Amid that crowded Marvelous landscape, the other superhero to be is SONY’s Marvel character Madame Web, debuting for streaming here on Netflix. It didn’t quite land Sony a spot in Nielsen’s streaming ratings top 10 for the week ending 2 July but the web spun by Madame Web is a strand in the tapestry of SONY’s Marvel Universe, full of psychic talent and crime-fighting drama.
Leading the charge is Cassandra Webb (aka Madame Web, played by Dakota Johnson), ‘a blind psychic who walks the dark city streets with her awesome powers’. The movie was released on Valentine’s Day 2024 to lukewarm reviews but a belly-busting box office, pulling in more than $330 million worldwide. Superhero stories will never die, and the folks at SONY sure know how to spin a yarn.
Madame Web, its newest tent-pole, starring Dakota Johnson, competed with other Netflix films appearing over the course of that week, including Stranger Things season 5, which accumulated 1.4 billion minutes of viewing – the most popular film of that week; The Witcher season 4 (861 million minutes); Wednesday season 2 (425 million); and many others I’ve not mentioned. The data shows how difficult it is for new stars to penetrate the skies, even when supported by the Marvel branding and the SONY movie machine.
Following on from the announcement of Madame Web, SONY appears to be planning a roster of exciting new projects to build out its Marvel universe. Sequels to Kraven the Hunter (2023) and Venom 3 (2024) are currently in development, while a sequel to Spider-Man: Across the Spider-Verse (2023) is set to release in 2025. These projects highlight SONY’s attempts to enrich its Marvel universe with more depth, diversity and dynamism. Taken together, these announcements clearly indicate SONY’s intention to spin a web of stories that will keep audiences actively engaged in its superhero universe for years to come.
Although Madame Web might have stumbled with its introverted Netflix debut, it is only in the first act of its streaming life. When Nielsen’s final numbers come in next week, it could well be a sleeper hit, but we have scant evidence that its lower-than-expected first-week numbers signal a short-lived trend. Such is the nature of Netflix hits, to a greater extent than you might expect. As more people gain subscriptions and finally get to binge-watch, as we did in the blockbuster days at the cinema, there is a growing chance that the longer a show or movie takes to hook you, the more likely you are to find it.
SONY’s Marvel characters – Madame Web among them – remain artefacts of a human and vulnerable condition revitalised by an almost incandescent super-human resolve for audiences, meaning that the movie and SONY’s broader Marvel oeuvre provides an escape into worlds where all things are possible and the conflicts between good and evil are never black and white. It is this cultural capital that always keeps artists and characters such as Madame Web open to a special kind of afterlife beyond the metrics of success.
Over the years, SONY has proven quite adept at delving into the Marvel Universe, which has made it possible for its project to grow into a fully-fledged part of the cinematic world. By basing most of its stories on characters or subplots that have already been introduced or can be reinterpreted, SONY has aimed to offer more than just good, entertaining stories: it’s chosen to engage in the possibilities of adaptive narration and character development.
In essence, SONY is a multinational corporation based around its electronic, entertainment and digital technologies. Its existence in the Marvel Universe is part of a larger focus of how storytelling can be used to connect with a global audience. The fact that it is continually exploring more and more into the Marvel Universe shows its commitment to storytelling as a means of connecting with fans around the world, and that characters such as Madame Web are more likely to not only be introduced but endure in terms of superhero universes.
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