Editing United Cinematic Universe: Phase One

{{Short description|2007–2012 group of superhero films}}
{{Good article}}
{{Use American English|date=May 2026}}
{{Use list-defined references|date=May 2026}}
{{Use mdy dates|date=May 2026}}
{{Infobox film
| name           = {{noitalic|Phase One}}
| italic_title   = no
| image          = United Cinematic Universe Phase One box set.jpg
| alt            = Home media packaging featuring Superman, Batman, Wonder Woman, Iron Man, Spider-Man, Captain America, and the Flash arranged around the United emblem
| caption        = Packaging for the "United Cinematic Universe&nbsp;– Phase One: Heroes United" {{nowrap|[[Blu-ray]] [[box set]]}}
| producer       = {{Indented plainlist|
* [[Freddie Goodwin]]
* [[Avi Arad]] {{nowrap|(''[[Iron Man: Armored Dawn|{{Abbr|IMAD|Iron Man: Armored Dawn}}]]'' & ''[[Spider-Man: Web of Tomorrow|{{Abbr|SMWT|Spider-Man: Web of Tomorrow}}]]'')}}
* [[Kevin Feige]] {{nowrap|(''IMAD'', ''[[Captain America: Sentinel|{{Abbr|CAS|Captain America: Sentinel}}]]'' & ''[[The United|{{Abbr|TU|The United}}]]'')}}
* [[Emma Thomas]] {{nowrap|(''[[Batman: Gotham Knight|{{Abbr|BGK|Batman: Gotham Knight}}]]'')}}
* [[Deborah Snyder]] {{nowrap|(''[[Wonder Woman: Themyscira|{{Abbr|WWT|Wonder Woman: Themyscira}}]]'')}}
}}
| based_on       = {{Based on|Characters published by|[[Marvel Comics]]|and|[[DC Comics]]|alongside original characters created for the franchise}}
| starring       = ''[[#Recurring cast and characters|See below]]''
| studio         = {{Indented plainlist|
* [[Goodwin Studios]]
* [[Marvel Entertainment]]
* [[DC Entertainment]]
* [[Atlas Motion Pictures]]
}}
| distributor    = {{Indented plainlist|
* [[Warner Bros. Pictures]] {{nowrap|(''SLS'', ''BGK'', ''WWT'' & ''TFV'')}}
* [[Paramount Pictures]] {{nowrap|(''IMAD'' & ''CAS'')}}
* [[Sony Pictures Releasing]] {{nowrap|(''SMWT'')}}
* [[Walt Disney Studios Motion Pictures]] {{nowrap|(''TU'')}}
}}
| released       = 2007–2012
| country        = United States
| language       = English
| budget         = '''Total (8 films):'''<br />$1.455&nbsp;billion
| gross          = '''Total (8 films):'''<br />$6.512&nbsp;billion
}}
{{United Cinematic Universe Phases}}
'''Phase One''' of the [[United Cinematic Universe]] (UCU) is a group of American [[superhero film]]s produced by [[Goodwin Studios]] based on characters that appear in publications by [[Marvel Comics]] and [[DC Comics]], alongside original characters created for the franchise. The UCU is the [[shared universe]] in which all of the films are set. Following the release of ''[[Superman: Last Son]]'', which began Phase One in June 2007, the studio moved forward with a plan to have individual superhero films culminate in a [[Crossover (fiction)|crossover]] film, ''[[The United]]'', which ended the phase in May 2012. Phases One, [[United Cinematic Universe: Phase Two|Two]], and [[United Cinematic Universe: Phase Three|Three]] make up "[[The Dawn Saga]]" storyline.

[[Freddie Goodwin]] produced every film in the phase, with other producers attached to films based on character ownership and distribution arrangements. [[Avi Arad]] and [[Kevin Feige]] also produced ''[[Iron Man: Armored Dawn]]'' (2008), [[Emma Thomas]] and [[Charles Roven]] also produced ''[[Batman: Gotham Knight]]'' (2008), [[Deborah Snyder]] also produced ''[[Wonder Woman: Themyscira]]'' (2009), and [[Amy Pascal]] also produced ''[[Spider-Man: Web of Tomorrow]]'' (2010). The films star [[Brandon Routh]] as [[Clark Kent (United Cinematic Universe)|Clark Kent / Superman]], [[Robert Downey Jr.]] as [[Tony Stark (United Cinematic Universe)|Tony Stark / Iron Man]], [[Christian Bale]] as [[Bruce Wayne (United Cinematic Universe)|Bruce Wayne / Batman]], [[Gal Gadot]] as [[Diana Prince (United Cinematic Universe)|Diana Prince / Wonder Woman]], [[Grant Gustin]] as [[Barry Allen (United Cinematic Universe)|Barry Allen / the Flash]], [[Andrew Garfield]] as [[Peter Parker (United Cinematic Universe)|Peter Parker / Spider-Man]], and [[Chris Evans (actor)|Chris Evans]] as [[Steve Rogers (United Cinematic Universe)|Steve Rogers / Captain America]]. They all returned to star in ''The United'', which also introduced [[Scarlett Johansson]] as [[Natasha Romanoff (United Cinematic Universe)|Natasha Romanoff / Black Widow]] and [[Jeremy Renner]] as [[Clint Barton (United Cinematic Universe)|Clint Barton / Hawkeye]].

Because the phase was built around characters from multiple publishers, the films were distributed by several studios. [[Warner Bros. Pictures]] distributed the Superman, Batman, Wonder Woman, and Flash films; [[Paramount Pictures]] distributed the Iron Man and Captain America films; [[Sony Pictures Releasing]] distributed the Spider-Man film; and [[Walt Disney Studios Motion Pictures]] distributed ''The United''. The films grossed over {{US$|6.5}}&nbsp;billion at the global box office and received generally positive critical and public responses. The success of the phase was credited with establishing the foundation for the wider UCU, as well as proving the commercial viability of a cross-publisher shared superhero film continuity.

In addition to the feature films, the phase also includes four short films created for the [[United One-Shots]] program—''[[The Waller File]]'', ''[[A Funny Thing Happened on the Way to Gotham]]'', ''[[Stark Expo: Aftermath]]'', and ''[[Item Zero]]''—which expanded the UCU between theatrical releases. Each feature film also received tie-in comic books, novelizations, video games, guidebooks, and viral marketing campaigns.

{{TOC limit|3}}

== Development ==
[[Goodwin Studios]] began developing a shared superhero film continuity in 2005, after several attempts by different studios to launch separate superhero film franchises had produced inconsistent long-term results.<ref name="Variety2005" /> Freddie Goodwin, then head of Goodwin Studios' film division, proposed a structure in which characters from different publishers could exist within a single cinematic world while still retaining distinct tones and supporting casts.<ref name="GoodwinOralHistory" /> The project was internally described as the "United continuity" before the term "United Cinematic Universe" was adopted during production of ''Iron Man: Armored Dawn''.<ref name="CinemaUniverseName" />

Goodwin believed that the strongest approach was to begin with recognizable individual heroes rather than a team film. Superman was selected as the first character because the studio viewed him as the clearest symbol of heroic idealism and public superhero mythology.<ref name="SLSDevelopment" /> Goodwin later said that the phase was designed to move "from icons to institutions", with each film introducing not only a lead hero but also a political, corporate, or mythological corner of the shared universe.<ref name="GoodwinIconsInstitutions" /> This meant that ''Superman: Last Son'' introduced Metropolis and the Daily Planet, ''Iron Man: Armored Dawn'' introduced Stark Industries and S.H.I.E.L.D., ''Batman: Gotham Knight'' introduced Gotham City and Wayne Enterprises, ''Wonder Woman: Themyscira'' introduced the Amazons, ''The Flash: Velocity'' introduced S.T.A.R. Labs, ''Spider-Man: Web of Tomorrow'' introduced Oscorp, and ''Captain America: Sentinel'' introduced the Sentinel Initiative and Hydra.

