Как пишется вселенная марвел

«Думаете вы единственный супергерой на свете? Мистер Старк, вы стали частью огромной вселенной. Просто пока вы этого не знаете.»

― Ник Фьюри к Тони Старку^[ист]

«Кинематографическая вселенная Marvel» (англ. Marvel Cinematic Universe; сокр. КВM (англ. MCU)) — вымышленная вселенная, созданная кинокомпанией Marvel Studios в 2008 году. Основана на комиксах Marvel. Вселенная включает в себя тридцать один вышедших полнометражных фильма и двенадцать предстоящих, сюжеты которых тесно связаны друг с другом.

Помимо фильмов, в Кинематографическую вселенную Marvel входят 8 короткометражных фильмов, включённых в Blu-ray издания части фильмов, начиная с фильма Тор и заканчивая фильмом Тор: Рагнарёк. Также существует короткометражка Список дел Питера, которая не входит в официальный список короткометражек (она является частью расширенной версии фильма Человек-паук: Вдали от дома).

Позже, в КВМ также были добавлены телесериалы, первым из которых был сериал Агенты «Щ.И.Т.», вышедший в 2013 году. На данный момент КВM включает в себя 23 вышедших сериалов и 10 предстоящих.

Также во вселенную входят огромное количество комиксов, 12 игр и несколько веб-сериалов, а также 2 телевизионных спецвыпусков. Однако не все комиксы входят в Кинематографическую вселенную Marvel, как и абсолютно все игры, некоторые веб-сериалы, но в КВМ входят оба спецвыпуска.

Действие франшизы происходит на планете под названием Земля-199999, впрочем на протяжении франшизы она, в основном, просто именуется «Землей».

Фильмы

Сага бесконечности

Постер	Фильм	Дата выхода	Режиссёр(ы)	Сценарист(ы)	Статус
Первая фаза
	Железный человек	1 мая 2008	Джон Фавро	Марк Фергус Хоук Остби Артур Маркам Мэтт Холлоуэй	Выпущен
	Невероятный Халк	12 июня 2008	Луи Летерье	Зак Пенн Эдвард Нортон	Выпущен
	Железный человек 2	29 апреля 2010	Джон Фавро / Кеннет Брана(сцена после титров)	Джастин Теру	Выпущен
	Тор	28 апреля 2011	Кеннет Брана / Джосс Уидон(сцена после титров)	Эшли Эдвард Миллер Зак Стенц Дон Пэйн Дж. Майкл Стражински Марк Протосевич	Выпущен
	Первый мститель	28 июня 2011	Джо Джонстон	Кристофер Маркус Стивен МакФили	Выпущен
	Мстители	3 мая 2012	Джосс Уидон	Зак Пенн Джосс Уидон	Выпущен
Вторая фаза
	Железный человек 3	2 мая 2013	Шейн Блэк	Дрю Пирс Шейн Блэк / Дж. Дж. Абрамс (не отмеченная в титрах доработка)	Выпущен
	Тор 2: Царство тьмы	7 ноября 2013	Алан Тейлор / Джеймс Ганн(сцена после титров) Тим Миллер (пролог)	Кристофер Йост Кристофер Маркус Стивен МакФили	Выпущен
	Первый мститель: Другая война	3 апреля 2014	Энтони Руссо Джо Руссо / Джосс Уидон (сцена между титрами)	Стивен МакФили Кристофер Маркус	Выпущен
	Стражи Галактики	31 июля 2014	Джеймс Ганн	Джеймс Ганн Крис МакКой Николь Перлман	Выпущен
	Мстители: Эра Альтрона	23 апреля 2015	Джосс Уидон	Джосс Уидон	Выпущен
	Человек-муравей	16 июля 2015	Пейтон Рид / Джо и Энтони Руссо (сцена после титров)	Эдгар Райт Джо Корниш Адам МакКей Гэбриел Феррари Эндрю Баррер	Выпущен
Третья фаза
	Первый мститель: Противостояние	5 мая 2016	Джо Руссо Энтони Руссо	Стивен МакФили Кристофер Маркус	Выпущен
	Доктор Стрэндж	31 октября 2016	Скотт Дерриксон / Джеймс Ганн(камео Стэна Ли) / Тайка Вайтити(сцена между титров)	Томас Дин Доннелли Джошуа Оппенхаймер Джон Спэйтс С. Роберт Каргилл / Дэн Хармон(доп. сцены)	Выпущен
	Стражи Галактики. Часть 2	4 мая 2017	Джеймс Ганн	Выпущен
	Человек-паук: Возвращение домой	6 июля 2017	Джон Уоттс / Джеймс Ганн(Камео Стэна Ли)	Джон Фрэнсис Дейли Джонатан М. Голдштейн	Выпущен
	Тор: Рагнарёк	2 ноября 2017	Тайка Вайтити	Крэйг Кайл Кристофер Йост	Выпущен
	Чёрная пантера	15 февраля 2018	Райан Куглер	Джо Роберт Коул Райан Куглер	Выпущен
	Мстители: Война бесконечности	3 мая 2018	Джо Руссо Энтони Руссо	Кристофер Маркус Стивен МакФили	Выпущен
	Человек-муравей и Оса	5 июля 2018	Пейтон Рид	Эндрю Баррер Габриель Феррари Пол Радд Адам МакКей	Выпущен
	Капитан Марвел	7 марта 2019	Анна Боден Райан Флек	Николь Перлман Мэг ЛеФов	Выпущен
	Мстители: Финал	29 апреля 2019	Джо Руссо Энтони Руссо	Кристофер Маркус Стивен МакФили	Выпущен
	Человек-паук: Вдали от дома	4 июля 2019	Джон Уоттс	Крис МакКенна Эрик Соммерс	Выпущен

Сага Мультивселенной

Постер	Фильм	Дата выхода	Режиссёр(ы)	Сценарист(ы)	Статус
Четвёртая фаза
	Чёрная вдова	8 июля 2021	Кейт Шортланд	Джак Шеффер Нед Бенсон	Выпущен
	Шан-Чи и легенда десяти колец	2 сентября 2021	Дестин Дэниел Креттон	Дэйв Каллахэм Дестин Дэниел Креттон	Выпущен
	Вечные	8 ноября 2021	Хлоя Чжао	Мэттью К. Ферпо Райан Ферпо	Выпущен
	Человек-паук: Нет пути домой	15 декабря 2021	Джон Уоттс	Крис МакКенна Эрик Соммерс	Выпущен
	Доктор Стрэндж: В мультивселенной безумия	6 мая 2022 (США)	Сэм Рэйми	Майкл Валдрон	Выпущен
	Тор: Любовь и гром	8 июля 2022 (США)	Тайка Вайтити	Тайка Вайтити Дженнифер Кейтин Робинсон	Выпущен
	Чёрная пантера: Ваканда навеки	11 ноября 2022 (США)	Райан Куглер	Райан Куглер Джо Роберт Коул	Выпущен
Пятая фаза
	Человек-муравей и Оса: Квантомания	17 февраля 2023 (США)	Пейтон Рид	Джефф Ловенесс	Выпущен
	Стражи Галактики. Часть 3	5 мая 2023	Джеймс Ганн	Джеймс Ганн	Пост-продакшн
	Марвелы	28 июля 2023	Ниа Дакоста	Меган МакДоннел	Съёмки
	Первый мститель: Новый мировой порядок	3 мая 2024	Джулиус Она	Малколм Спелман Далан Муссон	Подготовка к сьёмкам
	Громовержцы	26 июля 2024	Джейк Шрейер	Эрик Пирсон	Подготовка к сьёмкам
	Блэйд	6 сентября 2024	Янн Деманж	Майкл Старрбери	Подготовка к съёмкам
Шестая фаза
	Фантастическая четвёрка	14 февраля 2025	Мэтт Шекман	Джефф Каплан Айан Спрингер	Подготовка к съёмкам
	Мстители: Династия Канга	2 мая 2025	Дестин Дэниел Креттон	Джефф Ловенесс	Подготовка к съёмкам
	Мстители: Секретные войны	1 мая 2026		Майкл Валдрон	Подготовка к съёмкам
Неопределённые фильмы
	Дэдпул 3	8 ноября 2024	Шон Леви	Ретт Риз Пол Верник	Подготовка к сьёмкам
	Войны в доспехах			Ясир Лестер	Подготовка к сьёмкам
	Человек-паук 4				Подготовка к сьёмкам
	Шан-Чи 2		Дестин Дэниел Креттон	Дестин Дэниел Креттон	Подготовка к сьёмкам

Неразвитые фильмы

Основная статья: Список неразвитых фильмов

Телевизионные спецвыпуски

Постер	Фильм	Дата выхода	Режиссёр(ы)	Сценарист(ы)	Статус
Disney+
	Ночной оборотень	7 октября 2022	Майкл Джаккино	Питер Кэмерон Хезер Квинн	Выпущен
	Стражи Галактики: Праздничный спецвыпуск	25 ноября 2022	Джеймс Ганн	Джеймс Ганн	Выпущен

Короткометражки

Короткометражки Marvel

• Консультант (2011)
• Забавный случай по дороге к молоту Тора (2011)
• Объект 47 (2012)
• Агент Картер (2013)
• Да здравствует король (2014)

Другое

• Список дел Питера (2019)

Сериалы

Сериал	Сезон	Серий	Дата показа	Шоураннер(ы)	Статус
Премьера	Финал
Герои Marvel
Агенты «Щ.И.Т.»	1	22	24 сентября 2013	13 мая 2014	Джед Уидон Морисса Танчароен Джеффри Белл	Выпущен
2	23 сентября 2014	12 мая 2015
3	29 сентября 2015	17 мая 2016
4	20 сентября 2016	16 мая 2017
5	1 декабря 2018	18 мая 2018
6	13	10 мая 2019	2 августа 2019
7	27 мая 2020	12 августа 2020
Агент Картер	1	8	6 января 2015	24 февраля 2015	Тара Баттерс Мишель Фазекас Крис Динджесс	Выпущен
2	10	19 января 2016	1 марта 2016
Сверхлюди	1	8	26 сентября 2017	10 ноября 2017	Скотт Бак	Выпущен
Особо опасные	1	1	—	—	Джеффри Белл Пол Збышевски	Отменён
Контроль последствий	1	—	—	—	Бен Карлин	Отменён
Сага Защитников
Сорвиголова	1	13	10 апреля 2015	Стивен С. ДеНайт	Выпущен
2	18 марта 2016	Дуглас Петри Марко Рамирес
3	19 октября 2018	Эрик Олесен
Джессика Джонс	1	13	20 ноября 2015	Мелисса Розенберг	Выпущен
2	8 марта 2018
3	14 июня 2019	Скотт Рейнольдс
Люк Кейдж	1	13	30 сентября 2016	Чео Ходари Кокер	Выпущен
2	22 июня 2018
Железный кулак	1	13	17 марта 2017	Скотт Бак	Выпущен
2	10	7 сентября 2018	Рэйвен Метцнер
Защитники	1	8	18 августа 2017	Дуглас Петри Марко Рамирес	Выпущен
Каратель	1	13	17 ноября 2017	Стив Лайтфут	Выпущен
2	18 января 2018
Молодые взрослые
Беглецы	1	10	21 ноября 2017	9 января 2018	Джош Шварц Стефани Сэвидж	Выпущен
2	13	21 декабря 2018
3	10	13 декабря 2019
Плащ и Кинжал	1	10	7 июня 2018	2 августа 2018	Джо Покаски	Выпущен
2	4 апреля 2019	30 мая 2019
Новые воины	1	10	—	—	Кевин Бигель	Отменён
Приключение в страхе
Хелстром	1	10	16 октября 2020	Пол Збышевски	Выпущен
Призрачный гонщик	1	—	—	—	Ингрид Эскахеда	Отменён
Disney+
Легенды	1	26	8 января 2021	23 ноября 2022	—	Выпущен
2	3	10 февраля 2023		—	Выпущен
Общий сбор	1	14	12 марта 2021		—	Выпущен
Четвёртая фаза
ВандаВижен	1	9	15 января 2021	5 марта 2021	Жак Шеффер	Выпущен
Сокол и Зимний солдат	1	6	19 марта 2021	23 апреля 2021	Малколм Спелман	Выпущен
Локи	1	6	9 июня 2021	14 июля 2021	Майкл Валдрон	Выпущен
Соколиный глаз	1	6	24 ноября 2021	22 декабря 2021	Джонатан Игла	Выпущен
Лунный рыцарь	1	6	30 марта 2022	4 мая 2022	Джереми Слейтер	Выпущен
Мисс Марвел	1	6	8 июня 2022	13 июля 2022	Биша К. Али	Выпущен
Женщина-Халк: Судебный адвокат	1	9	18 августа 2022	13 октября 2022	Джессика Гао	Выпущен
Пятая фаза
Тайное вторжение	1	6	2023		Кайл Брэдстрит	Пост-продакшн
Эхо	1		2023		Марион Дэйр	Съёмки
Локи	2		2023		Эрик Мартин	Съёмки
Железное сердце	1	6	2023		Чинака Ходж	Съёмки
Агата: Ковен хаоса	1		2023		Жак Шеффер	Подготовка к сьёмкам
Сорвиголова: Рождённый заново	1	18	2024		Мэтт Корман Крис Орд	Подготовка к сьёмкам
Неопределённые сериалы
Чудо-человек	1				Эндрю Гест	Подготовка к сьёмкам
Поиск Вижена	1					Подготовка к сьёмкам
Marvel Animation
Что если…?	1	9	11 августа 2021	6 октября 2021	Эшли Брэдли	Выпущен
2	2023		Съёмки
3				Подготовка к сьёмкам
Я есть Грут	1	5	10 августа 2022	10 августа 2022	Райан Литл	Выпущен
2				Подготовка к сьёмкам
Человек-паук: Год первый	1		2024		Джефф Траммелл	Подготовка к сьёмкам
Marvel Зомби	1	4	2024		Зеб Уэллс	Подготовка к сьёмкам
Человек-паук: Год второй	1				Джефф Траммелл	Подготовка к сьёмкам

Неразвитые сериалы

Основная статья: Список неразвитых сериалов

Веб-сериалы

• WHiH Newsfront (2015, 2016)
• Агенты «Щ.И.Т.»: Слингшот (2016)

Комиксы

• Железный человек: Друзья по-быстрому (2008)
• Железный человек: Меры безопасности (2008)
• Невероятный Халк: Файлы Фьюри (2008)
• Невероятный Халк: Картина в целом (2008)
• Железный человек: Я — Железный человек! (2010)
• Железный человек 2: Нарушение безопасности (2010)
• Железный человек: Одержит ли зло из сети победу? (2010)
• Железный человек 2. Ник Фьюри: Директор Щ.И.Т.а (2010)
• Железный человек 2: Публичная личность (2010)
• Железный человек 2. Фил Колсон: Агент Щ.И.Т.а (2010)
• Железный человек: Ограниченное издание (2010) (официального названия нет)
• Железный человек 2. Чёрная вдова: Агент Щ.И.Т.а (2010)
• Железный человек, заказной комикс Royal Purple (2010)
• Железный человек 2: Кулак из железа (2010)
• Первый мститель: Первое возмездие (2011)
• Тор, могучий Мститель (2011)
• Тор: Спасение (2011)
• Первый мститель: Зло таится повсюду (2011)
• Капитан Америка и Тор: Мстители! (2011; линия Капитана Америка)
• Прелюдия ко «Мстителям»: Большая неделя Фьюри (2012)
• Мстители: Железный человек, Mark VII (2012)
• Мстители: Чёрная вдова наносит удар (2012)
• Мстители: Инициатива «Мстители» (2012)
• Железный человек 2. Адаптация (2012)
• Прелюдия к «Железному человеку 3» (2012)
• Тор. Адаптация (2013)
• Прелюдия к «Тору 2: Царство тьмы» (2013)
• Тор: Корона глупцов (2013)
• Первый мститель. Адаптация (2013)
• Первый мститель: Другая война. Infinite Comic (2014)
• Первый мститель: Возвращение домой (2014)
• Стражи Галактики. Приквел. Infinite Comic (2014)
• Прелюдия к «Стражам Галактики» (2014)
• Стражи Галактики: Самые опасные в галактике (2014)
• Агенты «Щ.И.Т.»: Погоня (2014)
• Мстители. Адаптация (2014)
• Прелюдия ко «Мстителям: Эра Альтрона» — Остров скипетра (2015)
• Прелюдия к «Человеку-муравью» (2015)
• Человек- муравей — Скотт Лэнг: Мелкий преступник (2015)
• Мстители: Операция ГИДРА (2015)
• Человек-муравей: Больше, чем жизнь (2015)
• Джессика Джонс (2015)
• Прелюдия к «Первому мстителю: Противостояние» (2015)
• Прелюдия к «Первому мстителю: Противостояние». Infinite Comic (2016)
• Первый мститель: Дорога к войне (2016)
• Прелюдия к «Доктору Стрэнджу» (2016)
• Прелюдия к «Доктору Стрэнджу» — Зелот (2016)
• Доктор Стрэндж: Мистический ученик (2016)
• Прелюдия к «Стражам Галактики. Часть 2» (2017)
• Прелюдия к «Человеку-пауку: Возвращение домой» (2017)
• Прелюдия к «Тору: Рагнарёк» (2017)
• Прелюдия к «Чёрной пантере» (2017)
• Прелюдия ко «Мстителям: Война бесконечности» (2018)
• Прелюдия к «Человеку-муравью и Осе» (2018)
• Прелюдия к «Капитану Марвел» (2018)
• Прелюдия ко «Мстителям: Финал» (2018)
• Прелюдия к «Человеку-пауку: Вдали от дома» (2019)
• Прелюдия к «Чёрной вдове» (2019)
• Вечные: 500-летняя война (2022)

Книги

• Доктор Стрэндж: Официальная новеллизация (2016)
• Стражи Галактики. Часть 2: Официальная новеллизация (2017)
• Чёрная пантера: Официальная новеллизация (2018)
• Мстители: Война бесконечности. Путь героев (2018)
• Человек-муравей и Оса. Путь героев (2018)
• Marvel Studios: Визуальный словарь (2018)
• Тор: Рагнарёк: Официальная новеллизация (2018)
• Капитан Марвел. Путь героя (2019)
• Капитан Марвел. Быстрее. Выше. Сильнее (2019)
• Marvel Studios: Энциклопедия персонажей (2019)
• Мстители: Финал. Путь героев: Ангельский пират, говорящее древо и капитан Кролик (2019)
• Мстители: Поступь рока (2019)
• Файлы Ваканды: Технологическое исследование Мстителей и не только (2020)
• Кинематографическая вселенная Marvel от Marvel Studios: Официальня хронология (2023)

Рекламные кампании

• Daily Bugle (2019)

Документальные фильмы

• Marvel Studios: Создание вселенной (2014)
• Документальный фильм к 75-летию Marvel (2014)
• Капитан Америка: 75 героических лет (2016)
• Расширение вселенной (2019)
• Фанатский путеводитель по Мисс Марвел (2022)
• Ночной режиссёр (2022)
• Стэн Ли (2023)

Проекты про альтернативные реальности

(События в данных проектах происходят в альтернативных реальностях, и все они не являются «каноном» для «Земли-199999».)

Короткометражки Marvel

• Команда Тора (2016)
• Команда Тора: Часть 2 (2017)
• Команда Дэррила (2018)

Веб-сериалы

Закулисные постановки

• Агенты «Щ.И.Т.»: Двойной агент (2015)
• Агенты «Щ.И.Т.»: Академия (2016)
• Смотри игру (2017)

Комиксы

• Железный человек: Цена ведения бизнеса (2008)
• Ник Фьюри: Шпионы как мы (2008)
• Капитан Америка и Тор: Мстители! (2011; линия Тора)
• Железный человек: Пришествие Плавителя (2013)
• Мстители: Эра Альтрона. Эпизод 0 (2015)
• Доктор Стрэндж: Эпизод 0 (2016)
• Человек-паук: Возвращение домой: Бой или полёт (2017)
• Человек-паук: Возвращение домой: Утренняя пробежка (2017)
• Человек-паук: Возвращение домой: Школа шоков (2017)
• Человек-паук: Вдали от дома — Должен передать это ему (2019)
• Человек-паук: Вдали от дома — Их тормоза (2019)

Книги

• Мстители: Война бесконечности. История камней. Истоки (2018)
• Танос. Титан-разрушитель (2018)
• Мстители: Война бесконечности. История камней. Последствия (2018)

Игры

• Железный человек (2008)
• Невероятный Халк (2008)
• Железный человек 2 (2010)
• Тор: Бог грома (2011)
• Первый мститель: Суперсолдат (2011)
• Железный человек 3 — Официальная игра (2013)
• Тор 2: Царство тьмы — Официальная игра (2013)
• Первый мститель: Другая война — Официальная игра (2014)
• Человек-паук: Возвращение домой — Опыт виртуальной реальности (2017)
• Человек-паук: Вдали от дома — Опыт виртуальной реальности (2019)
• Мстители: Контроль последствий (2019)
• Вечные: История в дополнительнной реальности (2021)

Примечания

Дополнительные ссылки

«Marvel 616» redirects here. For the documentary series, see Marvel’s 616.

Marvel Universe
Various characters of the Marvel Universe. Promotional art for the 2006–2007 miniseries Civil War by Steve McNiven.
Created by	Marvel Comics
Original work	Marvel Mystery Comics #7 (1940, Golden Age) Fantastic Four #12 (1963, modern continuity)
Owner	Marvel Entertainment, LLC (The Walt Disney Company)
Print publications
Novel(s)	Marvel novels
Comics	List of Marvel Comics publications
Graphic novel(s)	The Official Marvel Graphic Novel Collection
Films and television
Film(s)	Marvel Cinematic Universe X-Men film series Spider-Man in film Fantastic Four in film Blade film series List of films based on Marvel Comics
Short film(s)	Marvel One-Shots
Television series	List of Marvel Cinematic Universe television series List of television series based on Marvel Comics Marvel Animated Universe
Television special(s)	Marvel Studios: Assembling a Universe Marvel 75 Years: From Pulp to Pop!
Direct-to-video	Marvel Animated Features Direct to video films Marvel Knights Animation
Theatrical presentations
Play(s)	Marvel Universe Live!
Musical(s)	Spider-Man: Turn Off the Dark
Games
Video game(s)	List of video games based on Marvel Comics
Miscellaneous
Toy(s)	Marvel Universe Marvel Select Marvel Legends
Theme park attraction(s)	Marvel Super Hero Island Guardians of the Galaxy — Mission: Breakout! Iron Man Experience Ant-Man and The Wasp: Nano Battle!
Official website
https://www.marvel.com/

The Marvel Universe is a fictional shared universe where the stories in most American comic book titles and other media published by Marvel Comics take place. Super-teams such as the Avengers, the X-Men, the Fantastic Four, the Guardians of the Galaxy, and many Marvel superheroes live in this universe, including characters such as Spider-Man, Captain America, Iron Man, Thor, the Hulk, Ant-Man, the Wasp, Wolverine, Black Panther, Doctor Strange, Daredevil, and Captain Marvel, Blade, Black Widow, Hawkeye, among numerous others. It also contains well-known supervillains such as Doctor Doom, Magneto, Ultron, Thanos, Loki, The Green Goblin, Kang the Conqueror, Red Skull, The Kingpin, Doctor Octopus, Carnage, Apocalypse, Dormammu, Mysterio, Electro, and the Vulture. It also contains antiheroes such as Venom, Namor, Deadpool, Silver Sable, Ghost Rider, The Punisher, and Black Cat.

The Marvel Universe is further depicted as existing within a «multiverse» consisting of thousands of separate universes, all of which are the creations of Marvel Comics and all of which are, in a sense, «Marvel universes». In this context, «Marvel Universe» is taken to refer to the mainstream Marvel continuity, which is known as Earth-616 or currently as Prime Earth.

History

Some of Timely Comics (the 1930s and ’40s predecessor to Marvel Comics) characters coexisted in the same world was first established in Marvel Mystery Comics #7 (1940) where Namor was mentioned in Human Torch’s story, and vice versa. Later several superheroes (who starred in separate stories in the series up to that point) met each other in a group dubbed the All-Winners Squad.

Though the concept of a shared universe was not new or unique to comic books in 1961, writer/editor Stan Lee, together with several artists including Jack Kirby and Steve Ditko, created a series of titles where events in one book would have repercussions in another title and serialized stories would show characters’ growth and change.^[1] Headline characters in one title would make cameos or guest appearances in other books. Fantastic Four #12 is the first crossover comic book in modern Marvel continuity (first meeting of Fantastic Four and the Hulk). Eventually, many of the leading heroes (Ant-Man, Wasp, Iron Man, Thor and the Hulk) assembled into a team known as the Avengers, which debuted in September 1963. This was not the first time that Marvel’s characters had interacted with one another—Namor the Sub-Mariner and the original Human Torch had been rivals when Marvel was Timely Comics (Marvel Vault), under editor Martin Goodman^[2] — but it was the first time that the comic book publisher’s characters seemed to share a world.^[3] The Marvel Universe was also notable for setting its central titles in New York City; by contrast, many DC heroes live in fictional cities. Care was taken to portray the city and the world as realistically as possible, with the presence of superhumans affecting the common citizens in various ways.^[4]

Over time, a few Marvel Comics writers lobbied Marvel editors to incorporate the idea of a Multiverse resembling DC’s parallel worlds; this plot device allows one to create several fictional universes which normally do not overlap. What happens on Earth in the main Marvel Universe would normally not affect what happens on a parallel Earth in another Marvel-created universe. However, writers would have the creative ability to write stories in which people from one such universe would visit this alternative universe.^[5]

In 1982, Marvel published the miniseries Contest of Champions, in which all of the major heroes in existence at the time were gathered together to deal with one threat. This was Marvel’s first miniseries. Each issue contained biographical information on many major costumed characters; these biographies were a precursor to Marvel’s series of reference material, The Official Handbook of the Marvel Universe, which followed shortly on the heels of Contest of Champions.^[6]

Concepts

The Marvel Universe is strongly based on the real world. Earth in the Marvel Universe has all the features of the real one: same countries, same personalities (politicians, movie stars, etc.), same historical events (such as World War II), and so on; however, it also contains many other fictional elements: countries such as Wakanda and Latveria (very small nations) and organizations like the espionage agency S.H.I.E.L.D. and its enemies, HYDRA and A.I.M. In 2009 Marvel officially described its world’s geography in a two-part miniseries, the Marvel Atlas.^[7]

Most importantly, the Marvel Universe also incorporates examples of almost all major science fiction and fantasy concepts, with writers adding more continuously. Aliens, gods, magic, cosmic powers and extremely advanced human-developed technology all exist prominently in the Marvel Universe. (A universe incorporating all these types of fantastic elements is fairly rare; another example is the DC Universe.) Monsters also play a more prominent role with east Asian origins of magical incantation, outlandish sorcery and manifesting principle in the Marvel Universe. One such case is Fin Fang Foom arising from the ashes of tantric magic. Thanks to these extra elements, Earth in the Marvel Universe is home to a large number of superheroes and supervillains, who have gained their powers by any of these means.^{[citation needed]} The general public is so familiar with such concepts that Empire State University has a scholarship for «aliens, dimensional travelers, clones, independent machine intelligences and other students outside the norm»,^[8] businesses and residences have superhero property insurance^[9][10][11] and bookmakers take bets on their battles’ outcomes,^[12] and New York air traffic controllers handle starships landing at local airports.^[13]

Comparatively, little time passes in the Marvel Universe compared to the real world, owing to the serial nature of storytelling, with the stories of certain issues picking up mere seconds after the conclusion of the previous one, while a whole month has passed by in «real-time». Marvel’s major heroes were created in the 1960s, but the amount of time that has passed between then and now within the universe itself has (after a prolonged period of being identified as about 10 years in the mid-to-late 1990s) most recently been identified as 13 years.^[14] Consequently, the settings of some events which were contemporary when written have to be updated every few years to «make sense» in this floating timeline. Thus, the events of previous stories are considered to have happened within a certain number of years before the publishing date of the current issue. For example, Spider-Man’s high school graduation was published in Amazing Spider-Man #28 (September 1965), his college graduation in Amazing Spider-Man #185 (October 1978), and his high school reunion in Marvel Knights Spider-Man #7 (December 2004). Because of the floating timeline, where stories refer to real-life historic events, these references are later ignored or rewritten to suit current sensibilities; for instance, the origin of Iron Man was changed in a 2004 storyline to refer to the War on Terror in Afghanistan,^[15] whereas the original Iron Man stories had referred to the Vietnam War in Vietnam; similarly, The Punisher’s backstory has also been changed as well.^{[volume & issue needed]}

Marvel Comics itself exists as a company within the Marvel Universe, and versions of people such as Stan Lee and Jack Kirby have appeared in some of the stories, whereas characters like Steve Rogers, (Captain America’s alter ego), have worked for Marvel.^{[volume & issue needed]} The Marvel of this reality publishes comics that adapt the actual adventures of the superheroes (except for details not known to the public, like their secret identities); many of these are licensed with the permission of the heroes themselves, who customarily donate their share of profits to charity. Additionally, the DC Comics Universe is also said to exist in the Marvel Universe as one of the many alternative universes. The reverse may also be said concerning the DC Universe. This is one method of explaining the various crossover stories co-published by the two companies.^{[volume & issue needed]}

Pop culture characters such as Sherlock Holmes, Dracula and the Frankenstein Monster exist in the Marvel Universe. This is usually justified as a second-hand account of events as told to credited authors Sir Arthur Conan Doyle, Bram Stoker and Mary Shelley, although the general public continues to believe them to be fictional. Robert E. Howard’s Conan the Barbarian, Red Sonja, Kull the Conqueror, and Solomon Kane also have real-life existences in the Marvel Universe. The Hyborian Era of Conan and Kull is considered part of Earth-616 pre-recorded history. However, they rarely encounter modern Marvel superhero characters. This is most likely possible due to the uncertain legal status of Howard’s works before 2006 when they became public domain. As of 2019, Conan the Barbarian, as well as Kull the Conqueror and Solomon Kane, have been firmly integrated, thanks to Marvel regaining the publishing rights to the characters. Other licensed works that have been incorporated into the Marvel Universe include Godzilla, the Transformers, the film 2001: A Space Odyssey (in the character of Machine Man), Rom the Spaceknight, the Micronauts, and the Shogun Warriors. In most cases, such material is either restricted from use after the license expires or the characters redesigned or renamed to avoid copyright infringement.^{[volume & issue needed]}

Costumed superheroes and supervillains

Within the fictional history of the Marvel Universe, the tradition of using costumed secret identities to fight or commit evil had long existed, but it came into prominence during the days of the American «Wild West» with heroes such as Carter Slade/the Phantom Rider. During the 20th century, the tradition was reinvigorated by Steve Rogers/Captain America and the Invaders in the 1940s, who fought for the Allies of World War II.

Unlike the DC Universe, few of Marvel’s Golden Age characters have risen to prominence in modern publications; Captain America is one exception, and to a lesser extent, his contemporary, Namor the Sub-Mariner, primarily because both of these characters were reintroduced to readers and the Marvel Universe during the 1960s.^{[citation needed]}

Marvel’s most prominent heroes were created during the Silver Age of Comic Books in the 1960s to early 1970s, including Peter Parker/Spider-Man, Tony Stark/Iron Man, Thor, Bruce Banner/the Hulk, Stephen Strange/Doctor Strange, Matt Murdock/Daredevil, Ant-Man and the Wasp (Hank Pym and Janet van Dyne), Natasha Romanoff/the Black Widow, Clint Barton/Hawkeye, Pietro Maxmioff/Quicksilver, Wanda Maximoff/the Scarlet Witch, the Vision, Simon Williams/Wonder Man, Hercules, Kevin Plunder/Ka-Zar, Groot, Nick Fury, T’Challa/the Black Panther, Mar-Vell (the first Captain Marvel), Carol Danvers (also known as the first Ms. Marvel, Binary, Warbird, and the current Captain Marvel), Sam Wilson/the Falcon, Dane Whitman/the Black Knight, Norrin Radd/the Silver Surfer, Jane Foster (also known as the second Thor), Warren Worthington III/the Angel-Archangel, Hank McCoy/the Beast, Scott Summers/Cyclops, Robert «Bobby» Drake/the Iceman, Jean Grey (also known as Marvel Girl and Phoenix), Charles Xavier/Professor X, Lorna Dane/Polaris, Alex Summers/Havok, Sean Cassidy/the Banshee, Reed Richards/Mister Fantastic, Susan Storm/the Invisible Woman, Johnny Storm/the Human Torch, Ben Grimm/the Thing, Brunnhilde/the Valkyrie, the Inhumans (composed of Blackagar Boltagon, Medusalith Amaquelin-Boltagon, Crystalia Amaquelin-Boltagon/Crystal, Gorgon, Karnak Mandel-Azur/Karnak the Shatterer, Triton and Lockjaw) and Alexi Shostakov/the Red Guardian.

Other notable heroes from the Bronze Age and Modern Age from the early-to-mid 1970s to the early 1990s include James «Logan» Howlett/Wolverine, Ororo Munroe/Storm, Piotr «Peter» Rasputin/Colossus, Kurt Wagner/Nightcrawler, Luke Cage (also known as Power-Man), Danny Rand/Iron Fist, Misty Knight, Colleen Wing, Barbara «Bobbi» Morse/Mockingbird, the White Tiger (Hector Ayala), Shang-Chi, Greer Grant Nelson/Tigra, Jessica Drew (also known as Spider-Woman), the Ghost Rider (Johnny Blaze), Daimon Hellstrom, Satana Hellstrom, Theodore «Ted» Sallis/the Man-Thing, Eric Brooks/Blade the Vampire-Slayer, Michael Morbius/Morbius the Living Vampire, Howard the Duck, Monica Rambeau (also known as Photon, Pulsar, Spectrum and the second Captain Marvel), Moondragon, Drax the Destroyer, Peter Quill/Star-Lord, Gamora, Rocket Raccoon, Frank Castle/the Punisher, Marc Spector/the Moon Knight, the Eternals (composed of Ikaris, Thena, Ajak, Makkari, Kingo, Phastos, Gilgamesh and Sprite), War Machine, Nova (Richard Rider), Adam Warlock, Power Pack, Betsy Braddock, Scott Lang (the second Ant-Man), Felicia Hardy/the Black Cat, Silver Sable, Katherine «Kitty» Pryde (also known as Shadowcat, Ariel, Sprite, Star-Lord and the Red Queen), Emma Frost (also known as the White Queen), Jennifer Walters/the She-Hulk, Tyrone Johnson/Cloak and Tandy Bowen/Dagger, Brian Braddock/Captain Britain, Doreen Green/Squirrel Girl, Elektra Natchios, the New Mutants (composed of Illyana Rasputin/Magik, Xi’an Coy Minh/Karma, Danielle Moonstar/Mirage, Sam Guthrie/Cannonball, Rahne Sinclair/Wolfsbane, Doug Ramsey/Cypher, Warlock and others), the New Warriors, David Haller/Legion, John Proudstar/Warpath-Thunderbird, Anna Marie LeBeau/Rogue and Jubilation Lee/Jubilee.

Some of Marvel’s more recent creations from the mid-to-late 1990s, 2000s and 2010s, such as Wade Wilson/Deadpool, Remy LeBeau/Gambit, Nathan Summers/Cable, Neena Thurman/Domino, Clarice Fong/Blink, the Thunderbolts, Yelena Belova (also known as the second Black Widow), the Runaways, the modern Guardians of the Galaxy, the modern Defenders (based on the Netflix MCU version of the same name), Laura Kinney/X-23 (a.k.a. the second Wolverine), Shuri, the Dora Milaje, Daisy Johnson (also known as Quake), Phil Coulson, Melinda May, Bucky Barnes/the Winter Soldier, Maria Hill, Miles Morales (the second Spider-Man of the Ultimate Marvel Universe), Hope van Dyne (also known as the Red Queen and the second Wasp), Cassandra Lang (also known as Stature, Stinger, Ant-Girl and Giant-Girl), the Stepford Cuckoos, Amadeus Cho (also known as the second Hulk), Kamala Khan (also known as the second Ms. Marvel), Kate Bishop (also known as the third Hawkeye), Lunaella Lafayette/Moon Girl, America Chavez (also known as the second Miss America), Robbie Reyes (also known as the fourth Ghost Rider), Riri Williams/Ironheart and Spider-Gwen (Gwen Stacy of Earth-65) have become popular characters in their own right.

