Bob Iger Claims Fantastic Four is a New IP Despite Being on its Third Reboot

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Bob Iger referred to the Fantastic Four as a “new IP” as the franchise releases its second reboot.

Following Disney’s Q3 FY2025 earnings call held on August 6, 2025, CEO Bob Iger ignited a discussion among fans, analysts, and industry experts with his views on the intellectual property (IP) approach. During the conversation about striking a balance between producing fresh content and utilizing established franchises, Iger hinted that Marvel Studios would keep on “drawing from its trove of characters to generate unique properties.

He particularly pointed out the freshly published “The Fantastic Four: First Steps” as an illustration, characterizing it as “a work that offers a unique perspective in numerous ways,” since it presents these characters to audiences who are reportedly unacquainted with them according to Iger.

It’s a bit puzzling that with Disney now having the 20th Century Fox film library, including the three previously released Fantastic Four movies on Disney+, and Chris Evans reprising his role as Johnny Storm from the 2005 Fantastic Four in Deadpool and Wolverine (2024), yet John Krasinski has played Mr. Fantastic in Doctor Strange in the Multiverse of Madness back in 2022. This seems inconsistent, doesn’t it?

The Context: Disney’s Earnings Call and Iger’s Full Statement

In the third quarter of 2025, spanning from April to June, Disney’s financial results presented a combination of positive and negative trends. The corporation announced a revenue of $23.2 billion, representing an increase of 4% compared to the same period the previous year. This growth was primarily fueled by robust streaming subscriptions and increased theme park visitation.

Bob Iger | 2019 Disney Legends Awards Ceremony | D23 EXPO 2019. Photo Credit: nagi usano from Tokyo, Japan, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons

Yet, the entertainment division, particularly Marvel Studios, has come under criticism following disappointing performances of late releases such as “Captain America: Brave New World,” “Thunderbolts,” and “Elio.” On a recent call, an analyst raised doubts about Disney’s strategy of prioritizing “new IP” over sequels and remakes.

Iger responded with the following:

Our main goal is still developing new intellectual properties (IP), which has long-term benefits for us. However, we recognize that our existing IP continues to be popular, providing us with two options: creating sequels or updating them with a more contemporary feel, similar to how we’ve handled some of our content, or transforming previously animated works into live-action productions, such as our plan for Moana in 2026. This approach offers numerous advantages for our company and reinforces our franchise.

To clarify, there isn’t a specific order in which we prioritize our projects. Our main goal is to create exceptional movies that connect with audiences. Ideally, we want to unearth and cultivate unique, original content. Currently, we are working on developing such content under the Twentieth Century Fox banner as well as the Searchlight banner. It could also be said that Marvel Studios continues to discover new stories from their existing character library.

Though previous Fantastic Four films exist, our version can be seen as a fresh take in many aspects since it introduces these characters to audiences who were previously unacquainted with them.

Iger underscored that Disney prioritizes creating exceptional films, rather than favoring originals over franchises. He further pointed out current projects such as “Zootopia 2” and “Avatar: Fire and Ash” (two sequels) as demonstrations of their well-balanced strategy.

The History of Fantastic Four: Far From ‘Original’

In November 1961, the remarkable team known as the Fantastic Four debuted in issue number 1 of their own comic book, a creation of Stan Lee and Jack Kirby.

The Marvel “First Family” – comprising Reed Richards (Mr. Fantastic), Sue Storm (Invisible Woman), Johnny Storm (Human Torch), and Ben Grimm (The Thing) – were groundbreaking figures in the superhero genre. Their unique mix of sci-fi, domestic stories, and space journeys has kept them relevant for more than six decades across comic books, animated shows, and merchandise.

