According to the director of Doctor Strange, his plans for the sequel were “entirely” different from Multiverse of Madness.

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The landscape of Marvel’s cinematic universe is one of ever-evolving narratives and the occasional reshuffling of its creative teams. This was the case with “Doctor Strange in the Multiverse of Madness,” which saw a significant shift in direction when original director Scott Derrickson stepped away from the project. Derrickson, who had successfully helmed the first “Doctor Strange” film, had developed a vision for the sequel that, by his own admission, diverged substantially from what ultimately made it to the screen under the guidance of Sam Raimi. This revelation came to light when Derrickson engaged with fans on the social platform X, indicating that his concept for the film was “entirely” different, suggesting a different thematic or narrative direction that could have taken the titular character on an alternate journey through the multiverse.

Derrickson’s departure from the sequel is a classic case of creative differences, a not-uncommon occurrence in the film industry, especially within large franchises. The director’s penchant for horror and a more distinctive approach clashed with the studio’s vision, leading to his exit from the project. The writer of the first “Doctor Strange” film, C. Robert Cargill, provided insight into the situation in an interview with CinemaBlend. He revealed the depth of Derrickson’s passion for a script they had co-written, which eventually took precedence over continuing with the Marvel sequel. This passion project, “The Black Phone,” became Derrickson’s next focus, indicating that while Marvel may have lost a director for its sequel, Derrickson’s creative journey was far from over, embarking on a project that resonated deeply with him.

The resulting “Doctor Strange in the Multiverse of Madness,” now available to stream on Disney+ and for purchase on various home media platforms, reflects Raimi’s vision. Fans and audiences have now had the opportunity to digest this iteration, which brings about the question of how Derrickson’s original concept might have contrasted with Raimi’s execution. It is a tantalizing thought for fans of the franchise, who now have a glimpse into the multiverse of possibilities that exist not just on screen, but behind the scenes in the creation of these expansive narratives. The discourse surrounding the sequel serves as a reminder of the multiple narratives that can exist for a single character, shaped by the creative forces entrusted with bringing them to life.

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