Prominent teams of superheroes include the Avengers, the X-Men, the Fantastic Four, the Defenders, the Inhumans, S.H.I.E.L.D., the Howling Commandos, the Guardians of the Galaxy, the Runaways, the Midnight Sons and the Thunderbolts. All these groups have varying lineups; the Avengers have included Marvel’s major heroes as members at one time or another. The X-Men are a team of mutants led by Professor X and include many of Marvel’s most popular characters, such as Wolverine and others. The Fantastic Four are viewed as «Marvel’s First Family» of superheroes, usually consisting of Mister Fantastic, the Invisible Woman, the Human Torch and the Thing, as well as siblings Franklin and Valeria Richards. The Defenders were an ad hoc team usually brought together by Doctor Strange which has included the Hulk, Namor the Sub-Mariner and the Silver Surfer, while the most recent incarnation of the team consists of street-level New York City heroes Daredevil, Jessica Jones, Luke Cage and Iron Fist. The Guardians of the Galaxy include Marvel’s cosmic characters such as Adam Warlock, Star-Lord, Gamora, Drax the Destroyer, Rocket Raccoon and Groot, but the team has also introduced other heroes into the roster such as Kitty Pryde, the Silver Surfer, the Thing and Nova. The Inhumans are a royal family consisting of Black Bolt, Medusa, Crystal, Gorgon, Triton, Karnak and Lockjaw, who rule the city of Attilan. The Runaways are a group of teenagers and a dinosaur consisting of Alex Wilder, Nico Minoru, Karolina Dean, Chase Stein, Molly Hayes, Gert Yorkes and Old Lace who rebel against their evil parents known as the Pride. The Midnight Sons consist of supernatural heroes such as Blade, Ghost Rider, Moon Knight, Elsa Bloodstone, Hellstrom, the Werewolf and the Man-Thing. The Thunderbolts’ original incarnation were supervillains disguised as superheroes consisting of Citizen V (a.k.a. Helmut Zemo), MACH-IV (a.k.a. the Beetle), Songbird (a.k.a. Screaming Mimi), Moonstone (a.k.a. Meteorite), Techno/the Ogre (a.k.a. the Fixer) and Jolt, while the current incarnation of the team is made up of reformed supervillains/anti-heroes working for the government: Deadpool, the Punisher, the Red Hulk, the Winter Soldier and the Ghost. Although teams of supervillains are few and far between, notable examples include the Masters of Evil, the Emissaries of Evil, the Brotherhood of Mutants, the Sinister Six, the Frightful Four, the Lethal Legion, the Legion of the Unliving, the Black Order, the Annihilation Wave, and the Cabal.

Origin of superhuman powers

Most of the superhumans in Marvel’s Earth owe their powers to the Celestials, cosmic entities who visited Earth millions of years ago and experimented on their prehistoric ancestors (a process they also carried out on several other planets). This resulted in the creation of two hidden races, the godlike Eternals and the genetically unstable Deviants, in addition to giving some humans an «x-factor» in their genes, which sometimes activates naturally, resulting in sometimes superpowered, sometimes disfigured individuals called mutants. Others require other factors (such as radiation) for their powers to come forth. Depending on the genetic profile, individuals who are exposed to different chemicals or radiation will often suffer death or injury, while in others it will cause superhuman abilities to manifest. Except for psionic abilities, these powers are usually random; rarely do two people have the same set of powers. It is not clear why the Celestials did this, although it is known that they continue to observe humanity’s evolution. A Marvel series titled Earth X explored one possible reason for this: that superhumans are meant to protect a Celestial embryo that grows inside Earth against any planetary threats and have done so for eons. An X-Men villain that is known as Vargas claims to be a new direction in human evolution, as he is born with superpowers even though his genetic profile said he was an ordinary human being. The majority of the public is unaware of what may cause superhuman powers.^{[volume & issue needed]}

Other possible origins for superhuman powers include magic, genetic manipulation and/or bionic implants. Some heroes and villains have no powers at all but depend instead on hand-to-hand combat training or advanced technological equipment. In the Marvel Universe, technology is considerably more advanced than in the real world; this is due to unique individuals of genius-level intelligence, such as Reed Richards (Mister Fantastic) of the Fantastic Four. However, most of the advanced devices (such as powered armor and death rays) are too expensive for the common citizen, and are usually in the hands of government organizations like S.H.I.E.L.D., or powerful criminal organizations like A.I.M. One major company producing these devices is Stark Industries, owned by Tony Stark (Iron Man), but there are others. Advanced technology has also been given to humans by hidden races, aliens, or time travelers like Kang the Conqueror, who is known to have influenced the robotics industry in the past.^{[volume & issue needed]}

In superhumans, the energy required for their superpowers either comes from within using their own body as a source or, if the demand of energy exceeds what their body is capable to deliver, comes from another source.

Marvel tries to explain most superpowers and their sources «scientifically», usually through the use of fictional science-like concepts, such as:

• Energy absorption (the battery effect); the cells in the body have the same function as batteries, being charged with energy that comes from an outer source. This is most often seen in gamma ray-exposed individuals such as the Hulk, who get their powers from this stored energy. The powers will remain as long as the energy is present, and can even be increased by filling the «batteries» even more. If the energy is emptied, the powers will fade away.
• The Power Primordial is a leftover force from Big Bang and is controlled by the Elders of the Universe.
• The Phoenix Force is an immortal, indestructible, and mutable manifestation of the prime universal force of life. Born of the void between states of being, it is the nexus of all psionic energy which does, has, and ever will exist in all realities of the Multiverse. It has been shown to favor mutant telepaths like Jean Grey.
• Psionic energy is a form of magic associated with the Astral Plane, which is assumed to be an invisible, unknown form of energy generated by living brains that can manipulate other forms of matter and energy. Apparently, it creates the universal psionic field, which is present everywhere in the universe, but only those with abilities to connect to it can make use of its energy.
• The Enigma Force is suspected to be connected to the Microverse and is also the source of its counterpart on Earth the Uni-Power, which transforms an individual into Captain Universe.
• Extradimensional space that can be tapped to pull mass from (to add to objects on Earth) or taken away from those objects and be stored in «pocket dimensions» to be retrieved later. This is how characters like the Hulk can grow and shrink with no visible absorption of mass. A type of subatomic particles called Pym particles can be used for these effects (Note: many giant-sized characters have a limited ability to manipulate gravity to handle their increased weight). The change in mass can be in the form of a density change instead, allowing a character to become harder or incorporeal. Some characters can seem to «transform» themselves (or others) into unliving substances, or even pure energy, by storing their bodies in extradimensional space and replacing them with bodies made from matter or energy from that dimension, while their souls remain on Earth, controlling their new body. Travel into other dimensions can also be used as a way to «teleport» by re-entering the Earth dimension at a different point.
• The Darkforce is an unknown, dark substance from another dimension (known simply as the Darkforce Dimension) that can be summoned and manipulated in many ways: to create impenetrable darkness, to solidify it in various forms, and (most notably) to absorb the «life energy» from living beings (not all users can use all these effects). The Darkforce can also be used to travel to and from its home dimension, but this is dangerous to all except those with Darkforce powers. Some believe that the Darkforce is sentient and sometimes has an evil influence on those who use it. Various heroes and villains have versions of Darkforce powers, including Darkstar, the first Blackout, the Shroud, Cloak, the Doorman and Quagmire (of the Squadron Supreme Universe). Cloak seems to be the prime ‘portal’ to the Darkforce, however.
• The Lightforce is the opposite of the Darkforce: a form of energy that resembles light and also comes from its dimension, but has healing effects on living beings (except ones made of darkness or the Darkforce). It is unknown if it might be sentient. Cloak’s partner, Dagger seems to be the Lightforce’s main avatar.
• The Power Cosmic is a force that can alter reality, allowing the user to do whatever he or she wants (including bending the laws of physics), only being limited by how much cosmic energy the character can tap at a time. It seems to be part of the universe itself (as a kind of radiation) and is most prominently used by Galactus and his heralds.
• Magic is a conceptual system that allows individuals to control the natural world by utilizing certain universal energies, whose nature is generally beyond the scope of science. These energies have their source in extra-dimensional beings or different realms and dimensions, which have different properties to the main Universe.^[16] Magic has rules of its own to follow, which vary with the method of invocation, mainly in the form of spoken spells (which usually call certain extra-dimensional beings to borrow their power).^[16] It appears to be present in everything, even living beings. All humans in the Marvel Universe can use magic, but only if properly trained. Most people are unaware that magic works. Also, powerful magical beings from other dimensions have created specific, extremely powerful magical spells that they allow to be used (often indiscriminately) by those sorcerers who invoke their names; one example is the trinity of beings called the Vishanti, who serve as patrons to heroic sorcerers. At any given time, there is a sorcerer on Earth tasked to protect the universe against extra-dimensional mystical invaders; this sorcerer is known as the Sorcerer Supreme, an office left empty since the death of Brother Voodoo, but most recently has been reinstated to Doctor Strange.^[17]

Non-human

A degree of paranoid fear against mutants exists due to stories of mutants being a species or even a subspecies of humans (Homo superior or Homo sapiens superior) that is evolving and is meant to replace normal humans. This has caused organizations to form to deal with the problem, who can be divided into three camps: those who seek peaceful coexistence between mutants and normal humans (the X-Men and their affiliated groups), those who seek to control or eliminate humans to give mutants safety or dominance (Magneto and his followers, as well as other mutants such as Apocalypse), and those who seek to regulate or eliminate mutants in favor of humans. The latter often use the robots known as the Sentinels as weapons. Certain species are regarded as subhuman, like the Morlocks, who lurk beneath New York City and have been discriminated against by the outside world because of their mutant deformities. The Morlocks have recently joined the terrorist organization Gene Nation.^{[volume & issue needed]}

In addition to mutants, Eternals, and Deviants, several other intelligent races have existed secretly on Earth. These include the Inhumans, another genetically unstable race (like the Deviants, but in their case, it is due to their use of a substance called the «Terrigen Mists») that was created by a Kree experiment long ago; the Subterraneans, a race of humanoids adapted to living below the surface, created by the Deviants (some Subterraneans were transformed into the ‘Lava Men’ by a demon); and Homo mermanus, a humanoid species of water-breathers that live in Earth’s oceans. Most of these races have advanced technology but existed hidden from humanity until recent times. More variants of humanity can be found in the Savage Land (see Places below). Most of the Savage Land races have their origin from a group of primitive ape-men who seems to have escaped the Celestial experiments and whose influence is present in all modern Homo sapiens. Other leftovers from the era when primitive humanoids walked on Earth still exist, such as the radiation-altered Neanderthal man known as the Missing Link, an enemy of the Hulk.^[18]

Alien races

The Marvel Universe also contains hundreds of intelligent alien races. Earth has interacted with many of them because a major «hyperspace warp» happens to exist in the Solar System.

The three major space empires are:

• the Kree, who rule the Kree Empire (in the Greater Magellanic Cloud)
• the Skrulls, who rule the Skrull Empire (in the Andromeda Galaxy)
• the Shi’ar, who rule the Shi’ar Empire (no known real-world counterpart for its galaxy, but it might be in the Triangulum Galaxy^[19])

The three are often in direct or indirect conflict, which occasionally involves Earth humans; in particular, the Kree and Skrulls are ancient enemies, and the Kree-Skrull War has involved humans on several occasions.

The Skrulls have also been known to be in a long and consistent war against the Majesdanians, who live on a milky planet named Majesdane.^[20] The war between the two had started after two Majesdanians, Frank and Leslie Dean of the Pride had been kicked out for criminal activities; the two traveled to Earth, where Frank and Leslie stopped the war against Earth in exchange for giving the Skrulls the location of Majesdane, which was hidden behind the corona of a white dwarf. The war had gone on for 16 years minimum; it ended abruptly after the Skrulls shot a barrage of missiles at Majesdane, who retaliated.^[20]

Another prominent alien race is the Watchers, immortal and wise beings who watch over the Marvel Universe and have taken a sacred vow not to intervene in events, though the Watcher assigned to Earth, Uatu, has violated this oath on several occasions.

The Elders of the Universe are ancient aliens who have often had a great impact on many worlds for billions of years, acting alone or as a group. A power called the Power Primordial is channeled through them.

Many other races exist and have formed an «Intergalactic Council» to have their say on matters that affect them all, such as interference from Earth humans in their affairs.

Supernatural creatures

Also abundant in the Marvel Universe are legendary creatures such as gods, demons and vampires. The ‘gods’ of most polytheistic pantheons are powerful, immortal human-like races residing in other dimensions who visited Earth in ancient times, and became the basis of many legends. However, all of these ‘gods’ share a common ancestry and connection to Earth due to Gaea, the primeval Elder Goddess that infused her life essence into all living things on Earth. Gaea is known by various names and appearances in other cultures and among the various pantheons, but she is the same being. As a result, she is a member of every polytheistic pantheon of ‘gods’ worshiped by humans. Besides mythological gods, many deities made up by Marvel writers exist as well, such as the Dark Gods, enemies of the Asgardians. The Dark Gods are a race of ‘gods’ that have been worshiped by extraterrestrial races. Well-known alien races like the Shi’ar and Skrulls also have beings they worship as ‘gods’, though little has been revealed about them.^{[volume & issue needed]}

Many persons and beings have falsely pretended to be gods or demons during history; in particular, none of the ones claiming to be major figures from Judeo-Christian beliefs have turned out to be the real article, although several angels have appeared in recent years, as well as an apparent true rebellion and expulsion of angels from a higher realm known as Paradise, proving that some form of Heaven and Hell do exist in this Universe, seemingly like those in keeping with common real-world religious belief. Similarly, demons are evil magical beings who take affairs in the matters of the universe. Some of the most powerful are Blackheart, Mephisto, Nightmare, Satannish, Thog the Nether-Spawn and Zom. There are also powerful benevolent mystical entities such as the Vishanti; or amoral and malevolent entities who are not truly demonic, such as Dormammu and the Octessence, or ones heavily drawing upon the mythologies of H. P. Lovecraft and Robert E. Howard. Some supernatural beings, entities and human characters created by Lovecraft and Howard, who were friends and influenced each other’s work, have been adapted by Marvel and include Abdul Alhazred,^[21][22][23] Conan the Barbarian^[24] Nyarlathotep^[25] and Set.^[26] Some deities or demonic beings that are original characters of Marvel have been heavily influenced by these mythologies, such as Shuma-Gorath.^[27]

Most of the current generation of gods have been revealed to be the descendants of the Elder Goddess Gaea. The two most featured pantheons are the Asgardians (of whom Thor is a member) and the Olympians (of whom Hercules is a member). The lords of the various pantheons sometimes gather in groups known as either the Council of Godheads or the Council of Skyfathers. The gods were forced to stop meddling with humanity (at least openly) a thousand years ago by the Celestials, and most people today believe them to be fictional. Other pantheons have been depicted in the Marvel Universe that is still actively worshiped in the real world, including those worshiped by the Aboriginal inhabitants of Australia, the gods of Hinduism, the Shinto gods and the gods of Zoroastrianism. These deities are rarely depicted, however. One such appearance generated a good deal of controversy as the depiction involved a fight between Marvel’s incarnation of Thor and the Hindu god Shiva, a battle which Shiva lost.^[28] As Shiva is one of the principal deities of Hindu religion, his defeat offended some followers of Hinduism. This battle was retconned later as having been the deity Indra, the Hindu god of thunder, who was posing as Shiva, that met defeat.^[29] To avoid offending the believers of still active religions, Marvel features such deities as characters in the background or who make very brief cameo appearances.

Marvel’s depiction of vampires has been heavily influenced by various interpretations of popular media, such as Bram Stoker’s Dracula. As with many other supernatural creatures, Marvel entwined the origin of vampires with aspects of the mythologies created by Lovecraft and Howard. They were created by magical rites performed by priests of Atlantis before the Great Cataclysm that destroyed much of the world, with Varnae becoming the first vampire. Marvel would depict vampires as frequent antagonists during the Hyborian Age to Howard characters such as Kull and Conan. In recent years, Marvel’s depiction of vampires has altered greatly by creating various subspecies of vampires that exist in clans that greatly differ in appearance and belief. All vampires are depicted with varying degrees of superhuman strength, speed, stamina, agility, reflexes and accelerated healing. Many are capable of transforming into animals such as bats or wolves; some can transform into a mist-like substance; some of the most powerful are capable of controlling the weather to a somewhat limited degree. All vampires must ingest blood to maintain their survival and physical vitality. So long as they do so regularly, they cease to age and are immune to diseases. They retain the well-known vulnerabilities common to vampires in other media interpretations, including sunlight, garlic, religious icons and weapons made of silver. Vampires can be killed by a wooden stake driven through the heart, though they return to life if the stake is removed. Vampires are highly allergic to silver and can be killed with it. While they normally heal rapidly, injuries inflicted by silver weapons heal at a much slower rate if the injuries are not fatal. Vampires can also be killed by decapitation or being burned with fire, with burning them to ashes and then scattering the ashes being the most effective means of ensuring their demise (scattering the ashes is done so that the vampire cannot be mystically resurrected).

Cosmic entities

The cosmic entities are beings of unbelievably great levels of power (the weakest of whom can destroy entire planets) who exist to perform duties that maintain the existence of the universe. Most do not care at all about «lesser beings» such as humans, and as a consequence, their acts are recurrently dangerous to mortals. When dire threats threaten the universe, it is not uncommon for these beings to gather together to discuss the threat and even act on it.^{[volume & issue needed]}

Most conceptual entities are simply interested in furthering their essential function or to keep the balance with an opposing force. However, certain cosmic entities, such as Galactus, the In-Betweener, the Maelstrom, or the Stranger have demonstrated personality, motivations, or (except for the first one mentioned) even ambitions beyond their functions, but often maintain the perspective that morality is entirely relative, or that destroying civilizations of «lesser» beings is no eviler than if these beings destroyed an anthill. Others such as Uatu the Watcher, Eon, or the Celestials, Ashema and Tiamut are aberrations in the sense of sympathizing with, and occasionally coming to the defense of, humanity.^{[volume & issue needed]}

The Phoenix Force first received personification in Jean Grey. The Phoenix Force is composed of the psionic energy from all living beings’ past, present, and future, and is an embodiment of rebirth and destructive transformation through «burning away what doesn’t work», and helped to restart the universe before the Big Bang.^{[volume & issue needed]}

‘The «Fulcrum» is a comparatively recent addition to the hierarchy, that «all» cosmic entities allegedly serve, of a level of raw power stated to far surpass the might of the Watchers and the Celestials. Unlike most other entities, it is capable of conscience, compassion, and even a sense of humor, and has stated that it wants other cosmic beings to develop such as well. He is a possible manifestation/avatar of the One-Above-All.^{[volume & issue needed]}

The mentioned One-Above-All is believed to be the supreme, omnipotent being, who solely created the Marvel Multiverse, and possibly acted beyond.^[30] He also brought to life the Living Tribunal, an extremely powerful cosmic entity, who serves to maintain balance within the Multiverse.^[31]

Cosmology

Multiverse

The Marvel Universe is part of a Multiverse, with various universes coexisting simultaneously, usually without affecting each other directly.^{[volume & issue needed]} Furthermore, each universe has various other dimensions associated with it, and one such group is collectively known as a Reality. Often what is referred to in the comics as a Universe is actually a Reality. According to mythology, the Multiverse has been created by the omnipotent being One-Above-All.

Even the Marvel Multiverse, however, is only a part of the Omniverse, which consists of all of fiction and reality combined, including all the works that are outside of Marvel’s copyright restrictions.^[32]

The action of most of the Marvel Comics titles takes place in a continuity known as Earth-616. This continuity exists in a multiverse alongside trillions of alternative continuities.^[33] Alternative continuities in the Marvel Multiverse are generally defined in terms of their differences from Earth-616.

Continuities besides Earth-616 include the following (for a complete listing see Multiverse (Marvel Comics)):

Caption text

Earth		Description
Earth-65		A reality where Gwen Stacy was bitten by the radioactive spider instead of Peter Parker (who became the Lizard in this universe and died) and where Gwen became a superhero. It also includes variations of other Marvel characters, such as a gender-bent version of Sam Wilson (known as Samantha Wilson, who became Captain America instead of Steve Rogers).
Earth-295	Age of Apocalypse	An alternate reality ruled by the mutant god Apocalypse.
Earth-311	Marvel 1602	A reality where Marvel superheroes emerged in the early 1600s.
Earth-615		Sometimes being the same universe as Earth-616, and sometimes not.
Earth-712	Squadron Supreme	The home of one version of the Squadron Supreme, a super-team from another universe and pastiches of DC Comics’ the Justice League.
Earth-811	Days of Future Past	A dystopian alternate future where the Sentinels rule North America and have enslaved mutants.
Earth-928	Marvel 2099	A reality showing a possible future for the Marvel Universe in the year 2099. Also designated as Earth-616 circa 2099
Earth-982	MC2	Another alternate future for the world of the Marvel Universe and its superheroes and supervillains
Earth-1218		The setting of the real world (which is our world), where superheroes, supervillains, and supernatural entities don’t exist.
Earth-1226	M.O.D.O.K. (TV series)	The universe of the animated series M.O.D.O.K.
Earth-1610	Ultimate Marvel	A modern-day re-imagining of Spider-Man, the Ultimates, the X-Men, the Fantastic Four and S.H.I.E.L.D., as well as other Marvel heroes and villains in a new setting. The home reality of Miles Morales, the Maker (a.k.a. Reed Richards), and Jimmy Hudson.
Earth-2149	Marvel Zombies	A reality where all the Marvel superheroes and supervillains were turned into cannibalistic flesh-eating zombies.
Earth-2301	Marvel Mangaverse	A reality containing manga versions of the Marvel Universe characters.
Earth-2447	Spider-Man: Life Story	A reality where Spider-Man and the other Marvel superheroes who debuted in the 1960s aged in real-time.
Earth-4321		The reality of Marvel Universe: The End
Earth-7642	Earth-Crossover	A universe where Marvel characters co-exist with characters from DC Comics
Earth-8096	Christopher Yost Universe	The reality of TV shows and movies such as Wolverine and the X-Men, The Avengers: Earth’s Mightiest Heroes, Hulk Vs., and Thor: Tales of Asgard
Earth-8101	Marvel Apes	A reality where apes are the dominant species and the superheroes and supervillains are apes themselves
Earth-8311	Larval Universe	The home reality of Peter Porker (a.k.a. Spider-Ham); a reality where talking animal versions of Marvel superheroes and supervillains exist.
Earth-9591	Ruins	A reality where «everything that can go wrong will go wrong», where the experiments and other incidents that granted the superheroes and supervillains their powers instead resulted in horrific tragedies and deaths.
Earth-9602	Amalgam Universe	A pocket universe where the Marvel and the DC Universes were combined into one reality.
Earth-9997	Earth X	An alternate future for the Marvel Universe depicting an Earth mutated by the Terrigen Mists. The series was followed by two other series, Universe X and Paradise X.
Earth-11326	Age of X	A reality in which a series of anti-mutant events cause the United States government to hunt down all mutants, confining the survivors to Fortress X.
Earth-12041	Marvel Universe on Disney XD	The universe containing Ultimate Spider-Man, Avengers Assemble, Guardians of the Galaxy, and Hulk and the Agents of S.M.A.S.H..
Earth-20051	Marvel Adventures	An all-ages imprint.
Earth-30847	Marvel vs. Capcom	The reality of the Marvel vs. Capcom games
Earth-58163	House of M	A reality in which mutants are the ruling class, humans are the oppressed and Magneto and his family rule Genosha.
Earth-90214	Marvel Noir	A reality home to noir versions of superheroes. Designated as Earth-90214.
Earth-92131		The universe of the 1990s Marvel animated TV shows, such as X-Men: The Animated Series, Spider-Man: The Animated Series, Fantastic Four, Iron Man, and The Incredible Hulk
Earth-93060	Ultraverse	The home of the super-team known as Ultraforce and superhumans known as Ultras.
Earth-96283	Sam Raimi’s Spider-Man trilogy	An alternate reality in which Spider-Man and Doctor Strange (mentioned) are the only two superheroes on Earth.[34]
Earth-148611	New Universe	An alternate reality where a major catastrophe that is known as the «White Event» caused numerous people to develop superpowers in a world where there are no hidden races, gods, magic or super-technology. The home reality of Star Brand
Earth-199999	Marvel Cinematic Universe	A shared universe of films and TV shows by Marvel Studios featuring versions of the Avengers, the Guardians of the Galaxy, the Defenders, Agents of S.H.I.E.L.D. and the Eternals, as well as Doctor Strange, the Black Panther, Captain Marvel, Nick Fury, Shang-Chi and many others. Called and designated as Earth-616 by some of its inhabitants.
Earth-200111	MAX universe	A gritty, realistic, violent universe where traditional superheroes do not exist. Stories include: The Punisher MAX, Born (and its sequel Punisher: The Platoon), Wolverine MAX, Foolkiller MAX, Fury, and Fury: My War Gone By.
Earth-807128	Old Man Logan	Another dystopian alternate future where the supervillains killed all the superheroes and took over the United States (and presumably the world), dividing it among themselves. The home reality of the titular Old Man Logan, an alternate version of Wolverine
Alterniverse		The reality of some of the What If stories.
Shadowline		A horror imprint separate from the mainstream Marvel continuity.

Time

One cannot normally alter the Marvel Universe’s history; if a time-traveler should cause an alteration to the established flow of events at some point in the past, a divergent universe will simply «branch out» from the existing timeline, and the time-traveler will still return to his or her unaltered original universe. Those realities can also spawn realities of their own. There exist hundreds, probably thousands of such realities. It is unknown why this happens, though a warp known as the Nexus of All Realities exists in a swamp in the Florida Everglades of Earth-616. For the most part, this does not matter, as most beings are unaware that this occurs, or even that their universes were recently «born» from another. However, individuals and organizations exist that try to monitor or manipulate the various realities. These include Immortus, the Captain Britain Corps, the Time Variance Authority, the Timebreakers/Exiles, and Kang the Conqueror’s forces. It is possible to travel through time without creating a new alternative universe, instead of altering events in the future, but this seems to have devastating and very far-reaching repercussions, as depicted in Marvel 1602 (it almost destroyed the whole multiverse, including the afterlife).^{[citation needed]}

Also, time itself passes much differently within the confines of the Marvel Universe than it does in the real world. Despite various characters having appeared within company publications for decades, few, if any, have aged to any appreciable degree. For example, the patriotic hero Captain America was created in 1941 but stopped appearing in titles soon after the end of World War II. The character was revived more than 20 years later, explained as having been frozen in a block of ice though believed to be dead, to lead Marvel’s latest team of superheroes the Avengers. This first Avengers team featured several characters that would go on to be some of the company’s most famous and most popular. Although the characters would be portrayed in hundreds and even thousands of adventures over the decades, they have been portrayed as having aged little or not at all.^{[citation needed]}

Naturally, this tendency is purely due to story conveniences (or a somewhat haphazardly shifting patchwork pattern of authors), and mainly that the fictional «continuity» has been maintained and expanded far beyond what Stan Lee and others originally planned or hoped for. Hence, the passing of time was more discernible in the very early years, such as the graduation of Spider-Man; and what started as children or teenaged characters, such as Kitty Pryde, Franklin Richards, Valeria Richards, Power Pack, or the New Mutants are all allowed to age at wildly shifting rates (in the second case even backward at times), whereas surrounding characters somewhat dependent on a certain age limit do not change at all. This recurrently creates inherently contradictory effects, as events are routinely described to have happened several years ago, even in cases when this would mean that some of the involved characters would have been toddlers. Different approaches also exist regarding allowing «second-generation» descendants of heroes or villains, full-grown over 18 years after an event (for example, Hulkling, other members of the Young Avengers, the Runaways, and the Secret Warriors), whereas other books, such as Young Allies use the inherent contradiction to debunk similar claims. If a past storyline wherein a direct depiction of a then-current president or similar is referred to in a later era, it tends to become updated accordingly, sometimes with an «in-joke» acknowledgment.^{[citation needed]}

A more recent explanation was given by Galactus to the Ultimates, namely that some important events – for instance, the creation of the Fantastic Four or the Avengers – have a ‘gravity’ all their own and warp time around them, causing the timeline to subtly change to accommodate this.^[35]

Space

While the Marvel Universe is presumably as large as the non-fictional universe comic book readers inhabit, for all intents and purposes the Local Group is the universe; practically all action takes place in it. The Skrull Empire is located in the Andromeda Galaxy, the Kree Empire in the Greater Magellanic Cloud, which is a satellite of the Milky Way galaxy in which Earth, of course, is found, and the Shi´ar Empire is located somewhere between them in one of the smaller galaxies (perhaps the Triangulum Galaxy); frequently, these three empires are quoted as the main political powers «in the universe».^[36] Similarly, the Local Group seems to be the only affected area when the Annihilation Wave cut its bloody swath «across the universe».

Role-playing games

Four role-playing games have been set in the Marvel Universe:

• Marvel Super Heroes (TSR, 1984)
• Marvel Super Heroes Adventure Game (TSR, 1998)
• Marvel Universe Roleplaying Game (Marvel Comics, 2003)
• Marvel Heroic Roleplaying (Margaret Weis Productions, 2012)

See also

• Features of the Marvel Universe
• List of Marvel Comics alien races
• List of Marvel Comics characters
• List of Marvel Comics superhero debuts
• List of Marvel Comics teams and organizations
• Marvel Animated Universe (MAU)
• Publication history of Marvel Comics crossover events

References

External links

• Marvel Entertainment (official site)
• Marvel Chronology Project
• Marvel Universe—Archive of forums named after the Marvel Universe

«Marvel 616» redirects here. For the documentary series, see Marvel’s 616.

Marvel Universe
Various characters of the Marvel Universe. Promotional art for the 2006–2007 miniseries Civil War by Steve McNiven.
Created by	Marvel Comics
Original work	Marvel Mystery Comics #7 (1940, Golden Age) Fantastic Four #12 (1963, modern continuity)
Owner	Marvel Entertainment, LLC (The Walt Disney Company)
Print publications
Novel(s)	Marvel novels
Comics	List of Marvel Comics publications
Graphic novel(s)	The Official Marvel Graphic Novel Collection
Films and television
Film(s)	Marvel Cinematic Universe X-Men film series Spider-Man in film Fantastic Four in film Blade film series List of films based on Marvel Comics
Short film(s)	Marvel One-Shots
Television series	List of Marvel Cinematic Universe television series List of television series based on Marvel Comics Marvel Animated Universe
Television special(s)	Marvel Studios: Assembling a Universe Marvel 75 Years: From Pulp to Pop!
Direct-to-video	Marvel Animated Features Direct to video films Marvel Knights Animation
Theatrical presentations
Play(s)	Marvel Universe Live!
Musical(s)	Spider-Man: Turn Off the Dark
Games
Video game(s)	List of video games based on Marvel Comics
Miscellaneous
Toy(s)	Marvel Universe Marvel Select Marvel Legends
Theme park attraction(s)	Marvel Super Hero Island Guardians of the Galaxy — Mission: Breakout! Iron Man Experience Ant-Man and The Wasp: Nano Battle!
Official website
https://www.marvel.com/

The Marvel Universe is a fictional shared universe where the stories in most American comic book titles and other media published by Marvel Comics take place. Super-teams such as the Avengers, the X-Men, the Fantastic Four, the Guardians of the Galaxy, and many Marvel superheroes live in this universe, including characters such as Spider-Man, Captain America, Iron Man, Thor, the Hulk, Ant-Man, the Wasp, Wolverine, Black Panther, Doctor Strange, Daredevil, and Captain Marvel, Blade, Black Widow, Hawkeye, among numerous others. It also contains well-known supervillains such as Doctor Doom, Magneto, Ultron, Thanos, Loki, The Green Goblin, Kang the Conqueror, Red Skull, The Kingpin, Doctor Octopus, Carnage, Apocalypse, Dormammu, Mysterio, Electro, and the Vulture. It also contains antiheroes such as Venom, Namor, Deadpool, Silver Sable, Ghost Rider, The Punisher, and Black Cat.

The Marvel Universe is further depicted as existing within a «multiverse» consisting of thousands of separate universes, all of which are the creations of Marvel Comics and all of which are, in a sense, «Marvel universes». In this context, «Marvel Universe» is taken to refer to the mainstream Marvel continuity, which is known as Earth-616 or currently as Prime Earth.

History

Some of Timely Comics (the 1930s and ’40s predecessor to Marvel Comics) characters coexisted in the same world was first established in Marvel Mystery Comics #7 (1940) where Namor was mentioned in Human Torch’s story, and vice versa. Later several superheroes (who starred in separate stories in the series up to that point) met each other in a group dubbed the All-Winners Squad.

Though the concept of a shared universe was not new or unique to comic books in 1961, writer/editor Stan Lee, together with several artists including Jack Kirby and Steve Ditko, created a series of titles where events in one book would have repercussions in another title and serialized stories would show characters’ growth and change.^[1] Headline characters in one title would make cameos or guest appearances in other books. Fantastic Four #12 is the first crossover comic book in modern Marvel continuity (first meeting of Fantastic Four and the Hulk). Eventually, many of the leading heroes (Ant-Man, Wasp, Iron Man, Thor and the Hulk) assembled into a team known as the Avengers, which debuted in September 1963. This was not the first time that Marvel’s characters had interacted with one another—Namor the Sub-Mariner and the original Human Torch had been rivals when Marvel was Timely Comics (Marvel Vault), under editor Martin Goodman^[2] — but it was the first time that the comic book publisher’s characters seemed to share a world.^[3] The Marvel Universe was also notable for setting its central titles in New York City; by contrast, many DC heroes live in fictional cities. Care was taken to portray the city and the world as realistically as possible, with the presence of superhumans affecting the common citizens in various ways.^[4]

Over time, a few Marvel Comics writers lobbied Marvel editors to incorporate the idea of a Multiverse resembling DC’s parallel worlds; this plot device allows one to create several fictional universes which normally do not overlap. What happens on Earth in the main Marvel Universe would normally not affect what happens on a parallel Earth in another Marvel-created universe. However, writers would have the creative ability to write stories in which people from one such universe would visit this alternative universe.^[5]

In 1982, Marvel published the miniseries Contest of Champions, in which all of the major heroes in existence at the time were gathered together to deal with one threat. This was Marvel’s first miniseries. Each issue contained biographical information on many major costumed characters; these biographies were a precursor to Marvel’s series of reference material, The Official Handbook of the Marvel Universe, which followed shortly on the heels of Contest of Champions.^[6]

Concepts

The Marvel Universe is strongly based on the real world. Earth in the Marvel Universe has all the features of the real one: same countries, same personalities (politicians, movie stars, etc.), same historical events (such as World War II), and so on; however, it also contains many other fictional elements: countries such as Wakanda and Latveria (very small nations) and organizations like the espionage agency S.H.I.E.L.D. and its enemies, HYDRA and A.I.M. In 2009 Marvel officially described its world’s geography in a two-part miniseries, the Marvel Atlas.^[7]

Most importantly, the Marvel Universe also incorporates examples of almost all major science fiction and fantasy concepts, with writers adding more continuously. Aliens, gods, magic, cosmic powers and extremely advanced human-developed technology all exist prominently in the Marvel Universe. (A universe incorporating all these types of fantastic elements is fairly rare; another example is the DC Universe.) Monsters also play a more prominent role with east Asian origins of magical incantation, outlandish sorcery and manifesting principle in the Marvel Universe. One such case is Fin Fang Foom arising from the ashes of tantric magic. Thanks to these extra elements, Earth in the Marvel Universe is home to a large number of superheroes and supervillains, who have gained their powers by any of these means.^{[citation needed]} The general public is so familiar with such concepts that Empire State University has a scholarship for «aliens, dimensional travelers, clones, independent machine intelligences and other students outside the norm»,^[8] businesses and residences have superhero property insurance^[9][10][11] and bookmakers take bets on their battles’ outcomes,^[12] and New York air traffic controllers handle starships landing at local airports.^[13]

Comparatively, little time passes in the Marvel Universe compared to the real world, owing to the serial nature of storytelling, with the stories of certain issues picking up mere seconds after the conclusion of the previous one, while a whole month has passed by in «real-time». Marvel’s major heroes were created in the 1960s, but the amount of time that has passed between then and now within the universe itself has (after a prolonged period of being identified as about 10 years in the mid-to-late 1990s) most recently been identified as 13 years.^[14] Consequently, the settings of some events which were contemporary when written have to be updated every few years to «make sense» in this floating timeline. Thus, the events of previous stories are considered to have happened within a certain number of years before the publishing date of the current issue. For example, Spider-Man’s high school graduation was published in Amazing Spider-Man #28 (September 1965), his college graduation in Amazing Spider-Man #185 (October 1978), and his high school reunion in Marvel Knights Spider-Man #7 (December 2004). Because of the floating timeline, where stories refer to real-life historic events, these references are later ignored or rewritten to suit current sensibilities; for instance, the origin of Iron Man was changed in a 2004 storyline to refer to the War on Terror in Afghanistan,^[15] whereas the original Iron Man stories had referred to the Vietnam War in Vietnam; similarly, The Punisher’s backstory has also been changed as well.^{[volume & issue needed]}

Marvel Comics itself exists as a company within the Marvel Universe, and versions of people such as Stan Lee and Jack Kirby have appeared in some of the stories, whereas characters like Steve Rogers, (Captain America’s alter ego), have worked for Marvel.^{[volume & issue needed]} The Marvel of this reality publishes comics that adapt the actual adventures of the superheroes (except for details not known to the public, like their secret identities); many of these are licensed with the permission of the heroes themselves, who customarily donate their share of profits to charity. Additionally, the DC Comics Universe is also said to exist in the Marvel Universe as one of the many alternative universes. The reverse may also be said concerning the DC Universe. This is one method of explaining the various crossover stories co-published by the two companies.^{[volume & issue needed]}

Pop culture characters such as Sherlock Holmes, Dracula and the Frankenstein Monster exist in the Marvel Universe. This is usually justified as a second-hand account of events as told to credited authors Sir Arthur Conan Doyle, Bram Stoker and Mary Shelley, although the general public continues to believe them to be fictional. Robert E. Howard’s Conan the Barbarian, Red Sonja, Kull the Conqueror, and Solomon Kane also have real-life existences in the Marvel Universe. The Hyborian Era of Conan and Kull is considered part of Earth-616 pre-recorded history. However, they rarely encounter modern Marvel superhero characters. This is most likely possible due to the uncertain legal status of Howard’s works before 2006 when they became public domain. As of 2019, Conan the Barbarian, as well as Kull the Conqueror and Solomon Kane, have been firmly integrated, thanks to Marvel regaining the publishing rights to the characters. Other licensed works that have been incorporated into the Marvel Universe include Godzilla, the Transformers, the film 2001: A Space Odyssey (in the character of Machine Man), Rom the Spaceknight, the Micronauts, and the Shogun Warriors. In most cases, such material is either restricted from use after the license expires or the characters redesigned or renamed to avoid copyright infringement.^{[volume & issue needed]}

Costumed superheroes and supervillains

Within the fictional history of the Marvel Universe, the tradition of using costumed secret identities to fight or commit evil had long existed, but it came into prominence during the days of the American «Wild West» with heroes such as Carter Slade/the Phantom Rider. During the 20th century, the tradition was reinvigorated by Steve Rogers/Captain America and the Invaders in the 1940s, who fought for the Allies of World War II.

