Netflix's film division faces a fundamental mismatch between its subscription model and filmmakers' artistic ambitions, according to new data analysis examining a decade of original productions. The streamer's movies cost two to three times more than A24 films but consistently score lower across review aggregators. Netflix attracts established actors like Eddie Murphy and Cameron Diaz but struggles to retain acclaimed directors.

The typical Netflix director has less critical acclaim and shorter filmographies than theatrical counterparts despite handling larger budgets. Directors recently turned down Netflix's $150 million for Wuthering Heights and $50 million for Weapons, accepting lower offers from Warner Bros. that guaranteed theatrical releases. The Electric State cost Netflix $320 million in February 2025 and received a 30 Metacritic score and 14% on Rotten Tomatoes. Netflix's business model requires filling hours to justify $9.99 monthly subscriptions. Directors seek theatrical releases where audiences watch films in one sitting without checking phones.

Warner Bros. Discovery has filed a major copyright lawsuit against Midjourney, accusing the AI image generator of exploiting its movies and TV shows to train models and generate near-identical reproductions of iconic characters like Batman, Bugs Bunny, and Rick and Morty. From The Hollywood Reporter: The company "brazenly dispenses Warner Bros. Discovery's intellectual property" by letting subscribers produce images and videos of iconic copyrighted characters, alleges the complaint, filed on Thursday in California federal court. "The heart of what we do is develop stories and characters to entertain our audiences, bringing to life the vision and passion of our creative partners," said a Warner Bros. Discovery spokesperson in a statement. "Midjourney is blatantly and purposefully infringing copyrighted works, and we filed this suit to protect our content, our partners, and our investments."

For years, AI companies have been training their technology on data scraped across the internet without compensating creators. It's led to lawsuits from authors, record labels, news organizations, artists and studios, which contend that some AI tools erode demand for their content. Warner Bros. Discovery joins Disney and Universal, which earlier this year teamed up to sue Midjourney. By their thinking, the AI company is a free-rider plagiarizing their movies and TV shows. In the lawsuit, Warner Bros. Discovery points to Midjourney generating images of iconic copyrighted characters. At the forefront are heroes who're at the center of DC Studios' movies and TV shows, like Superman, Wonder Woman and The Joker; others are Looney Tunes, Tom and Jerry and Scooby-Doo characters who've become ubiquitous household names; more are Cartoon Network characters, including those from Rick and Morty, who've emerged as something of cultural touchstones in recent years. [...]

The lawsuit argues Midjourney's ability to return copyrighted characters is a "clear draw for subscribers," diverting consumers away from purchasing Warner Bros. Discovery-approved posters, wall art and prints, among other products that must now compete against the service. [...] Warner Bros. Discovery seeks Midjourney's profits attributable to the alleged infringement or, alternatively, $150,000 per infringed work, which could leave the AI company on the hook for massive damages. The thrust of the studios' lawsuits will likely be decided by one question: Are AI companies covered by fair use, the legal doctrine in intellectual property law that allows creators to build upon copyrighted works without a license? The lawsuit can be found here.

Paramount and Activision are teaming up to produce a live-action Call of Duty movie, with Paramount promising the same blockbuster treatment it gave Top Gun: Maverick.

David Ellison, Chairman and CEO of Paramount, said in a statement: "As a lifelong fan of Call of Duty this is truly a dream come true. From the first Allied campaigns in the original Call of Duty, through Modern Warfare and Black Ops, I've spent countless hours playing this franchise that I absolutely love. Being entrusted by Activision and players worldwide to bring this extraordinary storytelling universe to the big screen is both an honor and a responsibility that we don't take lightly. We're approaching this film with the same disciplined, uncompromising commitment to excellence that guided our work on Top Gun: Maverick, ensuring it meets the exceptionally high standards this franchise and its fans deserve. I can promise that we are resolute in our mission to deliver a cinematic experience that honors the legacy of this one-in-a-million brand -- thrilling longtime fans of Call of Duty while captivating a whole new generation."

