Light spoilers follow for all eight episode of Wonder Man.

2026 is a big year for Marvel. With its cinematic universe struggling to rediscover the consistency that defined its first decade, there's never been more pressure on highly-anticipated movies like Avengers: Doomsday and Spider-Man: Brand New Day to get people back onside.

And yet, it falls on Wonder Man, the comic book giant's first Disney+ show of the year, to convince casual fans that the Marvel Cinematic Universe (MCU) is worth sticking with or jumping back into. It's a wonderful thing, then, that Wonder Man is a franchise-disrupting, metatextual caper that's arguably the studio's most creative TV original since WandaVision.

I was born to play this character

Produced under the Marvel Spotlight banner, Wonder Man introduces us to Simon Williams (Yahya Abdul- Mateen II), a luckless and capricious actor struggling for work in the MCU's version of Hollywood.

When Williams learns that Oscar-winning director Von Kovak (Zlatko Burić) is remaking 'Wonder Man', an in-universe movie that's also his favorite film of all time, Williams vows land the lead role. Well, as long as he can keep his biggest secret – as one of Wonder Man's teasers confirmed, that he possesses actual superpowers – under wraps.

Having superhuman abilities should be advantageous for a project like this, right? Not if you're Simon Williams, a serial overthinker whose passion for his craft often makes him difficult to deal with personally and professionally.

His failure to secure regular work and tendency to lose the roles he does get due to a passion interpreted as overzealous interference are, unsurprisingly, emotionally destabilizing moments for Williams. Add in your demonstrably powerful abilities appearing whenever you experience negative emotions, and that's a recipe for disaster.

That's especially true if Williams' abilities ever manifest while on set. The reason? Enhanced individuals are banned from working in Hollywood, so it's not the ideal profession for Williams, whose tortured nature is captured with pitch-perfect intensity and gravitas by Wonder Man's lead star Abdul-Mateen II.

Wonder Man is as much Trevor Slattery's (Ben Kingsley) story as it is Williams', though.

A washed-up thespian and recovering substance abuser who we first met as fake terrorist The Mandarin in Iron Man 3, Slattery is an important cog in Williams' journey and the Marvel Phase 6 show's wider narrative.

Apprehended by the Department of Damage Control (DoDC) at an airport following his redemption arc in Shang-Chi, Slattery is coerced into helping the superhuman-monitoring US government agency keep track of Williams, whom it believes to be a highly dangerous individual.

Rather than position Slattery as a primary supporting character, though, Marvel installs Kingsley as the series' co-lead. It's a storytelling decision that not only allows Wonder Man to thoroughly examine this enigmatic and eccentric character's background, personality, and motives in greater detail than before, but also plays to Kingsley's strengths as an actor.

Utilizing the British icon's extensive affiliation with the Royal Shakespeare Company and penchant for playing characters as straight as possible, Wonder Man gives Kingsley a stage to really shine on. Equipped with Slattery's awkward and unfiltered persona, Kingsley is the uproarious fulcrum for the various hijinks that ensue throughout, too.

Just the two of us

Armed with either of these likeable albeit lost souls, Wonder Man would be an enthralling watch. The resolution to build its plot around both, then, is a match made in heaven.

From their initial encounters at a Midnight Cowboy screening and then the 'Wonder Man' auditions, where a regret-filled Slattery takes pity on Williams as he struggles to maintain his composure, they're a mesmerically mismatched pair that deserve to be added to the MCU's ever-expanding collection of charming double acts.

A two-hander in all but name, it's the kind of odd-couple dynamic that doesn't come along often, but produces all manner of on-screen fireworks from the outset.

It's a bond initially formed by their mutual love for their craft. Slattery sees his tactless and ego-driven self in Williams and uses his experience and calming influence to guide the less-seasoned actor through the murky world of Hollywood. It isn't long, though, before their student-teacher relationship blossoms into a genuine bromance – and, like me, you'll soon be rooting for them to individually and collectively succeed.

