Is Kevin Feige’s Development of the MCU a Myth?

It’s been nearly two years since Marvel Studios first confirmed its plan to bring the first 10 years of the Marvel Cinematic Universe to theaters – the next ten years of cinema history – under the “Phase 3” banner, culminating in a finale that will bring together all the films within the MCU into one epic showdown. Since then, Marvel’s incredibly successful formula has seen it release another 10 films, setting Marvel up for next year’s “The Avengers: Infinity War” and beyond, into the MCU’s 20-year (at least) history.

Kevin Feige has been the president of Marvel Studios since 2010, working with the likes of Robert Downey Jr., Scarlett Johansson, Chris Hemsworth, and Chris Evans. To date, he has had a hand in the development of 22 movies. These movies have grossed over $21 billion worldwide. In other words, Feige has been successful. But is this success a myth? A large number of fans have been casting doubt on this success. In particular, they point out that Feige is not the only one who has had a hand in the success of Marvel movies.

To answer this question, we need to look at the current state of the Marvel Cinematic Universe as it stands today. After 20 movies, and 8 years of development, the MCU is in a good position. Every movie has been well received by critics and audiences, and no Marvel movie has under-performed with critics or at the box office.

Is Kevin Feige’s development of the MCU a myth?

Was the famed producer the sole culprit for Marvel Studios’ success, or was it Kathleen Kennedy after all?


word-image-5671 Captain Marvel is the most powerful character in the MCU – that’s the popular statement made by Kevin Feige in an interview with Vulture to promote the already controversial film about the character. These statements are silly, because the degree of diegetic power of a character has nothing to do with the quality of a story. Daredevil and Captain America aren’t particularly strong, but they do have the most notoriety when it comes to Marvel’s TV and film projects. That’s what overzealous producers say when their projects are facing headwinds and studios are desperate to promote them. Why does Hollywood’s most popular producer indulge in such vulgar excesses? Prepare for a very deep dive into the real history of the MCU, which seems to have suspiciously disappeared from the internet in favor of Disney and its protégé, one Kevin Feige. word-image-5672

Kevin Feige was never interested in comics

No, it’s not an opinion, he said it himself. Here’s his statement from a 2017 Vanity Fair exclusive interview that I’m sure most journalists have forgotten when it comes to Feige’s understanding of comic book characters: In fact, the comics weren’t up to par then. It was the kind of movie based on comic books, like Donner’s Superman. Later, when I was 16, Tim Burton’s Batman came out. But also Star Wars, Star Trek, Indiana Jones, Back to the Future, Amblin movies. They can all be based on comic books. Those were the movies I liked. This idea goes back to the making of the first X-Men movie. Lauren Schuler Donner promoted her then assistant Kevin Feige to producer because of his encyclopedic knowledge of X-Men and Marvel characters. This shows why there was no good X-Men movie until 2014: Days of Future Past. Besides, it’s not Coward’s fault, and there’s no malice involved. It’s a good example of how little producers generally know about the characters they have to adapt.

Who founded Marvel Studios and created the MCU model?

Avi Arad is a name fans should know, if only because the man founded Marvel Studios in 1993 through Marvel Films, which was restructured into Marvel Studios in 1996 and has continued to evolve ever since. Marvel Comics could have gone bankrupt if it hadn’t licensed the characters, leading to a boom in comic book adaptations in the 21st century. century and the birth of the MCU. Arad left Marvel Studios in 2006 because he was dissatisfied with the corporate mentality that was beginning to take hold at the studio. Contrary to popular belief, it was he who, along with David Meisel, developed the first year of the MCU and directed Iron Man, The Incredible Hulk and The Punisher: War zone in 2008. Without him, these films would never have been released, as he received funding from Paramount to produce them. Not to mention that he was planning some of these films years before Marvel Studios became independent; for example, he was behind Wright’s Ant-Man (2015) back in 2004. Should Avi Arad instead be hailed as the supreme god of superhero movies? No, of course not. Like Kevin Feige, he’s made some good movies, but also some bad ones. But there’s something odd going on that will become commonplace in this article; There seems to be a sincere attempt to erase the fact that Arad created the MCU in favor of Feige’s bizarre cult-of-personality rewriting of history, despite the fact that Arad created the first films in the expanded universe, Daredevil (2003) and Elektra (2005) (the latter also included an appearance by Ben Affleck as Daredevil that was cut from the film in theaters, but is still included in the extras for home media). Articles and videos about the pre-history of Marvel Studios have disappeared from the internet, and I’ve only been able to track down a few through third-party articles from those years, citing sources and checking with the Wayback Machine where possible. That is unacceptable. Avi Arad is the founder of the modern era of superhero adaptations, which he has championed since the early 1990s. It is thanks to him that the X-Men animated series was released in 1992, which led Loren Schuler Donner to make an X-Men movie. With Generation X (1996), Blade (1998) and Elektra, he covered female and minority superheroes decades before Black Panther and Captain Marvel. word-image-5673 Few people have defended Marvel’s superhero legacy for the past three decades as much as Avi Arad, for better or worse.

