Marvel Studios

"They gave me the R, which is so important,” Demange said. Where as Demange once said that his personal turmoil gave him an outsider’s perspective that was helpful, he feels more at peace now, having faced his demons in the film he made.

“I come out of this wanting to be more open, more vulnerable and bring a more personal aspect to my work,” he said. “But for Blade, we are going to have fun because Mahershala is such a deep actor. I’m excited to show a kind of ruthlessness, a roughness he has, that allows him to walk the earth in a particular way. I love him for that. He’s got a dignity and integrity, but there is a ferocity there that he usually keeps under the surface. I want to unleash that and put it on the screen.”

Premise:

Loki traverses dying timelines in an attempt to find his friends, but Reality is not what it seems.

Director(s):

Justin Benson, Aaron Moorhead

Writer(s):

Eric Martin, Michael Waldron

SEASON 2 SPOILERS

Just curious if anyone has different thoughts on this. My current thoughts are:

SACRED TIMELINE (and its branches) - An infinite number of universes. It has at least one universe for each possible moment in time. You can take anything from those universes (or "branches") without affecting the others because each one is physically its own entity.

Traveling through them is not really traveling through time; it's more like traveling a long distance to other universes that are just following similar paths of development.

TVA TIMELINE - A single universe (or some kind of expanse? Probably not a "universe"). It's one single entity. New branches (other universes/expanses, separate entities) will not form from it for some reason, so the only kind of time travel possible would be dynamic (actual time travel, not just hopping across universes).

If you take something from its past, the entire future will change. Some examples from season 2: when Loki crashes into the chrono bay window, breaks the monitor, and cracks the floor. When he timeslips back to his point in time, the crack was apparently always there. Another example: when Loki talks to O.B. in the past, and O.B. in the future recalls that it happened.

I think that the expanse that the TVA is in encompasses the sacred timeline, so dynamically traveling to the past of the TVA is also dynamically traveling to the actual past of the sacred timeline.

TLDR; Marvel is moving away from limited series and moving to more multiple-season shows.

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Premise:

The TVA's Loom nears catastrophic failure but Loki, Mobius, and Sylvie have a He Who Remains variant.

Director(s):

Justin Benson, Aaron Moorhead

Writer(s):

Eric Martin, Katharyn Blair, Michael Waldron

Premise:

Loki and Mobius go on the hunt to find everyone's favorite cartoon clock as they try to save the TVA.

Director(s):

Kasra Farahani

Writer(s):

Eric Martin, Kasra Farahani, Jason O'Leary

Premise:

With the TVA on the verge of a temporal meltdown, Loki and Mobius will stop at nothing to find Sylvie.

Director(s):

Dan DeLeeuw

Writer(s):

Eric Martin, Michael Waldron

cross-posted from: https://beehaw.org/post/8646845

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Marvel quietly let go of head writers Chris Ord and Matt Corman and also released the directors for the remainder of the season as part of a significant creative reboot of the series, The Hollywood Reporter has learned. The studio is now on the hunt for new writers and directors for the project

Through it all, the company eschewed the traditional TV-making model. It didn’t commission pilots but instead shot entire $150 million-plus seasons of TV on the fly. It didn’t hire showrunners, but instead depended on film executives to run its series. And as Marvel does for its movies, it relied on postproduction and reshoots to fix what wasn’t working.

The show is Marvel’s first to feature a hero who already had a successful series on Netflix, running three seasons. But sources say that Corman and Ord crafted a legal procedural that did not resemble the Netflix version, known for its action and violence. Cox didn’t even show up in costume until the fourth episode. Marvel, after greenlighting the concept, found itself needing to rethink the original intention of the show.

Daredevil is far from the first Marvel series to undergo drastic behind-the-scenes changes. Those who work with Marvel on the TV side have complained of a lack of central vision that has, according to sources, begun to afflict the studio’s shows with creative differences and tension. “TV is a writer-driven medium,” says one insider familiar with the Marvel process. “Marvel is a Marvel-driven medium.”

On the Oscar Isaac starrer Moon Knight, show creator and writer Jeremy Slater quit and director Mohamed Diab took the reins. Jessica Gao developed and wrote She-Hulk: Attorney at Law but was sidelined once director Kat Coiro came on board. Production was challenging, with COVID hitting cast and crew, and Gao was brought back to oversee postproduction, a typical showrunner duty, but it’s the rare Marvel head writer who has such oversight.

Even though the company does not have a writers-first approach to TV, directors could feel short-changed as well. “The whole ‘fix it in post’ attitude makes it feel like a director doesn’t matter sometimes,” says one person familiar with the process.

Details are murky, but what happened next, in the summer of 2022, debilitated the production as factions became entrenched and leaders vied for supremacy during Secret Invasion’s preproduction in London. “It was weeks of people not getting along, and it erupted,” says an insider. Marvel declined to directly comment on the matter.

The company dispatched Jonathan Schwartz, a senior executive and member of Marvel’s creative steering committee known as The Parliament, to get Secret Invasion back on track when it was falling behind schedule and on the verge of losing some actors because of other commitments.

By early September, a good portion of the Invasion team had been replaced, with new line producers, unit production managers and assistant directors. And Bezucha, who was supposed to direct three episodes, left the show because of new scheduling conflicts. The Marvel executive overseeing the show, Chris Gary, was reassigned and, according to sources, is expected to depart Marvel when his contract is up at the end of the year.

The studio also plans on having full-time TV execs, rather than having executives straddle both television and film.

It also is revamping its development process. Showrunners will write pilots and show bibles. The days of Marvel shooting an entire series, from She-Hulk to Secret Invasion, then looking at what’s working and what’s not, are done.

the studio plans on leaning into the idea of multiseason serialized TV, stepping away from the limited-series format that has defined it. Marvel wants to create shows that run several seasons, where characters can take time to develop relationships with the audience rather than feeling as if they are there as a setup for a big crossover event.

Since I learnt that Ant-Man and the Wasp Quantumania might be essential prior viewing for Loki Season 2, despite that film getting bad reviews, I planned to watch it but put it off. Now Loki Season 2 is out but I still haven't seen Quantumania.

Is it impermissible to just skip the movie? I also only watched half of Multiverse of Madness. Does it matter? I just want to see Loki

Premise:

Loki finds himself lost to time and torn, quite literally, between past, present, and future,.

Directors:

Justin Benson, Aaron Moorhead

Writers:

Eric Martin, Michael Waldron

Premise:

TBD

Directors:

Justin Benson, Aaron Moorhead

Writers:

Eric Martin, Michael Waldron

Marvel Studios’ Loki Season 2, is time slipping to a new date streaming October 5 at 6PM PT on Disney+.

Premise:

A series of shorts featuring the seedling Groot along with several new and unusual characters.

Directors:

Kirsten Lepore

Writers:

Kirsten Lepore

I have been on 'Subscribe Pending' since trying to sign up a month or so ago.

The past. The present. The future. ⏳