Thunderbolts* Writer Eric Pearson Opens Up About the MCU’s Latest Adventure

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As a die-hard Marvel fan and screenwriter, I’ve immersed myself deeply in the Marvel universe. Fresh out of the Marvel Writers Program, I worked on various short films for the Marvel One-Shots series. Later, I penned episodes for the TV show, Marvel’s Agent Carter. My journey continued with feature films like Thor: Ragnarok and Black Widow, but it’s the newly released Thunderbolts* that I feel most honored to be a part of. This film brings together some of Earth’s most dysfunctional superheroes, who must band together to combat an all-powerful enemy while grappling with their own inner struggles.

In Marvel Studio’s “Thunderbolts”, I, as a film enthusiast, find myself eagerly anticipating the assembly of an intriguing ensemble of antiheroes: Yelena Belova, Bucky Barnes, Red Guardian, Ghost, Taskmaster, and John Walker. These complex characters, each tainted by their past actions, find themselves in a perilous predicament orchestrated by Valentina Allegra de Fontaine. With their collective futures hanging in the balance, they are compelled to embark on a risky mission that may expose the deepest shadows of their pasts. Will this fractured team disintegrate under the weight of their internal strife, or can they find salvation and coalesce into something greater before time runs out?

In an interview brimming with spoilers for ComicBook, Pearson discussed potential Thunderbolts teammates, Sentry’s transformation into a villain, the upcoming series The Fantastic Four: First Steps, and other intriguing topics.

Could you tell us about the directive given for Thunderbolts? Which part of the Marvel Cinematic Universe were you interested in delving into?

*Thunderbolts is a fictional team appearing in American comic books published by Marvel Comics. In the comics, they are depicted as a group of villains who pose as heroes, but their intentions and motivations vary throughout different storylines. The Thunderbolts have also included some heroic characters who were undercover or had been mind-controlled. The team was created by writer Kurt Busiek with art by Mark Bagley, making their first appearance in The Incredible Hulk #449 (June 2003). They are often considered an antihero team and have been featured in numerous stories since their creation.

Eric Pearson explains: I didn’t have any specific instructions or pre-existing plan for a Thunderbolts film. Instead, I seized an opportunity to create one. While working on Black Widow, I was fortunate enough to observe the impressive rise of Florence Pugh and the exceptional chemistry she shared with David Harbour. This inspired me to discuss potential future projects with our producer, Brian Chapek. The idea for the Thunderbolts emerged during these discussions, and I pitched it to Kevin Feige initially, but that didn’t work out. Subsequently, I developed another pitch, which eventually evolved into the version of this movie we see today.

In this revised version, some aspects have shifted while others remain constant. One key character undergoes significant transformation, yet Valentina’s determination to eliminate all her incriminating proof persists. There are tangible signs of human nature at play here. She’s confining these pieces of evidence in a shelter, and it seems they will turn against one another – but then they discover the truth. Cooperation becomes essential, though it doesn’t come easily until they confront an emotional quandary to vanquish a seemingly antagonistic villain. What truly touches me about this story is that it originated from nothing, like a blank page. I was captivated by both Ragnarok and Black Widow, but this tale stood out because it started from scratch and moved forward with momentum.

How much leeway did you have over which members to include in the roster?

It seems like you’re discussing some changes made during the creation process of a story or project.

Initially, I had proposed Red Hulk as the antagonist, but they rejected the idea, which left me frustrated at first, but now I’m content with The Sentry in that role. It can be frustrating when you think you have everything planned out and then are told you can’t go ahead with it. There were drafts where Bucky wasn’t included, as well as some where Bill Foster was. Lawrence Fishburne, who plays Ava’s foster father, has a significant role that goes beyond a cameo and culminates in a moment reminiscent of Goliath, eventually joining the team near the end of the story.

It seems like there was a story involving two elderly men, one being David Harbour, who were playing father figures rather than actual fathers. I can’t recall the specific reason for this plotline, perhaps because his character lacked the same kind of traumatic past that other characters shared, which served as a common thread.

Did Director Jake Schreier consider including Man-Thing as a member of the team, or were there other characters he considered but ultimately did not include in the final lineup?

