Rafa Alvarez wrote the cover story "Crisis at Marvel: Jonathan Majors Back-Up Plans, ‘The Marvels’ Reshoots, Reviving Original Avengers and More Issues Revealed" for Variety.
They've got problems with Jonathan Majors, and have considered ways to replace him.
Expectations seem low for The Marvels.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.”
Marvel's "fix it in post" attitude didn't quite work with the last Antman.“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.
She-Hulk was expensive, partly due to last-minute changes.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.
There seem to be problems with Blade behind the scenes.But some internal sources suggest Alonso was a scapegoat and point to the “She-Hulk” VFX issues as a symptom of a deeper rot — namely a lack of oversight on script development. In the original arc of “She-Hulk,” a flashback of star Tatiana Maslany’s transformation into her Hulk character didn’t take place until Episode 8, the penultimate episode. But after Marvel’s brain trust watched footage, it realized the scene needed to happen in the pilot episode so that audiences could see more of the character’s backstory early. That meant that the VFX team was tasked with fixing the mess in postproduction.
“The so-called bad VFX we see was because of half-baked scripts,” says one person involved with “She-Hulk.” “That is not Victoria. That is Kevin. And even above Kevin. Those issues should be addressed in preproduction. The timeline is not allowing the Marvel executives to sit with the material.”
All the while, Marvel was bleeding money, with a single episode of “She-Hulk” costing some $25 million, dwarfing the budget of a final-season episode of HBO’s “Game of Thrones, ” but without a similar Zeitgeist bang. The August 2022 series premiere at the El Capitan Theatre foreshadowed what was to come six months later at the “Quantumania” bow: the “She-Hulk” special effects were out of focus in multiple scenes.
The "Crisis at Marvel" headline is a bit on the nose, especially since Crisis is more of a DC term (Marvel generally goes with War(s)With Mahershala Ali signed on for the eponymous role of a vampire, things looked promising for a 2023 release date. But the project has gone through at least five writers, two directors and one shutdown six weeks before production. One person familiar with the script permutations says the story at one point morphed into a narrative led by women and filled with life lessons. Blade was relegated to the fourth lead, a bizarre idea considering that the studio had two-time Oscar winner Ali on board.
Amid reports that Ali was ready to exit over script issues, Feige went back to the drawing board and hired Michael Green, the Oscar-nominated writer of “Logan,” to start anew. Speculation around town is that the studio is looking to make the film, now slated for 2025, on a budget of less than $100 million — a deviation from Marvel’s big-spending strategy.