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Update: November 1, 2023
Crisis at Marvel: Jonathan Majors Back-Up Plans, The Marvels Reshoots, Reviving Original Avengers and More Issues Revealed
Cliff Notes:
- Due to Jonathan Majors' legal troubles, Marvel is considering changing their big bad from Kang the Conqueror to another villain, like Doctor Doom. Recasting Majors is also an option being considered.
- The Marvels director Nia DaCosta moved to London to begin prepping for her new movie while The Marvels was still in postproduction.
- In June, Marvel, which traditionally only solicits feedback from Disney employees and their friends and families, took the uncharacteristic step of holding a public test screening in Texas. The audience gave The Marvels middling reviews.
- Victoria Alonso, who oversaw the studio’s physical production, postproduction, VFX and animation, was fired because Disney was incensed the quality of the Marvel production plummeted.
- A single episode of She-Hulk cost around $25 million.
- The Blade reboot script was scrapped because the story at one point morphed into a narrative led by women and filled with life lessons. Blade was relegated to the fourth lead.
- Marvel is considering bringing back the original team in an Avengers movie, including reviving RDJ's Tony Stark and Scarlett's Black Widow.
Below is the Variety article:
This past September, a group of Marvel creatives, including studio chief Kevin Feige, assembled in Palm Springs for the studio’s annual retreat. Most years, the vibe would have been confident — even cocky — given how the premier superhero brand, owned by Disney since 2009, has remade the entertainment business in its image.
But this occasion was angst-ridden — everyone at Marvel was reeling from a series of disappointments on-screen, a legal scandal involving one of its biggest stars and questions about the viability of the studio’s ambitious strategy to extend the brand beyond movies into streaming. The most pressing issue to be discussed at the retreat was what to do about Jonathan Majors, the actor who had been poised to carry the next phase of the Marvel Cinematic Universe but instead is headed to a high-profile trial in New York later this month on domestic violence charges. The actor insists he is the victim, but the damage to his reputation and the chance he could lose the case has forced Marvel to reconsider its plans to center the next phase of its interlocking slate of sequels, spinoffs and series around Majors’ villainous character, Kang the Conqueror.
At the gathering in Palm Springs, executives discussed backup plans, including pivoting to another comic book adversary, like Dr. Doom. But making any shift would carry its own headaches: Majors was already a big presence in the MCU, including as the scene-stealing antagonist in February’s “Ant-Man and the Wasp: Quantumania.” And he has been positioned as the franchise’s next big thing in this season of “Loki” — particularly in the finale, which airs on Nov. 9 and sets up Kang as the titular star of a fifth “Avengers” film in 2026.
“Marvel is truly fucked with the whole Kang angle,” says one top dealmaker who has seen the final “Loki” episode. “And they haven’t had an opportunity to rewrite until very recently [because of the WGA strike]. But I don’t see a path to how they move forward with him.”
Beyond the bad press for Majors, the brain trust at Marvel is also grappling with the November release of “The Marvels,” a sequel to 2019’s blockbuster “Captain Marvel” that has been plagued with lengthy reshoots and now appears likely to underwhelm at the box office.
This is all an unprecedented turn of fortune for a company that has enjoyed a nearly uninterrupted string of hits ever since it started independently producing its movies with 2008’s “Iron Man.” That wildly profitable run culminated in the $2.8 billion success of 2019’s “Avengers: Endgame,” a high-water mark for the studio that has earned nearly $30 billion over 32 films.
Replicating that kind of phenomenon is never easy. However, the source of Marvel’s current troubles can be traced back to 2020. That’s when the COVID pandemic ushered in a mandate to help boost Disney’s stock price with an endless torrent of interconnected Marvel content for the studio’s fledgling streaming platform, Disney+. According to the plan, there would never be a lapse in superhero fare, with either a film in theaters or a new television series streaming at any given moment.
But the ensuing tsunami of spandex proved to be too much of a good thing, and the demands of churning out so much programming taxed the Marvel apparatus. Moreover, the need to tease out an interwoven storyline over so many disparate shows, movies and platforms created a muddled narrative that baffled viewers.
“The Marvel machine was pumping out a lot of content. Did it get to the point where there was just too much, and they were burning people out on superheroes? It’s possible,” says Wall Street analyst Eric Handler, who covers Disney. “The more you do, the tougher it is to maintain quality. They tried experimenting with breaking in some new characters, like Shang-Chi and Eternals, with mixed results. With budgets as big as these, you need home runs.”
“The Marvels,” which opens in theaters on Nov. 10, will struggle to get the ball past the infield, at least by Marvel’s outsized standards. The movie, which cost $250 million and sees Brie Larson reprising her role as Captain Marvel, is tracking to open to $75 million-$80 million — far below the $185 million “Doctor Strange in the Multiverse of Madness” took in domestically in its debut weekend last year.
Directed by Nia DaCosta, “The Marvels” unites Larson’s heroine with two superpowered allies, Teyonah Parris’ Monica Rambeau (introduced in the 2021 Disney+ series “WandaVision”) and Iman Vellani’s Kamala Khan (first seen in the 2022 series “Ms. Marvel”). But instead of seamlessly building on the success of “Captain Marvel,” this move resulted in four weeks of reshoots to bring coherence to a tangled storyline.
