X-Men ’97 Season 2: Marvel’s Legendary Mutants Return

Thanos is the legendary Marvel Supervillains that fans believed yet because the guy wiped out half the universe with one snap. That alone made him a legend. But if you’ve read the comics, you know Marvel’s universe goes much, much further than what we saw in the movies. And then there are much older and scarier creatures – ones that make Thanos look almost diminutive by comparison. One of them is the god of the symbiotes known as Knull who can beat up Thanos.

The Question is: If they go down on the ground then who wins the battle? So, in Knull #3 (Ewing and Waltz, art by Juanan Ramirez), Marvel brings us this very battle and officially confirms who comes out on top.

And trust me, you’re not going to see the ending of this fight. 

The Contenders: A Quick Look at Our Heavyweights

This bloody nitty gritty epic clash between Marvel Supervillains is the most awaited moment to the marvel fans because we have Thanos, the Mad Titan. He is a tactical genius, formidable strength and fully merciless. Thanos has even squared off against the Hulk, Thor, and groups of Avengers without the help of the Infinity Stones. His warped agenda animates him and doesn’t have second thoughts about stamping over whoever hopes to stop him.

On the Other side, we have Knull, the God of the Void. You may not know about him but Comic Book mentioned Knull as an ancient, dark god who created the extraterrestrial species such as Venom and Carnage are also known as Symbiotes. Why Ancient? Because he was one who dwelt in darkness before the light of the universe was. 

Knull almost obliterates the Earth with the 2020 mammoth King in Black comic storyline before he is defeated at last by Eddie Brock. It is an ancient evil, pure darkness that commands a horde of dragons and monsters. 

A Powerless God vs a Dominant Titan

A quick look at these two heavyweights Marvel Supervillains might lead you to think that it will become a long and hotly contested, feel-good war. But that’s not the way it turned out. In Knull series, the self-styled God of Symbiotes was never in a position of strength. He was outnumbered, and not at the peak of his power, in fact. 

Who Can Win Between Marvel Supervillains?

The King in Black event shows that Knull gets the devastating defeat that makes him completely destroyed. But in comics, you can never keep a good villain down permanently. He was just recently resurrected after Venom relinquished his King in Black title. But there was a major catch — Knull was recovered in a significantly diminished state. To make matters worse, he wound up as a miserable captive of the Asgardian Goddess of Death.

Hela being the power-hungry goddess she was, desired to steal Knull’s dark powers for herself. For her grand plan, she also brought in a familiar face, her ex-boyfriend: Thanos.

To rub even more salt in Knull’s wounds, Thanos was heavily armed. He carried the Spear of Light (also called the All-Light), a mythical and potent weapon that was once wielded by Knull’s cosmic antithesis. So, the stage was set for a nearly powerless Knull, cut off from his normal source of power shadows to square off against an all-powerful Thanos wielding a weapon created of pure light. From just reading the name, Thanos was supposed to win this fight easily. 

The Brutal Showdown: Knull Pulls Off the Unthinkable

As the Marvel Supervillains battle began, it appeared exactly as it should have. The Mad Titan was the clear favorite. Thanos wielded the cruel physical force and blinding might of the Spear of Light to drive the debilitated Symbiote God back. But Knull isn’t just powerful, he is ancient, intelligent and absolutely terrifying.

Since Thanos bright weapon was illuminating the battle field, Knull couldn’t use his shadowy and dark related weapons. But Knull soon learned that there was at least one place the light couldn’t reach: the darkness within Thanos.

In a cruel, horrifying turn of events, Knull weaponized the dark essence of Thanos’ own body against him. Knull suddenly explodes from Thanos, unexpectedly. The scene is so graphic and brutal. It finishes with the almighty, unbeaten Thanos collapsing to the ground with his organs in his hands, as the most devastating defeat physically, and emotionally, he has ever known. 

Did Marvel Just Use the Viral Ant-Man Theory?

If that entire “Knull annihilates Thanos from the inside” thing sounds strangely familiar to you, that’s because it is. Just before Avengers: Endgame came out in 2019, a gross fan theory went viral on the internet.

Fans also joked that the simplest way to stop Thanos would be to have Scott Lang (Ant-Man) to shrink down, get inside him and then expand out again — taking out the Mad Titan from within. It was silly, over the top, and for some reason became one of the most talked about jokes in the fandom back then. 

While Knull’s dark magic technique from the comic is not quite the same (and oh so much less bizarre), the heart of it definitely remains. He got inside Thanos and destroyed him from the inside out. You can’t help but wonder if the creative minds at Marvel borrowed a little bit from that iconic Internet meme to give Thanos his most brutal defeat yet. It’s the sort of brutal finisher you’d expect from the God of the Void. 

