Discover the Star Trek history behind Trials and Trible-ations and Leonard Nimoy’s legendary response that made it one of the greatest episodes ever. Read more.
There are some episodes in the long, Star Trek history of the franchise that are “good,” and then there are those that transcend the screen to become iconic moments of pop-culture history. One such occasion is the fifth-season Star Trek: Deep Space Nine tour de force, “Trials and Tribble-ations”.
To fans it was a technical marvel –a 1996 love letter to the 30th anniversary of the franchise that merged the grim, 24th-century reality of Captain Sisko with the bright, primary-colored 1960s look of Captain Kirk. But off-camera the episode was a political quagmire.
New details from executive producer Ira Steven Behr at the Trek Talks 5 fundraiser have provided clarity to a moment that could have turned out very differently: the phone call to the late, great Leonard Nimoy.
In order to understand what made Rick Berman (then the franchise lead) so nervous about calling Nimoy, you just have to go back to the 1994 “Generations” debacle.
At this time, Leonard Nimoy wasn’t only an actor, he was the filmmaker who had rescued the motion picture series with his two films, The Search for Spock and The Voyage Home. When it was time to transition the Original Series (TOS) cast to The Next Generation (TNG) cast in the movie Star Trek Generations, Star Trek history, Paramount, they naturally looked to Nimoy to direct.
Yet Nimoy notoriously disparaged the script. He believed the story had holes, but more significantly he was offended by the “cameo” status of Spock’s part in the prologue. He wasn’t content to be just a name on the screen; he wanted to be involved in writing and directing as well. When Paramount would not be swayed from the script, Nimoy walked out. The Nimoy-Rick Berman dynamic grew frosty, “getting us into a different place…not exactly on the same page.”
When the concept for “Trials and Tribble-ations” was raised an episode that would cheekily insert footage of Nimoy from the 1967 classic “The Trouble with Tribbles” — the legal and professional obstacles seemed too great to overcome. Berman, perhaps anticipating a rebuke or a sermon, informed Ira Steven Behr that he was the one who should make the call.
Behr characterizes the moment with a tension usually only found in a Romulan standoff. He phoned Nimoy, prepared for a “prickly” meeting, and pitched the idea: DS9 was going to utilize digital technology to place their actors within the original film footage.
Following a lengthy and suspenseful pause that probably felt like a lifetime to Behr, Nimoy said simply in five words:
“What took you so long?”
It was more than just a “yes.” But it was the evolution of the franchise that earned the fans’ energetic thumbs-up. Although Nimoy had guarded Spock’s dignity in the films, it is clear that he had a deep love for the fans and the legacy that show came to have. He wasn’t into holding a grudge against a creative homage; he was stunned it hadn’t come sooner.
With Nimoy’s blessing, the writers and producers of DS9 put together what many consider the definitive “gimmick” episode in television history. Here’s why the Star Trek history and Nimoy’s blessing of it — remains so important:
Technological Pioneering: Well in advance of “de-aging” technology being a standard Hollywood practice, DS9 employed forest-green screens and precise lighting to emulate the grain and shade of 30-year-old motion picture film.
The “Forrest Gump” Effect: Watching Bashir and O’Brien chatting in the TOS commissary, or Sisko on the bridge of the original Enterprise gave us a grounding that made the universe of Trek feel “whole” in a way it never had before.
The episode was not ridiculing the 60s, it was loving them. The joking about the changing Klingon foreheads (“We do not discuss it with outsiders”) to the sight of Sisko autographing a Kirk book – it was every fan’s dream.
In a time when “toxic fandom” and “creative differences” were shaping much of the news, Nimoy’s response is a grounding reminder of what Star Trek history is meant to be.
Nimoy recognized the difference between a corporate mandate (the Generations script) and a creative homage (the DS9 tribute). He may have been “hard to work with” in fulfillment of his view of the character of Spock, but he was exceedingly generous when artists sought to pay tribute to the work.
| Perspective | Reaction to “Trials & Tribble-ations” |
| Rick Berman | Fearful of litigation and personal friction. |
| Ira Steven Behr | Nervous, but hopeful for a creative win. |
| Leonard Nimoy | Enthusiastic, viewing it as a long-overdue celebration. |
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In the end, Nimoy didn’t return to the “Berman-era” of Trek ever again after that. His subsequent involvement with the character of Spock wouldn’t come again until the 2009 reboot directed by J.J. This just makes his support for the DS9 ep even stronger. It was his way of saying that while I’m sure he had some issues with the suits in the front office, his love for the world of Star Trek and the fans who kept it alive was unconditional.
