Thirty years ago, comic book movies were hardly popular. Batman seemed to be the only reliable franchise character igniting the 1995 summer with Batman Forever. Spider-Man in 2002 launched the real possibility of superhero and comic book movies before the genre hit the gas in 2008 with Iron Man. Studios and producers then dug deep into the comic book world turning the obscure Guardians of the Galaxy into a major piece of the Marvel Cinematic Universe, and also creating acclaimed television shows like The Boys and The Penguin.

So effective was the machine at churning out superhero entertainment that it no longer felt like an event and even a challenge to follow. Any new Marvel movie seemed to have a TV series and previous films that were referenced, making it hard for the casual moviegoer to keep up. Brakes were pumped, strikes stopped production, and plans were rearranged – Deadpool & Wolverine was the only major comic book film released in 2024, down from three in 2023.

And that brings us to the beginning of the summer movie season of 2025, with the release of Thunderbolts*, a movie that makes major heroes out of lesser-known characters in the Marvel universe.

How did the filmmakers change what it means to be a superhero, and turn their own model on its head? Here are 5 screenwriting lessons to take away from Thunderbolts* when resetting a franchise and turning a formula that feels stale into something fresh.

1. Point Out the Obvious

Yelena (Florence Pugh) is nothing if not blunt. What makes her first appearance in Thunderbolts* so intriguing and indicating a change in tone is how bored she is with being a “superhero.” To her, it’s a job, and she just goes to one after another, doing whatever her employer asks her to do. Her fights are so repetitive she narrates the basic points of the action scene the audience is used to seeing. “I hit this person, no one is good at shooting, etc.”

This opening scene is a direct assault on the action scenes expected in movies and it’s Marvel’s way of saying they understand. The Hero’s Journey, the predictable villains, the craziness of a multiverse…it’s time for a change and the first scene of Thunderbolts* is a wink to the audience saying they get it.

What screenwriters can take away is the benefits of pointing out the obvious. Team America created a song called Montage to explain using a montage for the purposes of a montage scene, and the recent rom-com/horror Heart Eyes makes light of the obvious romantic-comedy tropes. This shows the audience that the film recognizes the tropes and certain aspects of a film that is “expected” – it takes the zig and zags.

Julia Louis-Dreyfus in 'Thunderbolts*'

2. You Still Need Elements of a Comic Book Movie

Regardless of the anti-hero aspect of Thunderbolts*, it’s still a comic book/superhero movie. Many of the tropes and factors that make it a Marvel movie are present all throughout. If screenwriters are creating a story based on familiar material or IP, they must recognize that originality will come into how they use the tropes, not reinvent them.

Thunderbolts* has plenty of the comic book elements that are part of the genre.

• A Villain’s Human Element: There are simply no mustache twirling bad guys anymore. There needs to be a backstory and a reason for their wickedness. From the Sentry (Lewis Pullman) to Valentina (Julia Louis-Dreyfus), these antagonists and villains are human and have certain histories that turned them the way they are.
• The Government: Whether it’s power, politics or the passing of bills, the Government is often a presence in comic book movies. Captain America: Brave New World has Red Hulk as the president, Iron Man 2 features a senate hearing, and a secondary plot in Thunderbolts* follows the impeachment proceedings of Valentina.
• Assembling a Team: Lots of comic book movies feature some semblance of a team. It may not be the Avengers uniting but the Spider-Man films bring together Peter’s best friend, Mary Jane and others as part of a team. Thunderbolts* is all about building a team.

3. A Team of Losers

Winners aren’t very interesting. If they are cocky and cool then it rarely becomes something worth watching. There are exceptions – everyone loves Tony Stark. But think about Guardians of the Galaxy, The Sandlot, The Mighty Ducks or any other story about an underdog person or team that ends up winning the day. Thunderbolts* is designed around a team of outcasts who can hardly look themselves in the mirror without thinking they’re losers. In storytelling, the audience wants to root for the underdog. Villains are always so powerful because we want to watch the hero rise up and defeat them.

Teams in movies have certain patterns they take and Thunderbolts* is no exception:

1. Come together, usually by circumstances not their own (in Guardians of the Galaxy most are in jail together) and they don’t get along, but…
2. They need each other and there are certain dynamics that work well, and they even form a bond. Just when everything seems to be going well…
3. They separate, usually in some big verbal fight after a major loss where everyone airs their grievances, perhaps saying, “Fine, you do what you want but I’m going this way!” And yet…
4. They need each other because now they’re a family, and must use their skills to defeat the enemy.

It’s a trope. It’s obvious. And yet, it works. As a storyteller, it’s a solid outline to use for teambuilding.

David Harbour and Florence Pugh in 'Thunderbolts*'

4. The Anti-Marvel Movie

The budget for Thunderbolts* is pretty average considering its scope and scale, but it’s nothing in comparison to the special effects extravaganzas that took audiences through the multiverse. In fact, there is no multiverse.

Thunderbolts* feels a little closer to early Marvel than most of the Phase 5 films that took characters through multiple dimensions and into space. This movie felt very much like Marvel wanted to get back to its roots with struggling characters who must come together to defeat evil. And like many of the earlier movies, there isn’t some intergalactic villain – everyone is human.

Whether you have a writing assignment around IP or maybe you’re building a TV bible, sometimes part of keeping interest in the property is refreshing the idea of the story.

5. The Importance of Theme

Thunderbolts* isn’t shy about the theme of their movie.

Loneliness.

Everyone in the movie is lonely in some way, and dealing with the issues that caused them to be a loner in the world. They are mostly down on themselves, consider themselves losers, and don’t have the help needed to make them feel a part of something.

This theme drives a lot of the movie: each character thinks they are the only ones who can do what needs to be done, they can’t rely on others, their attitudes drive people away and they’re going through life without meaning.

The goal of the screenwriter is to use this theme for conflict amongst characters (both internally and externally) and as a means of building a team.

--

As Marvel continues producing new theatrical films, it’s important that they keep their ideas fresh. Thunderbolts* is an attempt to do just that, using some old tricks, accepting why some of their previous films weren’t as successful, and embracing the summer blockbuster tropes that audiences love.