Russo Brothers Say ‘Avengers: Doomsday’ Is “Back to Phase Zero” as Marvel Begins Again

Joe and Anthony Russo say ‘Avengers: Doomsday’ isn’t a continuation of the MCU’s past — it’s a complete reset built around Robert Downey Jr.’s shocking return as Doctor Doom.

Marvel Studios has spent the better part of a decade trying to escape the shadow of Avengers: Endgame.

Since 2019, the Marvel Cinematic Universe has expanded at an unprecedented pace, introducing dozens of new characters, Disney+ series, multiverse concepts, and interconnected storylines. While the franchise has continued to generate billions of dollars globally, even its most devoted fans have acknowledged that something has felt different. The singular momentum that once propelled the MCU toward Infinity War and Endgame has become increasingly difficult to replicate.

According to Joe and Anthony Russo, that may be exactly why Avengers: Doomsday exists.

Speaking during a headline session at SXSW London, the filmmakers behind Captain America: The Winter Soldier, Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame offered their clearest indication yet that Marvel’s next Avengers event is not intended to function as a traditional sequel. Instead, they see it as something far more ambitious.

A reset…Or, as Joe Russo put it, “Phase Zero.”

“We were with Rob earlier today,” Joe Russo said, referring to Robert Downey Jr. “We were both talking about this concept that we are back to phase zero. This is starting over from scratch. We want to make sure everybody feels like this isn’t leaning on anything from the past.”

For Marvel fans, that statement may be more significant than any plot detail that has emerged so far.

Ever since Marvel stunned audiences by announcing that Downey would return to the MCU as Victor Von Doom rather than Tony Stark, speculation has centered on how exactly the studio plans to reinvent itself. The decision immediately signaled that Marvel was willing to abandon expectations, but the Russos’ latest comments suggest that the strategy runs deeper than simple stunt casting.

The goal appears to be reinvention.

That shouldn’t come as a surprise given the filmmakers’ history with the franchise.

When the Russos first arrived at Marvel with The Winter Soldier, they transformed Captain America from a straightforward patriotic hero into the centerpiece of a political thriller. Civil War effectively functioned as an Avengers film disguised as a Captain America sequel. Infinity War broke traditional blockbuster storytelling rules by allowing the villain to win. Endgame then concluded a decade-long saga while simultaneously closing the chapter on some of Marvel’s most beloved characters.

If anyone understands how to reshape the MCU, it’s the filmmakers who helped define it.

Interestingly, the brothers admitted that they originally had no intention of returning after Endgame. Following years spent overseeing Marvel’s most ambitious productions, both directors described feeling exhausted by the experience and satisfied with the sense of closure the film provided.

That changed when longtime Marvel writer Stephen McFeely approached them with a new idea.

Anthony Russo stopped short of revealing any story details but described the pitch as something that fundamentally altered their perspective on what the MCU could become.

“He came up with this creative idea that reignited [the project],” Russo explained. “I can’t talk about that creative idea because it’s the basis for Doomsday, but that idea all of a sudden broke the skies open for us, and we saw all new kinds of possibilities.”

The language is notable.

Rather than discussing continuation, expansion, or escalation, the Russos repeatedly returned to concepts like reinvention, surprise, and transformation. Those ideas feel particularly relevant at a time when Marvel is searching for its next defining direction.

The MCU that culminated with Endgame was built around a straightforward narrative spine. Audiences always knew there was a destination, even if they didn’t know exactly how they would get there. The post-Endgame era has often felt more fragmented, with multiple storylines competing for attention across film and television.

Doomsday appears positioned to change that.

And Robert Downey Jr.’s Doctor Doom may be the catalyst.

While Marvel has revealed almost nothing about the character’s role, the casting remains one of the most intriguing creative decisions in franchise history. Downey is synonymous with Tony Stark. He effectively launched the MCU with 2008’s Iron Man and became its emotional center for more than a decade.

Now he’s returning as arguably Marvel Comics’ greatest villain.

Whether Doom shares any connection to Stark remains unknown, but the decision instantly creates tension, curiosity, and unpredictability — three qualities the Russos seem eager to restore to the franchise.

The directors also addressed the challenge of managing Marvel’s increasingly massive ensemble casts. For Joe Russo, the secret has always been understanding that every character is someone’s favorite.

“Each one of those actors is playing somebody’s favorite character,” he explained. “If you’re not going to serve the character properly, then you’re going to disappoint someone in that audience.”

It’s a philosophy that helped make Infinity War and Endgame successful despite juggling dozens of major heroes. Rather than focusing on spectacle alone, the films succeeded because nearly every character received a meaningful perspective within the larger narrative.

That approach may become even more important as Doomsday attempts to unite multiple generations of Marvel characters under one story.

Beyond Marvel, the Russos spent much of the discussion reflecting on the rapidly changing state of entertainment itself. Both directors pointed toward the success of young filmmakers like Obsession director Curry Barker and Backroomscreator Kane Parsons as evidence that traditional Hollywood pathways are becoming increasingly irrelevant.

Anthony Russo described the moment as “explosively disruptive,” arguing that Gen Z is quickly becoming not only the dominant audience but the dominant generation of storytellers.

It’s difficult to argue with the results.

Parsons’ Backrooms is tracking toward one of the biggest openings in A24 history, while Barker’s Obsession has become a genuine box office phenomenon. Both filmmakers built audiences online long before receiving traditional studio support, something the Russos view as a positive evolution rather than a threat.

That philosophy extends to how audiences consume entertainment.

Joe Russo delivered an impassioned defense of modern viewing habits, rejecting the idea that stories must be experienced through a single format.

“We have to stop trying to say every story has to fit every medium,” he said. “Watch the story where you want to watch the story.”

The comments arrive as Hollywood continues debating the future relationship between theatrical exhibition and streaming. While many filmmakers remain committed to preserving traditional cinema experiences, the Russos have consistently embraced a more flexible view of distribution.

Their position may prove increasingly influential as younger audiences continue blurring the lines between movies, streaming, YouTube, gaming, and social media.

Ultimately, however, the conversation returned to storytelling itself.

For Joe Russo, the industry’s future depends less on format and more on encouraging diverse voices and new creative perspectives.

“The one thing left that binds all of us is stories,” he said.

If Avengers: Doomsday succeeds, it may end up serving that same purpose for Marvel. Not simply as another chapter in an ongoing franchise, but as the beginning of an entirely new story.

If the Russos are being honest about Phase Zero, Marvel’s future may look very different from its past.

And after years of multiverses, timelines, and increasingly complicated continuity, that might be exactly what the MCU needs.

Joanthan P. Moustakas

Jonathan P. Moustakas founded The Cinema Group in 2020 during the challenges of the pandemic, after losing the vital ability to find community in theaters and escape through the captivating magic of cinema. Feeling profoundly cut off from the vibrant film community he cherished, he sought to create a welcoming home for dedicated cinema fans while providing engaging, daily curated content that resonates with their passions. Years later, The Cinema Group has blossomed from a small collective of loyal fans into a thriving brand that reaches millions of audiences every month across a diverse array of platforms and mediums.

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