“Trials and Tribble-ations” is a transitional episode. It’s a bridge spanning 1966 to 1996, bridging the gap between the film stock of yesteryear and that of the digital future, and—thanks to a surprisingly genial phone call—it’s a bridge between a legendary actor and the franchise he helped build.
As 2026, the year the episode took place in, marks the 30th anniversary of that episode, Nimoy’s statement rings true. What took them so long? The magic has always been there in Star Trek history, it just needed to be rediscovered and reclaimed.
Ultimately, “Trials and Tribble-ations” isn’t just a cool crossover episode—it’s a love note to everything that makes Star Trek great. From its bold use of technology to its sentiment-based tribute to the original series, the episode managed to unite generations of fans as few programs ever have.
But the thing that really takes it to another level is Leonard Nimoy’s reaction. His simple yet profound assent—“What took you so long?”—lent a much-needed element of calm in a time when infighting within the franchise could well have scuttled the notion. It revealed that above all the contract issues and creative differences, there still was an immense respect for the legacy and the fans.
More than 20 years later, the episode serves as a testament that Star Trek is best when it looks back upon its roots even as it looks forward. And then, the Star Trek history isn’t the miracles that matter that get arranged in time, so much as the sudden glance of grace that’s unlooked for but remembered.
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Explore the five alien worlds Kara Zor-El visits in Supergirl: Woman of Tomorrow and discover how each planet shapes her epic cosmic journey.
Supergirl: Woman of Tomorrow is the second film in DCU’s Chapter One: Gods and Monsters set entirely in outer space. Supergirl will be flying on five different planets rather than saving people on earth, something quite new from repeatedly origin stories of superheroes for decades. Fans want something new and exciting and Gunn fulfilled fan’s wishes.
Director Craig Gillespie confirmed at Supergirl launch event that the story unfolds across five different planets, and every planet has its own environment (atmosphere, alien species, and visual identity). As Gunn himself put it, they are planning to restructure the big DC universe.
That’s a bold swing. And Supergirl: Woman of Tomorrow will be the first origin movie with a different narrative direction and an important bridge for Superman next movie. So — where does she go? What happens in each world? And why does it all matter for the future of the DCU? Here’s your complete travel guide to the five planets of Supergirl.
Every Superman movie shows Krypton blowing up in the first five minutes and moves on. Supergirl refuses to let it go that quickly — because for Kara, it didn’t. Where Clark Kent was an infant rocketed away from a planet he never truly knew, Kara Zor-El watched her civilization die piece by piece, over years, while she was old enough to understand exactly what she was losing.
The trailers make this devastatingly clear. The trailer showed a moment where a large dome was formed over Argo City by Kara’s father. That Krypton shielded tiny protected city floated through space, its population clinging to survival on borrowed time. Kara’s mother, Alura In-Ze (Emily Beecham), is present in these flashbacks as well, though her role is a limited and haunting one — in the source comic, she dies from radiation poisoning before Argo’s final destruction, a consequence of yellow sunlight slowly changing the chemical composition of the rock beneath the city.
This is the version of Krypton’s destruction that the Supergirl: Woman of Tomorrow showing, a prolonged, agonizing collapse rather than huge explosion. Kara firmly rejects the idea that Krypton died all at once when Ruthye questioned her homeland. It’s a line that reframes everything. Superman’s origin is tragic. Kara’s origin is traumatic.
Eventually, Zor-El follows in his brother Jor-El’s footsteps, builds a rocket and sends Kara off into space. Kara left with a single piece of advice from her mother “be good.” Argo City sequences were filmed on the massive soundstages at Warner Bros. Studios Leavesden, where LED virtual production volumes recreated the dying Kryptonian cityscape with extraordinary detail.
The planet Evely is where Kara’s actual story begins. Kara is living a directionless life ever since in this world, alone and drinking on her 23rd birthday, dancing by herself on Blondie’s “Call Me” to avoid her pain. Her life changes when a young alien girl named Ruthye Marye Knoll walks into her life.
Evely feels like a forgotten corner of the galaxy—rugged, worn down, and full of life that’s barely holding together. The teaser’s early shots of dirty streets and crumbling alien buildings seem to come from this planet, giving it the look of an old spaceport rather than a shining sci-fi city. It’s also where Kara is at her lowest point. This is where Kara is at her lowest, far from Earth, far from her cousin Superman, she is just surviving these days and trying not to die while her birthday feels like a reminder that she belongs nowhere.
