October 23, 2025 • 45 mins
We need an X-Men movie now more than ever! Jason and Rosie are visiting the studio heads of the Marvel Cinematic Universe to each pitch their idea for an X-Men movie. But, what are the things the studio is most concerned with when it comes to bringing the X-Men to the big screen? After some back and forth with our studio heads, Jason and Rosie discuss the difficulties facing the creation of an X-Men movie.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Worrying.
Speaker 2 (00:00):
Today's episode contains general spoilers for Marvel movies and the
X Men's stories and the Fox slash Disney slash Marvel Verse.
Be warned. Hello, my name is Jascontepsio and on Rosday
(00:29):
Night and welcome back to x Ray Vision of the
podcast Will Dive Vivia to your favorite shows, movies, comments
of pop culture coming to you from my heart Will.
We're bringing you episodes every Tuesday and Thursday, plus the
Summer Speakers movies on Friday, ned News on Saturday.
Speaker 3 (00:42):
In today's episode, we are pitching big Marvel our ideas
for an X Men movie. Remember when everyone said, hey,
don't post that online, save that till you pitch them. Well,
guess what we're putting them in a podcast. We've had
hints and teases of Marvel mutants, but it's time to
share how we would like to bring them to the
big screen and enter the MCU. But this is a business.
It's not for fun, so we'll have to convince the
(01:03):
studio heads. But our idea is the best way to
bring the Xavier Institute to life. So Jason introduce the
studio heads.
Speaker 2 (01:12):
Let's welcome our studio heads now to the dais. First up, Aboo,
the CFO of Box Office returns a boo.
Speaker 3 (01:21):
Definitely a real job.
Speaker 4 (01:22):
Happy to be here, love a spreadsheet. Can't wait to
see how much money we're going to make.
Speaker 2 (01:27):
Next up, Carmen, our head of Marketing and the Department
of How it look, Carmen, how it look?
Speaker 5 (01:35):
I'm doing great. I'm here with my magnifying glass making
sure that all the details are very precise and very
looking good.
Speaker 2 (01:42):
Absolutely fantastic. Next up, Ian, Marvel's chief counsel and the
Chief Nostalgia Officer, the CNO of Brand Restoration.
Speaker 6 (01:52):
Ian, welcome, happy to be here. You know we're in
a little bit of a slump, so we need to
bring that feeling back. Let's get back on track, baby.
Speaker 2 (02:03):
And then finally, our head of the Pauline Kale Department
of Critical acclaim, Joel, Joel, Monique, how are you?
Speaker 7 (02:13):
This is the year the oscar has learned to respect
the superhero film?
Speaker 2 (02:16):
Okay, game changing.
Speaker 3 (02:18):
Is what's happening. It's happening.
Speaker 2 (02:21):
And then finally we're delighted to have with us today
and it's very pack. Schedule is made time for us.
The head of X Ray Vision CEOs. It's Eric Kaufman
CFO CEO CEO, the Big Huna, the Big Cheese l
he himself eron, how are you?
Speaker 1 (02:41):
I'm great, I'm fired up right now. I can tell
I'm gonna love all your pitches and I cannot wait.
Let's go.
Speaker 3 (02:48):
He's been through a pitch, guys.
Speaker 1 (02:51):
So just so the two of you know, we're gonna
have you each pitch a movie to us. You know,
give us your cast, your director, storyline, you name it.
And look, I can already tell that I'm gonna love
all of these pitches and they're gonna be perfect. And
I also know we're definitely gonna have a couple notes
that we'll give you. So we're gonna give you a
couple notes. You get a little bit of time to
think about those, and then you let us know which
(03:13):
one of those you're gonna adapt into your movie, and
then our studio heads will convene, we'll vote on which
of the pitches we think is the best direction for
the MCU, and we will greenlight that and we'll be
on our way.
Speaker 4 (03:26):
Al righty, Jason heads, Rosie tails and it's tales first.
So Rosie, let's hear your pitch.
Speaker 3 (03:33):
Okay, thanks, so much, guys to taking the time. I
know you guys are so busy. I appreciate you coming
out here listening to the pitch of an x Men
movie by me, somebody who's never written a movie before,
So thank you. This is something I've been dreaming of
to pitch an x Men movie. My x Men movie
is called x Men Underground and the director is d Reese.
(04:00):
It is not going to be a Netflix movie, so
they will not fuck her shit up. If you've seen
the incredible mud Bound, you'll know she's already a fantastic director.
She has been longing to do sci fi. And the
cast is Jody Turner Smith as Storm and Melissa Barrera
as Callisto. Those are the two main characters in this movie,
(04:21):
and essentially it is going to be a story about
the underground community known as the Morlocks. They will be
living under New Jersey Underground. This could easily tie into
what was established with Molman's Underground universe in Fantastic Four,
or could be a slight reboot if you guys are
(04:42):
trying to move away from that storyline. It will be
about Callisto losing control of the underworld of the Morlocks
and Storm arriving and suggesting that instead of everybody just
following one leader blindly, they create some kind kind of
you know, class hierarchical system and perhaps even consider joining
(05:06):
Charles Xavier's School for young Mutants. But there is an issue.
The issue is that Moleman, though he began as a
helpful person just trying to make more space more affordable
living in New York City, has become crazed with power
(05:26):
and only wants one gang to live underground, and begins
to start trying to take over the surface world, causing
the rift between humans and mutants that we have long
questioned how it would exist in the MCU. And finally,
you know, the Molocks will return alongside Storm and help
(05:50):
fight Molman, joining the mutant surface world. Thank you, guys
for my pitch.
Speaker 1 (05:56):
Amazing, amazing, Jodie Turner, Smith's so hot right now off
Tron Love Sobrera, I love a connection to Moolman. I
am so into this, Rosie. Jason, do you have a
pitch for us as well? I do have a pitch, but.
Speaker 2 (06:09):
I want to stress beforehand that I'm going to leave
the casting to you guys. I've come up with the outline,
the log line the general arc of my story, and
I hope and I think the power of that will
carry my argument. My movie is called X Men Colan Insurgency.
They came from a Doom world to stop ours from coming.
In this movie will take place after Doomsday and Secret Wars,
(06:33):
when the multiverse, we assume will collapse. A small group
of mutants that were in the Doomsday world God Emperor
Doom's enforcers, to a certain extent, find themselves stranded in
the six one six main timeline of the MCU, in
their new now from their world, the world from which
(06:55):
they came. This is the Rachel Summer's sentence, a death
world in which all mutants are hunted and herded into camps,
exploited and exterminated. These mutants arrive in our world and
they recognize all around them the early warning signs here,
(07:16):
the laws against enhanced individuals, the military biotech programs, rising nationalism,
the fact that Shield was a Nazi op. They see
Sentinel technology looming and starting to come together. In their
first mission, their suspicions are absolutely confirmed when they discover
(07:37):
a experimental procedure that's designed to be the next step
in the super Soldier program, and it is based on
the powers and exploiting the powers of one mutant named
Logan who's been allowed for centuries. He's at a Canadian
American and they find him in a lab being experimented
on ruthlessly. This to them is proof our insurgents are Cyclops,
(08:01):
the leader of this covert resistance movement, Storm, the moral
center of this group. Magic, the teleporter who can move
them in and out of places that they need to be.
This is how they get into the lab. Forge, the
military engineer who is both dismantling Sentinel Tech and creating
his own tech. Nightcrawler, the spiritual conscious consciousness behind the team,
(08:25):
and the mystique, the shape shifter. Who is she good?
Is she bad? What are her ethics? It's unclear, but
we know that she's on the side of the mutants.
They see direct action against the rising tide of the
Sentinels and anti mutant fervor as absolutely necessary, and so
they must strike first. This puts them on the radar
(08:46):
of the Avengers the government, who are not sure are
these heroes or are these bad guys? Are they freedom
fighters or are they terrorists? What these new insurgent mutants
discover is there our mutants in this world? Deep hidden
in an underground school upstate, Charles Xavier and Eric Lencher
(09:07):
aka Professor X and Magneto have been four years running
a secret refuge for young mutants. The Xavier School is real,
but it's an underground place, an invisible sanctuary, in which
Xavier's philosophy is the main one, and he's basically saying, hey,
we're very powerful, but with that power comes responsibility, and
we have to hide our gifts and we have to
(09:29):
live amongst humans undetected because we don't want to get
everybody scared and have the humans rise against us and
make war against us. Magneto sees Charles's way as imperfect,
but kind of like the best option that they have
right now. Until Magneto comes into contact with these insurgents,
(09:51):
he comes to believe that they're right. The world that
they come from is the world that we are headed towards.
And in fact, look at what they did to this
mutant logan. This is the beginning of the rift between
Charles Xavier and Magneto. Not a clash between good and
evil per se, but a clash between freedom and get
(10:14):
along to go along, a battle between survival strategies. Magneto
will say at one point, if peace is built on silence,
is it really peace? This is my movie X Men Insurgency.
Speaker 1 (10:30):
Wow, love it, love it, Love the connections, and love
having Charles and Eric here all along already and we
can sort of explain away why they haven't been involved
in previous things. A great connection. I'm sure Ian, our
chief nostalgia officer, is gonna love that. We're gonna throw
to break and when we get back, we're gonna have
our first little studio head discussion and get back with
(10:51):
some notes. All Right, we're back, and look, we loved
both of these pitches. They were so perfect, but we
do have a couple of notes that we'd like to
call mutants mandated unnecessary talent and or narrative transformations that
(11:14):
we'd like you to make to your pitches, because again
they're so perfect, but we just have a couple of
things we'd like. So the first option for you is
kind of the indie route. We love your story, your direction,
you get to keep your artistic vision, but you really
only get seventy five million dollars for your budget. This
will be the lowest budget MCU movie ever. For instance,
(11:36):
ant Man had one hundred and thirty million dollar budget.
