Chinese state-endorsed films have transformed in the past decade. These films make up the “new mainstream”, a genre defined by its ability to match strides with Hollywood commercial cinema. But, what exactly comprises Hollywood’s impact on official Chinese media? How does it manifest onscreen? Exploring the relationship between state-endorsed blockbusters and Hollywood, this article analyzes a pioneer of the “new mainstream”, Wolf Warrior II (2017). This film stands out as the inaugural collaboration between Chinese media conglomerates and Marvel Cinematic Universe directors. From this collaboration emerges the film’s protagonist, Leng Feng, an ex-soldier who saves civilians from rebel forces in Africa. As Leng enacts justice at home and abroad, however, affective portrayals of his feats foreground ambiguity over coherence and unresolvable impulses over a singular agendum. These melodramatic sites of contradiction, I argue, culminate in the film’s own “global superhero vernacular”. Such a vernacular aligns with transnationally circulating serial franchise logics, pushing the film’s connection with Marvel beyond local–global and state–market binaries. Ultimately, my analysis complicates the smooth thread that links together the superhuman individual, nationalist sovereign power, and international order, thereby re-evaluating state-endorsed cinema’s role within Chinese media cultures and social fields.