Paramount recently terminated its development of a G.I. Joe film treatment penned by screenwriter Max Landis. The studio decision was reported on March 13, 2026, after Paramount and Hasbro passed on the Landis treatment. Landis, recognized for writing the superhero hit Chronicle and the high-concept Netflix film Bright, had been engaged to revitalize the struggling military action franchise earlier this year. Reports from Variety indicate that the creative partnership did not advance beyond the initial pitch stage. While the specific story details of the treatment remain confidential, the decision to halt the project arrives as the studio recalibrates its long-term strategy for the Hasbro Cinematic Universe. Paramount continues to search for a viable path forward for the Real American Hero brand after several lackluster theatrical performances over the last decade. Hollywood Reporter confirmed that the studio originally tapped Landis in February 2026 to explore a fresh perspective on the property. But the collaboration sparked internal debates regarding the potential public relations consequences of the hire. Landis has remained a polarizing figure in the industry for several years, largely due to external factors that have complicated his professional standing in the major studio system.
G.I. Joe Script Plan Ends
Hasbro views the G.I. Joe intellectual property as a foundation of its entertainment portfolio. Success with the Transformers franchise has set a high bar for internal expectations, yet G.I. Joe has consistently failed to mirror that financial path. The 2021 release of Snake Eyes earned only $40 million domestically against a production budget estimated at $88 million. The company remains highly protective of the brand identity and the public perception of its creative collaborators. Executives at Hasbro are now prioritizing a crossover story that unites the Joe team with the Autobots. This creative direction was teased during the final moments of Transformers: Rise of the Beasts, suggesting a broader shared universe. Any standalone treatment must align perfectly with this established plan. The Landis treatment reportedly took a different approach, focusing on a more isolated story that some insiders felt was out of step with the current crossover mandate. Brand safety remains the primary driver of executive decision-making in the modern blockbuster economy. Toy manufacturers rely on cross-promotional teamwork that extends into retail aisles and global licensing deals. A single controversy involving a high-profile writer or director can jeopardize years of product development and marketing preparation. Hasbro has not commented publicly on the rejection of the Landis treatment, citing a policy of not discussing internal development cycles.
Hasbro Franchise Strategy Hits Another Wall
Max Landis entered the industry as a busy spec script writer, often selling high-concept ideas for seven-figure sums. His pedigree as the son of director John Landis provided early access to major studios, though he eventually built a reputation for high-speed output and energetic world-building. Chronicle earned over $126 million on a modest budget, proving his ability to connect with younger audiences. Bright, though panned by critics, became one of the most-watched original films in the history of the Netflix platform at the time of its release.
His career faced a major disruption when eight women leveled accusations of emotional and sexual abuse against him in 2019. These allegations led to the cancellation of several active projects and a period of professional isolation. Major agencies and production houses distanced themselves from Landis as the industry underwent a broader reckoning regarding workplace conduct and accountability. The writer has occasionally attempted to return to the mainstream fold by pitching treatments for established comic book and toy properties.
Paramount and Hasbro are not moving forward with a take on a new G.I. Joe movie from screenwriter Max Landis, multiple sources told Variety.
Screenwriters who have worked on similar IP reboots suggest that the G.I. Joe mythology is notoriously difficult to modernize without leaning into outdated military tropes. Landis reportedly attempted to infuse the material with the same subversive tone seen in his earlier superhero work. He prioritized character deconstruction over the hardware-focused spectacle that defined the 2009 and 2013 films. Yet the studio appears uninterested in a tonal departure that might alienate the core demographic of toy collectors and international action fans.
The timing also matters for Hasbro, which is trying to keep toy-linked film projects commercially broad without reopening avoidable press problems before cameras roll.
The decision also reflects a broader shift in how studios treat legacy action brands. Familiar logos still matter, but executives now test whether a project can survive casting, press interviews and international marketing without becoming a story about offscreen baggage.
The rejection shows how franchise value now depends as much on reputational screening as on IP recognition. A familiar title cannot offset a script or creator package that complicates marketing before production even begins.