Ever since the series was first cancelled by Netflix, Marvel Cinematic Universe fans had been patiently crossing their fingers and biding their time for Charlie Cox’s Daredevil to return.
When he finally did just that in Spider-Man: No Way Home, audiences lost their minds in multiplexes around the world, but they had to wait until the penultimate episode of the franchise’s least popular project ever in terms of its Rotten Tomatoes user score to see Matt Murdock back in his familiar duds.
A lot of the hype for She-Hulk: Attorney at Law focused explicitly on Cox’s comeback in red and yellow, and even though there was the inevitable backlash and criticism, it gave us a taste of things to come when solo series Born Again lands next year, if that’s still going to be the case given the ongoing strikes.
However, how much has writer Cody Ziglar made in royalties from penning the teleplay for the in-costume comeback of a widely-beloved superhero who’d been demanded for years as an MCU recruit? Not much, not much at all.
It’s a damn sight better than 10 cents anyway, but it’s yet another reminder why writers are striking in the first place. Streaming has basically crippled the residuals industry, to the extent the people behind major moments in the biggest franchises on the planet are barely seeing a penny for their contributions, all while the executives take home tens of millions of dollars on an annual basis, something that needs to change sooner rather than later.
