Prática de Shadowing: The Original Plans for Thunderbolts - Aprenda a falar inglês com vídeo
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What if John Walker was the villain in Thunderbolts instead of Sentry?
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Not only that, what if Taskmaster survived, the team featured
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Man -Thing instead of Bucky, and the whole movie took place in the vault a la Die Hard?
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Believe it or not, all of those things almost happened.
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To find out how we went from that to the movie we know, let's dive in and take a look at what could have been Thunderbolts.
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Many fans were disappointed by Taskmaster's treatment in Black Widow.
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In the comics, she's a he and he's a funny, wise -cracking, and charismatic mercenary with photographic reflexes,
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able to mimic any opponent's fighting style in seconds.
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But the film reimagined the character as a quiet, emotionless enforcer, stripped of that trademark personality.
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What could have been a dynamic, scene -stealing villain instead felt muted and underused.
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The disappointment only deepened when Thunderbolts killed her off early,
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erasing any opportunity to expand on her character or make her evolve more into the version from the comics.
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However, originally the character didn't die as the script explored her bond with Ghost, with the two connecting over their shared pasts as experiments,
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raised and weaponized by secret organizations.
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Ghost, having already learned to assert her independence, took on a mentor -like role, helping Taskmaster rediscover her own identity and autonomy.
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Taskmaster's tragic backstory also grounded the team, reminding the others that no matter how dark their histories were,
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hers was worse, keeping their egos and self -pity in check.
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On the lighter side, her lingering memory issues would have been an ongoing joke,
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as she would have occasionally forgot she was no longer trying to kill John Walker and suddenly attack him mid -conversation,
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forcing the group to repeatedly restrain her and remind her they were allies.
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After the writer's strike halted production, however, director Jake Schreier felt the film lacked tension and unpredictability.
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It was too bloodless, with little sense of danger or uncertainty about who might make it out alive.
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To raise the emotional stakes, he chose to rework Taskmaster's role, deciding she should die early in the film in a sudden,
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matter -of -fact way that would shock the audience and set the tone for what followed.
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Her death was meant to resonate throughout the story, reminding viewers that no one on the team was truly safe.
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Although the idea of saving her death for later in the film was considered, Schreier believed that if audiences got to know her better,
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then her eventual death would overshadow the film's core focus, building a genuine bond between Yelena and Bob.
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When writer Eric Pearson finally saw the finished film, however, he was stunned.
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No one had told him Taskmaster would be killed off.
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The change completely blindsided him, but in hindsight, he admitted the surprise worked, since it mirrored the audience's own shock.
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He also suspected the decision was partly creative overlap.
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Both Taskmaster and Bucky were grappling with memory loss and identity issues,
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and removing her may have been a way to keep those arcs from feeling too similar.
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Originally, the film opened with Yelena confronting Valentina about ordering the Clint Barton hit.
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In the scene, Yelena angrily accused Valentina of manipulating her into targeting her sister's killer, when, in reality, he was her best friend.
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Valentina then would flip the script on her, arguing that she had simply paid Yelena to do a job and she didn't finish it,
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and that Valentina only shared the intel that
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Clint Barton killed Natasha to further motivate Yelena, information that ultimately turned out to be false.
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The exchange then shifted into a deeper discussion about Yelena's growing dissatisfaction with her work, and her desire to find something more meaningful,
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a powerful setup for her arc that was sadly lost in the final version.
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However, this was cut because writer
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Eric Pearson felt that too much time had elapsed between Thunderbolts and Black Widow and Hawkeye, and he worried casual audiences wouldn't remember what happened.
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Pearson had originally wanted to use
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Red Hulk as Thunderbolt's main villain, but Marvel Studios rejected the idea due to their existing plans to use him for Captain America Brave New World.
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As a result, Pearson made John Walker, aka US Agent, the film's main antagonist.
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His storyline was dark and tragic.
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Valentina deceived him into thinking his super soldier serum was wearing off
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and gave him pills to fix
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it unknowingly turning him into a ticking time bomb as his instability grew became more volatile
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and alienated from the team culminating in a finale where the
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Thunderbolts were forced to confront one of their own choosing not to try
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and kill him but to try and save him however around the same time
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Brave New World was developing a similar storyline in
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which Thaddeus Ross transforms into the Red Hulk after unknowingly taking pills from Samuel Stearns aka the leader, that was secretly infused with gamma radiation.
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To avoid repeating the same idea, Thunderbolts needed to rethink its villain yet again.