It all begins when Ruthye’s father, Elias Knoll (played by Ferdinand Kingsley), is murdered by Krem of the Yellow Hills (Matthias Schoenaerts), the feared leader of the Brigands—a violent gang of space pirates and traffickers. Heartbroken and consumed by grief, Ruthye turns to Kara with one simple but dangerous request: help her hunt down the man who killed her father.
Ruthye isn’t asking for justice through any system, she wants direct, bloody revenge. And Kara, worn down and reckless, agrees. That decision sets both of them on a journey that will test their beliefs and change them in unexpected ways.
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The name Evely is a heartfelt tribute to Bilquis Evely, the artist who co-created Supergirl: Woman of Tomorrow alongside writer Tom King. Her stunning artwork gave the comic its unique identity, blending breathtaking sci-fi worlds with deep emotional storytelling. By naming a planet after her, the filmmakers are paying respect to the artist whose visuals helped shape this story.
To bring Evely to life on screen, the production used Iceland’s dramatic black sand deserts and ancient lava fields. These real-world landscapes already look like something from another planet, making them the perfect backdrop for Supergirl’s cosmic journey.
If Evely is where Kara hits rock bottom, Holzherr is where the universe opens up. This planet, confirmed by set visitors from the Screen Rant press trip to Leavesden, orbits three suns — each a different color — casting its skies in an extraordinary, trichromatic light that makes the world look like something out of a painting. It’s the kind of planet that stops you mid-sentence and makes you look up.
The name “Holzherr” is another deeply intentional easter egg — it honors Brittany Holzherr, the DC editor who oversaw the publication of the Woman of Tomorrow comic and who reportedly influenced Tom King to make Supergirl the story’s protagonist rather than Lobo. Without Holzherr’s editorial guidance, the source material that inspired this entire film might have been a very different book. Naming a stunning alien world after her is a gesture of real gratitude from everyone involved.
Holzherr is also where the film’s visual ambition reaches its peak.Director Craig Gillespie filmed in real locations, including Scotland’s Highlands, and then used VFX to enhance them is the smart decision. The three-sun sky was achieved through a combination of on-location photography with visual effects that makes a breathtaking scene.
Czarnia is where the story takes its sharpest tonal detour — and delivers its most outrageous character. In DC Comics lore, Czarnia was once a paradise planet: peaceful, prosperous, and entirely without war. Then Lobo was born. A single Czarnian committed genocide and killed every last member of his species expect himself. Only one man is responsible for this heartbreak killing is intergalactic bounty hunter with a wide grin and a steel chain who showed up in that January 2026 teaser.
Lobo’s connection to Czarnia is brought up in an official preview clip released just before the film’s release, where Kara and Ruthye cross his path at what appears to be an interplanetary rest stop. Ruthye’s description cuts right to it: “He’s an immortal with a god complex. Killed off his entire planet.” The scene is darkly comic — Ruthye is terrified, Kara is exhausted, and Lobo is delighted by both reactions.
Lobo was originally the protagonist of Tom King’s source comic — it was DC editor Brittany Holzherr’s guidance that redirected the story to center on Supergirl instead. Giving Lobo his own home planet and backstory is a smart storytelling choice. Czarnia represents a mirror image of Krypton. Where Krypton was destroyed by forces beyond anyone’s control, Czarnia was destroyed by one man’s choice. This emotional parallel makes a character more interesting and meaningful.
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Every road trip has to end somewhere. For Kara and Ruthye, it ends in a world where Krem of the Yellow Hills has taken refuge — and where their months-long chase across the galaxy finally reaches its violent, emotionally charged conclusion. This is the film’s climax, and the trailers suggest it is spectacularly realized: vast, frozen landscapes, the kind of terrain that makes every fight feel enormous.
The critical detail here, pulled straight from the source comic, is the red sun. Beneath a red sun, Kara loses her Kryptonian powers. No heat vision. No super strength. No flight. This is where the film gets honest about what kind of hero Kara actually is — not an invincible god figure, but a person who has already survived the worst thing imaginable and is still standing. When Krem steals her ship mid-journey and she arrives powerless on this world, she doesn’t fold. She adapts.