The Incredible Hulk

In 2007, Iron Man and The Incredible Hulk were running at full speed, but Kevin was not happy with Edward Norton. Of course, there wasn’t much he could do. The film wasn’t really a standalone Marvel Studios project, as it was co-produced by Valhalla Motion Pictures. They also produced the films The Hulk (2003), The Punisher (2004) and The Punisher: War Zone (2008), but we’ll get to that later. That quickly changed when Feige replaced Avi Arad. The Incredible Hulk is split into two factions: Norton and director Louis Leterrier wanted to make a serious film with character, like the TV series the actor and director loved so much, while screenwriter Zack Penn, Marvel Studios (where Feige made his name) and Universal Pictures (the distribution company) wanted to make a fighting blockbuster. Of course, what Feige wanted was not the film that was originally presented: It’s a new Hulk, new direction, new size, new color, new attitude. Everything that has been done before is missing from this film. He’s a completely different Hulk. It’s more of a love story, it’s more of a heroic Hulk. This is the Hulk we loved in the series, so he was influenced more by the series than anything else. It’s very human, very moving and action-packed. -Avi Arad, 2007. If you’ve seen The Incredible Hulk, you’ve probably noticed that it seems like two different movies; it starts out exactly as Norton, Arad and Leterrier intended. Later, in the third act, it becomes what Feige and the producers wanted. Kevin, of course, wanted to save the project in post-production. Not only was there a CGI fight at the end, but about 70 minutes of the film was cut from the theatrical release – ironically, a cameo by Captain America in a scene in Antarctica where Bruce Banner tries to kill himself was cut from the film – to show the human side of the Hulk. Some were edited together for an introductory credit sequence. Sure, it made the movie more emotional since everyone and their grandmother knows the Hulk’s origin story, but I don’t think the first act itself was 90 minutes long. We need the #ReleaseTheLeterrierCut campaign to find out what really happened. Needless to say, most fans and critics preferred the dramatic first half of the film to the final fight, just like with the first Wonder Woman film. Feige did not want Norton to repeat his role. Edward Norton tried to be polite about his separation from Marvel, but Feige gave the actor an unnecessary swear word in a 2010 article that has been removed, as has a lot of information about the pre-Disney era of Marvel Studios, but I guess they forgot that Norton was responding. It’s worth remembering that Norton, unlike Feige, not only loved the Hulk series with Bill Bixby and Lou Ferrigno, but even stated that he was a comic book subscriber to the character and wanted to pay homage to those stories. word-image-5674 This is probably the only reason The Incredible Hulk wasn’t disowned by Feige to become the Punisher: War Zone, this film played a crucial role in the creation of the MCU’s expanded universe thanks to a post-credits scene with Tony Stark and references to Captain America.