Jake showed great enthusiasm for working with Man-Thing. Instead of Zemo being absent from the project, discussions ensued on how to include him without disrupting the narrative we aimed to create. It wasn’t about denying the audience or our director; rather, it was about finding a solution that wouldn’t compromise our storyline.

What stood out to me was discovering a narrative that wasn’t simply a retelling of Suicide Squad. Given the two Suicide Squad films we’ve had recently, I felt no desire to exclaim, “Here’s another team-up story!” It wasn’t due to the story being poor, but rather because it was a familiar tale for audiences. They might sit there thinking, “I recognize this plotline.

Man-Thing served as an enigma or proof of Valentina’s destructive intentions, but we struggled to fit him into the narrative in a coherent manner. He’s quite an unforeseeable character, indeed! When you see Man-Thing, it’s like saying, “What on earth is that?” Now, if you’re dealing with Bob, you’d ask the same question! It’s puzzling why this ordinary man is here when we have Bob, a swamp monster. You’ll find yourself focusing more on the swamp monster rather than Bob, who required considerable attention because we needed to develop the transition from Bob waking up to realizing his immense power, which reveals the true Robert Reynolds – burdened with baggage and striving to be good, yet trapped by his self-doubts before he becomes overly powerful.

For hours on end, we likely discussed whether to use “Capital N” or “lowercase n” in the New Avengers. Every suggestion was considered, but what was clear was that we had a story we were passionate about, one with a consistent theme. We didn’t want to compromise this narrative for a visually appealing, whimsical character.

Could you share with me the nature of the discussions held about Taskmaster’s demise and its potential implications or objectives?

The most significant alteration was zero to none. This was the major shift. When filming began, I was in Burbank, busy with the Fantastic Four project. Upon reviewing the edited version, the greatest transformation from my script to the final one was Taskmaster’s demise. In the last draft I handed over, Taskmaster was still alive. I was as taken aback as you were. Since we haven’t had a detailed conversation about this, I can only guess, but Jake mentioned he wanted to heighten the tension and create a shocking moment, which also conveys “This is a world of danger.” We show these characters are evil, yet they display goodness frequently in this movie. The scene where it’s like, “They have done cruel things…”, but I didn’t make that decision and was quite surprised when I saw it.

How did you land on Sentry as the big band?

In simpler terms, the success of Forrest Gump can be seen as a stroke of good fortune. However, one might argue that luck often coincides with being well-prepared and finding oneself in the right circumstances. For instance, during my time at the Marvel Writers’ Program between 2010 and 2011, I read numerous comics. One of these was a Sentry comic. In our attempts to script Thunderbolts, I always felt that the story should conclude with a hug, featuring a villain they couldn’t defeat. This villain wasn’t particularly powerful, but what made them unique was their emotional depth. So, instead of a physical victory, I wanted them to experience an emotional breakthrough and end the story with a hug.

Valentina devised multiple strategies to manipulate John Walker, leading him to believe his Super Soldier Serum was decaying and required regular upgrades. In reality, she was secretly implanting a “Hulk Bomb” or so-called “A Bombs,” an obscure comic book character ability. This allowed her to trigger his rage, transforming him into a monstrous form. Although this was entertaining, it didn’t always work as intended. It provided an opportunity for Walker to be portrayed as detestable and then become the one they had to rescue, marking a significant turning point in his character development.

Inspired by a comic where Superman was blonde and had Satan as his alter-ego, I revisited the comics and discovered The Sentry, who embodies pure goodness, and The Void, embodying pure evil. I then pondered, “Couldn’t this be less vague and more about self-esteem versus depression, heroic ambition versus isolation and loneliness?” This concept was appealing because it combined all our characters’ journeys into a single antagonist, providing the narrative depth we desired.

Instead of avoiding action-packed superhero scenes that fans love from Marvel films, we decided to present something different yet exciting – a spectacle I refer to as “the Squash Match,” a term borrowed from wrestling. It’s when a new villain is introduced and quickly defeated by a more powerful character, showcasing the latter’s extraordinary abilities. In this case, The Sentry demonstrates his divine powers, leaving viewers in awe. This segment provides the enjoyable Marvel action you expect.

Moreover, the movie aims to explore themes of overcoming past struggles and forming meaningful connections with others, rather than simply judging or rejecting people. As such, characters are forced to work together, leading them to realize their similarities. This revelation encourages Yelena to embark on a quest to find the central character, which ultimately leads to her walking into “the void.”

