After years of waiting, Marvel Studios has finally reintroduced the legendary Fantastic Four to the big screen with The Fantastic Four: First Steps — and the ending has left fans stunned, heartbroken, and buzzing with theories.

Set against a cosmic-scale threat, the movie throws Reed Richards (Pedro Pascal), Sue Storm (Vanessa Kirby), Johnny Storm (Joseph Quinn), and Ben Grimm (Ebon Moss-Bachrach) into battle against Galactus — the planet-devouring god whose hunger puts Earth on the menu.

But this time, it’s not just Earth at risk. It’s Sue’s unborn child — Franklin Richards, a baby Galactus believes holds unimaginable power.

Galactus’s Deal and a Mother’s Defiance

The godlike villain offers a chilling ultimatum: surrender the baby, or the Earth dies. But the Fantastic Four refuse, sparking a chain of events that leads to one of Marvel’s most emotionally intense climaxes yet.

Sue gives birth mid-escape, just as Earth braces for destruction. Reed unveils a desperate plan: use a massive teleporter—”the bridge”—to send Galactus to the edge of the universe. But to lure him in, they’ll need to use Franklin as bait.

Shalla-Bal’s Redemption and Johnny’s Sacrifice… Almost

In a fiery final battle, Johnny Storm nearly sacrifices himself by flying into Galactus at full speed to force him through the portal. But in a surprising twist, Shalla-Bal — Galactus’s Herald and former victim — intercepts him. Overcome with guilt for her past, she chooses to redeem herself, shoving both herself and Galactus through the portal, vanishing them into deep space.

Sue Storm Dies… and Then Something Unthinkable Happens

In her attempt to protect Franklin during the battle, Sue is fatally struck by Galactus. The team gathers around her lifeless body. In a moment of utter grief, Reed places baby Franklin in her arms for one final goodbye.

And then… it happens.

Franklin glows. A pulse of energy radiates from him.
Sue Storm opens her eyes.

In the film’s most jaw-dropping twist, baby Franklin brings his mother back from the dead. It’s not just a touching resurrection scene—it’s a defining moment that reveals the true scope of Franklin’s powers, long hinted at in Marvel Comics as being universal-level.

Mid-Credits Scene Teases Dr. Doom and Avengers: Doomsday

But Marvel isn’t done. The mid-credits scene, set four years later, shows Sue reading The Origin of Species to a young Franklin. As she steps into the kitchen, she freezes—Dr. Doom (Robert Downey Jr.) is casually playing with her son.

“The Fantastic Four will return in Avengers: Doomsday — 2026,” flashes the screen.

Fans will also catch a post-credits Easter egg: a few seconds of retro-styled cartoon footage, a nostalgic nod to the original 1960s Fantastic Four animations.

What Does This Mean for the MCU?

With Franklin Richards introduced and Sue Storm brought back to life by her own son, Marvel has opened the door to a whole new tier of cosmic power in the Marvel Cinematic Universe. His resurrection ability could rival or even surpass characters like Scarlet Witch, Jean Grey, or even Kang the Conqueror in terms of raw potential.

And with Dr. Doom, Yelena Belova, Captain America (Anthony Mackie), and Professor X (Patrick Stewart) confirmed for Avengers: Doomsday, the next chapter looks set to be nothing short of multiversal mayhem.
Sue Storm dies saving Earth… but her newborn son Franklin brings her back to life.
Shalla-Bal sacrifices herself and Galactus to save humanity in a stunning finale.
Marvel’s “Fantastic Four: First Steps” ends with a twist that reshapes the MCU forever.
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A resurfaced video of a 2003 interview between Anthony Anderson and then-17-year-old Lindsay Lohan has set social media ablaze, with many users expressing disbelief and anger over the tone and content of Anderson’s remarks. The controversial clip, pulled from The Sharon Osbourne Show, is now being widely circulated, drawing renewed attention to the actor’s past conduct and resurfacing old accusations.

The Anthony Anderson interview occurred during a December 2003 taping of the now-defunct talk show where he filled in as guest host. Anderson, who was 33 years old at the time, interviewed Lohan during her meteoric rise following her starring role in Freaky Friday. The conversation quickly turned uncomfortable when Anderson asked about Lohan’s home life and her living arrangements with fellow teen star Raven-Symoné.

Lohan responded casually, explaining their different decorating styles. But the tone shifted when Anderson inquired, “What gentlemen will be at the new pad with you and Raven-Symoné?” After Lohan stated she was single, Anderson joked to the audience, “She’s single, but looking!”

Lohan quickly clarified, “I’m illegal, for people that are old.” Instead of backing off, Anderson replied with a line that has become the center of current outrage:

Some men like them young. We ain’t gonna mention no names, but I’m one of them.

