Thunderbolts* builds to a climax where the team’s biggest threat is not just the monster in the sky but the damage inside their own heads.
The squad of antiheroes and ex-villains, pulled together by CIA director Valentina Allegra de Fontaine, has spent the whole movie wrestling with guilt, bad choices and government manipulation while being sold to the public as a last-resort strike force.
The key to understanding the ending is Bob, the anxious nobody who turns out to be the Sentry, a living nuclear option born from Valentina’s off-the-books collaboration with the shady O.X.E. Group.
When the team infiltrates the facility holding him, Bob’s powers crack open, splitting into two personas: the heroic Sentry trying to do good and the nihilistic Void slowly turning New York into a psychic and physical nightmare zone.
The Thunderbolts quickly realize that Sentry is operating on a level even Earth’s classic Avengers would struggle with, and a straight fight just feeds the Void. Yelena, Bucky, Red Guardian, Ghost, Taskmaster, and U.S.
Agents are forced to shift tactics, confronting Bob’s trauma instead of simply punching harder, while also reckoning with their own past atrocities.
This emotional pivot, highlighted in coverage from sites like The Gamer and Geeks of Color, frames the finale less as a standard city-destruction set piece and more as a messy group therapy session that just happens to involve skyscrapers and shockwaves.
Crucially, Valentina’s “kill switch” meant to keep Sentry under control backfires as soon as he stops listening to orders and turns on her.
Her attempt to weaponize a broken man exposes how little she sees her “assets” as people, confirming fan theories that she has been running illegal experiments and loose cannon ops across previous MCU entries.
The Thunderbolts’ choosing to save Bob rather than protect Val’s career shows the first real moment where they act as heroes instead of hired muscle.
PR Spin, Trademark Drama: Why They Become The “New Avengers”
Once the Void is contained and New York survives yet another existential scare, the Thunderbolts expect handcuffs or at least a quiet extraction. Instead, Valentina pulls off one of the most devious political PR moves in recent MCU memory.
In a press conference she organizes under pretenses, she hijacks the narrative, presenting herself as the mastermind who “assembled” this motley crew to fill the void left by Earth’s original heroes.
In that moment, the Thunderbolts are rebranded as the New Avengers, complete with a fresh team name and government backing, even though Yelena had originally thrown “Thunderbolts” out as a sarcastic nickname.
The asterisk in the film’s title pays off here, something fan theorists had speculated about for months, signaling that Thunderbolts* was always a placeholder for the brand Marvel actually planned to push in-universe.
The Watchtower, converted from the old Avengers Tower, becomes their official base and a visual reminder that they are quite literally living in the shadow of the original team.
This is where the film’s ending collides with the broader MCU power structure. Articles from Variety, Screen Rant and Mashable all highlight that the twist essentially sets up dueling Avengers teams, one government-sanctioned and one assembled by Sam Wilson’s Captain America.
Thunderbolts (Credit: Jio Hotstar)*
The post-credits scene jumps ahead by fourteen months and reveals that Sam is not only working on his own Avengers lineup but is actively threatening legal action over Valentina’s crew using the Avengers name and logo.
That trademark lawsuit is not just a joke; it reflects a serious trust issue. Sam’s Avengers are meant to be a moral standard, while Val’s New Avengers are stitched together from people with criminal records and emotional baggage who just saved the world under the guidance of a manipulative spy chief.
Screen Rant and Reddit threads point out that this rift clears the way for storylines where the public, the courts and global leaders have to decide which “Avengers” team they believe is the real deal.
Cosmic Knock On The Door: Fantastic Four, Avengers Doomsday And What Comes Next
The last tease in Thunderbolts* is not about lawsuits or press conferences at all, but about the next wave of cosmic trouble heading toward Earth. As the New Avengers operate out of the Watchtower, an alert flashes about an extradimensional ship entering orbit.
Satellite zoom reveals the unmistakable “4” logo, confirming that the Fantastic Four from The Fantastic Four: First Steps have left their retro-futuristic home reality and are now arriving in the MCU’s main timeline.
Sites like Screen Rant and The Gamer note that this directly connects Thunderbolts* to Marvel’s upcoming Avengers: Doomsday event and the multiversal stakes set up in First Steps.
The implication is that Reed Richards and his family have been pushed out of their own dimension, possibly by Galactus, Silver Surfer or Doctor Doom, and are seeking either refuge or allies to stop escalating Incursions.
Having Yelena’s team be the first to receive that distress signal instantly raises their profile from “government clean-up squad” to frontline players in the cosmic escalation fans have been tracking since Avengers: Secret Wars rumors took off.
At the same time, the arrival of the Fantastic Four places even more pressure on the question of who gets to speak for Earth.
With two Avengers-branded teams already in tension and now a legendary family of explorers joining the mix, Thunderbolts* quietly sets up a future MCU map where authority, branding, and moral high ground are constantly contested.
