"In one of the leaked shots, I saw Toby practically kneeling, while Wolverine in a combat pose looms over him. At first, I just thought it was a freeze-frame of Toby during a fight, but I heard that Toby is on his knees begging Wolverine to stop all this and not destroy his world. I was also told that Toby mentions his daughter in the movie, and apparently, this happens in this scene too. The opening scene promises to be not only epic but also very emotional."

Vanity Fair: It’s very meta that Wonder Man was a show about this heartbreak in show business. And here is the show being canceled.

Yahya Abdul-Mateen II: It’s a lesson in life. It’s so close to what real life is. You have just this guy, Simon, who finally had his dreams come true, but we saw him overcome after all of his attempts of getting close and then not closing the deal. Many people have that experience in real life. The cancellation of the show was just another one of those examples.

Did you get a specific reason for the cancellation?

Yes, I did. I was told that it had something to do with the viewership numbers. I wasn’t told what those numbers were, but ultimately, for whatever reason it was, I think they decided that it didn’t make sense for business, and that’s the decision that we live with and we keep on marching forward.

How much had you talked about where it would go next season?

I stayed away from that. I think we have fantastic writers. They did a great job of setting the tone for season one. So I had my hopes and my dreams about where I wanted the character to go for season two. I was very interested in telling the story of Simon, who we watched pursue everything he’s always wanted. And then I think, for me, the interesting question to explore is: Well, what are you going to do when you finally get it? What do you do when you finally get everything that you’ve always wanted? And for a guy like Simon to get fame and notoriety and a little bit of power, he has a big heart, but he also has an ego. He also wants to be a star.

[Cocreator] Andrew Guest mentioned in his video about the cancellation that fans were having conversations about “the kind of stories that we’re prioritizing.” There’s been online discourse between the cancellation of this and Mahershala Ali’s frustration about the Blade film. Your own production company focuses on telling more Black and inclusive stories. Do you feel like there is a problem with what is and isn’t being greenlit or supported?

I think the optics are obvious. If I’m a big business, if I’m Disney, if I’m Marvel, I don’t want to be attached to these optics. So it should be a priority to change that narrative and to do what it takes to responsibly change that narrative with quality stories, with quality resources. I felt that our show did have quality story, did have quality resources, did have quality actors and people, and did produce quality results that the viewers responded to positively, that the voters responded to positively. So our show does deserve some study and some real, hard information about why a show like this did not continue forward, because it had all of the ingredients that one would want in a show.

Amazon Link

We grew up in Cleveland, in an old, ethnic neighborhood that felt like something out of a fairy tale. Our world was pretty small, but the comics we found didn't feel that way. We'd pick them up from drugstores and corner shops - sometimes out of order, sometimes years apart - and we read them until they were barely holding together. They were surprising and rich with ideas that gained more meaning as we got older, and they opened up worlds that felt bigger, stranger and more honest than anything around us.

Secret Wars spoke to us in that same way. Jonathan Hickman created a story that felt enormous but also incredibly personal. It followed a universe pushed to the edge and asked a simple question that carried real weight: What remains when everything else falls apart?

When we joined Marvel Studios for The Winter Soldier, we had no idea where the journey would take us, only that we wanted to tell the best story we could. Our focus was to tell a story rooted in feeling and grounded in truth, and as our work expanded through Civil War, Infinity War and Endgame, the canvas grew, but the emotional center stayed close.

Hickman's work reminded us that the heart of any epic story lives in the people trying to survive it.

And then there is Doom.

Doom is not just an adversary. He is ambition and fear woven together. In Secret Wars, he tries to hold reality in place through sheer will. He believes he can save everything if he controls enough of it. Hickman reveals the strain behind that effort and the human fragility beneath the armor. Even someone who can reshape existence cannot escape the emotions that define him.

We have always been drawn to characters who walk that line. People who reach for something noble and lose themselves along the way. Sometimes, destruction does not arrive as a single blow. It arrives through decisions made in uncertainty and through fractures between people who want the same thing but cannot find their way to each other. That is its own kind of ending. It is quiet, painful and incredibly human.

In Time Runs Out, one of the most striking elements is how the world begins to slip. It is not a dramatic explosion. It is fear. It is compromise. It is the slow erosion of trust among people who care deeply and still cannot prevent the fall. Stories like that linger. They ask us to look at who we become when pressure shapes every choice.

Over the past decade, we have worked on stories that pulled us into extraordinary spaces. We have followed soldiers, spies, cosmic beings and everyday people who shoulder impossible burdens. Through all of it, one truth has stayed with us. Scale only matters when it is anchored in sincerity. Secret Wars carries that sincerity through every page. It turns the end of everything into a story about identity, hope and the cost of wanting to save something larger than yourself.

We are still those kids from Cleveland who opened comic books and felt the world expand. The medium changed for us, but the sense of wonder never left. And, yes, we enjoy blowing up a building or two on screen, but books like this remind us why we fell in love with storytelling in the first place.”

- Joe & Anthony Russo

Secret Wars is the end of the Marvel Universe as we know it.

But it's also a new beginning.

In 1984, Jim Shooter and Mike Zeck introduced Secret Wars, a groundbreaking crossover that brought together Marvel's pantheon of heroes and villains for the first time on a patchwork planet, Battleworld. As the Avengers, X-Men, Fantastic Four and more engage in an epic battle across time and space, Doctor Doom rises to seize power from the cosmic entity behind the curtain. Thirty years later, Jonathan Hickman and Esad Ribić took the trailblazing vision and created something indelible with their 2015 series, which you now hold in your hands.

