If you ever needed definitive proof thatMarvelhas lost pace with the zeitgeist, just look at the panicky marketing of Thunderbolts. The film opens in a couple of weeks and, according to the trade press, is tracking to open soft.Had this been six or seven years ago, then fans would be clamouring to see Thunderbolts simply because it was the latest instalment of the grand MCU soap opera. After all, it’s a film that stars several side characters from older Marvel films and TV shows, and there was a time when audiences would go bananas for this sort of thing. But as the last few MCU films have shown, that approach doesn’t really work any more.For a while Marvel attempted to trade on the intrigue of the asterisk, but that fell down because the people who cared guessed what it meant and the people who didn’t couldn’t care less. Then camethe weird trailer last monthwhere the movie tried to rebrand itself as an A24 film, declaring itself to be “absolute cinema” because it hired the production designer from Hereditary and the editor of Minari (and, in Julia Louis-Dreyfus, the star of You Hurt My Feelings). And while there was a lot of novelty about this – when was the last time a Marvel film made a big deal about the pedigree of the people who made it? – it didn’t do a lot to shift the needle.But now, finally, it looks as if Marvel has cracked it. The final flurry of pre-release marketing about Thunderbolts doesn’t make a big deal about the superheroes or the mythology or the cinematography or anything like that. No, this time it’s being much smarter. This time it’s unveilingFlorence Pughas the new Tom Cruise.Thunderbolts contains a big setpiece stunt in which Florence Pugh jumps off the 2,722ft Merdeka 118 in Kuala Lumpur, the second tallest skyscraper on Earth. Now it has been revealed that not only did Pugh perform the stunt herself, but she also pleaded with the Marvel brass to do it.“As we got closer and closer to shooting, they said they don’t think it’s going to happen because it’s a crazy insurance ordeal,”Pugh told Variety. “I was like what the fuck? Of course we are! We have to do that.” Referring to herself as a “sassy Karen” for refusing to let the issue drop, she then described the moment they relented. “They’re like, ‘OK, if you want to fall off the second tallest building, we’ll figure it out for you.’”These claims are backed up by a film that was posted to YouTube five days ago, in which we see Pugh jump off the aforementioned building. In truth, as far as the footage shows, it’s less of a jump and more of a dangle – she appears to step off the roof and descend a small distance before she’s winched back up – but nevertheless it looks absolutely terrifying.It’s a very Mission: Impossiblish formula. You’ll remember that the entire selling point of 2023’s Dead Reckoning: Part One was the sight of Tom Cruiseriding a motorbike off the side of a mountain. Indeed, by the time the film came out we’d already seen the stunt in its various forms hundreds of times.Of course, it turns out sharing your biggest stunt ahead of time is not always completely wise. Box office grosses for Dead Reckoning were lower than expected because we’d been given the exciting bit for free several years before it was released. This year’s instalment, The Final Reckoning, is doing a better job of hinting at the big stunt –Tom Cruise flapping abouton the underside of a corkscrewing biplane – without revealing the whole thing.Time will tell whether Thunderbolts should have been less generous with the stunt footage. But for now that doesn’t really matter. What matters is that Florence Pugh wants to do her own stunts, and she’s fearless about it. If there’s a Thunderbolts 2, maybe she’ll do a helmets-off motorbike chase, or a one-take skydive. Maybe she’ll beat Cruise and literally shoot into space. Maybe she’ll even start sending cakes to people for Christmas. Either way, this might be the start of an amazing action career.
‘I was being a sassy Karen’: Florence Pugh’s skyscraper stunt positions her as the new Tom Cruise
TruthLens AI Suggested Headline:
"Florence Pugh Embraces Stunt Work in Marvel's 'Thunderbolts' as Marketing Shifts Focus"
The Guardian
7.4
TruthLens AI Summary
Marvel's upcoming film 'Thunderbolts' is facing challenges in capturing audience interest, a stark contrast to the fervor seen in previous years for Marvel Cinematic Universe (MCU) releases. As the film's opening approaches, it is reportedly tracking for a soft box office performance, which highlights a shift in viewer engagement with the franchise. The film features several side characters from earlier Marvel productions, but attempts to rekindle intrigue through marketing gimmicks have fallen flat. A recent trailer attempted to rebrand the film by showcasing its production pedigree, highlighting the involvement of notable filmmakers from acclaimed projects. However, this strategy did not significantly boost excitement for the film, indicating that Marvel's traditional marketing tactics may no longer resonate with audiences as they once did.
In a surprising pivot, Marvel's marketing now emphasizes Florence Pugh as a daring new face in action cinema, likening her to Tom Cruise. Pugh has taken on a significant stunt for 'Thunderbolts' by jumping from the Merdeka 118, the second tallest building in the world. Her determination to perform this stunt herself, despite initial resistance from the production team due to insurance concerns, showcases her commitment to authenticity in her role. This bold move aligns with a trend in action films where lead actors perform their own stunts, reminiscent of Tom Cruise's high-risk sequences. While the promotional strategy of revealing major stunts in advance has had mixed results in the past, Pugh's enthusiasm and fearlessness suggest that she may be carving out a new niche for herself in the action genre. Whether this will lead to a successful franchise or a new career path remains to be seen, but it certainly positions her as a fresh and fearless talent in Hollywood's action landscape.
TruthLens AI Analysis
This article appears to focus on Marvel's marketing strategy for Thunderbolts and how it pivots to highlight Florence Pugh's stunt performance as a central selling point. The piece critiques Marvel's recent struggles to maintain audience engagement and suggests that the studio is now leveraging Pugh's star power and physical commitment—comparing her to Tom Cruise—to generate buzz.
Marvel's Shifting Marketing Tactics
The article notes that Marvel's earlier attempts to promote Thunderbolts—such as emphasizing its connection to A24-style filmmaking or teasing an asterisk in the title—failed to resonate. The latest approach, however, shifts attention away from the film’s plot or universe-building and instead spotlights Pugh’s daring stunt work. This suggests a deliberate move to appeal to audiences who value practical action over CGI-heavy spectacles.
Florence Pugh as the New "Action Star"
By framing Pugh as the "new Tom Cruise," the article implies that Marvel is trying to position her as a bankable action lead, capitalizing on her willingness to perform risky stunts. This could be an effort to reinvigorate interest in the MCU by associating it with the kind of star-driven spectacle that has worked for franchises like Mission: Impossible.
Potential Manipulation or Distraction?
The timing of this narrative raises questions. If Thunderbolts is indeed tracking poorly, the focus on Pugh’s stunt could be a diversion from broader concerns about superhero fatigue or the film’s quality. The article subtly critiques Marvel’s desperation, suggesting that even this new angle may not be enough to salvage dwindling enthusiasm.
Audience and Industry Implications
This strategy likely targets general audiences who appreciate stunt-heavy action, as well as film enthusiasts who respect actors doing their own physical work. However, it may not address deeper criticisms of the MCU’s creative direction. Financially, if successful, it could boost pre-release hype, but long-term impacts on Marvel’s brand remain uncertain.
AI and Narrative Framing
The article’s tone leans into skepticism, which could reflect either editorial bias or an AI-assisted framing to amplify controversy. If AI was used, it may have structured the piece to contrast Marvel’s past successes with its current struggles, reinforcing a narrative of decline.
Credibility Assessment
The article is credible in its reporting of Marvel’s marketing shifts but leans into opinion when suggesting these tactics are a sign of desperation. The comparison to Tom Cruise feels hyperbolic, though not entirely unfounded given Pugh’s visible commitment to the stunt.