‘Wonder Man’ shows, again, why the MCU is superior on TV with a grounded Hollywood story

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I might sound like a broken record, but I consistently enjoy Marvel’s TV shows more than its movies. The shows – like “Loki,” “Ms. Marvel,” “Moon Knight,” “Echo,” “WandaVision,” and “Agatha All Along” – are usually faster-paced, more creative, and full of surprises. Even the ones that don’t get renewed for multiple seasons are worth checking out.

To create extended stories without huge budgets, television show creators are becoming more resourceful and focusing on strong characters and compelling ideas instead of relying on expensive special effects and action sequences. They’re highlighting supporting characters and exploring relatable themes of culture, family, and setting, often distancing themselves from the complex, interconnected world of the Marvel Cinematic Universe and its reliance on long-term planning and cross-promotion. These shows are often more thoughtful and realistic than their blockbuster counterparts, and surprisingly, I often find them less engaging when they eventually tie into the larger Marvel storyline.

“Wonder Man,” now streaming all eight episodes on Disney+, feels like one of the most realistic Marvel shows so far. Created by Destin Daniel Cretton (known for “Shang-Chi”) and Andrew Guest (who’s worked on comedies like “Community” and “Brooklyn Nine-Nine”), it’s a charming story about actors navigating Hollywood. You don’t need to be a Marvel expert to enjoy it, though knowing the universe helps. The show provides enough context for you to understand everything important, and those familiar with the Los Angeles area might have fun recognizing the filming locations.

Yahya Abdul-Mateen II stars as Simon Williams, a man who grew up loving the fictional superhero Wonder Man from an old, low-budget movie. Now in his thirties, Simon is a struggling actor in Hollywood. He manages to get a small role on “American Horror Story,” but his tendency to overthink and offer unwanted advice gets him fired after just a few lines – before his character is supposed to be killed by a monster. He also breaks up with his girlfriend around the same time.

While watching a matinee of “Midnight Cowboy,” he encounters Trevor Slattery (played by Ben Kingsley). Slattery is known for previously portraying the Mandarin – a terrorist character – in “Iron Man 3,” a role he thought was simply acting work. He also provided comic relief in “Shang-Chi and the Legend of the Ten Rings.” This new portrayal of Trevor is more complex and developed; he’s a bit of a mess, but proudly emphasizes he’s been sober for 13 years. Before his career took a downturn, Trevor had a diverse resume, including playing King Lear in Croydon, appearing on “Coronation Street” and in a film with Glenda Jackson, performing in off-off-off Broadway productions of “The Skin of Our Teeth,” and even briefly starring in a hospital drama alongside Joe Pantoliano, who is known for his comedic timing playing himself.

Slattery informs Simon that Von Kovak, a European art director, is restarting the “Wonder Man” project, a part Simon believes he was meant to play. Ignoring his agent Janelle’s doubts, Simon manages to secure an audition, where he encounters Trevor, who is also trying out for the role of Barnaby – Wonder Man’s friend or assistant. While the situation has a lot of hidden complexities, they mostly stay in the background. Ultimately, the show is a love story, drawing more inspiration from films like “Midnight Cowboy” than from typical Marvel movies.

Simon has abilities – when he gets angry or stressed, things around him tend to fall apart or even explode, and he can become incredibly strong. This attracts the attention of the Department of Damage Control, led by P. Cleary (played by Arian Moayed), who wants to keep him under control. Keeping his powers a secret is difficult, especially because of something called the Doorman Clause. This rule, explained in a separate episode featuring Josh Gad as himself, prevents anyone with superpowers from working in the film and television industry – which is Simon’s passion.

This isn’t a story driven by big action sequences, and that’s perfectly fine. The world isn’t at risk, but a simple callback for another audition feels incredibly important. The ‘costumes’ are just actors in costumes, and the real challenges come from Simon’s own insecurities and quick temper, rather than any true villains – aside from the frustrating bureaucracy trying to control him. Throughout the story, Trevor will guide and mentor Simon. There’s a predictable betrayal, as often happens in stories about love and friendship, but it plays out as you’d expect, and ultimately feels satisfying.

Abdul-Mateen and Kingsley have great chemistry, whether they’re talking shop about acting or just sharing everyday experiences like being stuck in Hollywood traffic – they even playfully debated whether they were near the Hollywood Bowl. Their personalities balance each other nicely – one is more relaxed, the other more intense – and they clearly learn from each other. What I found most compelling wasn’t the superhero plot, but their friendship and how genuinely invested I was in their connection.

I was really struck by something Von Kovak’s character said during a scene – it perfectly encapsulates what this series is all about. He was directing a group of actors, telling them to forget about grand ideas of heroes and gods, because they just complicate things. His point was, and it’s a crucial one, that we need to find the relatable, human core of these characters, the parts we can actually understand. It’s a fascinating approach, and honestly, it makes the whole show work.

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2026-01-26 22:31