Iceland’s glacier fields served as the primary real-world filming location for these sequences, providing the kind of bleak, expansive terrain that communicates danger even before a single punch is thrown. The production finished in May 2025, giving ILM and the VFX team a one year time to polish practical landscapes which already looked like they came from another galaxy.
The journey doesn’t end with Krem’s defeat. It ends with Kara understanding what “be good” actually means when there are no easy answers. Ruthye came looking for revenge. In this final world both characters get matured and become what they are meant to be. Supergirl: Woman of Tomorrow is more deeper than a simple revenge.
What she finds — and what she narrates for the audience throughout the film — is something more complicated, more honest, and far more lasting than simple vengeance. This final world is where both characters earn the people they’re going to become.
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It would have been the safe, easy choice to bring Kara to Earth and let her share the screen with Superman in a familiar, grounded setting. James Gunn and Craig Gillespie made the exact opposite decision — and it’s the reason Supergirl has generated the kind of genuine anticipation that only comes when something feels genuinely new.
The DCU’s Earth-based stories have Superman, Batman (via Clayface, releasing October 2026), and the entire Green Lanterns mythology tethered to familiar soil. Supergirl gets the cosmos. She gets five worlds. She gets a story that unfolds like a space western written by someone who grew up reading both Ursula K. Le Guin and Walter Hill screenplays. That emotional toughness and adventure draws from Tom King and Bilquis Evely comic storyline and exactly what Gillespie set out to translate to IMAX.
Supergirl: Woman of Tomorrow using real locations of Scotland and Iceland as alien worlds and enhancing with VFX rather than building everything from scratch in a computer makes the planet look more real and grounded than heavy CGI effects. You can feel the cold. You can feel the distance. When Kara screams into the void of space, you understand why she had to go somewhere the sound wouldn’t destroy everything she loves.
Every planet Kara visits in Supergirl: Woman of Tomorrow is a building block for the DCU’s cosmic architecture. Argo City ties directly into the Brainiac mythology that Man of Tomorrow will explore in 2027. Czarnia introduces Lobo as a full-blown DCU character with room to grow. The alien civilizations glimpsed across Evely, Holzherr, and the Hunt World lay the groundwork for a universe that doesn’t revolve solely around Earth — one where Kara Zor-El is a hero of the galaxy, not just a backup to her more famous cousin.
James Gunn has already teased that Chapter One’s finale will involve a “much bigger story,” and it is increasingly clear that Supergirl will be at the center of it. She’s being set up not as an appendix to Superman’s story, but as a fully independent cosmic protagonist who has already seen more of the universe than any other DCU hero.
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Supergirl: Woman of Tomorrow is a cosmic adventure that uses five different alien worlds to shape Kara Zor-El’s journey. From Krypton to Hunt world, each planet adds a new layer of lesson for her. Instead of relying on familiar Earth-based settings, James Gunn embraces the emotional core of the film and focuses on stunning visuals to make it realistic for the audiences. If executed well, these alien worlds could make Supergirl: Woman of Tomorrow one of the most powerful entries in the new DC Universe.
Supergirl: Woman of Tomorrow opens in theaters and IMAX on June 26.
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Marvel X-Men '97 Season 2 brings Marvel's iconic mutants back with new adventures, returning heroes, and fresh challenges on Disney+.
Marvel X-Men ’97 Season 1 success brings the next season on July 1, 2026. Marvel’s X-Men ’97 season 2 trailer hints at a very very dark plot and new characters joining with continuing the story after the season 1 finale with the most dangerous villain Apocalypse.
Season 1 ends with a timeline-shattering finale in May 2024, leaving a baggage of questions for fans. Everyone is end up in different time of period, Cyclops and Jean Grey were in 3960 A.D. and Rogue, Beast, Nightcrawler, Professor X, and Magneto found themselves in ancient Egypt, circa 3000 B.C., facing young En Sabah Nur who later become the worlds most dangerous person — Apocalypse. He also appeared in the gut-wrenching mid-credits scene and picked up Gambit’s charred playing card with a smile.
The wait is almost over. Marvel X-Men ’97 Season 2 is set to deliver on every promise — with a nine-episode run, a sprawling cast of new and returning mutants, and the most terrifying villain in X-Men history taking center stage.
| Premiere Date | July 1, 2026 |
| Season | 2 |
| Episodes | 9 |
| RT Score S1 | 99% |
| Main Villain | Apocalypse (En Sabah Nur) |
| Stakes | All time |
Before watching Season 2, a recap of X-Men ’97 season 1 is crucial to understand the storyline. It picked up from the 1997 finale of X-Men: The Animated Series, it was one of the best superhero cartoons ever. The revival series is penned by Beau DeMayo who is head of Writers and produced by Marvel Studios Animation, the series premiered its first season on Disney+ in March 2024 and was widely praised by fans and critics.