The cross-publisher nature of the franchise required multiple distribution agreements. Warner Bros. Pictures retained theatrical distribution for films centered on DC characters, while Paramount Pictures distributed several Marvel-centered films developed through Goodwin Studios' early financing deal. Sony Pictures retained involvement in the Spider-Man film, and Walt Disney Studios Motion Pictures was later selected to distribute the crossover film ''The United''.<ref name="DistributionDeals" /> Although each distributor maintained involvement in marketing and release strategy, Goodwin Studios controlled the creative continuity through a central story group. This story group tracked character arcs, fictional organizations, technological continuity, post-credit scenes, and the long-term mythology surrounding the Dawn Engine.<ref name="ContinuityGroup" />

According to Sarah Hayes, who worked as a story consultant on several Phase One films, the central challenge was making the universe feel connected without forcing every film to advertise later projects.<ref name="HayesPhaseOne" /> The story group identified several recurring connective elements, including the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., Wayne Enterprises, Stark Industries, Oscorp, S.T.A.R. Labs, and the Dawn Engine. Goodwin Studios wanted each film to be understandable as a standalone story while contributing to the eventual formation of the United.<ref name="PhaseOnePlan" />

The studio also planned post-credits scenes from the beginning. ''Superman: Last Son'' ends with Amanda Waller reviewing surveillance footage of Superman; ''Iron Man: Armored Dawn'' introduces Nick Fury and the United Initiative; ''Batman: Gotham Knight'' reveals Bruce Wayne investigating other enhanced individuals; ''Wonder Woman: Themyscira'' teases the Dawn Engine's mythological origin; ''The Flash: Velocity'' warns of future timeline instability; ''Spider-Man: Web of Tomorrow'' links Oscorp to the Atlas Foundation; and ''Captain America: Sentinel'' brings Steve Rogers into the modern day.<ref name="PostCreditsPlan" /> These scenes were intended to reward repeat viewers and gradually build toward ''The United'', which had entered early development before several of the individual films had been released.<ref name="UnitedEarlyDevelopment" />

Goodwin Studios initially resisted using the term "Phase One" publicly, instead referring to the films as the "first cycle" of UCU stories. The studio later adopted the "Phase" terminology after the release of ''The United'', when the home media box set was announced as ''United Cinematic Universe: Phase One – Heroes United''.<ref name="PhaseTerm" /> Goodwin said the term was useful because it reflected the way comic book publishing grouped separate titles around major events.<ref name="PhaseTermGoodwin" />

=== Distribution and creative control ===
The UCU's initial structure required Goodwin Studios to coordinate several distributors and rights holders. Warner Bros. Pictures distributed ''Superman: Last Son'', ''Batman: Gotham Knight'', ''Wonder Woman: Themyscira'', and ''The Flash: Velocity'', while Paramount Pictures distributed ''Iron Man: Armored Dawn'' and ''Captain America: Sentinel''. Sony Pictures Releasing distributed ''Spider-Man: Web of Tomorrow'', and Walt Disney Studios Motion Pictures distributed ''The United'' after entering a separate agreement with Goodwin Studios in 2011.<ref name="DisneyUnitedDistribution" />

The arrangement was described by trade publications as unusually complicated, but it allowed Goodwin Studios to position itself as the central creative authority while letting each distributor market films around familiar characters.<ref name="TradeDistribution" /> For the early releases, each distributor's logo appeared before the film alongside the Goodwin Studios logo. Beginning with ''The United'', Goodwin Studios branding became more prominent, and later home media releases grouped all Phase One films under a single franchise banner.<ref name="BrandingPhaseOne" />

Goodwin Studios maintained a continuity team that approved references to other films. Directors were generally allowed to set the tone of their individual projects, but major continuity points—such as the Dawn Engine, the Atlas Foundation, S.H.I.E.L.D. involvement, and the final team roster—were centrally coordinated.<ref name="ContinuityTeam" /> Christopher Nolan reportedly requested that Batman's story remain a crime thriller with minimal overt science fiction, while Jon Favreau and Marc Webb were more open to visible references to other characters and institutions.<ref name="DirectorsPhaseOne" />

=== Planned crossover ===
''The United'' was planned as the endpoint of Phase One before the release of ''Iron Man: Armored Dawn''. Early versions of the crossover featured Superman, Batman, Wonder Woman, Iron Man, Spider-Man, Captain America, and the Flash, while later drafts added Black Widow, Hawkeye, and Loki.<ref name="UnitedDrafts" /> The original villain was an alien warlord named Vexor, created specifically for the film, but the story was revised to make Vexor an agent of Lord Malakar, who would become the overarching antagonist of the Dawn Saga.<ref name="VexorMalakar" />

Joss Whedon was hired to write and direct ''The United'' after Goodwin Studios reviewed several drafts that were considered too plot-heavy. Whedon restructured the film around character conflict, arguing that the crossover would only work if the heroes had reasons to distrust one another before uniting.<ref name="WhedonUnited" /> His revisions increased the roles of Tony Stark, Bruce Wayne, and Diana Prince, while giving Clark Kent the film's moral center and Steve Rogers the role of tactical field leader.<ref name="UnitedRevisions" />


=== Casting and long-term contracts ===
Goodwin Studios pursued long-term contracts for the principal actors during Phase One, though the structure of those contracts varied by character and distributor. Routh, Downey, Bale, Gadot, Gustin, Garfield, and Evans were all expected to appear in at least one crossover film, but individual deals allowed for different numbers of solo appearances, cameos, and promotional obligations.<ref name="LongTermContracts" /> The studio wanted the core cast to feel like a unified ensemble by the time ''The United'' entered production, and several actors were asked to meet before filming the crossover to discuss character dynamics and continuity.<ref name="CoreCastMeetings" />

The most difficult creative challenge was balancing characters with sharply different tones. Batman's world was treated as a crime drama, Superman's as modern mythology, Iron Man's as industrial science fiction, Wonder Woman's as mythic fantasy, Spider-Man's as a coming-of-age story, the Flash's as bright speculative adventure, and Captain America's as a wartime period film. Goodwin Studios believed that the eventual crossover would only feel significant if each hero came from a recognizable world with its own supporting characters and visual grammar.<ref name="TonalBalance" />

Supporting characters were also cast with crossover potential in mind. Samuel L. Jackson's Nick Fury, Viola Davis's Amanda Waller, and several Atlas Foundation figures were intended to move between films as institutional connective tissue. Goodwin said these recurring characters gave the phase "a spine" and prevented the universe from relying entirely on post-credit scenes.<ref name="RecurringInstitutionalCharacters" />