Rob Kostich, President of Activision, also commented: "Throughout its history, Call of Duty has captured our imagination with incredible action and intense stories that have brought millions of people together from around the world, and that focus on making incredible Call of Duty games remains unwavering. With Paramount, we have found a fantastic partner who we will work with to take that visceral, breathtaking action to the big screen in a defining cinematic moment. The film will honor and expand upon what has made this franchise great in the first place, and we cannot wait to get started. Our shared goal is quite simple -- to create an unforgettable blockbuster movie experience that our community loves, and one that also excites and inspires new fans of the franchise."

Stellantis has put its fully developed Level 3 driver-assistance system on hold due to high costs, technical hurdles, and weak consumer demand. Reuters reports: As recently as February, Stellantis said its in-house system, which is part of the AutoDrive program, was ready for deployment and a key pillar of its strategy. The company said the system, which enables drivers to have their hands off the wheel and eyes off the road under certain conditions, would allow them to temporarily watch movies, catch up on emails, or read books. That Level 3 software was never launched, the company confirmed to Reuters. But it stopped short of saying that the program was canceled.

"What was unveiled in February 2025 was L3 technology for which there is currently limited market demand, so this has not been launched, but the technology is available and ready to be deployed," a Stellantis spokesperson said. The three sources, however, said that the program was put on ice and is not expected to be deployed. When asked how much time and money was lost on the initiative, Stellantis declined to say, responding that the work done on AutoDrive will help support its future versions. [...] Stellantis said it is leaning on aiMotive, a tech startup it acquired in 2022, to deliver the next generation of the AutoDrive program. Stellantis declined to say when that program would be ready for market or if it would include Level 3 capability.

Amazon is facing a proposed class action lawsuit alleging it misleads customers by advertising digital movies and TV shows as "purchases," when in reality buyers only receive revocable licenses that can disappear if Amazon loses distribution rights. From the Hollywood Reporter: On Friday, a proposed class action was filed in Washington federal court against Amazon over a "bait and switch" in which the company allegedly misleads consumers into believing they've purchased content when they're only getting a license to watch, which can be revoked at any time. [...] The lawsuit accuses Amazon, which didn't respond to a request for comment, of misrepresenting the nature of movie and TV transactions during the purchase process. On its website and platform, the company tells consumers they can "buy" a movie. But hidden in a footnote on the confirmation page is fine print that says, "You receive a license to the video and you agree to our terms," the complaint says.

The issue is already before a court. In a 2020 lawsuit alleging unfair competition and false advertising over the practice, Amazon maintained that its use of the word "buy" for digital content isn't deceptive because consumers understand their purchases are subject to licenses. Quoting Webster's Dictionary, it said that the term means "rights to the use or services of payment" rather than perpetual ownership and that its disclosures properly warn people that they may lose access. The court ultimately rebuffed Amazon's bid to dismiss the lawsuit outside of a claim alleging a violation of Washington's unjust enrichment law.

An anonymous reader quotes a report from the New York Times: There's an overwhelming sense of deja vu at multiplexes these days. In August alone, "Black Swan" (2010) is returning to theaters, along with the Tim Burton "Batman" movies from 1989 and 1992. Audiences will be able to revisit the oceanic terror of "Jaws" (1975), as well as the comic mystery (and multiple endings) of "Clue" (1985). Or they could groove to Prince's "Sign o' the Times" concert film from 1987. And it doesn't look like the rerelease trend is slowing down. In September, "The Breakfast Club" (1985) is returning, Pixar is bringing back "Toy Story" (1995), and "Apollo 13" (1995) is blasting off again. "Casper" (1995) will haunt screens for nearly the entire month of October, while "Avatar: The Way of Water" (2022) will run for about five days, teeing up the forthcoming "Avatar: Fire and Ash." And there are still more to come before the end of the year.