The Aftermath: A New King Rises to Power

What makes Marvel Supervillains victory all the more impressive is that Knull was at his absolute weakest. He didn’t just defeat Thanos in a fistfight, he humiliated him and destroyed then left with the Spear of Light. 

And then he also took full control of Thanos’ brutal Outrider army. It’s quite clear now that the God of the Void has no more games to play. In short, he is taking the weapons and armies of his enemies to become again the most powerful thing ever, and the rest of the Marvel Universe really should be shaking in their boots about what he does next. 

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Will We Ever See Marvel Supervillains Epic Clash in the Movies?

Now that it is established that Knull is stronger than Thanos in comics, the question is: Will this legendary rivalry ever make it to the big screen?

To be blunt, it’s somewhat confusing right now. Thanos has a significant edge in this department when it comes to the movies. After years of development through MCU storytelling, he’s become a household name.

Knull isn’t exactly new to everyone, as he made his debut in Sony’s 2024 movie Venom: The Last Dance. While Andy Serkis portrayed the character, we let a quick look at him captive on Klyntar, the symbiote homeworld. Fans were clearly left wanting more, but it was a fun little nod to the comics. 

Given all the noise about reboots and major changes coming to Sony’s Spider-Man universe, where that leaves Knull on the big screen is anyone’s guess. Drag if that is all for his live-action story before it really started. The King in Black has all the ingredients needed to be a frightening, universe-ending villain in the movies, just as dynamic and evil as Thanos himself. 

Conclusion

Comic Book readers can rejoice for the ultimate Marvel Supervillains Knull has joined the MCU finally. In a cosmic villain throwdown, Knull the Symbiote God reigns supreme, crushing a fallen Mad Titan in a pool of blood. As the new Knull comic series progresses, there is no telling what the God of the Void will do next with his newly stolen powers. 

Dive deeper into the world of entertainment with Fandomfans to bring theories that get you excited for new characters from movies and series.

There is a point in the narrative when the fiction becomes part of the real world and even the makers of the story are left breathless. And that’s exactly where Daredevil: Born Again is set to be as it gears up to debut for its highly anticipated second season on Disney+. What was once a meticulously planned storyline about Wilson Fisk’s rise to power in politics has evolved into something much more terrifying — a show that now seems to be chronicling current events, not just predicting them. 

Recently, Dario Scardapane, the showrunner, had the chance to talk about scenes that were written and shot over a year ago and then watch near-identical scenes play out on the evening news. The Anti-Vigilante Task Force that Mayor Fisk unleashes in season 2 — all-black agents, nondescript vans, detention facilities looks and feels like the Immigration and Customs Enforcement (ICE) raids that have dominated headlines as of late. The resemblance is not by chance, and not by accident. Instead it is a creative team who went to the history books for inspiration and found , much to their mutual frustration, that history was about to do just that. 

“We were attempting to construct a narrative of a rise to power and a resistance, and it was less about the headlines and more about looking back in history, Now did we know that the imagery we captured would be on the news in two months? No. It’s humbling. It’s chilling. You derive no pleasure from that.” Scardapane said in a recent interview with USA Today.

That sense, both unsettling and humbling and strange unfulfillment creatively, are the perfect encapsulation of what it feels like to put out politically charged art in 2018. We live in an era when the distinction between fiction and reality seems more blurred than ever. It hasn’t seemed like the cast and crew of Born Again that they’ve been forecasting the future—more that they’ve been coming to terms, a little uncomfortably, with the fact that the modes of authoritarian control aren’t all that different, even across centuries. 

The ICE Parallels: Intentional or Inevitable?

As Marvel Television started working on the second season of Daredevil: Born Again, showrunners were intent on wrapping up the Mayor Fisk arc that kicked off in season one and carried over from the Echo series. Fisk’s martial law and he-war on vigilantes gave way to a classic resistance gestalt—albeit one with foundations that could be traced all the way back to the dawn of superhero genre storytelling. What they didn’t expect was how the aesthetic language of that resistance would connect with today’s audiences. 

Executive producer Sana Amanat has been open about the show’s political nature, describing the story as a study on how authoritarian leaders use institutional power to target marginalized communities. In a chat with Entertainment Weekly, Amanat and Scardapane admitted they knew people were going to “make comparisons” between the Anti-Vigilante Task Force and today’s immigration enforcement tactics. The black uniforms, the paramilitary-style raids, the rounding up of people with no due process — it all builds a visual lexicon that reads like it was plucked from recent news, even though it predates them by several months. 

