Dakota Johnson Blames “Creatively Bankrupt” Studio Decisions for Madame Web Failure

The Madame Web star opens up about the film’s downfall, calling out industry committees and admitting she may never return to superhero movies again.

Dakota Johnson is breaking her silence on the commercial failure of Madame Web, placing blame squarely on the studio system and decision-makers she claims lacked creative insight.

In a candid interview with The Los Angeles Times, Johnson didn’t mince words: “It wasn’t my fault… a lot of creative decisions are made by committee—or by people who don’t have a creative bone in their body. It’s really hard to make art that way. Or even make something entertaining.”

The Materialists actress admitted that Madame Web morphed into something unrecognizable during production: “It started out as something and turned into something else. And I was just sort of along for the ride at that point.”

Despite the harsh criticism the film received, Johnson maintains perspective. “There’s no part of me that’s like, ‘Oh, I’ll never do that again.’ I’ve done even tiny movies that didn’t do well. Who cares?”

Madame Web, which hit theaters in February 2024, introduced Johnson as Cassandra Webb, a New York paramedic who develops psychic powers after a near-death experience—giving her visions tied to the Spider-Man universe. Despite a star-studded cast including Sydney Sweeney, Isabela Merced, Emma Roberts, and Adam Scott, the film grossed just $51.5 million globally—well below its $80 million production budget.

Reflecting on the experience in an interview with Bustle, Johnson revealed that the superhero world just isn’t for her. “I probably will never do anything like it again because I don’t make sense in that world. And I know that now.”

She added, “Sometimes in this industry, you sign on to something, and it’s one thing—and then as you’re making it, it becomes a completely different thing, and you’re like, ‘Wait, what?’ It was a real learning experience.”

Sony Pictures CEO Tony Vinciquerra, meanwhile, defended the film, stating that its poor theatrical performance was largely due to negative press. “The press just crucified it. It was not a bad film, and it did great on Netflix,” he told The Los Angeles Times.

Vinciquerra also noted that other Sony-Marvel collaborations, like Kraven the Hunter, suffered similarly. “For some reason, the press decided they didn’t want us making these films … and the critics just destroyed them.”

He cited Venom as an exception, arguing, “They also did it with Venom, but the audience loved Venom and made it a massive hit. These are not terrible films.”

Despite the damage done, Johnson seems ready to move on with no regrets—armed with a clearer understanding of the industry’s creative pitfalls and her place within it.

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