“We at Knight Edge Media have heard exclusively that Cailee Spaeny is still speaking with Marvel Studios about appearing as a smaller character, with the potential for an expanded role in future films”.
>X-Men ‘97 doesn’t close out its second season with a funeral for Kurt, nor does a sense of mournful dread fill the air. This was a deliberate choice by the show’s storytellers. “It’s a different kind of sad,” Castorena says. “It’s almost a hopeful thing.”
>“We boarded that at least three or four different ways – and I mean truly completely different ways,” explains the supervising producer. “There was one instance where [the X-Men] were all having dinner at the family table together and we cut to reveal that there was an empty chair that was for Kurt. They make him a plate even though he’s not there.”
>Kurt’s fate on the animated show has been set in motion for a while. “Nightcrawler was supposed to die in Season 1 instead of Gambit,” Castorena reveals. “And then fast-forward to Season 2, we got Gambit back, [but] we lost Kurt.”
>“As of right now, we already shipped the last episode of Season 3 to go get animated,” Castorena shares. “We’re already getting animation back for Season 3 and we are well underway in pre-production for Season 4. We’re storyboarding, [doing] animatic, and editing in Season 4.”
"In one of the leaked shots, I saw Toby practically kneeling, while Wolverine in a combat pose looms over him. At first, I just thought it was a freeze-frame of Toby during a fight, but I heard that Toby is on his knees begging Wolverine to stop all this and not destroy his world. I was also told that Toby mentions his daughter in the movie, and apparently, this happens in this scene too. The opening scene promises to be not only epic but also very emotional."
“Marvel Studios has created a brand new production company which they have titled Veil Productions. The untitled X-Men movie will be filmed under Atlas Hall Productions while Black Panther III will be filmed under Fragment Productions. Marvel has also created Dredge Productions. While the working assumption was that Ghost Rider would film under Dredge Productions, that has yet to be confirmed.”
Vanity Fair: It’s very meta that Wonder Man was a show about this heartbreak in show business. And here is the show being canceled.
Yahya Abdul-Mateen II: It’s a lesson in life. It’s so close to what real life is. You have just this guy, Simon, who finally had his dreams come true, but we saw him overcome after all of his attempts of getting close and then not closing the deal. Many people have that experience in real life. The cancellation of the show was just another one of those examples.
Did you get a specific reason for the cancellation?
Yes, I did. I was told that it had something to do with the viewership numbers. I wasn’t told what those numbers were, but ultimately, for whatever reason it was, I think they decided that it didn’t make sense for business, and that’s the decision that we live with and we keep on marching forward.
How much had you talked about where it would go next season?
I stayed away from that. I think we have fantastic writers. They did a great job of setting the tone for season one. So I had my hopes and my dreams about where I wanted the character to go for season two. I was very interested in telling the story of Simon, who we watched pursue everything he’s always wanted. And then I think, for me, the interesting question to explore is: Well, what are you going to do when you finally get it? What do you do when you finally get everything that you’ve always wanted? And for a guy like Simon to get fame and notoriety and a little bit of power, he has a big heart, but he also has an ego. He also wants to be a star.
[Cocreator] Andrew Guest mentioned in his video about the cancellation that fans were having conversations about “the kind of stories that we’re prioritizing.” There’s been online discourse between the cancellation of this and Mahershala Ali’s frustration about the Blade film. Your own production company focuses on telling more Black and inclusive stories. Do you feel like there is a problem with what is and isn’t being greenlit or supported?
I think the optics are obvious. If I’m a big business, if I’m Disney, if I’m Marvel, I don’t want to be attached to these optics. So it should be a priority to change that narrative and to do what it takes to responsibly change that narrative with quality stories, with quality resources. I felt that our show did have quality story, did have quality resources, did have quality actors and people, and did produce quality results that the viewers responded to positively, that the voters responded to positively. So our show does deserve some study and some real, hard information about why a show like this did not continue forward, because it had all of the ingredients that one would want in a show.
>Secret Wars is the end of the Marvel Universe as we know it.
>But it's also a new beginning.
>In 1984, Jim Shooter and Mike Zeck introduced Secret Wars, a groundbreaking crossover that brought together Marvel's pantheon of heroes and villains for the first time on a patchwork planet, Battleworld. As the Avengers, X-Men, Fantastic Four and more engage in an epic battle across time and space, Doctor Doom rises to seize power from the cosmic entity behind the curtain. Thirty years later, Jonathan Hickman and Esad Ribić took the trailblazing vision and created something indelible with their 2015 series, which you now hold in your hands.