That said, I'll admit my desire to root for them was strained at times. Whether it's the emotionally unavailable Williams occasionally shutting out his mentor, or Slattery's duplicity in trying to keep both Williams and the DoDC onside – honestly, at one point, I genuinely thought Slattery would fully betray his new friend – theirs is a companionship buffeted by numerous outside forces. Ultimately, though, the earnestness of their buddy-cop dynamic, plus the hardships these tragic characters have endured, is what'll make you cheer them on.

And all the world's a stage

With its intimate, dual-character-study-first approach, Wonder Man plays more as a tragicomedy with sitcom elements than a biting commentary on the corporate Hollywood machine.

Sure, Wonder Man's metatextual layers run deep, and it doesn't shy away from the cutthroat nature of the entertainment business. However, it's not a fourth-wall-breaking project in the way She-Hulk: Attorney at Law or the Deadpool films are. Nor does it hold up a taunting mirror to Hollywood in the same way that The Studio does. Laugh-out-loud funny though Wonder Man is, it's not as outrageously chaotic or toe-curlingly hilarious in its takedown of the industry as that Apple TV Original is, or as scathingly satirical of the superhero genre like Prime Video's adaptation of The Boys is.

I don't consider those to be faults that Wonder Man possesses, but Marvel's latest small-screen offering isn't beyond reproach.

For one, its Williams and Slattery-absent Twilight Zone-esque fourth episode provides context for one of Wonder Man's early mysteries, but brings its primary narrative to a grinding halt just as it's really beginning to build momentum. Similarly, while its circumnavigation of Williams' complicated comic book history facilitates an easier MCU introduction for the character, this source material deviation will irritate some Marvel Comics purists.

And then there's the finale, which falls foul of the same problem that's plagued other Marvel TV Originals on one of the world's best streaming services. In its favor, it foregoes the archetypal – not to mention predictable – CGI showdown between hero and villain, which is a welcome departure from the Disney subsidiary's usual TV blueprint.

Nonetheless, just another five to 10 minutes showing how Williams has grown as an individual across its eight-episode run would've helped its pacing and stopped it from racing towards an ending that may be perceived as somewhat anticlimactic.

My verdict

Ultimately, though, those niggles didn't prevent me from having a blast with Wonder Man. Pardon the pun, but it's a wonderfully executed slice of television that's both a celebration of the performing arts and an eye-opening peek behind the curtain of an industry that continues to entertain us to this day.

It might be a bit on the short side, runtime-wise, and its narrative flow is a little uneven, especially in the first half. But, armed with a charismatic leading pair firing on all cylinders, and a story that'll resonate with anyone who's set out to achieve their wildest dreams and did so, Wonder Man deserves a standing ovation for proving nothing is impossible if you put your mind to it – and if you have a little help along the way.

Wonder Man releases in full on Tuesday, January 27 (North and South America) and Wednesday, January 28 (everywhere else). To learn more about the series ahead of launch, read my guide on everything we know about Wonder Man.

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For the Bruce Springsteen faithful – and probably those who feel that way about Jeremy Allen White – today, October 24, 2025, has been a long time coming, as Springsteen: Deliver Me From Nowhere is finally showing in movie theaters across the globe.

Now, for lack of a better analogy, the Boss has been the soundtrack of my life – well, for most of it – so I headed to a local AMC Theatre with Dolby Cinema in the great state of New Jersey for an opening-night preview screening.

I had a lot of feelings going in, especially since Springsteen: Deliver Me From Nowhere isn’t like most biopics. But I wouldn’t even call it that, because it focuses on a very specific, short time in Springsteen’s career. Instead of portraying the many months spent on getting Born to Run just right or even Born in the U.S.A.’s release or Springteen’s rise to stratospheric stardom, it turns the spotlight onto one of his darker chapters – one that Springsteen became more open about in his memoir Born to Run and in Warren Zanes’s Deliver Me From Nowhere, which is the book that inspired this film.

So, let’s dive into it – and fair warning, I’ll have some mild spoilers ahead, though it’s kind of comical as this is based in reality, and we all know about Nebraska.

Inside Nebraska

Warning: some spoilers for Springsteen: Deliver Me From Nowhere lie ahead.