Scardapane has been especially vocal on the historical roots of the parallels. He doesn’t pretend to know what the future holds, only what the past has shown before, citing historical personages such as Nero, Pinochet and Franco as leaders who “follow a script” when they gain power. The series also includes nods to real history such as the 1974 Turkish invasion of Cyprus tying its fictional disputes to real-world, documented instances of authoritarianism. “You tend to get ‘History repeating itself,” noted the creative team, implying what feels topical is actually timeless — the same mechanisms of control and resistance playing out in different times and places. 

That’s a tightrope to balance for Marvel. The studio, on the other hand, has embraced the political implications of the source material, recognizing that superhero stories have always functioned as stand-ins for real-world wars. The X-Men were born out of the civil rights movement, Captain America was beating up Nazis in World War II, and the Black Panther books tackled colonialism and its fall-out. Daredevil: Born Again is part of that tradition, in depicting how the engines of power can be taken over by those who would rule, not serve. 

Conversely, there’s the danger of simplification of political complexities into a superhero pageantry. The ICE parallels, while powerful visually and emotionally, also risk compressing the particular lived experiences of immigrant communities into a generic “resistance” narrative. The show’s creative team appears to have a sense of this push and pull, with Scardapane stating that their object was never to make a statement on any particular current-day policies, but rather to look at the “timeless power dynamics — corruption, and the moral resistance.” 

The Evolution of Matt Murdock: From Lawyer to Full-Time Vigilante

The political climate of Season 2 isn’t just for show — it serves as a substantial catalyst for Matt Murdock’s journey. As of “Street” at the close of Season 1, Matt was still struggling to balance his two identities, still attempting to play by the rules even as the system was being used as a weapon against him. But for Season 2, he is in a very, very different place. 

Matt is officially a “missing person” after his apartment is bombed, and he can no longer go about as an ordinary lawyer. The very identity he’d been desperately clinging to for much of the first season — Matt Murdock, blind attorney and crusader for justice — has been taken from him by circumstance. Now, he’s Daredevil full-time, a fugitive living in the shadows, hunted not only by Fisk’s Anti-Vigilante Task Force but by his friends. 

Charlie Cox, who has played Matt Murdock for more than ten years across the Netflix and now Disney+ version of the character, summed up this evolution with an oddly mundane comparison. “Does that come to mind for you when you were losing your baby teeth and there was one tooth that was wobbly for what felt like a decade and it just wouldn’t go?” Cox asked in a recent interview. “It was just a constant irritation and a pain in your mouth, and it wouldn’t go. That’s how Matt feels about Wilson Fisk. He’s inhabited this man, and he can’t get away from this person.” 

This aching body is a reflection of what Matt has actually become is the mind-shattering psychological reality of his new reality. Previously he had been able to go back to his law practice, to his friendships with Foggy Nelson and Karen Page, to the relative normalcy of Hell’s Kitchen living, but now there’s just the mission. The suit is more than just a costume, it is a second skin, which both characters wear in almost every scene – a practical challenge for Cox that results in an emotional weight for the role. 

One especially moving scene in season 2 captures this erosion of self. When Karen Page asks Matt if he ever misses “being Matt Murdock,” the query lands with the emotional power of the iconic final scene in The Graduate—that moment of lucidity following the adrenaline rush, when the leading man realizes that winning and losing are indistinct. “It’s a fun thing to be able to be the full Daredevil and almost forget who Matt Murdock is and what he is and how he operates,” Cox said, balancing both the freedom and tragedy of that evolution. 

This is the same arc in Fisk’s own story that we are seeing play out in this character evolution. Where Matt has been forced to lean into his darker identity, Fisk is now letting his real self as the Kingpin peel back the layers of Mayor Wilson Fisk. Vincent D’Onofrio who portrays a menacing yet pitiable Fisk has called the dynamic between the two characters symbiotically obsessive for “a piece of corn stuck in his teeth” which Fisk nervously picks at. 

Mentions to both heroes and villains are a constant in the show runner aana Amanat, who describes them as having “spent a lot of the first season in denial of who they were” before Season 2 where they are “finally wearing their suits” – both literally and figuratively. This symmetry throws into relief how the Daredevil/Kingpin battle has left straight hero/villain war behind: it is now a mirror-match, two men who have embraced their natures, both for good and evil. 

Grief as a Character

Daredevil: Born Again would be as empty as if not for Season 1: Foggy Nelson dies and presses this-jawbiting madness home. From the time the original Netflix show debuted in 2015, Elden Henson’s character has been Matt’s best friend, law partner, and his moral compass. His death in the first few minutes of the Disney + reboot makes clear right away that this is going to be a very different Daredevil tale — one that’s personal, permanent, and catastrophic. 