>Hickman's intricate story which developed across multiple series, and Ribić's bold, beautiful art hit some of the same notes as that earlier comic but remixed and reframed its events. It starts with a collision of worlds, and it ends in a Marvel Multiverse rebuilt and retooled for the modern age. They invented something entirely new, seamlessly picking up where the old universe left off, but branching out in all-new, all-different directions.
>We do the same thing in the Marvel Cinematic Universe. We pick and choose from Marvel rich, nearly 90-year comics history and make movies that honor the source but become something entirely different.
>That cycle continues as we head toward the Marvel Cinematic Universe's own version of Secret Wars. Like Loki gathering up stranded branches of the timeline at the end of all things, we'll pick up the threads of Hickman and all those who came before and weave a new story inspired from the vast tapestry of our comics and films. We will bring together the characters we know and love in pinch-me moments that we as fans have always dreamed of but have never seen realized. And we will call on Doctor Doom, the greatest villain in the history of the Marvel Universe, to become a centerpiece of that story. On one Hand, he's noble and loyal. He's true to his word. But he's also a monster. He seeks power over all things, and he will use whatever means necessary to achieve his ends. And just like the legacy that came before, there is no Secret Wars without Doom.
>Legacy born from our comics and shaped in the years since, is one of the most important reasons why we're here today. It guides our every move at Marvel, and at the heart of it all, it opens the door to an infinite world of storytelling and characters, one that we are honored to steward and bring to life on the screen.
>In Hickman and Ribić's Secret Wars, we see Steve Rogers fight from atop a dinosaur, banished heroes battle against hordes of zombies and by the end, apocalyptic fires reforge the entering universe. All the stories of the past remain true, but now all things are possible. We hope to carry that inspiration forward into a new medium
>The Marvel Universe will never die, but it will never be the same either. Open these and see what Marvel's limitless imagination and stories can create.
- Kevin Feige.
you can faintly see >!Tobey Maguire’s Spider-Man fight the Wolverine!<, along side scene shots of >!Loki in the TVA discussing with some characters.!<
>We grew up in Cleveland, in an old, ethnic neighborhood that felt like something out of a fairy tale. Our world was pretty small, but the comics we found didn't feel that way. We'd pick them up from drugstores and corner shops - sometimes out of order, sometimes years apart - and we read them until they were barely holding together. They were surprising and rich with ideas that gained more meaning as we got older, and they opened up worlds that felt bigger, stranger and more honest than anything around us.
>Secret Wars spoke to us in that same way. Jonathan Hickman created a story that felt enormous but also incredibly personal. It followed a universe pushed to the edge and asked a simple question that carried real weight: What remains when everything else falls apart?
>When we joined Marvel Studios for The Winter Soldier, we had no idea where the journey would take us, only that we wanted to tell the best story we could. Our focus was to tell a story rooted in feeling and grounded in truth, and as our work expanded through Civil War, Infinity War and Endgame, the canvas grew, but the emotional center stayed close.
>Hickman's work reminded us that the heart of any epic story lives in the people trying to survive it.
>And then there is Doom.
>Doom is not just an adversary. He is ambition and fear woven together. In Secret Wars, he tries to hold reality in place through sheer will. He believes he can save everything if he controls enough of it. Hickman reveals the strain behind that effort and the human fragility beneath the armor. Even someone who can reshape existence cannot escape the emotions that define him.
>We have always been drawn to characters who walk that line. People who reach for something noble and lose themselves along the way. Sometimes, destruction does not arrive as a single blow. It arrives through decisions made in uncertainty and through fractures between people who want the same thing but cannot find their way to each other. That is its own kind of ending. It is quiet, painful and incredibly human.
>In Time Runs Out, one of the most striking elements is how the world begins to slip. It is not a dramatic explosion. It is fear. It is compromise. It is the slow erosion of trust among people who care deeply and still cannot prevent the fall. Stories like that linger. They ask us to look at who we become when pressure shapes every choice.
>Over the past decade, we have worked on stories that pulled us into extraordinary spaces. We have followed soldiers, spies, cosmic beings and everyday people who shoulder impossible burdens. Through all of it, one truth has stayed with us. Scale only matters when it is anchored in sincerity. Secret Wars carries that sincerity through every page. It turns the end of everything into a story about identity, hope and the cost of wanting to save something larger than yourself.
>We are still those kids from Cleveland who opened comic books and felt the world expand. The medium changed for us, but the sense of wonder never left. And, yes, we enjoy blowing up a building or two on screen, but books like this remind us why we fell in love with storytelling in the first place.”
- Joe & Anthony Russo
At 35:55, "We might be casting say, 8 roles at once, it's um, it's quite challenging".