Springsteen: Deliver Me From Nowhere is a lot better than I was expecting it to be. It’s a good film that’s more like a deep character study of a specific time in Bruce Springsteen’s life. It jumps from before, during, and a bit after the recording of Nebraska, giving a deep dive into his mental health – both Bruce’s and his family’s – and his upbringing. The latter is done through black-and-white flashbacks, which at times feel a bit out of place but do an excellent job of at least rooting the pain and depression.

It opens showing a glimpse into that upbringing, but soon ties the anxiety and rush of an encounter into the rush and thrill of performing Born to Run to close out The River Tour. This is our first glimpse, and one of the few, of the E Street Band during Springsteen: Deliver Me From Nowhere.

I never really got comfortable believing Jeremy Allen White was entirely the embodiment of Bruce Springsteen, but he sure gives off the look of a rock star known for energetic performances. Maybe most importantly, Allen White doesn’t just do an imitative voice of the Boss but, in my opinion, does a lot more with body language and how he presents himself.

From there on out, we see the relationship between Jon Landau – played by Jeremy Strong – and Bruce unfold on screen, and it matches the real-life relationship. They were two friends forever, who clearly had each other’s backs, and Landau definitely does a masterclass in being an agent, manager, and friend – fighting for what the artist wants.

We see Bruce then settle into a rental in Colts Neck, dive deep into some reading, and eventually watch Terrence Malick’s 1973 film Badlands, which pushes him to research a bit more and eventually start on a track of songs dubbed Starkweather, which becomes Nebraska. Seeing this process depicted on the big screen, and the historic room with the orange shag carpet, is something of a bit of a holy grail. And Jeremy Allen White does get the singing voice pretty close, as well as the guitar playing, though there is a unique blending. I also need to give a shout to the audio quality in this Dolby Cinema theater, but also to the mixing team on Springsteen: Deliver From Nowhere, it is done excellently. And there are a few tracks where the singing shifts from Jeremy Allen White to Bruce Springsteen, and vice versa.

We also see Bruce go on a few dates with a character, Faye – who in reality is a composite, and we see that struggle as he runs away from fame and goes on some self-discovery, which in turn is himself feeling like an outsider in his own body.

The human story behind the music

Beyond the recordings, I think what really hit the most with me was the visual telling of Springsteen’s struggles with his own mental health and that of his father’s, and the repairing of their relationship. While it’s rooted in fact, director Scott Cooper certainly took some liberties here and sped up the timeline.

It’s rare, I think, for Bruce himself to be so open with showing, telling, and reliving this, and Jeremy Allen White really shines in these scenes – he depicts the feeling of an outsider in their own body perfectly, acting the build-up to a breakdown and a panic attack with realism. Allen White also shows the struggle of realizing something is up but not knowing how to seek help – remember this is in the 1980s, specifically 1982.

I think those are the most powerful moments, and even if the pacing could be slow at times, it lets these moments of the film really build up and be delivered with ample time. For those who have read Born to Run or maybe watched Springsteen on Broadway, I think this acts as a really nice introspective and deep dive into Nebraska.

Yes, it’s more niche than, say, Born to Run, Born in the U.S.A., or Springsteen’s other work, but it’s also the most raw, natural, and, in the end, more impactful. It’s an important aspect of how the Boss became the Boss, and while I had my doubts going in, the result is an impactful, good film that’s very deep, emotive, emotional, and ultimately a close character study.

Yes, it can be hard to get past the fact that Jeremy Allen White is not Bruce Springsteen, but thanks to the attention to detail, the physicality, and the close study, it’s believable – minus the looks.

Ultimately, Springsteen: Deliver Me From Nowhere explores the process of coming to terms with childhood trauma and the impacts of that, which can sit with you and become a theme of life as you move on. We’ve known Bruce’s family has had mental illness, and he's had his own demons; the art comes from that to a degree.

It may not hit every note perfectly, but I think fans will like it – it’s an honest, heavy, and deeply human look at Springsteen during arguably one of his darkest periods, one that still showcases the music-making process with just a taste of E Street Band greatness.

Ultimately, an antithesis of most biopics – a good thing.

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Spoilers follow for all four episodes of Marvel Zombies.

