XPost: rec.arts.comics.marvel.universe, rec.arts.movies.current-films,   
   talk.politics.guns   
   XPost: sac.politics, alt.society.liberalism   
   From: leroysoetoro@americans-first.com   
      
   https://variety.com/2025/film/box-office/thunderbolts-lost-millions-box-   
   office-marvel-next-1236427994/   
      
   Days after “Thunderbolts*” hit the big screen, Disney CEO Bob Iger was   
   feeling celebratory. He publicly touted the comic book adventure as the   
   “first and best” example of Marvel’s new movie strategy, referring to the   
   film’s positive reception from audiences and critics. And what a relief,   
   following a bumpy few years and a string of poorly reviewed misfires in   
   the franchise.   
      
   Six weeks later, “Thunderbolts*” has cratered at the box office. With $371   
   million globally, it’s one of the lowest-grossing installments in all of   
   Disney’s Marvel Cinematic Universe. If this is the second coming of   
   Marvel, the superhero empire might need another reboot.   
      
   “Marvel’s calculus has changed,” says Shawn Robbins, Fandango’s movie   
   analytics director. “We’re in a new era where not every Marvel movie is   
   going to hit $1 billion.”   
      
   Since the MCU’s inception with 2008’s “Iron Man,” Marvel has been   
   Hollywood’s most consistent hit maker. It’s also the highest-grossing film   
   franchise in history, with $31 billion across 36 films. A billion dollars   
   per movie shouldn’t be a barometer for success. But before COVID scrambled   
   things, even less-beloved installments were guaranteed a certain level of   
   box office. Pre-pandemic, 19 out of its 22 films at least cracked $500   
   million globally. Since then, the once-Teflon brand has struggled with   
   commercial consistency. Starting in 2020, just six out of 13 films have   
   reached the half-billion benchmark.   
      
   At least February’s “Captain America: Brave New World” and 2023’s “The   
   Marvels” and “Ant-Man and the Wasp: Quantumania” could blame their   
   disastrous grosses on terrible reviews. “Thunderbolts*” had enthusiastic   
   word-of-mouth but is yet to climb out of the red, suggesting there’s a new   
   ceiling for superhero movies that aren’t based on marquee characters.   
      
   A diminished global marketplace and oversaturation of superhero stories on   
   the big and small screen are partly responsible for the decline.   
   Audiences’ habits and tastes also have shifted: This year’s biggest   
   blockbusters have been kid-friendly films like “A Minecraft Movie” and   
   “Lilo & Stitch” or original fare such as “Sinners.”   
      
   “These lower-tier comic book movies aren’t cinematic slam dunks anymore,”   
   says Exhibitor Relations analyst Jeff Bock. “‘Thunderbolts*’ wrapping up   
   after just a month in theaters is also a concern. These films aren’t   
   legging out like previous iterations.”   
      
   It’s coming at an inflection point for the MCU. After inundating viewers   
   with complex, interconnected stories across film and television, Marvel is   
   intentionally slowing down to focus on quality over quantity. Is there an   
   incentive to back stand-alone stories that are no longer safe bets? Or   
   will the studio only greenlight sure things, à la the Avengers or Spider-   
   Man?   
      
   After July’s “The Fantastic Four: First Steps,” another cinematic   
   introduction of sorts, Marvel seems to be embracing a go-big-or-go-home   
   mentality. The upcoming calendar is populated only by heavy hitters with   
   hefty budgets: “Avengers: Doomsday” and “Spider-Man 4” in 2026 and   
   “Avengers: Secret Wars” in 2027. An untitled film is set for July 2027,   
   and “X-Men” and “Black Panther” movies are in the works. But other   
   projects that focus on one character, like “Blade,” have been stuck in   
   protracted limbo.   
      
   What’s been working for the MCU is major team-ups like 2021’s “Spider-Man:   
   No Way Home” ($1.9 billion) and 2024’s “Deadpool & Wolverine” ($1.33   
   billion), or sequels to series-within-a-series such as “Doctor Strange in   
   the Multiverse of Madness” ($955 million), “Thor: Love and Thunder” ($760   
   million), “Guardians of the Galaxy Vol. 3” ($845 million) and “Black   
   Panther: Wakanda Forever” ($859 million).   
      
   Marvel used to thrive on the unfamiliar. When Kevin Feige was assembling a   
   cinematic universe in the early aughts, X-Men and Spider-Man, Marvel’s   
   best-known characters, had been licensed to other studios. Yet he created   
   an enormously popular property by introducing Iron Man and Thor in stand-   
   alone adventures and then bringing them together for “The Avengers.” Those   
   victories emboldened Feige to place bets on dicier comic book propositions   
   such as “Guardians of the Galaxy,” which paid off spectacularly and   
   expanded the franchise. But after too many confusing spinoffs and   
   lackluster sequels, audiences seem less invested in new additions to   
   Earth’s Mightiest Heroes.   
      
   Robert Downey Jr. can’t return each time the MCU lands in dire straits.   
   (He’ll be back as the villainous Doctor Doom in “Avengers: Doomsday.”) If   
   the studio wants to replenish the well with new vigilantes, it needs to   
   spend less on origin stories. But belt tightening is getting harder as the   
   cost of everything — from actors’ pay to visual effects to catering — has   
   drastically risen. And turning these movies into can’t-miss events   
   requires huge promotional dollars for globe-trotting press tours and   
   premieres.   
      
   Marvel reined in spending on “Thunderbolts*,” aware that its characters   
   hailed from the pandemic-hobbled “Black Widow” and underseen Disney+   
   series. Typically, the studio’s tentpoles cost $200 million to $250   
   million to produce and another $120 million to $140 million to market.   
   “Thunderbolts” was slightly cheaper, costing $180 million to make and   
   closer to $100 million to market.   
      
   “Studios are working hard to bring the high-end budgets down,” says David   
   A. Gross, an analyst with Franchise Entertainment Research. “We’re going   
   to see less over-spending than the years after the pandemic.”   
      
   Still, “Thunderbolts*” needed to make $425 million worldwide to break   
   even, a figure that seems unachievable. Marvel is unique because it isn’t   
   as encumbered as rivals by the profits or losses of single films. The   
   company can recoup some costs through Disney+ and other home entertainment   
   markets, to say nothing of the massive revenue streams from merchandising,   
   theme parks and cruises.   
      
   And every film between “Avengers” installments can be viewed as a   
   marketing tool. Case in point: Disney revealed the motley crew of reformed   
   baddies in “Thunderbolts*” will return in “Avengers: Doomsday.” If   
   audiences missed that chapter, they can always catch up on Disney+.   
      
      
   --   
   November 5, 2024 - Congratulations President Donald Trump.  We look   
   forward to America being great again.   
      
   We live in a time where intelligent people are being silenced so that   
   stupid people won't be offended.   
      
   Every day is an IQ test. Some pass, some, not so much.   
      
   Thank you for cleaning up the disasters of the 2008-2017, 2020-2024 Obama   
   / Biden / Harris fiascos, President Trump.   
      
      
   [continued in next message]   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)