After the previous Marvel movies had achieved considerable success, both Marvel Comics and Marvel Studios were brimming with confidence. Perhaps no movie franchise has ever shown as much ambition as Marvel's. With Easter eggs in each film reminding audiences that these superheroes live in the same universe, they hinted at a vast and wondrous cinematic world waiting to unfold. Thus, a phenomenon called the "Marvel Formula" was genuinely taking shape.
And so, The Avengers arrived.
With a production budget of $220 million and another $180 million allocated for global marketing, this was, by all accounts, a massive blockbuster.
Six years prior, Matthew had signed a related agreement with Marvel Comics, and in 2009, during Disney's acquisition of Marvel, he signed a supplemental agreement with Disney as well. For The Avengers, Studio Thirteen held a 40% stake. Consequently, he was entitled to 40% of the profits from the film, excluding revenue from the comics and select other projects. This film promised to be another goldmine.
So, whenever Disney and Marvel Studios needed him, Matthew was there to promote The Avengers. Based on every market forecast, The Avengers was set to be a surefire hit.
In late April, Matthew attended a private screening held by Marvel Studios. Directed by Joss Whedon, the movie stirred some faint memories; the storyline and key elements were essentially unchanged. The main villain was still Loki—a clumsy, almost laughable antagonist.
Following The Avengers, Marvel had an extensive slate of plans that stretched ten years into the future. Matthew wasn't concerned with other projects, as his agreement with Disney allowed Studio Thirteen's investments to focus on the Iron Man series, the Captain America series, and sequels to The Avengers.
These investments alone guaranteed him steady profits from Marvel's superheroes.
Marvel had launched an era that truly belonged to superhero films. Studios like Matthew's, Disney, and others, along with commercial interests and advancing technology, turned superhero movies into perfect showcases for digital effects, delivering an endless variety of spectacular cinematic experiences that swept audiences from one thrilling sequence to the next.
Would audiences grow tired of superheroes? The answer was yes—just as they'd once grown tired of Westerns, musicals, robots, and aliens. But as long as there were profits to be made, the stories of superheroes would continue until society and culture evolved. Matthew understood that commercial interests shaped superheroes and that society had granted them a sort of divine status.
Heroes like Superman, Batman, Iron Man, and Spider-Man were all, in truth, just reflections of the real world projected into a parallel universe.
For Matthew, the integration of real-life profits with the superhero world meant an unending stream of wealth.
It looked like he was due for a private jet. Perhaps the profits from The Avengers could buy him a very nice luxury business jet. Once the revenue rolled in, he could place an order.
When the first week of May arrived, Marvel Studios and Walt Disney held a grand global premiere for The Avengers in New York, the film's main setting. As a key investor, Matthew naturally attended the premiere.
At the event, the Avengers assembled outside the screen as well.
Robert Downey Jr. as Iron Man, Chris Hemsworth as Thor, Mark Ruffalo as Hulk, Jeremy Renner as Hawkeye, Scarlett Johansson as Black Widow, Tom Hiddleston as Loki, Samuel L. Jackson as Nick Fury, director Joss Whedon, and Marvel Studios CEO Kevin Feige all made appearances, along with other big names.
The scene was star-studded, filled with deafening fan screams and electric energy. Robert Downey Jr., in particular, won over the crowd, echoing Matthew's wise investment in Iron Man, which had marked Downey's triumphant comeback. Driving Iron Man's Acura from the movie onto the red carpet, he whipped fans and reporters into a frenzy, and Honda, covering the premiere's costs, was thrilled.
In the film itself, product placements were even more intense. A total of 27 brands paid $88.7 million to have their products featured, setting a new record for product placement income in a Hollywood film. This also contributed to the profits Matthew would share.
Before the film even premiered, Matthew and Disney had already recouped some of their investment. Given that this was a commercial venture, the more revenue, the better.
More than 500 reporters from around the world gathered at Lincoln Center, as this was one of the year's most anticipated releases. The film's global pre-sales had launched a month prior, sparking a frenzy among fans that even theaters and ticketing sites struggled to keep up with. The estimated North American pre-sales alone hit over $120 million for the first three days—an unprecedented figure that few films in Hollywood could hope to match.
Besides Disney, theater chains also put significant emphasis on the film. One of North America's largest chains, AMC Theatres, initiated the "Ultimate Marvel Marathon" in select theaters, showing the five previous Marvel films that led up to The Avengers, ending with the premiere itself that evening. Tickets for this event, though priced at $40, sold out quickly, prompting AMC to add more showings.
The film also drew excitement overseas, where midnight screening tickets sold out early in English-speaking markets. Demand was so high that fans queued up with sleeping bags to secure tickets, drawing media coverage in those regions.
The anticipation had been building since 2008 with the release of Iron Man, leading to a four-year wait. For Marvel fans, the sentiment was "Finally, the day has come."
Matthew felt the same way. He'd poured vast sums into this project, and the pressure and risk were real, even though the chances of failure were slim. He was all too aware that extended wait times to recoup investments could be costly.
Time was money, after all.
When the Avengers gathered for the premiere, Matthew inevitably ran into Scarlett Johansson.
"I saw the private screening at Marvel Studios," Matthew admitted to the elegantly dressed Scarlett. "You looked stunning—absolutely fierce."
Scarlett smiled. "Really?"
"Absolutely!" he said earnestly. Then, lowering his voice, he added, "You've created such an amazing character. Shouldn't we celebrate? I have a bottle of good wine—want to join me after the premiere?"
Scarlett thought over her post-premiere schedule and the next day's commitments. "After the screening, there's a press conference. You'll have to wait for me a bit."
"No problem," Matthew assured her, "I'll be waiting in a black Mercedes at the east exit."
Without worrying about the curious stares around them, Scarlett leaned close and teased, "I have an early call tomorrow, so don't wear me out."
Matthew chuckled and lightly patted her arm. "Don't worry. I'll make sure you get there on time."
After setting up plans with Scarlett, he greeted the other main cast members and creators. After all, as the second-largest investor in the film, he also held a producer credit.
When he saw Maria Hill, a thought crossed his mind—should he try his luck with this actress too? Maybe he could invite her and Scarlett over together…
The idea flitted briefly through his mind before he shook it off. Not every actress was as open to such arrangements.
Still, the thought lingered, like a persistent spell, swirling in his mind.
Had his experiences with other actresses given him some sort of fixation or obsession?
As he settled into his seat in the theater, Matthew pondered the matter. With his growing status and wealth, his first thought upon meeting an attractive woman was now whether he could win her over.
Two years ago, he would've backed off if a woman wasn't interested, but things had changed.
Men change with time, especially when they gain money and power. It was harder to remain the same.
This recurring thought had him wondering: was he developing some sort of dependency?
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