=== Visual development and continuity design ===
The phase's visual development was coordinated by a shared art department that worked alongside the individual production designers. The department created a continuity archive containing costume studies, corporate logos, vehicle designs, fictional news broadcasts, maps, and technological diagrams. These materials allowed later productions to reuse background elements without forcing each director to adopt a uniform style.<ref name="VisualArchive" />

The Dawn Engine was designed as the phase's central artifact. Early concept art described it as an ancient extraterrestrial power source that had passed through several civilizations before resurfacing during World War II. The object was intentionally connected to Kryptonian science, Amazon mythology, Hydra experimentation, and Atlas Foundation research, allowing it to bridge several franchise corners without belonging exclusively to one character.<ref name="DawnEngineDesign" />

Goodwin Studios also maintained a policy that each hero's action style should remain distinct. Superman's sequences emphasized scale and rescue, Batman's emphasized stealth and investigation, Iron Man's emphasized engineering and aerial movement, Wonder Woman's emphasized mythological combat, the Flash's emphasized time dilation, Spider-Man's emphasized vertical movement, and Captain America's emphasized tactical physicality. These distinctions became important during production of ''The United'', when the filmmakers needed to stage group action while preserving character identity.<ref name="ActionLanguage" />

=== Post-credit scenes and serial storytelling ===
Phase One helped popularize the UCU's use of mid-credits and post-credits scenes. Goodwin Studios used these scenes to preview characters, reveal institutional connections, and create anticipation for later films. While some critics described the scenes as advertisements for future installments, others argued that they became part of the franchise's storytelling vocabulary.<ref name="PostCreditsReception" />

The studio's story group avoided placing essential plot information exclusively in post-credit scenes. Instead, the scenes were designed as connective tissue that deepened the shared world. Goodwin said the main film still needed to function without the tag scene, while the tag could suggest that each story was part of a larger continuity.<ref name="PostCreditsPhilosophy" />

By the release of ''The United'', audiences had become trained to remain through the credits. This behavior was cited by exhibitors as one of the franchise's unusual effects on theatrical viewing habits, and later UCU phases continued to use credit scenes as a way to tease future films, introduce villains, or resolve small character beats.<ref name="CreditSceneAudience" />

=== Release strategy ===
The release strategy for Phase One was built around alternating tonal variety with franchise familiarity. Goodwin Studios used ''Superman: Last Son'' to introduce the public superhero premise, ''Iron Man: Armored Dawn'' and ''Batman: Gotham Knight'' to prove that both Marvel and DC characters could coexist in the same continuity, and ''The United'' to confirm the commercial value of the shared-universe model.<ref name="ReleaseStrategy" />

The studio deliberately avoided releasing more than two films in a single year during Phase One. Executives believed the audience needed time to understand the continuity and become attached to the individual heroes before the crossover. This approach changed in later phases, when the franchise expanded its annual output and introduced more teams, legacy heroes, and cosmic storylines.<ref name="ReleaseCadence" />


== Films ==
{{See also|List of United Cinematic Universe films}}
<section begin=Films />{{Table alignment}}
{| class="wikitable plainrowheaders defaultcenter col2left" style="width: 99%;"
|+ {{Screen reader-only|Phase One films}}
! scope="col" | Film<ref name="DigitalSpyPhases" />
! scope="col" | U.S. release date
! scope="col" | Director
! scope="col" | Screenwriter(s)
! scope="col" | Producer(s)
|-
! scope="row" | ''[[Superman: Last Son]]''
| {{Start date|2007|6|15}}
| [[Bryan Singer]]<ref name="SLSDirector" />
| [[David S. Goyer]] and [[Freddie Goodwin]]<ref name="SLSWriters" />
| Freddie Goodwin and [[Jon Peters]]
|-
! scope="row" | ''[[Iron Man: Armored Dawn]]''
| {{Start date|2008|5|2}}
| [[Jon Favreau]]<ref name="IMADDirector" />
| [[Mark Fergus and Hawk Ostby|Mark Fergus & Hawk Ostby]], [[Art Marcum and Matt Holloway|Art Marcum & Matt Holloway]], and [[Sarah Hayes]]<ref name="IMADWriters" />
| Freddie Goodwin, [[Avi Arad]], and [[Kevin Feige]]
|-
! scope="row" | ''[[Batman: Gotham Knight]]''
| {{Start date|2008|7|18}}
| [[Christopher Nolan]]<ref name="BGKDirector" />
| [[Jonathan Nolan]] and David S. Goyer<ref name="BGKWriters" />
| [[Emma Thomas]], [[Charles Roven]], and Freddie Goodwin
|-
! scope="row" | ''[[Wonder Woman: Themyscira]]''
| {{Start date|2009|6|19}}
| [[Patty Jenkins]]<ref name="WWTDirector" />
| [[Allan Heinberg]] and Sarah Hayes<ref name="WWTWriters" />
| Freddie Goodwin and [[Deborah Snyder]]
|-
! scope="row" | ''[[The Flash: Velocity]]''
| {{Start date|2010|5|14}}
| [[Shawn Levy]]<ref name="TFVDirector" />
| [[Greg Berlanti]], [[Marc Guggenheim]], and [[Eric Wallace]]<ref name="TFVWriters" />
| Freddie Goodwin and [[Marcus V. Lane]]
|-
! scope="row" | ''[[Spider-Man: Web of Tomorrow]]''
| {{Start date|2010|7|16}}
| [[Marc Webb]]<ref name="SMWTDirector" />
| [[James Vanderbilt]] and [[Drew Goddard]]<ref name="SMWTWriters" />
| Freddie Goodwin, [[Amy Pascal]], and Avi Arad
|-
! scope="row" | ''[[Captain America: Sentinel]]''
| {{Start date|2011|7|22}}
| [[Joe Johnston]]<ref name="CASDirector" />
| [[Christopher Markus and Stephen McFeely|Christopher Markus & Stephen McFeely]]<ref name="CASWriters" />
| Freddie Goodwin and Kevin Feige
|-
! scope="row" | ''[[The United]]''
| {{Start date|2012|5|4}}
| [[Joss Whedon]]<ref name="TUDirector" />
| Joss Whedon<ref name="TUWriters" />
| Freddie Goodwin
|}<section end=Films />

=== ''Superman: Last Son'' (2007) ===
{{Main|Superman: Last Son{!}''Superman: Last Son''}}
Clark Kent, a young reporter at the ''Daily Planet'', reveals himself to the world as Superman after the Kryptonian survivor Dev-Em leads an attack on Metropolis using recovered alien technology.<ref name="SLSSynopsis" />

Development on the film began in early 2006, after Goodwin Studios chose Superman as the central figure through which the new continuity would be introduced. The studio intended the film to retain the character's mythic optimism while making Metropolis feel connected to a wider world of governments, corporations, and unrevealed enhanced individuals.<ref name="SLSDevelopment" /> Principal photography took place across locations selected to give the film its own visual identity while remaining consistent with the shared universe. Goodwin Studios used the production to expand the central continuity bible, with concept artists and story consultants tracking fictional technology, costumes, public reactions to superheroes, and institutional connections that would later be used in ''The United''.<ref name="SLSProduction" />

