Marvel’s latest Disney+ series, “Wonder Man,” introduces us to Simon Williams (Yahya Abdul-Mateen II), a struggling Hollywood actor with a secret: he’s already a superhero, constantly battling to control his powers. This fresh take brings a much-needed breath of charm and originality to a sprawling Marvel Cinematic Universe (MCU) that often feels overburdened by its complex, multiverse-spanning sagas.
Simon forms an unlikely and charismatic duo with Trevor Slattery (Ben Kingsley), the eccentric, Shakespeare-quoting actor from previous MCU installments. Unlike typical Marvel productions that rely heavily on CGI spectacles and predictable battles, “Wonder Man” shifts its focus, diving deep into the dynamic between these two unconventional characters and their unique struggles within the entertainment industry.
Mid-series, “Wonder Man” takes a surprising detour, presenting a standalone episode centered on another aspiring hero: DeMarr “Doorman” Davis. This particular installment powerfully illustrates the potential, and perhaps the necessary path, for the MCU’s future.
The fourth episode abruptly introduces DeMarr (Byron Bowers), a doorman at an exclusive Hollywood club. One night, a brush with mysterious dumpster sludge grants him the incredible ability to create portals with his own body. He quickly becomes a local hero, saving club-goers (including actor Josh Gad) and transitioning into Josh’s personal valet, eventually even achieving stardom himself. However, as DeMarr’s fame fades, his financial woes mount, leading him to overuse his powers and ultimately, crash his career.
This particular episode boasts a striking black-and-white aesthetic, lending a timeless, almost archival quality despite its contemporary Hollywood backdrop. Visually, it masterfully highlights both the dazzling extravagance of celebrity life and the profound isolation experienced by outsiders. One memorable scene depicts Josh Gad, slightly inebriated and singing “Frozen” lyrics, gazing at a dancing crowd from the DJ booth – a chaotic, extravagant display of stardom. In stark contrast, DeMarr’s discovery of his powers is depicted with him alone in a black void, surrounded by ominous, glowing white portals, conveying a sense of overwhelming solitude.
Far from being inviting, these endless portals appear deeply foreboding, leaving DeMarr visibly distressed. This powerful imagery subtly references the “magical Negro” trope while reflecting the series’ broader exploration of racial consciousness. DeMarr, initially presented as a cheerful sidekick serving a white protagonist, ultimately faces a tragic downfall, symbolizing the destructive consequences of an extraordinary Black man’s ambitions in Simon’s reality, and by extension, our own.
Clearly, both the “Doorman” episode and the series as a whole demonstrate a thoughtful artistic intentionality that truly elevates it above many other MCU offerings. Even acclaimed shows like “WandaVision,” despite their innovative stylistic choices and clever sitcom parodies, often revert to the familiar, CGI-driven spectacle that has become a hallmark of the MCU.
“Wonder Man” raises a fascinating question: Is this truly the same universe where Thor descends from the heavens, or where Captain America rallies against alien invaders in New York? While “Wonder Man” maintains connections to the MCU, it wisely avoids relying on the increasingly convoluted and expansive central narrative. Its strength lies not just in its independence, but in its sharp, meta-aware, and more mature humor that firmly roots the story in our own reality — our Hollywood, our celebrities. The appearances of Josh Gad, Mario Lopez, and Joe Pantoliano playing themselves cleverly evoke recent television satires of the entertainment industry, such as “The Studio” and “The Franchise.”
Ultimately, the deepest meta-commentary of “Wonder Man,” evident throughout the series and particularly in the “Doorman” episode, is its portrayal of the superhero not as an untouchable moral icon, but as a manufactured product. After years of consuming superhero content, audiences are well-acquainted with this concept – from Superman commercials to Deadpool/Wolverine popcorn buckets and Wakanda merchandise. However, it’s a bold move for Disney to playfully satirize the very engine of its franchise: the intricate process of casting, styling, and marketing new heroes.
Once DeMarr gains celebrity, he finds himself scrolling through a mix of adoring fan comments and disparaging critiques online. One particularly disheartening remark reads: “Please tell me when his fifteen minutes are up #Doorman.” This highlights a core understanding within “Wonder Man”: even after two decades of mainstream dominance, superheroes, much like any other cultural commodity, can swiftly become obsolete. The series itself, along with its characters, is acutely aware of the ongoing battle against superhero fatigue.
As part of Marvel Spotlight, a new sub-brand focused on character-driven, reality-infused stories, “Wonder Man” arrives at a crucial juncture for the MCU. The upcoming “Avengers: Doomsday” cinematic event in December, the first such massive crossover since 2019’s “Endgame,” promises to unite all current storylines and heroes into what will undoubtedly be an ambitious, potentially overcrowded film. “Doomsday” will test the MCU’s narrative future, signaling which arcs conclude, which new paths emerge, and, critically, whether audience engagement remains strong. Regardless of the larger narrative outcomes, the franchise’s sustained success hinges more on the artistic quality of its individual tales and characters.
As an insightful director, Von Kovak, whose “Wonder Man” film Simon is auditioning for, wisely states in another episode: “Our ideas about heroes and gods, they only get in the way. It’s too difficult to comprehend them. So let’s get past them. Let’s find the human underneath.” Through the compelling journeys of both Simon and DeMarr, “Wonder Man” powerfully demonstrates that Marvel’s path to future success lies in embracing this very philosophy. The true test, however, is whether the broader franchise will ultimately heed this direction.