Marvel Studios has a patchy record when it comes to its animated projects. Sure, there have been hits like X-Men 97, but other productions – in the main – like Eyes of Wakanda and What If...? have flattered to deceive.

It's the latter that Marvel's latest animated show, Marvel Zombies, takes its cue from. A continuation of the story told in What If...? season 1 episode 5, titled 'What If... Zombies!?', the comic giant's first adult animated TV series is undeniably its most mature offering to date.

But, for all of its delightfully gory action and focus on the next generation of Marvel superheroes, it's weighed down by the same storytelling issues that have plagued many of the studio's other recent animated works.

The new avengers

A four-part miniseries, Marvel Zombies is set five years after the initial zombie outbreak. A cataclysmic event caused by a virus that Dr Hank Pym brought back from a trip to the Quantum Realm in 'What If... Zombies!?', the planet Earth of this universe, one that sits adjacent to the Marvel Cinematic Universe (MCU), has become a dystopia overrun by the undead.

Pockets of humanity remain, though, including a desperate groups of superpowered individuals who cling to survival against the odds. But, when a trio of heroes – Kamala Khan/Ms Marvel, Riri Williams/Ironheart, and Kate Bishop/Hawkeye – discover a key that could end the zombie scourge, the group embark on a dangerous, globetrotting journey to save their world.

Marvel Zombies opening with the aforementioned triumvirate is intentional. Khan is arguably the protagonist of this story, with the optimistic and empathetic New Jersey-hailing hero being the center point that the plot is built around, as she reluctantly and then boldly leads the charge to end the zombie plague.

In Williams, Bishop and Khan, though, Marvel Zombies immediately sets out its stall to primarily focus on the new wave of superpowered beings who have begun to populate the MCU post-Avengers: Endgame.

Zombies doesn't solely rely on that intrepid trio, either. From Shang-Chi and members of the Thunderbolts* to Moon Knight and Blade – the latter pair are admittedly spliced together to form a new yet incredibly cool individual called Blade Knight – it's highly satisfying to see the next generation of Earth's Mightiest Heroes take center stage.

That said, it's somewhat bittersweet that animated projects, such as What If...? and its zombie-based spin-off, mark the first time we've seen some of these popular heroes since their live-action MCU debuts – or, in Blade's case, who's only 'appeared' via an off-screen cameo in Eternals, at all.

An indictment of Marvel's scattergun approach post-Endgame that's seen the comic titan throw stuff at the wall and see what sticks with audiences, it's a great shame that many of Marvel Zombies' leading lights are only now getting another chance to shine, albeit via an animated Disney+ production.

Irksome though that is, I will admit it was really fun to see interactions between characters who are yet to cross paths in the MCU.

While all-too-brief to be emotionally impactful, the Khan-Bishop-Williams dynamic is incredibly likable, as is the broader team-up between Khan, Red Guardian, Yelena Belova, Blade Knight, Shang-Chi and the latter's bestie Katy that becomes the core collective for much of Marvel Zombies' run. I regularly revelled in seeing these individuals bounce off each other and re-demonstrate that whip-smart humor that Marvel projects are renowned for.

For all of the fun-filled rapport on display, though, Marvel Zombies was a bit too quippy and corny for my tastes on occasion. I wasn't expecting the Marvel Phase 6 TV series to be a wholly miserably affair. Nonetheless, seeing Red Guardian and Zombie Captain America duke it out in what I can only describe as a slapstick showdown, or listening to eye-roll inducing jokes from FBI agent Jimmy Woo, just didn't fit the mood or tone of the post-apocalyptic horror reality that Marvel Zombies takes place in.

The walking dead

Speaking of the hair-raising universe that Marvel Zombies exists in, Marvel doesn't hold back in making its first TV-MA project as gruesome as possible.

Marvel Zombies' first trailer teased its brutality and, while I had hoped for a bit more in the way of ultra-violence, it goes harder than any other Marvel Studios movie or TV show to date. I cannot stress this enough, but it's absolutely not family-friendly, nor is it for those who are squeamish or of the faint of heart.