You get less than that. You can cast one up
and coming rising star as your lead, but the rest
of the cast needs to be TV actors, and you
can get You can assume you're gonna get probably one
hundred and fifty to two hundred million dollars in box office.
So that's the indie route. Option one. Option two critically
acclaimed talent. We are hungry for talent, receiving an Oscar
(12:00):
buzz so hot off the heels of one battle after another.
You're gonna have Paul Thomas Anderson direct, and you're somehow
he is convinced Leonardo DiCaprio and Sean Penn to star.
The movie's gonna receive critical acclaim, but it will struggle
to make more than two hundred million dollars domestically, which
means you might lose money on this movie. The third
choice you have is a standalone New Vision. Look here
(12:25):
at Disney, we just really need a hit right now
for the MCU, So we're gonna hand the reins over
to one Christopher Nolan, and he's just gonna reboot the
entire thing. So no multiverse, no Infinity Stones, no Doom, whatever,
just Christopher Nolan and Michael Kine. That's where we're starting with. However,
he's a little hesitant to sign on for more because
he was really tired after doing the Batman trilogy. So
(12:48):
we get him for one movie, but we're gonna make
four hundred million dollars Option four. Youth mail audience is
really important to our marketing, and so you have to
cast Sidney Sweeney is Emma Frost, machine Gun, Kelly is
Mister Sinister, and Jake and Logan Paul as Cyclops and Havoc. Congratulations,
you've secured the youth mail audience. You are guaranteed at
(13:10):
least five hundred million in domestic box office and the
final option overseas is what really matters here. Okay, this
story will be heavily, heavily curated and has to be
very conservative culturally, but congratulations, this movie is playing in
China and this is going to gross more than Deadpool
(13:31):
and Wolverine. That means one point five to two billion
dollars worldwide. This will easily become one of the top
five MCU box office returns. Ever, so again you can
have an indie Darling small budget seventy five million. You
can have critically acclaimed talent but not great box office.
You can have a standalone new vision, but it is
(13:52):
entirely forgoing all of the previous MCU. You can go
for the youth mail audience. I don't care what your
story is, care what your director is. You just got
to have the Paul Brothers in there, or five overseas markets.
You gotta make it so that China is okay with it,
but you are going to make bank, all right. So
those are our five options for you.
Speaker 2 (14:12):
Thank you, Aaron, Thank you head of too many options.
Whenever we let you have the mic. This is a
continuing theme with the head of the studio who is
happy to carry a really cool conceit under multiple options
that I forget the first one. By the time we
get to the fifth one, I think, oh, thank you
(14:33):
for pacing those in there. I'll go first. I'm going
to reject all of these false choices, but kind of
lean towards number one. Whatever happened to make a good movie.
I know it's very interesting to hear to get the
notes back from the studio, and none of them are hey,
make a good movie. So I think my best. I
think my best opportunity to make a good movie is
(14:56):
Option one. I'm not going to get into the casting.
I'll let the the casting director and the suits handle
that I want to make. I want to have a
great story, i want to have it executed well. And
I'm want to put every single dollar that I can
on the screen. So forget the talent, forget the I'm
gonna write or direct this and I'll listen, I know,
(15:16):
and in fact, i'll I will delay my fee until
this movie makes money. So this movie doesn't I put
I'm putting my reputation on the line. If the movie
doesn't make money, I don't make money, I'll just take
my day rate. I'm gonna reject the PTA option. I'm
gonna reject the standalone. This is not you know, what
is this two thousand and eight. This is not the
(15:38):
you know, Batman begins world anymore. This doesn't exist the
youth mail audience, you know, wrong, wrong superhero team, Like,
we can try that with a different superhero team. And
I'm gonna work with this one overseas markets. You know,
good luck. I guess this is an avatar. I'm gonna
go with option one. Let's put all the money back
(15:59):
into the thing. No money for me. I will survive
on coupon's until this movie comes out and hopefully makes
its money back on vod and rentals. Thank you very.
Speaker 1 (16:10):
Much, Jason. Love the pitch, love it. I love your
reaction to our notes that the studio loves to hear it. Rosie,
what about you will have those five options.
Speaker 3 (16:19):
So I'm basically gonna go I'm gonna pitch you, guys.
There's two options here that you can take for my story.
So one is also option one because I agree too
many options and really the best option for making a
good movie. I'm making sure that d gets paid well.
Other than that, guess what, guys, I love TV actors,
(16:40):
so I don't care like have Jody Taylor Smith as
Storm and then have all the CW actors you need
coming because guess what, if it's a good movie, good script,
we could make more money than expected. We've seen it
happen before. We've seen movies like The Invisible Man, The Monkey.
We've seen these crazy movies that are seen as genre
(17:00):
questions overplay. One of the best movies of all time
is also one of the cheapest subero movies. Which is
Birds of Prey. So I think number one is a
good option. Now, I will say, look, man, I often
think this overseas market conversation ignores the actual conservative nature
of America and how often those conservative choices that are
(17:23):
being made are claimed to be for outside of America,
but really are also for inside America. So if I
was making a supero movie, an X Men movie that
was gonna play in China, that would be a different
pitch because I would use different talent. I would have
Michelle Yo come in and start working as a new
head mistress. I would make sure that your mutants are
(17:45):
played by incredible actors from all over I think that
is a different movie, but I think I could make
it that would play in China. Would America like it?
Who knows. We've seen with Nija that doesn't always cross over.
But I too would most likely go for the art
over everything route, though I'm not a verse to trying
to make a movie that plays well outside of America.
(18:07):
I believe the X Men is a good space. It
was always meant to be a global team from giant size,
so I think there is a version of it that works.
Speaker 1 (18:17):
Rosie again, I'm blown away by all these pitches. These
are so so good, and the studio is so excited
that both of you came in today. We're going to
reconvene just the studio heads really quickly and just talk
through some of these pitches and our agents will get
back to you as soon as we can. Thank you
so much. Guys. All right, I'm going to bring in
Joel aboo Ian and Carmen and we're gonna just quickly
(18:38):
discuss these two different pitches for how these two creatives
would like to bring the X Men into the MCU. So,
first off, Joel, what are you thinking?
Speaker 7 (18:48):
Well as overseer for awards and Oscar recognition. I love
the idea of Jason wanninglean to the writer director. We've
seen that work before. Y'all remember Logan? That was really powerful?
Speaker 1 (19:01):
I am concerned, sorry, Logan Is that the one that
started the character from Deadpool and Wolverine?
Speaker 7 (19:07):
Yes? Yes, but it was pretty and older audiences don't
remember it. It's faded into non existence. But but it
was powerful for its time, and I would like to
circle back to that if we can. I think that's
a great idea. I am concerned at the dismissal of
the China box office, which by god do we need
and our young guys. But now listen, here's where we
(19:31):
really get into some trouble knowing X men as I do.
Speaker 2 (19:34):
This is my job, after all.
Speaker 7 (19:36):
I am concerned the fact that this is a group
that is about that just diversity often represents queer stories.
If we get a writer director in here who really
wants to push that angle, I mean, he might be right.
China might just be out. They might just be like
not wanting to screen this film. So I think we're
sort of I'm sort of I'm hesitant to lean into
(19:58):
the Jason model because box office, we have to make money.
I'm not going to launch an entire Awards campaign behind
a flop. I don't have the energy for Rosie. Oh man,
do I love d really love de Reese has had
Oscar buzz before both The mud Bound and Pariah, so
there's like already some good build there. I think we
(20:19):
could really build off of that. I also think the
integration into the current universe works really well, so we're
not losing fans as we approach this Oscar space. So
I think I'm leaning a little more Rosie right now.
Speaker 2 (20:34):
But a boo great.
Speaker 1 (20:36):
A boo. Yeah, from someone who knows a ton about
X Men to someone who knows nothing about X Men
but knows all about the dollars and cents? A boo.
What are you thinking right now?
Speaker 4 (20:45):
Yeaheah, yeah, let me just finish up this spreadshirts crunching, Yeah, yeah,
go ahead.
Speaker 3 (20:49):
Great.
Speaker 4 (20:51):
It's looking like we're gonna lose money on these pitches.
I've crunched the numbers. I've been crunching the numbers this
whole time, and also frantically googling the words storm, Magic, Forged, Nightcrawler,
and Mystique to try and figure out what they mean.
Haven't been able to complete that part of the process yet,
but the numbers are not looking good. I appreciate, actually,
(21:13):
that both of our extremely talented artists have pitched making
a good movie. First, I'm very much for good movies.
Good movies make money as far as I know, and
so I'm very much in favor of that. I'm a
little concerned that neither of the pitches seem to have
(21:35):
sold the average moviegoer, the average MCU fan of which
I consider myself. There were a lot of terms thrown
around in these pitches that went completely over my head.
I'm still a little unclear how these movies connect to
the MCU. Is RDJ in them or is he not
in them? Because that is going to factor into the budget, right,
(21:55):
He's got a huge at this point. I have to
constantly negotiate with that guy's manager, I thought him, I know,
I'm over here, like I have a whole spreadsheet dedicated
to negotiating with that asshole. So it's like, I AFC
in the movie or not. I'm a little confused on
that front. So I was hoping for pitches that made
a clearer connection to the MCU that I know and
(22:16):
understand and have been, you know, very much a fan
of since Endgame, my favorite movie of all time, Sweet
Sweet Money. I'm a little worried about that. I think
I would I would go back to our artists and
ask them to sell me on how I'm going to
sell this movie. I really like Jason's log line they
(22:39):
came from a doomed world to stop ours from becoming one.
I think that's very relevant to where we are today
as a world and to a feeling that a lot
of people are feeling. That's a log line I can sell.
I can slap that on YouTube and TikTok ads and
hopefully convince people to watch. I'm not so sure what
a morlock is, and I don't know whether or not
I can slap that onto ad and sell this movie.
