Spoiler Alert: This story discusses the main plot developments of Marvel Studios' "Thunderbolts*", including currently available in theaters.

The climax battle in "Thunderbolts*" is different from any other Marvel Studios movie in its 17-year history. Throughout the film, whenever members of the titular temporary anti-hero team have physical contact with Bob Reynolds (Lewis Pullman), they find themselves suddenly attracted to the memories of one of their greatest humors. For Yelena Belova (Florence Pugh), it was the time she lured her friend to die as her first test for the Red Room. For John Walker (Wyatt Russell), it was the wife who left behind the shame in the incident of "Falcon and Winter Soldier" in 2021 and ignored his crying son after his shame. For Valentina Allegra de Fontaine (Julia Louis-Dreyfus), it witnessed the murder of her father's young girl.

In the final scene of the film, Thunderbolts discovers that these memories are caused by Bob's transformation into the all-around superhero sentinel, his self-extinction Alter Alter Ego, Void, who begins to incorporate New York City and all its residents into the overall darkness. After Yelena volunteers to walk into that darkness, she struggles in the darkest memory and finds Bob trapped in a room of shame connected to his abused childhood. The rest of the lightning (including Bucky (Sebastian Stan), Ghost (Hannah John-Kamen) and Alexei (David Harbour)) joins Yelena in the voice to help Bob fight through all his shame rooms and hopefully get rid of the vacancy altogether.

Eventually, they arrive at Bob's memory of the Malaysian Science Laboratory, who volunteered to participate in the science experiments, turning him into a superhero - the same lab destroyed him at the beginning of the movie. Bob attacks blank, which only makes it stronger. It wasn't until Yelena and Thunderbolts embraced Bob and let him know that he wasn't alone that he could escape the gap and return New York to normal.

This whole sequence is made by director Jake Schreier ("Paper Town", "Beef") and photographer Andrew Droz Palermo ("Green Knight", "Moon Knight"), a hand-made, hand-made aesthetic evokes a24 films like "Once," and "Everything" and "All Things" and "All Things" and "All Things" and "All Things") and "All Things" and "All Things") and "All Things" such as John Molkovitch."

"Kevin (Feige) said, 'Make it special - if you can, you can do that in the camera," Schreier said of the head of Marvel Studios. “We think it would be fun to have a practical rendition of something stuck in a cycle of thought or a room of shame.”

Schreier talks with him type About designing the Shame Room (including the Shame Room without the film) and his personal inspiration for Bob’s character and how much he has been involved in the post-game scene that played the role of the team in 2026’s Avengers: The End of the World.

When will you shoot the final credit circle?

That was filmed about four weeks ago and I had no guidance. That is Russia in "Avengers: The End of the World". I have to be there, it's fun to watch your partner continue on this grand scale.

Do you feel like Sam Wilson is going to sue them for using the "Avengers" name?

Of course, I have to see the draft. We all work on the spot just to make sure we are honest about where our role is. But you also put them on this whole new world and new scope and want them to work that way. It's interesting to see that they have different ranges in another case and ranges from the range we treat it.

First is the sentinel/blank in the movie or want to explore the theme of loneliness and frustration in a Marvel movie?

Sentinel/Blank in it. (Screenwriter) Eric Pearson and (Executive Producer) Brian Chapek discovered this together. It’s who the character is, and what (comic writer) Paul Jenkins does when introducing him – we talk to him – it’s always a parable for mental health. It feels like a fun opportunity to bring some of the ideas we explore in "Beef" to see if they can work on a larger scale.

Many of the discourses about how things are in the world today revolve around a generation of young people desperately lost and frustrated by themselves. How many of you think of when you explore these themes in this movie?