Edgar Wright was always interested in Ant-Man, even when Marvel Studios struck a deal with Artisan Entertainment (acquired by Lionsgate in 2003) to produce the films. At the time, an unknown British director presented the concept of Ant-Man for free. He never reached Arad, but Wright kept trying. Avi and Edgar agreed to make an Ant-Man movie when Arad and Meisel were working on the Marvel Studios remake in 2004. Unfortunately, Arad didn’t work at Marvel long enough to see this project succeed. Kevin Feige didn’t seem to believe in this movie at all and didn’t bother making it during the slow development phase of the MCU between The Incredible Hulk and Captain America: The First Avenger (2011), allowing Wright to direct Scott Pilgrim vs. the World (2010), his first comic book adaptation. Perhaps the only reason Feige didn’t cancel the film was the fact that Wright had made a name for himself in the industry during his decade-long association with the studio. It wasn’t until 2013, after Avengers had all but ensured the viability of all subsequent Marvel films, that an Ant-Man movie was set in motion. But things soon got weird. By 2014, Wright had submitted five designs, most of which were rewritten at the studio’s request. Feige was not happy with any of them. At this point, the reluctant director had been toying with Marvel’s plans for nearly a decade. He even wrote a post-credits scene connecting the Avengers: Age of Altrone (2015) and Ant-Man. After all that, Kevin Feige decided to rewrite Ant-Man one last time without Wright. Apparently, this was the straw that broke Wrights patience and Ant-Man found itself in a tough spot, as actors like Patrick Wilson were forced to leave the project due to scheduling conflicts resulting from Marvel Studios’ delays in replacing Wright. word-image-5675 And the icing on the cake is Feige’s decision to publicly denigrate Wright by claiming that the director didn’t want to make a film tied to the expanded MCU because he’s bad with franchises (forgetting that Edgar once directed the cult classic Scott Pilgrim vs. the World), which is a total lie because, as explained earlier, Wright even tied The Avengers: Age of Ultron for his movie. Marvel has made a lot of rattling movies: Guardians of the Galaxy, Iron Man 3, Captain Marvel, Black Panther…. They didn’t do much for the plot of The Avengers, which couldn’t be explained in a single post-credits scene or a five-minute teaser. Moreover, Feige and the trade media say to this day that Edgar Wright’s vision has remained largely intact. So what is it? These claims by the Marvel faction contradict their own narrative and do not match what we know of the events. All we know is that anyone who’s had a chance to look at Wright’s work, like fans of his Ant-Man teaser at SDCC or Joss Whedon calling the script more Marvelian than ever, is shocked.

Punisher : War Zone and Marvel Knights

If you look at the mythos, Kevin Feige was the producer of the movie Punisher: War Zone, as well as Iron Man and The Incredible Hulk. This was the first project on the Marvel Studios schedule where Arad was completely absent (and yes, this is the same Marvel Studios project under the Marvel Knights banner used for an adult comic book series like The Incredible Hulk). But unlike the aforementioned Hulk movie, Feige has left director Lexi Alexander, the first woman to direct a Marvel movie, completely to her own devices to fight Valhalla/Lionsgate’s meddling on her own: Marvel was an equal partner, but unfortunately, when there were conflicts in creative decision-making, Marvel let Lionsgate tip the scales. I’ve always regretted making a Marvel movie that way, because 99% of their scores were much better than the studios and I was more comfortable with them. -Lexy Alexander, 2015 Alexander’s film was not released in theaters, and The Punisher: War Zone was such a fiasco that it was quickly swept under the rug, as was Feige’s credit on the film, even though he was the one responsible for its gross mismanagement. #ReleaseTheAlexanderCut should be. Have you noticed a trend? Fans consider this film to be the best version of the character, due to its affinity with Garth Ennis’ comic book classics like Punisher MAX, and it became a cult hit, with home video releases far exceeding box office earnings. Feige wasn’t the only one to pull his credits from the film; screenwriter Kurt Sutter also did so because the final version only included one scene from his original proposal, and according to the Guild’s arbitration ruling, that’s not enough to receive credits or royalties. Feige, meanwhile, wanted nothing to do with the film and seems to have done his best to distance himself from it. The man has always disliked the deals Arad made before Marvel Studios became an independent company, and he’s always stayed away from adult interpretations of Marvel characters – ironically, because that’s what Marvel Comics has been doing since the ’60s, and that’s what Arad also exhibited in the X-Men cartoon. What happened to the Punisher? War Zone is suspiciously similar to what happened to the Netflix/Marvel series Daredevil (2015), Jessica Jones (2015), Luke Cage (2016), Iron Fist (2017), Defenders (2017) and Punisherman (2019), which Feige also moved to the MCU. These are characters that blossomed in the 1998 Marvel Knights comic book series, with darker, more mature storylines. word-image-5676 If you want to know more about how this iconic movie fiasco was made so bad it looked like sabotage, I recommend watching this episode of How Was It Made with Lexie Alexander and Patton Oswalt.

