Malcolm Spellman

Malcolm Spellman’s name has been buzzing around Hollywood for a minute, and honestly, it’s about time. The dude’s got range. One minute he’s knee-deep in the Marvel universe, spinning wild superhero narratives in “The Falcon and the Winter Soldier,” and the next he’s shaking up classic stories with a fresh take, like he did with “Bel-Air.” Not a lot of people can pull off jumping from universe-saving action to gritty, real-world drama, but Spellman? He just gets it done. Let’s talk “The Falcon and the Winter Soldier” first—if you missed that, you missed out. Spellman took two characters who always felt a bit like sidekicks and gave them a story that’s as much about big, world-altering stakes as it is about personal demons and messy, human relationships. It’s not all shield-throwing and explosions, you know? There’s heart, and there’s a ton of sharp commentary baked in, especially around what it means for a Black man to pick up Captain America’s mantle. Heavy stuff, but he handles it with this sly, confident touch that keeps you hooked. Then he flips the script with “Bel-Air.” Forget the old sitcom’s laugh track—this is a raw, glossy drama that digs into class, race, and family with way more bite. Spellman’s fingerprints are all over it, giving the reboot a vibe that feels urgent and now, without dumping on the original’s legacy. And with “Captain America: New World Order” on the horizon, you can bet Spellman’s not done surprising people. He’s got a knack for turning what could be just popcorn entertainment into something that actually says something. That’s rare.