Rereleases have long been part of the theatrical ecosystem. After all, "Star Wars" movies have been heading back to multiplexes routinely since 1981 -- before "Return of the Jedi" even debuted. But recently, studios have been digging deeper into their archives for a variety of reasons -- only some of which have to do with nostalgia. "Black Swan," from Searchlight, which is now owned by Disney, took over around 200 IMAX screens to commemorate its 15th anniversary. Universal's specialty arm, Focus Features, rereleased both "Pride & Prejudice" (2005) and "Brokeback Mountain" (2005) earlier this year. "Pride & Prejudice" ultimately grossed more than $6 million domestically this time around, about 16 percent of its original U.S. box office haul.

In total, Universal has 12 rereleases on its 2025 slate -- not including a partnership with another distribution company -- compared with just four in 2024 and two in 2023. "We very much pay a lot of attention to our repertory business," the studio's president of domestic theatrical distribution, Jim Orr, said by phone, explaining, "We just think it's not only great fun for audiences, but a great business to be in as well." Orr explained that the size of Universal's rerelease slate this year was "more coincidental" than anything else, with all the films hitting anniversaries in 2025. Still, there is a strong business motivation: The rereleases help studios and exhibitors pad out relatively thin slates. "The truth of the matter is studios don't have enough product right now to give theaters, so that's why you're seeing an influx of these nostalgia plays," said Jeff Bock, senior media analyst at Exhibitor Relations. He added, "It doesn't cost a lot for them to do an anniversary edition or a 4K edition." There are several other reasons why Hollywood is rereleasing old movies, according to Orr. Rereleases are far cheaper to put out than launching a brand-new title. Studios also target films that already have strong, enduring audiences, "whether that's 'Pride & Prejudice,' with its meme-able depiction of yearning, or 'Casper,'" which he said had elicited 'decent' interest every year.

Then there's what Orr calls "opportunistic dating." "There might be a window where something goes thematically or holiday-wise, whatever kind of fits in, or there might be some more screens available in specific formats," he said. Specialty format releases like IMAX, Dolby, or 3D also help bring moviegoers to the theaters.

An analysis of Rotten Tomatoes data reveals average Tomatometer scores have climbed steadily since Fandango's 2016 acquisition of the review aggregation platform. The average number of reviewers per mainstream film release increased by 40 to 70 critics following the purchase. New additions to the critic pool include smaller outlets such as Denerstein Unleashed and KKFI-FM Kansas City. Prior to 2016, critic and audience scores demonstrated stable correlation year-over-year. Post-acquisition data shows the two metrics diverged sharply as Tomatometer ratings rose.

Fandango, America's largest movie-ticketing platform, is partially owned by NBCUniversal and Warner Bros. Discovery. In 2023 Vulture reported PR firms court reviewers from smaller outlets to secure higher Tomatometer scores before film releases.

Hollywood comedy production has declined 27% since 1990 despite audience demand ranking the genre second among those viewers "want to see more of," according to Letterboxd genre data and a 68,000-consumer survey. Comedy films average $26.5 million production budgets and double their investment returns at 102%, yet represent just 9.3% of sequel releases compared to action's 27.6%.

The shift reflects studios prioritizing internationally marketable franchises over domestically-focused comedies, which earn most revenue from US and Canadian audiences. Films like 1984's Beverly Hills Cop ($977 million inflation-adjusted) and Ghostbusters ($882 million) remain unmatched by contemporary releases -- with half of Letterboxd's most popular 2020s "comedies" being either non-comedic films like Saltburn or IP-driven movies like Barbie.

Warner Bros. Discovery is preparing to crack down on HBO Max password sharing by the end of 2025, with "aggressive" enforcement and messaging starting next month. Deadline reports: JB Perrette, head of streaming and gaming at Warner Bros. Discovery said on the company's second-quarter earnings call that messaging to consumers is about to get more "aggressive." The media company looking to close the loopholes by the end of 2025, with the impact starting to appear in its financials by 2026. Several months of testing has enabled WBD to determine "who's a legitimate user who may not be a legitimate user," Perrette said. Once that is determined, he continued, the next step is to "turn on the more aggressive language around what needs to happen" in order to and make sure that "we are putting the net in the right place, so to speak."