If you can stomach its hyper-violent tendencies, though, Marvel Zombies will reward horror fans through its clear homages to some fan-favorite genre fare. Indeed, whether it's the dread-inducing 'Hardhome' episode of Game of Thrones, or scenes that reminded me of similar sequences in World War Z and Train to Busan, some of Marvel Zombies' best set-pieces and scenes add real cinematic flair to proceedings that occasionally conceal the mid-tier art style it retains from What If...?.

However, all the horror genre references in the world, nor positive things I've said about Marvel Zombies, can disguise my frustration with its wider narrative, though.

I'll preface my criticism by saying there's the skeleton of an engrossing story here. Indeed, its plot makes some interesting revisions to the world-building aspect of the MCU. The recycling of certain MCU technology to try and thwart the threat posed by the undead is put to good use, too.

Add in the previously discussed new-look Avengers team, the camaraderie that exists between them, and the prospect that none of them are immune from becoming the zombie horde's next victim, and I actually appreciate some of the creative and narrative swings that Marvel Zombies takes.

Nevertheless, Marvel Zombies is hamstrung by irritating storytelling components.

Whether it's the rudimentary MacGuffin positioned as the answer to our heroes' prayers, the decision not to pick up the story immediately after the cliffhanger ending in 'What If... Zombies!?' or a spate of character deaths that are significantly lacking in the gut-punching and/or tear-jerking department, at times Marvel Zombies can feel as emotionless as the reanimated corpses that inhabit its world. That's before we even get onto my biggest gripe about a major narrative inconsistency that occurs in its final episode, which not only changes a key moment near the end of 'What If... Zombies!?', but is practically waved away without explanation.

Part of Marvel Zombies' plot-based problems might be the fact it's a glorified TV show. Originally, it was designed to be a two-hour movie but, due to the complexities of the rights surrounding Spider-Man – don't worry, the lead of 'What If... Zombies!?' plays a part of proceedings, albeit in a reduced role – that prohibits Marvel from using him in a feature film capacity without Sony's consent, Marvel Zombies was turned into a limited series.

As a Spidey fanboy, I'll always take any webslinger-based storytelling and action where I can. However, there's no denying that his ongoing inclusion in this What If...? spin-off upsets Zombies' narrative rhythm.

My verdict

I really wanted to like Marvel Zombies more than I did. That doesn't mean it's another average or poor offering from Marvel – indeed, there's frightful fun to be had with its gratuitous violence, unexpected team-ups and universe-altering stakes. Based on its ending, there's clearly an appetite to continue its story, too.

Nonetheless, if X-Men 97 is the high bar with which we judge projects developed by Marvel Animation, Zombies is something of a let down. That might be overly critical of me to say, especially when I also consider Zombies to be a better and more enjoyable Marvel TV Original than What If...? and Eyes of Wakanda.

Given my high expectations and excitement for Marvel's first adult animated show, though, I can't mask my disappointment for Marvel Zombies as an overall package. If its creative team gets another bite at the cherry with another season, I'd love nothing more for them to cure Zombies' narrative ailments. For now, though, Marvel Zombies is another project from the comic giant that'll shuffle onto Disney+ and likely be forgotten about within a week or two.

Marvel Zombies is out now in full on Disney+.

When I was a kid in the early 2000s, Lindsay Lohan was across the holy trinity of sleepover movies: Mean Girls, Confessions of a Teenage Drama Queen and Freaky Friday. Each is a sacred text, a rite of passage watched until you and your friends are all word perfect, songs and scenes ingrained into your memory well into adulthood.

Thankfully, Hollywood is hellbent on resurrecting as many existing IPs as it possibly can, meaning Disney is giving us girls now in their 30s a sequel to the 2003 body swap comedy Freakier Friday. In the original movie, a mum and daughter swapped bodies, which allowed them to realize how they’ve been unfair to the other (don’t worry, they got switched back in the end). Lindsay Lohan is now on the other side of rebuilding her post-child star life and ready to reunite with Jamie Lee Curtis, and the result is absolutely glorious.

Mild spoilers for Freakier Friday ahead.