(23:00):
So at this point, I'm currently leaning more towards Jason's pitch,
just because I recognized more of the words.
Speaker 3 (23:05):
In that pitch.
Speaker 1 (23:07):
Now, from someone who loved Endgame to someone else who
loved Endgame, Ian, our chief nostalgia officer, what are you
thinking about these pitches and how they relate to the
current MCU and what you love about it.
Speaker 6 (23:18):
So, first of all, I'm just gonna say great pitches
from both. I think some really interesting choices were made
in both. So I'll start with Rosie's first. I think,
you know, let's be real here, guys. We need a hit.
We need to get some good will back with the fans.
We've been in a little bit of a slump, and
you know, Fantastic Four didn't perform the way we're expecting
(23:39):
coming out of Doomsday and Secret Wars. We're expecting a
little bit of a reset. We need a fresh crop
and cast of characters to take us into the next
generation of the MCU and so I think rosy story
for what we're trying to do. If this is going
to be the first official X Men movie, I think
it's a little bit too small of a story. It's
focused on a very specific storyline. Like don't get me wrong,
(24:00):
the storyline with the Morlocks and Storm is a beautiful story,
and I think that would be better serve for maybe
a standalone Storm movie that we can do down the line.
But as our first official foray with the X Men
into this universe, I think it's just not gonna hit
that core fan base the way we need it to.
People want to see Cyclops, people want to see Professor X.
(24:22):
We need a new Wolverine.
Speaker 3 (24:24):
Who would you cost this wolverine ian?
Speaker 6 (24:27):
You know, we gotta find some unknowns. We need some
new young talent. So I need to sit on that
for a little bit. But we need some people that
we haven't seen in these in these kinds of Daniel.
Speaker 7 (24:37):
Radcliffe is available and overdue for an Oscar. I'm just saying, sure,
our short Harry King could absolutely do this.
Speaker 1 (24:46):
Yes, I could have a pitch from someone named mister
Beast to be Wolverine. I'm not sure where we stand
as studio heads on that.
Speaker 6 (24:54):
We'll discus now. As as for Jason's pitch, I like,
I like the premise. I like the story taking place
in the aftermath of Secret Wars. We have some X
Men maybe left over from Battle World, from the fallout
of that film, and I think this is the opportunity
to introduce that new fresh cast. So I think, you know,
(25:16):
in Secret Wars, maybe we have some new fresh X
Men and they're the ones that are left over in
this new world and setting up a conflict with our
Avengers in this post reset, putting them on a collision course,
Avengers versus X Men. That's really what the fans want,
and I think that's a smart path to chart down
for the future of the MCU. I think that will
(25:38):
put butts in seats aboo, that will that'll get us
to that Billy that we're looking for. I agree, So
I agree. You know, I think I'm leaning more towards
Jason's option. And you know what, in terms of budget
and doing it on a smaller scale, these films are
gonna be cgi heavy. That's going to soak up a
lot of money. But you know, Sinners they did that
(25:58):
for ninety mil I'm sure maybe there's a way we
can do this story for in a stripped down sense.
You know, seventy five mil is gonna be tight. But
I also trust my creatives to get it done. So
I think, you know, if the story is strong, the
plot is there, we're giving the fans what they want,
we can make it happen.
Speaker 1 (26:16):
Yeah. Center's an incredible movie. Also had zero optic blasts
or teleportation.
Speaker 6 (26:21):
Yeah, that's what I'm saying.
Speaker 1 (26:22):
We're gonna have to just get creative there.
Speaker 6 (26:23):
We're gonna have to do a little.
Speaker 1 (26:25):
Speaking of how the movie looks. Our last studio head here,
Carmel Lauran, what do you think? What are these pitches
hitting for you? And what are they not hitting for you? Yeah?
Speaker 5 (26:33):
You know, right away, I have to say I'm concerned
with Underground, Underground. I immediately think, where is the lighting?
What is the lighting situation? Like, you know, that seems
seems a bit dark, and I think I think consumers
(26:55):
we want to get butts in the seats. We got
to make something that's colorful. We got to make something
that is really eye catching. Right away, Space uh inserted
X Men Insurgency sounds like it's in space. I think
Space is pretty marketable. It looks good, it's bright, it's colorful,
it inspires hope in people, whereas underground, you know, it's dark,
(27:19):
it's dingy, it's you know. Uh, it's kind of not
to bash Christopher Nolan, but yeah, I think we are.
I do agree with Jason what we are kind of
out of the Christopher Nolan era of dark fight scenes
and no lighting and stuff like that. So it's my
top concern.
Speaker 7 (27:36):
Also notoriously also very dark, as.
Speaker 5 (27:45):
You got me there. Actually, unless we're right next to
the sun, you know, could be a son, you know.
But I think of white, like bright white spaceships and
things like that when I think of space. I also
think Addison Ray could go somewhere in that movie, you know.
And we really we really need the the young gen
(28:09):
Z TikTok by in.
Speaker 1 (28:10):
We do need a little bit of.
Speaker 5 (28:12):
The gay dollars, you know, and so we gotta we
gotta kind of pander a little bit there. So yeah,
I think I'm feeling a little bit more hopeful in
uh x Men Insurgency.
Speaker 1 (28:26):
All right, So I've heard all of all of your comments,
and this is what I'm thinking. We go back to
our creatives with I would like to make Rosie's movie
as a Disney Plus show to introduce the X Men.
We focus on the more locks and we're gonna we're
gonna allow it to be a little gritty.
Speaker 4 (28:43):
I can only pay for six episodes, by the.
Speaker 1 (28:44):
Way, all right, six episodes. We can do that. Do
we have the market? Can market at isotic? Or can
does it have to be binge dropped so.
Speaker 7 (28:52):
We're not marketing it? Let's be real, yes, all right,
we'll put a trailer out the week before it drops.
Speaker 6 (28:58):
It'll be fine, Marvel Spotlight.
Speaker 7 (29:02):
Will still be really loved. Like, it'll be fine. The
people who like it will find it.
Speaker 1 (29:07):
And I have to say one of my favorite parts
of Jason's pitch. I loved both of these pitches, absolutely incredible.
I loved all of them, but my favorite part of
Jason's pitch was when he offered to do it himself
and not get paid and I for no, for no
other reason, I think we got to make Jason's movie
here basically no risk. Would really love Maybe if we
(29:31):
can get a little lean towards China and I, like
you were saying, Karmen, a little gen Z influence in
these Maybe maybe Addison Ray is dazz.
Speaker 2 (29:40):
The casting up to us too, So that's a yeah,
that's a good woint.
Speaker 3 (29:43):
Casting is up to us.
Speaker 4 (29:45):
Yeah, can I can I maybe say something controversial?
Speaker 6 (29:47):
Of course?
Speaker 4 (29:49):
Could we go back to Jason and see if he
could like turn this into like an and or thing
like insurgency right like.
Speaker 3 (29:55):
And seeing it that was a big win for us.
Speaker 4 (29:58):
Maybe we can go back and ask a the workshop
that needs more of a or and or type thing.
Speaker 7 (30:04):
Or season wise, it was really good for us. I
mean noms were great, I which we had won a
little bit more, but I could I could see us
doing that in a an X men is kind of
the perfect property for it.
Speaker 1 (30:13):
Aboo, I really see this all right? Actually I can
get with this. So let's bring bring our two creatives
back in Rosie and Jason. Rosie and Jason, we loved
your pitches. What we as a studio have decided? What
do you think about making and Or?
Speaker 3 (30:31):
Wow? I love it when the studio comes back with
a unique, original suggestion and note I personally I love
this idea. I think and Or is a great TV show.
And I think the most important thing that we learned
from and Or is that corporations are bad and capitalism
(30:52):
is bad. And that is why in my bag, I
actually have a gasoline tank and I'm gonna just bum
down the studio. Okay, absolutely not, that's Tony Gilroy show. Guys,
Come on, I can't do it.
Speaker 7 (31:07):
Like Jason, Are you going to be the next Tony Gilroy?
Speaker 2 (31:13):
I would want just to be just to be clear,
what is the what's the ask? You're asking for? Eight episodes,
two seasons a piece. What are you asking for? And this,
of course I understand when I'm asking that that you know,
with respect, I'm I'm talking to the brain trust that
has presided over the successes of Fantastic four uh and
(31:35):
and has gone through the s that we just went through,
and went through that process with those filmmakers and creators
to create those incredible, blockbusting, influential and you know, massively
relevant mainstream hints. So I understand that I'm that I'm
asking the best when I ask that, and you really are.
(31:58):
What is what is the ask?
Speaker 7 (32:00):
We believe in Jason so much, so much.
Speaker 2 (32:03):
Yeah, we believe you can get us.
Speaker 7 (32:04):
An and or quality political takedown in an X Men
series without the pandemic to pad out creative time. We're
gonna need it by the end of the year, you know,
into twenty twenty six. I need two seasons fully wrapped.
Speaker 2 (32:20):
But we believe it.
Speaker 7 (32:21):
You're great, Okay, totally have this bag.
Speaker 3 (32:23):
What's the before I get dragged out by security? What
is the budget on Jason's and or Insurgency gonna Because
if I'm not mistaken, and I had a seven hundred
and fifty million dollar budget and was the most expensive
Star Wars show of all time.
Speaker 1 (32:39):
So oh yeah much project much less? Okay, good, much less? Yeah, yeah, yeah, we.
Speaker 5 (32:44):
Lore gonna be seventy five thousand, yeah million, seventy an episode.
Speaker 3 (32:50):
Jason, we got cardcar. I think we can do it. Also,
I would just say we have actually long time been
pitching a exaber Is anthology show that could lead into
the introduction of the X Man. So perhaps there's some
kind of collaborative aspect to but I think for seventy
five thousand dollars an episode, it's gonna be like a
(33:12):
stage play about.