Asked about what "inning" the process is in, to use the baseball cliche, Perrette said only the first. By the fourth quarter, he said, the process will be happening "in a much more aggressive fashion." "The message language right now has been a fairly soft, cancel-able message," he said. It will "start to get more fixed and such that people have to take action as opposed to right now, sort of having to be a voluntary process." Once those directives are established, he said, "the real benefit will start probably in the fourth quarter and then kick in in 2026."

A new War of the Worlds adaptation starring Ice Cube has achieved a 0% critical rating on Rotten Tomatoes after arriving on Prime Video in late July. The science fiction film, produced by Universal Pictures during the 2020 pandemic using actors filming separately through video calls, features alien tripods emerging from meteors to attack Earth.

The movie sat unreleased for approximately five years before streaming debut. Critics cite poor visual effects that "wouldn't pass muster on a whimsical Snickers ad" and performances where actors appear to be "performing in a Zoom-style vacuum." The film was shot using screenlife format with most action unfolding on computer screens.

Universal Pictures is taking a new approach to combat mass theft of its movies to teach AI systems. From a report: Starting in June with How to Train Your Dragon, the studio has attached a legal warning at the end credits of its films stating that their titles "may not be used to train AI." It's also appeared on Jurassic World Rebirth and Bad Guys 2. "This motion picture is protected under the laws of the United States and other countries," the warning reads. "Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution."

Roku has launched Howdy, a new ad-free streaming service that costs $2.99 a month. The streaming platform says it offers 10,000 hours of content from Lionsgate, Warner Bros. Discovery and FilmRise, as well as its own, exclusive programming known as Roku Originals. CNBC reports: The service is available across the U.S. beginning Tuesday. [...] The new service runs alongside the Roku Channel, which will remain free. Howdy will initially be available on the Roku platform, and will later be rolled out on mobile and other platforms, the company said. "Priced at less than a cup of coffee, Howdy is ad-free and designed to complement, not compete with, premium services," said Roku founder and CEO Anthony Wood in the release.

Disney scrapped plans to use a deepfake of Dwayne Johnson in Moana and an AI-generated character in Tron: Ares due to concerns over bad publicity and legal ownership. Ultimately, the studio decided the potential PR and copyright risks weren't worth the convenience. Deadline reports: Disney is working on a live-action remake of Moana, where Dwayne "The Rock" Johnson will reprise his role of Maui. In a recent report from The Wall Street Journal, the studio came up with the idea to digitally clone Johnson and use a body double for some shots. "Disney would work with AI company Metaphysic to create deepfakes of Johnson's face that could be layered on top of Reed's performance in the footage -- a 'digital double' that effectively allowed Johnson to be in two places at once," WSJ said (paywalled). Although the Black Adam star approved the idea, the studio "worried" that they "ultimately couldn't claim ownership over every element of the film if AI generated parts of it." The film studio and the AI company were seemingly unable to come to terms, and the footage was scrapped.

Disney's upcoming Tron: Ares revolves around AI and the real-world implications of it. According to WSJ sources, "executives pitched the idea of actually incorporating AI into one of the characters in the sequel to the 1980s hit movie Tron as a buzzy marketing strategy." The AI-generated character would be a sidekick to Jeff Bridges' character, but the idea was ultimately scrapped because "executives internally were told that the company couldn't risk the bad publicity."

Disney "cloned" Dwayne Johnson when filming a live-action Moana, reports the Wall Street Journal, using an AI process that they were ultimately afraid to use: Under the plan they devised, Johnson's similarly buff cousin Tanoai Reed — who is 6-foot-3 and 250 pounds — would fill in as a body double for a small number of shots. Disney would work with AI company Metaphysic to create deepfakes of Johnson's face that could be layered on top of Reed's performance in the footage — a "digital double" that effectively allowed Johnson to be in two places at once... Johnson approved the plan, but the use of a new technology had Disney attorneys hammering out details over how it could be deployed, what security precautions would protect the data and a host of other concerns. They also worried that the studio ultimately couldn't claim ownership over every element of the film if AI generated parts of it, people involved in the negotiations said. Disney and Metaphysic spent 18 months negotiating on and off over the terms of the contract and work on the digital double. But none of the footage will be in the final film when it's released next summer...