Marvel X-Men ’97 Season 1 episode 5 was the main emotional core of the whole season that genuinely shocked audiences by the attack of Sentinel on the mutant safe haven of Genosha. In order to protect others, Gambit sacrifices himself in that explosion which raises the stakes of “Remember It” as the most emotional episode. It was the kind of bold, unflinching storytelling rarely seen in animated television.
In the three-part finale “Tolerance Is Extinction” the real villain is revealed to be Bastion, a human-mutant-machine hybrid who became a representative of the next evolution in anti-mutant warfare. The X-Men won the fight at the end, but at a personal cost. During the conflict, Magneto, in-charge of the X-Men after Professor X created a blackout and tears the adamantium out of Wolverine’s body, leaving Logan in a catastrophic state.
A key moment between Magneto and Professor X when he entered into Magneto’s mind with his Psychic power that nearly destroyed them. This causes a possibility of the terrifying entity born from the darkest corners of both psyches – Onslaught which could become a major threat in future seasons.
In the end of season 1, the X-Men were flung across time. Cyclops and Jean Grey are separated and thrown from the rest of X-Men and end up in 3960 A.D. where they have adopted son Nathan (Cable). Magneto and Professor X are end up in 3000 B.C. in ancient Egypt along with Rogue, Beast, and Nightcrawler. In their timeline, Apocalypse was just a young child En Sabah Nur, who was outcast because of his mutant ability to the brutal tribe. In the mid-credits scene, Apocalypse visits Genosha and smiles while looking at Gambit’s playing card which means he has plans for him.
According to Disney’s official synopsis, the X-Men are scattered across different eras in time and busy finding their way to come back home. Meanwhile, back in the 1990s, new enemies were rising in their absence who have strong hate against mutants.
Marvel X-Men ‘97 Season 2 trailer dropped in May 2026 and gathered million views. It featured Rogue mourning Gambit’s death with Nightcrawler then scenes shifts to X-Men across every era of history. The trailer ends with Apocalypse declaring war:
“I must strike them at their most vulnerable — the 1990s!”
The one major subplot is confirmed that draws from the 1994 comic The Adventures of Cyclops and Phoenix. As the finale showed Scott and Jean, they will raise their adopted son Nathan (Cable) in the far future, while Apocalypse remains a growing threat. Meanwhile, back in the ancient past, Bishop and Forge are trying to fix the fractured timeline. Professor X actor Ross Marquand said:
“He was surprised the season was approved because it is so dark and many die.”
Marvel X-Men ‘97 Season 2 showcases every character being separated and thrown in different centuries.
| 3960
A.D |
Cyclops & Jean Grey | They end up in the far future when Apocalypse is already rising with power. It is based on The Adventures of Cyclops and Phoenix comic. |
| 3000
B.C |
Rogue, Beast, Nightcrawler, Professor X & Magneto | They end up in the past (ancient Egypt) where Apocalypse is young, a grey-skinned outcast with the Sandstormers tribe. |
| 1990s
Present |
Wolverine, Bishop, Forge & Others | Holding on to the present day while Apocalypse plans to strike on mutants at their weakest era. |
En Sabah Nur, born thousands of years ago in ancient Egypt where Rogue, Professor X and Magneto find him as a grey-skinned outcast, was taken in by a tribe called the Sandstormers, who brainwashed him with a brutal belief that only the strong one survive. And he enhanced his mutant abilities with celestial technology after growing up and created himself as the powerful judge to decide who was worthy to survive.
We only watched his young version as En Sabah Nur in 3000 B.C. in the X-Men ’97 Season 1’s finale. But Marvel X-Men ‘97 Season 2 will showcase his past, present and future simultaneously. Whether it’s only a child or a dangerous villain he becomes, one thing is sure that he is too powerful. And he is planning to erase all mutants at their weakest time.
The Season 1 mid-credits scene strongly suggests that Apocalypse came to the ruins of Genosha to resurrect Gambit for making him a Death, one of his Four Horsemen.
Season 2 brings back the full core voice cast while introducing a significant roster of new mutants — many of them deeply meaningful to long-time comics readers.