The film introduces the Atlas Foundation, a secretive research group that later becomes central to Phase One, and includes a post-credits scene in which Amanda Waller reviews footage of Superman's first public rescue.<ref name="SLSContinuity" /> The film also contains several visual references to other Phase One projects. These references were designed to be noticeable to viewers following the whole franchise while remaining unobtrusive for audiences watching the film independently.<ref name="SLSConnections" />


The casting of [[Brandon Routh]] as [[Clark Kent (United Cinematic Universe)|Clark Kent / Superman]] was treated as one of the central creative decisions for the film. Goodwin Studios considered the lead actor's relationship to later crossover appearances as important as the individual film itself, since the performer would have to return for scenes with characters from radically different genres. The studio's continuity group therefore participated in casting conversations alongside the individual director and producers, particularly when assessing whether the character could function in a team dynamic.<ref name="SLSCasting" />

The production design for ''Superman: Last Son'' was developed to distinguish the film from the other Phase One installments. The design team created a separate visual vocabulary for the hero's world, using recurring architecture, costume silhouettes, and color palettes that could be recognized when the character later appeared in ''The United''. Goodwin said this approach was intended to make the crossover feel like "different mythologies colliding" rather than a uniform studio product.<ref name="SLSDesign" />

Visual effects vendors were asked to treat the film's powers and technology as extensions of character rather than interchangeable spectacle. The film's action sequences were therefore designed around the lead character's specific moral and physical limitations. Goodwin Studios later cited this approach as one of the reasons Phase One was able to support a large crossover without making each character feel identical in combat.<ref name="SLSVFX" />

The marketing campaign emphasized the film's standalone appeal while still hinting at the larger UCU. Early trailers generally avoided direct references to the other heroes, while later television spots and online featurettes highlighted small connections to the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., or other fictional institutions. This release strategy was intended to appeal to general audiences first and continuity-focused viewers second.<ref name="SLSMarketing" />

Upon release, commentators noted that ''Superman: Last Son'' helped define the tonal range of Phase One. Retrospective analyses of the UCU frequently identify the film as a key example of Goodwin Studios' early willingness to let individual directors shape their own corners of the shared universe, even when that resulted in significant differences in tone, pacing, and visual style between installments.<ref name="SLSRetrospective" />

=== ''Iron Man: Armored Dawn'' (2008) ===
{{Main|Iron Man: Armored Dawn{!}''Iron Man: Armored Dawn''}}
Industrialist Tony Stark builds a weaponized suit of armor after he is captured by a terrorist cell using Stark Industries weapons, later becoming Iron Man to prevent his technology from being used against civilians.<ref name="IMADSynopsis" />

Goodwin Studios developed the film as the franchise's first Marvel-centered entry and as a tonal contrast to ''Superman: Last Son''. Favreau was hired to emphasize improvisational character comedy, industrial design, and a grounded military setting.<ref name="IMADDevelopment" /> Principal photography took place across locations selected to give the film its own visual identity while remaining consistent with the shared universe. Goodwin Studios used the production to expand the central continuity bible, with concept artists and story consultants tracking fictional technology, costumes, public reactions to superheroes, and institutional connections that would later be used in ''The United''.<ref name="IMADProduction" />

The film establishes Stark Industries, S.H.I.E.L.D., and the first public discussion of privately controlled superhero technology. Nick Fury's post-credits scene directly links Stark to the United Initiative.<ref name="IMADContinuity" /> The film also contains several visual references to other Phase One projects. These references were designed to be noticeable to viewers following the whole franchise while remaining unobtrusive for audiences watching the film independently.<ref name="IMADConnections" />


The casting of [[Robert Downey Jr.]] as [[Tony Stark (United Cinematic Universe)|Tony Stark / Iron Man]] was treated as one of the central creative decisions for the film. Goodwin Studios considered the lead actor's relationship to later crossover appearances as important as the individual film itself, since the performer would have to return for scenes with characters from radically different genres. The studio's continuity group therefore participated in casting conversations alongside the individual director and producers, particularly when assessing whether the character could function in a team dynamic.<ref name="IMADCasting" />

The production design for ''Iron Man: Armored Dawn'' was developed to distinguish the film from the other Phase One installments. The design team created a separate visual vocabulary for the hero's world, using recurring architecture, costume silhouettes, and color palettes that could be recognized when the character later appeared in ''The United''. Goodwin said this approach was intended to make the crossover feel like "different mythologies colliding" rather than a uniform studio product.<ref name="IMADDesign" />

Visual effects vendors were asked to treat the film's powers and technology as extensions of character rather than interchangeable spectacle. The film's action sequences were therefore designed around the lead character's specific moral and physical limitations. Goodwin Studios later cited this approach as one of the reasons Phase One was able to support a large crossover without making each character feel identical in combat.<ref name="IMADVFX" />

The marketing campaign emphasized the film's standalone appeal while still hinting at the larger UCU. Early trailers generally avoided direct references to the other heroes, while later television spots and online featurettes highlighted small connections to the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., or other fictional institutions. This release strategy was intended to appeal to general audiences first and continuity-focused viewers second.<ref name="IMADMarketing" />

Upon release, commentators noted that ''Iron Man: Armored Dawn'' helped define the tonal range of Phase One. Retrospective analyses of the UCU frequently identify the film as a key example of Goodwin Studios' early willingness to let individual directors shape their own corners of the shared universe, even when that resulted in significant differences in tone, pacing, and visual style between installments.<ref name="IMADRetrospective" />

=== ''Batman: Gotham Knight'' (2008) ===
{{Main|Batman: Gotham Knight{!}''Batman: Gotham Knight''}}
Bruce Wayne escalates his campaign against organized crime in Gotham City while investigating a conspiracy involving Wayne Enterprises technology, the League of Shadows, and a political attempt to privatize the city's security infrastructure.<ref name="BGKSynopsis" />

The film was designed as a crime thriller within the larger franchise. Goodwin Studios wanted Batman's world to feel isolated from the brighter public heroism of Superman and Iron Man while still existing in the same geopolitical landscape.<ref name="BGKDevelopment" /> Principal photography took place across locations selected to give the film its own visual identity while remaining consistent with the shared universe. Goodwin Studios used the production to expand the central continuity bible, with concept artists and story consultants tracking fictional technology, costumes, public reactions to superheroes, and institutional connections that would later be used in ''The United''.<ref name="BGKProduction" />

The film introduces Gotham City, Wayne Enterprises, and Lucius Fox's early research into defensive technology. A final scene shows Bruce receiving a classified report on Superman and Iron Man.<ref name="BGKContinuity" /> The film also contains several visual references to other Phase One projects. These references were designed to be noticeable to viewers following the whole franchise while remaining unobtrusive for audiences watching the film independently.<ref name="BGKConnections" />


The casting of [[Christian Bale]] as [[Bruce Wayne (United Cinematic Universe)|Bruce Wayne / Batman]] was treated as one of the central creative decisions for the film. Goodwin Studios considered the lead actor's relationship to later crossover appearances as important as the individual film itself, since the performer would have to return for scenes with characters from radically different genres. The studio's continuity group therefore participated in casting conversations alongside the individual director and producers, particularly when assessing whether the character could function in a team dynamic.<ref name="BGKCasting" />

The production design for ''Batman: Gotham Knight'' was developed to distinguish the film from the other Phase One installments. The design team created a separate visual vocabulary for the hero's world, using recurring architecture, costume silhouettes, and color palettes that could be recognized when the character later appeared in ''The United''. Goodwin said this approach was intended to make the crossover feel like "different mythologies colliding" rather than a uniform studio product.<ref name="BGKDesign" />