Let’s start with the bad news: Lohan’s Anna and Jake (Chad Michael Murray) are no longer together in Freakier Friday, despite their will-they-won’t-they romance being the entire plot of the first movie. Anna has decided to go parenthood alone in Freakier Friday, raising now 15-year-old daughter Harper (Julia Butters) on her own. Tess (Curtis) is the psychologist-turned-podcaster we remember, intent on helicopter grandparenting as best as she can. Anna meets fellow parent Eric (Manny Jacinto) when Harper gets into trouble with his daughter Lily (Sophia Hammons), and the two fall in love. When Anna and Eric soon plan to get married, a (frankly terrible) mystic at her bachelorette party swaps spirits between the quartet, and it’s a race against time to fix it.

When I found out that the storyline beats were almost exactly the same as the original movie just with additional characters I didn’t want, and even when I saw the trailer, I was braced for the worst. However, nothing could have prepared me for the spring in my step immediately after watching the full movie, which is a lightness I haven’t felt through films for decades. Freakier Friday ticks all the boxes we’re desperate for it to (feel-good storytelling with a light-hearted touch, Lohan at her best, silly nods to girlhood) and that’s going to be a lot of happy young women who’ve been left unfilled by mainstream media.

Freakier Friday is far from perfect, but it is a millennial teenage dream

The best things in life are those that are perfectly imperfect, and in an industry that’s striving for AI greatness and motion-blended superhero glory, that’s refreshing. As a Disney movie, Freakier Friday is not trying to be anything else – it’s not trying to compete as a box office smash, and it’s not trying to get a new audience base. Instead, it’s a love letter to its fans from way back when, and in turn, for Lindsay Lohan, too.

For me, the best part of Freakier Friday is seeing a happy, healthy Lohan back where we want her and absolutely loving it. She thrives working with Curtis and Murray, and it’s almost as if no time has passed. Freaky Friday clearly created an environment she felt comfortable in, meaning she could give her whole heart to the sequel when the timing was biologically right (according to Curtis, Disney was approached when Lohan could viably have a teen daughter).

Lohan turns up to our premiere in a nod to the final outfit she wore in Freaky Friday, and the love in the room for what they have created is palpable. It shows in every one of her scenes, effortlessly finding the balance between legendary Disney icon and a comeback kid proving she never lost the acting chops she was once heralded for. Between them, Lohan and Curtis go full throttle back into the 2000s, with plenty of references to their original movie through a stylised narrative structure typically left behind in the noughties (think school food fights, comedic detention scenes and impromptu fashion shows).

If you’re a fellow child of the noughties, Freakier Friday has this wonderfully rare ability to suspend time, leaving the everyday stresses of 2025 life at bay. In this bubble, the biggest worry is seeing whether Pink Slip will play ‘Take Me Away’ (more on that later), and if Anna will make it to her wedding on time. There’s love, laughs, and plenty of Easter eggs, and it’s genuinely the closest we can come to travelling back in time.

New additions hold up just as well, for the most part

However, this doesn’t mean the new elements in Freakier Friday are left out in the cold. There’s a fresh take on modern social stereotypes that doesn’t feel as though someone’s mom has written it – instead the movie comes across as understanding what it means to be a young woman in the 2020s. Nobody is taking themselves or anything around them too seriously, meaning the movie has flexibility to lean into the unhinged storytelling that children’s TV was fixated with 20 years ago.

The only place this doesn’t entirely work is with popular singer Ella (Maitreyi Ramakrishnan), who Anna now manages. She struggles to feel like a popstar that would genuinely appeal to the TikTok generation, shoehorned into the plot just so Anna has enough emotional background to make up for her split with Jake.

This brings me to my biggest gripe with the sequel – you cannot continue a well-known 2000s IP and not use Chad Michael Murray properly. He was the biggest onscreen heartthrob of a generation, and I was genuinely overcome with nostalgia by seeing him in the flesh just before watching the movie. I hope he’d still be with Anna (or at the very least be back together by the end), but he’s sparsely seen and is only used to prop up jokes coming from Tess. There’s no explanation for why they’re no longer together, and, without spoilers, there’s certainly a missed opportunity to extend his connection to the movie’s main dilemma.

