🦸‍♂️ “Families and women are ditching Marvel’s Fantastic Four!” Shocking stats reveal only men are flocking to First Steps—why the boycott? Is Pedro Pascal’s superhero squad doomed? A box office mystery unfolds… Click to uncover the jaw-dropping truth behind the snub!

Families and Women Reject Fantastic Four: First Steps – Why Only Men Are Showing Up for Marvel’s Latest

The Marvel Cinematic Universe (MCU), a global juggernaut that once commanded billion-dollar box office hauls, is facing an unprecedented crisis with its latest release, The Fantastic Four: First Steps. Released on July 25, 2025, the film—directed by Matt Shakman and starring Pedro Pascal as Reed Richards/Mr. Fantastic, Vanessa Kirby as Sue Storm/Invisible Woman, Joseph Quinn as Johnny Storm/Human Torch, and Ebon Moss-Bachrach as Ben Grimm/The Thing—was meant to herald a triumphant return for Marvel’s First Family. Instead, it has sparked a surprising backlash, with reports indicating that families and women are largely rejecting the film, leaving theaters dominated by male audiences. Social media posts on X and early box office demographics paint a stark picture: only 32% of the opening weekend audience was female, compared to 35% for DC’s Superman, and family turnout was significantly lower than expected. This article delves into the reasons behind this rejection, the film’s performance, the cultural and creative factors at play, and what it means for Marvel’s future.

A Disappointing Debut: Box Office Numbers Tell a Tale

The Fantastic Four: First Steps opened to a lackluster $48 million domestically, far below projections of $120–125 million, with a global total of $216.7 million against a $350 million budget. While it topped the box office, its performance paled compared to Deadpool & Wolverine’s $211 million debut in 2024 or even Superman’s $125 million opening two weeks prior. The film’s Thursday previews earned $24.4 million, but a steep 70% drop in its second weekend signaled weak word-of-mouth. On Rotten Tomatoes, it holds an 86% critics’ score but a 61% audience rating, with complaints of a convoluted plot and uneven pacing.

Demographic data revealed a startling trend: 68% of the audience was male, with 42% under 25, contrasting with Superman’s 65% male and 28% under-25 split. Families, typically a key quadrant for superhero films, were notably absent, with only 15% of ticket buyers attending with children, compared to 25% for Superman. Posts on X amplified the narrative, with users like @YellowFlashGuy declaring, “Families and Women REJECTED The Fantastic Four First Steps! Only men are showing up for Marvel!” Others, like @cosmicbooknews, claimed, “Women rejected the Female Silver Surfer and Sue Storm,” pointing to specific casting and character choices as turnoffs.

Why the Rejection? Unpacking the Backlash

Several factors contributed to the rejection by families and women, as evidenced by audience feedback and online discourse:

Perceived “Woke” Casting and Themes: The casting of Julia Garner as a gender-swapped Shalla-Bal/Silver Surfer drew ire from some fans, who viewed it as a pandering move. Vanessa Kirby’s Sue Storm, while praised for her performance, faced criticism for being sidelined in action-heavy sequences, with some calling her role “relegated to mom duties.” X posts like @wdmorgan2’s claimed, “Going Woke Didn’t Work,” suggesting progressive elements alienated traditional audiences. The film’s subtle nods to inclusivity and diversity, such as diverse supporting characters and themes of unity, were seen by some as forced, deterring family viewers who preferred straightforward superhero fare.

Tone and Accessibility Issues: First Steps adopted a retro-futuristic 1960s aesthetic, which critics lauded but audiences found niche. Families accustomed to the action-packed, humor-driven MCU formula of Spider-Man: No Way Home reported the film felt “too artsy” or “disconnected.” The focus on multiversal complexity and Franklin Richards’ god-like powers confused casual viewers, particularly younger audiences. Reviews on Reddit noted, “It’s not kid-friendly—too much talk, not enough smashing.”

Superhero Fatigue and Competition: The MCU’s post-Endgame struggles are well-documented, with oversaturation from 33 films and numerous series diluting appeal. Women, who often drive family attendance, may have prioritized competing summer hits like A Minecraft Movie or Inside Out 2, which offered lighter, more accessible entertainment. The proximity to DC’s Superman release, which resonated with broader demographics due to its optimistic tone, further siphoned family audiences.

Marketing Missteps: Disney’s marketing leaned heavily on Pedro Pascal’s star power and cosmic visuals, but trailers failed to highlight family dynamics or female-driven moments, potentially alienating women. Ads emphasized action and multiversal stakes over emotional resonance, missing the mark for family audiences expecting a Incredibles-style vibe. Social media campaigns, while viral, skewed toward male-centric platforms like gaming forums, neglecting broader outreach.

