The end of the thunderbolt in Marvel* caused a dispute between the writer and the director

It is a real shame “Thunderbolts*” did not make more than it was at the box office. Marvel Studios should have been the first time with something that he says was supposed to be greater success, but with a lot of work against this type of superhero in 2025 and the absence of any major champions in his team, the film had never had an opportunity.

The fact is that in the aftermath of its lengthy struggles, Marvel Studios needs more events. In 2024, “Deadpool & Wolverine” blur the box officeThe company’s proposal may be able to transform its cinematic wealth. Unfortunately, it started in 2025 a bad start to Marvel Studios Drafting the safe that could be forgotten and which was “Captain America: Brave New World”. Then disappointment, all attention was in the next movie, and the final batch in the 5th stage of Marvel Cinematic University: “Thunderbolts*”.

In many ways, “Thunderbolts*” is “Deadpool & Wolverine”. It is an emotional punch for a movie that has finally matured in MCU by showing that its individual chapters can actually explore significant topics that go beyond strengthening everything that the next batch may be in the concession. The film is a long symbolism of depression, or more specificly, human flexibility in facing mental health challenges and unusual shock, and weaves an unusual moving narration that ends with a celebration of human communication as one of the most effective weapons in the battle against our moments. However, it appears that one of the decisive aspects of this end has proven to be controversial so that the movie writer and director cannot agree on how to transfer it.

“Thunderbolts*” may have disappointed some of the cinema pioneers, and they see that It is less than a real Thunderbolts movie And more than a hidden introduction to the new Avengers team – hence “*” in the title of the movie on stickers. But for the masses that were waiting for Marvel to prove that her films could be more than the cabaret tourist attractions, Martin Scorses has carefully described it as “Thunderbolts*” is a special movie.

It was not only that the movie had what he was saying about feeling lonely and depressed. Its shows were also excellent, especially the photography of Luis Polman Pop/Sentry/Al -Farah. The characters (characters) work as a film opponent, but Bob begins just a confused man and mental health issues before he turns into a guard from Julia Louis Drifus Valentina Alegra de Fontaine. The murder key to reduce the power of Sentry ultimately when he turns into the void, a character is basically a manifestation of depression and shock. In order to save the world to fall due to the darkness of the vacuum, the Yolina Bilova of Florence Bug and a group of her heroes literally adventure in the dark holiday of Bob’s mind to save him from his previous shocks. Ultimately, the crew managed to return it as mainly a great collective hug, and reassures it that he is not alone and brings it out of the shadow world.

It was this group hug that proved controversial. Talk to Hollywood ObserverEric Pearson (who participated in the writing “Thunderbolts*” with Joanna Calo) revealed that he and director Jake, Jake, could not agree on whether or not he would refer to this final embrace as “the group’s hug” or not. “It is absolutely a collective hug,” the writer noted. I think I wrote a line that was commenting: “Did the world only save us with a group hug? “In the past, noting that it makes the matter terrible, and it is completely right in it.” Person went on to say that his script note is probably a “tension”, anchor on the idea that this last minute is “a collective hug”, adding, “I am not talking to him in any way. On the page, I may laughed, but then, if I applied it to the actual movie, it was the case,” EW “. It will give you ICK.”

Although many “Thunderbolts*” are amazingly dark in filming the mental health conflicts of her characters, in the end it is a movie about hope (and It can be said that a better movie about Hope than “Superman” by James Gan). Without this final embrace, the side of hope was not completely effective.

Jake Brarether, who will restart “X-Men” from MarvelSpeak to Comingsoon.net About the end and admit that hugs were the best way to end the story that the movie was trying to tell. As it put it:

“Hope was like,” well, well, we do not want to be just a conversation or talk about it, like, can we imagine, can we weaken this internal? This is what led to all these rooms empty and that journey it is going through.

He continued to talk about how difficult it is and the rest of the creative movie team in establishing Bob as a character so that they could “win that moment” when Thunderbolts ultimately embraces him. The director also added that this “was not supposed to be a mere craftsman,” either; Instead, it is a moment when the heroes collectively pull Bob from the dark himself. However, you want to describe it, then, I think it is fair to say that Schreier, Eric Pearson and Joanna Calo have definitely got the moment. Instead of feeling Maudlin, it resonates as a sincere representation of how individuals are supported by their loved ones during their darkest times.