Visual effects vendors were asked to treat the film's powers and technology as extensions of character rather than interchangeable spectacle. The film's action sequences were therefore designed around the lead character's specific moral and physical limitations. Goodwin Studios later cited this approach as one of the reasons Phase One was able to support a large crossover without making each character feel identical in combat.<ref name="BGKVFX" />

The marketing campaign emphasized the film's standalone appeal while still hinting at the larger UCU. Early trailers generally avoided direct references to the other heroes, while later television spots and online featurettes highlighted small connections to the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., or other fictional institutions. This release strategy was intended to appeal to general audiences first and continuity-focused viewers second.<ref name="BGKMarketing" />

Upon release, commentators noted that ''Batman: Gotham Knight'' helped define the tonal range of Phase One. Retrospective analyses of the UCU frequently identify the film as a key example of Goodwin Studios' early willingness to let individual directors shape their own corners of the shared universe, even when that resulted in significant differences in tone, pacing, and visual style between installments.<ref name="BGKRetrospective" />

=== ''Wonder Woman: Themyscira'' (2009) ===
{{Main|Wonder Woman: Themyscira{!}''Wonder Woman: Themyscira''}}
Diana, princess of Themyscira, leaves her hidden island after Ares manipulates modern conflict and attempts to ignite a war between humanity and the Amazons.<ref name="WWTSynopsis" />

Goodwin Studios positioned the film as the franchise's mythological entry, combining ancient history with modern political conflict. Jenkins focused on Diana's moral certainty and the cultural contrast between Themyscira and the human world.<ref name="WWTDevelopment" /> Principal photography took place across locations selected to give the film its own visual identity while remaining consistent with the shared universe. Goodwin Studios used the production to expand the central continuity bible, with concept artists and story consultants tracking fictional technology, costumes, public reactions to superheroes, and institutional connections that would later be used in ''The United''.<ref name="WWTProduction" />

The film introduces Themyscira, Ares, and ancient references to Krypton, Asgard, and the Dawn Engine. Its mid-credits scene reveals that S.H.I.E.L.D. has been monitoring mythological activity.<ref name="WWTContinuity" /> The film also contains several visual references to other Phase One projects. These references were designed to be noticeable to viewers following the whole franchise while remaining unobtrusive for audiences watching the film independently.<ref name="WWTConnections" />


The casting of [[Gal Gadot]] as [[Diana Prince (United Cinematic Universe)|Diana Prince / Wonder Woman]] was treated as one of the central creative decisions for the film. Goodwin Studios considered the lead actor's relationship to later crossover appearances as important as the individual film itself, since the performer would have to return for scenes with characters from radically different genres. The studio's continuity group therefore participated in casting conversations alongside the individual director and producers, particularly when assessing whether the character could function in a team dynamic.<ref name="WWTCasting" />

The production design for ''Wonder Woman: Themyscira'' was developed to distinguish the film from the other Phase One installments. The design team created a separate visual vocabulary for the hero's world, using recurring architecture, costume silhouettes, and color palettes that could be recognized when the character later appeared in ''The United''. Goodwin said this approach was intended to make the crossover feel like "different mythologies colliding" rather than a uniform studio product.<ref name="WWTDesign" />

Visual effects vendors were asked to treat the film's powers and technology as extensions of character rather than interchangeable spectacle. The film's action sequences were therefore designed around the lead character's specific moral and physical limitations. Goodwin Studios later cited this approach as one of the reasons Phase One was able to support a large crossover without making each character feel identical in combat.<ref name="WWTVFX" />

The marketing campaign emphasized the film's standalone appeal while still hinting at the larger UCU. Early trailers generally avoided direct references to the other heroes, while later television spots and online featurettes highlighted small connections to the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., or other fictional institutions. This release strategy was intended to appeal to general audiences first and continuity-focused viewers second.<ref name="WWTMarketing" />

Upon release, commentators noted that ''Wonder Woman: Themyscira'' helped define the tonal range of Phase One. Retrospective analyses of the UCU frequently identify the film as a key example of Goodwin Studios' early willingness to let individual directors shape their own corners of the shared universe, even when that resulted in significant differences in tone, pacing, and visual style between installments.<ref name="WWTRetrospective" />

=== ''The Flash: Velocity'' (2010) ===
{{Main|The Flash: Velocity{!}''The Flash: Velocity''}}
Forensic scientist Barry Allen gains superhuman speed after a S.T.A.R. Labs particle accelerator accident and uses his abilities to stop Eobard Thawne, a mysterious speedster with knowledge of Barry's future.<ref name="TFVSynopsis" />

The Flash was developed as the phase's first film to explicitly address time, alternate futures, and the scientific limits of the shared universe. The production emphasized speed photography, bright comic-book imagery, and a lighter tone than the Gotham and Metropolis films.<ref name="TFVDevelopment" /> Principal photography took place across locations selected to give the film its own visual identity while remaining consistent with the shared universe. Goodwin Studios used the production to expand the central continuity bible, with concept artists and story consultants tracking fictional technology, costumes, public reactions to superheroes, and institutional connections that would later be used in ''The United''.<ref name="TFVProduction" />

The film introduces S.T.A.R. Labs, the Speed Force, and the first explicit reference to timeline instability. Thawne's warnings about a future crisis became a recurring thread throughout the later phases.<ref name="TFVContinuity" /> The film also contains several visual references to other Phase One projects. These references were designed to be noticeable to viewers following the whole franchise while remaining unobtrusive for audiences watching the film independently.<ref name="TFVConnections" />


The casting of [[Grant Gustin]] as [[Barry Allen (United Cinematic Universe)|Barry Allen / The Flash]] was treated as one of the central creative decisions for the film. Goodwin Studios considered the lead actor's relationship to later crossover appearances as important as the individual film itself, since the performer would have to return for scenes with characters from radically different genres. The studio's continuity group therefore participated in casting conversations alongside the individual director and producers, particularly when assessing whether the character could function in a team dynamic.<ref name="TFVCasting" />

The production design for ''The Flash: Velocity'' was developed to distinguish the film from the other Phase One installments. The design team created a separate visual vocabulary for the hero's world, using recurring architecture, costume silhouettes, and color palettes that could be recognized when the character later appeared in ''The United''. Goodwin said this approach was intended to make the crossover feel like "different mythologies colliding" rather than a uniform studio product.<ref name="TFVDesign" />

Visual effects vendors were asked to treat the film's powers and technology as extensions of character rather than interchangeable spectacle. The film's action sequences were therefore designed around the lead character's specific moral and physical limitations. Goodwin Studios later cited this approach as one of the reasons Phase One was able to support a large crossover without making each character feel identical in combat.<ref name="TFVVFX" />

The marketing campaign emphasized the film's standalone appeal while still hinting at the larger UCU. Early trailers generally avoided direct references to the other heroes, while later television spots and online featurettes highlighted small connections to the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., or other fictional institutions. This release strategy was intended to appeal to general audiences first and continuity-focused viewers second.<ref name="TFVMarketing" />