He and the audience laughed, but the exchange now strikes many viewers as deeply inappropriate—especially given Lohan’s status as a minor at the time.

Later in the same Anthony Anderson interview, he wrapped the segment by leaning in close to Lohan and saying, “Right now, we’re about to get our freak on,” as he put his arms around her. Lohan, clearly uncomfortable, placed her hands over her mouth in surprise.

In response to the video’s resurfacing and the resulting backlash, Anderson’s spokesperson issued a statement to Entertainment Weekly:

This interview was clearly intended as comedy. He regrets if the humor was in poor taste and maintains the utmost respect for Lindsay. Any implication to the contrary is both inaccurate and potentially defamatory.

However, social media users were unconvinced. One user wrote, “It just kept getting worse… and worse,” while another posted, “My jaw is still on the floor.” A third user’s blunt question summed up the general sentiment: “Is it a rule that to be successful in Hollywood you have to be a complete creep?”

This Anthony Anderson interview has also reignited conversations about his past. In 2004, while filming Hustle & Flow in Tennessee, Anderson was accused of sexual assault. The case was eventually dropped, but it remains a part of his controversial history.

Anderson, known for roles in shows like Black-ish, Law & Order, and films like Kangaroo Jack, has built a decades-long career in Hollywood. He’s received multiple Emmy nominations and hosted major awards shows. But this recent wave of criticism threatens to cast a long shadow on his public image.

Meanwhile, Lohan, now 38, has made a successful return to the spotlight in recent years. She’s currently enjoying a comeback with new projects and a refreshed image, after years of public scrutiny and media challenges.

This entire episode serves as a sobering reminder of how easily past moments—especially those caught on camera—can resurface and reshape narratives in the present. The Anthony Anderson interview may have once passed as entertainment, but in today’s climate, it is now viewed as a prime example of Hollywood’s historical lack of boundaries and accountability.

In a stunning twist during the July 24 evening performance of Evita at the London Palladium, Rachel Zegler made a mid-show exit due to illness—leaving fans shocked and setting the stage for one of the most emotional nights in recent London theatre memory.

The Rachel Zegler Evita exit was announced during intermission, with understudy Bella Brown stepping in for the second act. What followed was a rare theatrical phenomenon: a performance that not only lived up to expectations but may have exceeded them. Brown’s rendition of the iconic “Don’t Cry for Me Argentina” stunned the packed house, prompting a thunderous five-minute standing ovation and an outpouring of support for both the star and her understudy.

Today really showed just how important swings and covers are within this industry,” Brown later wrote on her Instagram Story. “They are pillars of a show!! A proud day to be at Evita.

The musical, directed by Jamie Lloyd, has received widespread acclaim for its stripped-back staging and innovative use of live video projections. One standout element includes filming Eva Perón’s famed balcony scene live from Argyll Street outside the London Palladium, mirroring the political fervor of 1940s Argentina.

During this very scene, Brown, who earlier played Perón’s Mistress in Act 1, rose to the moment with fierce emotion and vocal brilliance. Her chemistry with the cast and ability to channel Eva’s charisma helped carry the performance forward seamlessly. The Rachel Zegler Evita absence was deeply felt, yet the show’s ability to pivot gracefully underscored the resilience and talent embedded in live theatre.

Zegler, a Golden Globe winner best known for her role in West Side Story, has been making her London stage debut in Evita, portraying the legendary Argentine First Lady Eva Perón. The 24-year-old actress had completed both acts during the matinee earlier in the day, suggesting the illness was sudden. As of now, it’s unclear whether she will return for the July 25 performance.

I couldn’t be luckier,” Zegler had written in an earlier Instagram post when the show opened to rave reviews on July 1. “I never thought I would get to live my dream this way. Surrounded by the most amazing people. I feel so held.

Evita follows the life and rise of Eva Perón, the controversial wife of Argentine president Juan Perón. The current production is scheduled to run through September 6 and features a stellar ensemble, including Diego Andres Rodriguez as Che, James Olivas as Juan Perón, and Aaron Lee Lambert as Agustín Magaldi.

Other key performers in the ensemble include Gabriela Benedetti, Kyeirah D’Marni, Lucas Koch, Sally Frith, and many more, alongside swings like Myla Carmen, Kirsty Anne Shaw, and Regan Bailey Walker, who ensure the show continues seamlessly no matter the challenge.

Brown, in her follow-up post, shared her admiration for Zegler, affectionately writing, “What a lucky audience getting to see both myself and MY ANGEL REG ZEG!!” Fans flooded social media with praise for both women, highlighting the importance of swings and understudies in a live performance space where anything can happen.

This incident isn’t just about a sudden illness—it’s about community, professionalism, and the beauty of theatre rising to meet the moment. The Rachel Zegler Evita saga reminds us all that the show must go on, and sometimes, magic happens when it does.