Speaker 2 (33:14):
Yeah, I hate listen not to again. I understand that
you know your your track record of success, particularly in
recent years, cannot be denied. Why think small time? You know,
I look at you. You're thinking big time. You think
a small time success. You think in China. You're thinking
get the get the right wingers to like your movie.
(33:35):
You think it big, you're thinking four quadrants. Okay, that's
only possible on the big screen, not the small screen.
And there's nothing against the small screen, but it is
smaller than the big screen. Okay, so let's think bigger.
And I know that you all are about.
Speaker 3 (33:53):
I know she's controversial, but you know what I didn't
hate the Sydney Sweeney Emma Frost. I is so if
you want to bring that ready my show.
Speaker 6 (34:00):
Now, that's putting butts in seats.
Speaker 4 (34:02):
You've got and also guess what it's putting young male
buds and seats.
Speaker 3 (34:07):
Also Emma Frost famously known for having a boob window,
Sidney Sweetey famously known only woman who has boobs.
Speaker 2 (34:14):
So we're design about to go absolutely crazyst Well, thank
you both very much.
Speaker 1 (34:24):
Loved hearing these pitches, the different ways you would take
the story both in and out of the universes. I
love the idea of like the mutants coming through an insurgency,
and then also there are already mutants here in the MCU,
which really hits on Ian's focus of MCU focused and
like connecting to what we've already built in this universe,
(34:45):
Rosie with a nice rising star and Jody Turner Smith
and like a really focused story still continuing to rise forever. Well,
thanks again. Our studio heads are going to head back
into our private jets and we all have to attend
an award show somewhere for a movie we probably didn't make,
but we'll be on the red carpet. We thank you
both so much for being here and we can't wait
(35:07):
to hear more from your agents in the coming weeks.
Thank you, and we're back.
Speaker 2 (35:23):
Wow. That what an experience, Prosie, I understand now, you know,
first of all, I again, what a humbling experience to
be in that room with folks who have been making
the big box office that we know. You know, I
was really struck by a booze common touch of you know,
(35:44):
it's such an interesting angle to come in knowing nothing and.
Speaker 3 (35:49):
It really really giving you a unique.
Speaker 2 (35:53):
Yeah, yeah, well let's talk, I mean, let's talk about it.
I know this was kind of a jokey, very fun,
but you know, we are two passionate lovers of the
X Men. And in a no bullshit way. We both
really believe in the in the approaches that we've laid out. Yeah,
and so let's talk about it.
Speaker 3 (36:12):
I think that what was really great about that is, yeah,
it is funny and it is silly, but when you
are pitching on IP, you really are coming again up
against often people who don't necessarily love it as much
as you. So I think that was kind of a funny,
a funny space to approach it from that was relatively realistic.
But yeah, I do think I think that we're in
a space where I love insurgency. I think that's such
(36:34):
a great idea for that big post doomsday movie, and
I think we need a big, action packed thing. But
the thing that MCU has been struggling with is character
as well. And I think that's why for me like
the ability to do a cheaper movie or a TV
show or something, even though the shows have not been
cheap enough, there is some freedom in doing something lower budget.
(36:57):
I mean, even Logan was like, you know, I near
to one hundred and twenty million. They kind of never
really revealed the true budget, but even that is incredibly
low and arguably one of the best stories of all time.
So I think the MCU is in a really unique
and tough space where, yeah, it needs to make money,
(37:18):
it needs to make a billion dollars, but that has
stopped working for it. So I think we have to
go back to the character, back to the stories. I
think the x Men needs to be the success that
the Fantastic Four wasn't. The x Men needs to be
something that feels like it can lead us to a
new era of the MCU that's probably not even called
(37:39):
the MCU.
Speaker 2 (37:40):
I agree with you, and I think I think there
are two things about an x Men movie potential x
Men movie. One it is it is truly I think
even beyond the upcoming Avengers crossovers, Doomsday and Secret Wars,
it is a real opportunity to reach that Billy mark again.
And because you're activating a fan base that has been waiting.
Speaker 3 (38:04):
And it's like an AE fan base, it's an intergenerational
fan base.
Speaker 2 (38:09):
You're waiting to activate this fan base once again, and
they are eager for their heroes to reappear back on
the screen and be integrated into this kind of massive, sprawling,
truly success ridden and industry changing, integrated universe. What difficulties
does it face. I think it faces one crucial thing,
(38:29):
and that is that the X Men are a parable
of freedom against oppression, freedom of religion, freedom of diversity
in race, freedom and expression.
Speaker 3 (38:46):
It's about and equality.
Speaker 2 (38:48):
It's about equity, and it's about power and I and
the only thing that can really stymy this movie when
it comes is some situation like the process which we
just went through in this episode, which seeks to kind
of sand down the sharp edges and the cool parts,
(39:11):
the cutting edge parts of this metaphor, which you know,
as a fan of the X Men, I think is
more relevant today than at any point in the history
of the X Men. One might argue, right, And so
I think it's gonna take a really really talented filmmaker,
and not talented in the way not talented in writing
(39:36):
or directing or camera moves, but talented interpolitically in a
way that allows this person to understand how to talk
to studio. It's how to talk to Kevin Fie, how
to talk to marketers, and how to keep that central
vision alive while couching it in the language that doesn't
scare off the four quadret marketing people who are like,
(39:58):
oh god, white guys are going to hate this fucking movie,
and so you've got to be able to deliver something
that's subversive but looks mainstream, and that is I think
going to be the difficulty in making this movie.
Speaker 1 (40:15):
Yeah, that's my opinion.
Speaker 2 (40:16):
What do you think.
Speaker 3 (40:16):
I think you're completely right. I also think the second
you bring up the biggest issue, especially because right now
certain studios are scared of projects that lean into that.
But that is the core of The X Men. And
I also just want to point out because I know
some people will likely be like, well, was it more real? Well,
the truth is that The X Men was reactive to
(40:38):
the civil rights movement, but was not necessarily inspired by
it as much as people may think it was. Stanley
kind of took that take on afterwards, after readers had
seen reflections that they felt with Malcolm Max and Magneto
and Charles Xavier and Martin Luther King, those were not
inherently in the text. It is now that we can
(40:59):
see the stuff that then after that, especially in Giant
Size X Men and onwards with Claremont's stuff, that became
the real text text of the book. And I think
that is why now we need an X memo movie.
More than ever. Like you said, Jason, I think the
secondary problem is that the MCU is not in a
place where it feels like they are excited to make
(41:21):
brave moves or support shows or TV or movies that
for some reason, at some point they have lost belief in.
I think that was something that, as funny as our
producers always are, was actually like a real struggle. Right
now is like the MCU is not the Jugger, not
(41:42):
what it was. It is not seen as the trailblazer
right now. And also the MCU part of its problem
is it took a little bit too long to do
stuff like Black Panther, like you know, Miss Marvel Captain
Marvel being the first female character, but it was tenth
lead character, but it was ten years after the MCU debuted. Luckily,
(42:04):
because of the Black Panther delay, we did get Ryan
Coogler's superior and singular vision. But I think that throughout
the history of the MCU it's not been particularly progressive.
If you look at it, there's plenty of brilliant artists
and writers and people who have talked about that. I
think this needs to be a radical, transgressive, subversive movie.
(42:24):
I would love to see someone come in, Jason, who,
like you said, knows how to say to execs, Hey,
this is important, but doesn't it's a hit, but it's
also a hit, a hit, you know. Yeah, Barbie was
never meant to be a four quadrant movie, and it
became a four quadrant movie. Maybe we need to bring
Greta Gerwig in. I don't know, but like, let's bring
(42:44):
I don't hate it because she did what I thought
was impossible and made that into a four quadrant movie.
But the real question is, guys, is it gonna yet made?
It will get made? Is it gonna be good? We're
still waiting. That's what I'm excited to see. I think
we need more casting news. I think we need more understanding,
you know. I think that them going to the writer
(43:05):
director of The Thunderbolts was smart because it was relatively
successful for them. But I don't necessarily think that is
the person I would have chosen to tell the first
X Men story in the MCU. But I'm interested to
see where it goes, and I think, Jason, You're right.
The biggest obstruction right now is the kind of, you know,
non humorous version of the pitch we just went through,
(43:25):
where people start saying, Oh, but you know, can we
really have a black lead? Is Storm that popular? Or
oh do we really want to make those civil rights
analogies right now? Obviously, very big conversation about how to
represent Magneto as a historically Jewish character without also trying
to make him a time traveler because he's you know,
(43:46):
there's longing conversations about how that would be reimagined, and
right now, many of those conversations cannot even be had
in a studio. So I think we'll see where it goes.
But you know, I love the X Men, so I'm excited.
I also believe Jason that that was a pitch that's
good enough. That put that in your back pocket, because
you never know if you're going to get that meeting,
and that was a really good one. Obviously, I'll be
(44:08):
here fighting for the Morlocks forever.
Speaker 2 (44:11):
Listen, I'm a humble guy. I actually believe my pitch
is really good.
Speaker 3 (44:15):
It's really good. It's really good.
Speaker 2 (44:17):
I want to thank our studio heads Saboo, Carmen and
Ian and Joe Well for just guiding us through this
incredible process to make something truly great on the episodes
of Extra Vision. It's another episode of XRGC the group
Chat where we're discussing the Task finale and Queens of
the Dead, featuring an interview with Tina Romero. That's it
for this episode. Thanks all listing bye. X ray Vision
(44:45):
is hosted by Jason Concepcion and Rosie Knight and is
a production of iHeart Podcast.
Speaker 3 (44:49):
Our executive producers are Joel Monique and Aaron Kaufman.
Speaker 2 (44:53):
Our supervising producer is Abu Safar.
Speaker 3 (44:56):
Our producers are Common, Laurent Dean Jonathan and Fay Wag.