Upon release, commentators noted that ''The Flash: Velocity'' helped define the tonal range of Phase One. Retrospective analyses of the UCU frequently identify the film as a key example of Goodwin Studios' early willingness to let individual directors shape their own corners of the shared universe, even when that resulted in significant differences in tone, pacing, and visual style between installments.<ref name="TFVRetrospective" />

=== ''Spider-Man: Web of Tomorrow'' (2010) ===
{{Main|Spider-Man: Web of Tomorrow{!}''Spider-Man: Web of Tomorrow''}}
Teenager Peter Parker develops spider-like abilities after being bitten by a genetically altered spider and uncovers illegal research at Oscorp connected to the Atlas Foundation.<ref name="SMWTSynopsis" />

The film was produced in collaboration with Sony Pictures Releasing and was designed to fold Spider-Man into the larger franchise without losing the character's street-level perspective. Webb emphasized Peter's youth, grief, and personal responsibility.<ref name="SMWTDevelopment" /> Principal photography took place across locations selected to give the film its own visual identity while remaining consistent with the shared universe. Goodwin Studios used the production to expand the central continuity bible, with concept artists and story consultants tracking fictional technology, costumes, public reactions to superheroes, and institutional connections that would later be used in ''The United''.<ref name="SMWTProduction" />

Oscorp becomes one of Phase One's key institutions, and the film contains references to Stark Industries, Wayne Enterprises, and a Daily Planet report on Superman.<ref name="SMWTContinuity" /> The film also contains several visual references to other Phase One projects. These references were designed to be noticeable to viewers following the whole franchise while remaining unobtrusive for audiences watching the film independently.<ref name="SMWTConnections" />


The casting of [[Andrew Garfield]] as [[Peter Parker (United Cinematic Universe)|Peter Parker / Spider-Man]] was treated as one of the central creative decisions for the film. Goodwin Studios considered the lead actor's relationship to later crossover appearances as important as the individual film itself, since the performer would have to return for scenes with characters from radically different genres. The studio's continuity group therefore participated in casting conversations alongside the individual director and producers, particularly when assessing whether the character could function in a team dynamic.<ref name="SMWTCasting" />

The production design for ''Spider-Man: Web of Tomorrow'' was developed to distinguish the film from the other Phase One installments. The design team created a separate visual vocabulary for the hero's world, using recurring architecture, costume silhouettes, and color palettes that could be recognized when the character later appeared in ''The United''. Goodwin said this approach was intended to make the crossover feel like "different mythologies colliding" rather than a uniform studio product.<ref name="SMWTDesign" />

Visual effects vendors were asked to treat the film's powers and technology as extensions of character rather than interchangeable spectacle. The film's action sequences were therefore designed around the lead character's specific moral and physical limitations. Goodwin Studios later cited this approach as one of the reasons Phase One was able to support a large crossover without making each character feel identical in combat.<ref name="SMWTVFX" />

The marketing campaign emphasized the film's standalone appeal while still hinting at the larger UCU. Early trailers generally avoided direct references to the other heroes, while later television spots and online featurettes highlighted small connections to the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., or other fictional institutions. This release strategy was intended to appeal to general audiences first and continuity-focused viewers second.<ref name="SMWTMarketing" />

Upon release, commentators noted that ''Spider-Man: Web of Tomorrow'' helped define the tonal range of Phase One. Retrospective analyses of the UCU frequently identify the film as a key example of Goodwin Studios' early willingness to let individual directors shape their own corners of the shared universe, even when that resulted in significant differences in tone, pacing, and visual style between installments.<ref name="SMWTRetrospective" />

=== ''Captain America: Sentinel'' (2011) ===
{{Main|Captain America: Sentinel{!}''Captain America: Sentinel''}}
During World War II, Steve Rogers is transformed into a super-soldier and battles Hydra's Red Skull, who seeks to activate an alien artifact known as the Dawn Engine.<ref name="CASSynopsis" />

The film was developed as a period adventure and as the historical foundation for the franchise's modern mythology. Johnston was hired for his experience with retro-futurist adventure films, while Markus and McFeely shaped Rogers as the moral counterweight to the modern heroes.<ref name="CASDevelopment" /> Principal photography took place across locations selected to give the film its own visual identity while remaining consistent with the shared universe. Goodwin Studios used the production to expand the central continuity bible, with concept artists and story consultants tracking fictional technology, costumes, public reactions to superheroes, and institutional connections that would later be used in ''The United''.<ref name="CASProduction" />

The film introduces Hydra, Peggy Carter, Howard Stark, and the Dawn Engine. Its ending brings Rogers into the modern day, directly setting up ''The United''.<ref name="CASContinuity" /> The film also contains several visual references to other Phase One projects. These references were designed to be noticeable to viewers following the whole franchise while remaining unobtrusive for audiences watching the film independently.<ref name="CASConnections" />


The casting of [[Chris Evans (actor)|Chris Evans]] as [[Steve Rogers (United Cinematic Universe)|Steve Rogers / Captain America]] was treated as one of the central creative decisions for the film. Goodwin Studios considered the lead actor's relationship to later crossover appearances as important as the individual film itself, since the performer would have to return for scenes with characters from radically different genres. The studio's continuity group therefore participated in casting conversations alongside the individual director and producers, particularly when assessing whether the character could function in a team dynamic.<ref name="CASCasting" />

The production design for ''Captain America: Sentinel'' was developed to distinguish the film from the other Phase One installments. The design team created a separate visual vocabulary for the hero's world, using recurring architecture, costume silhouettes, and color palettes that could be recognized when the character later appeared in ''The United''. Goodwin said this approach was intended to make the crossover feel like "different mythologies colliding" rather than a uniform studio product.<ref name="CASDesign" />

Visual effects vendors were asked to treat the film's powers and technology as extensions of character rather than interchangeable spectacle. The film's action sequences were therefore designed around the lead character's specific moral and physical limitations. Goodwin Studios later cited this approach as one of the reasons Phase One was able to support a large crossover without making each character feel identical in combat.<ref name="CASVFX" />

The marketing campaign emphasized the film's standalone appeal while still hinting at the larger UCU. Early trailers generally avoided direct references to the other heroes, while later television spots and online featurettes highlighted small connections to the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., or other fictional institutions. This release strategy was intended to appeal to general audiences first and continuity-focused viewers second.<ref name="CASMarketing" />

Upon release, commentators noted that ''Captain America: Sentinel'' helped define the tonal range of Phase One. Retrospective analyses of the UCU frequently identify the film as a key example of Goodwin Studios' early willingness to let individual directors shape their own corners of the shared universe, even when that resulted in significant differences in tone, pacing, and visual style between installments.<ref name="CASRetrospective" />

=== ''The United'' (2012) ===
{{Main|The United{!}''The United''}}
Superman, Batman, Wonder Woman, Iron Man, Spider-Man, Captain America, the Flash, Black Widow, and Hawkeye are brought together when Loki and Vexor attempt to activate the Dawn Engine and open a portal over Metropolis.<ref name="TUSynopsis" />

Development began before several of the individual films had been released, making the project the riskiest of the phase. Whedon was hired to balance the large ensemble, rewrite character interactions, and make the crossover accessible to viewers who had not seen every preceding film.<ref name="TUDevelopment" /> Principal photography took place across locations selected to give the film its own visual identity while remaining consistent with the shared universe. Goodwin Studios used the production to expand the central continuity bible, with concept artists and story consultants tracking fictional technology, costumes, public reactions to superheroes, and institutional connections that would later be used in ''The United''.<ref name="TUProduction" />

