By Aqeel Khan
Since the release of Avengers: Endgame in 2019, questions have emerged over whether the superhero genre is losing the cultural dominance it once held at the global box office. While Marvel and DC continue to release major titles, recent performance trends suggest a more uneven reception among audiences.
My take on the decline of Superhero content.
Industry data reflects this change. Global box office revenue for superhero films has reportedly fallen from an average of around $1.1 billion in 2019 to approximately $450 million in 2024. The genre’s share of the North American box office has also declined from roughly 30% in the early 2020s to between 3–15% by 2024, indicating a more competitive and fragmented entertainment market.
Rather than disappearing from cinemas, however, superhero films now operate in a more crowded media environment. Streaming platforms, gaming, and the growth of international animation have all contributed to a wider range of entertainment options, particularly for younger audiences.
Example of a post-endgame project that flopped, the Eternals trailer
Among students, this shift is reflected in more selective viewing habits.
Ben Parson, a second-year sports journalism student at the University of Manchester, suggested that attitudes towards the genre have changed within his peer group. “I’ve been with my mates to watch superhero stuff but it seems kinda childish,” he said, pointing to a perception that the genre no longer appeals universally to older students.
All superhero media in DVD format
Despite this, engagement with superhero culture remains strong among dedicated fans. Will Samson, a second-year criminology student at the University of Liverpool, continues to actively follow the genre. “I love all things superhero, I’m going to my fifth Comic Con in May,” he said, highlighting the role of fan events and wider franchise culture in maintaining long-term interest.
A more neutral view came from Sam Newton, a part-time accounting student at the University of Wrexham, who described his viewing habits as occasional rather than essential. “It’s pretty good, not something I’d go see on my own,” he said, suggesting superhero films remain part of his entertainment choices but are no longer a priority.
Taken together, these perspectives show a genre that still attracts audiences, but in a more selective way than during its peak. Rather than guaranteed cultural events, superhero films now compete for attention in a wider entertainment landscape where audience loyalty is less fixed.
Studios are therefore faced with a changing environment in which success depends less on genre recognition alone, and more on how effectively each film can stand out within an increasingly diverse market.