Speaker 2 (45:00):
A theme song is by Brian Vasquez, with alternate theme
songs by Aaron Kauffman.
Speaker 3 (45:04):
Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and
Heidi our discord moderator.
Worrying.
Speaker 2 (00:00):
Today's episode contains general spoilers for Marvel movies and the
X Men's stories and the Fox slash Disney slash Marvel Verse.
Be warned. Hello, my name is Jascontepsio and on Rosday
(00:29):
Night and welcome back to x Ray Vision of the
podcast Will Dive Vivia to your favorite shows, movies, comments
of pop culture coming to you from my heart Will.
We're bringing you episodes every Tuesday and Thursday, plus the
Summer Speakers movies on Friday, ned News on Saturday.
Speaker 3 (00:42):
In today's episode, we are pitching big Marvel our ideas
for an X Men movie. Remember when everyone said, hey,
don't post that online, save that till you pitch them. Well,
guess what we're putting them in a podcast. We've had
hints and teases of Marvel mutants, but it's time to
share how we would like to bring them to the
big screen and enter the MCU. But this is a business.
It's not for fun, so we'll have to convince the
(01:03):
studio heads. But our idea is the best way to
bring the Xavier Institute to life. So Jason introduce the
studio heads.
Speaker 2 (01:12):
Let's welcome our studio heads now to the dais. First up, Aboo,
the CFO of Box Office returns a boo.
Speaker 3 (01:21):
Definitely a real job.
Speaker 4 (01:22):
Happy to be here, love a spreadsheet. Can't wait to
see how much money we're going to make.
Speaker 2 (01:27):
Next up, Carmen, our head of Marketing and the Department
of How it look, Carmen, how it look?
Speaker 5 (01:35):
I'm doing great. I'm here with my magnifying glass making
sure that all the details are very precise and very
looking good.
Speaker 2 (01:42):
Absolutely fantastic. Next up, Ian, Marvel's chief counsel and the
Chief Nostalgia Officer, the CNO of Brand Restoration.
Speaker 6 (01:52):
Ian, welcome, happy to be here. You know we're in
a little bit of a slump, so we need to
bring that feeling back. Let's get back on track, baby.
Speaker 2 (02:03):
And then finally, our head of the Pauline Kale Department
of Critical acclaim, Joel, Joel, Monique, how are you?
Speaker 7 (02:13):
This is the year the oscar has learned to respect
the superhero film?
Speaker 2 (02:16):
Okay, game changing.
Speaker 3 (02:18):
Is what's happening. It's happening.
Speaker 2 (02:21):
And then finally we're delighted to have with us today
and it's very pack. Schedule is made time for us.
The head of X Ray Vision CEOs. It's Eric Kaufman
CFO CEO CEO, the Big Huna, the Big Cheese l
he himself eron, how are you?
Speaker 1 (02:41):
I'm great, I'm fired up right now. I can tell
I'm gonna love all your pitches and I cannot wait.
Let's go.
Speaker 3 (02:48):
He's been through a pitch, guys.
Speaker 1 (02:51):
So just so the two of you know, we're gonna
have you each pitch a movie to us. You know,
give us your cast, your director, storyline, you name it.
And look, I can already tell that I'm gonna love
all of these pitches and they're gonna be perfect. And
I also know we're definitely gonna have a couple notes
that we'll give you. So we're gonna give you a
couple notes. You get a little bit of time to
think about those, and then you let us know which
(03:13):
one of those you're gonna adapt into your movie, and
then our studio heads will convene, we'll vote on which
of the pitches we think is the best direction for
the MCU, and we will greenlight that and we'll be
on our way.
Speaker 4 (03:26):
Al righty, Jason heads, Rosie tails and it's tales first.
So Rosie, let's hear your pitch.
Speaker 3 (03:33):
Okay, thanks, so much, guys to taking the time. I
know you guys are so busy. I appreciate you coming
out here listening to the pitch of an x Men
movie by me, somebody who's never written a movie before,
So thank you. This is something I've been dreaming of
to pitch an x Men movie. My x Men movie
is called x Men Underground and the director is d Reese.
(04:00):
It is not going to be a Netflix movie, so
they will not fuck her shit up. If you've seen
the incredible mud Bound, you'll know she's already a fantastic director.
She has been longing to do sci fi. And the
cast is Jody Turner Smith as Storm and Melissa Barrera
as Callisto. Those are the two main characters in this movie,
(04:21):
and essentially it is going to be a story about
the underground community known as the Morlocks. They will be
living under New Jersey Underground. This could easily tie into
what was established with Molman's Underground universe in Fantastic Four,
or could be a slight reboot if you guys are
(04:42):
trying to move away from that storyline. It will be
about Callisto losing control of the underworld of the Morlocks
and Storm arriving and suggesting that instead of everybody just
following one leader blindly, they create some kind kind of
you know, class hierarchical system and perhaps even consider joining
(05:06):
Charles Xavier's School for young Mutants. But there is an issue.
The issue is that Moleman, though he began as a
helpful person just trying to make more space more affordable
living in New York City, has become crazed with power
(05:26):
and only wants one gang to live underground, and begins
to start trying to take over the surface world, causing
the rift between humans and mutants that we have long
questioned how it would exist in the MCU. And finally,
you know, the Molocks will return alongside Storm and help
(05:50):
fight Molman, joining the mutant surface world. Thank you, guys
for my pitch.
Speaker 1 (05:56):
Amazing, amazing, Jodie Turner, Smith's so hot right now off
Tron Love Sobrera, I love a connection to Moolman. I
am so into this, Rosie. Jason, do you have a
pitch for us as well? I do have a pitch, but.
Speaker 2 (06:09):
I want to stress beforehand that I'm going to leave
the casting to you guys. I've come up with the outline,
the log line the general arc of my story, and
I hope and I think the power of that will
carry my argument. My movie is called X Men Colan Insurgency.
They came from a Doom world to stop ours from coming.
In this movie will take place after Doomsday and Secret Wars,
(06:33):
when the multiverse, we assume will collapse. A small group
of mutants that were in the Doomsday world God Emperor
Doom's enforcers, to a certain extent, find themselves stranded in
the six one six main timeline of the MCU, in
their new now from their world, the world from which
(06:55):
they came. This is the Rachel Summer's sentence, a death
world in which all mutants are hunted and herded into camps,
exploited and exterminated. These mutants arrive in our world and
they recognize all around them the early warning signs here,
(07:16):
the laws against enhanced individuals, the military biotech programs, rising nationalism,
the fact that Shield was a Nazi op. They see
Sentinel technology looming and starting to come together. In their
first mission, their suspicions are absolutely confirmed when they discover
(07:37):
a experimental procedure that's designed to be the next step
in the super Soldier program, and it is based on
the powers and exploiting the powers of one mutant named
Logan who's been allowed for centuries. He's at a Canadian
American and they find him in a lab being experimented
on ruthlessly. This to them is proof our insurgents are Cyclops,
(08:01):
the leader of this covert resistance movement, Storm, the moral
center of this group. Magic, the teleporter who can move
them in and out of places that they need to be.
This is how they get into the lab. Forge, the
military engineer who is both dismantling Sentinel Tech and creating
his own tech. Nightcrawler, the spiritual conscious consciousness behind the team,
(08:25):
and the mystique, the shape shifter. Who is she good?
Is she bad? What are her ethics? It's unclear, but
we know that she's on the side of the mutants.
They see direct action against the rising tide of the
Sentinels and anti mutant fervor as absolutely necessary, and so
they must strike first. This puts them on the radar
(08:46):
of the Avengers the government, who are not sure are
these heroes or are these bad guys? Are they freedom
fighters or are they terrorists? What these new insurgent mutants
discover is there our mutants in this world? Deep hidden
in an underground school upstate, Charles Xavier and Eric Lencher
(09:07):
aka Professor X and Magneto have been four years running
a secret refuge for young mutants. The Xavier School is real,
but it's an underground place, an invisible sanctuary, in which
Xavier's philosophy is the main one, and he's basically saying, hey,
we're very powerful, but with that power comes responsibility, and
we have to hide our gifts and we have to
(09:29):
live amongst humans undetected because we don't want to get
everybody scared and have the humans rise against us and
make war against us. Magneto sees Charles's way as imperfect,
but kind of like the best option that they have
right now. Until Magneto comes into contact with these insurgents,
(09:51):
he comes to believe that they're right. The world that
they come from is the world that we are headed towards.
And in fact, look at what they did to this
mutant logan. This is the beginning of the rift between
Charles Xavier and Magneto. Not a clash between good and
evil per se, but a clash between freedom and get
(10:14):
along to go along, a battle between survival strategies. Magneto
will say at one point, if peace is built on silence,
is it really peace? This is my movie X Men Insurgency.
Speaker 1 (10:30):
Wow, love it, love it, Love the connections, and love
having Charles and Eric here all along already and we
can sort of explain away why they haven't been involved
in previous things. A great connection. I'm sure Ian, our
chief nostalgia officer, is gonna love that. We're gonna throw
to break and when we get back, we're gonna have
our first little studio head discussion and get back with
(10:51):
some notes. All Right, we're back, and look, we loved
both of these pitches. They were so perfect, but we
do have a couple of notes that we'd like to
call mutants mandated unnecessary talent and or narrative transformations that
(11:14):
we'd like you to make to your pitches, because again
they're so perfect, but we just have a couple of
things we'd like. So the first option for you is
kind of the indie route. We love your story, your direction,
you get to keep your artistic vision, but you really
only get seventy five million dollars for your budget. This
will be the lowest budget MCU movie ever. For instance,
(11:36):
ant Man had one hundred and thirty million dollar budget.
You get less than that. You can cast one up
and coming rising star as your lead, but the rest
of the cast needs to be TV actors, and you
can get You can assume you're gonna get probably one
hundred and fifty to two hundred million dollars in box office.