Unlike the DC Universe, few of Marvel’s Golden Age characters have risen to prominence in modern publications; Captain America is one exception, and to a lesser extent, his contemporary, Namor the Sub-Mariner, primarily because both of these characters were reintroduced to readers and the Marvel Universe during the 1960s.^{[citation needed]}

Marvel’s most prominent heroes were created during the Silver Age of Comic Books in the 1960s to early 1970s, including Peter Parker/Spider-Man, Tony Stark/Iron Man, Thor, Bruce Banner/the Hulk, Stephen Strange/Doctor Strange, Matt Murdock/Daredevil, Ant-Man and the Wasp (Hank Pym and Janet van Dyne), Natasha Romanoff/the Black Widow, Clint Barton/Hawkeye, Pietro Maxmioff/Quicksilver, Wanda Maximoff/the Scarlet Witch, the Vision, Simon Williams/Wonder Man, Hercules, Kevin Plunder/Ka-Zar, Groot, Nick Fury, T’Challa/the Black Panther, Mar-Vell (the first Captain Marvel), Carol Danvers (also known as the first Ms. Marvel, Binary, Warbird, and the current Captain Marvel), Sam Wilson/the Falcon, Dane Whitman/the Black Knight, Norrin Radd/the Silver Surfer, Jane Foster (also known as the second Thor), Warren Worthington III/the Angel-Archangel, Hank McCoy/the Beast, Scott Summers/Cyclops, Robert «Bobby» Drake/the Iceman, Jean Grey (also known as Marvel Girl and Phoenix), Charles Xavier/Professor X, Lorna Dane/Polaris, Alex Summers/Havok, Sean Cassidy/the Banshee, Reed Richards/Mister Fantastic, Susan Storm/the Invisible Woman, Johnny Storm/the Human Torch, Ben Grimm/the Thing, Brunnhilde/the Valkyrie, the Inhumans (composed of Blackagar Boltagon, Medusalith Amaquelin-Boltagon, Crystalia Amaquelin-Boltagon/Crystal, Gorgon, Karnak Mandel-Azur/Karnak the Shatterer, Triton and Lockjaw) and Alexi Shostakov/the Red Guardian.

Other notable heroes from the Bronze Age and Modern Age from the early-to-mid 1970s to the early 1990s include James «Logan» Howlett/Wolverine, Ororo Munroe/Storm, Piotr «Peter» Rasputin/Colossus, Kurt Wagner/Nightcrawler, Luke Cage (also known as Power-Man), Danny Rand/Iron Fist, Misty Knight, Colleen Wing, Barbara «Bobbi» Morse/Mockingbird, the White Tiger (Hector Ayala), Shang-Chi, Greer Grant Nelson/Tigra, Jessica Drew (also known as Spider-Woman), the Ghost Rider (Johnny Blaze), Daimon Hellstrom, Satana Hellstrom, Theodore «Ted» Sallis/the Man-Thing, Eric Brooks/Blade the Vampire-Slayer, Michael Morbius/Morbius the Living Vampire, Howard the Duck, Monica Rambeau (also known as Photon, Pulsar, Spectrum and the second Captain Marvel), Moondragon, Drax the Destroyer, Peter Quill/Star-Lord, Gamora, Rocket Raccoon, Frank Castle/the Punisher, Marc Spector/the Moon Knight, the Eternals (composed of Ikaris, Thena, Ajak, Makkari, Kingo, Phastos, Gilgamesh and Sprite), War Machine, Nova (Richard Rider), Adam Warlock, Power Pack, Betsy Braddock, Scott Lang (the second Ant-Man), Felicia Hardy/the Black Cat, Silver Sable, Katherine «Kitty» Pryde (also known as Shadowcat, Ariel, Sprite, Star-Lord and the Red Queen), Emma Frost (also known as the White Queen), Jennifer Walters/the She-Hulk, Tyrone Johnson/Cloak and Tandy Bowen/Dagger, Brian Braddock/Captain Britain, Doreen Green/Squirrel Girl, Elektra Natchios, the New Mutants (composed of Illyana Rasputin/Magik, Xi’an Coy Minh/Karma, Danielle Moonstar/Mirage, Sam Guthrie/Cannonball, Rahne Sinclair/Wolfsbane, Doug Ramsey/Cypher, Warlock and others), the New Warriors, David Haller/Legion, John Proudstar/Warpath-Thunderbird, Anna Marie LeBeau/Rogue and Jubilation Lee/Jubilee.

Some of Marvel’s more recent creations from the mid-to-late 1990s, 2000s and 2010s, such as Wade Wilson/Deadpool, Remy LeBeau/Gambit, Nathan Summers/Cable, Neena Thurman/Domino, Clarice Fong/Blink, the Thunderbolts, Yelena Belova (also known as the second Black Widow), the Runaways, the modern Guardians of the Galaxy, the modern Defenders (based on the Netflix MCU version of the same name), Laura Kinney/X-23 (a.k.a. the second Wolverine), Shuri, the Dora Milaje, Daisy Johnson (also known as Quake), Phil Coulson, Melinda May, Bucky Barnes/the Winter Soldier, Maria Hill, Miles Morales (the second Spider-Man of the Ultimate Marvel Universe), Hope van Dyne (also known as the Red Queen and the second Wasp), Cassandra Lang (also known as Stature, Stinger, Ant-Girl and Giant-Girl), the Stepford Cuckoos, Amadeus Cho (also known as the second Hulk), Kamala Khan (also known as the second Ms. Marvel), Kate Bishop (also known as the third Hawkeye), Lunaella Lafayette/Moon Girl, America Chavez (also known as the second Miss America), Robbie Reyes (also known as the fourth Ghost Rider), Riri Williams/Ironheart and Spider-Gwen (Gwen Stacy of Earth-65) have become popular characters in their own right.

Prominent teams of superheroes include the Avengers, the X-Men, the Fantastic Four, the Defenders, the Inhumans, S.H.I.E.L.D., the Howling Commandos, the Guardians of the Galaxy, the Runaways, the Midnight Sons and the Thunderbolts. All these groups have varying lineups; the Avengers have included Marvel’s major heroes as members at one time or another. The X-Men are a team of mutants led by Professor X and include many of Marvel’s most popular characters, such as Wolverine and others. The Fantastic Four are viewed as «Marvel’s First Family» of superheroes, usually consisting of Mister Fantastic, the Invisible Woman, the Human Torch and the Thing, as well as siblings Franklin and Valeria Richards. The Defenders were an ad hoc team usually brought together by Doctor Strange which has included the Hulk, Namor the Sub-Mariner and the Silver Surfer, while the most recent incarnation of the team consists of street-level New York City heroes Daredevil, Jessica Jones, Luke Cage and Iron Fist. The Guardians of the Galaxy include Marvel’s cosmic characters such as Adam Warlock, Star-Lord, Gamora, Drax the Destroyer, Rocket Raccoon and Groot, but the team has also introduced other heroes into the roster such as Kitty Pryde, the Silver Surfer, the Thing and Nova. The Inhumans are a royal family consisting of Black Bolt, Medusa, Crystal, Gorgon, Triton, Karnak and Lockjaw, who rule the city of Attilan. The Runaways are a group of teenagers and a dinosaur consisting of Alex Wilder, Nico Minoru, Karolina Dean, Chase Stein, Molly Hayes, Gert Yorkes and Old Lace who rebel against their evil parents known as the Pride. The Midnight Sons consist of supernatural heroes such as Blade, Ghost Rider, Moon Knight, Elsa Bloodstone, Hellstrom, the Werewolf and the Man-Thing. The Thunderbolts’ original incarnation were supervillains disguised as superheroes consisting of Citizen V (a.k.a. Helmut Zemo), MACH-IV (a.k.a. the Beetle), Songbird (a.k.a. Screaming Mimi), Moonstone (a.k.a. Meteorite), Techno/the Ogre (a.k.a. the Fixer) and Jolt, while the current incarnation of the team is made up of reformed supervillains/anti-heroes working for the government: Deadpool, the Punisher, the Red Hulk, the Winter Soldier and the Ghost. Although teams of supervillains are few and far between, notable examples include the Masters of Evil, the Emissaries of Evil, the Brotherhood of Mutants, the Sinister Six, the Frightful Four, the Lethal Legion, the Legion of the Unliving, the Black Order, the Annihilation Wave, and the Cabal.

Origin of superhuman powers

Most of the superhumans in Marvel’s Earth owe their powers to the Celestials, cosmic entities who visited Earth millions of years ago and experimented on their prehistoric ancestors (a process they also carried out on several other planets). This resulted in the creation of two hidden races, the godlike Eternals and the genetically unstable Deviants, in addition to giving some humans an «x-factor» in their genes, which sometimes activates naturally, resulting in sometimes superpowered, sometimes disfigured individuals called mutants. Others require other factors (such as radiation) for their powers to come forth. Depending on the genetic profile, individuals who are exposed to different chemicals or radiation will often suffer death or injury, while in others it will cause superhuman abilities to manifest. Except for psionic abilities, these powers are usually random; rarely do two people have the same set of powers. It is not clear why the Celestials did this, although it is known that they continue to observe humanity’s evolution. A Marvel series titled Earth X explored one possible reason for this: that superhumans are meant to protect a Celestial embryo that grows inside Earth against any planetary threats and have done so for eons. An X-Men villain that is known as Vargas claims to be a new direction in human evolution, as he is born with superpowers even though his genetic profile said he was an ordinary human being. The majority of the public is unaware of what may cause superhuman powers.^{[volume & issue needed]}

Other possible origins for superhuman powers include magic, genetic manipulation and/or bionic implants. Some heroes and villains have no powers at all but depend instead on hand-to-hand combat training or advanced technological equipment. In the Marvel Universe, technology is considerably more advanced than in the real world; this is due to unique individuals of genius-level intelligence, such as Reed Richards (Mister Fantastic) of the Fantastic Four. However, most of the advanced devices (such as powered armor and death rays) are too expensive for the common citizen, and are usually in the hands of government organizations like S.H.I.E.L.D., or powerful criminal organizations like A.I.M. One major company producing these devices is Stark Industries, owned by Tony Stark (Iron Man), but there are others. Advanced technology has also been given to humans by hidden races, aliens, or time travelers like Kang the Conqueror, who is known to have influenced the robotics industry in the past.^{[volume & issue needed]}

In superhumans, the energy required for their superpowers either comes from within using their own body as a source or, if the demand of energy exceeds what their body is capable to deliver, comes from another source.

Marvel tries to explain most superpowers and their sources «scientifically», usually through the use of fictional science-like concepts, such as:

• Energy absorption (the battery effect); the cells in the body have the same function as batteries, being charged with energy that comes from an outer source. This is most often seen in gamma ray-exposed individuals such as the Hulk, who get their powers from this stored energy. The powers will remain as long as the energy is present, and can even be increased by filling the «batteries» even more. If the energy is emptied, the powers will fade away.
• The Power Primordial is a leftover force from Big Bang and is controlled by the Elders of the Universe.
• The Phoenix Force is an immortal, indestructible, and mutable manifestation of the prime universal force of life. Born of the void between states of being, it is the nexus of all psionic energy which does, has, and ever will exist in all realities of the Multiverse. It has been shown to favor mutant telepaths like Jean Grey.
• Psionic energy is a form of magic associated with the Astral Plane, which is assumed to be an invisible, unknown form of energy generated by living brains that can manipulate other forms of matter and energy. Apparently, it creates the universal psionic field, which is present everywhere in the universe, but only those with abilities to connect to it can make use of its energy.
• The Enigma Force is suspected to be connected to the Microverse and is also the source of its counterpart on Earth the Uni-Power, which transforms an individual into Captain Universe.
• Extradimensional space that can be tapped to pull mass from (to add to objects on Earth) or taken away from those objects and be stored in «pocket dimensions» to be retrieved later. This is how characters like the Hulk can grow and shrink with no visible absorption of mass. A type of subatomic particles called Pym particles can be used for these effects (Note: many giant-sized characters have a limited ability to manipulate gravity to handle their increased weight). The change in mass can be in the form of a density change instead, allowing a character to become harder or incorporeal. Some characters can seem to «transform» themselves (or others) into unliving substances, or even pure energy, by storing their bodies in extradimensional space and replacing them with bodies made from matter or energy from that dimension, while their souls remain on Earth, controlling their new body. Travel into other dimensions can also be used as a way to «teleport» by re-entering the Earth dimension at a different point.
• The Darkforce is an unknown, dark substance from another dimension (known simply as the Darkforce Dimension) that can be summoned and manipulated in many ways: to create impenetrable darkness, to solidify it in various forms, and (most notably) to absorb the «life energy» from living beings (not all users can use all these effects). The Darkforce can also be used to travel to and from its home dimension, but this is dangerous to all except those with Darkforce powers. Some believe that the Darkforce is sentient and sometimes has an evil influence on those who use it. Various heroes and villains have versions of Darkforce powers, including Darkstar, the first Blackout, the Shroud, Cloak, the Doorman and Quagmire (of the Squadron Supreme Universe). Cloak seems to be the prime ‘portal’ to the Darkforce, however.
• The Lightforce is the opposite of the Darkforce: a form of energy that resembles light and also comes from its dimension, but has healing effects on living beings (except ones made of darkness or the Darkforce). It is unknown if it might be sentient. Cloak’s partner, Dagger seems to be the Lightforce’s main avatar.
• The Power Cosmic is a force that can alter reality, allowing the user to do whatever he or she wants (including bending the laws of physics), only being limited by how much cosmic energy the character can tap at a time. It seems to be part of the universe itself (as a kind of radiation) and is most prominently used by Galactus and his heralds.
• Magic is a conceptual system that allows individuals to control the natural world by utilizing certain universal energies, whose nature is generally beyond the scope of science. These energies have their source in extra-dimensional beings or different realms and dimensions, which have different properties to the main Universe.^[16] Magic has rules of its own to follow, which vary with the method of invocation, mainly in the form of spoken spells (which usually call certain extra-dimensional beings to borrow their power).^[16] It appears to be present in everything, even living beings. All humans in the Marvel Universe can use magic, but only if properly trained. Most people are unaware that magic works. Also, powerful magical beings from other dimensions have created specific, extremely powerful magical spells that they allow to be used (often indiscriminately) by those sorcerers who invoke their names; one example is the trinity of beings called the Vishanti, who serve as patrons to heroic sorcerers. At any given time, there is a sorcerer on Earth tasked to protect the universe against extra-dimensional mystical invaders; this sorcerer is known as the Sorcerer Supreme, an office left empty since the death of Brother Voodoo, but most recently has been reinstated to Doctor Strange.^[17]

Non-human

A degree of paranoid fear against mutants exists due to stories of mutants being a species or even a subspecies of humans (Homo superior or Homo sapiens superior) that is evolving and is meant to replace normal humans. This has caused organizations to form to deal with the problem, who can be divided into three camps: those who seek peaceful coexistence between mutants and normal humans (the X-Men and their affiliated groups), those who seek to control or eliminate humans to give mutants safety or dominance (Magneto and his followers, as well as other mutants such as Apocalypse), and those who seek to regulate or eliminate mutants in favor of humans. The latter often use the robots known as the Sentinels as weapons. Certain species are regarded as subhuman, like the Morlocks, who lurk beneath New York City and have been discriminated against by the outside world because of their mutant deformities. The Morlocks have recently joined the terrorist organization Gene Nation.^{[volume & issue needed]}

In addition to mutants, Eternals, and Deviants, several other intelligent races have existed secretly on Earth. These include the Inhumans, another genetically unstable race (like the Deviants, but in their case, it is due to their use of a substance called the «Terrigen Mists») that was created by a Kree experiment long ago; the Subterraneans, a race of humanoids adapted to living below the surface, created by the Deviants (some Subterraneans were transformed into the ‘Lava Men’ by a demon); and Homo mermanus, a humanoid species of water-breathers that live in Earth’s oceans. Most of these races have advanced technology but existed hidden from humanity until recent times. More variants of humanity can be found in the Savage Land (see Places below). Most of the Savage Land races have their origin from a group of primitive ape-men who seems to have escaped the Celestial experiments and whose influence is present in all modern Homo sapiens. Other leftovers from the era when primitive humanoids walked on Earth still exist, such as the radiation-altered Neanderthal man known as the Missing Link, an enemy of the Hulk.^[18]

Alien races

The Marvel Universe also contains hundreds of intelligent alien races. Earth has interacted with many of them because a major «hyperspace warp» happens to exist in the Solar System.

The three major space empires are:

• the Kree, who rule the Kree Empire (in the Greater Magellanic Cloud)
• the Skrulls, who rule the Skrull Empire (in the Andromeda Galaxy)
• the Shi’ar, who rule the Shi’ar Empire (no known real-world counterpart for its galaxy, but it might be in the Triangulum Galaxy^[19])

The three are often in direct or indirect conflict, which occasionally involves Earth humans; in particular, the Kree and Skrulls are ancient enemies, and the Kree-Skrull War has involved humans on several occasions.

The Skrulls have also been known to be in a long and consistent war against the Majesdanians, who live on a milky planet named Majesdane.^[20] The war between the two had started after two Majesdanians, Frank and Leslie Dean of the Pride had been kicked out for criminal activities; the two traveled to Earth, where Frank and Leslie stopped the war against Earth in exchange for giving the Skrulls the location of Majesdane, which was hidden behind the corona of a white dwarf. The war had gone on for 16 years minimum; it ended abruptly after the Skrulls shot a barrage of missiles at Majesdane, who retaliated.^[20]

Another prominent alien race is the Watchers, immortal and wise beings who watch over the Marvel Universe and have taken a sacred vow not to intervene in events, though the Watcher assigned to Earth, Uatu, has violated this oath on several occasions.

The Elders of the Universe are ancient aliens who have often had a great impact on many worlds for billions of years, acting alone or as a group. A power called the Power Primordial is channeled through them.

Many other races exist and have formed an «Intergalactic Council» to have their say on matters that affect them all, such as interference from Earth humans in their affairs.

Supernatural creatures

Also abundant in the Marvel Universe are legendary creatures such as gods, demons and vampires. The ‘gods’ of most polytheistic pantheons are powerful, immortal human-like races residing in other dimensions who visited Earth in ancient times, and became the basis of many legends. However, all of these ‘gods’ share a common ancestry and connection to Earth due to Gaea, the primeval Elder Goddess that infused her life essence into all living things on Earth. Gaea is known by various names and appearances in other cultures and among the various pantheons, but she is the same being. As a result, she is a member of every polytheistic pantheon of ‘gods’ worshiped by humans. Besides mythological gods, many deities made up by Marvel writers exist as well, such as the Dark Gods, enemies of the Asgardians. The Dark Gods are a race of ‘gods’ that have been worshiped by extraterrestrial races. Well-known alien races like the Shi’ar and Skrulls also have beings they worship as ‘gods’, though little has been revealed about them.^{[volume & issue needed]}

Many persons and beings have falsely pretended to be gods or demons during history; in particular, none of the ones claiming to be major figures from Judeo-Christian beliefs have turned out to be the real article, although several angels have appeared in recent years, as well as an apparent true rebellion and expulsion of angels from a higher realm known as Paradise, proving that some form of Heaven and Hell do exist in this Universe, seemingly like those in keeping with common real-world religious belief. Similarly, demons are evil magical beings who take affairs in the matters of the universe. Some of the most powerful are Blackheart, Mephisto, Nightmare, Satannish, Thog the Nether-Spawn and Zom. There are also powerful benevolent mystical entities such as the Vishanti; or amoral and malevolent entities who are not truly demonic, such as Dormammu and the Octessence, or ones heavily drawing upon the mythologies of H. P. Lovecraft and Robert E. Howard. Some supernatural beings, entities and human characters created by Lovecraft and Howard, who were friends and influenced each other’s work, have been adapted by Marvel and include Abdul Alhazred,^[21][22][23] Conan the Barbarian^[24] Nyarlathotep^[25] and Set.^[26] Some deities or demonic beings that are original characters of Marvel have been heavily influenced by these mythologies, such as Shuma-Gorath.^[27]

Most of the current generation of gods have been revealed to be the descendants of the Elder Goddess Gaea. The two most featured pantheons are the Asgardians (of whom Thor is a member) and the Olympians (of whom Hercules is a member). The lords of the various pantheons sometimes gather in groups known as either the Council of Godheads or the Council of Skyfathers. The gods were forced to stop meddling with humanity (at least openly) a thousand years ago by the Celestials, and most people today believe them to be fictional. Other pantheons have been depicted in the Marvel Universe that is still actively worshiped in the real world, including those worshiped by the Aboriginal inhabitants of Australia, the gods of Hinduism, the Shinto gods and the gods of Zoroastrianism. These deities are rarely depicted, however. One such appearance generated a good deal of controversy as the depiction involved a fight between Marvel’s incarnation of Thor and the Hindu god Shiva, a battle which Shiva lost.^[28] As Shiva is one of the principal deities of Hindu religion, his defeat offended some followers of Hinduism. This battle was retconned later as having been the deity Indra, the Hindu god of thunder, who was posing as Shiva, that met defeat.^[29] To avoid offending the believers of still active religions, Marvel features such deities as characters in the background or who make very brief cameo appearances.

Marvel’s depiction of vampires has been heavily influenced by various interpretations of popular media, such as Bram Stoker’s Dracula. As with many other supernatural creatures, Marvel entwined the origin of vampires with aspects of the mythologies created by Lovecraft and Howard. They were created by magical rites performed by priests of Atlantis before the Great Cataclysm that destroyed much of the world, with Varnae becoming the first vampire. Marvel would depict vampires as frequent antagonists during the Hyborian Age to Howard characters such as Kull and Conan. In recent years, Marvel’s depiction of vampires has altered greatly by creating various subspecies of vampires that exist in clans that greatly differ in appearance and belief. All vampires are depicted with varying degrees of superhuman strength, speed, stamina, agility, reflexes and accelerated healing. Many are capable of transforming into animals such as bats or wolves; some can transform into a mist-like substance; some of the most powerful are capable of controlling the weather to a somewhat limited degree. All vampires must ingest blood to maintain their survival and physical vitality. So long as they do so regularly, they cease to age and are immune to diseases. They retain the well-known vulnerabilities common to vampires in other media interpretations, including sunlight, garlic, religious icons and weapons made of silver. Vampires can be killed by a wooden stake driven through the heart, though they return to life if the stake is removed. Vampires are highly allergic to silver and can be killed with it. While they normally heal rapidly, injuries inflicted by silver weapons heal at a much slower rate if the injuries are not fatal. Vampires can also be killed by decapitation or being burned with fire, with burning them to ashes and then scattering the ashes being the most effective means of ensuring their demise (scattering the ashes is done so that the vampire cannot be mystically resurrected).

Cosmic entities

The cosmic entities are beings of unbelievably great levels of power (the weakest of whom can destroy entire planets) who exist to perform duties that maintain the existence of the universe. Most do not care at all about «lesser beings» such as humans, and as a consequence, their acts are recurrently dangerous to mortals. When dire threats threaten the universe, it is not uncommon for these beings to gather together to discuss the threat and even act on it.^{[volume & issue needed]}

Most conceptual entities are simply interested in furthering their essential function or to keep the balance with an opposing force. However, certain cosmic entities, such as Galactus, the In-Betweener, the Maelstrom, or the Stranger have demonstrated personality, motivations, or (except for the first one mentioned) even ambitions beyond their functions, but often maintain the perspective that morality is entirely relative, or that destroying civilizations of «lesser» beings is no eviler than if these beings destroyed an anthill. Others such as Uatu the Watcher, Eon, or the Celestials, Ashema and Tiamut are aberrations in the sense of sympathizing with, and occasionally coming to the defense of, humanity.^{[volume & issue needed]}

The Phoenix Force first received personification in Jean Grey. The Phoenix Force is composed of the psionic energy from all living beings’ past, present, and future, and is an embodiment of rebirth and destructive transformation through «burning away what doesn’t work», and helped to restart the universe before the Big Bang.^{[volume & issue needed]}

‘The «Fulcrum» is a comparatively recent addition to the hierarchy, that «all» cosmic entities allegedly serve, of a level of raw power stated to far surpass the might of the Watchers and the Celestials. Unlike most other entities, it is capable of conscience, compassion, and even a sense of humor, and has stated that it wants other cosmic beings to develop such as well. He is a possible manifestation/avatar of the One-Above-All.^{[volume & issue needed]}

The mentioned One-Above-All is believed to be the supreme, omnipotent being, who solely created the Marvel Multiverse, and possibly acted beyond.^[30] He also brought to life the Living Tribunal, an extremely powerful cosmic entity, who serves to maintain balance within the Multiverse.^[31]

Cosmology

Multiverse

The Marvel Universe is part of a Multiverse, with various universes coexisting simultaneously, usually without affecting each other directly.^{[volume & issue needed]} Furthermore, each universe has various other dimensions associated with it, and one such group is collectively known as a Reality. Often what is referred to in the comics as a Universe is actually a Reality. According to mythology, the Multiverse has been created by the omnipotent being One-Above-All.

Even the Marvel Multiverse, however, is only a part of the Omniverse, which consists of all of fiction and reality combined, including all the works that are outside of Marvel’s copyright restrictions.^[32]

The action of most of the Marvel Comics titles takes place in a continuity known as Earth-616. This continuity exists in a multiverse alongside trillions of alternative continuities.^[33] Alternative continuities in the Marvel Multiverse are generally defined in terms of their differences from Earth-616.

Continuities besides Earth-616 include the following (for a complete listing see Multiverse (Marvel Comics)):

Caption text

Earth		Description
Earth-65		A reality where Gwen Stacy was bitten by the radioactive spider instead of Peter Parker (who became the Lizard in this universe and died) and where Gwen became a superhero. It also includes variations of other Marvel characters, such as a gender-bent version of Sam Wilson (known as Samantha Wilson, who became Captain America instead of Steve Rogers).
Earth-295	Age of Apocalypse	An alternate reality ruled by the mutant god Apocalypse.
Earth-311	Marvel 1602	A reality where Marvel superheroes emerged in the early 1600s.
Earth-615		Sometimes being the same universe as Earth-616, and sometimes not.
Earth-712	Squadron Supreme	The home of one version of the Squadron Supreme, a super-team from another universe and pastiches of DC Comics’ the Justice League.
Earth-811	Days of Future Past	A dystopian alternate future where the Sentinels rule North America and have enslaved mutants.
Earth-928	Marvel 2099	A reality showing a possible future for the Marvel Universe in the year 2099. Also designated as Earth-616 circa 2099
Earth-982	MC2	Another alternate future for the world of the Marvel Universe and its superheroes and supervillains
Earth-1218		The setting of the real world (which is our world), where superheroes, supervillains, and supernatural entities don’t exist.
Earth-1226	M.O.D.O.K. (TV series)	The universe of the animated series M.O.D.O.K.
Earth-1610	Ultimate Marvel	A modern-day re-imagining of Spider-Man, the Ultimates, the X-Men, the Fantastic Four and S.H.I.E.L.D., as well as other Marvel heroes and villains in a new setting. The home reality of Miles Morales, the Maker (a.k.a. Reed Richards), and Jimmy Hudson.
Earth-2149	Marvel Zombies	A reality where all the Marvel superheroes and supervillains were turned into cannibalistic flesh-eating zombies.
Earth-2301	Marvel Mangaverse	A reality containing manga versions of the Marvel Universe characters.
Earth-2447	Spider-Man: Life Story	A reality where Spider-Man and the other Marvel superheroes who debuted in the 1960s aged in real-time.
Earth-4321		The reality of Marvel Universe: The End
Earth-7642	Earth-Crossover	A universe where Marvel characters co-exist with characters from DC Comics
Earth-8096	Christopher Yost Universe	The reality of TV shows and movies such as Wolverine and the X-Men, The Avengers: Earth’s Mightiest Heroes, Hulk Vs., and Thor: Tales of Asgard
Earth-8101	Marvel Apes	A reality where apes are the dominant species and the superheroes and supervillains are apes themselves
Earth-8311	Larval Universe	The home reality of Peter Porker (a.k.a. Spider-Ham); a reality where talking animal versions of Marvel superheroes and supervillains exist.
Earth-9591	Ruins	A reality where «everything that can go wrong will go wrong», where the experiments and other incidents that granted the superheroes and supervillains their powers instead resulted in horrific tragedies and deaths.
Earth-9602	Amalgam Universe	A pocket universe where the Marvel and the DC Universes were combined into one reality.
Earth-9997	Earth X	An alternate future for the Marvel Universe depicting an Earth mutated by the Terrigen Mists. The series was followed by two other series, Universe X and Paradise X.
Earth-11326	Age of X	A reality in which a series of anti-mutant events cause the United States government to hunt down all mutants, confining the survivors to Fortress X.
Earth-12041	Marvel Universe on Disney XD	The universe containing Ultimate Spider-Man, Avengers Assemble, Guardians of the Galaxy, and Hulk and the Agents of S.M.A.S.H..
Earth-20051	Marvel Adventures	An all-ages imprint.
Earth-30847	Marvel vs. Capcom	The reality of the Marvel vs. Capcom games
Earth-58163	House of M	A reality in which mutants are the ruling class, humans are the oppressed and Magneto and his family rule Genosha.
Earth-90214	Marvel Noir	A reality home to noir versions of superheroes. Designated as Earth-90214.
Earth-92131		The universe of the 1990s Marvel animated TV shows, such as X-Men: The Animated Series, Spider-Man: The Animated Series, Fantastic Four, Iron Man, and The Incredible Hulk
Earth-93060	Ultraverse	The home of the super-team known as Ultraforce and superhumans known as Ultras.
Earth-96283	Sam Raimi’s Spider-Man trilogy	An alternate reality in which Spider-Man and Doctor Strange (mentioned) are the only two superheroes on Earth.[34]
Earth-148611	New Universe	An alternate reality where a major catastrophe that is known as the «White Event» caused numerous people to develop superpowers in a world where there are no hidden races, gods, magic or super-technology. The home reality of Star Brand
Earth-199999	Marvel Cinematic Universe	A shared universe of films and TV shows by Marvel Studios featuring versions of the Avengers, the Guardians of the Galaxy, the Defenders, Agents of S.H.I.E.L.D. and the Eternals, as well as Doctor Strange, the Black Panther, Captain Marvel, Nick Fury, Shang-Chi and many others. Called and designated as Earth-616 by some of its inhabitants.
Earth-200111	MAX universe	A gritty, realistic, violent universe where traditional superheroes do not exist. Stories include: The Punisher MAX, Born (and its sequel Punisher: The Platoon), Wolverine MAX, Foolkiller MAX, Fury, and Fury: My War Gone By.
Earth-807128	Old Man Logan	Another dystopian alternate future where the supervillains killed all the superheroes and took over the United States (and presumably the world), dividing it among themselves. The home reality of the titular Old Man Logan, an alternate version of Wolverine
Alterniverse		The reality of some of the What If stories.
Shadowline		A horror imprint separate from the mainstream Marvel continuity.

Time

One cannot normally alter the Marvel Universe’s history; if a time-traveler should cause an alteration to the established flow of events at some point in the past, a divergent universe will simply «branch out» from the existing timeline, and the time-traveler will still return to his or her unaltered original universe. Those realities can also spawn realities of their own. There exist hundreds, probably thousands of such realities. It is unknown why this happens, though a warp known as the Nexus of All Realities exists in a swamp in the Florida Everglades of Earth-616. For the most part, this does not matter, as most beings are unaware that this occurs, or even that their universes were recently «born» from another. However, individuals and organizations exist that try to monitor or manipulate the various realities. These include Immortus, the Captain Britain Corps, the Time Variance Authority, the Timebreakers/Exiles, and Kang the Conqueror’s forces. It is possible to travel through time without creating a new alternative universe, instead of altering events in the future, but this seems to have devastating and very far-reaching repercussions, as depicted in Marvel 1602 (it almost destroyed the whole multiverse, including the afterlife).^{[citation needed]}

Also, time itself passes much differently within the confines of the Marvel Universe than it does in the real world. Despite various characters having appeared within company publications for decades, few, if any, have aged to any appreciable degree. For example, the patriotic hero Captain America was created in 1941 but stopped appearing in titles soon after the end of World War II. The character was revived more than 20 years later, explained as having been frozen in a block of ice though believed to be dead, to lead Marvel’s latest team of superheroes the Avengers. This first Avengers team featured several characters that would go on to be some of the company’s most famous and most popular. Although the characters would be portrayed in hundreds and even thousands of adventures over the decades, they have been portrayed as having aged little or not at all.^{[citation needed]}

Naturally, this tendency is purely due to story conveniences (or a somewhat haphazardly shifting patchwork pattern of authors), and mainly that the fictional «continuity» has been maintained and expanded far beyond what Stan Lee and others originally planned or hoped for. Hence, the passing of time was more discernible in the very early years, such as the graduation of Spider-Man; and what started as children or teenaged characters, such as Kitty Pryde, Franklin Richards, Valeria Richards, Power Pack, or the New Mutants are all allowed to age at wildly shifting rates (in the second case even backward at times), whereas surrounding characters somewhat dependent on a certain age limit do not change at all. This recurrently creates inherently contradictory effects, as events are routinely described to have happened several years ago, even in cases when this would mean that some of the involved characters would have been toddlers. Different approaches also exist regarding allowing «second-generation» descendants of heroes or villains, full-grown over 18 years after an event (for example, Hulkling, other members of the Young Avengers, the Runaways, and the Secret Warriors), whereas other books, such as Young Allies use the inherent contradiction to debunk similar claims. If a past storyline wherein a direct depiction of a then-current president or similar is referred to in a later era, it tends to become updated accordingly, sometimes with an «in-joke» acknowledgment.^{[citation needed]}

A more recent explanation was given by Galactus to the Ultimates, namely that some important events – for instance, the creation of the Fantastic Four or the Avengers – have a ‘gravity’ all their own and warp time around them, causing the timeline to subtly change to accommodate this.^[35]

Space

While the Marvel Universe is presumably as large as the non-fictional universe comic book readers inhabit, for all intents and purposes the Local Group is the universe; practically all action takes place in it. The Skrull Empire is located in the Andromeda Galaxy, the Kree Empire in the Greater Magellanic Cloud, which is a satellite of the Milky Way galaxy in which Earth, of course, is found, and the Shi´ar Empire is located somewhere between them in one of the smaller galaxies (perhaps the Triangulum Galaxy); frequently, these three empires are quoted as the main political powers «in the universe».^[36] Similarly, the Local Group seems to be the only affected area when the Annihilation Wave cut its bloody swath «across the universe».