Then eyebrows were raised again when DaCosta began working on another film while “The Marvels” was still in postproduction — the filmmaker moved to London earlier this year to begin prepping for her Tessa Thompson drama “Hedda.” (A representative for DaCosta declined to comment.)
“If you’re directing a $250 million movie, it’s kind of weird for the director to leave with a few months to go,” says a source familiar with the production.
“The Marvels” has seen its release date moved back twice, too, once to swap places with “Quantumania,” which was deemed further along, and again when its debut shifted from July to November to give the filmmakers more time to tinker. But that extra time didn’t necessarily help. In June, Marvel, which traditionally only solicits feedback from Disney employees and their friends and families, took the uncharacteristic step of holding a public test screening in Texas. The audience gave the film middling reviews.
But Marvel has never been in the business of being average. “Kevin’s real superpower, his genius, has always been in postproduction and getting his hands on movies and making sure that they finished strongly,” the source adds. “These days, he’s spread thin.” (Feige declined to comment for this story.)
Feige isn’t the only person showing signs of strain. Marvel’s entire VFX battalion, including staffers and vendors, is struggling to keep pace with a never-ending stream of productions. This past February, when the credits rolled at the world premiere of “Quantumania,” shock rippled through the Regency Village Theatre in Westwood over some shoddy CGI. “There were at least 10 scenes where the visual effects had been added at the last minute and were out of focus,” says one veteran power broker who was there. “It was insane. I’ve never seen something like that in my entire career. Everyone was talking about it. Even the kids of executives were talking about it.”
The schedule swap with “The Marvels” had left the “Ant-Man” sequel in a squeeze, pushing up its postproduction schedule by four-and-a-half months. Marvel films are known for coming down to the wire, given Feige’s ability “to foam the runway and land a plane that way,” says one executive familiar with how the company operates. But this level of unfinished was unprecedented and would be noted in scathing reviews when the tentpole with the $200 million budget opened 11 days after the premiere. Critics weren’t the only ones dismayed. Fed up with 14-hour days and no overtime, Marvel VFX workers voted unanimously to unionize in September, sparking an industrywide trend.
“The year 2023 was the straw that broke the camel’s back,” says former Marvel Studios VFX assistant coordinator Anna George, who appeared before the Congressional Labor Caucus on Oct. 19 to testify about the studio’s untenable deadlines and working conditions. “The pay and long hours at Marvel were the reason we had to start our unionization process there. The conditions were completely unsustainable.”
Crisis at Marvel: Jonathan Majors Back-Up Plans, The Marvels Reshoots, Reviving Original Avengers and More Issues Revealed
Cliff Notes:
- Due to Jonathan Majors' legal troubles, Marvel is considering changing their big bad from Kang the Conqueror to another villain, like Doctor Doom. Recasting Majors is also an option being considered.
- The Marvels director Nia DaCosta moved to London to begin prepping for her new movie while The Marvels was still in postproduction.
- In June, Marvel, which traditionally only solicits feedback from Disney employees and their friends and families, took the uncharacteristic step of holding a public test screening in Texas. The audience gave The Marvels middling reviews.
- Victoria Alonso, who oversaw the studio’s physical production, postproduction, VFX and animation, was fired because Disney was incensed the quality of the Marvel production plummeted.
- A single episode of She-Hulk cost around $25 million.
- The Blade reboot script was scrapped because the story at one point morphed into a narrative led by women and filled with life lessons. Blade was relegated to the fourth lead.
- Marvel is considering bringing back the original team in an Avengers movie, including reviving RDJ's Tony Stark and Scarlett's Black Widow.
Below is the Variety article:
This past September, a group of Marvel creatives, including studio chief Kevin Feige, assembled in Palm Springs for the studio’s annual retreat. Most years, the vibe would have been confident — even cocky — given how the premier superhero brand, owned by Disney since 2009, has remade the entertainment business in its image.
But this occasion was angst-ridden — everyone at Marvel was reeling from a series of disappointments on-screen, a legal scandal involving one of its biggest stars and questions about the viability of the studio’s ambitious strategy to extend the brand beyond movies into streaming. The most pressing issue to be discussed at the retreat was what to do about Jonathan Majors, the actor who had been poised to carry the next phase of the Marvel Cinematic Universe but instead is headed to a high-profile trial in New York later this month on domestic violence charges. The actor insists he is the victim, but the damage to his reputation and the chance he could lose the case has forced Marvel to reconsider its plans to center the next phase of its interlocking slate of sequels, spinoffs and series around Majors’ villainous character, Kang the Conqueror.
At the gathering in Palm Springs, executives discussed backup plans, including pivoting to another comic book adversary, like Dr. Doom. But making any shift would carry its own headaches: Majors was already a big presence in the MCU, including as the scene-stealing antagonist in February’s “Ant-Man and the Wasp: Quantumania.” And he has been positioned as the franchise’s next big thing in this season of “Loki” — particularly in the finale, which airs on Nov. 9 and sets up Kang as the titular star of a fifth “Avengers” film in 2026.