Iron man 2

Kevin Feige finally has a clean slate to show everyone how it’s done. And he didn’t start at the beginning: Jon Favreau didn’t want to experience again the pain of making a big movie with a set release date but no script (Arad and Feige always relied on notes and scribbles rather than an actual script and schedule, which is the norm in Hollywood today). Of course, Feige promised that it would be better this time because they had gained some experience working on the first film; but that was not the case. The addition of the obligatory Avengers plot was so disjointed and prioritized that the film had to be saved in post-production by adding more clips of Jarvis Paul Bethany’s voice-over and omitting exposition to make the disjointed editing coherent. Favreau probably sided with Marvel Studios because while working on Iron Man 2 he got the chance to direct The Avengers, something he wanted so badly. The studio turned down the film because Favreau wanted more money – a reasonable position, given that he was dealing with constant interference from Feige and the scope of the film was clearly unaffordable. People were quick to demonize Ike Perlmutter, the man at the helm of Marvel at the time, as the stingy one who didn’t give them more money, but that’s not how it works, as we explained when Arad and Maisel got Paramount to fund Marvel movies. The investment gathering and negotiations that affected the studio’s relationship with Jon Favreau and Terrence Howard (who also didn’t want to reprise his role as Rhodes because of the pay cut) were the direct responsibility of Kevin Feige as producer and perhaps even David Meisel as CEO of the studio. At the time, however, they were more interested in negotiating with Disney and probably wanted to give the impression that they could produce blockbusters on the cheap. word-image-5677 Then there was the very public anger of Mickey Rourke, who played Whiplash in the film. He worked with John and screenwriter Justin Theroux to create a deeper villain for the film, but his efforts were eventually abandoned in favor of the studio’s demands. I explained to Justin Theroux, the writer, and Favreau that I wanted to add other layers and colors, and not just make that Russian an accomplished killer and vengeful villain. And they let me. Unfortunately, the folks at Marvel only wanted a one-dimensional villain, so most of the series ended on the ground. -Mickey Rourke, 2011. After that, aside from a slight delay due to the inability to quickly find a director and actor for the role of the powerful god Thor, the film’s production went surprisingly well, all thanks to Feige. Shakespearean actor Kenneth Branagh volunteered to direct, and was immediately commissioned. Chris Hemsworth auditioned for the role, but didn’t get it. Joss Whedon, who worked with the actor in the cult horror film Cabin in the Woods, insisted that Marvel give the actor a second chance, and Hemsworth got it.

Captain America: Unknown heroes

Without a doubt, the Captain America trilogy and the Avengers films are the soul of the MCU. Avi Arad always wanted to direct a proper Captain America movie, but it all happened under Kevin Feige’s watch – largely due to Marvel Entertainment’s legal battle with Joe Simon (one of the character’s creators) and the withdrawal of his involvement with Warner Bros. making it impossible for the Israeli producer to make the film. Regardless, I have no doubt that Feige went out of his way to achieve this result. Joe Johnston (Rocketeer) was the ideal director for a superhero film set in World War II, Christopher Marcus and Stephen McFeely wrote the film, and Joss Whedon polished the film by serving as script doctor (as part of the contract for planning the Avengers franchise), while Marvel’s creative committee (Joe Quesada, Brian Michael Bendis, Dan Buckley and Alan Fine of Marvel Comics) had to ensure that the concepts of the comic book movies were properly adapted. It helped that Joss Whedon is already a prolific director, screenwriter and comic book writer, having written the award-winning X-Men series (Astonishing X-Men). word-image-5678 These people are really the architects of the MCU story. They are the ones who made him what we have seen of Captain America: First Avenger to Avengers: Endgame (2019). Of course, some of the credit goes to Feige; he contributed scores and references (it is what it is), he found actors like Robert Downey Jr, he hired the Russo brothers….. This article doesn’t imply that he didn’t do anything for the MCU; we just show how the MCU wasn’t created by one producer and how it lived on its momentum – until Avengers: Endgame is planned by talents who are abused and ignored, who are rarely credited for making this mythos possible, and why the film seems to have derailed now that Feige is at the helm, resorting to off-topic language, identity politics, and denigrating some of the people who helped it reach the top in the first place.