So that's the indie route. Option one. Option two critically
acclaimed talent. We are hungry for talent, receiving an Oscar
(12:00):
buzz so hot off the heels of one battle after another.
You're gonna have Paul Thomas Anderson direct, and you're somehow
he is convinced Leonardo DiCaprio and Sean Penn to star.
The movie's gonna receive critical acclaim, but it will struggle
to make more than two hundred million dollars domestically, which
means you might lose money on this movie. The third
choice you have is a standalone New Vision. Look here
(12:25):
at Disney, we just really need a hit right now
for the MCU, So we're gonna hand the reins over
to one Christopher Nolan, and he's just gonna reboot the
entire thing. So no multiverse, no Infinity Stones, no Doom, whatever,
just Christopher Nolan and Michael Kine. That's where we're starting with. However,
he's a little hesitant to sign on for more because
he was really tired after doing the Batman trilogy. So
(12:48):
we get him for one movie, but we're gonna make
four hundred million dollars Option four. Youth mail audience is
really important to our marketing, and so you have to
cast Sidney Sweeney is Emma Frost, machine Gun, Kelly is
Mister Sinister, and Jake and Logan Paul as Cyclops and Havoc. Congratulations,
you've secured the youth mail audience. You are guaranteed at
(13:10):
least five hundred million in domestic box office and the
final option overseas is what really matters here. Okay, this
story will be heavily, heavily curated and has to be
very conservative culturally, but congratulations, this movie is playing in
China and this is going to gross more than Deadpool
(13:31):
and Wolverine. That means one point five to two billion
dollars worldwide. This will easily become one of the top
five MCU box office returns. Ever, so again you can
have an indie Darling small budget seventy five million. You
can have critically acclaimed talent but not great box office.
You can have a standalone new vision, but it is
(13:52):
entirely forgoing all of the previous MCU. You can go
for the youth mail audience. I don't care what your
story is, care what your director is. You just got
to have the Paul Brothers in there, or five overseas markets.
You gotta make it so that China is okay with it,
but you are going to make bank, all right. So
those are our five options for you.
Speaker 2 (14:12):
Thank you, Aaron, Thank you head of too many options.
Whenever we let you have the mic. This is a
continuing theme with the head of the studio who is
happy to carry a really cool conceit under multiple options
that I forget the first one. By the time we
get to the fifth one, I think, oh, thank you
(14:33):
for pacing those in there. I'll go first. I'm going
to reject all of these false choices, but kind of
lean towards number one. Whatever happened to make a good movie.
I know it's very interesting to hear to get the
notes back from the studio, and none of them are hey,
make a good movie. So I think my best. I
think my best opportunity to make a good movie is
(14:56):
Option one. I'm not going to get into the casting.
I'll let the the casting director and the suits handle
that I want to make. I want to have a
great story, i want to have it executed well. And
I'm want to put every single dollar that I can
on the screen. So forget the talent, forget the I'm
gonna write or direct this and I'll listen, I know,
(15:16):
and in fact, i'll I will delay my fee until
this movie makes money. So this movie doesn't I put
I'm putting my reputation on the line. If the movie
doesn't make money, I don't make money, I'll just take
my day rate. I'm gonna reject the PTA option. I'm
gonna reject the standalone. This is not you know, what
is this two thousand and eight. This is not the
(15:38):
you know, Batman begins world anymore. This doesn't exist the
youth mail audience, you know, wrong, wrong superhero team, Like,
we can try that with a different superhero team. And
I'm gonna work with this one overseas markets. You know,
good luck. I guess this is an avatar. I'm gonna
go with option one. Let's put all the money back
(15:59):
into the thing. No money for me. I will survive
on coupon's until this movie comes out and hopefully makes
its money back on vod and rentals. Thank you very.
Speaker 1 (16:10):
Much, Jason. Love the pitch, love it. I love your
reaction to our notes that the studio loves to hear it. Rosie,
what about you will have those five options.
Speaker 3 (16:19):
So I'm basically gonna go I'm gonna pitch you, guys.
There's two options here that you can take for my story.
So one is also option one because I agree too
many options and really the best option for making a
good movie. I'm making sure that d gets paid well.
Other than that, guess what, guys, I love TV actors,
(16:40):
so I don't care like have Jody Taylor Smith as
Storm and then have all the CW actors you need
coming because guess what, if it's a good movie, good script,
we could make more money than expected. We've seen it
happen before. We've seen movies like The Invisible Man, The Monkey.
We've seen these crazy movies that are seen as genre
(17:00):
questions overplay. One of the best movies of all time
is also one of the cheapest subero movies. Which is
Birds of Prey. So I think number one is a
good option. Now, I will say, look, man, I often
think this overseas market conversation ignores the actual conservative nature
of America and how often those conservative choices that are
(17:23):
being made are claimed to be for outside of America,
but really are also for inside America. So if I
was making a supero movie, an X Men movie that
was gonna play in China, that would be a different
pitch because I would use different talent. I would have
Michelle Yo come in and start working as a new
head mistress. I would make sure that your mutants are
(17:45):
played by incredible actors from all over I think that
is a different movie, but I think I could make
it that would play in China. Would America like it?
Who knows. We've seen with Nija that doesn't always cross over.
But I too would most likely go for the art
over everything route, though I'm not a verse to trying
to make a movie that plays well outside of America.
(18:07):
I believe the X Men is a good space. It
was always meant to be a global team from giant size,
so I think there is a version of it that works.
Speaker 1 (18:17):
Rosie again, I'm blown away by all these pitches. These
are so so good, and the studio is so excited
that both of you came in today. We're going to
reconvene just the studio heads really quickly and just talk
through some of these pitches and our agents will get
back to you as soon as we can. Thank you
so much. Guys. All right, I'm going to bring in
Joel aboo Ian and Carmen and we're gonna just quickly
(18:38):
discuss these two different pitches for how these two creatives
would like to bring the X Men into the MCU. So,
first off, Joel, what are you thinking?
Speaker 7 (18:48):
Well as overseer for awards and Oscar recognition. I love
the idea of Jason wanninglean to the writer director. We've
seen that work before. Y'all remember Logan? That was really powerful?
Speaker 1 (19:01):
I am concerned, sorry, Logan Is that the one that
started the character from Deadpool and Wolverine?
Speaker 7 (19:07):
Yes? Yes, but it was pretty and older audiences don't
remember it. It's faded into non existence. But but it
was powerful for its time, and I would like to
circle back to that if we can. I think that's
a great idea. I am concerned at the dismissal of
the China box office, which by god do we need
and our young guys. But now listen, here's where we
(19:31):
really get into some trouble knowing X men as I do.
Speaker 2 (19:34):
This is my job, after all.
Speaker 7 (19:36):
I am concerned the fact that this is a group
that is about that just diversity often represents queer stories.
If we get a writer director in here who really
wants to push that angle, I mean, he might be right.
China might just be out. They might just be like
not wanting to screen this film. So I think we're
sort of I'm sort of I'm hesitant to lean into
(19:58):
the Jason model because box office, we have to make money.
I'm not going to launch an entire Awards campaign behind
a flop. I don't have the energy for Rosie. Oh man,
do I love d really love de Reese has had
Oscar buzz before both The mud Bound and Pariah, so
there's like already some good build there. I think we
(20:19):
could really build off of that. I also think the
integration into the current universe works really well, so we're
not losing fans as we approach this Oscar space. So
I think I'm leaning a little more Rosie right now.
Speaker 2 (20:34):
But a boo great.
Speaker 1 (20:36):
A boo. Yeah, from someone who knows a ton about
X Men to someone who knows nothing about X Men
but knows all about the dollars and cents? A boo.
What are you thinking right now?
Speaker 4 (20:45):
Yeaheah, yeah, let me just finish up this spreadshirts crunching, Yeah, yeah,
go ahead.
Speaker 3 (20:49):
Great.
Speaker 4 (20:51):
It's looking like we're gonna lose money on these pitches.
I've crunched the numbers. I've been crunching the numbers this
whole time, and also frantically googling the words storm, Magic, Forged, Nightcrawler,
and Mystique to try and figure out what they mean.
Haven't been able to complete that part of the process yet,
but the numbers are not looking good. I appreciate, actually,
(21:13):
that both of our extremely talented artists have pitched making
a good movie. First, I'm very much for good movies.
Good movies make money as far as I know, and
so I'm very much in favor of that. I'm a
little concerned that neither of the pitches seem to have
(21:35):
sold the average moviegoer, the average MCU fan of which
I consider myself. There were a lot of terms thrown
around in these pitches that went completely over my head.
I'm still a little unclear how these movies connect to
the MCU. Is RDJ in them or is he not
in them? Because that is going to factor into the budget, right,
(21:55):
He's got a huge at this point. I have to
constantly negotiate with that guy's manager, I thought him, I know,
I'm over here, like I have a whole spreadsheet dedicated
to negotiating with that asshole. So it's like, I AFC
in the movie or not. I'm a little confused on
that front. So I was hoping for pitches that made
a clearer connection to the MCU that I know and
(22:16):
understand and have been, you know, very much a fan
of since Endgame, my favorite movie of all time, Sweet
Sweet Money. I'm a little worried about that. I think
I would I would go back to our artists and
ask them to sell me on how I'm going to
sell this movie. I really like Jason's log line they
(22:39):
came from a doomed world to stop ours from becoming one.
I think that's very relevant to where we are today
as a world and to a feeling that a lot
of people are feeling. That's a log line I can sell.
I can slap that on YouTube and TikTok ads and
hopefully convince people to watch. I'm not so sure what
a morlock is, and I don't know whether or not
I can slap that onto ad and sell this movie.
(23:00):
So at this point, I'm currently leaning more towards Jason's pitch,
just because I recognized more of the words.
Speaker 3 (23:05):
In that pitch.