Role-playing games

Four role-playing games have been set in the Marvel Universe:

• Marvel Super Heroes (TSR, 1984)
• Marvel Super Heroes Adventure Game (TSR, 1998)
• Marvel Universe Roleplaying Game (Marvel Comics, 2003)
• Marvel Heroic Roleplaying (Margaret Weis Productions, 2012)

See also

• Features of the Marvel Universe
• List of Marvel Comics alien races
• List of Marvel Comics characters
• List of Marvel Comics superhero debuts
• List of Marvel Comics teams and organizations
• Marvel Animated Universe (MAU)
• Publication history of Marvel Comics crossover events

References

External links

• Marvel Entertainment (official site)
• Marvel Chronology Project
• Marvel Universe—Archive of forums named after the Marvel Universe

«Человек-муравей и Оса: Квантомания»

16 февраля 2023 года

Скотт Лэнг и его команда сразятся против Канга в квантовом мире. Первое полнометражное знакомство с главным злодеем «саги Мультивселенной».

«Что, если…?», 2-й сезон, мультсериал

начало 2023 года

Анимационная мультивселенная пополнится новыми альтернативными сюжетами. Капитан Картер, например, обнаружит, что Стив Роджерс жив.

«Секретное вторжение», сериал

начало 2023 года

Скруллы меняют свой облик и занимают ключевые позиции в человеческом обществе. Спасать всех будут Фьюри и его бывшие коллеги по организации «Щ.И.Т.».

«Стражи Галактики. Часть 3»

5 мая 2023 года

Режиссер Джеймс Ганн попрощается со своей любимой космической командой. Выживут, вероятно, не все.

«Марвелы»

28 июля 2023 года

Камала Хан, Кэрол Дэнверс и Моника Рамбо каким-то странным образом синхронизируют сознания и попытаются рассинхронизироваться. Сиквел сериала «Мисс Марвел» и фильма «Капитан Марвел» одновременно.

«Локи», 2-й сезон, сериал

Середина 2023 года

Локи, Сильвия и Мебиус снова попутешествуют по разным таймлайнам и временным аномалиям. Каким именно — пока загадка.

«Железное сердце», сериал

Конец 2023 года

Приключения Рири Уильямс, которая дебютировала в сиквеле «Черной Пантеры». Изобретательница должна заменить нам Тони Старка.

«Эхо», сериал

Конец 2023 года

Преступница Майя Лопес попытается разобраться со своим криминальным прошлым и индейскими корнями. Действие разворачивается после событий сериала «Соколиный Глаз», где состоялся дебют Лопес.

«Агата: Ковен Хаоса», сериал

Конец 2023 года

Ведьма из «Ванды/Вижна» получит полноценное сольное шоу. Компанию Кэтрин Хан составит Обри Плаза.

«Сорвиголова: Рожденный заново», сериал

Начало 2024 года

Чарли Кокс вновь Мэтт Мердок, Винсент Д’Онофрио — Кингпин. Видимо, мягкий перезапуск проекта Netflix.

«Капитан Америка: Новый мировой порядок»

3 мая 2024 года

Сэм Уилсон будет привыкать к новой роли. В фильме появится новый генерал Росс в исполнении Харрисона Форда (ранее игравший его Уильям Хёрт скончался в 2022-м).

«Громовержцы»

26 июля 2024 года

«Отряд самоубийц» по-марвеловски. Антигерои и злодеи (Зимний Солдат, Призрак, Агент США, Черная Вдова, Красный Страж, Таскмастер и другие) будут спасать мир по заданию правительства.

Marvel Cinematic Universe
Marvel Cinematic Universe intertitle from Marvel Studios: Assembling a Universe (2014)
Created by	Marvel Studios
Original work	Iron Man (2008)
Owner	The Walt Disney Company
Years	2008–present
Print publications
Book(s)	Marvel Cinematic Universe books
Comics	Marvel Cinematic Universe tie-in comics
Films and television
Film(s)	Marvel Cinematic Universe films
Short film(s)	Marvel One-Shots
Television series	Marvel Cinematic Universe television series
Web series	Marvel Cinematic Universe digital series
Television special(s)	Marvel Cinematic Universe television specials
Games
Video game(s)	Marvel Cinematic Universe video game tie-ins
Audio
Original music	Music of the Marvel Cinematic Universe
Miscellaneous
Theme park attraction(s)	Marvel-themed attractions

The Marvel Cinematic Universe (MCU) is an American media franchise and shared universe centered on a series of superhero films, independently produced by Marvel Studios and based on characters that appear in American comic books published by Marvel Comics. The franchise includes comic books, short films, television series, and digital series. The shared universe, much like the original Marvel Universe in comic books, was established by crossing over common plot elements, settings, cast, and characters.

The first MCU film is Iron Man (2008), which began the films of Phase One culminating in the crossover film The Avengers (2012). Phase Two began with Iron Man 3 (2013) and concluded with Ant-Man (2015). Phase Three began with Captain America: Civil War (2016) and concluded with Spider-Man: Far From Home (2019). The first three phases in the franchise are collectively known as «The Infinity Saga». The films of Phase Four will begin with Black Widow (2021) and are set to conclude with Guardians of the Galaxy Vol. 3 (2023).

Marvel Television expanded the universe to network television with Agents of S.H.I.E.L.D. on ABC in 2013, followed by streaming television with Daredevil on Netflix in 2015 and Runaways on Hulu in 2017, and cable television with Cloak & Dagger on Freeform in 2018. Marvel Television produced the digital series Agents of S.H.I.E.L.D.: Slingshot. Marvel Studios expanded to streaming television with Disney+ for tie-in shows, starting with WandaVision in 2021 as the beginning of Phase Four. Soundtrack albums have been released for all the films and many of the television series, as well as compilation albums containing existing music heard in the films. The MCU includes tie-in comics published by Marvel Comics, while Marvel Studios has produced a series of direct-to-video short films, called Marvel One-Shots, and a viral marketing campaign for its films and the universe with the faux news program WHIH Newsfront.

The franchise has been commercially successful and has generally received a positive critical response, though some reviewers have found that some of its films and television series have suffered in service of the wider universe. It has inspired other film and television studios with comic book character adaptation rights to attempt to create similar shared universes. The MCU has been the focus of other media, outside of the shared universe, including attractions at various Walt Disney Parks and Resorts, an attraction at Discovery Times Square, a Queensland Gallery of Modern Art exhibit, two television specials, guidebooks for each film, multiple tie-in video games, and commercials.

Development

Films

By 2005, Marvel Entertainment had begun planning to produce its own films independently and distribute them through Paramount Pictures.^[2] Previously, Marvel had co-produced several superhero films with Columbia Pictures, New Line Cinema and others, including a seven-year development deal with 20th Century Fox.^[3] Marvel made relatively little profit from its licensing deals with other studios and wanted to get more money out of its films while maintaining artistic control of the projects and distribution.^[4] Avi Arad, head of Marvel’s film division, was pleased with Sam Raimi’s Spider-Man films at Sony, but was less pleased with others. As a result, Arad decided to form Marvel Studios, Hollywood’s first major independent film studio since DreamWorks.^[5]

Kevin Feige, Arad’s second-in-command,^[5] realized that unlike Spider-Man and the X-Men, whose film rights were licensed to Sony and Fox, respectively, Marvel still owned the rights to the core members of the Avengers. Feige, a self-described «fanboy», envisioned creating a shared universe, just as creators Stan Lee and Jack Kirby had done with their comic books in the early 1960s.^[6] To raise capital, the studio secured funding from a seven-year, $525 million revolving credit facility with Merrill Lynch.^[4] Marvel’s plan was to release individual films for their main characters and then merge them in a crossover film.^[7] Arad, who doubted the strategy yet insisted that it was his reputation that helped secure the initial financing, resigned the following year.^[5][8]

In 2007, at 33 years old, Feige was named studio chief. In order to preserve its artistic integrity, Marvel Studios formed a creative committee of six people familiar with its comic book lore: Feige, Marvel Studios co-president Louis D’Esposito, Marvel Comics’ president of publishing Dan Buckley, Marvel’s chief creative officer Joe Quesada, writer Brian Michael Bendis, and Marvel Entertainment president Alan Fine, who oversaw the committee.^[5] Feige initially referred to the shared narrative continuity of these films as the «Marvel Cinema Universe»,^[9] but later used the term «Marvel Cinematic Universe».^[10] Since the franchise expanded to other media, this phrase has been used by some to refer to the feature films only.^[11] Marvel designated the Marvel Cinematic Universe as Earth-199999 within the continuity of the company’s comic multiverse, a collection of fictional alternate universes.^[12]

In November 2013, Feige said that «in an ideal world» releases each year would include one film based on an existing character and one featuring a new character, saying it’s «a nice rhythm» in that format. While not always the case, as evident by the 2013 releases of Iron Man 3 and Thor: The Dark World, he said it is «certainly something to aim for».^[13] Feige expanded on this in July 2014, saying, «I don’t know that we’ll keep to [that model] every year, but we’re doing that in 2014 and 2015, so I think it would be fun to continue that sort of thing».^[14] In February 2014, Feige stated that Marvel Studios wants to mimic the «rhythm» that the comic books have developed, by having the characters appear in their own films, and then come together, much like «a big event or crossover series,»^[15] with Avengers films acting as «big, giant linchpins».^[16] After the reveal of multiple release dates for films through 2019 in July 2014,^[17] Feige stated, «I think if you look at some of those dates that we’ve announced, we’re going to three in a few of those years. Again, not because there’s a number cruncher telling us to go to three, do more than two pictures a year, but because of the very reason just laid out: it is about managing [existing] franchises, film to film, and when we have a team ready to go, why tell them to go away for four years just because we don’t have a slot? We’d rather find a way to keep that going.»^[18] After the titles were revealed in October 2014,^[19] Feige said, «The studio’s firing on all cylinders right now … which made us comfortable for the first time … to increase to three films a year [in 2017 and 2018] instead of just two, without changing our methods.»^[20]

On expanding the characters in the universe and letting individual films breathe and work on their own, as opposed to having Avenger team-ups outside of Avengers films, Feige stated, it is about «teaching the general movie-going audience about the notion of the characters existing separately, coming together for specific events and going away and existing separately in their own worlds again. Just like comic readers have been doing for decades and decades … people sort of are accepting that there’s just a time when they should be together and there’s a time when they’re not.»^[21] In April 2014, Feige revealed that Edgar Wright’s pitch for Ant-Man in 2006 helped shape the early films of the Marvel Cinematic Universe, saying, «We changed, frankly, some of the MCU to accommodate this version of Ant-Man. Knowing what we wanted to do with Edgar and with Ant-Man, going years and years back, helped to dictate what we did with the roster for Avengers the first time. It was a bit of both in terms of his idea for the Ant-Man story influencing the birth of the MCU in the early films leading up to Avengers.»^[22]

In October 2014, Marvel held a press event to announce the titles of their Phase Three films.^[19] The event, which drew comparisons to Apple’s Worldwide Developers Conference,^[23] was done because all the information was ready. As Feige explained, «We wanted to do this at [San Diego] Comic-Con this year. Things were not set … So the plan has been, since a few weeks before Comic-Con when we realized we weren’t going to be able to do everything we wanted to do, is to decide ‘let’s do either something we haven’t done in a long time, or something we’ve never done.’ Which is a singular event, just to announce what we have when it’s ready. I thought that might be early August or mid-September, it ended up being [at the end of October].»^[20]

By September 2015, after Marvel Studios was integrated into The Walt Disney Studios with Feige reporting to Walt Disney Studios chairman Alan Horn instead of Marvel Entertainment CEO Isaac Perlmutter,^[24] the studios’ creative committee had «nominal» input on the films moving forward, though they continued to consult on Marvel Television productions, which remained under Perlmutter’s control.^[25][26] All key film decisions going forward were to be made by Feige, D’Esposito and Victoria Alonso.^[25] At the end of the month, on how much story is developed for future films of the universe, Feige said there are «broad strokes» though sometime «super-specific things. But for the most part, in broad strokes that are broad enough and loose enough that, if through the development of four of five movies before we get to the culmination … we still have room to sway and to move and to go and to surprise ourselves in places that we end up. So that all the movies, hopefully when they’re finished, will feel like they’re all interconnected and meant to be and planned far ahead, but really can live and breathe enough as individual movies to be satisfying each and of themselves.» The studio also has various contingency plans for the direction of all of their films, in the event they are unable to secure a certain actor to reprise a role, or re-acquire the film rights to a character, such as was done in February 2015 with Spider-Man.^[27]

In April 2016, on moving the universe to Phase Four and reflecting on the first three, Feige said, «I think there will be a finality to moments of Phase Three, as well as new beginnings that will mark a different, a very different, a distinctively different chapter in what will someday be a complete first saga made up of three phases.» Joe Russo added, «You build things up and people enjoy the experiences you’ve built up. But then you kind of reach an apex or you reach a climax, a moment where you go, ‘This structure is really going to start to be repetitious if we do this again, so what do we do now?’ So now, you deconstruct it. We’re in the deconstruction phase with [Captain America:] Civil War and leading into [Avengers:] Infinity War, which are the culmination films.»^[28] A year later, Feige felt after the conclusion of Phase Three, Marvel might abandon grouping the films by phases, saying, «it might be a new thing».^[29] Feige mentioned that Avengers: Endgame would provide «a definitive end» to the films and storylines preceding it, with the franchise having «two distinct periods. Everything before [Endgame] and everything after».^[30]

On the potential for «superhero fatigue», Feige stated, «This year [2016], we’ve got Civil War and we’ve got Doctor Strange in November, two completely different movies. To me, and to all of Marvel Studios, that’s what keeps it going. As long as we’re surprising people, as long as we’re not falling into things becoming too similar … next year, [Guardians of the Galaxy Vol. 2], [Spider-Man: Homecoming], Thor: Ragnarok. Those are three totally different movies … as long as the only shared thing is they come from the same source material and they’ve got our Marvel logo in front of the movies. Other than that they can be very distinct. What other studios do, what other properties, nothing we can do about it.»^[31]

In December 2017, The Walt Disney Company agreed to acquire assets from 21st Century Fox, including 20th Century Fox, for $52.4 billion.^[32] The following June, after a counter offer from Comcast worth $65 billion, Disney increased its offer to $71.3 billion.^[33] The transaction officially closed on March 19, 2019.^[34] The acquisition saw the return of the film rights to Deadpool, and the X-Men and Fantastic Four characters to Marvel Studios, which would «create richer, more complex worlds of inter-related characters and stories».^[32] In July 2019, Feige announced the Phase Four slate at San Diego Comic-Con, consisting of films and television event series on Disney+.^[35] Additional Disney+ series for Phase Four were announced at D23 the following month.^[36] In December 2020, at Disney’s Investor Day, Marvel Studios provided updates to previously announced films and series, and announced additional Disney+ series and specials, many of which were confirmed to be part of Phase Four.^[37][38]

Distributors

Over time, the distribution rights to Marvel Studios’ films changed hands on multiple occasions. In November 2006, Universal Pictures announced that it would distribute The Incredible Hulk,^[39] in an arrangement separate from Marvel’s 2005 deal with Paramount, which was distributing Marvel’s other films.^[2] In September 2008, after the international success of Iron Man, Paramount signed a deal to have worldwide distribution rights for Iron Man 2, Iron Man 3, Thor, Captain America: The First Avenger, and The Avengers.^[40]

In late December 2009, The Walt Disney Company purchased Marvel Entertainment for $4 billion. Additionally, in October 2010, Walt Disney Studios bought the distribution rights for The Avengers and Iron Man 3 from Paramount Pictures,^[41] with Paramount’s logo remaining on the films, as well as for promotional material and merchandise,^[42][43] although Walt Disney Studios Motion Pictures is the only studio credited at the end of these films.^[44] Disney has distributed all subsequent Marvel Studios films.^[45] In July 2013, Disney purchased the distribution rights to Iron Man, Iron Man 2, Thor and Captain America: The First Avenger from Paramount.^[46] The Incredible Hulk was not part of the deal, due to an agreement between Marvel and Universal, where Marvel owns the film rights and Universal owns the distribution rights, for this film as well as the right of first refusal to distribute future Hulk films.^[47] According to The Hollywood Reporter, a potential reason why Marvel has not bought the film distribution rights to the Hulk as they did with Paramount for the Iron Man, Thor, and Captain America films is because Universal holds the theme park rights to several Marvel characters that Disney wants for its own theme parks.^[48]

In February 2015, Sony Pictures Entertainment and Marvel Studios announced a licensing deal that would allow Spider-Man to appear in the Marvel Cinematic Universe, with the character first appearing in Captain America: Civil War.^[49][50] Marvel Studios explored opportunities to integrate other characters of the Marvel Cinematic Universe into future Spider-Man films financed, distributed, and controlled by Sony Pictures,^[49] with Robert Downey Jr. the first confirmed to reprise his role as Tony Stark / Iron Man in Spider-Man: Homecoming.^[51] In June 2015, Feige clarified that the initial Sony deal does not apply to the MCU television series, as it was «very specific … with a certain amount of back and forth allowed».^[52] Both studios have the ability to terminate the agreement at any point, and no money was exchanged with the deal. However, a small adjustment was made to a 2011 deal formed between the two studios (where Marvel gained full control of Spider-Man’s merchandising rights, in exchange for making a one-time payment of $175 million to Sony and paying up to $35 million for each future Spider-Man film, and forgoing receiving their previous 5% of any Spider-Man film’s revenue), with Marvel getting to reduce their $35 million payment to Sony if Spider-Man: Homecoming grossed more than $750 million.^[53] Marvel Studios still received 5% of first dollar gross for the film.^[54] Sony also paid Marvel Studios an undisclosed producer fee for Homecoming.^[55]

In August 2019, it was reported that Disney and Sony could not reach a new agreement regarding Spider-Man films, with Marvel Studios and Feige said to no longer have any involvement in future films. Deadline Hollywood noted that Disney had hoped future films would be a «50/50 co-financing arrangement between the studios», with the possibility to extend the deal to other Spider-Man-related films, an offer Sony rejected and did not counter. Instead, Sony hoped to keep the terms of the previous agreement (Marvel receiving 5% of the film’s first dollar gross), with Disney refusing.^[54] The Hollywood Reporter added that the lack of a new agreement would see the end of Holland’s Spider-Man in the MCU.^[56] Variety cited unnamed sources claiming negotiations had «hit an impasse» and that a new deal could still be reached.^[57] In September 2019, it was announced that Disney and Sony had reached a new agreement allowing for Spider-Man to appear in the untitled Spider-Man: Far From Home sequel as the third film co-produced by Marvel Studios and Sony Pictures and a future Marvel Studios film.^[58] Disney was reported to be co-financing 25% of the film in exchange for 25% of the film’s profits in the new agreement, while retaining the merchandising rights to the character.^[58][59] Feige noted that as Sony continued to separately build their own shared universe, it was possible this version of Spider-Man could appear in that universe.^[58] This interaction was said to be «a ‘call and answer’ between the two franchises as they acknowledge details between the two in what […] would loosely be described as a shared detailed universe».^[59] In October 2020, Jamie Foxx was cast to reprise his role as Electro from The Amazing Spider-Man 2 (2014) in the third MCU Spider-Man film,^[60] and that December, Alfred Molina and Kirsten Dunst were set to reprise their respective roles as Otto Octavius / Doctor Octopus and Mary Jane Watson from Sam Raimi’s Spider-Man film trilogy,^[61][62] along with Andrew Garfield as his Peter Parker / Spider-Man from Marc Webb’s The Amazing Spider-Man films. Emma Stone was also expected to return as Gwen Stacy from the latter films, while Tobey Maguire was in talks to return as his Peter Parker from the Raimi films.^[62]

Television

Marvel Television

In June 2010, Marvel Television was launched with Jeph Loeb as head.^[63] In October 2019, further corporate restructuring saw Feige named Chief Creative Officer of Marvel Entertainment, with Marvel Television becoming part of Marvel Studios and executives of Marvel Television reporting to Feige.^[64] However, in December 2019, Marvel Television was folded into Marvel Studios, with Marvel Studios taking over production of the current series at the time; no further series from Marvel Television were being considered for development.^[65]

Broadcast

By July 2012, Marvel Television had entered into discussions with ABC to create a show set in the MCU,^[66] and in August, ABC ordered a pilot for a show called S.H.I.E.L.D., with The Avengers writer/director Joss Whedon involved;^[67] it was later renamed Agents of S.H.I.E.L.D.^[68] In January 2014, the series Agent Carter was announced, joining Agents of S.H.I.E.L.D. at ABC,^[69] while a put pilot order for the half-hour live-action comedy series, Damage Control, was revealed in October 2015.^[70] While talking about Marvel potentially making comedy series, Loeb said in January 2016 that Marvel always feels humor should be a part of anything they produce, despite possibly fitting more within a darker genre, as Daredevil and Jessica Jones do, while staying «grounded and real». He added, «There are moments of levity that are in life that you need to bring to the table, or else it just becomes overwhelmingly oppressive … If you’re going to [explore comic book elements], it’s always a good idea to make sure that the audience is aware that, yeah, it’s funny [too].»^[71]

In May 2016, after ABC had canceled Agent Carter and passed on Marvel’s Most Wanted, ABC Entertainment president Channing Dungey said that Marvel and ABC were working together, looking «at series that would be beneficial to both brands» moving forward.^[72] In November 2016, Marvel and IMAX Corporation announced Inhumans, based on the species of the same name, after a planned film based on the characters had been removed from Marvel Studios’ slate.^[73][74][75] The first two episodes of the series were set to premiere in IMAX theaters in September 2017 for two weeks, before airing on ABC with the remainder of the series.^[73] Ben Sherwood, president of Disney–ABC Television Group, said, «We’ve worked very carefully with our friends at Marvel Studios—and this is a critical point—to make sure that calendar-wise and content-wise we are only enhancing» the MCU; the theatrical debut of the series was timed to not interfere with the release of any Marvel Studios films—the theatrical run of the series will take place between the releases of Spider-Man: Homecoming and Thor: Ragnarok.^[76][77] The deal was initially suggested to Marvel by IMAX after they had held a successful IMAX event with Game of Thrones in 2015. Sherwood described it as «a quadruple win—a win for IMAX, a win for Marvel, a win for ABC Studios and a win for ABC to launch a show in an innovative way and get attention» in an increasingly crowded market. Sherwood hoped that this would be the first of «several innovative ways to launch [television] programming».^[77] In July 2019, it was announced that the seventh season of Agents of S.H.I.E.L.D. would be its last.^[78]

Streaming

Netflix

By October 2013, Marvel was preparing four drama series and a miniseries, totaling 60 episodes, to present to video on demand services and cable providers, with Netflix, Amazon, and WGN America expressing interest.^[79] In November 2013, Disney was set to provide Netflix with live-action series based on Daredevil, Jessica Jones, Iron Fist, and Luke Cage, leading up to a miniseries based on the Defenders.^[80] Disney CEO Bob Iger stated that Netflix was chosen to air the shows, «when Disney realized it could use the streaming service as a way to grow the popularity of the characters». He added that, if the characters prove popular, they could become feature films.^[81] Loeb later stated that Marvel was not «interested in making four pilots and then hoping someday that they could all get together. Netflix really understood what it is we wanted to do. They’re very open to directors that might not have that same opportunity in broadcast television. The notion of having all 13 episodes at one time, particularly in serialized storytelling, is very appealing.»^[82] Loeb added that the four characters chosen «all had a previous existing relationship and all grew up on the same kind of stoop in New York [in the comics]. So it lent itself to a world. Does that mean these shows are going to be the same? No. They can’t be. The characters have different issues, different problems, different feelings about them … the example that I continually give is that I cannot think of two films that are more different in tone than The Winter Soldier and Guardians of the Galaxy. And yet, if you watch them back to back, they feel very Marvel. They feel very much like, ‘Oh, it is still the same universe that I’m in.'»^[83]

Quesada confirmed in April 2014 that the Netflix series would be set within the MCU.^[84] Loeb explained that «Within the Marvel universe there are thousands of heroes of all shapes and sizes, but the Avengers are here to save the universe and Daredevil is here to save the neighborhood … It does take place in the Marvel Cinematic Universe. It’s all connected. But that doesn’t necessarily mean that we would look up in the sky and see [Iron Man]. It’s just a different part of New York that we have not yet seen in the Marvel movies.»^[85] In January 2015, Netflix COO Ted Sarandos said Netflix planned to release a Marvel series approximately a year apart from each other after Daredevil‘s April 2015 release.^[86] A year later, Sarandos noted that the release schedules of the Marvel Netflix series are dependent on the «long production times and long post times. In some cases, when we have characters crossover, it makes it more difficult to manage production. It’s not the goal to put out more than one or two [each] year … The complex one is really The Defenders. The Defenders‘ production schedule will determine a lot of the season 2 and 3 output of those shows.» He noted on potential spin-offs that «all the characters in the universe could also spin out» into their own series at some point,^[87] with Netflix ordering The Punisher, a spin-off from Daredevil, that April.^[88] Sarandos later stated that Netflix was trying to close the gap between releases of Marvel seasons, but would always prioritize the quality of the series over higher numbers of releases per year. He said that Netflix was open to exploring the MCU beyond the Defenders series, including potential crossovers with ABC’s Marvel series.^[89] In July 2016, Marvel and Netflix committed to complete production on 135 episodes by the end of 2017, making the deal the largest television production commitment in New York State. Production for the different series had engaged 500 local vendors and small businesses for various stages of development and had required over 14,000 production-related hires.^[90]

In October 2018, Netflix canceled Iron Fist after two seasons, with Deadline Hollywood reporting that Disney was considering reviving the series on its streaming service Disney+.^[91] Sarandos confirmed that the series were Netflix’s to renew or cancel if they wished, and the company was «super happy with [the other series’] performance so far».^[92] Despite this, Luke Cage was canceled by the streamer a week after Iron Fist was. Deadline Hollywood reported there were no plans to revive the series on Disney+ as with Iron Fist.^[93] Shortly after, at the end of November 2018, Netflix canceled Daredevil after three seasons, with Deadline Hollywood again reporting there was the potential for the series to be revived on Disney+.^[94] Conversely, The Hollywood Reporter felt it was unlikely the series would be revived on Disney+ and noted the two other remaining series at the time (Jessica Jones and The Punisher) would remain on Netflix «until they run their course».^[95] Variety added that, per the original deal between Marvel and Netflix for the series, the characters cannot appear in any non-Netflix series or films for at least two years following their cancellation.^[96][97] Kevin A. Mayer, chairman of Walt Disney Direct-to-Consumer and International, noted that, while it had not yet been discussed, it was a possibility that Disney+ could revive the canceled Netflix series.^[98] Netflix canceled both Jessica Jones and The Punisher in February 2019, after three seasons and two seasons, respectively.^[99]

Hulu

In August 2016, Marvel announced that Runaways had received a pilot order from Hulu,^[100] eventually receiving a 10 episode order the following May.^[101] That July, Loeb confirmed the series would take place in the MCU saying, «It all lives in the same world, how it’s connected and where it’s connected and what it’s going to be connected to remains to be seen.» He added that the characters would not be concerned with the actions of others in the universe, instead focusing on their own issues. This allowed showrunners Josh Schwartz and Stephanie Savage to deal with concepts such as superheroics and fantasy without explaining them to the audience, since they are already well established in the MCU, while still focusing on their own characters, which they described as «liberating».^[102] In May 2019, Marvel announced that Ghost Rider and Helstrom had been greenlit for the service,^[103] and that the former was to focus on the «same character [introduced in Agents of S.H.I.E.L.D.] with [a] new story that lives unto its own.»^[104] In September 2019, it was announced that Ghost Rider would not be going forward, due to creative differences,^[105] while Runaways was canceled that November ahead of its third season.^[106] When Marvel Television was folded into Marvel Studios in December, the studio said that production on Helstrom would be completed but no further series would be developed.^[65]

Cable

In April 2016, the ABC-owned cable network Freeform announced Cloak & Dagger, based on the characters of the same name, with a straight-to-series order for 2018.^[107][108] The network confirmed that the series would be «its first venture into the Marvel Cinematic Universe», and described the show as a «superhero love story», a premise that Variety called «a seamless fit for Freeform» given the network’s target audience of «Becomers» (the 14–34 age demographic).^[107][109] This younger-skewing content was continued with the comedy series New Warriors ordered in April 2017, with Freeform executive Karey Burke saying, Marvel «started to see our strength with young adults and together we could create a pipeline for content that was specific to our audience that felt younger than what they’re doing at the other channels… It was important to both of us to find the right characters that felt like they would speak directly to Freeform’s audience. The Avengers wouldn’t work here but the about-to-be-Avengers works here.»^[110] Loeb noted that it was «exciting» to Marvel «to be able to explore the world of the hero and how it affects someone who is trying to figure out who they are as opposed to already knows who they are and now their whole life has to take a left. That’s the journey we’re going on with these kinds of characters» in Cloak & Dagger, New Warriors and Hulu’s Runaways.^[111] By November 2017, New Warriors was no longer set to air on Freeform and was being shopped to other networks,^[112] and was reported to be canceled in September 2019 after it failed to find a new broadcaster,^[113] while Cloak and Dagger was canceled the following month.^[114]

Crossovers to feature films

Agents of S.H.I.E.L.D. executive producer Jeffrey Bell revealed at the show’s 2014 PaleyFest panel that the producers and writers are able to read the screenplays for upcoming MCU films to know where the universe is heading.^[116] He noted that since the films have to be «big» and move «quickly through a lot of huge pieces», it is beneficial for the films to have the television series fill in any «gaps» for them.^[117] His fellow executive producer Jed Whedon explained that each Marvel project is intended to stand alone first before there is any interweaving, and noted that the series has to be aware of the film division’s plans so as not to interfere when introducing someone or something to the universe.^[118] Bell said this was preferable so that people who do not watch the films can still follow the series, and vice versa.^[117] Joss Whedon noted that this process «unfortunately just means the TV show gets, you know, leftovers». He stated that, for example, the series’ creative team initially wanted to use Loki’s scepter from The Avengers but were unable due to his plans for it in Avengers: Age of Ultron (2015).^[119]

In April 2014, Quesada stated that, beyond connecting to themselves, the Netflix series would connect with the films and other television series.^[84] In October 2014, Feige said the opportunity «certainly» existed for characters in the Netflix series to appear in Avengers: Infinity War (2018).^[20] In March 2015, Loeb spoke on the ability for the Netflix series to crossover with the films and the ABC series, saying, «As it is now, in the same way that our films started out as self-contained and then by the time we got to The Avengers, it became more practical for Captain America to do a little crossover into [Thor: The Dark World] and for Bruce Banner to appear at the end of Iron Man 3. We have to earn that. The audience needs to understand who all of these characters are and what the world is before you then start co-mingling».^[120] In September 2015, Feige elaborated on the films referencing the television series, saying «I think that’s inevitable at some point … The schedules do not always quite match up to make that possible. It’s easier for [the shows]. They’re more nimble and faster and produce things quicker than we do, which is one of the main reasons you see the repercussions of Winter Soldier or [Avengers: Age of Ultron] in the show … by the time we start doing a movie, they’d be mid-way through a season. By the time our movie comes out, they’d be [starting the next season]. So finding the timing on that is not always easy.»^[27]

Loeb talked further on the subject in July 2016, reiterating the issue of scheduling by saying «if I’m shooting a television series and that’s going to go on over a six-month or eight-month period, how am I going to get [a television series actor] to be able to go be in a movie?» He noted that this would not be as much of an issue if characters were making very minor cameo appearances, but explained that Marvel was not interested in cameos and Easter eggs just for the sake of fan service, which could detract from the story being told; «As I often get reported by you folks for saying #ItsAllConnected, our feeling is that the connection isn’t just whether or not somebody is walking into a movie or walking out of a television show. It’s connected in the way that the shows come from the same place, that they are real, that they are grounded.»^[121] Eric Carroll, producer on Spider-Man: Homecoming, felt with the introduction of Queens-based Spider-Man to the MCU it «would be really fun» to make mention of the Defenders based in Manhattan, adding, «it’s definitely a card I would love to see played, if not sooner rather than later.»^[122]

In January 2017, Vincent D’Onofrio, who portrays Wilson Fisk in Daredevil, said he «would love to switch over to the movies, but I think it’s pretty much been said it’s not going to happen. Or at least not for a very, very long time.» D’Onofrio cited Feige’s previous reasoning as well as the fact that the films already had difficulty «bringing big characters in that they have to service in the writing» and adding characters from the television series would be «just too many characters» since the films were «trying to figure out already how to individualize more and at the same time keep The Avengers going».^[123] In March 2017, Anthony Mackie, who portrays Sam Wilson / Falcon in the films, felt a crossover between the films and television series «wouldn’t work at all» given they are «different universes, different worlds, different companies, different designs» and that «Kevin Feige is very specific about how he wants the Marvel Universe to be seen in the film world.»^[124] That May, Feige noted that a character appearing in a television series would not necessarily exclude them from appearing in a film, adding that «at some point, there’s going to be a crossover. Crossover, repetition, or something.»^[125] Regarding the potential for the Avengers to learn in the films that Phil Coulson is alive, Loeb stated, «It’s certainly something that will get resolved, and it may get resolved in a very surprising way.»^[126]

Loeb said in July 2017 that Marvel Television had no plans for series to crossover across networks. Specifically for the similarly themed Cloak & Dagger, New Warriors, and Runaways, which all deal with young heroes, Loeb noted, «You’ll see things that comment on each other; we try to touch base wherever we can… things that are happening in L.A. [where Runaways is set] are not exactly going to be affecting what’s happening in New Orleans [where Cloak & Dagger is set]… It’s being aware of it and trying to find a way for it to be able to discuss in a way that makes sense.»^[111] He added in October that scheduling of each series factors into why crossovers between them are more difficult to pull off, and that network «feelings» need to be considered. He also spoke on why the television series do not show Avengers Tower as it appears in the films when they depict New York City, and stated that Marvel Television wanted to be «less specific» about the television characters’ relationships to the tower because that «helps the audience understand that this could be on any street corner» and that the characters could be in an area of the city where you would not be able to see the tower, even though it exists.^[127]

In June 2018, speaking to how the MCU television series would be affected by the events of Avengers: Infinity War, Loeb noted that «For the most part our stories will take place before Thanos clicked his fingers. A lot of that has to do with production and when we are telling our stories versus when the movies come out.»^[128] In September 2018, with the report of Marvel Studios developing limited series for Disney’s streaming service Disney+, it was expected that the actors that portrayed the characters in the films would portray them again for the limited series.^[129] In March 2019, Feige said the series would take characters from the films, change them, and see those changes reflected in future films; new characters introduced in the series will crossover to the films.^[130][131]

In April 2019, actor James D’Arcy appeared in Avengers: Endgame, reprising his role of Edwin Jarvis from the television series Agent Carter. This marked the first time a character introduced in an MCU television series appears in an MCU film.^[132] Speaking to how the Marvel Television series fit within the larger MCU timeline, Loeb noted, «We don’t want to ever do something in our show[s] which contradicts what’s happening in the movies. The movies are the lead dog. They’re setting the timeline for the MCU and what’s going on. Our job is to navigate within that world.»^[133] The Roxxon Corporation, which had been featured in the Iron Man films, is referenced in multiple Marvel Television series, with Adam Barnhardt of Comicbook.com calling it «the go-to Easter egg for most shows involved in the Marvel Television sphere».^[134]

Disney+

By November 2017, Disney was looking to develop a new Marvel television series for their streaming service Disney+.^[135] In July 2018, Feige noted discussions had begun with Disney regarding any potential involvement Marvel Studios could have with the streaming service, since Feige felt the service was «an important thing for the company».^[136] In September 2018, it was reported that Marvel Studios was developing several limited series centered on «second-tier» characters from the MCU films who had not and were unlikely to star in their own films. Each series was expected to be six to eight episodes, and would be produced by Marvel Studios rather than Marvel Television, with Feige taking a «hands-on role» in each series’ development.^[129] Feige noted the series being developed for the streaming service would «tell stories… that we wouldn’t be able to tell in a theatrical experience – a longer-form narrative».^[137] He also added that being asked by Disney to create these series «energized everyone creatively» within Marvel Studios, since they «could play in a new medium and throw the rules out the window in terms of structure and format».^[138]

In July 2019, Feige announced the event series of The Falcon and the Winter Soldier, WandaVision, Loki, the animated What If…?, and Hawkeye, as part of the Phase Four slate at San Diego Comic-Con.^[35] Three additional Disney+ series for the phase, Ms. Marvel, Moon Knight, and She-Hulk, were announced at D23 the following month.^[36] The series budgets are reportedly $100–150 million each.^[139] In September 2020, a series centered on Nick Fury was announced to be in development for Disney+,^[140] which would become Secret Invasion. In December 2020, Ironheart and Armor Wars were announced, in addition to The Guardians of the Galaxy Holiday Special.^[37] All are a part of Phase Four.^[38]

Other media

In 2008, the first tie-in comic was released.^[141] Quesada outlined his plan to expand the MCU into comic books, saying, «The MCU [comics] are going to be stories set within movie continuity. [They are] not necessarily direct adaptations of the movies, but maybe something that happened off screen and was mentioned in the movie … Kevin Feige is involved with these and in some cases maybe the writers of the movies would be involved [as well.]»^[142] Marvel Comics worked with Brad Winderbaum, Jeremy Latcham, and Will Corona Pilgrim at Marvel Studios to decide which concepts should be carried over from the Marvel Comics Universe to the Marvel Cinematic Universe, what to show in the tie-in comics, and what to leave for the films.^[143] Marvel has clarified which of the tie-in comics are considered canonical MCU stories, with the rest merely inspired by the MCU, «where we get to show off all the characters from the film in costume and in comic form».^[144]

In August 2011, Marvel announced a series of direct-to-video short films called Marvel One-Shots,^[145] the name derived from the label used by Marvel Comics for their one-shot comics.^[146] Co-producer Brad Winderbaum said, «It’s a fun way to experiment with new characters and ideas, but more importantly it’s a way for us to expand the Marvel Cinematic Universe and tell stories that live outside the plot of our features.»^[145] Each short film is designed to be a self-contained story that provides more backstory for characters or events introduced in the films.^[147] In July 2012, D’Esposito stated that Marvel was considering the idea of introducing established characters who may not yet be ready to carry their own feature films in future One-Shots, stating, «There’s always a potential to introduce a character. We have 8,000 of them, and they can’t all be at the same level. So maybe there are some that are not so popular, and we introduce them [with a short] – and they take off. I could see that happening.»^[148]

In March 2015, Marvel’s Vice President of Animation Development and Production, Cort Lane, stated that animated tie-ins to the MCU were «in the works».^[149] That July, Marvel Studios partnered with Google to produce the faux news program WHIH Newsfront with Christine Everhart, a series of in-universe YouTube videos serving as the center of a viral marketing campaign to promote the films and universe.^[150] In December 2016, a six-part web series, Agents of S.H.I.E.L.D.: Slingshot, was revealed, which debuted on ABC.com on December 13, 2016. It follows Elena «Yo-Yo» Rodriguez on a secret mission, shortly before the start of Agents of S.H.I.E.L.D.‘s fourth season, with Natalia Cordova-Buckley reprising her role.^[151] In September 2019, Sony created a real version of the fictional TheDailyBugle.net website as part of a viral marketing campaign to promote the home media release of Spider-Man: Far From Home. Inspired by real-world «conspiracy-pushing» websites such as that of Alex Jones, the website features J. K. Simmons reprising his role as J. Jonah Jameson in a video where he speaks out against Spider-Man before adding «Thanks for watching. Don’t forget to like and subscribe!»^[152][153] In December 2020, Marvel Studios announced I Am Groot, a series of shorts starring Baby Groot for Disney+,^[154][37] as well as Marvel Studios: Legends.

