When The Marvels opened in November 2023, it seemed designed to correct course: a shorter runtime, a more contained story, and a smaller ensemble. It also marked Marvel’s first film led by three women of color. But despite the changes, the film failed to resonate—becoming the lowest-grossing theatrical release in the studio’s history.
It was a striking result for a studio that, until recently, could count on movies consistently creeping up towards, or even exceeding the billion-dollar mark. And while superhero fatigue and fragmented fan engagement played a role, a recent appearance by The Marvels director Nia DaCosta suggests deeper issues may have shaped the outcome.
Nia DaCosta Drops Bombshell on ‘The Marvels'
Speaking at Dublin’s second annual screenwriting festival earlier this year, DaCosta reflected on the production candidly. “There was a certain point when I was like, ‘Ok, this isn’t going to be the movie that I pitched or even the first version of the movie that I shot,’ so I realized that this is now an experience and it’s a learning curve and it really makes you stronger as a filmmaker in terms of your ability to navigate,” she said.
Her comments did not appear bitter, but they were revealing. They pointed to an increasingly visible tension between the studio’s tightly controlled creative process and the ambitions of its directors—especially in recent years, as Marvel has ramped up production across both films and television.
“They had a date, and they were prepping certain things, and you just have to lean into the process hardcore,” DaCosta said. “The way they make those films is very different to the way, ideally, I would make a film, so you just have to lean into the process and hope for the best. The best didn’t happen this time, but you kind of have to trust in the machine.”
A Difficult Landscape
The Marvels brought together Carol Danvers (Brie Larson), Kamala Khan (Iman Vellani), and Monica Rambeau (Teyonah Parris) in a story that entangled their powers and forced them to work as a team. It was meant to be a light, energetic counterbalance to the heavier multiversal fare of recent Marvel titles.
Instead, the film opened to $46 million domestically—an all-time low for the franchise—and ultimately earned just over $200 million globally. In France, it reportedly sold fewer than 50,000 tickets on opening day.
Critics were divided. The Hollywood Reporter praised DaCosta’s “kinetic” direction, but the structure and tone were seen by many as uneven. Christy Lemire of RogerEbert.com gave the film 1.5 stars, calling it “terrible” and “the worst film yet in the Marvel Cinematic Universe.”
Its commercial failure reflects more than simple fatigue. With the MCU now spanning over 30 films and multiple television series, the barrier to entry has never been higher. The Marvels required familiarity with Captain Marvel, Ms. Marvel, WandaVision, and more—an expectation that has grown burdensome even for longtime fans.
However, one factor that shaped the film’s reception was the ongoing backlash directed at Brie Larson. Since Captain Marvel (2019), the actress has faced a wave of online misogynistic criticism, much of it targeting her comments about representation in the media rather than her performance.
Larson has addressed the hostility with restraint. When asked whether she would return to the role in the future, she replied, “I don’t know. Does anyone want me to do it again?”
Vellani and Parris, meanwhile, were largely embraced. Vellani, in particular, emerged as a standout, and her portrayal of Kamala Khan was seen as one of the film’s few bright spots. She is expected to return in a future Young Avengers project, though it has not yet been officially announced. Parris’ character was left stranded in a parallel universe, suggesting that Marvel may still plan to revisit her arc.
Carol Danvers’ future, however, is unclear. The recently announced cast list for Avengers: Doomsday (2026) did not include Larson, although Marvel has stated that additional cast members will be revealed closer to release.
A Formula Under Pressure
As DaCosta made clear, the challenges on The Marvels weren’t necessarily a matter of performance or direction, but of process. “I wouldn’t necessarily work with Marvel again,” she said, although she didn’t rule it out entirely.
Her comments echo a growing unease around the studio’s creative model—one that prioritizes scheduling and continuity over individual vision. For over a decade, that model delivered unparalleled success. Now, as audience expectations evolve and the franchise grows more complex, it may be the very thing holding it back.
What did you think about The Marvels?
