At D23 Expo on Saturday, Marvel Studios head honcho Kevin Feige revealed that there is no active Avengers team or organization in the Marvel Cinematic Universe anymore.
“Just because there is not an organization like the Avengers anymore, but we now have the Thunderbolts,” Feige said, confirming that the Avengers are no longer a going concern in the Marvel Cinematic Universe.
Feige also said that that is also the reason why the studio is set to introduce the Thunderbolts team. It is being done in order to fill the vacuum left behind by the Avengers.
The MCU’s version of the Thunderbolts will consist of Yelena Belova (Florence Pugh), Alexei Shostakov AKA the Red Guardian (David Harbour), Bucky Barnes AKA the Winter Soldier (Sebastian Stan), Ava Starr AKA Ghost (Hannah John-Kamen), Antonia Dreykov AKA Taskmaster (Olga Kurylenko), Valentina Allegra de Fontaine (Julia Louis-Dreyfus) and John F. Walker AKA the US Agent (Wyatt Russell).
The development has raised questions amongst the fans about the upcoming Avengers films Avengers: The Kang Dynasty and Avengers: Secret Wars. Fans are concerned of the upcoming titles would introduce a new set of heroes or does it mean the end of a saga.
Following the announcement, Twitter exploded with reactions over the fate of MCU now that the OG superheroes are gone. One fan wrote, ''I don't think this makes sense. Most of the characters from the Endgame final battle and funeral are still alive and I'm sure they would want to be prepared for another Thanos-type situation.”
Avengers last assembled in Endgame in 2019. It is highly likely that the surviving former Avengers will not be standing idly by while the Thunderbolts assemble. Tony and Natasha died at the hands of Thanos during the events of Endgame. Captain America is retired and off the radar. Hawkeye seems to have started a new life with his family, leaving the superhero days behind him. Hulk is active and seems to be wandering in space.
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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