Interviews with more than 20 current and former employees and partners present an entertainment giant torn between the inevitability of AI's advance and concerns about how to use it. Progress has at times been slowed by bureaucracy and hand-wringing over the company's social contract with its fans, not to mention its legal contract with unions representing actors, writers and other creative partners... For Disney, protecting its characters and stories while also embracing new AI technology is key. "We have been around for 100 years and we intend to be around for the next 100 years," said the company's legal chief, Horacio Gutierrez, in an interview. "AI will be transformative, but it doesn't need to be lawless...." [As recently as June, a Disney/Comcast Universal lawsuit had argued that Midjourney "is the quintessential copyright free-rider and a bottomless pit of plagiarism."]

Concerns about bad publicity were a big reason that Disney scrapped a plan to use AI in Tron: Ares — a movie set for release in October about an AI-generated soldier entering the real world. Since the movie is about artificial intelligence, executives pitched the idea of actually incorporating AI into one of the characters... as a buzzy marketing strategy, according to people familiar with the matter. A writer would provide context on the animated character — a sidekick to Jeff Bridges' lead role named Bit — to a generative AI program. Then on screen, the AI program, voiced by an actor, would respond to questions as Bit as cameras rolled. But with negotiations with unions representing writers and actors over contracts happening at the same time, Disney dismissed the idea, and executives internally were told that the company couldn't risk the bad publicity, the people said...

Disney's own history speaks to how studios have navigated technological crossroads before. When Disney hired Pixar to produce a handful of graphic images for its 1989 hit The Little Mermaid, executives kept the incorporation a secret, fearing backlash from fans if they learned that not every frame of the animated film had been hand-drawn. Such knowledge, executives feared, might "take away the magic."
Disney invested $1.5 billion in Fortnite creator Epic Games, acccording to the article, and is planning a world in Fortnite where gamers can interact with Marvel superheroes and creatures from Avatar. But "an experiment to allow gamers to interact with an AI-generated Darth Vader was fraught. Within minutes of launching the AI bot, gamers had figured out a way to make it curse in James Earl Jones's signature baritone." (Though Epic patched the workaround within 30 minutes.)

But the article spells out another concern for Disney executives. "If a Fortnite gamer creates a Darth Vader and Spider-Man dance that goes viral on YouTube, who owns that dance?

Star Wars creator George Lucas made his first Comic-Con appearance ever on Sunday. The Hollywood Reporter describes the scene: Thousands waited hours just to get inside, chanted "Lu-cas, Lu-cas!" while they waited, and then gave a wild standing ovation as the filmmaker took to the stage, introduced by rapper-actress Queen Latifah, and sat down next to filmmaker Guillermo del Toro and Star Wars production designer Doug Chiang. If the 6,500-strong crowd was disappointed he didn't talk a whiff about Star Wars or Indiana Jones, it wasn't shown, as cries of "I love you, George!" and waving lightsabers punctuated the air several times.

Lucas even received a standing ovation when he left the presentation, which was devoted entirely to the Lucas Museum of Narrative Art. He, along with museum board member and fellow art collector del Toro and Chiang, were there to not only give a first look at the museum but also make a case for the importance and validity of narrative art, which includes comic book art, as a vital form of expression... A video presentation showed interior looks at the museum — there are no right angles anywhere, Latifah underscored — as well as images that will be in the collection.