But enough about Chad (I’ll just rewatch Sullivan’s Crossing for a Murray hit). What about Pink Slip? Yes, the iconic fictional band is back together, and yes, you’ll see the entire back catalog. I recommend watching with your best friend for the full emotional effect of belting the words as the band has their onscreen reunion, albeit you might be a bit thrown off by a jarring edit that goes against the original film’s soundtrack. Still, this is a small price to pay for a cinematic moment of dreams, and boy, seeing Christina Vidal back where she belongs is mine.

Frankly, I’m impressed with Freakier Friday. The minute a sequel comes out decades after the original, it’s set up for a losing streak, but Lohan and Curtis’ effortless embodiment of 2003 means the overall premise works despite the huge chunk of time in between. Cinema buffs will say it’s terrible, and they’re probably right. But Freakier Friday is a worthwhile sequel, and it’s definitely what I – and I imagine other noughties children – want.

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Slight spoilers follow for Ironheart.

Ironheart is an underdog in every sense of the word.

Despite man-of-the-moment Ryan Coogler's involvement, the final TV show of the Marvel Phase 5 era was mostly written off well ahead of release; few other live-action Marvel TV projects have faced an uphill battle to convince Marvel Cinematic Universe (MCU) devotees and casual fans alike to watch it.

Write off Coogler, the comic giant, and the series' titular hero at your peril, though, because Ironheart is an impressive Disney+ TV Original that largely hits its marks. Yes, it falls into the perennial traps that other small-screen MCU projects have, but after watching all six episodes I was pleasantly surprised by its style, energy, and emotionally impactful story that explores themes around family and flawed heroes.

Tech check

Set days after Black Panther: Wakanda Forever, i.e., the MCU movie in which Riri Williams (Dominique Thorne) made her live-action debut in, Ironheart opens with the eponymous character returning to her hometown of Chicago. The reason? She's kicked out of the Massachusetts Institute of Technology (MIT) for selling completed assignments to other students to fund development of her Iron Man-inspired super-suit.

Financially broke and suit-less – after the self-made prototype suit, which she steals from MIT, malfunctions on the flight home – Riri soon crosses paths with Parker Robbins/The Hood (Anthony Ramos). The mysterious, magical cloak-wearing leader of a street gang, Robbins preys on Riri's ambition to build a new, souped-up suit by saying he'll fund her creation in exchange for helping his crew conduct heists.

Central to Ironheart's story is the internal struggle Riri continually wrestles with. At her core, she's a good person – indeed, due to a deeply traumatic event that occurred years prior, Riri wants to "revolutionize safety" by creating a suit that can be used by first responders and other emergency services personnel.

It's that philanthropic nature, among other things, that draws parallels with a certain Tony Stark, whose ghost looms large over yet another MCU project. However, given their comic book ties – Stark is a long-time mentor of Riri's in Marvel literature – Stark's posthumous influence is more valid here than in prior MCU productions, even if the namedropping is occasionally incessant.

That said, while Riri wants to build on Stark's legacy and make something "iconic", her unwavering ambition and Stark-sized ego occasionally paints her as an anti-hero in the vein of Breaking Bad's Walter White or, in more familiar MCU terms, Frank Castle/The Punisher and Loki. Riri's a more complicated and naïve hero than we're used to seeing, and that make the decisions she makes, and the consequences spawned by her actions, all the more fascinating.

Fight off your demons

The dichotomy at the heart of Riri's story is further heightened by the moral complexities and grief born out of the loss of her stepdad Gary (LaRoyce Hawkins) and best friend Natalie (Lyric Ross) in a random act of gun violence.

This excruciatingly painful event is not just a driving force behind Riri's ambition to make the world a safer place, but also a moment she refuses to confront. Such a deep-seated mental and emotional scar is a breeding ground for PTSD and panic attacks, which here are handled with greater precision, creative flair, and sensitivity than Stark's post-Avengers mental health problems were in Iron Man 3.

In Thorne, Ironheart has a talented lead with the swagger, emotional nuance, and comedic timing – despite its melodrama, occasional toe dips into horror, and suspense-filled Ant-Man-like heisting, Ironheart is a surprisingly funny show – to bring all aspects of its protagonist to life, too.

She's not the sole bright spot among Ironheart's cast of characters.