Season 2 picks up after that loss for Matt, who is now dealing with grief and PTSD that impact not only how he feels but also the tactical choices he makes on the battlefield, how he works with his team, and even how he suits up as Daredevil. “He will never be the same again,” Cox said emphatically. “There will be not a day in his life when he doesn’t think about him and think about what he did.” From an actor’s point of view it’s kind of a dream, because it just gives it so much texture.” 

The reappearance of Foggy Nelson in Season 2 teased in trailers and confirmed by Henson’s inclusion in marketing materials opens up all sorts of questions about how the show will address this mourning. Flashbacks? Dream sequences? Or something more metaphysical? Against all odds what’s matters the most is Foggy is a presence that reminds Matt with other methods to what he’s lost and what he’s still fighting for. 

That emotional core is what grounds the political allegory of Season 2 in personal stakes. The crusade against Fisk is not an abstraction—it is about keeping people from losing their lives in the way that has defined Matt’s life. The Anti-Vigilante Task Force is not only a metaphor for institutional overreach, but also a real threat to the community Foggy risked everything to save. 

The Return of Jessica Jones and the Defenders Legacy

While the Season 2 political thriller has been dominating headlines, the season also serves as a send-off of Marvel Television’s Netflix legacy as Krysten Ritter returns as Jessica Jones. The hard-drinking, super-powered PI, who had three seasons on her own show, teams up with Matt in his fight against Fisk, bringing them together in a reunion fans have been longing for since the original Defenders miniseries.

Scardapane has been effusive about Ritter rejoining the fold, describing it as “top of the checklist” for the season. “I love the work that Melissa [Rosenberg] did in Jessica Jones,” he told GamesRadar+. “It’s one of the best genre television shows you’ll ever see. Krysten has created an amazing character,”I think she’s done an amazing job.” 

This comeback is a multipurpose one. It’s for those viewers who have been along for the ride through the Netflix Marvel universe, a confirmation of that continuity and a reward for their investment in these characters. In terms of the Born Again story, Jessica is a different kind of hero – a less burdened by catholic guilt and legal ethics, more pragmatic and self-preserving. Her interactions with Matt, who has wrestled with the ethics of vigilantism, will certainly give both of them some tension and unexpected camaraderie. 

Amanat emphasized that Jessica’s return was “a desire we’ve had right from the beginning,” suggesting that the creative team sees the Netflix characters not as orphaned IP, but rather as integral elements of the Marvel landscape. “It’s exciting to see where she is now many years later,” Amanat said, teasing how time and experience have altered the character since we last saw her. 

The End of Mayor Fisk and a Return to the Streets

Maybe the biggest among the recent Scardapane interviews is what it revealed not about S2, but what lies beyond it. The Mayor Fisk arc, which has been the spine of Born Again and its related series, will reach its “inevitable conclusion” at the end of the second season. This political phase of Daredevil’s life is drawing to a close, and the series has planted its feet to shift course for Season 3. 

“The playbook is pretty well established,” Scardapane told SFX Magazine. “So when we were writing this stuff we’re like, ‘This is what he does.’ The anti-vigilante taskforce is the comic book. And we built them and costumed them from the comics.” 

Yet, while the political thriller aspects have been fun to delve into, Scardapane has said she’d like to bring the character back to his roots. “Going into politics, New York politics, Game of Thrones back-stabbing, allying, and betraying behind the scenes. That’s a good bit of fun, but when it starts to become almost too topical, it feels like it’s moving away from the big, mythological genre stuff,” he observed. “So as we wind down the Mayor Fisk run in season 2, as that story arc comes to its inevitable end, what we’re doing going forward has definitely more of a [Frank] Miller-era comics feeling to it. So yeah, I had a good time playing in the world of politics, but I prefer something a little more street level, personally.” 

That is a very brazen artistic declaration. Frank Miller’s 1980s Daredevil is the definitive, dangedest, noirest, morally questionable version of the character we’ve seen more enmeshed in the world of Hell’s Kitchen organized crime than the political machinations at City Hall. Miller introduced Elektra, turned the Kingpin into a Daredevil rather than a Spider-Man villain, and established the visual and thematic lexicon that the Netflix series and now Born Again have borrowed from. 