Business practices

Marvel Studios developed specific business practices to create its shared universe, including choosing filmmakers that were considered «out-of-left-field», given their previous work. Feige remarked, «You don’t have to have directed a big, giant visual-effects movie to do a big, giant visual-effects movie for us. You just have to have done something singularly sort of awesome,»^[156] adding «It’s worked out well for us when we’ve taken people [such as Jon Favreau, Joss Whedon, Kenneth Branagh, and the Russo brothers,] that have done very, very good things. Very rarely are one of those good things a big giant blockbuster superhero movie.»^[157] The studio looks for filmmakers to hire who are able to guide a film.^[158] When hiring directors, the studio usually has «a kernel of an idea of what we want», which is presented to potential directors over the course of several meetings to discuss and further expand. «And if over the course of three or four or five meetings they make it way better than what we initially were spewing to them, they usually get the job», according to Feige.^[27] Later expanding on this process, Feige explained that before talking to any directors on a film, Marvel Studios often puts together a «lookbook» of influences from the comics and art by Marvel’s visual development department, to create a visual template for the film. These are put together at company retreats, which the studio holds every «18 months or so» to plan out and develop the phases of the MCU. These lookbooks are not always shown to directors, though, with Marvel sometimes preferring to let the director offer their own ideas first.^[159]

Scott Derrickson did not see a lookbook for Doctor Strange, instead putting together his own presentation, with concept art and storyboards by himself and professionals he hired, to sell himself and his vision of the film to Marvel. In contrast, Marvel shared several different ideas for what Thor: Ragnarok could be with prospective filmmakers, who then went away and developed what they thought the film should be from that. Taika Waititi created a sizzle reel using clips from other films to present his vision based on Marvel’s ideas, a practice that Marvel discourages as they «oftentimes can be really terrible». However, Marvel thought Waititi’s was «amazing». Derrickson and Waititi were both eventually hired for the films.^[159] For Captain America: The Winter Soldier, Joe and Anthony Russo met with the studio four times over two months before they were hired, during which they «kept getting more and more specific about what our vision was», putting together «reference videos, storyboards, script pages, you name it. We did like a 30-page book that had everything that we’d do with the character, from the theme of the movie to the tone of the film to the fighting style to what we liked about the character and what we didn’t like». This meant that by the time they were hired they had already «figured the movie out».^[160]

When the studio hired Kenneth Branagh and Joe Johnston to direct Thor and Captain America: The First Avenger, respectively, it made sure both directors were open to the idea of a shared universe and including Avengers set-up scenes in their films.^[6] Joe Russo stated, «That’s the exciting component of [incorporating references to the larger universe]. ‘What can we set up for the future?’ You’re constantly pitching out ideas that not only affect your movie, but may have a ripple effect that affects other films … It’s a weird sort of tapestry of writers and directors working together to create this universe that’s sort of organic.»^[21] Anthony added, «The great thing about the Marvel [Cinematic Universe], just like the publishing [arm], it’s a very vast, inter-connected universe, where characters will have their rise and fall, so to speak, and hand off to other characters. As the cinematic universe moves forward, you may start to see the cinematic universe adopt that same pattern, as the publishing has, where there’s closure with some characters and new beginnings with other characters.»^[161] He added that, for directors to «fit» in at Marvel, they must understand how to «take a larger story and wrangle it into a moment», yet keep it connected.^[21]

On allowing directors and writers to work within Marvel’s shared universe concept, Joe Russo said that Feige has «big pieces that he knows he wants to build towards, but the way that you get there is open to interpretation and improv a little bit». For the Russos in The Winter Soldier, they had to deal with the idea of S.H.I.E.L.D. being infiltrated by Hydra, with Joe saying, «how we get there is all up to us. And I think why Marvel has been so successful is because it’s been such a clear plan, that everything is interconnected and they’re building emotional capital with each movie that you can then trade off of in the next film.»^[162] Joe later elaborated that once each film’s creative team «come up with conceptually what we want to do» for a film, then we will ask questions about whether this would interfere with a storyline in another movie. Or, what’s going on in that film, can we pull some of that into this film? That’s where you start looking for the interconnectedness, but it’s very important early on that the concept be created in a bubble because you have to protect the idea, it has to be driven by storytelling. Kevin’s … always in the mindset of «let’s just make this movie now and worry about the next movie when it comes.»^[160]

Loeb explained that Marvel Television sees «ourselves as producers who are working to support the vision of our showrunner. But we’re involved in every aspect of the production—whether it’s being in the writers’ room, editing on set, casting—every step of the production goes through the Marvel team to tell the best story that we can.» He added that the studio is able to work on so many series across different networks and platforms because «it just requires that we make sure that there’s always someone from Marvel there to help guide the process.»^[163]

Marvel Studios also began contracting their actors for multiple films, including signing actor Samuel L. Jackson to a then «unprecedented» nine-movie contract.^[165] In July 2014, Feige said that the studio has all actors sign contracts for multiples films, with the norm being for 3 or more, and the 9 or 12 film deals «more rare».^[166] Actor’s contracts also feature clauses that allows Marvel to use up to three minutes of an actor’s performance from one film for another, which Marvel describes as «bridging material».^[26] At Marvel Television, actors such as Charlie Cox (Matt Murdock / Daredevil in Daredevil) and Adrianne Palicki (Bobbi Morse / Mockingbird in Agents of S.H.I.E.L.D.) are contractually obliged to appear in a Marvel film if asked.^[167][168] In May 2015, after starring as Claire Temple in the first season of Daredevil, Rosario Dawson signed with Marvel to return for the second season of the series as part of an «exclusive TV deal» that also allows her to appear in any other Marvel Netflix series.^[169] Dawson’s character has been featured as well in all the other Netflix shows, except The Punisher, linking them together similarly to Jackson’s Nick Fury in the films.^[170] Dawson explained that she signs on with Marvel for a year at a time, for a certain number of episodes, and finds out which series the episodes are for closer to the time of filming.^[171]

In August 2012, Marvel signed Joss Whedon to an exclusive contract through June 2015 for film and television. With the deal, Whedon would «contribute creatively» on Phase Two of the MCU and develop the first television series set in the universe.^[172] In March 2013, Whedon expanded on his consulting responsibilities, saying, «I understand what Kevin [Feige] is going for and where he’s heading, and I read the scripts and watch cuts and talk to the directors and writers and give my opinion. Occasionally there could be some writing. But I’m not trying to get in anybody’s soup, I’m just trying to be helpful.»^[173] Whedon later elaborated that «Since the story has already been approved and everybody knows what we’re doing with Avengers 2, we can really lay it out. It’s not like anyone’s saying «well I don’t know, what if I need that?» It’s like «doing this is troublesome for us, whereas doing this will actually help us.» … You want to honor the events of the last movie but you don’t want to be beholden to them, because some people will see Avengers[: Age of Ultron] who did not see any of the movies in between or even Avengers 1.» He also found working in television and script doctoring to be «great training ground[s] for dealing with this … because you’re given a bunch of pieces and told to make them fit—even if they don’t.»^[174]

For the Russo brothers and writers Christopher Markus and Stephen McFeely working on Avengers: Infinity War and Phase Three, they saw «a through line from Winter Soldier, through Civil War, right to Infinity War«, with films like Doctor Strange and Thor: Ragnarok laying groundwork for the «culmination» in Infinity War. Subsequently, they talked «to the directors and writers of the other Phase 3 movies on an almost weekly basis, to make sure everything lines up right».^[175] Peyton Reed, director of Ant-Man and Ant-Man and the Wasp, felt the relationship and collaboration between the Phase Three directors was «probably the closest thing that this generation will have to a ’30s- or ’40s-era studio system where you are all on the lot and you are all working on different things.»^[176] Similarly, when developing the crossover miniseries The Defenders, showrunner Marco Ramirez consulted with the creators of all the individual Marvel Netflix series, having them read each of the scripts for The Defenders and provide insight into the individual character’s world.^[177]

In April 2017, along with his announcement that he was returning to write and direct Guardians of the Galaxy Vol. 3 (2023), James Gunn revealed he would be working with Marvel «to help design where these stories go, and make sure the future of the Marvel Cosmic Universe is as special and authentic and magical as what we have created so far».^[178] However, in July 2018, Disney and Marvel severed ties with Gunn following controversy surrounding several old jokes Gunn had made.^[179][180] By that October, Disney and Marvel Studios reversed course and rehired Gunn as director of the film, which was announced in March 2019.^[181][182]

By December 2020, because of the impact COVID-19 had on theaters and film studios shifting away from theatrical releases, Marvel Studios began exploring updated contracts for actors, writers, directors, and producers to received adjusted compensation in the event a film had to debut on Disney+ instead of in theaters. TheWrap reported it was believed the new contracts would only apply to films about to enter production, and was unclear if any adjustments would be made to contracts for films already completed but not yet released.^[183]

Feature films

The Infinity Saga

The first three phases are collectively known as «The Infinity Saga».^[184]

Future

Television series

Marvel Television series

|}

Marvel Studios series

Short films

Marvel One-Shots

I Am Groot

In December 2020, I Am Groot, a series of short films starring Baby Groot, was announced for Disney+.^[154][37]

Digital series

Literature

Comic books

Books

For books written about the MCU, see § Guide books below.

The Wakanda Files: A Technological Exploration of the Avengers and Beyond is «a collection of papers, articles, blueprints, and notes amassed throughout history by Wakanda’s War Dogs» at the request of Shuri. It is organized by areas of study, and covers the technological advancements throughout the Marvel Cinematic Universe. The book, which exists in-universe, was written by Troy Benjamin and published by Epic Ink and Quarto Publishing Group. The Wakanda Files has content printed with UV ink that can be viewed with Kimoyo bead–shaped UV lights included with the book. It was released on October 20, 2020.^[290]

Recurring cast and characters

List indicator(s)

This section includes characters who will appear or have appeared in multiple MCU media.

• A dark grey cell indicates the character was not in the media, or that the character’s presence has not yet been confirmed.
• A ^C indicates an uncredited cameo role.
• A ^P indicates an appearance in onscreen photographs.
• A ^V indicates a voice-only role.

Character	Feature films	Television series	Short films	Digital series	Outside media[lower-alpha 1]
Bruce Banner Hulk	Edward Norton[291] Lou FerrignoV[292] Mark Ruffalo[293]	Mark Ruffalo[294]		Mark Ruffalo[295][296]
James «Bucky» Barnes Winter Soldier	Sebastian Stan[297][298]		Sebastian StanV[296]
Clint Barton Hawkeye	Jeremy Renner[299][300]		Jeremy RennerV[296]
Georges Batroc	Georges St-Pierre[301][302]
Yelena Belova Black Widow	Florence Pugh[303][304]
Felix Blake		Titus Welliver[305][148]		Titus Welliver[306]
Emil Blonsky Abomination	Tim Roth[307][294]
Peggy Carter	Hayley Atwell[308][69][309]		Hayley AtwellV[296]
Sharon Carter	Emily VanCamp[310][311]
Phil Coulson	Clark Gregg[312][313]
Darren Cross Yellowjacket	Corey Stoll[314]		Corey Stoll[315]
Drax the Destroyer	Dave Bautista[316]		Dave Bautista[317]
Timothy «Dum Dum» Dugan	Neal McDonough[318][319][309]		Neal McDonoughV[296]
Matthew Ellis	William Sadler[320][321]		William Sadler[322]
Christine Everhart	Leslie Bibb[251]		Leslie Bibb[150]
Leo Fitz		Iain De Caestecker[323]		Iain De Caestecker[313]
Jane Foster	Natalie Portman[324]		Natalie PortmanV[296]
Nick Fury	Samuel L. Jackson[325][326][140]		Samuel L. JacksonV[296]
Gamora	Zoe Saldana[327]		Zoe Saldana[317]
Grandmaster	Jeff Goldblum[328]		Jeff Goldblum[329][296]
Justin Hammer	Sam Rockwell[330]		Sam Rockwell[331]
Maria Hill	Cobie Smulders[332][333]
J. Jonah Jameson	J. K. Simmons[334]		J. K. Simmons[152]
Edwin Jarvis	James D’Arcy[132][335]
Daisy «Skye» Johnson Quake		Chloe Bennet[336]		Chloe Bennet[313]
Kamala Khan Ms. Marvel	Iman Vellani[337][338]
Erik Killmonger	Michael B. Jordan[339]		Michael B. JordanV[296]
Korath the Pursuer	Djimon Hounsou[203]		Djimon HounsouV[296]
Korg	Taika Waititi[340]		Taika WaititiV[296]
Kraglin	Sean Gunn[341]		Sean GunnV[296]
Scott Lang Ant-Man	Paul Rudd[342]		Paul Rudd[315]	Paul RuddV[296][343]
Darcy Lewis	Kat Dennings[344][345]
List	Henry Goodman[346][347]
Loki	Tom Hiddleston[348][349]		Tom HiddlestonV[296]
Jeffrey Mace Patriot		Jason O’Mara[350]		Jason O’Mara[313]
Alphonso «Mack» MacKenzie		Henry Simmons[351]		Henry Simmons[313]
Gideon Malick	Powers Boothe[352]
Wanda Maximoff Scarlet Witch	Elizabeth Olsen[353][298]
Melinda May		Ming-Na Wen[354]		Ming-Na Wen[313]
Tina Minoru	Linda Louise Duan[355][356]	Brittany Ishibashi[357]
Jim Morita	Kenneth Choi[318][319]
Nebula	Karen Gillan[203]		Karen GillanV[296]
Peter Parker Spider-Man	Tom Holland[358]		Tom Holland[359]
Hank Pym	Michael Douglas[360]		Michael DouglasV[296]
Peter Quill Star-Lord	Chris Pratt[361]		Chris PrattV[296][317]
Monica Rambeau	Akira Akbar[362] Teyonah Parris[337]	Teyonah Parris[363]
James «Rhodey» Rhodes War Machine / Iron Patriot	Terrence Howard[364] Don Cheadle[365]	Don Cheadle[366]
Elena «Yo-Yo» Rodriguez		Natalia Cordova-Buckley[367]		Natalia Cordova-Buckley[313]
Shuri	Letitia Wright[368]		Letitia WrightV[343]
Sif	Jaimie Alexander[369][370]
Jemma Simmons		Elizabeth Henstridge[323]		Elizabeth Henstridge[313]
Jasper Sitwell	Maximiliano Hernández[371]	Maximiliano Hernández[372] Adam Faison[373]	Maximiliano Hernández[371]
Trevor Slattery	Ben Kingsley[374]		Ben Kingsley[250]
Howard Stark	Gerard SandersP[375] John Slattery[376] Dominic Cooper[377]	Dominic Cooper[378][309]		Dominic CooperV[296]
Dr. Stephen Strange	Benedict Cumberbatch[379]		Benedict CumberbatchV[343]
Talos	Ben Mendelsohn[366]
T’Challa Black Panther	Chadwick Boseman[380]		Chadwick BosemanV[296]
Thanos	Damion PoitierC[381] Josh Brolin[382]		Josh BrolinV[296]
Thor	Chris Hemsworth[383]		Chris Hemsworth[295][296]
Taneleer Tivan Collector	Benicio del Toro[203]		Benicio del Toro[317]
Ultron	James Spader[384]		Ross MarquandV[343]
Hope van Dyne Wasp	Evangeline Lilly[314]		Evangeline LillyV[343]
Anton Vanko	Yevgeni Lazarev[385]	Costa Ronin[386]
Vision J.A.R.V.I.S.	Paul Bettany[387][388][298]		Paul BettanyV[389]
Wolfgang von Strucker	Thomas Kretschmann[390]	Joey Defore[373]
Sam Wilson Falcon	Anthony Mackie[391][298]
Jimmy Woo	Randall Park[392][345]
Yondu	Michael Rooker[393]		Michael RookerV[296]
Helmut Zemo	Daniel Brühl[394][311]
Arnim Zola	Toby Jones[395][396]		Toby JonesV[296]

Additionally, Paul Bettany was the first actor to portray two main characters within the universe, voicing Tony Stark’s artificial intelligence J.A.R.V.I.S. in the Iron Man and Avengers films, and portraying Vision in Avengers films and Captain America: Civil War.^{[397][398][399]} Prior to his death in 2018, Stan Lee, creator or co-creator of many of the characters seen in the MCU, made cameo appearances in all of the feature films and television series except Inhumans. In Iron Fist, it is revealed his on-set photograph cameo in the Marvel Netflix series is as NYPD Captain Irving Forbush.^[400] His cameo in Guardians of the Galaxy Vol. 2 sees Lee appearing as an informant to the Watchers, discussing previous adventures that include Lee’s cameos in other MCU films; he specifically mentions his time as a FedEx delivery man, referring to Lee’s cameo in Captain America: Civil War.^[401] This acknowledged the fan theory that Lee may be portraying the same character in all his cameos,^[402] with writer and director James Gunn noting that «people thought Stan Lee is [Uatu the Watcher] and that all of these cameos are part of him being a Watcher. So, Stan Lee as a guy who is working for the Watchers was something that I thought was fun for the MCU.»^[401][402] Feige added that Lee «clearly exists, you know, above and apart from the reality of all the films. So the notion that he could be sitting there on a cosmic pit stop during the jump gate sequence in Guardians…really says, so wait a minute, he’s this same character who’s popped up in all these films?»^[403] NY1 news anchor Pat Kiernan has also appeared in multiple MCU films and television series as himself.^[404]

Music

Film soundtracks

Television soundtracks

Singles

Reception

Jim Vorel of Herald & Review called the Marvel Cinematic Universe «complicated» and «impressive», but said, «As more and more heroes get their own film adaptations, the overall universe becomes increasingly confusing.»^[405] Kofi Outlaw of Screen Rant stated that while The Avengers was a success, «Marvel Studios still has room to improve their approach to building a shared movie universe».^[406] Some reviewers criticized the fact that the desire to create a shared universe led to films that did not hold as well on their own. In his review of Thor: The Dark World, Forbes critic Scott Mendelson likened the MCU to «a glorified television series», with The Dark World being a «‘stand-alone’ episode that contains little long-range mythology».^[407] Collider’s Matt Goldberg considered that while Iron Man 2, Thor and Captain America: The First Avenger were quality productions, «they have never really been their own movies», feeling that the plot detours to S.H.I.E.L.D. or lead-ups to The Avengers dragged down the films’ narratives.^[408]

The metaphor of the MCU as «the world’s biggest TV show» was discussed again, after the release of Captain America: Civil War, by Emily VanDerWerff of Vox, who felt that film in particular highlighted Marvel’s success with the model, saying, «Viewed in complete isolation, the plot of Captain America: Civil War makes little to no sense … [but] when you think about where [Captain America] has been in earlier Marvel films … his leeriness about being subject to oversight makes a lot more sense.» VanDerWerff continued that when thinking about the MCU as a television series, many «common criticisms people tend to level at it take on a new context» such as complaints that the films are formulaic, lack «visual spark», or «shoehorn in story elements» that «are necessary to set up future films», all characteristics that «are fairly typical on television, where a director’s influence is much lower than that of the showrunner», in this case, Feige. Comparing the films to the series Game of Thrones specifically, VanDerWerff noted that each solo film checks «in on various characters and their individual side stories, before bringing everyone together in the finale (or, rather, an Avengers film)», with Guardians of the Galaxy being equivalent to the character Daenerys Targaryen—»both separated by long distances from everybody else». She noted that this format was an extension of early «TV-like» film franchises such as Star Wars, as well as the format of the comics upon which the films are based. «I say all of this not to suggest that film franchises resembling TV series is necessarily a good trend», VanDerWerff concluded, «For as much as I generally enjoy the Marvel movies, I’m disheartened by the possibility that their particular form might take over the film industry … But I also don’t think it’s the end of the world if Marvel continues on … there’s a reason TV has stolen so much of the cultural conversation over the past few decades. There’s something legitimately exciting about the way the medium tells stories when it’s good, and if nothing else, Marvel’s success shows the film world could learn from that.»^[409]

Following the conclusion of season one of Agents of S.H.I.E.L.D., Mary McNamara at the Los Angeles Times praised the connections between that series and the films, stating that «never before has television been literally married to film, charged with filling in the back story and creating the connective tissue of an ongoing film franchise … [Agents of S.H.I.E.L.D.] is now not only a very good show in its own right, it’s part of Marvel’s multiplatform city-state. It faces a future of perpetual re-invention, and that puts it in the exhilarating first car of television’s roller-coaster ride toward possible world domination.»^[410] Terri Schwartz of Zap2it agreed with this sentiment, stating that «the fact that [Captain America: The Winter Soldier] so influenced the show is game-changing in terms of how the mediums of film and television can be interwoven», though «the fault there seems to be that Agents of S.H.I.E.L.D. had to bide time until The Winter Soldier‘s release», which led to much criticism.^[411]

In January 2015, Michael Doran of Newsarama and Graeme McMillian of The Hollywood Reporter had a «point-counterpoint» debate in response to the first Ant-Man trailer. Doran stated, «Marvel has raised the bar sooo high that as opposed to just allowing another film to finish under the [MCU] bar, we’re all overly and perhaps even eager to overreact to the first thing that doesn’t clear it». McMillian responded, «at this point, Marvel’s brand is such that I’m not sure it can offer up something like [the trailer] without it seeming like a crushing disappointment … part of Marvel’s brand is that it doesn’t offer the kind of run-of-the-mill superhero movie that you’re talking about, that it’s … at least different enough to tweak and play with the genre somehow … The fact that there’s such upset about this trailer being … well, okay … suggests to me that the audience is expecting something to knock their socks off.» Doran concluded, «That does seem to be the point here—the expectations fans now have for everything Marvel Studios … [and] Marvel is going to eventually falter.»^[412]

After seeing the portrayal of Yellowjacket in Ant-Man, the antagonist of the film, McMillian noted,

It’s hardly a secret that Marvel Studios has a bit of a problem when it comes to offering up exciting characters for their heroes to fight against … [their] villains generally fall into one of two camps. There’s the Unstoppable Monster … or there’s the Professional White Guy In A Suit With An Ego … No matter which of the groups the above villains fall into, they share one common purpose: evil. The motivations for evil likely differ—although, invariably, they fall under the umbrella of ‘misguided belief in a greater good that doesn’t exist’—but that really doesn’t matter, because without fail, there will be so little time in the movie to actually properly explore those motivations, meaning that to all intents and purposes, the villain is being evil for reasons of plot necessity and little else … The strange thing about this is that Marvel’s comic books offer a number of wonderful, colorful bad guys who could step outside the above parameters and offer an alternative to the formulaic villains audiences have gotten used to (and arguably bored with) … In future movies, we can only hope [they are] treated in such a way that their freak flags are allowed to fly free.^[413]

Following the release of Jessica Jones, David Priest at CNET wrote about how the series rescues «Marvel from itself … Jessica Jones takes big steps forward in terms of theme, craft and diversity. It’s a good story first, and a superhero show second. And for the first time, the MCU seems like it matters. Our culture needs stories like this. Here’s hoping Marvel keeps them coming.»^[414] For Paul Tassi and Erik Kain of Forbes, watching the series made them question the MCU, with Kain feeling that the «morally complex, violent, dark world of Jessica Jones has no place in the MCU … right now, the MCU is holding back shows like Jessica Jones and Daredevil, while those shows are contributing absolutely nothing to the MCU.»^[415] Tassi went so far as to wonder what «the point of the Marvel Cinematic Universe» is, lamenting the lack of major crossovers in the franchise since the Winter Soldier reveal on Agents of S.H.I.E.L.D., and saying that Jessica Jones is «so far removed from the world of The Avengers, it might as well not be in the same universe at all … [I] really don’t understand the point of [the MCU] if they’re going to keep everything within it separated off in these little boxes».^[416] Conversely, Eric Francisco of Inverse called Jessica Jones‘s lack of overt connections to the MCU «the show’s chief advantage. Besides demonstrating how physically wide open the MCU’s scope really is, Jessica Jones also proves the MCU’s thematic durability.»^[417]

In April 2016, Marvel Studios revealed that Alfre Woodard would appear in Captain America: Civil War, having already been cast as Mariah Dillard in Luke Cage the previous year.^[418] This «raised hopes that Marvel could be uniting its film and Netflix universes»,^[419] with «one of the first and strongest connections» between the two.^[418] However, Civil War writers Christopher Markus and Stephen McFeely revealed that Woodard would instead be portraying Miriam Sharpe in the film, explaining that she had been cast on the suggestion of Robert Downey, Jr., and they had not learned of her casting in Luke Cage until afterwards.^[418] This was not the first instance of actors being cast in multiple roles in the MCU, but this casting was called more «significant», and seen by many as a «disappointing» indication of «the growing divide» and «lack of more satisfying cooperation» between Marvel Studios and Marvel Television following the September 2015 corporate reshuffling of Marvel Entertainment.^[418][420]

Speaking to the 1990s setting of Captain Marvel, «the MCU’s first full period piece since Phase One’s Captain America: The First Avenger in 2011″, Richard Newby of The Hollywood Reporter felt the return of younger versions of some characters introduced and killed in earlier films «open[ed] up the MCU in a whole new way and broaden[ed] the franchise’s mantra of ‘it’s all connected‘«. Speaking specifically to Clark Gregg’s appearance as Agent Phil Coulson in the film, Newby noted the appearance «doesn’t exactly mend fences between Marvel’s film and TV divisions, [but] it does strengthen the connective tissue and the sense that these characters still matter in the grand scheme of Marvel’s film plans». He also hoped that continuity from Agents of S.H.I.E.L.D. would be maintained in Captain Marvel, especially since Coulson has dealt with the Kree in the series. Newby also added that shifting to different time periods would help Marvel Studios «sustain this cinematic universe for the next 10 years» by allowing them to repeat some of the genres previously used, as they could then feel «fresh» and have «different rules and different restraints,» as well as allow them to build upon material established in the television series such as Agent Carter. He concluded,

Marvel Studios has an entire sandbox to play in, but, for necessary reasons, has largely chosen to remain in a small corner in order to ground audiences in these concepts. Now that the basis has been laid, the opportunity for exploration in both film and television lies ahead, with Captain Marvel leading the way. Wherever Marvel Studios plans to take the MCU in the future, it’s refreshing to know that its past is expansive and filled with infinite possibilities.^[421]

Likewise, in his review of Avengers: Endgame, Joe Morgenstern of The Wall Street Journal acknowledged the unique achievement that the Marvel Cinematic Universe had accomplished:

These are difficult times for big-screen entertainment. As the medium declines and TV grows ascendant, authentic spectacles—as opposed to lavish embellishments of smallish ideas—threaten to become a thing of the fabled past. All the more reason, then, to cherish what Marvel has achieved, even though befuddling stumbles have occurred along the way. The studio has kept the faith by smartening up most of its films, not dumbing them down, by banking on, and raking in profits from, the audience’s appetite for surprise, its capacity for complexity. When the final battle comes at the end of Avengers: Endgame, it’s inevitably unwieldy—every Marvel character you can think of from the past decade shows up for one more assault on cosmic evil—but thrilling all the same, and followed by a delicate coda. So many stories. So many adventures. So much to sort out before the next cycle starts.^[422]

In October 2019, filmmaker Martin Scorsese openly criticized Marvel films in an interview and during a David Lean lecture in London, later expanded in an op-ed in The New York Times, saying these films are not cinema, but are instead the equivalent of theme park rides that lack «mystery, revelation or genuine emotional danger».^{[423][424][425]} He also stated that such films are corporation products that have been «market-researched, audience-tested, vetted, modified, revetted and remodified until they’re ready for consumption», and that the invasion of such «theme park» films in theaters crowded out films by other directors.^[426] Scorsese’s remarks received backlash from directors of MCU films such as Joss Whedon and James Gunn,^[423] while they were defended by Francis Ford Coppola, who described the potential effect of Marvel films on the film industry as «despicable».^[427] Conversely, George Miller asserted:

To me, it’s all cinema. I don’t think you can ghettoize it and say, oh this is cinema or that is cinema. It applies to all the arts, to literature, the performing arts, painting and music, in all its form. It’s such a broad spectrum, a wide range and to say that anyone is more significant or more important than the other, is missing the point. It’s one big mosaic and each bit of work fits into it.^[428]

Cultural impact

Other studios

After the release of The Avengers in May 2012, Tom Russo of Boston.com noted that aside from the occasional «novelty» such as Alien vs. Predator (2004), the idea of a shared universe was virtually unheard of in Hollywood.^[6] Since that time, the shared universe model created by Marvel Studios has begun to be replicated by other film studios that held rights to other comic book characters. In April 2014, Tuna Amobi, a media analyst for Standard & Poor’s Equity Research Services, stated that in the previous three to five years, Hollywood studios began planning «megafranchises» for years to come, opposed to working one blockbuster at a time. Amobi added, «A lot of these superhero characters were just being left there to gather dust. Disney has proved that this [approach and genre] can be a gold mine.»^[429] However, with additional studios now «playing the megafranchise game», Doug Creutz, media analyst for Cowen and Company, feels the allure will eventually die for audiences: «If Marvel’s going to make two or three films a year, and Warner Brothers is going to do at least a film every year, and Sony’s going to do a film every year, and Fox [is] going to do a film every year, can everyone do well in that scenario? I’m not sure they can.»^[429]

In March 2018, Patrick Shanley of The Hollywood Reporter opined that «the key differences between a regular franchise, such as The Fast and the Furious or Pitch Perfect films, and a shared universe is the amount of planning and interweaving that goes into each individual film. Its all too easy to make a film that exists solely for the purpose of setting up future installments and expanding a world, rather than a film that stands on its own merits while deftly hinting or winking at its place in the larger mythos. In that, the MCU has flourished.» He felt that Iron Man «itself was aimed at being an enjoyable stand-alone experience, not as an overall advertisement for 17 subsequent movies. That mentality has persisted through most of the MCU films over the past decade, which is all the more impressive as its roster of heroes now exceeds the two-dozen mark.»^[430]

DC Entertainment and Warner Bros. Pictures

In October 2012, following its legal victory over Joe Shuster’s estate for the rights to Superman, Warner Bros. Pictures announced that it planned to move ahead with its long-awaited Justice League film, uniting such DC Comics superheroes as Batman, Superman, and Wonder Woman. The company was expected to take the opposite approach to Marvel, releasing individual films for the characters after they have appeared in a team-up film.^[431] The release of Man of Steel in 2013 was intended to be the start of a new shared universe for DC, «laying the groundwork for the future slate of films based on DC Comics».^[432] In 2014, Warner Bros. announced that slate of films, similarly to Disney and Marvel claiming dates for films years in advance.^[433] That year, DC CCO Geoff Johns stated that the television series Arrow and The Flash were set in a separate universe from the new film one,^[434] later clarifying that «We look at it as the multiverse. We have our TV universe and our film universe, but they all co-exist. For us, creatively, it’s about allowing everyone to make the best possible product, to tell the best story, to do the best world. Everyone has a vision and you really want to let the visions shine through … It’s just a different approach [to Marvel’s].»^[435]

Discussing the apparent failure of the cinematic universe’s first team-up film, Batman v Superman: Dawn of Justice, to establish a successful equivalent to the MCU, Emily VanDerWerff noted that where the MCU has a television-like «showrunner» in Feige, «the visionary behind Marvel’s entire slate», the DCEU has director Zack Snyder, whose DC films «seemingly start from the assumption that people have come not to see an individual story but a long series of teases for other ones. It’s like he knows what he needs to do but can’t focus on the task at hand. TV certainly isn’t immune to that problem, but shows that get caught up in high-concept premises and big-picture thinking before doing the necessary legwork to establish characters and their relationships tend to be canceled.»^[409] Subsequently, in May 2016, Warner Bros. gave oversight of the DCEU to Johns and executive Jon Berg in an attempt to «unify the disparate elements of the DC movies» and emulate Marvel’s success. The two were made producers on the Justice League films, on top of Johns’ involvement in several «solo» films, such as the post-production process of Suicide Squad or the writing process of a standalone Batman film.^[436] After the successful release of Wonder Woman in June 2017, DC decided to begin deemphasizing the shared nature of their films, with DC Entertainment president Diane Nelson stating, «Our intention, certainly, moving forward is using the continuity to help make sure nothing is diverging in a way that doesn’t make sense, but there’s no insistence upon an overall story line or interconnectivity in that universe… Moving forward, you’ll see the DC movie universe being a universe, but one that comes from the heart of the filmmaker who’s creating them.» Additionally, DC began focusing on films «completely separate from everything else, set entirely outside the» DCEU as part of a new label, with the first film centered on the Joker.^[437]