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Pearson remembered the Sentry miniseries years earlier during his time in the Marvel Writers program.
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Revisiting the character, he was struck by the idea of a Superman -like villain who the team couldn't simply beat in a punching fight.
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The Sentry's duality, a shining symbol of heroism, contrasted with his dark alter ego, the Void, perfectly captured the film's core themes.
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To Pearson, it represented the conflict between confidence and self -doubt and heroism and isolation.
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Once he realized that the team's emotional arcs could all be reflected within a single character, serving as both hero and antagonist,
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the story finally came together.
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Steven Yeun, who had previously worked with director
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Jake Schreier on the Netflix series
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Beef, was originally cast as Sentry.
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As Schreier believed, Yeun's emotional range and intensity made him a perfect fit.
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However, strike -related production delays caused scheduling conflicts, forcing Yeun to leave the project, a decision he later said he was disappointed by.
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Marvel then cast loose.
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Pullman, whose quieter, more introspective approach redefined the role.
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The void, the dark realm connecting to Sentry's powers, went through its own evolution.
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Initially, Pearson wrote it as a surreal, dreamlike space, but Schreier wanted it more grounded and unsettling, inspired by being John Malkovich,
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turning it into maze -like shame rooms that reflected each character's inner guilt.
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As a result, these moments were reworked to make them more symbolic and emotionally charged.
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Director Jake Schreier initially wanted to include
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Man -Thing, who was once part of Luke Cage's Thunderbolts lineup alongside Ghost.
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Man -Thing is a tragic figure once a scientist named Ted
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Salas who transformed him into a swamp creature after injecting himself with the super soldier serum
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he was trying to recreate and crashing his car into a swamp.
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Afterwards, he's barely capable of speech but possesses a terrifying power.
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Anyone who feels fear burns at his touch.
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The filmmakers explored using
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Man -Thing as a government asset or as evidence of an experiment gone wrong that Valentina wanted destroyed.
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However, the creative team struggled to fit him into the story before realizing
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that a swamp monster clashed tonally with the rest of the film.
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Essentially since Thunderbolts already featured another extraordinary character in Sentry.
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Having both would have drawn too much attention away from Sentry's transformation and emotional arc.
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The filmmakers also felt that including a swamp monster risked inviting comparisons to Suicide Squad's Killer Croc,
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making Thunderbolts feel less distinct from DC's ensemble anti -hero film.
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Bucky also wasn't originally part of the team or in the film at all.
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The story originally focused on Valentina's recruits, Yelena, Ghost, Taskmaster, and John Walker, as a group of anti -heroes forced to work together under her control.
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Bucky's inclusion is supposed to serve a few important purposes.
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His part as a brainwashed assassin connected him to the other's shared trauma, making him a natural fit.
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He also gave the story a familiar face linking thunderbolts to the MCU.
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However, Bucky was originally written as a washed -up public figure, being used by politicians as a promotional tool,
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the political equivalent of hiring a retired athlete to shake hands at a car wash.
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At first, it seemed like a humiliating fall from grace, suggesting Bucky had sold out and lost his purpose.
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However, it would later be revealed that this was all part of an undercover mission.
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He had infiltrated the world of politics and commerce to investigate Valentina,
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working alongside a congressman who secretly served as his ally before eventually going on the hunt.
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After Pearson left the project, Feige suggested that Barnes should be a congressman instead.
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Bill Foster, played by Lawrence Fishburne in Ant -Man and the Wasp, was also set to join the team in the final act,
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even getting a classic Goliath moment that paid tribute to his comic book counterpart, the giant -sized hero who gained his powers by synthesizing
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Hank Pym's particles.
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The film would have explored the dynamic between
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Foster and Alexei, two older men acting as unlikely father figures to Ghost and Yelena respectively.
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However, Foster's subplot was ultimately cut
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because his character didn't share the same kind of deep -rooted trauma that thematically connected the rest of the team.
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Zemo was also close to appearing in the movie.
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One early draft included a post -credits scene showing him in prison,
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quietly observing Valentina's new team and hinting that he'd been orchestrating events from behind the scenes.
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A fitting nod to his comic book origins, where Zemo was the one who assembled the Thunderbolts.
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Pearson envisioned Zemo as a Kaiser Soze -like figure, manipulating everything from the shadows.
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However, the idea was ultimately scrapped, as the filmmakers felt it just felt like fan service.
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Originally, Pearson wanted the film to take place in a single location, a massive underground prison called The Vault.
