What if FX made a Marvel show? According to showrunner Andrew Guest, that is precisely the question “Wonder Man” seeks to answer. This effort results in a work that resembles “The Bear” far more than “Agents of S.H.I.E.L.D.,” “Hawkeye” or any of the countless Captain America ventures. “Wonder Man” doesn’t feel like a Marvel show — it stands on its own and defies the trends that fans of the Marvel Cinematic Universe (MCU) have grown to expect.
“Wonder Man” follows Simon Williams (Yahya Abdul-Mateen II), a struggling actor who gets a chance to land the role of a lifetime: the lead part in a reboot of his favorite childhood movie, the (fictional) ’70s blockbuster “Wonder Man.” Unfortunately, Simon has superpowers which, due to a filming accident, put him at risk of being blacklisted from Hollywood altogether. To save his career, Simon must hide his powers while navigating the dangers of show business and mending his many troubled relationships.
Along the way, Simon is mentored by Trevor Slattery (Ben Kingsley), a fast-talking thespian trying to move forward after a stint in prison for accidentally collaborating with a terrorist in “Iron Man 3.” Simon and Trevor’s budding friendship is the beating heart of “Wonder Man,” and imbues the show with a gentleness that superhero stories sometimes lack. But their relationship is not all sunshine and rainbows — like Simon, Trevor has his own secrets which threaten to destroy the life he’s built.
It is remarkable how deftly “Wonder Man” strikes a balance between drama and comedy. Simon acts as the show’s emotional core, largely thanks to an Emmy-worthy performance by Abdul-Mateen II. Although self-sabotaging and occasionally arrogant, Simon is a character we couldn’t help but root for. As Simon, Abdul-Mateen II shows incredible emotional range, conveying Simon’s inner turmoil with deep nuance and sensitivity.
Kingsley’s return to the MCU brings back the same comedic punch fans expect from his previous appearances in “Iron Man 3” and “Shang-Chi and the Legend of the Ten Rings.” Kingsley’s raw humor, combined with Slattery’s snarky and overly-honest dialogue, left us laughing in nearly every scene. His humor balances Abdul-Mateen II’s grounded performance, striking the perfect middle ground as a pair.
It helps that “Wonder Man” looks and sounds amazing. The cinematography is striking and intense. The editing is snappy and subtle. There are no flashy transitions or distracting cuts. The colors are refreshingly vivid, and the audio is clear and well-balanced. You won’t have to turn on subtitles just to understand the dialogue.
The visual effects are one of the undeniable highlights of this show. Unlike many recent MCU projects, the show is not overreliant on subpar effects. In fact, this show does not feature wild or excessive visuals often, and when they do appear, they look stunning. The occasional showcase of explosions or slow-motion destruction leaves the viewer in awe.
Unlike some Marvel productions, “Wonder Man” is devoid of self-deprecating quips or winks at the camera. The show embraces the absurdity of its premise, permitting viewers to invest in its characters without breaking the suspension of disbelief. In doing so, it raises an interesting hypothesis: perhaps audiences are tired of stories that seem ashamed of themselves, and “superhero fatigue” is really “self-depreciation fatigue.”
Over the past few years, superhero fatigue has become a popular talking point among critics. Although much has been written about what the problem is — or if it even exists — one thing is certain: superhero movies are simply not performing as well as they once did. DC’s “Superman” was 2025’s highest-grossing superhero film, but it was still outperformed by nine movies, including “Zootopia 2” and “Jurassic World: Rebirth.” Marvel Studios didn’t even crack the top 10, despite releasing three movies last year (“Captain America: Brave New World,” “Thunderbolts*,” “Fantastic Four: First Steps”).
“Wonder Man” dispels superhero fatigue, not by telling viewers that they need to like superheroes, but by reminding them what superheroes really are. They are neither men in tights, nor brand names, nor intellectual property, nor fodder for toys and merchandise. Superheroes are aspirational figures — representations of humanity at its best.
They are ridiculous and commercialized, yes, but they also remind us that cynicism and apathy are not facts of modernity, and that a better, kinder world is possible if only we are brave enough to strive for it. Simon Williams is not always heroic, but he is a hero, in the same way that we are all heroes when we choose to do the right thing.
We must not have been the only ones who enjoyed “Wonder Man,” because, on March 23, the show was renewed for a second season on Disney+.