20th Century Fox

In November 2012, 20th Century Fox announced plans to create their own shared universe, consisting of Marvel properties that it holds the rights to including the Fantastic Four and X-Men, with the hiring of Mark Millar as supervising producer. Millar said, «Fox are thinking, ‘We’re sitting on some really awesome things here. There is another side of the Marvel Universe. Let’s try and get some cohesiveness going.’ So they brought me in to oversee that really. To meet with the writers and directors to suggest new ways we could take this stuff and new properties that could spin out of it.»^[438] X-Men: Days of Future Past, released in 2014, was Fox’s first step towards expanding their stable of Marvel properties and creating this universe,^[439] ahead of the release of a Fantastic Four reboot film the next year.^[440] However, in May 2014, Days of Future Past and Fantastic Four screenwriter Simon Kinberg stated that the latter film would not take place in the same universe as the X-Men films, explaining that «none of the X-Men movies have acknowledged the notion of a sort of superhero team—the Fantastic Four. And the Fantastic Four acquire powers, so for them to live in a world where mutants are prevalent is kind of complicated, because you’re like, ‘Oh, you’re just a mutant.’ Like, ‘What’s so fantastic about you?’ … they live in discrete universes.»^[440] In July 2015, X-Men director Bryan Singer said that there was still potential for a crossover between the X-Men and Fantastic Four franchises, if reaction to Fantastic Four and X-Men: Apocalypse warranted it.^[441]

Feeling that Singer’s efforts in Apocalypse to establish a larger world, similar to the MCU, did not meet the standards established by Marvel, VanDerWerff noted that unlike Feige’s ability to serve as «pseudo-showrunner», Singer is instead «steeped in film and the way movie stories have always been told», so «when it comes time to have Apocalypse dovetail with story threads from the earlier X-Men: First Class [directed by Matthew Vaughn], both Singer’s direction and Simon Kinberg’s script rely on hackneyed devices and clumsy storytelling», indicating a lack of «the kind of big-picture thinking this sort of mega franchise requires».^[409] In his review of Dark Phoenix, Joe Morgenstern of The Wall Street Journal characterized the entire X-Men film series as being a «notoriously erratic franchise.»^[442]

Sony Pictures

In November 2013, Sony Pictures Entertainment Co-Chairman Amy Pascal announced that the studio intended to expand their universe created within the Marc Webb Amazing Spider-Man series, with spin-off adventures for supporting characters, in an attempt to replicate Marvel and Disney’s model.^[439] The next month, Sony announced Venom and Sinister Six films, both set in the Amazing Spider-Man universe. With this announcement, IGN stated that the spin-offs are «the latest example of what we can refer to as «the Avengers effect» in Hollywood, as studios work to build interlocking movie universes.»^[443] Sony chose not to replicate the Marvel Studios model of introducing individual characters first before bringing them together in a team-up film, instead making the Spider-Man adversaries the stars of future films.^[429] However, in February 2015, Sony Pictures and Marvel Studios announced that the Spider-Man franchise would be retooled, with a new film co-produced by Feige and Pascal being released in July 2017, and the character being integrated into the MCU. Sony Pictures would continue to finance, distribute, own, and have final creative control of the Spider-Man films.^[49] With this announcement, sequels to The Amazing Spider-Man 2 were canceled,^[444] and by November 2015 the Venom and Sinister Six films, as well as spin-offs based on female characters in the Spider-Man universe, were no longer moving forward.^[444][445] By March 2016, the Venom film had itself been retooled, to start its own franchise unrelated to the MCU Spider-Man.^[446] A year later, Sony officially announced the Venom film to be in development, for an October 5, 2018 release,^[447] along with a film centered on the characters Silver Sable and Black Cat known as Silver & Black.^[448] Both projects were not intended to be a part of the MCU nor spin-offs to Spider-Man: Homecoming, but rather part of an intended separate shared universe known as the Sony Pictures Universe of Marvel Characters.^{[448][449][450]}

After Sony canceled their shared universe plans and started sharing the Spider-Man character with Marvel Studios, multiple critics discussed their failure at replicating the MCU. Scott Meslow of The Week noted the perceived flaws of the first Amazing Spider-Man film, outside of its lead performances, and how the sequel «doubles down on all the missteps of the original while adding a few of its own. …We now have a textbook example of how not to reboot a superhero franchise, and if Sony and Marvel are wise, they’ll take virtually all those lessons to heart as they chart Spider-Man’s next course.»^[451] Scott Mendelson noted that The Amazing Spider-Man 2 «was sold as less a sequel to The Amazing Spider-Man than a backdoor pilot for Spider-Man vs. the Sinister Six. …Had Sony stuck with the original plan of a scaled-down superhero franchise, one that really was rooted in romantic drama, they would have at least stuck out in a crowded field of superhero franchises. When every superhero film is now going bigger, Amazing Spider-Man could have distinguished itself by going small and intimate.» This would have saved Sony «a boatload of money», and potentially reversed the film’s relative financial failure.^[452]

Academia

In September 2014, the University of Baltimore announced a course beginning in the 2015 spring semester revolving around the Marvel Cinematic Universe, to be taught by Arnold T. Blumberg. «Media Genres: Media Marvels» examines «how Marvel’s series of interconnected films and television shows, plus related media and comic book sources and Joseph Campbell’s monomyth of the ‘hero’s journey’, offer important insights into modern culture» as well as Marvel’s efforts «to establish a viable universe of plotlines, characters, and backstories.»^[453][454]

Outside media

Avengers Campus

After the acquisition by Disney in 2009, Marvel films began to be marketed at the Innoventions attraction in Tomorrowland at Disneyland. For Iron Man 3, the exhibit, entitled «Iron Man Tech Presented by Stark Industries», features the same armor display that was shown at the 2012 San Diego Comic-Con, with the Marks I-VII and the new Mark XLII. In addition, there is a simulator game, titled «Become Iron Man», that uses Kinect-like technology to allow the viewer to be encased in an animated Mark XLII armor and take part in a series of «tests,» in which you fire repulsor rays and fly through Tony Stark’s workshop. The game is guided by J.A.R.V.I.S., who is voiced again by Paul Bettany. The exhibit also has smaller displays that include helmets and chest pieces from the earlier films and the gauntlet and boot from an action sequence in Iron Man 3.^[389] The exhibit for Thor: The Dark World is called «Thor: Treasures of Asgard», and features displays of Asgardian relics and transports guests to Odin’s throne room, where they are greeted by Thor.^[455] Captain America: The Winter Soldier‘s exhibit, «Captain America: The Living Legend and Symbol of Courage», features a meet and greet experience.^[456]

From May to September 2017, Disneyland Resort featured the «Summer of Heroes», which sees members of the Guardians and Avengers making appearances throughout the Disneyland Resort. Additionally, the Guardians of the Galaxy: Awesome Dance Off event was featured, which involved Peter Quill / Star-Lord blasting music from his boombox, along with the Avengers Training Initiative, a limited experience where Black Widow and Hawkeye «assemble a group of young recruits to see if they have what it takes to be an Avenger.» Marvel related food and merchandise was also available throughout Hollywood Land at Disney California Adventure during the «Summer of Heroes».^[457]

In March 2018, The Walt Disney Company announced three new Marvel-themed areas inspired by the MCU to Disney California Adventure, Walt Disney Studios Paris, and Hong Kong Disneyland. The developments will be designed by Walt Disney Imagineering in collaboration with Marvel Studios and Marvel Themed Entertainment.^[458]

Hong Kong Disneyland

In October 2013, the Iron Man Experience attraction was announced for Hong Kong Disneyland.^[459] It is set in the Tomorrowland section of the park,^[460] with the area built to look like a new Stark Expo created by Tony Stark after the 2010 one, as seen in Iron Man 2,^[461] with various exhibit halls that include the Mark III armor from the films.^[460][462] The area also has Iron Man and Marvel-themed merchandise items and memorabilia, plus an interactive game where guests can have the chance to try on Iron Man’s armor.^[463] Iron Man Experience sees guests assist Iron Man in defeating Hydra throughout Hong Kong,^[460] and opened on January 11, 2017.^[463]

In March 2018, The Walt Disney Company announced a new Marvel-themed area inspired by the MCU to Hong Kong Disneyland and a new attraction where guests team up with Ant-Man and the Wasp, to join Iron Man Experience.^[458][464] Inspired by Ant-Man and the Wasp,^[465] Ant-Man and The Wasp: Nano Battle! is an enclosed interactive dark ride that sees guests use laser powered weapons to team up with Ant-Man and the Wasp to defeat Arnim Zola and his army of Hydra swarm bots.^[465][466] Ant Man and the Wasp: Nano Battle! replaces the Buzz Lightyear Astro Blasters ride,^[465] and opened on March 31, 2019.^[467]

Disney California Adventure

By San Diego Comic-Con 2016, the Tower of Terror at Disney California Adventure was set to be replaced by a new attraction, Guardians of the Galaxy – Mission: Breakout!. Chris Pratt, Zoe Saldana, Dave Bautista and Benicio del Toro all filmed exclusive footage for the attraction, reprising their roles as Peter Quill / Star-Lord, Gamora, Drax and Taneleer Tivan / The Collector, respectively.^[317][468] James Gunn, director of Guardians of the Galaxy and its sequel, directed footage for the attraction and consulted on all aspects of it.^[469] Guardians of the Galaxy – Mission: Breakout! sees visitors assisting Rocket to rescue the other Guardians from the Collector’s fortress, while the attraction features randomized events during the experience and music inspired by the Awesome Mix Vol. 1 soundtrack. The attraction opened on May 27, 2017.^[457] Despite having multiple references to the MCU, the attraction is not part of the MCU, rather the start of its own theme park universe that is inspired by the MCU.^[470]

In March 2018, The Walt Disney Company announced a new Marvel-themed area inspired by the MCU to Disney California Adventure, anchored by Mission: Breakout!, that will see characters from the MCU such as Iron Man and Spider-Man join the Guardians of the Galaxy in a «completely immersive superhero universe.» The area will replace the «A Bug’s Land» area, which closed in mid-2018 to start construction on the Marvel area.^[458][464]

Walt Disney Studios Park

In March 2018, The Walt Disney Company announced a new Marvel-themed area inspired by the MCU to Disneyland Paris’ Walt Disney Studios Park. The area will include a reimagined attraction where riders will team up with Iron Man and other Avengers on a «hyper-kinetic adventure» in 2020. The park also hosted the «Summer of Super Heroes» live-action stage show from June–September 2018.^[458][464]

Other live attractions

Avengers S.T.A.T.I.O.N.

In May 2014, the Avengers S.T.A.T.I.O.N. (Scientific Training and Tactical Intelligence Operative Network) exhibit opened at the Discovery Times Square center. The exhibit features replica set pieces, as well as actual props from the films, mixed with interactive technology and information, crafted through a partnership with NASA and other scientists. Titus Welliver also provides a «debrief» to visitors, reprising his role as S.H.I.E.L.D. agent Felix Blake. Created by Victory Hill Exhibits, Avengers S.T.A.T.I.O.N. cost $7.5 million to create, and ran through early September 2015.

The exhibit also opened in South Korea at the War Memorial of Korea in April 2015,^[473][474] in Paris, France, at Esplanade de La Défense a year later, and in Las Vegas at the Treasure Island Hotel and Casino in June 2016.^[474] The Las Vegas version of the exhibit featured updated character details and corresponding science to incorporate the Marvel films that have released since the original exhibit in New York. Additionally, the Las Vegas version features Cobie Smulders reprising her role as Maria Hill to «debrief» visitors, replacing Welliver.^[475]

GOMA exhibit

An art exhibit, titled Marvel: Creating the Cinematic Universe, was displayed exclusively at the Queensland Gallery of Modern Art (GOMA) from May to September 2017. The exhibit, which included «300 plus objects, films, costumes, drawings and other ephemera», featured content «from the collection of Marvel Studios and Marvel Entertainment and private collections» with «significant focus [given] to the creative artists who translate the drawn narrative to the screen through production design and storyboarding, costume and prop design, and special effects and post-production». Marvel: Creating the Cinematic Universe was also extended to GOMA’s Australian Cinémathèque with a retrospective of the MCU films.^[476]

Avengers: Damage Control

In October 2019, Marvel Studios and ILMxLAB announced the virtual reality experience Avengers: Damage Control. The experience would be available for a limited time starting in mid-October 2019 at select Void VR locations. Avengers: Damage Control sees players taking control of one of Shuri’s Emergency Response Suits–which combine Wakandan and Stark Industries technologies–to defeat a threat alongside Doctor Strange, Ant-Man, and the Wasp. Letitia Wright, Benedict Cumberbatch, Paul Rudd, and Evangeline Lilly all reprise their MCU roles.^[343] The experience was extended to the end of 2019.^[477]

Live-action television specials

Marvel Studios: Assembling a Universe (2014)

On March 18, 2014, ABC aired a one-hour television special titled Marvel Studios: Assembling a Universe, which documented the history of Marvel Studios and the development of the Marvel Cinematic Universe, and included exclusive interviews and behind-the-scenes footage from all of the films, One-Shots and Agents of S.H.I.E.L.D., and sneak peeks of Avengers: Age of Ultron, Captain America: The Winter Soldier, Guardians of the Galaxy, unaired episodes of Agents of S.H.I.E.L.D.,^[478] and Ant-Man.^[479] Brian Lowry of Variety felt the special, «contains a pretty interesting business and creative story. While it might all make sense in hindsight, there was appreciable audacity in Marvel’s plan to release five loosely connected movies from the same hero-filled world, beginning with the cinematically unproven Iron Man and culminating with superhero team The Avengers. As such, this fast-moving hour qualifies as more than just a cut-and-paste job from electronic press kits, although there’s an element of that, certainly.»^[480] The special was released on September 9, 2014 on the home media for Agents of S.H.I.E.L.D. season 1.^[481]

Marvel 75 Years: From Pulp to Pop! (2014)

In September 2014, Agents of S.H.I.E.L.D. executive producer Jeffrey Bell stated that in order to meet production demands and avoid having to air repeat episodes, ABC would likely air a Marvel special in place of a regular installment at some point during the first ten episodes of Agents of S.H.I.E.L.D.‘s second season.^[115] In October, the special was revealed to be Marvel 75 Years: From Pulp to Pop!, which was hosted by Emily VanCamp, who portrays Agent 13 in Captain America: The Winter Soldier, and aired on November 4, 2014.^[482] The special features behind the scenes footage from Avengers: Age of Ultron and Ant-Man, as well as footage from the Agent Carter television series previously screened at New York Comic-Con.^[483] Brian Lowry of Variety felt an hour for the special did not «do the topic justice» adding, «For anyone who has seen more than one Marvel movie but would shrug perplexedly at the mention of Jack Kirby or Steve Ditko, Marvel 75 Years: From Pulp To Pop! should probably be required viewing. Fun, fast-paced and encompassing many of the company’s highlights along with a few lowlights, it’s a solid primer on Marvel’s history, while weaving in inevitable self-promotion and synergistic plugs.»^[484] Eric Goldman of IGN also wished the special had been longer, adding, «Understandably, the more you already know about Marvel, the less you’ll be surprised by Marvel 75 Years: From Pulp to Pop!, but it’s important to remember who this special is really made for – a mainstream audience who have embraced the Marvel characters, via the hugely successful movies, in a way no one could have imagined.»^[483]

Marvel Studios: Expanding the Universe (2019)

In November 2019, Disney+ announced that the streaming platform would include Expanding the Universe, a special that features a look at the original MCU TV series for Disney+, with interviews and concept art.^[485]

Guide books

In September 2015, Marvel announced the Guidebook to the Marvel Cinematic Universe, named as a nod to the Official Handbook of the Marvel Universe. Each guidebook is compiled by Mike O’Sullivan and the Official Handbook of the Marvel Universe team, with cover art from Mike del Mundo and Pascal Campion, and features facts about the MCU films, film-to-comic comparisons, and production stills. Guidebook to the Marvel Cinematic Universe: Marvel’s Iron Man, Guidebook to the Marvel Cinematic Universe: Marvel’s Incredible Hulk / Marvel’s Iron Man 2,^[486] Guidebook to the Marvel Cinematic Universe: Marvel’s Thor,^[487] and Guidebook to the Marvel Cinematic Universe: Marvel’s Captain America: The First Avenger^[488] released each month from October 2015 to January 2016, respectively.

In November 2018, Marvel and Titan Publishing Group released Marvel Studios: The First Ten Years to celebrate the first ten years of the Marvel Cinematic Universe which featured cast interviews, in-depth sections on each film, and an Easter egg guide.^[489] In October 2021, a two-volume book The Story of Marvel Studios: The Making of the Marvel Cinematic Universe will be released, written by Tara Bennett and Paul Terry. This collection will feature a look at the evolution of Marvel Studios, personal stories from the 23-film «Infinity Saga», and interviews with cast and crew members.^[490][491]

Video game tie-ins

A Mini Marvel

In February 2016, a commercial for Coca-Cola mini cans aired during Super Bowl 50. A Mini Marvel was created by Wieden+Kennedy for Coca-Cola through a partnership with Marvel, and was directed by the Russo brothers.^[514][515] In the ad, Ant-Man (voiced by Paul Rudd, reprising his role) and the Hulk first fight, and then bond, over a Coke mini can.^[514] Luma Pictures provided visual effects for the spot, having worked previously with the two characters in MCU films. For the Hulk, Luma redefined its previous muscular system and simulation process to create and render the character, while Ant-Man received new motion capture.^[515] The Super Bowl campaign extended to «limited-edition Coke mini cans [six packs] that are emblazoned with images of Marvel characters, including Hulk, Ant-Man, Black Widow, [Falcon, Iron Man] and Captain America.» Consumers had the opportunity to purchase the cans by finding hidden clues in the commercial, though «if the program goes well, Coke will consider making the cans available in stores.»^[514] The ad had the third most social media activity of all the film-related trailers that aired during the game,^[516] and was nominated for Outstanding Visual Effects in a Commercial at the 15th Visual Effects Society Awards.^[517]

Team Thor series

See also

• Outline of the Marvel Cinematic Universe

References

Template:Reflist

External links

• A Marvel Cinematic Universe Timeline
• Template:Plain link
• Info graphic Marvel Cinematic Universe
• Template:Marveldatabase
• Marvel Cinematic Universe (mostly Earth-199999) from Marvel Wikia
• Marvel Cinematic Universe from Marvel Cinematic Database Wikia
• Marvel Cinematic Universe from Marvel Movies Wikia
• Marvel Cinematic Universe from Wikipedia

Template:Marvel Cinematic Universe
Template:Marvel Multiverse
Template:Disney franchises

Marvel Cinematic Universe
Marvel Cinematic Universe intertitle from Marvel Studios: Assembling a Universe (2014)
Created by	Marvel Studios
Original work	Iron Man (2008)
Owner	The Walt Disney Company
Years	2008–present
Print publications
Book(s)	Marvel Cinematic Universe books
Comics	Marvel Cinematic Universe tie-in comics
Films and television
Film(s)	Marvel Cinematic Universe films
Short film(s)	Marvel One-Shots
Television series	Marvel Cinematic Universe television series
Web series	Marvel Cinematic Universe digital series
Television special(s)	Marvel Cinematic Universe television specials
Games
Video game(s)	Marvel Cinematic Universe video game tie-ins
Audio
Original music	Music of the Marvel Cinematic Universe
Miscellaneous
Theme park attraction(s)	Marvel-themed attractions

The Marvel Cinematic Universe (MCU) is an American media franchise and shared universe centered on a series of superhero films, independently produced by Marvel Studios and based on characters that appear in American comic books published by Marvel Comics. The franchise includes comic books, short films, television series, and digital series. The shared universe, much like the original Marvel Universe in comic books, was established by crossing over common plot elements, settings, cast, and characters.

The first MCU film is Iron Man (2008), which began the films of Phase One culminating in the crossover film The Avengers (2012). Phase Two began with Iron Man 3 (2013) and concluded with Ant-Man (2015). Phase Three began with Captain America: Civil War (2016) and concluded with Spider-Man: Far From Home (2019). The first three phases in the franchise are collectively known as «The Infinity Saga». The films of Phase Four will begin with Black Widow (2021) and are set to conclude with Guardians of the Galaxy Vol. 3 (2023).

Marvel Television expanded the universe to network television with Agents of S.H.I.E.L.D. on ABC in 2013, followed by streaming television with Daredevil on Netflix in 2015 and Runaways on Hulu in 2017, and cable television with Cloak & Dagger on Freeform in 2018. Marvel Television produced the digital series Agents of S.H.I.E.L.D.: Slingshot. Marvel Studios expanded to streaming television with Disney+ for tie-in shows, starting with WandaVision in 2021 as the beginning of Phase Four. Soundtrack albums have been released for all the films and many of the television series, as well as compilation albums containing existing music heard in the films. The MCU includes tie-in comics published by Marvel Comics, while Marvel Studios has produced a series of direct-to-video short films, called Marvel One-Shots, and a viral marketing campaign for its films and the universe with the faux news program WHIH Newsfront.

The franchise has been commercially successful and has generally received a positive critical response, though some reviewers have found that some of its films and television series have suffered in service of the wider universe. It has inspired other film and television studios with comic book character adaptation rights to attempt to create similar shared universes. The MCU has been the focus of other media, outside of the shared universe, including attractions at various Walt Disney Parks and Resorts, an attraction at Discovery Times Square, a Queensland Gallery of Modern Art exhibit, two television specials, guidebooks for each film, multiple tie-in video games, and commercials.

Development

Films

By 2005, Marvel Entertainment had begun planning to produce its own films independently and distribute them through Paramount Pictures.^[2] Previously, Marvel had co-produced several superhero films with Columbia Pictures, New Line Cinema and others, including a seven-year development deal with 20th Century Fox.^[3] Marvel made relatively little profit from its licensing deals with other studios and wanted to get more money out of its films while maintaining artistic control of the projects and distribution.^[4] Avi Arad, head of Marvel’s film division, was pleased with Sam Raimi’s Spider-Man films at Sony, but was less pleased with others. As a result, Arad decided to form Marvel Studios, Hollywood’s first major independent film studio since DreamWorks.^[5]

Kevin Feige, Arad’s second-in-command,^[5] realized that unlike Spider-Man and the X-Men, whose film rights were licensed to Sony and Fox, respectively, Marvel still owned the rights to the core members of the Avengers. Feige, a self-described «fanboy», envisioned creating a shared universe, just as creators Stan Lee and Jack Kirby had done with their comic books in the early 1960s.^[6] To raise capital, the studio secured funding from a seven-year, $525 million revolving credit facility with Merrill Lynch.^[4] Marvel’s plan was to release individual films for their main characters and then merge them in a crossover film.^[7] Arad, who doubted the strategy yet insisted that it was his reputation that helped secure the initial financing, resigned the following year.^[5][8]

In 2007, at 33 years old, Feige was named studio chief. In order to preserve its artistic integrity, Marvel Studios formed a creative committee of six people familiar with its comic book lore: Feige, Marvel Studios co-president Louis D’Esposito, Marvel Comics’ president of publishing Dan Buckley, Marvel’s chief creative officer Joe Quesada, writer Brian Michael Bendis, and Marvel Entertainment president Alan Fine, who oversaw the committee.^[5] Feige initially referred to the shared narrative continuity of these films as the «Marvel Cinema Universe»,^[9] but later used the term «Marvel Cinematic Universe».^[10] Since the franchise expanded to other media, this phrase has been used by some to refer to the feature films only.^[11] Marvel designated the Marvel Cinematic Universe as Earth-199999 within the continuity of the company’s comic multiverse, a collection of fictional alternate universes.^[12]

In November 2013, Feige said that «in an ideal world» releases each year would include one film based on an existing character and one featuring a new character, saying it’s «a nice rhythm» in that format. While not always the case, as evident by the 2013 releases of Iron Man 3 and Thor: The Dark World, he said it is «certainly something to aim for».^[13] Feige expanded on this in July 2014, saying, «I don’t know that we’ll keep to [that model] every year, but we’re doing that in 2014 and 2015, so I think it would be fun to continue that sort of thing».^[14] In February 2014, Feige stated that Marvel Studios wants to mimic the «rhythm» that the comic books have developed, by having the characters appear in their own films, and then come together, much like «a big event or crossover series,»^[15] with Avengers films acting as «big, giant linchpins».^[16] After the reveal of multiple release dates for films through 2019 in July 2014,^[17] Feige stated, «I think if you look at some of those dates that we’ve announced, we’re going to three in a few of those years. Again, not because there’s a number cruncher telling us to go to three, do more than two pictures a year, but because of the very reason just laid out: it is about managing [existing] franchises, film to film, and when we have a team ready to go, why tell them to go away for four years just because we don’t have a slot? We’d rather find a way to keep that going.»^[18] After the titles were revealed in October 2014,^[19] Feige said, «The studio’s firing on all cylinders right now … which made us comfortable for the first time … to increase to three films a year [in 2017 and 2018] instead of just two, without changing our methods.»^[20]

On expanding the characters in the universe and letting individual films breathe and work on their own, as opposed to having Avenger team-ups outside of Avengers films, Feige stated, it is about «teaching the general movie-going audience about the notion of the characters existing separately, coming together for specific events and going away and existing separately in their own worlds again. Just like comic readers have been doing for decades and decades … people sort of are accepting that there’s just a time when they should be together and there’s a time when they’re not.»^[21] In April 2014, Feige revealed that Edgar Wright’s pitch for Ant-Man in 2006 helped shape the early films of the Marvel Cinematic Universe, saying, «We changed, frankly, some of the MCU to accommodate this version of Ant-Man. Knowing what we wanted to do with Edgar and with Ant-Man, going years and years back, helped to dictate what we did with the roster for Avengers the first time. It was a bit of both in terms of his idea for the Ant-Man story influencing the birth of the MCU in the early films leading up to Avengers.»^[22]

In October 2014, Marvel held a press event to announce the titles of their Phase Three films.^[19] The event, which drew comparisons to Apple’s Worldwide Developers Conference,^[23] was done because all the information was ready. As Feige explained, «We wanted to do this at [San Diego] Comic-Con this year. Things were not set … So the plan has been, since a few weeks before Comic-Con when we realized we weren’t going to be able to do everything we wanted to do, is to decide ‘let’s do either something we haven’t done in a long time, or something we’ve never done.’ Which is a singular event, just to announce what we have when it’s ready. I thought that might be early August or mid-September, it ended up being [at the end of October].»^[20]

By September 2015, after Marvel Studios was integrated into The Walt Disney Studios with Feige reporting to Walt Disney Studios chairman Alan Horn instead of Marvel Entertainment CEO Isaac Perlmutter,^[24] the studios’ creative committee had «nominal» input on the films moving forward, though they continued to consult on Marvel Television productions, which remained under Perlmutter’s control.^[25][26] All key film decisions going forward were to be made by Feige, D’Esposito and Victoria Alonso.^[25] At the end of the month, on how much story is developed for future films of the universe, Feige said there are «broad strokes» though sometime «super-specific things. But for the most part, in broad strokes that are broad enough and loose enough that, if through the development of four of five movies before we get to the culmination … we still have room to sway and to move and to go and to surprise ourselves in places that we end up. So that all the movies, hopefully when they’re finished, will feel like they’re all interconnected and meant to be and planned far ahead, but really can live and breathe enough as individual movies to be satisfying each and of themselves.» The studio also has various contingency plans for the direction of all of their films, in the event they are unable to secure a certain actor to reprise a role, or re-acquire the film rights to a character, such as was done in February 2015 with Spider-Man.^[27]

In April 2016, on moving the universe to Phase Four and reflecting on the first three, Feige said, «I think there will be a finality to moments of Phase Three, as well as new beginnings that will mark a different, a very different, a distinctively different chapter in what will someday be a complete first saga made up of three phases.» Joe Russo added, «You build things up and people enjoy the experiences you’ve built up. But then you kind of reach an apex or you reach a climax, a moment where you go, ‘This structure is really going to start to be repetitious if we do this again, so what do we do now?’ So now, you deconstruct it. We’re in the deconstruction phase with [Captain America:] Civil War and leading into [Avengers:] Infinity War, which are the culmination films.»^[28] A year later, Feige felt after the conclusion of Phase Three, Marvel might abandon grouping the films by phases, saying, «it might be a new thing».^[29] Feige mentioned that Avengers: Endgame would provide «a definitive end» to the films and storylines preceding it, with the franchise having «two distinct periods. Everything before [Endgame] and everything after».^[30]

On the potential for «superhero fatigue», Feige stated, «This year [2016], we’ve got Civil War and we’ve got Doctor Strange in November, two completely different movies. To me, and to all of Marvel Studios, that’s what keeps it going. As long as we’re surprising people, as long as we’re not falling into things becoming too similar … next year, [Guardians of the Galaxy Vol. 2], [Spider-Man: Homecoming], Thor: Ragnarok. Those are three totally different movies … as long as the only shared thing is they come from the same source material and they’ve got our Marvel logo in front of the movies. Other than that they can be very distinct. What other studios do, what other properties, nothing we can do about it.»^[31]

In December 2017, The Walt Disney Company agreed to acquire assets from 21st Century Fox, including 20th Century Fox, for $52.4 billion.^[32] The following June, after a counter offer from Comcast worth $65 billion, Disney increased its offer to $71.3 billion.^[33] The transaction officially closed on March 19, 2019.^[34] The acquisition saw the return of the film rights to Deadpool, and the X-Men and Fantastic Four characters to Marvel Studios, which would «create richer, more complex worlds of inter-related characters and stories».^[32] In July 2019, Feige announced the Phase Four slate at San Diego Comic-Con, consisting of films and television event series on Disney+.^[35] Additional Disney+ series for Phase Four were announced at D23 the following month.^[36] In December 2020, at Disney’s Investor Day, Marvel Studios provided updates to previously announced films and series, and announced additional Disney+ series and specials, many of which were confirmed to be part of Phase Four.^[37][38]

Distributors

Over time, the distribution rights to Marvel Studios’ films changed hands on multiple occasions. In November 2006, Universal Pictures announced that it would distribute The Incredible Hulk,^[39] in an arrangement separate from Marvel’s 2005 deal with Paramount, which was distributing Marvel’s other films.^[2] In September 2008, after the international success of Iron Man, Paramount signed a deal to have worldwide distribution rights for Iron Man 2, Iron Man 3, Thor, Captain America: The First Avenger, and The Avengers.^[40]

In late December 2009, The Walt Disney Company purchased Marvel Entertainment for $4 billion. Additionally, in October 2010, Walt Disney Studios bought the distribution rights for The Avengers and Iron Man 3 from Paramount Pictures,^[41] with Paramount’s logo remaining on the films, as well as for promotional material and merchandise,^[42][43] although Walt Disney Studios Motion Pictures is the only studio credited at the end of these films.^[44] Disney has distributed all subsequent Marvel Studios films.^[45] In July 2013, Disney purchased the distribution rights to Iron Man, Iron Man 2, Thor and Captain America: The First Avenger from Paramount.^[46] The Incredible Hulk was not part of the deal, due to an agreement between Marvel and Universal, where Marvel owns the film rights and Universal owns the distribution rights, for this film as well as the right of first refusal to distribute future Hulk films.^[47] According to The Hollywood Reporter, a potential reason why Marvel has not bought the film distribution rights to the Hulk as they did with Paramount for the Iron Man, Thor, and Captain America films is because Universal holds the theme park rights to several Marvel characters that Disney wants for its own theme parks.^[48]

In February 2015, Sony Pictures Entertainment and Marvel Studios announced a licensing deal that would allow Spider-Man to appear in the Marvel Cinematic Universe, with the character first appearing in Captain America: Civil War.^[49][50] Marvel Studios explored opportunities to integrate other characters of the Marvel Cinematic Universe into future Spider-Man films financed, distributed, and controlled by Sony Pictures,^[49] with Robert Downey Jr. the first confirmed to reprise his role as Tony Stark / Iron Man in Spider-Man: Homecoming.^[51] In June 2015, Feige clarified that the initial Sony deal does not apply to the MCU television series, as it was «very specific … with a certain amount of back and forth allowed».^[52] Both studios have the ability to terminate the agreement at any point, and no money was exchanged with the deal. However, a small adjustment was made to a 2011 deal formed between the two studios (where Marvel gained full control of Spider-Man’s merchandising rights, in exchange for making a one-time payment of $175 million to Sony and paying up to $35 million for each future Spider-Man film, and forgoing receiving their previous 5% of any Spider-Man film’s revenue), with Marvel getting to reduce their $35 million payment to Sony if Spider-Man: Homecoming grossed more than $750 million.^[53] Marvel Studios still received 5% of first dollar gross for the film.^[54] Sony also paid Marvel Studios an undisclosed producer fee for Homecoming.^[55]

In August 2019, it was reported that Disney and Sony could not reach a new agreement regarding Spider-Man films, with Marvel Studios and Feige said to no longer have any involvement in future films. Deadline Hollywood noted that Disney had hoped future films would be a «50/50 co-financing arrangement between the studios», with the possibility to extend the deal to other Spider-Man-related films, an offer Sony rejected and did not counter. Instead, Sony hoped to keep the terms of the previous agreement (Marvel receiving 5% of the film’s first dollar gross), with Disney refusing.^[54] The Hollywood Reporter added that the lack of a new agreement would see the end of Holland’s Spider-Man in the MCU.^[56] Variety cited unnamed sources claiming negotiations had «hit an impasse» and that a new deal could still be reached.^[57] In September 2019, it was announced that Disney and Sony had reached a new agreement allowing for Spider-Man to appear in the untitled Spider-Man: Far From Home sequel as the third film co-produced by Marvel Studios and Sony Pictures and a future Marvel Studios film.^[58] Disney was reported to be co-financing 25% of the film in exchange for 25% of the film’s profits in the new agreement, while retaining the merchandising rights to the character.^[58][59] Feige noted that as Sony continued to separately build their own shared universe, it was possible this version of Spider-Man could appear in that universe.^[58] This interaction was said to be «a ‘call and answer’ between the two franchises as they acknowledge details between the two in what […] would loosely be described as a shared detailed universe».^[59] In October 2020, Jamie Foxx was cast to reprise his role as Electro from The Amazing Spider-Man 2 (2014) in the third MCU Spider-Man film,^[60] and that December, Alfred Molina and Kirsten Dunst were set to reprise their respective roles as Otto Octavius / Doctor Octopus and Mary Jane Watson from Sam Raimi’s Spider-Man film trilogy,^[61][62] along with Andrew Garfield as his Peter Parker / Spider-Man from Marc Webb’s The Amazing Spider-Man films. Emma Stone was also expected to return as Gwen Stacy from the latter films, while Tobey Maguire was in talks to return as his Peter Parker from the Raimi films.^[62]

Television

Marvel Television

In June 2010, Marvel Television was launched with Jeph Loeb as head.^[63] In October 2019, further corporate restructuring saw Feige named Chief Creative Officer of Marvel Entertainment, with Marvel Television becoming part of Marvel Studios and executives of Marvel Television reporting to Feige.^[64] However, in December 2019, Marvel Television was folded into Marvel Studios, with Marvel Studios taking over production of the current series at the time; no further series from Marvel Television were being considered for development.^[65]

Broadcast

By July 2012, Marvel Television had entered into discussions with ABC to create a show set in the MCU,^[66] and in August, ABC ordered a pilot for a show called S.H.I.E.L.D., with The Avengers writer/director Joss Whedon involved;^[67] it was later renamed Agents of S.H.I.E.L.D.^[68] In January 2014, the series Agent Carter was announced, joining Agents of S.H.I.E.L.D. at ABC,^[69] while a put pilot order for the half-hour live-action comedy series, Damage Control, was revealed in October 2015.^[70] While talking about Marvel potentially making comedy series, Loeb said in January 2016 that Marvel always feels humor should be a part of anything they produce, despite possibly fitting more within a darker genre, as Daredevil and Jessica Jones do, while staying «grounded and real». He added, «There are moments of levity that are in life that you need to bring to the table, or else it just becomes overwhelmingly oppressive … If you’re going to [explore comic book elements], it’s always a good idea to make sure that the audience is aware that, yeah, it’s funny [too].»^[71]