The film forms the United, destroys the Atlas Foundation's public leadership, and introduces Lord Malakar in a mid-credits scene. Its success confirmed Goodwin Studios' plan to continue the franchise through additional phases.<ref name="TUContinuity" /> The film also contains several visual references to other Phase One projects. These references were designed to be noticeable to viewers following the whole franchise while remaining unobtrusive for audiences watching the film independently.<ref name="TUConnections" />


The casting of [[List of United Cinematic Universe film actors|ensemble cast]] as [[The United (United Cinematic Universe)|the United]] was treated as one of the central creative decisions for the film. Goodwin Studios considered the lead actor's relationship to later crossover appearances as important as the individual film itself, since the performer would have to return for scenes with characters from radically different genres. The studio's continuity group therefore participated in casting conversations alongside the individual director and producers, particularly when assessing whether the character could function in a team dynamic.<ref name="TUCasting" />

The production design for ''The United'' was developed to distinguish the film from the other Phase One installments. The design team created a separate visual vocabulary for the hero's world, using recurring architecture, costume silhouettes, and color palettes that could be recognized when the character later appeared in ''The United''. Goodwin said this approach was intended to make the crossover feel like "different mythologies colliding" rather than a uniform studio product.<ref name="TUDesign" />

Visual effects vendors were asked to treat the film's powers and technology as extensions of character rather than interchangeable spectacle. The film's action sequences were therefore designed around the lead character's specific moral and physical limitations. Goodwin Studios later cited this approach as one of the reasons Phase One was able to support a large crossover without making each character feel identical in combat.<ref name="TUVFX" />

The marketing campaign emphasized the film's standalone appeal while still hinting at the larger UCU. Early trailers generally avoided direct references to the other heroes, while later television spots and online featurettes highlighted small connections to the Atlas Foundation, S.H.I.E.L.D., A.R.G.U.S., or other fictional institutions. This release strategy was intended to appeal to general audiences first and continuity-focused viewers second.<ref name="TUMarketing" />

Upon release, commentators noted that ''The United'' helped define the tonal range of Phase One. Retrospective analyses of the UCU frequently identify the film as a key example of Goodwin Studios' early willingness to let individual directors shape their own corners of the shared universe, even when that resulted in significant differences in tone, pacing, and visual style between installments.<ref name="TURetrospective" />

== Short films ==
{{Main|United One-Shots}}
[[United One-Shots]] are a series of [[direct-to-video]] [[short film]]s that were included as special features in the UCU films' [[Blu-ray]] and [[digital distribution]] releases. They were designed to be self-contained stories that provide additional context for characters, organizations, or events introduced in the films.

{{Table alignment}}
{| class="wikitable plainrowheaders defaultcenter col2left" style="width: 99%;"
|+ {{Screen reader-only|Phase One short films}}
! scope="col" | Film
! scope="col" | U.S. release date
! scope="col" | Director
! scope="col" | Screenwriter
! scope="col" | Producer
! scope="col" | Home media release
|-
! scope="row" | ''[[The Waller File]]''
| {{Start date|2008|11|18}}
| [[Lexi Alexander]]
| rowspan="4" | [[Sarah Hayes]]
| rowspan="4" | [[Freddie Goodwin]]
| ''[[Superman: Last Son]]''
|-
! scope="row" | ''[[A Funny Thing Happened on the Way to Gotham]]''
| {{Start date|2009|12|8}}
| [[Miguel Sapochnik]]
| ''[[Batman: Gotham Knight]]''
|-
! scope="row" | ''[[Stark Expo: Aftermath]]''
| {{Start date|2010|11|2}}
| [[Louis D'Esposito]]
| ''[[Iron Man: Armored Dawn]]''
|-
! scope="row" | ''[[Item Zero]]''
| {{Start date|2012|9|25}}
| [[Drew Goddard]]
| ''[[The United]]''
|}

''The Waller File'' follows Amanda Waller after the events of ''Superman: Last Son'' as she begins compiling intelligence on emerging superheroes. ''A Funny Thing Happened on the Way to Gotham'' follows a Wayne Enterprises courier who accidentally uncovers evidence of S.H.I.E.L.D. surveillance inside Gotham City. ''Stark Expo: Aftermath'' follows Stark Industries employees responding to government pressure after Tony Stark's public identity is revealed. ''Item Zero'' follows two Atlas Foundation cleanup workers who find a surviving fragment of the Dawn Engine after the Battle of Metropolis.


Goodwin Studios used the One-Shots to test whether secondary characters and institutions could carry short-form stories without the presence of the main heroes. The format allowed the studio to clarify small continuity questions, introduce supporting agencies, and preview the wider tone of Phase Two without requiring theatrical releases. Several creative personnel later described the shorts as an early version of the franchise's television strategy, because they demonstrated that viewers were interested in lower-stakes stories set inside the same continuity.<ref name="OneShotsLegacy" />

== Timeline ==
{{Main|United Cinematic Universe timeline}}
{{United Cinematic Universe timeline|phase=One|rows=
{{United Cinematic Universe timeline/row|ends=y|year=1943–1945|''Captain America: Sentinel''<ref name="TimelineGuide" />}}
{{United Cinematic Universe timeline/row|break=y|year=1946–2006}}
{{United Cinematic Universe timeline/row|year=2007|''Superman: Last Son''<ref name="TimelineGuide" />}}
{{United Cinematic Universe timeline/row|year=2008|span=2
|''Iron Man: Armored Dawn''<ref name="TimelineGuide" />
|''Batman: Gotham Knight''<ref name="TimelineGuide" />
}}
{{United Cinematic Universe timeline/row|year=2009|''Wonder Woman: Themyscira''<ref name="TimelineGuide" />}}
{{United Cinematic Universe timeline/row|year=2010|span=2
|''The Flash: Velocity''<ref name="TimelineGuide" />
|''Spider-Man: Web of Tomorrow''<ref name="TimelineGuide" />
}}
{{United Cinematic Universe timeline/row|ends=y|year=2012|span=2
|''The United''<ref name="TimelineGuide" />
|''Item Zero''<ref name="ItemZero" />}}
}}
{{External media|image1=[https://example.com/ucu-phase-one-timeline.jpg The Phase One Timeline] infographic released by Goodwin Studios in May 2012<ref name="TimelineInfographic" />}}
The Phase One timeline begins during World War II with the events of ''Captain America: Sentinel''. The modern storyline begins with ''Superman: Last Son'' in 2007, followed by the public emergence of Iron Man and Batman in 2008. ''Wonder Woman: Themyscira'' is set in 2009 and reveals that mythological forces have been active throughout history. ''The Flash: Velocity'' and ''Spider-Man: Web of Tomorrow'' are both set in 2010, while ''The United'' is set in 2012.<ref name="TimelineGuide" />

Goodwin Studios released an official timeline infographic ahead of ''The United'' to clarify the ordering of the films and short films. The infographic placed the short film ''The Waller File'' shortly after ''Superman: Last Son'', ''A Funny Thing Happened on the Way to Gotham'' after ''Batman: Gotham Knight'', ''Stark Expo: Aftermath'' after ''Iron Man: Armored Dawn'', and ''Item Zero'' immediately after ''The United''.<ref name="TimelineInfographic" />


