The Era of Marvel Cinematic Universe TV Is Over

The Marvel Cinematic Universe introduced Thanos in the mid-credit scene of “The Avengers,” marking a significant moment that indicated the franchise’s next big adversary. This introduction not only highlighted the importance of “The Avengers” to Marvel Studios but also provided clear glimpses into the future of the saga. Nearly a decade later, Marvel attempted a similar tactic with the Multiverse Saga, introducing Kang the Conqueror (Jonathan Majors) in the season finale of “Loki.” Appearing as his whimsical yet tormented variant, He Who Remains, established a new future villain for the Avengers. Unlike Thanos, who made his grand entrance in theaters, Kang first appeared on Disney+.

Marvel’s big initiative in the 2010s was to pull off crossover movies. By the 2020s, they were dedicated to generating streaming content for Disney. This mission led to significant characters making their first appearances on Marvel Cinematic Universe’s streaming shows. From 2021 to 2024, audiences had a slew of TV shows to keep up with in addition to the movies.

The 2024 San Diego Comic-Con panel openly revealed the end of Marvel’s TV show age. Unlike previous years, Marvel Studios didn’t highlight TV shows alongside movies at the 2024 Hall H showcase. Instead, it focused on three 2025 movies before announcing “Avengers: Doomsday,” its directors, and Robert Downey Jr. playing Doctor Doom. Absent were instances of “Agatha All Along,” “Ironheart,” “Wonder Man,” “Daredevil: Born Again,” and various animated shows. This absence followed Marvel’s frantic efforts to clearly differentiate between Marvel movies and TV shows.

Initially, programs like “WandaVision” and “Loki” had the Marvel Studios logo, compelling fans to subscribe to Disney+ to avoid missing these tie-ins. Over time, Marvel introduced labels such as Marvel Spotlight for standalone productions like “Echo” and Marvel Animation for programs like “X-Men ’97.” By fall, “Agatha All Along” would carry the Marvel Television moniker, solidifying the barrier between small and big-screen Marvel Studios productions.

Reflecting on how we reached this point, Phase Four and Five of the Marvel Cinematic Universe heavily depended on Disney+ shows. For instance, “Doctor Strange in the Multiverse of Madness” and “The Marvels” linked directly back to shows like “WandaVision” and “Ms. Marvel.” However, those projects were either released or announced before November 2023. Following the shift, projects announced afterward, including the “Falcon & The Winter Soldier” continuations, are also being re-evaluated.

Reality emerged as Marvel’s ventures into streaming faced disappointing outcomes. Initial projects like “WandaVision” and “Loki” enjoyed popularity, but the excitement wore off as newer characters like Moon Knight and Ms. Marvel failed to capture audiences’ interest. A mix of declining viewership and more critical reviews compounded the problem. By 2023, Marvel Studios had a streaming issue, evidenced by lackluster views for “Loki’s” second season and poor reception of properties like “Secret Invasion.”

Media realize now that making streaming profitable is challenging. The approach of spending over $200 million on TV shows and movies for streaming proved ineffective without other revenue streams. The Netflix strategy, once promising, turned into a burden. Billions were poured into launching services like Peacock and AMC+, which failed to attract large audiences.

In the realm of superheroes, audiences weren’t thrilled to see Marvel TV shows cross into the movies. Disappointingly, movies like “The Marvels” couldn’t capitalize on their streaming counterparts. Appearances from Marvel TV characters in films often went unnoticed. Despite some standout episodes in shows like “WandaVision,” “Ms. Marvel,” and “Loki,” most live-action Disney+ productions failed to fulfill their potential.

A fundamental issue was Marvel Studios’ lack of television expertise, treating TV shows more like extended movies. This approach, with no showrunners and movie-like pacing, undermined the shows, leading to sluggish development and missing television’s narrative strengths. The failure to adapt TV-specific storytelling was evident in shows like “The Falcon & The Winter Soldiers,” whereas productions embracing those elements, like “X-Men ’97,” saw positive reception.

Moving forward, future Marvel TV shows will employ showrunners, and another Marvel Studios Special Presentation is in development. However, future productions like “Wonder Man” are expected to be distanced from larger Marvel movies. The common practice of linking post-credit scenes across movies and TV shows may also become rare. Major plot points and characters crucial to films like “Avengers: Doomsday” or “Secret Wars” will likely debut in big-screen features.

The overhaul of Marvel’s Multiverse Saga plans to phase out emphasis on streaming is reflective of larger industry shifts. Media companies are reconsidering the streaming-heavy models and turning back to theatrical releases to revitalize the industry. Marvel’s shift away from prioritizing streaming content underscores a broader trend. With Hollywood’s renewed focus on established franchises and IPs, the earlier ambitions for Marvel Cinematic Universe television have quietly ended, leading to Kang and streaming shows losing their top priority status at Marvel Studios.

The introduction of Thanos in “The Avengers” signified the start of a multi-film epic in the 2010s. In contrast, Kang’s debut on “Loki” indicated an ambition for dominance in streaming. But three years later, streaming-focused plans have been discarded. Much like other media conglomerates, Marvel’s initial TV strategies have faded into obscurity in the ever-evolving landscape of entertainment.