In May 2016, after ABC had canceled Agent Carter and passed on Marvel’s Most Wanted, ABC Entertainment president Channing Dungey said that Marvel and ABC were working together, looking «at series that would be beneficial to both brands» moving forward.^[72] In November 2016, Marvel and IMAX Corporation announced Inhumans, based on the species of the same name, after a planned film based on the characters had been removed from Marvel Studios’ slate.^[73][74][75] The first two episodes of the series were set to premiere in IMAX theaters in September 2017 for two weeks, before airing on ABC with the remainder of the series.^[73] Ben Sherwood, president of Disney–ABC Television Group, said, «We’ve worked very carefully with our friends at Marvel Studios—and this is a critical point—to make sure that calendar-wise and content-wise we are only enhancing» the MCU; the theatrical debut of the series was timed to not interfere with the release of any Marvel Studios films—the theatrical run of the series will take place between the releases of Spider-Man: Homecoming and Thor: Ragnarok.^[76][77] The deal was initially suggested to Marvel by IMAX after they had held a successful IMAX event with Game of Thrones in 2015. Sherwood described it as «a quadruple win—a win for IMAX, a win for Marvel, a win for ABC Studios and a win for ABC to launch a show in an innovative way and get attention» in an increasingly crowded market. Sherwood hoped that this would be the first of «several innovative ways to launch [television] programming».^[77] In July 2019, it was announced that the seventh season of Agents of S.H.I.E.L.D. would be its last.^[78]

Streaming

Netflix

By October 2013, Marvel was preparing four drama series and a miniseries, totaling 60 episodes, to present to video on demand services and cable providers, with Netflix, Amazon, and WGN America expressing interest.^[79] In November 2013, Disney was set to provide Netflix with live-action series based on Daredevil, Jessica Jones, Iron Fist, and Luke Cage, leading up to a miniseries based on the Defenders.^[80] Disney CEO Bob Iger stated that Netflix was chosen to air the shows, «when Disney realized it could use the streaming service as a way to grow the popularity of the characters». He added that, if the characters prove popular, they could become feature films.^[81] Loeb later stated that Marvel was not «interested in making four pilots and then hoping someday that they could all get together. Netflix really understood what it is we wanted to do. They’re very open to directors that might not have that same opportunity in broadcast television. The notion of having all 13 episodes at one time, particularly in serialized storytelling, is very appealing.»^[82] Loeb added that the four characters chosen «all had a previous existing relationship and all grew up on the same kind of stoop in New York [in the comics]. So it lent itself to a world. Does that mean these shows are going to be the same? No. They can’t be. The characters have different issues, different problems, different feelings about them … the example that I continually give is that I cannot think of two films that are more different in tone than The Winter Soldier and Guardians of the Galaxy. And yet, if you watch them back to back, they feel very Marvel. They feel very much like, ‘Oh, it is still the same universe that I’m in.'»^[83]

Quesada confirmed in April 2014 that the Netflix series would be set within the MCU.^[84] Loeb explained that «Within the Marvel universe there are thousands of heroes of all shapes and sizes, but the Avengers are here to save the universe and Daredevil is here to save the neighborhood … It does take place in the Marvel Cinematic Universe. It’s all connected. But that doesn’t necessarily mean that we would look up in the sky and see [Iron Man]. It’s just a different part of New York that we have not yet seen in the Marvel movies.»^[85] In January 2015, Netflix COO Ted Sarandos said Netflix planned to release a Marvel series approximately a year apart from each other after Daredevil‘s April 2015 release.^[86] A year later, Sarandos noted that the release schedules of the Marvel Netflix series are dependent on the «long production times and long post times. In some cases, when we have characters crossover, it makes it more difficult to manage production. It’s not the goal to put out more than one or two [each] year … The complex one is really The Defenders. The Defenders‘ production schedule will determine a lot of the season 2 and 3 output of those shows.» He noted on potential spin-offs that «all the characters in the universe could also spin out» into their own series at some point,^[87] with Netflix ordering The Punisher, a spin-off from Daredevil, that April.^[88] Sarandos later stated that Netflix was trying to close the gap between releases of Marvel seasons, but would always prioritize the quality of the series over higher numbers of releases per year. He said that Netflix was open to exploring the MCU beyond the Defenders series, including potential crossovers with ABC’s Marvel series.^[89] In July 2016, Marvel and Netflix committed to complete production on 135 episodes by the end of 2017, making the deal the largest television production commitment in New York State. Production for the different series had engaged 500 local vendors and small businesses for various stages of development and had required over 14,000 production-related hires.^[90]

In October 2018, Netflix canceled Iron Fist after two seasons, with Deadline Hollywood reporting that Disney was considering reviving the series on its streaming service Disney+.^[91] Sarandos confirmed that the series were Netflix’s to renew or cancel if they wished, and the company was «super happy with [the other series’] performance so far».^[92] Despite this, Luke Cage was canceled by the streamer a week after Iron Fist was. Deadline Hollywood reported there were no plans to revive the series on Disney+ as with Iron Fist.^[93] Shortly after, at the end of November 2018, Netflix canceled Daredevil after three seasons, with Deadline Hollywood again reporting there was the potential for the series to be revived on Disney+.^[94] Conversely, The Hollywood Reporter felt it was unlikely the series would be revived on Disney+ and noted the two other remaining series at the time (Jessica Jones and The Punisher) would remain on Netflix «until they run their course».^[95] Variety added that, per the original deal between Marvel and Netflix for the series, the characters cannot appear in any non-Netflix series or films for at least two years following their cancellation.^[96][97] Kevin A. Mayer, chairman of Walt Disney Direct-to-Consumer and International, noted that, while it had not yet been discussed, it was a possibility that Disney+ could revive the canceled Netflix series.^[98] Netflix canceled both Jessica Jones and The Punisher in February 2019, after three seasons and two seasons, respectively.^[99]

Hulu

In August 2016, Marvel announced that Runaways had received a pilot order from Hulu,^[100] eventually receiving a 10 episode order the following May.^[101] That July, Loeb confirmed the series would take place in the MCU saying, «It all lives in the same world, how it’s connected and where it’s connected and what it’s going to be connected to remains to be seen.» He added that the characters would not be concerned with the actions of others in the universe, instead focusing on their own issues. This allowed showrunners Josh Schwartz and Stephanie Savage to deal with concepts such as superheroics and fantasy without explaining them to the audience, since they are already well established in the MCU, while still focusing on their own characters, which they described as «liberating».^[102] In May 2019, Marvel announced that Ghost Rider and Helstrom had been greenlit for the service,^[103] and that the former was to focus on the «same character [introduced in Agents of S.H.I.E.L.D.] with [a] new story that lives unto its own.»^[104] In September 2019, it was announced that Ghost Rider would not be going forward, due to creative differences,^[105] while Runaways was canceled that November ahead of its third season.^[106] When Marvel Television was folded into Marvel Studios in December, the studio said that production on Helstrom would be completed but no further series would be developed.^[65]

Cable

In April 2016, the ABC-owned cable network Freeform announced Cloak & Dagger, based on the characters of the same name, with a straight-to-series order for 2018.^[107][108] The network confirmed that the series would be «its first venture into the Marvel Cinematic Universe», and described the show as a «superhero love story», a premise that Variety called «a seamless fit for Freeform» given the network’s target audience of «Becomers» (the 14–34 age demographic).^[107][109] This younger-skewing content was continued with the comedy series New Warriors ordered in April 2017, with Freeform executive Karey Burke saying, Marvel «started to see our strength with young adults and together we could create a pipeline for content that was specific to our audience that felt younger than what they’re doing at the other channels… It was important to both of us to find the right characters that felt like they would speak directly to Freeform’s audience. The Avengers wouldn’t work here but the about-to-be-Avengers works here.»^[110] Loeb noted that it was «exciting» to Marvel «to be able to explore the world of the hero and how it affects someone who is trying to figure out who they are as opposed to already knows who they are and now their whole life has to take a left. That’s the journey we’re going on with these kinds of characters» in Cloak & Dagger, New Warriors and Hulu’s Runaways.^[111] By November 2017, New Warriors was no longer set to air on Freeform and was being shopped to other networks,^[112] and was reported to be canceled in September 2019 after it failed to find a new broadcaster,^[113] while Cloak and Dagger was canceled the following month.^[114]

Crossovers to feature films

Agents of S.H.I.E.L.D. executive producer Jeffrey Bell revealed at the show’s 2014 PaleyFest panel that the producers and writers are able to read the screenplays for upcoming MCU films to know where the universe is heading.^[116] He noted that since the films have to be «big» and move «quickly through a lot of huge pieces», it is beneficial for the films to have the television series fill in any «gaps» for them.^[117] His fellow executive producer Jed Whedon explained that each Marvel project is intended to stand alone first before there is any interweaving, and noted that the series has to be aware of the film division’s plans so as not to interfere when introducing someone or something to the universe.^[118] Bell said this was preferable so that people who do not watch the films can still follow the series, and vice versa.^[117] Joss Whedon noted that this process «unfortunately just means the TV show gets, you know, leftovers». He stated that, for example, the series’ creative team initially wanted to use Loki’s scepter from The Avengers but were unable due to his plans for it in Avengers: Age of Ultron (2015).^[119]

In April 2014, Quesada stated that, beyond connecting to themselves, the Netflix series would connect with the films and other television series.^[84] In October 2014, Feige said the opportunity «certainly» existed for characters in the Netflix series to appear in Avengers: Infinity War (2018).^[20] In March 2015, Loeb spoke on the ability for the Netflix series to crossover with the films and the ABC series, saying, «As it is now, in the same way that our films started out as self-contained and then by the time we got to The Avengers, it became more practical for Captain America to do a little crossover into [Thor: The Dark World] and for Bruce Banner to appear at the end of Iron Man 3. We have to earn that. The audience needs to understand who all of these characters are and what the world is before you then start co-mingling».^[120] In September 2015, Feige elaborated on the films referencing the television series, saying «I think that’s inevitable at some point … The schedules do not always quite match up to make that possible. It’s easier for [the shows]. They’re more nimble and faster and produce things quicker than we do, which is one of the main reasons you see the repercussions of Winter Soldier or [Avengers: Age of Ultron] in the show … by the time we start doing a movie, they’d be mid-way through a season. By the time our movie comes out, they’d be [starting the next season]. So finding the timing on that is not always easy.»^[27]

Loeb talked further on the subject in July 2016, reiterating the issue of scheduling by saying «if I’m shooting a television series and that’s going to go on over a six-month or eight-month period, how am I going to get [a television series actor] to be able to go be in a movie?» He noted that this would not be as much of an issue if characters were making very minor cameo appearances, but explained that Marvel was not interested in cameos and Easter eggs just for the sake of fan service, which could detract from the story being told; «As I often get reported by you folks for saying #ItsAllConnected, our feeling is that the connection isn’t just whether or not somebody is walking into a movie or walking out of a television show. It’s connected in the way that the shows come from the same place, that they are real, that they are grounded.»^[121] Eric Carroll, producer on Spider-Man: Homecoming, felt with the introduction of Queens-based Spider-Man to the MCU it «would be really fun» to make mention of the Defenders based in Manhattan, adding, «it’s definitely a card I would love to see played, if not sooner rather than later.»^[122]

In January 2017, Vincent D’Onofrio, who portrays Wilson Fisk in Daredevil, said he «would love to switch over to the movies, but I think it’s pretty much been said it’s not going to happen. Or at least not for a very, very long time.» D’Onofrio cited Feige’s previous reasoning as well as the fact that the films already had difficulty «bringing big characters in that they have to service in the writing» and adding characters from the television series would be «just too many characters» since the films were «trying to figure out already how to individualize more and at the same time keep The Avengers going».^[123] In March 2017, Anthony Mackie, who portrays Sam Wilson / Falcon in the films, felt a crossover between the films and television series «wouldn’t work at all» given they are «different universes, different worlds, different companies, different designs» and that «Kevin Feige is very specific about how he wants the Marvel Universe to be seen in the film world.»^[124] That May, Feige noted that a character appearing in a television series would not necessarily exclude them from appearing in a film, adding that «at some point, there’s going to be a crossover. Crossover, repetition, or something.»^[125] Regarding the potential for the Avengers to learn in the films that Phil Coulson is alive, Loeb stated, «It’s certainly something that will get resolved, and it may get resolved in a very surprising way.»^[126]

Loeb said in July 2017 that Marvel Television had no plans for series to crossover across networks. Specifically for the similarly themed Cloak & Dagger, New Warriors, and Runaways, which all deal with young heroes, Loeb noted, «You’ll see things that comment on each other; we try to touch base wherever we can… things that are happening in L.A. [where Runaways is set] are not exactly going to be affecting what’s happening in New Orleans [where Cloak & Dagger is set]… It’s being aware of it and trying to find a way for it to be able to discuss in a way that makes sense.»^[111] He added in October that scheduling of each series factors into why crossovers between them are more difficult to pull off, and that network «feelings» need to be considered. He also spoke on why the television series do not show Avengers Tower as it appears in the films when they depict New York City, and stated that Marvel Television wanted to be «less specific» about the television characters’ relationships to the tower because that «helps the audience understand that this could be on any street corner» and that the characters could be in an area of the city where you would not be able to see the tower, even though it exists.^[127]

In June 2018, speaking to how the MCU television series would be affected by the events of Avengers: Infinity War, Loeb noted that «For the most part our stories will take place before Thanos clicked his fingers. A lot of that has to do with production and when we are telling our stories versus when the movies come out.»^[128] In September 2018, with the report of Marvel Studios developing limited series for Disney’s streaming service Disney+, it was expected that the actors that portrayed the characters in the films would portray them again for the limited series.^[129] In March 2019, Feige said the series would take characters from the films, change them, and see those changes reflected in future films; new characters introduced in the series will crossover to the films.^[130][131]

In April 2019, actor James D’Arcy appeared in Avengers: Endgame, reprising his role of Edwin Jarvis from the television series Agent Carter. This marked the first time a character introduced in an MCU television series appears in an MCU film.^[132] Speaking to how the Marvel Television series fit within the larger MCU timeline, Loeb noted, «We don’t want to ever do something in our show[s] which contradicts what’s happening in the movies. The movies are the lead dog. They’re setting the timeline for the MCU and what’s going on. Our job is to navigate within that world.»^[133] The Roxxon Corporation, which had been featured in the Iron Man films, is referenced in multiple Marvel Television series, with Adam Barnhardt of Comicbook.com calling it «the go-to Easter egg for most shows involved in the Marvel Television sphere».^[134]

Disney+

By November 2017, Disney was looking to develop a new Marvel television series for their streaming service Disney+.^[135] In July 2018, Feige noted discussions had begun with Disney regarding any potential involvement Marvel Studios could have with the streaming service, since Feige felt the service was «an important thing for the company».^[136] In September 2018, it was reported that Marvel Studios was developing several limited series centered on «second-tier» characters from the MCU films who had not and were unlikely to star in their own films. Each series was expected to be six to eight episodes, and would be produced by Marvel Studios rather than Marvel Television, with Feige taking a «hands-on role» in each series’ development.^[129] Feige noted the series being developed for the streaming service would «tell stories… that we wouldn’t be able to tell in a theatrical experience – a longer-form narrative».^[137] He also added that being asked by Disney to create these series «energized everyone creatively» within Marvel Studios, since they «could play in a new medium and throw the rules out the window in terms of structure and format».^[138]

In July 2019, Feige announced the event series of The Falcon and the Winter Soldier, WandaVision, Loki, the animated What If…?, and Hawkeye, as part of the Phase Four slate at San Diego Comic-Con.^[35] Three additional Disney+ series for the phase, Ms. Marvel, Moon Knight, and She-Hulk, were announced at D23 the following month.^[36] The series budgets are reportedly $100–150 million each.^[139] In September 2020, a series centered on Nick Fury was announced to be in development for Disney+,^[140] which would become Secret Invasion. In December 2020, Ironheart and Armor Wars were announced, in addition to The Guardians of the Galaxy Holiday Special.^[37] All are a part of Phase Four.^[38]

Other media

In 2008, the first tie-in comic was released.^[141] Quesada outlined his plan to expand the MCU into comic books, saying, «The MCU [comics] are going to be stories set within movie continuity. [They are] not necessarily direct adaptations of the movies, but maybe something that happened off screen and was mentioned in the movie … Kevin Feige is involved with these and in some cases maybe the writers of the movies would be involved [as well.]»^[142] Marvel Comics worked with Brad Winderbaum, Jeremy Latcham, and Will Corona Pilgrim at Marvel Studios to decide which concepts should be carried over from the Marvel Comics Universe to the Marvel Cinematic Universe, what to show in the tie-in comics, and what to leave for the films.^[143] Marvel has clarified which of the tie-in comics are considered canonical MCU stories, with the rest merely inspired by the MCU, «where we get to show off all the characters from the film in costume and in comic form».^[144]

In August 2011, Marvel announced a series of direct-to-video short films called Marvel One-Shots,^[145] the name derived from the label used by Marvel Comics for their one-shot comics.^[146] Co-producer Brad Winderbaum said, «It’s a fun way to experiment with new characters and ideas, but more importantly it’s a way for us to expand the Marvel Cinematic Universe and tell stories that live outside the plot of our features.»^[145] Each short film is designed to be a self-contained story that provides more backstory for characters or events introduced in the films.^[147] In July 2012, D’Esposito stated that Marvel was considering the idea of introducing established characters who may not yet be ready to carry their own feature films in future One-Shots, stating, «There’s always a potential to introduce a character. We have 8,000 of them, and they can’t all be at the same level. So maybe there are some that are not so popular, and we introduce them [with a short] – and they take off. I could see that happening.»^[148]

In March 2015, Marvel’s Vice President of Animation Development and Production, Cort Lane, stated that animated tie-ins to the MCU were «in the works».^[149] That July, Marvel Studios partnered with Google to produce the faux news program WHIH Newsfront with Christine Everhart, a series of in-universe YouTube videos serving as the center of a viral marketing campaign to promote the films and universe.^[150] In December 2016, a six-part web series, Agents of S.H.I.E.L.D.: Slingshot, was revealed, which debuted on ABC.com on December 13, 2016. It follows Elena «Yo-Yo» Rodriguez on a secret mission, shortly before the start of Agents of S.H.I.E.L.D.‘s fourth season, with Natalia Cordova-Buckley reprising her role.^[151] In September 2019, Sony created a real version of the fictional TheDailyBugle.net website as part of a viral marketing campaign to promote the home media release of Spider-Man: Far From Home. Inspired by real-world «conspiracy-pushing» websites such as that of Alex Jones, the website features J. K. Simmons reprising his role as J. Jonah Jameson in a video where he speaks out against Spider-Man before adding «Thanks for watching. Don’t forget to like and subscribe!»^[152][153] In December 2020, Marvel Studios announced I Am Groot, a series of shorts starring Baby Groot for Disney+,^[154][37] as well as Marvel Studios: Legends.

Business practices

Marvel Studios developed specific business practices to create its shared universe, including choosing filmmakers that were considered «out-of-left-field», given their previous work. Feige remarked, «You don’t have to have directed a big, giant visual-effects movie to do a big, giant visual-effects movie for us. You just have to have done something singularly sort of awesome,»^[156] adding «It’s worked out well for us when we’ve taken people [such as Jon Favreau, Joss Whedon, Kenneth Branagh, and the Russo brothers,] that have done very, very good things. Very rarely are one of those good things a big giant blockbuster superhero movie.»^[157] The studio looks for filmmakers to hire who are able to guide a film.^[158] When hiring directors, the studio usually has «a kernel of an idea of what we want», which is presented to potential directors over the course of several meetings to discuss and further expand. «And if over the course of three or four or five meetings they make it way better than what we initially were spewing to them, they usually get the job», according to Feige.^[27] Later expanding on this process, Feige explained that before talking to any directors on a film, Marvel Studios often puts together a «lookbook» of influences from the comics and art by Marvel’s visual development department, to create a visual template for the film. These are put together at company retreats, which the studio holds every «18 months or so» to plan out and develop the phases of the MCU. These lookbooks are not always shown to directors, though, with Marvel sometimes preferring to let the director offer their own ideas first.^[159]

Scott Derrickson did not see a lookbook for Doctor Strange, instead putting together his own presentation, with concept art and storyboards by himself and professionals he hired, to sell himself and his vision of the film to Marvel. In contrast, Marvel shared several different ideas for what Thor: Ragnarok could be with prospective filmmakers, who then went away and developed what they thought the film should be from that. Taika Waititi created a sizzle reel using clips from other films to present his vision based on Marvel’s ideas, a practice that Marvel discourages as they «oftentimes can be really terrible». However, Marvel thought Waititi’s was «amazing». Derrickson and Waititi were both eventually hired for the films.^[159] For Captain America: The Winter Soldier, Joe and Anthony Russo met with the studio four times over two months before they were hired, during which they «kept getting more and more specific about what our vision was», putting together «reference videos, storyboards, script pages, you name it. We did like a 30-page book that had everything that we’d do with the character, from the theme of the movie to the tone of the film to the fighting style to what we liked about the character and what we didn’t like». This meant that by the time they were hired they had already «figured the movie out».^[160]

When the studio hired Kenneth Branagh and Joe Johnston to direct Thor and Captain America: The First Avenger, respectively, it made sure both directors were open to the idea of a shared universe and including Avengers set-up scenes in their films.^[6] Joe Russo stated, «That’s the exciting component of [incorporating references to the larger universe]. ‘What can we set up for the future?’ You’re constantly pitching out ideas that not only affect your movie, but may have a ripple effect that affects other films … It’s a weird sort of tapestry of writers and directors working together to create this universe that’s sort of organic.»^[21] Anthony added, «The great thing about the Marvel [Cinematic Universe], just like the publishing [arm], it’s a very vast, inter-connected universe, where characters will have their rise and fall, so to speak, and hand off to other characters. As the cinematic universe moves forward, you may start to see the cinematic universe adopt that same pattern, as the publishing has, where there’s closure with some characters and new beginnings with other characters.»^[161] He added that, for directors to «fit» in at Marvel, they must understand how to «take a larger story and wrangle it into a moment», yet keep it connected.^[21]

On allowing directors and writers to work within Marvel’s shared universe concept, Joe Russo said that Feige has «big pieces that he knows he wants to build towards, but the way that you get there is open to interpretation and improv a little bit». For the Russos in The Winter Soldier, they had to deal with the idea of S.H.I.E.L.D. being infiltrated by Hydra, with Joe saying, «how we get there is all up to us. And I think why Marvel has been so successful is because it’s been such a clear plan, that everything is interconnected and they’re building emotional capital with each movie that you can then trade off of in the next film.»^[162] Joe later elaborated that once each film’s creative team «come up with conceptually what we want to do» for a film, then we will ask questions about whether this would interfere with a storyline in another movie. Or, what’s going on in that film, can we pull some of that into this film? That’s where you start looking for the interconnectedness, but it’s very important early on that the concept be created in a bubble because you have to protect the idea, it has to be driven by storytelling. Kevin’s … always in the mindset of «let’s just make this movie now and worry about the next movie when it comes.»^[160]

Loeb explained that Marvel Television sees «ourselves as producers who are working to support the vision of our showrunner. But we’re involved in every aspect of the production—whether it’s being in the writers’ room, editing on set, casting—every step of the production goes through the Marvel team to tell the best story that we can.» He added that the studio is able to work on so many series across different networks and platforms because «it just requires that we make sure that there’s always someone from Marvel there to help guide the process.»^[163]

Marvel Studios also began contracting their actors for multiple films, including signing actor Samuel L. Jackson to a then «unprecedented» nine-movie contract.^[165] In July 2014, Feige said that the studio has all actors sign contracts for multiples films, with the norm being for 3 or more, and the 9 or 12 film deals «more rare».^[166] Actor’s contracts also feature clauses that allows Marvel to use up to three minutes of an actor’s performance from one film for another, which Marvel describes as «bridging material».^[26] At Marvel Television, actors such as Charlie Cox (Matt Murdock / Daredevil in Daredevil) and Adrianne Palicki (Bobbi Morse / Mockingbird in Agents of S.H.I.E.L.D.) are contractually obliged to appear in a Marvel film if asked.^[167][168] In May 2015, after starring as Claire Temple in the first season of Daredevil, Rosario Dawson signed with Marvel to return for the second season of the series as part of an «exclusive TV deal» that also allows her to appear in any other Marvel Netflix series.^[169] Dawson’s character has been featured as well in all the other Netflix shows, except The Punisher, linking them together similarly to Jackson’s Nick Fury in the films.^[170] Dawson explained that she signs on with Marvel for a year at a time, for a certain number of episodes, and finds out which series the episodes are for closer to the time of filming.^[171]

In August 2012, Marvel signed Joss Whedon to an exclusive contract through June 2015 for film and television. With the deal, Whedon would «contribute creatively» on Phase Two of the MCU and develop the first television series set in the universe.^[172] In March 2013, Whedon expanded on his consulting responsibilities, saying, «I understand what Kevin [Feige] is going for and where he’s heading, and I read the scripts and watch cuts and talk to the directors and writers and give my opinion. Occasionally there could be some writing. But I’m not trying to get in anybody’s soup, I’m just trying to be helpful.»^[173] Whedon later elaborated that «Since the story has already been approved and everybody knows what we’re doing with Avengers 2, we can really lay it out. It’s not like anyone’s saying «well I don’t know, what if I need that?» It’s like «doing this is troublesome for us, whereas doing this will actually help us.» … You want to honor the events of the last movie but you don’t want to be beholden to them, because some people will see Avengers[: Age of Ultron] who did not see any of the movies in between or even Avengers 1.» He also found working in television and script doctoring to be «great training ground[s] for dealing with this … because you’re given a bunch of pieces and told to make them fit—even if they don’t.»^[174]

For the Russo brothers and writers Christopher Markus and Stephen McFeely working on Avengers: Infinity War and Phase Three, they saw «a through line from Winter Soldier, through Civil War, right to Infinity War«, with films like Doctor Strange and Thor: Ragnarok laying groundwork for the «culmination» in Infinity War. Subsequently, they talked «to the directors and writers of the other Phase 3 movies on an almost weekly basis, to make sure everything lines up right».^[175] Peyton Reed, director of Ant-Man and Ant-Man and the Wasp, felt the relationship and collaboration between the Phase Three directors was «probably the closest thing that this generation will have to a ’30s- or ’40s-era studio system where you are all on the lot and you are all working on different things.»^[176] Similarly, when developing the crossover miniseries The Defenders, showrunner Marco Ramirez consulted with the creators of all the individual Marvel Netflix series, having them read each of the scripts for The Defenders and provide insight into the individual character’s world.^[177]

In April 2017, along with his announcement that he was returning to write and direct Guardians of the Galaxy Vol. 3 (2023), James Gunn revealed he would be working with Marvel «to help design where these stories go, and make sure the future of the Marvel Cosmic Universe is as special and authentic and magical as what we have created so far».^[178] However, in July 2018, Disney and Marvel severed ties with Gunn following controversy surrounding several old jokes Gunn had made.^[179][180] By that October, Disney and Marvel Studios reversed course and rehired Gunn as director of the film, which was announced in March 2019.^[181][182]

By December 2020, because of the impact COVID-19 had on theaters and film studios shifting away from theatrical releases, Marvel Studios began exploring updated contracts for actors, writers, directors, and producers to received adjusted compensation in the event a film had to debut on Disney+ instead of in theaters. TheWrap reported it was believed the new contracts would only apply to films about to enter production, and was unclear if any adjustments would be made to contracts for films already completed but not yet released.^[183]

Feature films

The Infinity Saga

The first three phases are collectively known as «The Infinity Saga».^[184]

Future

Television series

Marvel Television series

|}

Marvel Studios series

Short films

Marvel One-Shots

I Am Groot

In December 2020, I Am Groot, a series of short films starring Baby Groot, was announced for Disney+.^[154][37]

Digital series

Literature

Comic books

Books

For books written about the MCU, see § Guide books below.

The Wakanda Files: A Technological Exploration of the Avengers and Beyond is «a collection of papers, articles, blueprints, and notes amassed throughout history by Wakanda’s War Dogs» at the request of Shuri. It is organized by areas of study, and covers the technological advancements throughout the Marvel Cinematic Universe. The book, which exists in-universe, was written by Troy Benjamin and published by Epic Ink and Quarto Publishing Group. The Wakanda Files has content printed with UV ink that can be viewed with Kimoyo bead–shaped UV lights included with the book. It was released on October 20, 2020.^[290]

Recurring cast and characters

List indicator(s)

This section includes characters who will appear or have appeared in multiple MCU media.

• A dark grey cell indicates the character was not in the media, or that the character’s presence has not yet been confirmed.
• A ^C indicates an uncredited cameo role.
• A ^P indicates an appearance in onscreen photographs.
• A ^V indicates a voice-only role.

Character	Feature films	Television series	Short films	Digital series	Outside media[lower-alpha 1]
Bruce Banner Hulk	Edward Norton[291] Lou FerrignoV[292] Mark Ruffalo[293]	Mark Ruffalo[294]		Mark Ruffalo[295][296]
James «Bucky» Barnes Winter Soldier	Sebastian Stan[297][298]		Sebastian StanV[296]
Clint Barton Hawkeye	Jeremy Renner[299][300]		Jeremy RennerV[296]
Georges Batroc	Georges St-Pierre[301][302]
Yelena Belova Black Widow	Florence Pugh[303][304]
Felix Blake		Titus Welliver[305][148]		Titus Welliver[306]
Emil Blonsky Abomination	Tim Roth[307][294]
Peggy Carter	Hayley Atwell[308][69][309]		Hayley AtwellV[296]
Sharon Carter	Emily VanCamp[310][311]
Phil Coulson	Clark Gregg[312][313]
Darren Cross Yellowjacket	Corey Stoll[314]		Corey Stoll[315]
Drax the Destroyer	Dave Bautista[316]		Dave Bautista[317]
Timothy «Dum Dum» Dugan	Neal McDonough[318][319][309]		Neal McDonoughV[296]
Matthew Ellis	William Sadler[320][321]		William Sadler[322]
Christine Everhart	Leslie Bibb[251]		Leslie Bibb[150]
Leo Fitz		Iain De Caestecker[323]		Iain De Caestecker[313]
Jane Foster	Natalie Portman[324]		Natalie PortmanV[296]
Nick Fury	Samuel L. Jackson[325][326][140]		Samuel L. JacksonV[296]
Gamora	Zoe Saldana[327]		Zoe Saldana[317]
Grandmaster	Jeff Goldblum[328]		Jeff Goldblum[329][296]
Justin Hammer	Sam Rockwell[330]		Sam Rockwell[331]
Maria Hill	Cobie Smulders[332][333]
J. Jonah Jameson	J. K. Simmons[334]		J. K. Simmons[152]
Edwin Jarvis	James D’Arcy[132][335]
Daisy «Skye» Johnson Quake		Chloe Bennet[336]		Chloe Bennet[313]
Kamala Khan Ms. Marvel	Iman Vellani[337][338]
Erik Killmonger	Michael B. Jordan[339]		Michael B. JordanV[296]
Korath the Pursuer	Djimon Hounsou[203]		Djimon HounsouV[296]
Korg	Taika Waititi[340]		Taika WaititiV[296]
Kraglin	Sean Gunn[341]		Sean GunnV[296]
Scott Lang Ant-Man	Paul Rudd[342]		Paul Rudd[315]	Paul RuddV[296][343]
Darcy Lewis	Kat Dennings[344][345]
List	Henry Goodman[346][347]
Loki	Tom Hiddleston[348][349]		Tom HiddlestonV[296]
Jeffrey Mace Patriot		Jason O’Mara[350]		Jason O’Mara[313]
Alphonso «Mack» MacKenzie		Henry Simmons[351]		Henry Simmons[313]
Gideon Malick	Powers Boothe[352]
Wanda Maximoff Scarlet Witch	Elizabeth Olsen[353][298]
Melinda May		Ming-Na Wen[354]		Ming-Na Wen[313]
Tina Minoru	Linda Louise Duan[355][356]	Brittany Ishibashi[357]
Jim Morita	Kenneth Choi[318][319]
Nebula	Karen Gillan[203]		Karen GillanV[296]
Peter Parker Spider-Man	Tom Holland[358]		Tom Holland[359]
Hank Pym	Michael Douglas[360]		Michael DouglasV[296]
Peter Quill Star-Lord	Chris Pratt[361]		Chris PrattV[296][317]
Monica Rambeau	Akira Akbar[362] Teyonah Parris[337]	Teyonah Parris[363]
James «Rhodey» Rhodes War Machine / Iron Patriot	Terrence Howard[364] Don Cheadle[365]	Don Cheadle[366]
Elena «Yo-Yo» Rodriguez		Natalia Cordova-Buckley[367]		Natalia Cordova-Buckley[313]
Shuri	Letitia Wright[368]		Letitia WrightV[343]
Sif	Jaimie Alexander[369][370]
Jemma Simmons		Elizabeth Henstridge[323]		Elizabeth Henstridge[313]
Jasper Sitwell	Maximiliano Hernández[371]	Maximiliano Hernández[372] Adam Faison[373]	Maximiliano Hernández[371]
Trevor Slattery	Ben Kingsley[374]		Ben Kingsley[250]
Howard Stark	Gerard SandersP[375] John Slattery[376] Dominic Cooper[377]	Dominic Cooper[378][309]		Dominic CooperV[296]
Dr. Stephen Strange	Benedict Cumberbatch[379]		Benedict CumberbatchV[343]
Talos	Ben Mendelsohn[366]
T’Challa Black Panther	Chadwick Boseman[380]		Chadwick BosemanV[296]
Thanos	Damion PoitierC[381] Josh Brolin[382]		Josh BrolinV[296]
Thor	Chris Hemsworth[383]		Chris Hemsworth[295][296]
Taneleer Tivan Collector	Benicio del Toro[203]		Benicio del Toro[317]
Ultron	James Spader[384]		Ross MarquandV[343]
Hope van Dyne Wasp	Evangeline Lilly[314]		Evangeline LillyV[343]
Anton Vanko	Yevgeni Lazarev[385]	Costa Ronin[386]
Vision J.A.R.V.I.S.	Paul Bettany[387][388][298]		Paul BettanyV[389]
Wolfgang von Strucker	Thomas Kretschmann[390]	Joey Defore[373]
Sam Wilson Falcon	Anthony Mackie[391][298]
Jimmy Woo	Randall Park[392][345]
Yondu	Michael Rooker[393]		Michael RookerV[296]
Helmut Zemo	Daniel Brühl[394][311]
Arnim Zola	Toby Jones[395][396]		Toby JonesV[296]

Additionally, Paul Bettany was the first actor to portray two main characters within the universe, voicing Tony Stark’s artificial intelligence J.A.R.V.I.S. in the Iron Man and Avengers films, and portraying Vision in Avengers films and Captain America: Civil War.^{[397][398][399]} Prior to his death in 2018, Stan Lee, creator or co-creator of many of the characters seen in the MCU, made cameo appearances in all of the feature films and television series except Inhumans. In Iron Fist, it is revealed his on-set photograph cameo in the Marvel Netflix series is as NYPD Captain Irving Forbush.^[400] His cameo in Guardians of the Galaxy Vol. 2 sees Lee appearing as an informant to the Watchers, discussing previous adventures that include Lee’s cameos in other MCU films; he specifically mentions his time as a FedEx delivery man, referring to Lee’s cameo in Captain America: Civil War.^[401] This acknowledged the fan theory that Lee may be portraying the same character in all his cameos,^[402] with writer and director James Gunn noting that «people thought Stan Lee is [Uatu the Watcher] and that all of these cameos are part of him being a Watcher. So, Stan Lee as a guy who is working for the Watchers was something that I thought was fun for the MCU.»^[401][402] Feige added that Lee «clearly exists, you know, above and apart from the reality of all the films. So the notion that he could be sitting there on a cosmic pit stop during the jump gate sequence in Guardians…really says, so wait a minute, he’s this same character who’s popped up in all these films?»^[403] NY1 news anchor Pat Kiernan has also appeared in multiple MCU films and television series as himself.^[404]

