The Summer of Superheroes

Summer 2025 marked a turning point in comic book adaptation cinema. With the releases of “Thunderbolts*” (May 2), “Superman” (July 11), and “Fantastic Four: First Steps” (July 25), audiences witnessed a tonal and thematic shift from the gritty superhero films of the 2010s to a more human-focused vision of heroism centered around community, goodness, humanity and family.

These three films, all focused on themes of solidarity and hope, took different approaches to the superhero experience that pivoted away from previous depictions. In the Marvel Cinematic Universe, “Thunderbolts*” directed by Jake Schrier, explored the power of community among misfits and anti-heroes through the story of an unlikely group of characters. Similarly, Matt Shakman’s “Fantastic Four: First Steps” celebrated family as the bedrock of resilience, mirroring the “found family” of “Thunderbolts*” with the familial bond between the Fantastic Four. In the DC Universe, James Gunn’s “Superman” reminded us of the enduring goodness within humanity as Superman strives to prove his humanity to a world that is determined to see him as “alien.” Together, they signal a cultural pivot away from individualistic stoicism towards a more collectivist, emotional model of heroism.

This shift comes at a time of decline in comic book movie reception. Since “Avengers: Endgame” (2019), Marvel Studios has struggled to recapture its narrative momentum. The DC Extended Universe, now rebranded as simply the DC Universe, long plagued by inconsistency and critical skepticism, has similarly faltered. Many audience members, who once enjoyed the novelty of cinematic universes, have grown weary of spectacle without substance.

This decline parallels a broader cultural shift. Superheroes have always mirrored the American psyche. Superman, the character, created in 1938, embodied the immigrant’s dream and the pursuit of a better life. Captain America was created to inspire hope and produce patriotism during WWII. The X-Men, introduced in the 1960s, were created to parallel civil rights struggles and social alienation.

In the 2000s, amid post-9/11 disillusionment and the 2008 financial crisis, comic book films leaned into themes of distrust and isolation. Heroes like Tony Stark (“Iron Man” 2008) and Bruce Wayne (“The Dark Knight” 2008) operated as lone figures, burdened by trauma and skeptical of institutions. Even ensemble films like “The Avengers” (2012) were often centered on individual progression and distrust in leadership. In these films, heroism was a journey of individual betterment and less about helping humanity.

But “Thunderbolts*” disrupts that narrative. The film follows a team of morally ambiguous anti-heroes, Yelena Belova (Florence Pugh), Bucky Barnes (Sebastian Stan), Red Guardian (David Harbour), Ghost (Hannah John-Kamen) and John Walker (Wyatt Russell). Alongside Bob (Lewis Pullman), who has gained powers after failed scientific experiments done by the government, they confront betrayal and work through trauma. When forced to face Void, the embodiment of Bob’s depression, the group learns that healing and heroism are only possible through mutual support. Bob’s journey parallels superhero movies of the past as he tries to overcome his deep loneliness with the acquisition of immense power. The team’s decision to stand together with Bob in emotional support and Bob’s acceptance of this over a larger fight for power mark a profound shift in how heroism is portrayed. The heroism of “Thunderbolts*”is rooted in community.

James Gunn’s “Superman” continues this theme. Rather than saving the world through brute force, like in Zack Snyder's “Man of Steel” (2013), Superman (David Corenswet) must rely on help from others. In the final battle, Superman wins through help from the Justice Gang, a group of heroes who come to his aid after witnessing his mistreatment and learning of Lex Luthor’s corruption. Gunn portrays him not as a god among men, but as the embodiment of the human spirit. Gunn’s interpretation of Superman emphasises that the character’s strength lies not in his unmatched alien powers, but in his unwavering belief in the power of doing good. This portrayal invites audiences to see heroism not as exceptionalism, but as something deeply human and accessible.

The last superhero movie released this summer, “Fantastic Four: First Steps,” set in a retro-futuristic 1960s, reimagines Marvel’s First Family as seasoned heroes navigating both cosmic threats and intimate challenges. With Sue Storm (Vanessa Kirby) pregnant and Galactus (Ralph Ineson) looming, the stakes are both planetary and personal. The team’s, as well as Earth’s, unity becomes their greatest weapon. When Sue seemingly dies in battle, her unborn child, Franklin, miraculously revives her, revealing latent cosmic powers. This moment encapsulates the film’s message that heroism is born not from isolation, but from love, legacy, and shared purpose.

Together, these films offer a counter-narrative to the cynicism that has come to define comic book movies and take audiences back into the heart of superhero comics. “Thunderbolts*” reclaims broken individuals through community. “Superman” reaffirms the human spirit of empathy. “Fantastic Four” celebrates family as the foundation of resilience. In contrast to the solitary heroes of the past, these stories argue that heroism is a collective endeavor rooted in connection, vulnerability, and shared responsibility.

While often dismissed as “theme park movies,” superhero films carry cultural weight. They are modern myths, shaping how we understand power, morality, and identity. The shift from individualism to collectivism in Summer 2025’s releases reflects a deeper yearning within audiences for stories that remind us we’re not alone, and that together, we can be heroic.