In the wake of the recently resolved actors’ strike, Disney is swiftly recalibrating its cinematic calendar. Deadpool 3, originally slated for release on May 3rd, 2024, is now rescheduled to hit theaters on July 26th, as production gears up to resume in London. This adjustment follows a tentative agreement that brought an end to the strike, with Marvel and Disney securing the film’s sets during the production hiatus.
The ripple effect extends to other Marvel Studios projects, creating a domino effect of release date changes. Captain America: Brave New World, initially set for July 26th, 2024, is now moved to February 14th, 2025, while Blade faces a shift to November 7th, 2025. Thunderbolts also experiences a delay, moving from December 20th, 2024, to July 25th, 2025.
The realignment means that Deadpool 3 stands as the solitary Marvel Cinematic Universe release in the upcoming year, a departure from the franchise’s accustomed annual multi-film releases. The impact of this relative scarcity on audience interest in the superhero genre remains a topic of anticipation.
The strikes initiated by SAG-AFTRA, coupled with the recent conclusion of the Writers Guild of America strike, have introduced substantial disruptions to production schedules throughout Hollywood. Various Marvel Studios films were at different stages of production before the strikes. Captain America: Brave New World had reportedly completed principal photography, leading to speculation that it might assume Deadpool 3’s slot. Meanwhile, Blade and Thunderbolts were yet to commence production, according to Variety.
Beyond the Marvel Cinematic Universe, Disney also announces a new release date for its CGI Lion King prequel, Mufasa: The Lion King, which is now scheduled for December 20th, 2024, instead of the initial July 5th date. In a similar vein, Sony Pictures announces the postponement of its third Venom movie, originally set for July 12th, 2024, now rescheduled to November 8th of the same year. These adjustments underscore the intricate challenges posed by recent industry disruptions, emphasizing the complexities faced by major studios in managing their cinematic portfolios.
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