Music

Film soundtracks

Television soundtracks

Singles

Reception

Jim Vorel of Herald & Review called the Marvel Cinematic Universe «complicated» and «impressive», but said, «As more and more heroes get their own film adaptations, the overall universe becomes increasingly confusing.»^[405] Kofi Outlaw of Screen Rant stated that while The Avengers was a success, «Marvel Studios still has room to improve their approach to building a shared movie universe».^[406] Some reviewers criticized the fact that the desire to create a shared universe led to films that did not hold as well on their own. In his review of Thor: The Dark World, Forbes critic Scott Mendelson likened the MCU to «a glorified television series», with The Dark World being a «‘stand-alone’ episode that contains little long-range mythology».^[407] Collider’s Matt Goldberg considered that while Iron Man 2, Thor and Captain America: The First Avenger were quality productions, «they have never really been their own movies», feeling that the plot detours to S.H.I.E.L.D. or lead-ups to The Avengers dragged down the films’ narratives.^[408]

The metaphor of the MCU as «the world’s biggest TV show» was discussed again, after the release of Captain America: Civil War, by Emily VanDerWerff of Vox, who felt that film in particular highlighted Marvel’s success with the model, saying, «Viewed in complete isolation, the plot of Captain America: Civil War makes little to no sense … [but] when you think about where [Captain America] has been in earlier Marvel films … his leeriness about being subject to oversight makes a lot more sense.» VanDerWerff continued that when thinking about the MCU as a television series, many «common criticisms people tend to level at it take on a new context» such as complaints that the films are formulaic, lack «visual spark», or «shoehorn in story elements» that «are necessary to set up future films», all characteristics that «are fairly typical on television, where a director’s influence is much lower than that of the showrunner», in this case, Feige. Comparing the films to the series Game of Thrones specifically, VanDerWerff noted that each solo film checks «in on various characters and their individual side stories, before bringing everyone together in the finale (or, rather, an Avengers film)», with Guardians of the Galaxy being equivalent to the character Daenerys Targaryen—»both separated by long distances from everybody else». She noted that this format was an extension of early «TV-like» film franchises such as Star Wars, as well as the format of the comics upon which the films are based. «I say all of this not to suggest that film franchises resembling TV series is necessarily a good trend», VanDerWerff concluded, «For as much as I generally enjoy the Marvel movies, I’m disheartened by the possibility that their particular form might take over the film industry … But I also don’t think it’s the end of the world if Marvel continues on … there’s a reason TV has stolen so much of the cultural conversation over the past few decades. There’s something legitimately exciting about the way the medium tells stories when it’s good, and if nothing else, Marvel’s success shows the film world could learn from that.»^[409]

Following the conclusion of season one of Agents of S.H.I.E.L.D., Mary McNamara at the Los Angeles Times praised the connections between that series and the films, stating that «never before has television been literally married to film, charged with filling in the back story and creating the connective tissue of an ongoing film franchise … [Agents of S.H.I.E.L.D.] is now not only a very good show in its own right, it’s part of Marvel’s multiplatform city-state. It faces a future of perpetual re-invention, and that puts it in the exhilarating first car of television’s roller-coaster ride toward possible world domination.»^[410] Terri Schwartz of Zap2it agreed with this sentiment, stating that «the fact that [Captain America: The Winter Soldier] so influenced the show is game-changing in terms of how the mediums of film and television can be interwoven», though «the fault there seems to be that Agents of S.H.I.E.L.D. had to bide time until The Winter Soldier‘s release», which led to much criticism.^[411]

In January 2015, Michael Doran of Newsarama and Graeme McMillian of The Hollywood Reporter had a «point-counterpoint» debate in response to the first Ant-Man trailer. Doran stated, «Marvel has raised the bar sooo high that as opposed to just allowing another film to finish under the [MCU] bar, we’re all overly and perhaps even eager to overreact to the first thing that doesn’t clear it». McMillian responded, «at this point, Marvel’s brand is such that I’m not sure it can offer up something like [the trailer] without it seeming like a crushing disappointment … part of Marvel’s brand is that it doesn’t offer the kind of run-of-the-mill superhero movie that you’re talking about, that it’s … at least different enough to tweak and play with the genre somehow … The fact that there’s such upset about this trailer being … well, okay … suggests to me that the audience is expecting something to knock their socks off.» Doran concluded, «That does seem to be the point here—the expectations fans now have for everything Marvel Studios … [and] Marvel is going to eventually falter.»^[412]

After seeing the portrayal of Yellowjacket in Ant-Man, the antagonist of the film, McMillian noted,

It’s hardly a secret that Marvel Studios has a bit of a problem when it comes to offering up exciting characters for their heroes to fight against … [their] villains generally fall into one of two camps. There’s the Unstoppable Monster … or there’s the Professional White Guy In A Suit With An Ego … No matter which of the groups the above villains fall into, they share one common purpose: evil. The motivations for evil likely differ—although, invariably, they fall under the umbrella of ‘misguided belief in a greater good that doesn’t exist’—but that really doesn’t matter, because without fail, there will be so little time in the movie to actually properly explore those motivations, meaning that to all intents and purposes, the villain is being evil for reasons of plot necessity and little else … The strange thing about this is that Marvel’s comic books offer a number of wonderful, colorful bad guys who could step outside the above parameters and offer an alternative to the formulaic villains audiences have gotten used to (and arguably bored with) … In future movies, we can only hope [they are] treated in such a way that their freak flags are allowed to fly free.^[413]

Following the release of Jessica Jones, David Priest at CNET wrote about how the series rescues «Marvel from itself … Jessica Jones takes big steps forward in terms of theme, craft and diversity. It’s a good story first, and a superhero show second. And for the first time, the MCU seems like it matters. Our culture needs stories like this. Here’s hoping Marvel keeps them coming.»^[414] For Paul Tassi and Erik Kain of Forbes, watching the series made them question the MCU, with Kain feeling that the «morally complex, violent, dark world of Jessica Jones has no place in the MCU … right now, the MCU is holding back shows like Jessica Jones and Daredevil, while those shows are contributing absolutely nothing to the MCU.»^[415] Tassi went so far as to wonder what «the point of the Marvel Cinematic Universe» is, lamenting the lack of major crossovers in the franchise since the Winter Soldier reveal on Agents of S.H.I.E.L.D., and saying that Jessica Jones is «so far removed from the world of The Avengers, it might as well not be in the same universe at all … [I] really don’t understand the point of [the MCU] if they’re going to keep everything within it separated off in these little boxes».^[416] Conversely, Eric Francisco of Inverse called Jessica Jones‘s lack of overt connections to the MCU «the show’s chief advantage. Besides demonstrating how physically wide open the MCU’s scope really is, Jessica Jones also proves the MCU’s thematic durability.»^[417]

In April 2016, Marvel Studios revealed that Alfre Woodard would appear in Captain America: Civil War, having already been cast as Mariah Dillard in Luke Cage the previous year.^[418] This «raised hopes that Marvel could be uniting its film and Netflix universes»,^[419] with «one of the first and strongest connections» between the two.^[418] However, Civil War writers Christopher Markus and Stephen McFeely revealed that Woodard would instead be portraying Miriam Sharpe in the film, explaining that she had been cast on the suggestion of Robert Downey, Jr., and they had not learned of her casting in Luke Cage until afterwards.^[418] This was not the first instance of actors being cast in multiple roles in the MCU, but this casting was called more «significant», and seen by many as a «disappointing» indication of «the growing divide» and «lack of more satisfying cooperation» between Marvel Studios and Marvel Television following the September 2015 corporate reshuffling of Marvel Entertainment.^[418][420]

Speaking to the 1990s setting of Captain Marvel, «the MCU’s first full period piece since Phase One’s Captain America: The First Avenger in 2011″, Richard Newby of The Hollywood Reporter felt the return of younger versions of some characters introduced and killed in earlier films «open[ed] up the MCU in a whole new way and broaden[ed] the franchise’s mantra of ‘it’s all connected‘«. Speaking specifically to Clark Gregg’s appearance as Agent Phil Coulson in the film, Newby noted the appearance «doesn’t exactly mend fences between Marvel’s film and TV divisions, [but] it does strengthen the connective tissue and the sense that these characters still matter in the grand scheme of Marvel’s film plans». He also hoped that continuity from Agents of S.H.I.E.L.D. would be maintained in Captain Marvel, especially since Coulson has dealt with the Kree in the series. Newby also added that shifting to different time periods would help Marvel Studios «sustain this cinematic universe for the next 10 years» by allowing them to repeat some of the genres previously used, as they could then feel «fresh» and have «different rules and different restraints,» as well as allow them to build upon material established in the television series such as Agent Carter. He concluded,

Marvel Studios has an entire sandbox to play in, but, for necessary reasons, has largely chosen to remain in a small corner in order to ground audiences in these concepts. Now that the basis has been laid, the opportunity for exploration in both film and television lies ahead, with Captain Marvel leading the way. Wherever Marvel Studios plans to take the MCU in the future, it’s refreshing to know that its past is expansive and filled with infinite possibilities.^[421]

Likewise, in his review of Avengers: Endgame, Joe Morgenstern of The Wall Street Journal acknowledged the unique achievement that the Marvel Cinematic Universe had accomplished:

These are difficult times for big-screen entertainment. As the medium declines and TV grows ascendant, authentic spectacles—as opposed to lavish embellishments of smallish ideas—threaten to become a thing of the fabled past. All the more reason, then, to cherish what Marvel has achieved, even though befuddling stumbles have occurred along the way. The studio has kept the faith by smartening up most of its films, not dumbing them down, by banking on, and raking in profits from, the audience’s appetite for surprise, its capacity for complexity. When the final battle comes at the end of Avengers: Endgame, it’s inevitably unwieldy—every Marvel character you can think of from the past decade shows up for one more assault on cosmic evil—but thrilling all the same, and followed by a delicate coda. So many stories. So many adventures. So much to sort out before the next cycle starts.^[422]

In October 2019, filmmaker Martin Scorsese openly criticized Marvel films in an interview and during a David Lean lecture in London, later expanded in an op-ed in The New York Times, saying these films are not cinema, but are instead the equivalent of theme park rides that lack «mystery, revelation or genuine emotional danger».^{[423][424][425]} He also stated that such films are corporation products that have been «market-researched, audience-tested, vetted, modified, revetted and remodified until they’re ready for consumption», and that the invasion of such «theme park» films in theaters crowded out films by other directors.^[426] Scorsese’s remarks received backlash from directors of MCU films such as Joss Whedon and James Gunn,^[423] while they were defended by Francis Ford Coppola, who described the potential effect of Marvel films on the film industry as «despicable».^[427] Conversely, George Miller asserted:

To me, it’s all cinema. I don’t think you can ghettoize it and say, oh this is cinema or that is cinema. It applies to all the arts, to literature, the performing arts, painting and music, in all its form. It’s such a broad spectrum, a wide range and to say that anyone is more significant or more important than the other, is missing the point. It’s one big mosaic and each bit of work fits into it.^[428]

Cultural impact

Other studios

After the release of The Avengers in May 2012, Tom Russo of Boston.com noted that aside from the occasional «novelty» such as Alien vs. Predator (2004), the idea of a shared universe was virtually unheard of in Hollywood.^[6] Since that time, the shared universe model created by Marvel Studios has begun to be replicated by other film studios that held rights to other comic book characters. In April 2014, Tuna Amobi, a media analyst for Standard & Poor’s Equity Research Services, stated that in the previous three to five years, Hollywood studios began planning «megafranchises» for years to come, opposed to working one blockbuster at a time. Amobi added, «A lot of these superhero characters were just being left there to gather dust. Disney has proved that this [approach and genre] can be a gold mine.»^[429] However, with additional studios now «playing the megafranchise game», Doug Creutz, media analyst for Cowen and Company, feels the allure will eventually die for audiences: «If Marvel’s going to make two or three films a year, and Warner Brothers is going to do at least a film every year, and Sony’s going to do a film every year, and Fox [is] going to do a film every year, can everyone do well in that scenario? I’m not sure they can.»^[429]

In March 2018, Patrick Shanley of The Hollywood Reporter opined that «the key differences between a regular franchise, such as The Fast and the Furious or Pitch Perfect films, and a shared universe is the amount of planning and interweaving that goes into each individual film. Its all too easy to make a film that exists solely for the purpose of setting up future installments and expanding a world, rather than a film that stands on its own merits while deftly hinting or winking at its place in the larger mythos. In that, the MCU has flourished.» He felt that Iron Man «itself was aimed at being an enjoyable stand-alone experience, not as an overall advertisement for 17 subsequent movies. That mentality has persisted through most of the MCU films over the past decade, which is all the more impressive as its roster of heroes now exceeds the two-dozen mark.»^[430]

DC Entertainment and Warner Bros. Pictures

In October 2012, following its legal victory over Joe Shuster’s estate for the rights to Superman, Warner Bros. Pictures announced that it planned to move ahead with its long-awaited Justice League film, uniting such DC Comics superheroes as Batman, Superman, and Wonder Woman. The company was expected to take the opposite approach to Marvel, releasing individual films for the characters after they have appeared in a team-up film.^[431] The release of Man of Steel in 2013 was intended to be the start of a new shared universe for DC, «laying the groundwork for the future slate of films based on DC Comics».^[432] In 2014, Warner Bros. announced that slate of films, similarly to Disney and Marvel claiming dates for films years in advance.^[433] That year, DC CCO Geoff Johns stated that the television series Arrow and The Flash were set in a separate universe from the new film one,^[434] later clarifying that «We look at it as the multiverse. We have our TV universe and our film universe, but they all co-exist. For us, creatively, it’s about allowing everyone to make the best possible product, to tell the best story, to do the best world. Everyone has a vision and you really want to let the visions shine through … It’s just a different approach [to Marvel’s].»^[435]

Discussing the apparent failure of the cinematic universe’s first team-up film, Batman v Superman: Dawn of Justice, to establish a successful equivalent to the MCU, Emily VanDerWerff noted that where the MCU has a television-like «showrunner» in Feige, «the visionary behind Marvel’s entire slate», the DCEU has director Zack Snyder, whose DC films «seemingly start from the assumption that people have come not to see an individual story but a long series of teases for other ones. It’s like he knows what he needs to do but can’t focus on the task at hand. TV certainly isn’t immune to that problem, but shows that get caught up in high-concept premises and big-picture thinking before doing the necessary legwork to establish characters and their relationships tend to be canceled.»^[409] Subsequently, in May 2016, Warner Bros. gave oversight of the DCEU to Johns and executive Jon Berg in an attempt to «unify the disparate elements of the DC movies» and emulate Marvel’s success. The two were made producers on the Justice League films, on top of Johns’ involvement in several «solo» films, such as the post-production process of Suicide Squad or the writing process of a standalone Batman film.^[436] After the successful release of Wonder Woman in June 2017, DC decided to begin deemphasizing the shared nature of their films, with DC Entertainment president Diane Nelson stating, «Our intention, certainly, moving forward is using the continuity to help make sure nothing is diverging in a way that doesn’t make sense, but there’s no insistence upon an overall story line or interconnectivity in that universe… Moving forward, you’ll see the DC movie universe being a universe, but one that comes from the heart of the filmmaker who’s creating them.» Additionally, DC began focusing on films «completely separate from everything else, set entirely outside the» DCEU as part of a new label, with the first film centered on the Joker.^[437]

20th Century Fox

In November 2012, 20th Century Fox announced plans to create their own shared universe, consisting of Marvel properties that it holds the rights to including the Fantastic Four and X-Men, with the hiring of Mark Millar as supervising producer. Millar said, «Fox are thinking, ‘We’re sitting on some really awesome things here. There is another side of the Marvel Universe. Let’s try and get some cohesiveness going.’ So they brought me in to oversee that really. To meet with the writers and directors to suggest new ways we could take this stuff and new properties that could spin out of it.»^[438] X-Men: Days of Future Past, released in 2014, was Fox’s first step towards expanding their stable of Marvel properties and creating this universe,^[439] ahead of the release of a Fantastic Four reboot film the next year.^[440] However, in May 2014, Days of Future Past and Fantastic Four screenwriter Simon Kinberg stated that the latter film would not take place in the same universe as the X-Men films, explaining that «none of the X-Men movies have acknowledged the notion of a sort of superhero team—the Fantastic Four. And the Fantastic Four acquire powers, so for them to live in a world where mutants are prevalent is kind of complicated, because you’re like, ‘Oh, you’re just a mutant.’ Like, ‘What’s so fantastic about you?’ … they live in discrete universes.»^[440] In July 2015, X-Men director Bryan Singer said that there was still potential for a crossover between the X-Men and Fantastic Four franchises, if reaction to Fantastic Four and X-Men: Apocalypse warranted it.^[441]

Feeling that Singer’s efforts in Apocalypse to establish a larger world, similar to the MCU, did not meet the standards established by Marvel, VanDerWerff noted that unlike Feige’s ability to serve as «pseudo-showrunner», Singer is instead «steeped in film and the way movie stories have always been told», so «when it comes time to have Apocalypse dovetail with story threads from the earlier X-Men: First Class [directed by Matthew Vaughn], both Singer’s direction and Simon Kinberg’s script rely on hackneyed devices and clumsy storytelling», indicating a lack of «the kind of big-picture thinking this sort of mega franchise requires».^[409] In his review of Dark Phoenix, Joe Morgenstern of The Wall Street Journal characterized the entire X-Men film series as being a «notoriously erratic franchise.»^[442]

Sony Pictures

In November 2013, Sony Pictures Entertainment Co-Chairman Amy Pascal announced that the studio intended to expand their universe created within the Marc Webb Amazing Spider-Man series, with spin-off adventures for supporting characters, in an attempt to replicate Marvel and Disney’s model.^[439] The next month, Sony announced Venom and Sinister Six films, both set in the Amazing Spider-Man universe. With this announcement, IGN stated that the spin-offs are «the latest example of what we can refer to as «the Avengers effect» in Hollywood, as studios work to build interlocking movie universes.»^[443] Sony chose not to replicate the Marvel Studios model of introducing individual characters first before bringing them together in a team-up film, instead making the Spider-Man adversaries the stars of future films.^[429] However, in February 2015, Sony Pictures and Marvel Studios announced that the Spider-Man franchise would be retooled, with a new film co-produced by Feige and Pascal being released in July 2017, and the character being integrated into the MCU. Sony Pictures would continue to finance, distribute, own, and have final creative control of the Spider-Man films.^[49] With this announcement, sequels to The Amazing Spider-Man 2 were canceled,^[444] and by November 2015 the Venom and Sinister Six films, as well as spin-offs based on female characters in the Spider-Man universe, were no longer moving forward.^[444][445] By March 2016, the Venom film had itself been retooled, to start its own franchise unrelated to the MCU Spider-Man.^[446] A year later, Sony officially announced the Venom film to be in development, for an October 5, 2018 release,^[447] along with a film centered on the characters Silver Sable and Black Cat known as Silver & Black.^[448] Both projects were not intended to be a part of the MCU nor spin-offs to Spider-Man: Homecoming, but rather part of an intended separate shared universe known as the Sony Pictures Universe of Marvel Characters.^{[448][449][450]}

After Sony canceled their shared universe plans and started sharing the Spider-Man character with Marvel Studios, multiple critics discussed their failure at replicating the MCU. Scott Meslow of The Week noted the perceived flaws of the first Amazing Spider-Man film, outside of its lead performances, and how the sequel «doubles down on all the missteps of the original while adding a few of its own. …We now have a textbook example of how not to reboot a superhero franchise, and if Sony and Marvel are wise, they’ll take virtually all those lessons to heart as they chart Spider-Man’s next course.»^[451] Scott Mendelson noted that The Amazing Spider-Man 2 «was sold as less a sequel to The Amazing Spider-Man than a backdoor pilot for Spider-Man vs. the Sinister Six. …Had Sony stuck with the original plan of a scaled-down superhero franchise, one that really was rooted in romantic drama, they would have at least stuck out in a crowded field of superhero franchises. When every superhero film is now going bigger, Amazing Spider-Man could have distinguished itself by going small and intimate.» This would have saved Sony «a boatload of money», and potentially reversed the film’s relative financial failure.^[452]

Academia

In September 2014, the University of Baltimore announced a course beginning in the 2015 spring semester revolving around the Marvel Cinematic Universe, to be taught by Arnold T. Blumberg. «Media Genres: Media Marvels» examines «how Marvel’s series of interconnected films and television shows, plus related media and comic book sources and Joseph Campbell’s monomyth of the ‘hero’s journey’, offer important insights into modern culture» as well as Marvel’s efforts «to establish a viable universe of plotlines, characters, and backstories.»^[453][454]

Outside media

Avengers Campus

After the acquisition by Disney in 2009, Marvel films began to be marketed at the Innoventions attraction in Tomorrowland at Disneyland. For Iron Man 3, the exhibit, entitled «Iron Man Tech Presented by Stark Industries», features the same armor display that was shown at the 2012 San Diego Comic-Con, with the Marks I-VII and the new Mark XLII. In addition, there is a simulator game, titled «Become Iron Man», that uses Kinect-like technology to allow the viewer to be encased in an animated Mark XLII armor and take part in a series of «tests,» in which you fire repulsor rays and fly through Tony Stark’s workshop. The game is guided by J.A.R.V.I.S., who is voiced again by Paul Bettany. The exhibit also has smaller displays that include helmets and chest pieces from the earlier films and the gauntlet and boot from an action sequence in Iron Man 3.^[389] The exhibit for Thor: The Dark World is called «Thor: Treasures of Asgard», and features displays of Asgardian relics and transports guests to Odin’s throne room, where they are greeted by Thor.^[455] Captain America: The Winter Soldier‘s exhibit, «Captain America: The Living Legend and Symbol of Courage», features a meet and greet experience.^[456]

From May to September 2017, Disneyland Resort featured the «Summer of Heroes», which sees members of the Guardians and Avengers making appearances throughout the Disneyland Resort. Additionally, the Guardians of the Galaxy: Awesome Dance Off event was featured, which involved Peter Quill / Star-Lord blasting music from his boombox, along with the Avengers Training Initiative, a limited experience where Black Widow and Hawkeye «assemble a group of young recruits to see if they have what it takes to be an Avenger.» Marvel related food and merchandise was also available throughout Hollywood Land at Disney California Adventure during the «Summer of Heroes».^[457]

In March 2018, The Walt Disney Company announced three new Marvel-themed areas inspired by the MCU to Disney California Adventure, Walt Disney Studios Paris, and Hong Kong Disneyland. The developments will be designed by Walt Disney Imagineering in collaboration with Marvel Studios and Marvel Themed Entertainment.^[458]

Hong Kong Disneyland

In October 2013, the Iron Man Experience attraction was announced for Hong Kong Disneyland.^[459] It is set in the Tomorrowland section of the park,^[460] with the area built to look like a new Stark Expo created by Tony Stark after the 2010 one, as seen in Iron Man 2,^[461] with various exhibit halls that include the Mark III armor from the films.^[460][462] The area also has Iron Man and Marvel-themed merchandise items and memorabilia, plus an interactive game where guests can have the chance to try on Iron Man’s armor.^[463] Iron Man Experience sees guests assist Iron Man in defeating Hydra throughout Hong Kong,^[460] and opened on January 11, 2017.^[463]

In March 2018, The Walt Disney Company announced a new Marvel-themed area inspired by the MCU to Hong Kong Disneyland and a new attraction where guests team up with Ant-Man and the Wasp, to join Iron Man Experience.^[458][464] Inspired by Ant-Man and the Wasp,^[465] Ant-Man and The Wasp: Nano Battle! is an enclosed interactive dark ride that sees guests use laser powered weapons to team up with Ant-Man and the Wasp to defeat Arnim Zola and his army of Hydra swarm bots.^[465][466] Ant Man and the Wasp: Nano Battle! replaces the Buzz Lightyear Astro Blasters ride,^[465] and opened on March 31, 2019.^[467]

Disney California Adventure

By San Diego Comic-Con 2016, the Tower of Terror at Disney California Adventure was set to be replaced by a new attraction, Guardians of the Galaxy – Mission: Breakout!. Chris Pratt, Zoe Saldana, Dave Bautista and Benicio del Toro all filmed exclusive footage for the attraction, reprising their roles as Peter Quill / Star-Lord, Gamora, Drax and Taneleer Tivan / The Collector, respectively.^[317][468] James Gunn, director of Guardians of the Galaxy and its sequel, directed footage for the attraction and consulted on all aspects of it.^[469] Guardians of the Galaxy – Mission: Breakout! sees visitors assisting Rocket to rescue the other Guardians from the Collector’s fortress, while the attraction features randomized events during the experience and music inspired by the Awesome Mix Vol. 1 soundtrack. The attraction opened on May 27, 2017.^[457] Despite having multiple references to the MCU, the attraction is not part of the MCU, rather the start of its own theme park universe that is inspired by the MCU.^[470]

In March 2018, The Walt Disney Company announced a new Marvel-themed area inspired by the MCU to Disney California Adventure, anchored by Mission: Breakout!, that will see characters from the MCU such as Iron Man and Spider-Man join the Guardians of the Galaxy in a «completely immersive superhero universe.» The area will replace the «A Bug’s Land» area, which closed in mid-2018 to start construction on the Marvel area.^[458][464]

Walt Disney Studios Park

In March 2018, The Walt Disney Company announced a new Marvel-themed area inspired by the MCU to Disneyland Paris’ Walt Disney Studios Park. The area will include a reimagined attraction where riders will team up with Iron Man and other Avengers on a «hyper-kinetic adventure» in 2020. The park also hosted the «Summer of Super Heroes» live-action stage show from June–September 2018.^[458][464]

Other live attractions

Avengers S.T.A.T.I.O.N.

In May 2014, the Avengers S.T.A.T.I.O.N. (Scientific Training and Tactical Intelligence Operative Network) exhibit opened at the Discovery Times Square center. The exhibit features replica set pieces, as well as actual props from the films, mixed with interactive technology and information, crafted through a partnership with NASA and other scientists. Titus Welliver also provides a «debrief» to visitors, reprising his role as S.H.I.E.L.D. agent Felix Blake. Created by Victory Hill Exhibits, Avengers S.T.A.T.I.O.N. cost $7.5 million to create, and ran through early September 2015.

The exhibit also opened in South Korea at the War Memorial of Korea in April 2015,^[473][474] in Paris, France, at Esplanade de La Défense a year later, and in Las Vegas at the Treasure Island Hotel and Casino in June 2016.^[474] The Las Vegas version of the exhibit featured updated character details and corresponding science to incorporate the Marvel films that have released since the original exhibit in New York. Additionally, the Las Vegas version features Cobie Smulders reprising her role as Maria Hill to «debrief» visitors, replacing Welliver.^[475]

GOMA exhibit

An art exhibit, titled Marvel: Creating the Cinematic Universe, was displayed exclusively at the Queensland Gallery of Modern Art (GOMA) from May to September 2017. The exhibit, which included «300 plus objects, films, costumes, drawings and other ephemera», featured content «from the collection of Marvel Studios and Marvel Entertainment and private collections» with «significant focus [given] to the creative artists who translate the drawn narrative to the screen through production design and storyboarding, costume and prop design, and special effects and post-production». Marvel: Creating the Cinematic Universe was also extended to GOMA’s Australian Cinémathèque with a retrospective of the MCU films.^[476]

Avengers: Damage Control

In October 2019, Marvel Studios and ILMxLAB announced the virtual reality experience Avengers: Damage Control. The experience would be available for a limited time starting in mid-October 2019 at select Void VR locations. Avengers: Damage Control sees players taking control of one of Shuri’s Emergency Response Suits–which combine Wakandan and Stark Industries technologies–to defeat a threat alongside Doctor Strange, Ant-Man, and the Wasp. Letitia Wright, Benedict Cumberbatch, Paul Rudd, and Evangeline Lilly all reprise their MCU roles.^[343] The experience was extended to the end of 2019.^[477]

Live-action television specials

Marvel Studios: Assembling a Universe (2014)

On March 18, 2014, ABC aired a one-hour television special titled Marvel Studios: Assembling a Universe, which documented the history of Marvel Studios and the development of the Marvel Cinematic Universe, and included exclusive interviews and behind-the-scenes footage from all of the films, One-Shots and Agents of S.H.I.E.L.D., and sneak peeks of Avengers: Age of Ultron, Captain America: The Winter Soldier, Guardians of the Galaxy, unaired episodes of Agents of S.H.I.E.L.D.,^[478] and Ant-Man.^[479] Brian Lowry of Variety felt the special, «contains a pretty interesting business and creative story. While it might all make sense in hindsight, there was appreciable audacity in Marvel’s plan to release five loosely connected movies from the same hero-filled world, beginning with the cinematically unproven Iron Man and culminating with superhero team The Avengers. As such, this fast-moving hour qualifies as more than just a cut-and-paste job from electronic press kits, although there’s an element of that, certainly.»^[480] The special was released on September 9, 2014 on the home media for Agents of S.H.I.E.L.D. season 1.^[481]

Marvel 75 Years: From Pulp to Pop! (2014)

In September 2014, Agents of S.H.I.E.L.D. executive producer Jeffrey Bell stated that in order to meet production demands and avoid having to air repeat episodes, ABC would likely air a Marvel special in place of a regular installment at some point during the first ten episodes of Agents of S.H.I.E.L.D.‘s second season.^[115] In October, the special was revealed to be Marvel 75 Years: From Pulp to Pop!, which was hosted by Emily VanCamp, who portrays Agent 13 in Captain America: The Winter Soldier, and aired on November 4, 2014.^[482] The special features behind the scenes footage from Avengers: Age of Ultron and Ant-Man, as well as footage from the Agent Carter television series previously screened at New York Comic-Con.^[483] Brian Lowry of Variety felt an hour for the special did not «do the topic justice» adding, «For anyone who has seen more than one Marvel movie but would shrug perplexedly at the mention of Jack Kirby or Steve Ditko, Marvel 75 Years: From Pulp To Pop! should probably be required viewing. Fun, fast-paced and encompassing many of the company’s highlights along with a few lowlights, it’s a solid primer on Marvel’s history, while weaving in inevitable self-promotion and synergistic plugs.»^[484] Eric Goldman of IGN also wished the special had been longer, adding, «Understandably, the more you already know about Marvel, the less you’ll be surprised by Marvel 75 Years: From Pulp to Pop!, but it’s important to remember who this special is really made for – a mainstream audience who have embraced the Marvel characters, via the hugely successful movies, in a way no one could have imagined.»^[483]

Marvel Studios: Expanding the Universe (2019)

In November 2019, Disney+ announced that the streaming platform would include Expanding the Universe, a special that features a look at the original MCU TV series for Disney+, with interviews and concept art.^[485]

Guide books

In September 2015, Marvel announced the Guidebook to the Marvel Cinematic Universe, named as a nod to the Official Handbook of the Marvel Universe. Each guidebook is compiled by Mike O’Sullivan and the Official Handbook of the Marvel Universe team, with cover art from Mike del Mundo and Pascal Campion, and features facts about the MCU films, film-to-comic comparisons, and production stills. Guidebook to the Marvel Cinematic Universe: Marvel’s Iron Man, Guidebook to the Marvel Cinematic Universe: Marvel’s Incredible Hulk / Marvel’s Iron Man 2,^[486] Guidebook to the Marvel Cinematic Universe: Marvel’s Thor,^[487] and Guidebook to the Marvel Cinematic Universe: Marvel’s Captain America: The First Avenger^[488] released each month from October 2015 to January 2016, respectively.

In November 2018, Marvel and Titan Publishing Group released Marvel Studios: The First Ten Years to celebrate the first ten years of the Marvel Cinematic Universe which featured cast interviews, in-depth sections on each film, and an Easter egg guide.^[489] In October 2021, a two-volume book The Story of Marvel Studios: The Making of the Marvel Cinematic Universe will be released, written by Tara Bennett and Paul Terry. This collection will feature a look at the evolution of Marvel Studios, personal stories from the 23-film «Infinity Saga», and interviews with cast and crew members.^[490][491]

Video game tie-ins

A Mini Marvel

In February 2016, a commercial for Coca-Cola mini cans aired during Super Bowl 50. A Mini Marvel was created by Wieden+Kennedy for Coca-Cola through a partnership with Marvel, and was directed by the Russo brothers.^[514][515] In the ad, Ant-Man (voiced by Paul Rudd, reprising his role) and the Hulk first fight, and then bond, over a Coke mini can.^[514] Luma Pictures provided visual effects for the spot, having worked previously with the two characters in MCU films. For the Hulk, Luma redefined its previous muscular system and simulation process to create and render the character, while Ant-Man received new motion capture.^[515] The Super Bowl campaign extended to «limited-edition Coke mini cans [six packs] that are emblazoned with images of Marvel characters, including Hulk, Ant-Man, Black Widow, [Falcon, Iron Man] and Captain America.» Consumers had the opportunity to purchase the cans by finding hidden clues in the commercial, though «if the program goes well, Coke will consider making the cans available in stores.»^[514] The ad had the third most social media activity of all the film-related trailers that aired during the game,^[516] and was nominated for Outstanding Visual Effects in a Commercial at the 15th Visual Effects Society Awards.^[517]

Team Thor series

See also

• Outline of the Marvel Cinematic Universe

References

Template:Reflist

External links

• A Marvel Cinematic Universe Timeline
• Template:Plain link
• Info graphic Marvel Cinematic Universe
• Template:Marveldatabase
• Marvel Cinematic Universe (mostly Earth-199999) from Marvel Wikia
• Marvel Cinematic Universe from Marvel Cinematic Database Wikia
• Marvel Cinematic Universe from Marvel Movies Wikia
• Marvel Cinematic Universe from Wikipedia

Template:Marvel Cinematic Universe
Template:Marvel Multiverse
Template:Disney franchises

Многие задаются вопросом: в каком порядке смотреть фильмы Marvel?

Огромная киновселенная Marvel включает в себя фильмы, сериалы, короткометражки и комиксы. И все они объединены различными персонажами Marvel и общим глобальным сюжетом. При этом одни сериалы тесно связаны с фильмами вселенной, а другие обладают собственной линией.

В нашей версии хронологии Кинематографической Вселенной Marvel мы расположили фильмы, короткометражки Marvel One-Shot и сериалы в хронологическом порядке их основных действий по мере развития глобального сюжета КВМ.

Timeline

1945

1946

1947

1947

1995

2009

2010

2010

2010

2010

2010

2012

2012

2012

2013

2013

2013

2013

2014

2014

2014

2014

2014

2015

2015

2015

2015

2015

2015

2015

2015

2015

2015

2015

2015

2016

2016

2016

2016

2016

2016

2016

2016

2016

2016

2016

2016

Агенты ЩИТ: Йо-Йо

Агенты ЩИТ: Йо-Йо

2016

2017

2017

2017

2017

2017

2017

2017

2017

2017

2017

2017

2017

2018

2018

2018

2018

2018

2018

2018

2018

2018

2018

2019

2020

2020

2020

2020

2020

2021

2021

Сокол и Зимний солдат

2021

2021

2021

2021

2021

2021

2022

2022

2022

2022

2022

2022

2022

2022

Новости Киновселенной Marvel

18.02.2023

Патрик Стюарт вернется к роли Профессора Икс в фильме «Дэдпул 3» – тизер от актера

Если «Доктор Стрэндж: В мультивселенной безумия» чему-то нас и научил, так это тому, что Marvel Studios пойдут на многое, чтобы доставить удовольствие фанатам. В фильме создатели……

11.02.2023

Хэнк Пим умрет в фильме «Человек-муравей 4»

Фильм «Человек-муравей и Оса: Квантомания» вернет Майкла Дугласа в роли Хэнка Пима, но актера указал, что вернется в потенциальном «Человеке-муравье 4» только при одном условии. Триквел MCU должен……

11.02.2023

Звезда Marvel надеется, что Железный человек появится в «Мстители 5: Династия Канга»

Поскольку фанаты MCU готовятся к двум кроссоверам «Мстители: Династия Канга» и «Мстители: Секретные войны», многие задаются вопросом, сможет ли один из этих двух фильмов вернуть Роберта Дауни-младшего……

26.01.2023

Все сериалы на newserial.tv

Сериалы… Это слово так прочно вошло в наш словарный запас, как будто оно было в нём всегда. Для молодого поколения – это именно так…….

16.01.2023

Доктор Стрэндж и мультивселенная постмодернизма

Киновселенная Марвел многогранна и разнообразна и именно поэтому она снискала любовь миллионов поклонников по всему миру. Герои марвеловских фильмов харизматичны и неординарны, они обладают……