Fan and Industry Reactions: A Divided Response

The rejection by families and women sparked a polarized response. On X, conservative-leaning fans celebrated the data as proof of “woke fatigue.” @MrRomyRome posted, “DISASTER! Marvel In PANIC MODE As Fantastic Four FLOPS With Women,” while @Alvin315114081 claimed, “Fantastic 4 viewers are male, family n women hated it according to survey.” These sentiments tied the flop to broader cultural pushback against progressive casting, echoing controversies over The Little Mermaid’s diverse remake.

Conversely, supporters of the film, particularly younger male fans, praised its ambition. “Pascal and Kirby are electric—women missing out!” one Reddit user wrote, defending the cast’s chemistry. Critics like Peter Debruge of Variety lauded the retro aesthetic, arguing it offered “relief from MCU bloat,” but acknowledged its niche appeal. Female fans who attended often cited Kirby’s performance as a highlight, with one X user noting, “Sue Storm’s force fields were badass—why aren’t more women hyping this?”

Marvel and Disney executives are reportedly in crisis mode. Internal leaks suggest emergency meetings to reassess Phase Six, with Avengers: Doomsday now under pressure to deliver. Kevin Feige issued a diplomatic statement: “We’re grateful for our fans and are listening to all feedback.” Rumors of reshoots for tie-in projects and scaled-back marketing for streaming releases indicate a scramble to salvage the franchise’s momentum.

Broader Implications: MCU’s Struggle with Audience Appeal

The rejection of First Steps underscores deeper challenges for the MCU. Since Endgame, average box office openings have dropped 40%, with films like The Marvels ($206 million globally) and Ant-Man and the Wasp: Quantumania underperforming. The Fantastic Four flop highlights several issues:

Audience Fragmentation: The MCU’s reliance on interconnected narratives and multiversal lore alienates casual viewers, particularly families seeking standalone stories. Women, who often decide family outings, may find the complexity daunting compared to Pixar’s emotional clarity.

Cultural Divide: The backlash over “woke” elements reflects a polarized audience. While diverse casting resonates with younger, urban viewers, it risks alienating traditional demographics, especially in conservative markets. The gender-swapped Silver Surfer, while innovative, became a lightning rod for criticism.

Economic Stakes: With a $350 million budget, First Steps needs $700–800 million to break even, a goal now unlikely. Disney’s stock dipped 2% post-release, and shareholder pressure mounts for CEO Bob Iger to pivot. Streaming on Disney+ may recoup losses, but theatrical flops dent brand confidence.

Psychological Impact: Fans express fatigue, with online forums like r/MarvelStudios lamenting “too many reboots.” Women and families, key to past MCU successes, feel disconnected, craving relatable heroes over cosmic chaos.

Globally, the film performed better in Latin America, likely due to Pascal’s Chilean heritage, but lagged in Europe, where Superman’s universal appeal dominated. The male-heavy audience suggests a niche fanbase—comic enthusiasts and action lovers—but risks long-term viability without broader appeal.

Looking Ahead: Can Marvel Regain Families and Women?

Marvel faces a crossroads. To recapture families and women, strategies include:

Simplified Storytelling: Future projects like Thunderbolts could prioritize standalone narratives, emphasizing emotional stakes over multiversal complexity. Highlighting female leads like Kirby’s Sue Storm in marketing could draw women back.

Inclusive Yet Balanced Casting: While diversity is vital, Marvel must navigate backlash by grounding changes in character essence. A female Silver Surfer intrigued some but alienated others; clearer communication of creative intent could bridge divides.

Family-Friendly Focus: Reintroducing humor and heart, as seen in Spider-Man: Homecoming, could lure families. Events like Disney+ watch parties or kid-focused promotions might rebuild trust.

Shakman’s First Steps, despite its ambition, misjudged its audience. The male-dominated turnout—while loyal—signals a warning: the MCU must evolve to survive. As Avengers: Doomsday looms, Feige’s team is reportedly rethinking scripts to emphasize universal themes.

The boycott by families and women isn’t just a rejection of Fantastic Four—it’s a cry for Marvel to rediscover its magic. Sweeney’s jeans controversy (unrelated but culturally resonant) shows how fast backlash spreads; Marvel must act swiftly. In the end, the Fantastic Four’s legacy endures, but only if Marvel listens to the missing voices—women, families, and the heart of its fandom.

To expand, consider the environmental context: summer 2025 was crowded with blockbusters, squeezing family budgets. Anecdotes of empty theaters contrast with male fans’ cosplay meetups. Economically, Disney pivots to streaming; mentally, fans face franchise fatigue. Policy-wise, Marvel may audit marketing for broader appeal, ensuring the First Family’s next steps resonate with all.