On the big screen, the Fantastic Four have already seen multiple iterations:

  • 2005’s Fantastic Four: Directed by Tim Story, starring Ioan Gruffudd, Jessica Alba, Chris Evans, and Michael Chiklis. It grossed $333 million worldwide but received mixed reviews for its lighthearted tone.
    2007’s Fantastic Four: Rise of the Silver Surfer: A sequel that introduced the cosmic villain Galactus (albeit altered). It earned $301 million but failed to launch a trilogy.
    2015’s Fantastic Four (Fant4stic): A darker reboot directed by Josh Trank, featuring Miles Teller, Kate Mara, Michael B. Jordan, and Jamie Bell. Plagued by production issues, it bombed with $167 million globally and a 9% Rotten Tomatoes score.

There was also an unreleased Fantastic Four film made in 1994 by Roger Corman.

20th Century Fox had produced these films prior to Disney’s acquisition in 2019, which returned the rights to Marvel Studios. However, “The Fantastic Four: First Steps,” directed by Matt Shakman and starring Pedro Pascal, Vanessa Kirby, Joseph Quinn, and Ebon Moss-Bachrach, doesn’t signify the characters’ first appearance in the Marvel Cinematic Universe (MCU).

Previously, we’ve seen Chris Evans play Johnny Storm (The Human Torch) and John Krasinski portray Reed Richards (Mr. Fantastic) in different Marvel Cinematic Universe movies.

On July 25, 2025, the movie was launched and managed to earn $125 million within the U.S. during its opening weekend. However, it experienced a significant decline of 66%, suggesting possible viewer exhaustion, in its second weekend.

Instead of labeling this version as an “original property,” it disregards the rich history and continuity that the franchise has built up. The characters aren’t entirely fresh creations; they are revamped icons being reintroduced to a newer audience or those who missed earlier adaptations. This new perspective serves Disney in promoting reboots as groundbreaking, but it contradicts the essence of “original IP,” which encompasses content without any pre-existing source material, such as Coco and Encanto.

Why this Bob Iger Statement Feels Ridiculous: A Critique

Iger’s reasoning – that being unknown equals being unique – sets a minimal benchmark for creativity. If we follow this logic, any re-imagining could be considered “unique” if it’s aimed at new audiences, reducing the motivation for true invention.

Disney’s history presents a striking contrast: Known for its success, the company tends to focus on remakes (such as The Lion King and Aladdin) and sequels (like Toy Story 5 and Frozen 3), yet originals like Elemental make an appearance but don’t overshadow these adaptations.

Critics claim that Disney’s approach after lockdowns and during the streaming battle involves playing it safe, which some believe has resulted in lower-quality productions, as evidenced by disappointing box office performances, a point even acknowledged by Iger himself in 2023 when he admitted that excessive production had watered down quality at Marvel.

Restating old ideas as if they’re new could entice investors, but it might upset fans who yearn for original content. YouTube critics have mirrored this sentiment in their videos, labeling the Fantastic Four’s presentation as a “catastrophe” and expressing skepticism towards Iger’s positivity due to reshoots and screening challenges.

Implications for Disney and Marvel’s Future

Robert Iger’s approach clearly illustrates Disney’s dual strategy: Foster fresh intellectual properties through brands such as 20th Century Studios and Searchlight Pictures, while maximizing the potential of established franchises.

triumphs such as “Inside Out 2” underscore the value of sequels, whereas botched adaptations like “Snow White” and “The Little Mermaid” serve as a reminder that quality continues to be essential.

It’s important for Marvel to combine characters from Fox properties such as Fantastic Four and X-Men to breathe new life into the Marvel Cinematic Universe following Avengers: Endgame. However, if these reboots are marketed as “new,” it could give the impression of creative exhaustion.

Conclusion

As a cinephile, I must admit that when Bob Iger calls “The Fantastic Four: First Steps” an “original property,” it’s a textbook example of corporate jargon. It stretches the bounds of believability. After all, isn’t ‘Fantastic Four’ a comic book series that’s been around for ages?

1960s-born characters and four (or technically five) previous movies make this comeback anything but fresh – it’s a refined revival. Disney’s approach has its advantages, but confusing reboots with originality could potentially undermine trust. As the entertainment world changes, the company needs to strike a balance between nostalgia and creativity to steer clear of the dangers of intellectual property depletion.

Fans deserve great movies, yes—but let’s call them what they are.

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2025-08-06 20:07