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The idea was to trap the team together, forcing them to work with or against one another.
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Pearson described it as diehard meets the breakfast club, high tension mixed with character bonding, giving them a bunch of team -building exercises to escape.
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He wanted to avoid repeating
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Suicide Squad, which had been done twice and featured an authority figure taking criminals and sending them on a mission.
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However, Marvel worried it felt too contained for a big -screen superhero film, and asked Pearson to expand the scope.
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The later versions added new settings, multiple missions, and broader stakes.
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Regardless, Thunderbolts ultimately became a very different kind of superhero film, one that traded spectacle for introspection.
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What began as a high -concept, die -hard -style thriller evolved into a grounded story about trauma, identity, and redemption.
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And while it ultimately delivered a powerful message about broken people finding strength in one another, Thunderbolts struggled to connect with mainstream audiences,
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its quieter, more reflective tone proving a tough sell in a genre built on spectacle.
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Thanks for watching everybody and don't forget to like and subscribe for more of Hollywood's untold stories and unmade movies.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação usa o vídeo “The Original Plans for Thunderbolts”. As palavras que mais se repetem: thunderbolts, film, Pearson, originally, character. Este vídeo tem 124 frases e 1842 palavras para praticar shadowing. A fala dura 9:18. O falante fala rápido, cerca de 198 palavras por minuto, então espere sons ligados e reduzidos. Apenas 71% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é exigente.
Vocabulário principal deste vídeo
15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| villain substantivo | /ˈvɪl.ən/ | vilão, salafrário |
| comic substantivo | /ˈkɑmɪk/ | comediante, humorista |
| swamp substantivo | /ˈswɑmp/ | pântano, paul |
| connect verbo | /kəˈnɛkt/ | conectar |
| remind verbo | /ɹəˈmaɪnd/ | lembrar, recordar |
| explore verbo | /ɪkˈsploɹ/ | explorar |
| trauma substantivo | /ˈtɹɔm.ə/ | traumatismo |
| tragic adjetivo | /ˈtɹæd͡ʒɪk/ | trágico |
| filmmaker substantivo | cineasta | |
| tone substantivo | /ˈtəʊn/ | tom |
| killer substantivo | /ˈkɪlɚ/ | assassino, assassina |
| shock substantivo | /ʃɔk/ | choque |
| alongside | /əˌlɔŋˈsaɪd/ | junto a, juntamente com |
| disappointed adjetivo | /ˌdɪsəˈpɔɪnɪd/ | decepcionado, desapontado |
| reflect verbo | /ɹɪˈflɛkt/ | refletir |
Phrasal verbs que você vai ouvir
| Palavra | Significado |
|---|---|
| find out verbo | descobrir |
| sold out adjetivo | esgotado |
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | was meant · was considered · would be killed |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | Anyone who feels · one who assembled |
Pronúncia para ficar de olho
O falante usa 8 contrações e formas reduzidas, como didn't, couldn't, don't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: athlete /ˈæθ.liːt/, thriller /ˈθɹɪ.lə/, thunderbolt /ˈθʌndə(ɹ)ˌboʊlt/
- Os sons de “sh” e “zh”: shock /ʃɔk/, tension /ˈtɛnʃən/, wash /wɑʃ/, shadow /ˈʃædəʊ̯/, capture /ˈkæp.(t)ʃɚ/
- Palavras longas — acerte a sílaba tônica: disappointed /ˌdɪsəˈpɔɪnɪd/, experiment /ɪkˈspɛɹ.ə.mənt/, superhero /ˈs(j)upɚhɪɹoʊ/, manipulate /məˈnɪp.jʊ.leɪt/, respectively /ɹɪˈspɛktɪvli/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: comic /ˈkɑmɪk/, swamp /ˈswɑmp/, connect /kəˈnɛkt/, remind /ɹəˈmaɪnd/, tragic /ˈtɹæd͡ʒɪk/
- /l/ final — a língua toca o céu da boca, não vira “u”: pill /pɪl/, steal /stiːl/, symbol /ˈsɪmbəl/, casual /ˈkæʒ(u)əl/, intel /ˈɪnt.ɛl/
- /h/ — um sopro suave, diferente do “r”: superhero /ˈs(j)upɚhɪɹoʊ/, hire /ˈhaɪɹ/, hank /ˈhæŋk/, heroism /ˈhɛɹoʊɪzəm/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
- Grave a sua voz e compare com o original, prestando atenção a palavras como villain, comic, swamp.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.