Once we become Lewis’ character, we start working together and talking about it, and you only see these moments resonate in this way. This is not the intention of this matter. But I think, like we do, it feels like, oh, there is some resonance there. We never want to talk about anyone or give a speech on anything, but make it feel honest. I mean, for me, the character is always based on a friend of mine who has gone through a lot of these things and will have these high highs and will always bring this very self-destructive quality. He really needs to learn how to be in the middle of it and be himself.

I mean, the last thing I want to do is make anyone feel like a speech or send out some obvious message instead of hoping that everyone who sees themselves in the movie will understand to some extent. It's really about what connection you can find, and the idea is that in the wrong hands, someone who is going through these things can rotate in the way of Val (Bob) and spin along a darker road - instead, if you've made a real connection with someone, there's a sound getting better and better.

What is the process of designing a shame room? What will be inside?

That's something we really deepen. At first, it was like, we couldn't beat this guy outside, so there had to be some internal resolution. Brian Chapek put forward the idea of ​​getting into the blank space. Given that Kevin (Feige once said, “Go there to make it unique – do it on the camera if you can.” (We think) it would be fun to actually perform something stuck in a thought cycle or a shame room. Actually, (creator of “Beef”) Sunny (Lee) came in and made multiple drafts and worked with our production designer Grace Yun, our “Beef”, which is the details we incorporated into these rooms. (Screenwriter) Joanna (Carlo) takes this further and discovers that initial room of Yelena at the beginning of the movie and makes everyone’s greatest shame callback is that everyone’s greatest shame is thinking you can be bigger than yourself, his desire for heroism is actually everything you need, you need to bring everything to you, and you need to know those good things about you, and your wish is impossible.

We see the shame room of Bob, Elena, Walker and Val. Have you completely explored what the shame room of Bucky, Ava or Alexei looks like?

I'm sorry not to see Alex's room of shame. Yes, we tried it. There was a time when the ending escaped through all their shame rooms and I thought that would be fun. But what Joanna really talks about is that there needs to be a big bad moment before they get out of it. And if it leads to a blank core, it’s even more important to embark on the journey into Bob’s shame room – like I’m so sad that I feel so sad to be able to get into every character’s past.

How far does it look like?

We are far away. We have full animation, storyboard sequences that are sequences of various different versions of the end of this movie.

Can you tell me something about these people?

I think we have Alexei in Gulag. I believe Ghost's time was her time in the orphanage and was a girl who no one wanted to be around - being able to see and see the way you perceive, no one wants to date you feel very sad. We have a lot of different buckys. We always wanted to do less than we expected. There are some very obvious things about Bucky, but I think Joanna writes some shameful moments in the Boy Scout camp. But I don't know that's really the right path. It's a good thing to work with these actors - they are so invested, caring for their characters and guardians of the arc, and they will let you know what something feels wrong to them.

How do you deal with actors to categorize what their shame rooms mean to them?

What to do in the camera effect when you do practical things - like, just turn transitions and match cuts - I think the actors are kind of like: "Are you sure, man? Is that?" It's like, "No, I think that's going to work." I love what Joanna wrote for Walker. It does speak to that terrible moment of “Falcon and Winter Soldier” – not back to that moment, but to spend more time doing the kind of things that do to us. The idea of ​​seeing such a character in this amazingly small, very relevant family situation can make people even more shocked about the emotions you do.

The film shouldn't have been released in early May for a long time. What was your reaction when you realize that the movie is now coming out in the summer, is it a blockbuster about shame, frustration and loneliness?

((laughLook, I'm just making movies here. Kevin said from the beginning, “Make it apart” so I never felt like I was running away. I said from the beginning, “I don’t want it to be weird.” We made this movie with the collaboration and support of everyone in the studio and they made all the other such great movies. Hopefully you can end this finale and get all the action, all the blast and all the humor from the Marvel Summer movie. Then, yes, the other side of it goes into a more internal position, but when you go into the post-credit sequence, it fits in the legacy of these movies even if you follow a completely different path from what you might expect. Hopefully we can do this successfully.

This interview has been edited and condensed.