The rulebook on Marvel Studios marketing has been officially rewritten. On January 13, 2026, mere hours following the fourth and final character spot teaser that premiered exclusively before Avatar: Fire and Ash in cinemas, a mysterious clue from directors Joe and Anthony Russo on Instagram changed the entire Avengers: Doomsday promotion in an instant.
“What you’ve been watching for the last four weeks… are not teasers. Or trailers. They are stories. They are clues. Pay attention.”
With this, the Russos took what the audience thought would be typical promos and elevated them into something much more complex: pieces of the larger narrative that would serve as the opening act to the next big event movie from Marvel. This is not an ad; this is a warning.
Four tales, one common fear
Throughout all four scenarios, a common thread has emerged as a theme among fans: legacy, parenting, and vulnerability. Unlike the Avengers trailers that came before it, which were all about size and scope, Doomsday is all about being personal. In each “story,” a vulnerability is introduced that Doctor Doom could capitalize on.
The first clip reveals that Steve Rogers is indeed back—but the shocking moment comes with the baby in his arms. Often speculated to be his offspring with Peggy Carter from his retired life on the Sacred Timeline, the baby embodies the paradox of the Sacred Timeline itself. According to Doom’s ideology, this baby symbolizes hope but is actually a multiversal mistake that needs correction.
But Thor’s vignette takes this emotional imperative even further. Praying to Odin in a moment of spiritual desperation, Thor isn’t praying for the salvation of the universe. He’s praying for the protection of Love, his adopted daughter. The message is shattering: gods no longer fight for a cause; they fight for their children’s survival.
The third story completely changes the tone. With Professor X, Magneto, and Cyclops, the X-Men storyline is driven by anger, not nostalgia. The general agreement among fans is the kidnapping of Nathan Summers, aka Cable, Cyclops’ son. This has fueled the ‘Stolen Children’ theory, which believes that Doom’s plan is to target the next generation.
The final scene reveals the geopolitical implications. Shuri and M’Baku are shown forming an uneasy partnership with Ben Grimm, with Namor looking on. Both Wakanda and the Fantastic Four are shown to be dislocated and functioning like refugees. Not even the greatest powers on Earth are now secure.
Concealed at the end of each video is the same cryptic message: “1e:24ber:02020.” While some think this is just a random string of numbers, most believe this is a message in the form of a cipher that refers to the exact times in Avengers: Endgame when the Avengers broke the fabric of space and time—and Doom is getting ready to call them out for it. According to Doom’s twisted logic, the Avengers did not save the universe; they ruined it.
In tagging these as “stories,” the Russos imply these moments may never be seen in the final version of Doomsday. Rather, these moments serve as a foundation of emotion, so when the film hits theaters on December 18, 2026, the audience will know what the stakes are as well as who will lose everything. Marvel isn’t building hype; they’re building dread. The way the Russos have focused the story for Doomsday on family and legacy means they’re ramping up the conflict to an Infinity War-level event. If Doctor Doom believes children are the flaw in existence, then the Avengers’ greatest strength has just become their greatest weakness.