Speaker 1 (23:07):
Now, from someone who loved Endgame to someone else who
loved Endgame, Ian, our chief nostalgia officer, what are you
thinking about these pitches and how they relate to the
current MCU and what you love about it.
Speaker 6 (23:18):
So, first of all, I'm just gonna say great pitches
from both. I think some really interesting choices were made
in both. So I'll start with Rosie's first. I think,
you know, let's be real here, guys. We need a hit.
We need to get some good will back with the fans.
We've been in a little bit of a slump, and
you know, Fantastic Four didn't perform the way we're expecting
(23:39):
coming out of Doomsday and Secret Wars. We're expecting a
little bit of a reset. We need a fresh crop
and cast of characters to take us into the next
generation of the MCU and so I think rosy story
for what we're trying to do. If this is going
to be the first official X Men movie, I think
it's a little bit too small of a story. It's
focused on a very specific storyline. Like don't get me wrong,
(24:00):
the storyline with the Morlocks and Storm is a beautiful story,
and I think that would be better serve for maybe
a standalone Storm movie that we can do down the line.
But as our first official foray with the X Men
into this universe, I think it's just not gonna hit
that core fan base the way we need it to.
People want to see Cyclops, people want to see Professor X.
(24:22):
We need a new Wolverine.
Speaker 3 (24:24):
Who would you cost this wolverine ian?
Speaker 6 (24:27):
You know, we gotta find some unknowns. We need some
new young talent. So I need to sit on that
for a little bit. But we need some people that
we haven't seen in these in these kinds of Daniel.
Speaker 7 (24:37):
Radcliffe is available and overdue for an Oscar. I'm just saying, sure,
our short Harry King could absolutely do this.
Speaker 1 (24:46):
Yes, I could have a pitch from someone named mister
Beast to be Wolverine. I'm not sure where we stand
as studio heads on that.
Speaker 6 (24:54):
We'll discus now. As as for Jason's pitch, I like,
I like the premise. I like the story taking place
in the aftermath of Secret Wars. We have some X
Men maybe left over from Battle World, from the fallout
of that film, and I think this is the opportunity
to introduce that new fresh cast. So I think, you know,
(25:16):
in Secret Wars, maybe we have some new fresh X
Men and they're the ones that are left over in
this new world and setting up a conflict with our
Avengers in this post reset, putting them on a collision course,
Avengers versus X Men. That's really what the fans want,
and I think that's a smart path to chart down
for the future of the MCU. I think that will
(25:38):
put butts in seats aboo, that will that'll get us
to that Billy that we're looking for. I agree, So
I agree. You know, I think I'm leaning more towards
Jason's option. And you know what, in terms of budget
and doing it on a smaller scale, these films are
gonna be cgi heavy. That's going to soak up a
lot of money. But you know, Sinners they did that
(25:58):
for ninety mil I'm sure maybe there's a way we
can do this story for in a stripped down sense.
You know, seventy five mil is gonna be tight. But
I also trust my creatives to get it done. So
I think, you know, if the story is strong, the
plot is there, we're giving the fans what they want,
we can make it happen.
Speaker 1 (26:16):
Yeah. Center's an incredible movie. Also had zero optic blasts
or teleportation.
Speaker 6 (26:21):
Yeah, that's what I'm saying.
Speaker 1 (26:22):
We're gonna have to just get creative there.
Speaker 6 (26:23):
We're gonna have to do a little.
Speaker 1 (26:25):
Speaking of how the movie looks. Our last studio head here,
Carmel Lauran, what do you think? What are these pitches
hitting for you? And what are they not hitting for you? Yeah?
Speaker 5 (26:33):
You know, right away, I have to say I'm concerned
with Underground, Underground. I immediately think, where is the lighting?
What is the lighting situation? Like, you know, that seems
seems a bit dark, and I think I think consumers
(26:55):
we want to get butts in the seats. We got
to make something that's colorful. We got to make something
that is really eye catching. Right away, Space uh inserted
X Men Insurgency sounds like it's in space. I think
Space is pretty marketable. It looks good, it's bright, it's colorful,
it inspires hope in people, whereas underground, you know, it's dark,
(27:19):
it's dingy, it's you know. Uh, it's kind of not
to bash Christopher Nolan, but yeah, I think we are.
I do agree with Jason what we are kind of
out of the Christopher Nolan era of dark fight scenes
and no lighting and stuff like that. So it's my
top concern.
Speaker 7 (27:36):
Also notoriously also very dark, as.
Speaker 5 (27:45):
You got me there. Actually, unless we're right next to
the sun, you know, could be a son, you know.
But I think of white, like bright white spaceships and
things like that when I think of space. I also
think Addison Ray could go somewhere in that movie, you know.
And we really we really need the the young gen
(28:09):
Z TikTok by in.
Speaker 1 (28:10):
We do need a little bit of.
Speaker 5 (28:12):
The gay dollars, you know, and so we gotta we
gotta kind of pander a little bit there. So yeah,
I think I'm feeling a little bit more hopeful in
uh x Men Insurgency.
Speaker 1 (28:26):
All right, So I've heard all of all of your comments,
and this is what I'm thinking. We go back to
our creatives with I would like to make Rosie's movie
as a Disney Plus show to introduce the X Men.
We focus on the more locks and we're gonna we're
gonna allow it to be a little gritty.
Speaker 4 (28:43):
I can only pay for six episodes, by the.
Speaker 1 (28:44):
Way, all right, six episodes. We can do that. Do
we have the market? Can market at isotic? Or can
does it have to be binge dropped so.
Speaker 7 (28:52):
We're not marketing it? Let's be real, yes, all right,
we'll put a trailer out the week before it drops.
Speaker 6 (28:58):
It'll be fine, Marvel Spotlight.
Speaker 7 (29:02):
Will still be really loved. Like, it'll be fine. The
people who like it will find it.
Speaker 1 (29:07):
And I have to say one of my favorite parts
of Jason's pitch. I loved both of these pitches, absolutely incredible.
I loved all of them, but my favorite part of
Jason's pitch was when he offered to do it himself
and not get paid and I for no, for no
other reason, I think we got to make Jason's movie
here basically no risk. Would really love Maybe if we
(29:31):
can get a little lean towards China and I, like
you were saying, Karmen, a little gen Z influence in
these Maybe maybe Addison Ray is dazz.
Speaker 2 (29:40):
The casting up to us too, So that's a yeah,
that's a good woint.
Speaker 3 (29:43):
Casting is up to us.
Speaker 4 (29:45):
Yeah, can I can I maybe say something controversial?
Speaker 6 (29:47):
Of course?
Speaker 4 (29:49):
Could we go back to Jason and see if he
could like turn this into like an and or thing
like insurgency right like.
Speaker 3 (29:55):
And seeing it that was a big win for us.
Speaker 4 (29:58):
Maybe we can go back and ask a the workshop
that needs more of a or and or type thing.
Speaker 7 (30:04):
Or season wise, it was really good for us. I
mean noms were great, I which we had won a
little bit more, but I could I could see us
doing that in a an X men is kind of
the perfect property for it.
Speaker 1 (30:13):
Aboo, I really see this all right? Actually I can
get with this. So let's bring bring our two creatives
back in Rosie and Jason. Rosie and Jason, we loved
your pitches. What we as a studio have decided? What
do you think about making and Or?
Speaker 3 (30:31):
Wow? I love it when the studio comes back with
a unique, original suggestion and note I personally I love
this idea. I think and Or is a great TV show.
And I think the most important thing that we learned
from and Or is that corporations are bad and capitalism
(30:52):
is bad. And that is why in my bag, I
actually have a gasoline tank and I'm gonna just bum
down the studio. Okay, absolutely not, that's Tony Gilroy show. Guys,
Come on, I can't do it.
Speaker 7 (31:07):
Like Jason, Are you going to be the next Tony Gilroy?
Speaker 2 (31:13):
I would want just to be just to be clear,
what is the what's the ask? You're asking for? Eight episodes,
two seasons a piece. What are you asking for? And this,
of course I understand when I'm asking that that you know,
with respect, I'm I'm talking to the brain trust that
has presided over the successes of Fantastic four uh and
(31:35):
and has gone through the s that we just went through,
and went through that process with those filmmakers and creators
to create those incredible, blockbusting, influential and you know, massively
relevant mainstream hints. So I understand that I'm that I'm
asking the best when I ask that, and you really are.
(31:58):
What is what is the ask?
Speaker 7 (32:00):
We believe in Jason so much, so much.
Speaker 2 (32:03):
Yeah, we believe you can get us.
Speaker 7 (32:04):
An and or quality political takedown in an X Men
series without the pandemic to pad out creative time. We're
gonna need it by the end of the year, you know,
into twenty twenty six. I need two seasons fully wrapped.
Speaker 2 (32:20):
But we believe it.
Speaker 7 (32:21):
You're great, Okay, totally have this bag.
Speaker 3 (32:23):
What's the before I get dragged out by security? What
is the budget on Jason's and or Insurgency gonna Because
if I'm not mistaken, and I had a seven hundred
and fifty million dollar budget and was the most expensive
Star Wars show of all time.
Speaker 1 (32:39):
So oh yeah much project much less? Okay, good, much less? Yeah, yeah, yeah, we.
Speaker 5 (32:44):
Lore gonna be seventy five thousand, yeah million, seventy an episode.
Speaker 3 (32:50):
Jason, we got cardcar. I think we can do it. Also,
I would just say we have actually long time been
pitching a exaber Is anthology show that could lead into
the introduction of the X Man. So perhaps there's some
kind of collaborative aspect to but I think for seventy
five thousand dollars an episode, it's gonna be like a
(33:12):
stage play about.
Speaker 2 (33:14):
Yeah, I hate listen not to again. I understand that
you know your your track record of success, particularly in
recent years, cannot be denied. Why think small time? You know,
I look at you. You're thinking big time. You think
a small time success. You think in China. You're thinking
get the get the right wingers to like your movie.
