Trailer Avengers: Doomsday | Only in Theaters December 18, 2026

[Clint_L]

The solution is to have more personal stakes. Superhero movies don't have to be about saving the world or the universe. They can be about saving one person. There might be a myriad different Nathan Christopher Summerses around in the multiverse, but this one is the son of this Scott, and he's the one infected with a technoorganic virus that necessitates sending him to the future for a cure/treatment. Maybe there are a million different Gwen Stacys in the multiverse, but this was the one this Peter Parker was unable to save and it haunts him to this day.

And that opens up the Multiverse to other avenues of storytelling. You can explore different timelines, showing different versions of the characters we already know and letting us both see the personal path not taken, and what they would have been like in entirely different circumstances.

But then it’s all just “what if” comics. Which are fun as one-off thought experiments, but not as the basis of the narrative. Because there are no real stakes. Sure, you can try to sell me that THIS Nathan Summers matters, but it’s pretty hard when I know that an infinite number almost exactly like him die, live, become Dr. Doom instead of Cable, etc.

So yes, the stories need to become more personal, but Romeo and Juliet just doesn’t hit as hard if the outro reminds us that, while yes, it’s a sad day in THIS Verona, never fear because there are plenty more where the letter reached him in time.

 

[Staffan]

But then it’s all just “what if” comics. Which are fun as one-off thought experiments, but not as the basis of the narrative. Because there are no real stakes. Sure, you can try to sell me that THIS Nathan Summers matters, but it’s pretty hard when I know that an infinite number almost exactly like him die, live, become Dr. Doom instead of Cable, etc.

So yes, the stories need to become more personal, but Romeo and Juliet just doesn’t hit as hard if the outro reminds us that, while yes, it’s a sad day in THIS Verona, never fear because there are plenty more where the letter reached him in time.

THIS Nathan Summers matters, because he's the son of the Scott Summers we've been following for 30 years. Who cares about all those other Nathans and Scotts? They're irrelevant to THIS story we're actually telling.

Perhaps it's a difference of perspective about what the story is about. To me, the story is fundamentally about characters. The world they're in is of secondary importance to the story. That's what made Inferno such a fantastic cross-over – sure, the stakes were high, but what mattered were the personal stories: Illyana's struggles with her dark side and her control over Limbo on the New Mutants side of things, and the tragedy of Madelyne Pryor and the horrible way Scott treated her on the X-Men/X-Factor side.

 

[ART!]

The solution is to have more personal stakes. Superhero movies don't have to be about saving the world or the universe. They can be about saving one person. There might be a myriad different Nathan Christopher Summerses around in the multiverse, but this one is the son of this Scott, and he's the one infected with a technoorganic virus that necessitates sending him to the future for a cure/treatment. Maybe there are a million different Gwen Stacys in the multiverse, but this was the one this Peter Parker was unable to save and it haunts him to this day.

And that opens up the Multiverse to other avenues of storytelling. You can explore different timelines, showing different versions of the characters we already know and letting us both see the personal path not taken, and what they would have been like in entirely different circumstances.

THIS Nathan Summers matters, because he's the son of the Scott Summers we've been following for 30 years. Who cares about all those other Nathans and Scotts? They're irrelevant to THIS story we're actually telling.

Perhaps it's a difference of perspective about what the story is about. To me, the story is fundamentally about characters. The world they're in is of secondary importance to the story. That's what made Inferno such a fantastic cross-over – sure, the stakes were high, but what mattered were the personal stories: Illyana's struggles with her dark side and her control over Limbo on the New Mutants side of things, and the tragedy of Madelyne Pryor and the horrible way Scott treated her on the X-Men/X-Factor side.

This is how I feel about it, too; if the stories are engaging (to me), then I'm good. It doesn't even matter if I know the ending - if it did, I would never rewatch a movie! I mean, I don't want to know the ending before the first time I see it, of course...

 

[Whizbang Dustyboots]

But then it’s all just “what if” comics. Which are fun as one-off thought experiments, but not as the basis of the narrative. Because there are no real stakes. Sure, you can try to sell me that THIS Nathan Summers matters, but it’s pretty hard when I know that an infinite number almost exactly like him die, live, become Dr. Doom instead of Cable, etc.

People loved the recent Batman movie, even knowing this Batman wasn't going to be interacting with the rest of the new DCU movies, which would eventually have its own Batman.

It's all about the quality of execution. A well told story trumps all other concerns in the end.

 

[chuckdee]

Before Endgame - the MCU movies were movies....based on comic book characters.

After Endgame - We have comics as movies.

I'd agree to a large extent. And the ones that really worked still leaned into them as movies, rather than comic retelling. That's what I've always said about movies vs comics and people that dwell on canon going from one to the other - they're different mediums with different requirements. And ignoring that fact is what made some of them land flat. Things that comic readers are going to take for granted, the General Audience is not going to stand for.

 

[ART!]

People loved the recent Batman movie, even knowing this Batman wasn't going to be interacting with the rest of the new DCU movies, which would eventually have its own Batman.

It's all about the quality of execution. A well told story trumps all other concerns in the end.

Batman might be a bad example, because Batman is...Batman! There are a lot of people who will just go see a Batman movie no matter what. Spider-man is that way, too.

 

[Whizbang Dustyboots]

Batman might be a bad example, because Batman is...Batman! There are a lot of people who will just go see a Batman movie no matter what. Spider-man is that way, too.

People were pretty happy about X-Men '97 and I don't recall any of them being upset that it wasn't in continuity with past or future X-films.

I suspect the default is that most people just want good stories, not for them to all fit together like puzzle pieces.

 

[Thomas Shey]

People were pretty happy about X-Men '97 and I don't recall any of them being upset that it wasn't in continuity with past or future X-films.

I suspect the default is that most people just want good stories, not for them to all fit together like puzzle pieces.

Though I think there's probably an argument that can be made that the there examples at hand there (Batman, Spider-Man and the X-Men) have very often lived a story-life almost detached from the rest of their relative universes (which gets pretty weird at times with the X-Men, but what else is new there?) in a way few other characters in their relative companies seem to. There's a reason Spider-Man and Batman are often presented as examples of how to have an interesting and rich rogue's gallery for example.

 

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'I Was Wrong' — Jon Favreau Admits the Russo Brothers Were Right to Kill Off Iron Man in Avengers: Endgame

Jon Favreau has admitted the Russo Brothers were right to kill off Iron Man in Avengers: Endgame, after he was initially against the idea.

www.ign.com

Instead of tacking on a previously unseen clip or behind-the-scenes videos from Endgame, Russo said the new footage is set around the story of Doomsday. It’s for this reason, he said, that it is vital to bring Endgame back to theaters ahead of Doctor Doom’s arrival later this year.

 

[Whizbang Dustyboots]

Though I think there's probably an argument that can be made that the there examples at hand there (Batman, Spider-Man and the X-Men) have very often lived a story-life almost detached from the rest of their relative universes (which gets pretty weird at times with the X-Men, but what else is new there?) in a way few other characters in their relative companies seem to. There's a reason Spider-Man and Batman are often presented as examples of how to have an interesting and rich rogue's gallery for example.

I think it'd be hard to find Marvel or DC characters who had appeared in other characters' books more than Spider-Man and Batman. They're deeply intertwined in their respective universes, alongside having their own successful titles.