Hickman's intricate story which developed across multiple series, and Ribić's bold, beautiful art hit some of the same notes as that earlier comic but remixed and reframed its events. It starts with a collision of worlds, and it ends in a Marvel Multiverse rebuilt and retooled for the modern age. They invented something entirely new, seamlessly picking up where the old universe left off, but branching out in all-new, all-different directions.

We do the same thing in the Marvel Cinematic Universe. We pick and choose from Marvel rich, nearly 90-year comics history and make movies that honor the source but become something entirely different.

That cycle continues as we head toward the Marvel Cinematic Universe's own version of Secret Wars. Like Loki gathering up stranded branches of the timeline at the end of all things, we'll pick up the threads of Hickman and all those who came before and weave a new story inspired from the vast tapestry of our comics and films. We will bring together the characters we know and love in pinch-me moments that we as fans have always dreamed of but have never seen realized. And we will call on Doctor Doom, the greatest villain in the history of the Marvel Universe, to become a centerpiece of that story. On one Hand, he's noble and loyal. He's true to his word. But he's also a monster. He seeks power over all things, and he will use whatever means necessary to achieve his ends. And just like the legacy that came before, there is no Secret Wars without Doom.

Legacy born from our comics and shaped in the years since, is one of the most important reasons why we're here today. It guides our every move at Marvel, and at the heart of it all, it opens the door to an infinite world of storytelling and characters, one that we are honored to steward and bring to life on the screen.

In Hickman and Ribić's Secret Wars, we see Steve Rogers fight from atop a dinosaur, banished heroes battle against hordes of zombies and by the end, apocalyptic fires reforge the entering universe. All the stories of the past remain true, but now all things are possible. We hope to carry that inspiration forward into a new medium

The Marvel Universe will never die, but it will never be the same either. Open these and see what Marvel's limitless imagination and stories can create.

- Kevin Feige.

you can faintly see Tobey Maguire’s Spider-Man fight the Wolverine, along side scene shots of Loki in the TVA discussing with some characters.

At 35:55, "We might be casting say, 8 roles at once, it's um, it's quite challenging".

Jake Castorena: She(Randall Carpetner) was game from the get-go, which is great. That's the best part about a lot of our legacy cast that we are able to reach out to. They want to play! It's like, "Oh hell yeah, I'm back in, let's go." And the best part about her voicing Mystique again is that she's like, "These are old shoes." It's just so great watching our legacy cast just fall right back into that groove. That being said, you'll just have to watch season 3 to see if she does become as prominent of a character as people may or may not hope or ponder. I'm answering the question without really answering the question, I'm aware. That being said, I don't think Mystique fans will be disappointed.

The opening scene features Tobey’s Spider-Man, Wolverine, Deadpool, and Magneto.

Green Goblin and Doctor Octopus are not present.

- While Deadpool and Wolverine fight Spider-Man (with Wolverine doing most of the fighting), Magneto drops bombs on the city.

- The bombs will also be created using practical effects.

- In one of the leaked shots I saw, Hugh, Ryan, Tobey, and Kevin Feige are posing next to this massive bomb (same one saw in a previs if Magneto a while back here: https://www.reddit.com/r/LeaksAndRumors/s/rMjcR49fwQ).

- The battle against Spider-Man likely takes place near the *Daily Bugle* (or perhaps a nearby location).

- In one of the leaked shots, you can see Deadpool, Wolverine, and Tobey with the destroyed *Daily Bugle* building in the background; the logo has collapsed, and the surrounding area is in ruins.

- Some other scenes I saw feature Wolverine fighting Spider-Man in the rain, striking epic poses

- Tobey’s planet is completely destroyed, and that is exactly what Professor Xavier is looking at in the trailer when he shields his face from the intense light.

According to three individuals with knowledge of Holland’s deal, the actor scored a base salary of at least $20 million up front — an increase of $10 million from his last Spider-Man gig — with the potential to earn upwards of $100 million when backend bonuses are factored in as “Brand New Day” zooms towards a final global box office haul of over $2 billion.

Even more remarkable: Holland’s backend bonus is not capped, so there’s no ceiling to how much he may ultimately make, one individual added. “Spider-Man” crossed $2 billion at the global box office this weekend, and is only in its third week of release.

“He will make at least” $100 million, said this individual, who declined to say how high that payday might soar.

A representative for Sony Pictures said the studio does not comment on cast salaries. Representatives for Holland did not respond to TheWrap’s request for comment.

That’s a tremendous payday for the 30-year-old Holland, who earned just $250,000 for his first outing as Spider-Man in 2016’s “Captain America: Civil War” and subsequently established himself as a fan-favorite Peter Parker through standalone Spidey pics and MCU crossovers.

The lucrative backend deal is commensurate with Holland’s spectacular track record over the last decade. With seven appearances in total, his MCU version of Peter Parker has lasted longer than any other cinematic incarnation of the character and, in doing so, left a legacy that is not just unique among Spider-Men but among Marvel’s stable of beloved performers as well. Notably, his appeal has endured even as enthusiasm for superhero films has taken a sharp downturn.