Create Marvel using the Feigmethod

The success of The Avengers is so undeniable that it changed the industry, but strange situations occurred during production, such as. B. the mission to kill Agent Coulson (Clark Gregg). Whedon never shied away from killing off characters to torment viewers, but it didn’t make sense since Feige and Whedon also produced the spin-off TV series Agents of S.I.T. (2013) and Coulson was the main character in that series. Whedon explained that Marvel didn’t care much about integrating the TV series with the movies at the time, saying that Coulson was effectively dead in the movies, which has recently changed with the advent of Disney+. But none of their previous offerings have made as big an impact as Daredevil. At best they were polarizing, at worst they became the tragedy of The Inhumans (2018), which Feige probably let become a very mediocre TV series because he didn’t know the characters and couldn’t come up with a line for them. Whedon left Marvel after Avengers: Age of Ultron because the micromanagement has become unbearable. He directed Avengers as Marvel Studios wanted, knowing he would have more freedom for the second part. That’s why he put Thanos (Josh Brolin) in the scene after the film’s credits to flesh him out later. Of course, during the filming of Age of Altrone, he was faced with even higher demands, which led him to leave Marvel. Is anyone counting? Because it seems Feige has seen more people leave Marvel Studios due to micromanagement than the controversial Kathleen Kennedy at Lucasfilm – Scott Derrickson was the most recent example, leaving the Doctor Strange sequel (2016) last year due to creative disagreements. This seems surprising since most of the people leaving the MCU have worked for the studio for at least a few years and are usually legends in their field. It’s highly questionable whether Feige knows better, and if he does, why didn’t he make one of these films himself? Actually, he’s trying to micromanage. Maybe it’s because he has two strategies when it comes to something that wasn’t planned by the aforementioned people who actually followed the MCU: fill the movies with Adam Sandler-esque comedies that have nothing to do with the original characters like Guardians of the Galaxy (2014), Ant-Man, Thor: Ragnarok – a film with an identity crisis so severe it resembles a sequel to Guardians of the Galaxy – or appeal to divisive, anti-consumer identity politics. The latter has become increasingly apparent over the years, starting with Captain Marvel (2019), a film that was arguably saved financially by coming out amidst all the hype surrounding The Avengers: Endgame, even though it’s still considered one of the worst Marvel Studios movies by the general fan consensus. This one went so far as to sabotage Dr. Strange’s appearance in the TV show Wandavision (2021) later that year for bigoted reasons: because of the character’s skin color. He’s done his best to make it clear that the MCU will cater to post-Marxist sensibilities in the future, which is completely misplaced because most people, regardless of their political views, have enjoyed the Marvel movies equally, and now the producer is actively alienating half of his audience for no good reason rather than staying neutral by sticking to the source material. This is all because he recently angered fans by stating that the Marvel comics they prefer are not a factor in his decision. Has he forgotten that this is the only reason he became a popular producer? word-image-5679 Things aren’t looking good now that Feige no longer relies on a plan that prioritizes loyalty to fans, characters and stories. They now resemble the ever-controversial and divisive sister company Lucasfilm, where oddly enough most of its success can be attributed to the creative freedom granted to Jon Favreau in Mandalorian (2019). Jury: Fans. It is because of them that these industries exist. What do you think? G+G wants to know!Now that the Marvel Cinematic Universe (MCU) is gaining popularity, comic-book fans are looking to MCU movies to help make sense of the different heroes and villains, and to find out how the tangled web of Marvel movies will play out. The truth is that, like all franchises, it’s actually just a myth. Kevin Feige is a real person, but he has never been the sole visionary behind the MCU.. Read more about kevin feige house and let us know what you think.

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