Fortunately, I had been part of a writer’s program, and my persistence paid off in ensuring that Bob and The Void remained crucial elements of the story. At first, there were attempts to eliminate these characters or replace them with generic goons like Valentina’s soldiers. However, I strongly argued that Bob was vital to the movie’s core message and development.

This movie serves as Sentry’s origin story. How did you want to present him?

The concept of the comic book character is incredibly reminiscent of comic books. “I’ve been around since time immemorial, yet you all recognize me, but my power is immense. My dark side is so potent that I had to be wiped from your collective memory.” This idea is too vast for a single film that isn’t solely focused on The Sentry. By incorporating certain elements – his memory loss and the ability to manipulate it – we aimed to delve into Bob as a complex individual, grappling with his past traumas.

Everyone experiences moments of high self-esteem and low self-worth, sometimes even blaming themselves for things. Giving these characters superpowers seemed like an engaging method to delve into how each character deals with their individual struggles and past traumas.

Are you seeing Thunderbolts* as a tale of redemption? Did the characters grow or improve as a result of this experience?

I’m convinced, without a doubt. I don’t believe there’s much difference between them. I feel they’re handling things more effectively. I suspect they have individuals who… The ending scene is fantastic. I didn’t compose it, but I’m envious of it. I adore that they aren’t a smooth-operating team. They continue to be known as the Thunderbolts, despite being called the New Avengers. They quarrel among themselves. They still grapple with feelings of inadequacy. They whine about lack of involvement and trivial matters such as branding and nonsense…. Yet they’re united. That, I believe, is what propels them forward – their ability to take some satisfaction from their work. I still think they’re the same kind of whiny individuals, which I appreciate. I find it much more intriguing to focus on characters who aren’t popular and try to create something entertaining with them. It’s simpler to close a deal with Glengarry leads. It’s more challenging to do that with John Walkers and Ghosts.

Fans of comic books can’t get enough of seeing their favorite heroes go head-to-head. That’s why Captain America: Civil War was so exciting, as the Avengers engaged in an epic battle amongst themselves. So, what kind of rivalry does the ending establish between the two opposing Avenger teams?

If someone were to force me to list the members of another team, I’m not sure I could. I thought you meant the Fantastic Four, but you’re talking about Sam Wilson and his own group, which is interesting because more teams keep popping up. If there ever comes a time when all news teams have a fight like in Anchorman, it would be just like in Marvel movies, where even the Guardians of the Galaxy get into fights with characters like Tony Stark, Doctor Strange, and Spider-Man. I wouldn’t say this is going to happen for sure because I don’t know what will happen. But if they do decide to create such a scene, I’d definitely watch it. It seems like a clever way for villains to succeed when heroes are busy arguing among themselves. A villain like Victor Von Doom would definitely take advantage of that situation. So yes, something like this wouldn’t surprise me at all.

Despite not writing the end credit scene, it nevertheless sets up the introduction of the Fantastic Four within this universe. Given that you were involved in the scriptwriting for the Fantastic Four: First Steps, could you share what aspects of Marvel’s original team appeal to you the most?

Initially, I found them mysterious and unfamiliar. However, what truly captured my interest was “Life Story,” a series that feels like several books rolled into one. With approximately six issues per volume, the narrative spans across decades: the ’60s, ’70s, ’80s, ’90s, and 2000s. Each character takes center stage at different points, with Reed Richard being introduced first as he faces an impending threat from Galactus with seemingly no way to prevent it.

What captivated me about this story was the portrayal of a world revering these characters as saviors, with Reed being the most intelligent being in existence, Sue having an immense heart and solving political issues, Johnny exuding coolness, Ben being the foundation, and the looming threat of Galactus. Reed, despite his intelligence, has no solution for this impending doom. The fear and uncertainty as the heroes grapple with their responsibilities and the world’s expectations is what I found particularly compelling. The notion that these all-knowing beings are now confronted with an overwhelming problem resonated with me deeply. I hope the movie preserves that sense of fear, showcasing the tense moments leading up to the resolution.

Thunderbolts* is in theaters now.

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2025-05-05 21:11