Marianne Jenkins

Marianne Jenkins isn’t exactly a household name, but if you poke around the credits of some big flicks, you’ll spot her handywork. She’s got a knack for popping up where you least expect, like in Zack Snyder’s Justice League, that 2021 superhero epic that had internet nerds foaming at the mouth. That whole #ReleaseTheSnyderCut movement? Yeah, she was there for the wild ride, dealing with all the chaos behind the scenes as this much-hyped version finally hit screens, loaded with dark vibes, slow-mo action, and DC drama. Then there’s The Flash from 2023. Whew, that movie had its fair share of baggage, didn’t it? Multiverse shenanigans, cameos galore, and more nostalgia than a ’90s kid’s bedroom. Jenkins helped steer that ship, juggling a story that jumped through timelines, alternate realities, and enough CGI lightning to power a small city. No easy task, especially with all the pressure from fans and the studio breathing down everyone’s neck. But hey, don’t sleep on her roots. The Saint (1997), with Val Kilmer doing his chameleon thing, was one of her earlier big gigs. That film had everything—spies, disguises, a little romance, and a lot of late-’90s weirdness. Jenkins cut her teeth wrangling all those moving parts, making sure the movie didn’t totally go off the rails. She’s got this wild ability to adapt, whether it’s capes and cosmic stakes or old-school action with a dash of camp. If her name pops up, you know the project’s got someone solid on deck.