“Marvel is truly fucked with the whole Kang angle,” says one top dealmaker who has seen the final “Loki” episode. “And they haven’t had an opportunity to rewrite until very recently [because of the WGA strike]. But I don’t see a path to how they move forward with him.”
Beyond the bad press for Majors, the brain trust at Marvel is also grappling with the November release of “The Marvels,” a sequel to 2019’s blockbuster “Captain Marvel” that has been plagued with lengthy reshoots and now appears likely to underwhelm at the box office.
This is all an unprecedented turn of fortune for a company that has enjoyed a nearly uninterrupted string of hits ever since it started independently producing its movies with 2008’s “Iron Man.” That wildly profitable run culminated in the $2.8 billion success of 2019’s “Avengers: Endgame,” a high-water mark for the studio that has earned nearly $30 billion over 32 films.
Replicating that kind of phenomenon is never easy. However, the source of Marvel’s current troubles can be traced back to 2020. That’s when the COVID pandemic ushered in a mandate to help boost Disney’s stock price with an endless torrent of interconnected Marvel content for the studio’s fledgling streaming platform, Disney+. According to the plan, there would never be a lapse in superhero fare, with either a film in theaters or a new television series streaming at any given moment.
But the ensuing tsunami of spandex proved to be too much of a good thing, and the demands of churning out so much programming taxed the Marvel apparatus. Moreover, the need to tease out an interwoven storyline over so many disparate shows, movies and platforms created a muddled narrative that baffled viewers.
“The Marvel machine was pumping out a lot of content. Did it get to the point where there was just too much, and they were burning people out on superheroes? It’s possible,” says Wall Street analyst Eric Handler, who covers Disney. “The more you do, the tougher it is to maintain quality. They tried experimenting with breaking in some new characters, like Shang-Chi and Eternals, with mixed results. With budgets as big as these, you need home runs.”
“The Marvels,” which opens in theaters on Nov. 10, will struggle to get the ball past the infield, at least by Marvel’s outsized standards. The movie, which cost $250 million and sees Brie Larson reprising her role as Captain Marvel, is tracking to open to $75 million-$80 million — far below the $185 million “Doctor Strange in the Multiverse of Madness” took in domestically in its debut weekend last year.
Directed by Nia DaCosta, “The Marvels” unites Larson’s heroine with two superpowered allies, Teyonah Parris’ Monica Rambeau (introduced in the 2021 Disney+ series “WandaVision”) and Iman Vellani’s Kamala Khan (first seen in the 2022 series “Ms. Marvel”). But instead of seamlessly building on the success of “Captain Marvel,” this move resulted in four weeks of reshoots to bring coherence to a tangled storyline.
Then eyebrows were raised again when DaCosta began working on another film while “The Marvels” was still in postproduction — the filmmaker moved to London earlier this year to begin prepping for her Tessa Thompson drama “Hedda.” (A representative for DaCosta declined to comment.)
“If you’re directing a $250 million movie, it’s kind of weird for the director to leave with a few months to go,” says a source familiar with the production.
“The Marvels” has seen its release date moved back twice, too, once to swap places with “Quantumania,” which was deemed further along, and again when its debut shifted from July to November to give the filmmakers more time to tinker. But that extra time didn’t necessarily help. In June, Marvel, which traditionally only solicits feedback from Disney employees and their friends and families, took the uncharacteristic step of holding a public test screening in Texas. The audience gave the film middling reviews.
But Marvel has never been in the business of being average. “Kevin’s real superpower, his genius, has always been in postproduction and getting his hands on movies and making sure that they finished strongly,” the source adds. “These days, he’s spread thin.” (Feige declined to comment for this story.)
Feige isn’t the only person showing signs of strain. Marvel’s entire VFX battalion, including staffers and vendors, is struggling to keep pace with a never-ending stream of productions. This past February, when the credits rolled at the world premiere of “Quantumania,” shock rippled through the Regency Village Theatre in Westwood over some shoddy CGI. “There were at least 10 scenes where the visual effects had been added at the last minute and were out of focus,” says one veteran power broker who was there. “It was insane. I’ve never seen something like that in my entire career. Everyone was talking about it. Even the kids of executives were talking about it.”
The schedule swap with “The Marvels” had left the “Ant-Man” sequel in a squeeze, pushing up its postproduction schedule by four-and-a-half months. Marvel films are known for coming down to the wire, given Feige’s ability “to foam the runway and land a plane that way,” says one executive familiar with how the company operates. But this level of unfinished was unprecedented and would be noted in scathing reviews when the tentpole with the $200 million budget opened 11 days after the premiere. Critics weren’t the only ones dismayed. Fed up with 14-hour days and no overtime, Marvel VFX workers voted unanimously to unionize in September, sparking an industrywide trend.
“The year 2023 was the straw that broke the camel’s back,” says former Marvel Studios VFX assistant coordinator Anna George, who appeared before the Congressional Labor Caucus on Oct. 19 to testify about the studio’s untenable deadlines and working conditions. “The pay and long hours at Marvel were the reason we had to start our unionization process there. The conditions were completely unsustainable.”