A cover of DC comic Mystery in Space, featuring the first appearance of Adam Strange; the first ever Flash Gordon comic strip; a cover of 1950s EC comic Tales from the Crypt; strips of Peanuts and Garfield; art ranging from Brian Bolland and Hellboy creator Mike Mignola to underground cartoonist Robert Crumb, Windsor McKay and Moebius; art of Astro Boy and Scrooge McDuck. But there were also images of art by Norman Rockwell, N.C. Wyeth and Frieda Kahlo. Also in the museum will be concept and storyboard art from Star Wars and Raiders of the Lost Ark by Ralph McQuarrie and Jim Steranko, as well as the props of starships and speeders from various Star Wars movies.

Chiang explained that comic art in particular had long been discounted. "It's not taken seriously," he said, and when he was younger was told, "You will outgrow it one day.... I'm so glad I didn't," he said, before driving home the point that one of the strengths of narrative art is that it's driven by story. "Story comes first. Art comes second...."

The museum, which has had its opening pushed back several times, is slated to open in 2026.
More Comic-Con highlights:

• Pennywise, the scary clown, returns in the upcoming HBO series "IT: Welcome to Derry"

• Comic-Con also saw a trailer for the new rock mockumentary Spinal Tap II: The End Continues. (Bassist Derek Smalls is now apparently into cryptocurrency...)

• Breaking Bad creator Vince Gilligan has a new series called Pluribus coming to AppleTV+, a nine-episode sci-fi drama starring Rhea Seehorn from Better Call Saul. (Watch its bizarre trailer here.)

Marvel's Fantastic Four: First Steps "raked in about $57 million at the domestic box office for its opening day, according to multiple outlets," reports Forbes.

That haul makes it "the year's second-largest opening day so far and a win for Marvel and Disney about a year after they announced a reduction in film and TV show quantity to focus on quality." The roughly $57 million "Fantastic Four: First Steps" generated at the domestic box office Friday fell narrowly short of the opening day for "A Minecraft Movie" ($57.11 million) and just topped opening day for DC Comics rival "Superman" ($56.1 million), according to Variety. The film has netted about $106 million globally after securing $49.2 million overseas, setting itself up for an opening weekend of around $125 million, the same figure achieved by "Superman" earlier this month.

Fantastic Four: First Steps is receiving praise from critics and fans alike, boasting an 88% on Rotten Tomatoes and a 7.6/10 on IMDb... With its opening weekend alone, "Fantastic Four: First Steps" out-earned the entire domestic run of "Fantastic Four" (2015), an adaptation of the heroes that flopped hard at the domestic box office ($56.1 million) and received poor ratings...

Marvel's next movie is slated to release almost a full year from now, with Spider-Man: Brand New Day hitting theaters next summer before Avengers: Doomsday in December.

At this weekend's Comic-Con, "Excitement has been high over the sneak peeks at Tron: Ares and Predator: Badlands," reports CNET. (Nine Inch Nails has even recorded a new song for Tron: Ares .)

A few highlights from CNET's coverage:

• The Coyote vs. Acme movie will hit theaters next year "after being rescued from the pile of scrapped ashes left by Warner Bros. Discovery," with footage screened during a Comic-Con panel.

• The first episode of Alien: Earth was screened before its premiere August 12th on FX.

• A panel reunited creators of the animated Avatar: The Last Airbender for its 20th anniversary — and discussed the upcoming sequel series Avatar: Seven Havens.

• A trailer dropped for the new Star Trek: Starfleet Academy series on Paramount+ ("Star Trek Goes Full Gen Z..." quips one headline.)

To capture some of the ambience, the Guardian has a collection of cosplayer photos. CNET notes there's even booths for Lego and Hot Wheels (which released toys commemorating the 40th anniversary of Back to the Future and the 50th anniversary of Jaws).

But while many buildings are "wrapped" with slick advertisements, SFGate notes the ads are technically illegal, "with penalties for each infraction running up to $1,000 per day," (according to the San Diego Union-Tribune). "Last year's total ended up at $22,500."

The Union-Tribune notes that "The fines are small enough that advertisers clearly think it is worth it, with about 30 buildings in the process of being wrapped Monday morning."