Somehow alive and fully functional after having his adamantium ripped out. How he recovered is one of Season 2’s central mysteries.
Stranded in the far future of 3960 A.D. alongside Jean — facing Apocalypse at the height of his reign.
In the distant future with Scott — the Phoenix residue she carries may be crucial to their survival and escape
Emotionally shattered by Gambit’s death. The trailer opens on her grief — and she’s trapped in ancient Egypt with Nightcrawler and Beast.
The weather goddess returns to the fray with her signature combination of power, grace, and moral authority.
Caught in ancient Egypt, psychically weakened after his confrontation with Magneto. His survival is far from guaranteed.
Stranded in 3000 B.C., facing the man he helped create through the violent philosophy he once shared: En Sabah Nur.
Gets the trailer’s most crowd-pleasing moment — briefly shapeshifting into Deadpool, sending social media into a frenzy.
Teased in the trailer’s final seconds with a claw reveal. Victor Creed’s appearance signals a brutal personal reckoning for Logan.
Returns to the animated series with a storyline that reflects current comic continuity around Kwannon and identity.
His dark metallic wings hint at a possible past as one of Apocalypse’s Horsemen — a deeply significant connection to the season’s villain.
Magneto’s daughter makes her animated series debut — her complicated family legacy will matter enormously given the stakes of Season 2.
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The steel-skinned Russian mutant joins the fray, adding raw power to a team desperately in need of it across every timeline.
Adamantium claws and a vendetta against Wolverine — her arrival adds a personal, physical threat that Logan is in no shape to handle.
The living embodiment of the X-Men’s VR training facility — a deeply strange and compelling addition from Joss Whedon’s comics run.
The telepathic powerhouse makes her Season 2 appearance — whether as ally or antagonist remains one of the season’s intriguing question marks.
When Magneto left Wolverine heavily injured and close to death in the last moment of finale, left fans wondering if he ever survived or not. The scene directly connected to the famous 1993 “Fatal Attractions” comic storyline.
Marvel X-Men ’97 Season 2’s trailer answers one question that Logan is alive but leaves everyone wondering how he survived that state. He appears fully restored, adamantium claws and all. How? The show has not yet explained his recovery, which may be one of the central revelations of the new season.
Theories range from the Weapon X programme, to a future/past intervention by time-displaced allies, to Apocalypse himself — who has been known in the comics to “enhance” mutants for his own purposes.
“The trailer shows a different situation. Wolverine appears alive and fully functional again — his adamantium claws restored. The trailer does not explain how.”
In episode 5 of season, Gambit died in order to protect everyone from the explosion to destroy an army of Sentinels and make its audience highly overwhelmed. Remy LeBeau — the Cajun reformed thief, the man who loved Rogue more than life itself — sacrificed himself which was magnificent and heartbreaking.
But in the X-Men comics, few deaths are permanent — and Gambit’s least of all. The Season 1 mid-credits scene indicates that Apocalypse plans to resurrect Remy as Death, one of his Four Horsemen. And this storyline directly adapted from the comics, adding more emotional core in the Season 2 of the series. Rogue is not drowning into grief only but the horrifying possibility of facing the man she loves turning into a monster which makes fans more excited.
Nothing has been officially confirmed, but Ross Marquand’s comments about the season being “very, very dark” and featuring a significant body count suggest the show is not pulling its punches. A resurrected Death-Gambit would be the kind of devastating narrative Marvel X-Men ’97 Season 2 has proven itself fully capable of delivering.
The long-term future of X-Men ’97 is looking extremely bright. At New York Comic Con in October 2025, Marvel officially confirmed that Season 3 has been greenlit — announced even before Season 2 had a release date. Brad Winderbaum, Marvel’s Head of Streaming, Television, and Animation, has made clear that the goal is for the series to run for the long haul.
Marvel X-Men ’97 Season 2 was written by a team that includes original showrunner Beau DeMayo — who completed work on both Season 1 and Season 2 scripts before departing the project. Matthew Chauncey has since stepped in as writer to carry the series forward into Season 3 and potentially beyond.
Marvel X-Men ’97 Season 2 arrives with nearly impossible expectations — and every sign suggests it intends to exceed them. With Apocalypse as a multi-era threat, a team fragmented across thousands of years, Wolverine’s mysterious recovery, the spectre of a resurrected Gambit, and an already-confirmed Season 3, Marvel Animation’s crown jewel is only getting started. Clear your Disney+ queue. The mutants are coming home.