The scene-stealing Ross, who plays Natalie in flashbacks and also portrays N.A.T.A.L.I.E – an AI construct like Iron Man's J.A.R.V.I.S. and F.R.I.D.A.Y, and Black Panther's Griot, who Riri inadvertently creates – helps to bring a playful and squabbling relatability to the dynamic Riri shares with both characters. The pair's natural rapport is evident from the outset and, while the way in which N.A.T.A.L.I.E helps to strip away Riri's metaphorical armor to allow the latter to process her grief is a little on the nose thematically, it's a 'bestie' dynamic that's full of real heart.

Dancing with the devil

Ross, Riri's concerned and warm-hearted mom Ronnie Williams (Anji White) and Natalie's brother Xavier (Matthew Elam) notwithstanding, Thorne shares the most screentime with Ramos' The Hood, whose introduction is not only novel in its execution, but also happens very early on.

Some Marvel TV shows are guilty of prolonging their narrative setup, but Ironheart gets to the crux of its primary plot within the first 30 minutes of its premiere. That might seem quick, but I can fully get behind a story that tackles its meatier content sooner rather than later – and which still maintains an air of mystery despite its fast-paced nature.

This doesn't mean Ironheart's narrative structure is consistent in its quality. Some episodes feel hurried and, by proxy, don't spend enough time reflecting on character choices or fleshing out certain plot threads. It also follows in most MCU TV series' footsteps by rushing through its finale that, spoilers notwithstanding, sets up a possible sequel season and teases wider implications for the MCU via the arrival of a character MCU fans have waited years for.

Ironheart has a semi-regular issue with its villains, too. Fans were full of praise for Ramos' take on The Hood when the show's first full clip was released online, but he feels a little underdeveloped in Ironheart's first half. It's not until the series' second three-episode batch that he's fully realized as a menacing antagonist through his powerset, and positioned as a sympathetic villain via his backstory. In certain lighting, his magic-infused cloak is a tad garish, too, but I suspect that's intentional.

Joe McGillicuddy (Alden Ehrenreich) falls into a similar category. A fascinating mix of bumbling and unhinged with his own tragic past, Joe bonds with Riri over their shared technical expertise and grief until their budding camaraderie is shattered by events midway through Ironheart's six-episode run. The fallout creates another conflicted antagonist for Riri to deal with but, while Ehrenreich does a fantastic job of capturing Joe's betrayal of trust and emotional turbulence, his evolution from timid ally to complicated foe happens too quickly for my liking.

Still, Joe's transformation, along with Riri's magic-based suit upgrade and other references to the MCU's mystical elements (there are as many ties to Doctor Strange as there are to Iron Man here), satisfyingly blur the lines between the magic-versus-technology storyline we've been sold. Yes, Ironheart pits these diametrically opposed forces against each other, but also acts as a collision point where they can come together and create something wholly unique for the MCU.

What's more common is the at-times clunky and stifled dialog, which some fans pointed out in Ironheart's first trailer and isn't aided by hard cuts between specific scenes, particularly in early episodes.

It's also another Marvel production that refuses to explain certain things with enough intent. Sure, the MCU is a franchise where superpowered beings run riot and parallel universes exist among other things, but I don't think I'm asking for much by wanting a bit more story exposition, especially for viewers who haven't seen Black Panther 2. I guess my Wakanda Forever ending explainer will have to do!

My verdict

Ironheart exceeded my expectations with its smaller-scale, family-oriented, street-level-style narrative that reminded me of Hawkeye, Ms Marvel, and Daredevil: Born Again, all of which I similarly enjoyed. I feared the worst when Marvel confirmed Ironheart's unusual release schedule, but its two-part release format lends itself well to the story it tells.

It isn't the best Marvel TV Original, but I suspect Ironheart will prove a lot of people wrong. It'll be a tough ask to win round anyone who's already dismissed it but, if it does so through mine and other critics' reviews, plus positive word of mouth, then Coogler, showrunner Chinaka Hodge, and the rest of its chief creative team might have built something iconic for Riri Williams after all.

Ironheart episodes 1 to 3 are out now on Disney+. Read my Ironheart release schedule article to see when its final three episodes will be released.