Tesla open its first diner/Supercharger station Monday in Los Angeles, reports CNBC — an always-open two-story restaurant serving "classic American comfort food" next to 80-charging stalls surrounded by two 66-foot megascreens "playing a rotation of short films, feature-length movies and Tesla videos."

Tesla described the restaurant's theme as "retro-futuristic". (Tesla's humanoid robot Optimus was outside filling bags of popcorn.) There's souvenier cups, the diner's food comes in Cybertruck-shaped boxes, and the owner of a Tesla Model Y told CNBC "It feels kind of like Disneyland, but for adults — or Tesla owners." (And yes, one of the choices is a "Tesla Burger.")

"Less than 24 hours after opening, the line at the Tesla Diner stretched down the block," notes CNBC's video report. (One customer told CNBC they'd waited for 90 minutes to get their order — but "If you're a Tesla owner, and you order from your car ahead of time, you don't have to wait in line.")

The report adds that Elon Musk "says if the diner goes well, he's looking to put them in major cities around the world."

Indian studio Eros International plans to re-release the 2013 Bollywood romantic drama "Raanjhanaa" on August 1 with an AI-generated alternate ending that transforms the film's tragic conclusion into a happier one. The original Hindi film, which starred Dhanush and Sonam Kapoor and became a commercial hit, ended with the protagonist's death. The AI-altered Tamil version titled "Ambikapathy" will allow the character to survive.

Director Aanand L. Rai condemned the decision as "a deeply troubling precedent" made without his knowledge or consent. Eros CEO Pradeep Dwivedi defended the move as legally permitted under Indian copyright law, which grants producers full authorship rights over films. The controversy represents what appears to be the first instance of AI being used to fundamentally alter a completed film's narrative without director involvement.

Marvel Studios president Kevin Feige "isn't interested in your theories of superhero fatigue, which he doesn't buy as real," writes The Hollywood Reporter. Feige points to the $400 million worldwide box office for Superman (which another article notes in only its second weekend "has already passed up the entire lifetime run of Marvel's Thunderbolts*.")

So how is Marvel moving forward? Yes, Feige knows Marvel made too many movies and shows (and the other things they did wrong). From the first Iron Man in 2008 through Avengers: Endgame in 2019, Marvel produced around 50 hours of screen storytelling. In the six years since Endgame, the number jumps to an astounding 102 hours of movies and television. 127 hours if you include animation. "That's too much," Feige said.

He characterized the time period after Endgame as an era of experimentation, evolution and, unfortunately, expansion. And while he's proud of the experimentation — he points to WandaVision and Loki as some of the best stories they've made — he admits "It's the expansion that is certainly what devalued" that output. Being high on success also may have pushed them to readily agree to try to deliver more programming at a time when Disney and the rest of Hollywood were engaged in the streaming wars. "It was a big company push... [T]here was a mandate that we were put in the middle of, but we also thought it'd be fun to bring these to life."

Marvel has already pulled back the amount of movies and shows it will make. Some years may even only have one movie. Certainly there will be years with only one show released. Also, Marvel has started "grinding down" on budgets, with movies costing up to a third cheaper than the films from 2022 or 2023.
Feige also explains why Thunderbolts* struggled at the box office (even though he's called it a "very, very good movie"). The massive expansion into television and focus on Disney+ led to the feeling that watching Marvel was becoming a type of homework. "It's that expansion that I think led people to say, 'Do I have to see all of these? It used to be fun, but now do I have to know everything about all of these?' And I think The Marvels hit it hardest where people are like, 'Okay, I recognize her from a billion dollar movie. But who are those other two? I guess they were in some TV show. I'll skip it.'" Which had an effect on Thunderbolts*, which featured characters that were seen on various platforms, including some only on shows.
The article notes Friday's release of Fantastic Four: First Steps is Marvel Studios' first crack at the characters after "a trio of movies of various quality and box office made by Twentieth Century Fox before its 2019 acquisition by Disney." And the article also acknowledges "the never-released, 1994 feature produced low-budget king Roger Corman. (Fun fact: the four stars of that movie cameo in Fantastic Four: First Steps.)"