(33:35):
You think it big, you're thinking four quadrants. Okay, that's
only possible on the big screen, not the small screen.
And there's nothing against the small screen, but it is
smaller than the big screen. Okay, so let's think bigger.
And I know that you all are about.
Speaker 3 (33:53):
I know she's controversial, but you know what I didn't
hate the Sydney Sweeney Emma Frost. I is so if
you want to bring that ready my show.
Speaker 6 (34:00):
Now, that's putting butts in seats.
Speaker 4 (34:02):
You've got and also guess what it's putting young male
buds and seats.
Speaker 3 (34:07):
Also Emma Frost famously known for having a boob window,
Sidney Sweetey famously known only woman who has boobs.
Speaker 2 (34:14):
So we're design about to go absolutely crazyst Well, thank
you both very much.
Speaker 1 (34:24):
Loved hearing these pitches, the different ways you would take
the story both in and out of the universes. I
love the idea of like the mutants coming through an insurgency,
and then also there are already mutants here in the MCU,
which really hits on Ian's focus of MCU focused and
like connecting to what we've already built in this universe,
(34:45):
Rosie with a nice rising star and Jody Turner Smith
and like a really focused story still continuing to rise forever. Well,
thanks again. Our studio heads are going to head back
into our private jets and we all have to attend
an award show somewhere for a movie we probably didn't make,
but we'll be on the red carpet. We thank you
both so much for being here and we can't wait
(35:07):
to hear more from your agents in the coming weeks.
Thank you, and we're back.
Speaker 2 (35:23):
Wow. That what an experience, Prosie, I understand now, you know,
first of all, I again, what a humbling experience to
be in that room with folks who have been making
the big box office that we know. You know, I
was really struck by a booze common touch of you know,
(35:44):
it's such an interesting angle to come in knowing nothing and.
Speaker 3 (35:49):
It really really giving you a unique.
Speaker 2 (35:53):
Yeah, yeah, well let's talk, I mean, let's talk about it.
I know this was kind of a jokey, very fun,
but you know, we are two passionate lovers of the
X Men. And in a no bullshit way. We both
really believe in the in the approaches that we've laid out. Yeah,
and so let's talk about it.
Speaker 3 (36:12):
I think that what was really great about that is, yeah,
it is funny and it is silly, but when you
are pitching on IP, you really are coming again up
against often people who don't necessarily love it as much
as you. So I think that was kind of a funny,
a funny space to approach it from that was relatively realistic.
But yeah, I do think I think that we're in
a space where I love insurgency. I think that's such
(36:34):
a great idea for that big post doomsday movie, and
I think we need a big, action packed thing. But
the thing that MCU has been struggling with is character
as well. And I think that's why for me like
the ability to do a cheaper movie or a TV
show or something, even though the shows have not been
cheap enough, there is some freedom in doing something lower budget.
(36:57):
I mean, even Logan was like, you know, I near
to one hundred and twenty million. They kind of never
really revealed the true budget, but even that is incredibly
low and arguably one of the best stories of all time.
So I think the MCU is in a really unique
and tough space where, yeah, it needs to make money,
(37:18):
it needs to make a billion dollars, but that has
stopped working for it. So I think we have to
go back to the character, back to the stories. I
think the x Men needs to be the success that
the Fantastic Four wasn't. The x Men needs to be
something that feels like it can lead us to a
new era of the MCU that's probably not even called
(37:39):
the MCU.
Speaker 2 (37:40):
I agree with you, and I think I think there
are two things about an x Men movie potential x
Men movie. One it is it is truly I think
even beyond the upcoming Avengers crossovers, Doomsday and Secret Wars,
it is a real opportunity to reach that Billy mark again.
And because you're activating a fan base that has been waiting.
Speaker 3 (38:04):
And it's like an AE fan base, it's an intergenerational
fan base.
Speaker 2 (38:09):
You're waiting to activate this fan base once again, and
they are eager for their heroes to reappear back on
the screen and be integrated into this kind of massive, sprawling,
truly success ridden and industry changing, integrated universe. What difficulties
does it face. I think it faces one crucial thing,
(38:29):
and that is that the X Men are a parable
of freedom against oppression, freedom of religion, freedom of diversity
in race, freedom and expression.
Speaker 3 (38:46):
It's about and equality.
Speaker 2 (38:48):
It's about equity, and it's about power and I and
the only thing that can really stymy this movie when
it comes is some situation like the process which we
just went through in this episode, which seeks to kind
of sand down the sharp edges and the cool parts,
(39:11):
the cutting edge parts of this metaphor, which you know,
as a fan of the X Men, I think is
more relevant today than at any point in the history
of the X Men. One might argue, right, And so
I think it's gonna take a really really talented filmmaker,
and not talented in the way not talented in writing
(39:36):
or directing or camera moves, but talented interpolitically in a
way that allows this person to understand how to talk
to studio. It's how to talk to Kevin Fie, how
to talk to marketers, and how to keep that central
vision alive while couching it in the language that doesn't
scare off the four quadret marketing people who are like,
(39:58):
oh god, white guys are going to hate this fucking movie,
and so you've got to be able to deliver something
that's subversive but looks mainstream, and that is I think
going to be the difficulty in making this movie.
Speaker 1 (40:15):
Yeah, that's my opinion.
Speaker 2 (40:16):
What do you think.
Speaker 3 (40:16):
I think you're completely right. I also think the second
you bring up the biggest issue, especially because right now
certain studios are scared of projects that lean into that.
But that is the core of The X Men. And
I also just want to point out because I know
some people will likely be like, well, was it more real? Well,
the truth is that The X Men was reactive to
(40:38):
the civil rights movement, but was not necessarily inspired by
it as much as people may think it was. Stanley
kind of took that take on afterwards, after readers had
seen reflections that they felt with Malcolm Max and Magneto
and Charles Xavier and Martin Luther King, those were not
inherently in the text. It is now that we can
(40:59):
see the stuff that then after that, especially in Giant
Size X Men and onwards with Claremont's stuff, that became
the real text text of the book. And I think
that is why now we need an X memo movie.
More than ever. Like you said, Jason, I think the
secondary problem is that the MCU is not in a
place where it feels like they are excited to make
(41:21):
brave moves or support shows or TV or movies that
for some reason, at some point they have lost belief in.
I think that was something that, as funny as our
producers always are, was actually like a real struggle. Right
now is like the MCU is not the Jugger, not
(41:42):
what it was. It is not seen as the trailblazer
right now. And also the MCU part of its problem
is it took a little bit too long to do
stuff like Black Panther, like you know, Miss Marvel Captain
Marvel being the first female character, but it was tenth
lead character, but it was ten years after the MCU debuted. Luckily,
(42:04):
because of the Black Panther delay, we did get Ryan
Coogler's superior and singular vision. But I think that throughout
the history of the MCU it's not been particularly progressive.
If you look at it, there's plenty of brilliant artists
and writers and people who have talked about that. I
think this needs to be a radical, transgressive, subversive movie.
(42:24):
I would love to see someone come in, Jason, who,
like you said, knows how to say to execs, Hey,
this is important, but doesn't it's a hit, but it's
also a hit, a hit, you know. Yeah, Barbie was
never meant to be a four quadrant movie, and it
became a four quadrant movie. Maybe we need to bring
Greta Gerwig in. I don't know, but like, let's bring
(42:44):
I don't hate it because she did what I thought
was impossible and made that into a four quadrant movie.
But the real question is, guys, is it gonna yet made?
It will get made? Is it gonna be good? We're
still waiting. That's what I'm excited to see. I think
we need more casting news. I think we need more understanding,
you know. I think that them going to the writer
(43:05):
director of The Thunderbolts was smart because it was relatively
successful for them. But I don't necessarily think that is
the person I would have chosen to tell the first
X Men story in the MCU. But I'm interested to
see where it goes, and I think, Jason, You're right.
The biggest obstruction right now is the kind of, you know,
non humorous version of the pitch we just went through,
(43:25):
where people start saying, Oh, but you know, can we
really have a black lead? Is Storm that popular? Or
oh do we really want to make those civil rights
analogies right now? Obviously, very big conversation about how to
represent Magneto as a historically Jewish character without also trying
to make him a time traveler because he's you know,
(43:46):
there's longing conversations about how that would be reimagined, and
right now, many of those conversations cannot even be had
in a studio. So I think we'll see where it goes.
But you know, I love the X Men, so I'm excited.
I also believe Jason that that was a pitch that's
good enough. That put that in your back pocket, because
you never know if you're going to get that meeting,
and that was a really good one. Obviously, I'll be
(44:08):
here fighting for the Morlocks forever.
Speaker 2 (44:11):
Listen, I'm a humble guy. I actually believe my pitch
is really good.
Speaker 3 (44:15):
It's really good. It's really good.
Speaker 2 (44:17):
I want to thank our studio heads Saboo, Carmen and
Ian and Joe Well for just guiding us through this
incredible process to make something truly great on the episodes
of Extra Vision. It's another episode of XRGC the group
Chat where we're discussing the Task finale and Queens of
the Dead, featuring an interview with Tina Romero. That's it
for this episode. Thanks all listing bye. X ray Vision
(44:45):
is hosted by Jason Concepcion and Rosie Knight and is
a production of iHeart Podcast.
Speaker 3 (44:49):
Our executive producers are Joel Monique and Aaron Kaufman.
Speaker 2 (44:53):
Our supervising producer is Abu Safar.
Speaker 3 (44:56):
Our producers are Common, Laurent Dean Jonathan and Fay Wag.
Speaker 2 (45:00):
A theme song is by Brian Vasquez, with alternate theme
songs by Aaron Kauffman.
Speaker 3 (45:04):
Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and
Heidi our discord moderator.
Hosts And Creators
Jason Concepcion
Rosie Knight
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