A return to Miller-era storytelling provides a number of intriguing options for season 3. The addition of Bullseye – Wilson Bethel’s Benjamin Poindexter made an appearance in the original Netflix series and is expected to return – would go hand in hand with this aesthetic. I would say that Elektra showing up is just as fitting and one could even see Elodie Yung return. And for what it’s worth, Scardapane hasn’t ruled anything out, and given the Miller era’s penchant for bold narrative gambits, that means there’s at least a chance that Foggy Nelson’s demise might not have been as final as it seemed. 

At its core, the change in tone is an admission that Daredevil is at his best when telling a street-level crime story, as opposed to a political thriller. The character’s powers — enhanced senses, martial arts expertise, legal understanding — are really best suited for smaller-scale skirmishes, rather than big political movements. The Netflix series got that, earning its reputation on grounded storytelling about crime, morality and the boundaries of what’s legal. Born Again has opened things up to city-wide politics, but Season 3 is set to bring the focus back down to the neighborhoods and the criminal organizations and personal vendettas that have always been the truest home for Daredevil. 

The Challenge of Topical Superhero Stories

The creative choices confronting Daredevil: Born Again are symptomatic of wider pressures within super hero storytelling in the 2020s. This is not to say these characters have not always been political—Superman took on corrupt landlords in his first ever stories, Captain America whose first cover appearance is punching Hitler, the X-Men function, since their very inception, as allegories for marginalized groups. To suggest that superhero narratives play out in a political void is to deny both their past, and their power. 

But there is storytelling wise a difference between timeless allegory and then and there commentary. When you tie superhero stories too closely to narrow, specific current events, they have a tendency to age poorly, alienate some of their audiences, and oversimplify complex political matters into good guy/bad guy dynamics. The ICE analogues in Born Again Season 2 straddle that line, quite literally by invoking historical patterns of authoritarian conduct while inevitably engaging with the present. 

Scardapane’s declared desire for “something a little more street level” reflects an understanding that Daredevil is at its best when the politics are implied rather than shouted when the narrative fixates on the human toll of corruption and violence over the nuts and bolts of political power. The Miller-era comics on which Season 3 will be based were undoubtedly political, but their politics was rooted in character and atmosphere rather than explicit statements on the politics of the day.

That doesn’t say Born Again will eschew its discussions of real-world concerns. The finest crime tales from the comics, movies or television always reveal something about the culture that spawned them. But, in retaking the streets of Hell’s Kitchen as its setting, the show can address those concerns in terms of character and community, rather than the spectacle of political confrontation. 

The Future of Daredevil

As Daredavil: Born Again Season 2 is coming out on 24 March, 2026, this series stands at a mid-point. The political thriller aspects that have defined this chapter of the character are coming to an end, making way for a return to the noir-tinged street-level stories that have always been Daredevil’s best meat and potatoes. The ICE analogs, which have become the focus of so much pre-release discussion, will give way to new antagonists maybe including Bullseye, Elektra, and the criminal underworld that has long been the true battlefield for Matt Murdock’s soul. 

What stays the same, though, is the core connection between Matt Murdock and Wilson Fisk, a feud that has now defined a decade of television narrative. Charlie Cox and Vincent D’Onofrio have matured in these roles, discovering new layers in a rivalry that could well have stale in lesser hands. The two actors still are able to mine new angles out of this dynamic — they compare it to wobbly teeth and corn kernels indicates there’s still life left in their antagonism even as the political storyline winds down. 

To the viewer, the promise of a Frank Miller-run Season 3 feels like the best possible compromise: political nuance that has ultimately defined Born Again-era Marvel and street-level grit that made the original Netflix run a must-watch. If Scardapane and his team can pull off this transition, they’ll have proven that Daredevil is still one of Marvel’s most flexible and enduring characters able to talk to the political moment and be grounded in the timeless themes of justice, corruption, and what it costs to fight for what’s right. 

That’s what superhero stories do best, in the end. They don’t so much forecast the future or provide direct comment on the present as remind us of the patterns that shape human experience — the ascent of authoritarianism, the resistance of the downtrodden, the personal toll of moral engagement. Daredevil: Born Again has serendipitously become a topical series, but its real power is in rising above those concerns to locate in its very particular Hell’s Kitchen disputes something universal about the battle between power and justice. 

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As the series leaves behind the Mayor Fisk era and returns to the streets, it has the heft of that political experiment — the acknowledgment that even when we take our cues from history, we’re confronted with the present. The Anti-Vigilante Task Force is a comic book invention, but the anxieties it embodies are real. And Daredevil’s superhuman will   improbable as it is   speaks to something just as real: the tenacious, unyielding belief that one man can take on the system, that the devil of Hell’s Kitchen can still make a dent in a world that more and more seems to be throwing up its hands. 

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