The ending does not present the Thunderbolts as fully redeemed; instead, it hands them a spotlight they may not be ready for, tying their messy growth to legal headaches, cosmic diplomacy and the looming threat of Avengers: Doomsday.
Thunderbolts* closes on that uneasy promise. The Void is contained but not forgotten, Valentina is still in the game despite her crimes, and the New Avengers stand in a borrowed tower watching a strange ship cross the sky.
For Marvel’s next phase, that combination of unresolved trauma, rebranded heroism and incoming cosmic visitors is exactly the kind of fuse that can keep fans speculating until the next crossover explodes on screen.
Marvel announced Mahershala Ali as the Daywalker back in 2019, promising a solo adventure to kick off fresh supernatural threats in Phase 6.
Production hit snag after snag, starting with director Bassam Tariq’s exit in 2022, followed by Yann Demange’s departure a year later, and multiple writers, including Eric Pearson, cycling through rewrites.
By early 2026, insiders like Jeff Sneider on The Hot Mic podcast reported straight up that the standalone project is over, scrapped entirely after failing to hit Marvel’s “insanely great” bar despite Kevin Feige’s public optimism.
Sites such as ComicBook.com and CinemaDailyUS confirm that the studio has paused development indefinitely, citing the revolving door of creative talent and the inability to nail a script that felt unique beyond just suiting up a leather-clad vampire slayer.
Fan frustration peaked as rumors swirled of Blade being demoted to a supporting role in his own movie or facing a post-apocalyptic vampire-overrun world concept that never gelled.
This cancellation caps a seven-year saga of delays, from original 2023 target dates pushed to 2025 and beyond, leaving Ali’s vocal tease in Eternals as the character’s only MCU footprint so far.
The pivot makes business sense for Marvel, stretched thin on solo bets amid mixed Phase 5 reception, opting instead for efficient team introductions that build multiple arcs at once.
Team-Up Lifeline: Blade Bolsters Midnight Sons Against Vampire Surge
Dropping the solo film opens the door for Ali’s Blade to headline a Midnight Sons ensemble, grouping him with supernatural heavyweights like Moon Knight, Ghost Rider, Morbius, and possibly Elsa Bloodstone or Man-Thing.
Reports from JoBlo and ComicBook.com frame this as Marvel’s smartest move yet, turning years of Blade development into a launchpad for a full occult corner of the MCU without wasting prior script work.
The team draws from comics lore, where these antiheroes unite against hellish invasions, perfectly suiting a vampire epidemic teased across MCU projects.
Blade (Credit: MCU)
Thor: Ragnarok’s Korg name-dropped vampires casually, Eternals’ post-credits had Blade’s voice promising to hunt Dane Whitman, and Werewolf By Night introduced Bloodstone Manor as a hub for monster hunters.
This Midnight Sons flick positions Blade as the street-level anchor, his half-vampire physiology and silver sword skills complementing Moon Knight’s chaos magic and Ghost Rider’s penance stare in battles against Dracula or a resurgent Bloodcoven.
Recent rumors suggest filming could ramp up late 2026 for a 2028 bow, aligning with Avengers: Doomsday’s fallout, where dimensional rifts unleash more undead hordes.
Ali’s grounded intensity fits a group dynamic better than a lone wolf tale, echoing how Guardians of the Galaxy salvaged unknown properties through team chemistry. Vampires as a centralized foe rival Atlantis or Wakanda threats, with Blade enforcing shaky truces in a “Vampire Nation” gone rogue.
MCU Stakes Rise: Vampires Invade Post-Doomsday With Blade Leading Charge
Blade’s team debut ties directly into Marvel’s supernatural expansion, where eternal night scenarios or Dracula-led cabals challenge Avengers-level heroes.
Comics history shows Blade clashing with the Lord of Vampires repeatedly, from destroying S.H.I.E.L.D. carriers to serving as sheriff in vampire safe zones, now adapted for the screen with MCU flair.
Post-Doomsday speculation runs hot on Reddit and insider scoops, picturing incursions cracking open hell dimensions and flooding Earth with bloodsuckers that daylight no longer stops.
Screen Rant and Inverse highlight how vampires have poked into Marvel corners before, from X-Men hunts to Avengers blood hunts, priming Midnight Sons as Earth’s occult defense squad.
Blade’s immunity to bites and serum-fueled rage make him ideal against ultra-vampires feeding on superhumans, escalating stakes beyond street crime.
This setup recycles Blade’s troubled production assets into gold, introducing Mia Goth’s rumored Lilith or other foes while reviving Oscar Isaac’s Moon Knight post his 2022 series.
The shift dodges solo flop risks, mirroring how Deadpool & Wolverine blended old and new for box office fire. With Ali locked in and Feige eyeing “modern-day” hooks, Midnight Sons promises Blade wielding the Ebony Blade against a horde that turns cities red.
Years of buildup culminate here, transforming cancellation headlines into hype for a vampire saga that drags the MCU’s darkest alleys into the light.
