. And like I said, sometimes I can’t believe it even happened. And I wouldn’t want the black eye if it felt like a cash grab or if it didn’t live up to expectations or if it just felt like it wasn’t connected to that original thing. So, no time soon. And ultimately I really hope to just maybe act a little bit less in my life. I have a lot of other interests.
First shared by social media’s busiest bee, My Time To Shine Hello, then given support by other similar online personalities, the latest rumor has Evans suiting up in an unknown role in The Fantastic Four: First Steps.
Treating it simply as nothing more than an interesting possibility, one can quickly wonder if Evans‘ return in that film might well be as the Sacred Timeline’s Steve Rogers. Much has been made of the retrofuturistic 1960s setting of The Fantastic Four: First Steps and that could tie neatly into Steve Rogers’ decision to leave the Sacred Timeline to live a life with Peggy Carter in 1949. While there are plenty of other options, such as Evans appearing as Hydra Supreme or even another Variant of Johnny Storm, reprising his original role would neatly dovetail Marvel’s two Sagas together. Given what’s been explained about Incursions so far, it would seem Captain America’s presence in another timeline would be somewhat problematic.
Despite chicken little claims about superhero fatigue, superhero projects remain king in the 21st century. Advancements in technology have allowed studios to tell stories, through films and streaming series, that 80s and 90s kids always dreamt of seeing. However, even as Hollywood continues to seek to advance and elevate the genre, the first modern superhero film still sets the standard in at least one aspect.
Released in 1998 (yes, the previous century), Stephen Norrington‘s Blade, starring Wesley Snipes, jumpstarted the superhero craze, making way for Sony to bring Sam Raimi‘s Spider-Man franchise to live and allowing for Fox to dream big with the X-Men. But despite the dozens of comic book movies that have followed it into theater’s, Blade continues to hold the championship belt for having THE best opening scene. Unmatched nearly 30 years later, the iconic “Blood Rave” blitzed unsuspecting audiences with a raw and visceral introduction to Blade’s world. Replete with hard-pumping music and harder-pumping action, the “Blood Rave” left its mark on fans and film makers alike.
Though it’s never been said outright, one of the last decade’s most beloved action franchises often feels as though it could have drawn inspiration from Blade‘s opening scene. Three of the four films in Keanu Reeves‘ John Wick franchise has featured an action-packed scene set in some sort of club that, like Blade’s “Blood Rave”, feels like it was crafted with the intention to overload the audience’s senses. And now, a karmic circle moment may be right around the corner.
According to Jeff “The In” Sneider, Marvel Studios May have lielned up John Wick franchise director Chad Stahelski to inject some life into its (un)dead Blade reboot.
A series of events that seems to long and painful to relive again here has resulted in Marvel Studios’ Blade remaining in development hell after first being announced in 2019. It’s enough to know that after years of stops and starts, the film was removed from the studio’s 2025 slate and never given a new release date. As director after director have left the project, fans have often called for Marvel to being in Stahelski, who has plenty of experience in both the superhero genre and with vampire projects and went on record in 2022 calling Blade “the one interesting thing” he would like to do at Marvel Studios, under one condition.
And he [Kevin Feige] actually asked me, ‘What could we ever do?’ I was like, ‘Look, I’m not going to lie to you. I don’t know if I fit that kind of studio mold, but Blade would be the one interesting thing I’d like to do. I don’t know if I would’ve been the best choice for that in the direction they wanted to go. If you want to do the edgy rated R version, yeah, give me a call. If you want to be non-apologetic, yeah. That’s me. But I think they’re protecting their brand, they’re doing their thing. The individual they selected, I think is a very good director, and I think will do a great job in the direction that I think they want to take the property.
We use cookies to improve your experience on our site. By using our site, you consent to cookies.
This website uses cookies
Websites store cookies to enhance functionality and personalise your experience. You can manage your preferences, but blocking some cookies may impact site performance and services.
Essential cookies enable basic functions and are necessary for the proper function of the website.
Name
Description
Duration
Cookie Preferences
This cookie is used to store the user's cookie consent preferences.
30 days
These cookies are needed for adding comments on this website.
Name
Description
Duration
comment_author_email
Used to track the user across multiple sessions.
Session
comment_author_url
Used to track the user across multiple sessions.
Session
comment_author
Used to track the user across multiple sessions.
Session
Statistics cookies collect information anonymously. This information helps us understand how visitors use our website.
Google Analytics is a powerful tool that tracks and analyzes website traffic for informed marketing decisions.
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
90 days
__utma
ID used to identify users and sessions
2 years after last activity
__utmt
Used to monitor number of Google Analytics server requests
10 minutes
__utmb
Used to distinguish new sessions and visits. This cookie is set when the GA.js javascript library is loaded and there is no existing __utmb cookie. The cookie is updated every time data is sent to the Google Analytics server.
30 minutes after last activity
__utmc
Used only with old Urchin versions of Google Analytics and not with GA.js. Was used to distinguish between new sessions and visits at the end of a session.
End of session (browser)
__utmz
Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
__utmx
Used to determine whether a user is included in an A / B or Multivariate test.
18 months
_ga
ID used to identify users
2 years
_gali
Used by Google Analytics to determine which links on a page are being clicked
30 seconds
_ga_
ID used to identify users
2 years
_gid
ID used to identify users for 24 hours after last activity
24 hours
_gat
Used to monitor number of Google Analytics server requests when using Google Tag Manager
1 minute
Marketing cookies are used to follow visitors to websites. The intention is to show ads that are relevant and engaging to the individual user.
Pinterest Tag is a web analytics service that tracks and reports website traffic.
