The recent release of “The Marvels” has not only marked a significant downturn in the Marvel Cinematic Universe’s (MCU) box office performance but has also raised questions about the sustainability of Disney’s superhero juggernaut. The film, starring Brie Larson, has encountered a series of setbacks, from its lackluster opening weekend to the ongoing debate over the possible causes of its underperformance.
The financial disappointment of “The Marvels” is undeniable. With a mere $10.2 million in its second weekend, representing a staggering 79% decline from its opening weekend, the film has set the record for the worst-ever start in MCU history. This follows the already disheartening news that it had the worst second-weekend decline (69%) prior to this among MCU films, a title held by “Ant-Man and the Wasp: Quantumania.”
In comparison to its predecessor, “Captain Marvel”, the box office figures paint a grim picture. “The Marvels” has generated $65 million domestically, a far cry from the $153 million that “Captain Marvel” achieved in its first weekend alone in 2019. Globally, it has earned $161 million against a reported budget of $220 million, excluding marketing and advertising expenses.
One contributing factor to the film’s lackluster promotion could be attributed to the SAG-AFTRA strike, which concluded just a day before the movie’s release. The stars were unable to engage in the usual promotional activities, potentially impacting the film’s visibility and audience engagement.
While critics generally praised “The Marvels,” the audience score, as measured by CinemaScore, was tied with “Eternals” and “Ant-Man and the Wasp: Quantumania” as the lowest in MCU history. The notion of “superhero fatigue” has been raised, suggesting that audiences might be growing weary of Marvel’s assembly line approach to movies and TV shows, where characters seem interchangeable and plots are secondary.
Renowned author Stephen King suggested on X that the film’s struggles may be due, in part, to “adolescent fanboy hate.” King’s comments allude to the fact that “The Marvels” centers around a female-led cast, and this choice of direction has faced criticism from certain quarters.
King’s X followers deservedly asked him if he even watched the movie prior to posting the comment. After the massive recent success of “Barbie”, it’s worth questioning King’s logic.
Disney and Marvel reportedly knew of the film’s challenges before its release, yet the box office results were still surprising. Disney CEO Bob Iger has acknowledged that the rush to produce an abundance of Marvel content negatively affected quality. In response, Marvel announced a reduction in the number of superhero films scheduled for release in 2024, with only “Deadpool 3″ on the horizon.
“The Marvels” is not just a momentary hiccup; it signifies a moment of reckoning for Marvel Studios. Despite being the superhero of the box office for the past 15 years, the latest installment has faced withering audience exit scores and a lackluster CinemaScore. Bob Iger’s admission that Disney has “lost focus” due to prioritizing quantity over quality in the rush to feed Disney+ raises concerns about the future direction of Marvel content.
The decision to scale back the number of superhero films in 2024 and the delayed release dates for highly anticipated titles like “Captain America: New World Order”, “Thunderbolts”, and “Blade” indicate a shift in Marvel Studios’ strategy. The emphasis on additional shooting time and the repositioning of release datessuggest a desire to recalibrate and improve the quality of upcoming projects.
“The Marvels” and its underwhelming box office performance should not be dismissed as a mere blip. It signals a turning point for the MCU and Disney’s approach to superhero content. As audiences demand more than just a formulaic approach, Marvel Studios faces the challenge of balancing quantity with the quality that made its earlier productions such immense successes.