== Themes and style ==
Phase One has been noted for presenting superheroes as both mythic figures and public policy problems. ''Superman: Last Son'' frames Superman as a symbol of hope whose arrival forces governments to confront the existence of alien life. ''Iron Man: Armored Dawn'' treats heroism through the lens of industrial responsibility and private weapons development. ''Batman: Gotham Knight'' explores vigilantism, civic collapse, and class power, while ''Wonder Woman: Themyscira'' presents heroism as a moral obligation shaped by ancient myth.<ref name="ThemesMythPolicy" />

The second half of the phase expands these ideas through youth, speed, patriotism, and institutional response. ''The Flash: Velocity'' uses Barry Allen's powers to explore grief and scientific recklessness, while ''Spider-Man: Web of Tomorrow'' focuses on adolescence and personal responsibility. ''Captain America: Sentinel'' presents heroism as sacrifice and public service, positioning Steve Rogers as a moral figure displaced from his own era. ''The United'' combines these themes by forcing the heroes to decide whether they can trust one another enough to act outside their separate worlds.<ref name="ThemesSecondHalf" />

Critics have also highlighted the phase's contrast between public and hidden heroism. Superman, Iron Man, and Captain America become public symbols, while Batman, Spider-Man, Black Widow, and Hawkeye operate through secrecy or ambiguity. Wonder Woman and the Flash occupy a middle ground, with their films presenting heroism as both personal discovery and public responsibility. This range of approaches became central to later UCU conflicts over registration, surveillance, and accountability.<ref name="PublicHiddenHeroism" />

Visually, the phase avoids a single house style. Metropolis is bright and monumental, Gotham is shadowed and architectural, Stark's world is metallic and industrial, Themyscira is classical and sunlit, Central City is kinetic and saturated, New York is crowded and vertical, and the World War II sequences in ''Captain America: Sentinel'' use a warmer retro-futurist palette. ''The United'' combines these visual languages in Metropolis, where the final battle uses environments and tactics associated with several earlier films.<ref name="VisualStylePhaseOne" />

Several commentators have argued that Phase One's clearest recurring theme is trust. The individual films depict heroes learning whether they can trust themselves, their institutions, and the public. ''The United'' extends that idea to the team, with the heroes initially treating one another as threats before accepting that no single figure can stop the Dawn Engine crisis alone.<ref name="TrustTheme" />


== Recurring cast and characters ==
{{Main|List of United Cinematic Universe film actors (The Dawn Saga)}}
{{UCU cast indicator|type=film|tense=past|appeared=multiple Phase One films, and have appeared in the billing block for at least one film|C|OS|P|V}}
Characters are listed alphabetically by last name, as applicable.

{| class="wikitable" style="text-align: center; width: 99%;"
|+ {{Screen reader-only|Recurring cast and characters of Phase One}}
! scope="col" rowspan="2" style="width: 15%;" | Character
! scope="colgroup" | [[List of American films of 2007|2007]]
! scope="colgroup" colspan="2" | [[List of American films of 2008|2008]]
! scope="colgroup" | [[List of American films of 2009|2009]]
! scope="colgroup" colspan="2" | [[List of American films of 2010|2010]]
! scope="colgroup" | [[List of American films of 2011|2011]]
! scope="colgroup" | [[List of American films of 2012|2012]]
|-
! scope="col" style="width: 10.6%;" | ''[[Superman: Last Son|Superman:<br />{{small|Last Son}}]]''
! scope="col" style="width: 10.6%;" | ''[[Iron Man: Armored Dawn|Iron Man:<br />{{small|Armored Dawn}}]]''
! scope="col" style="width: 10.6%;" | ''[[Batman: Gotham Knight|Batman:<br />{{small|Gotham Knight}}]]''
! scope="col" style="width: 10.6%;" | ''[[Wonder Woman: Themyscira|Wonder Woman:<br />{{small|Themyscira}}]]''
! scope="col" style="width: 10.6%;" | ''[[The Flash: Velocity|The Flash:<br />{{small|Velocity}}]]''
! scope="col" style="width: 10.6%;" | ''[[Spider-Man: Web of Tomorrow|Spider-Man:<br />{{small|Web of Tomorrow}}]]''
! scope="col" style="width: 10.6%;" | ''[[Captain America: Sentinel|Captain America:<br />{{small|Sentinel}}]]''
! scope="col" style="width: 10.6%;" | ''[[The United]]''
|-
! scope="row" | [[Bruce Banner (United Cinematic Universe)|Bruce Banner<br />{{small|Hulk}}]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Mark Ruffalo]]
|-
! scope="row" | [[Clark Kent (United Cinematic Universe)|Clark Kent<br />{{small|Superman}}]]
| [[Brandon Routh]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| Brandon Routh
|-
! scope="row" | [[Bruce Wayne (United Cinematic Universe)|Bruce Wayne<br />{{small|Batman}}]]
| {{cEmpty}}
| {{cEmpty}}
| [[Christian Bale]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| Christian Bale
|-
! scope="row" | [[Diana Prince (United Cinematic Universe)|Diana Prince<br />{{small|Wonder Woman}}]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Gal Gadot]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| Gal Gadot
|-
! scope="row" | [[Tony Stark (United Cinematic Universe)|Tony Stark<br />{{small|Iron Man}}]]
| {{cEmpty}}
| [[Robert Downey Jr.]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| Robert Downey Jr.
|-
! scope="row" | [[Peter Parker (United Cinematic Universe)|Peter Parker<br />{{small|Spider-Man}}]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Andrew Garfield]]
| {{cEmpty}}
| Andrew Garfield
|-
! scope="row" | [[Steve Rogers (United Cinematic Universe)|Steve Rogers<br />{{small|Captain America}}]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Chris Evans (actor)|Chris Evans]]
| Chris Evans
|-
! scope="row" | [[Barry Allen (United Cinematic Universe)|Barry Allen<br />{{small|The Flash}}]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Grant Gustin]]
| {{cEmpty}}
| {{cEmpty}}
| Grant Gustin
|-
! scope="row" | [[Nick Fury (United Cinematic Universe)|Nick Fury]]
| [[Samuel L. Jackson]]{{ref|cameo|C}}
| Samuel L. Jackson{{ref|cameo|C}}
| {{cEmpty}}
| {{cEmpty}}
| Samuel L. Jackson{{ref|cameo|C}}
| {{cEmpty}}
| Samuel L. Jackson
| Samuel L. Jackson
|-
! scope="row" | [[Natasha Romanoff (United Cinematic Universe)|Natasha Romanoff<br />{{small|Black Widow}}]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Scarlett Johansson]]
|-
! scope="row" | [[Clint Barton (United Cinematic Universe)|Clint Barton<br />{{small|Hawkeye}}]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Jeremy Renner]]
|-
! scope="row" | [[Amanda Waller (United Cinematic Universe)|Amanda Waller]]
| [[Viola Davis]]{{ref|cameo|C}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| Viola Davis
|-
! scope="row" | [[Loki (United Cinematic Universe)|Loki]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Tom Hiddleston]]
|-
! scope="row" | [[Vexor (United Cinematic Universe)|Vexor]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Mads Mikkelsen]]
|-
! scope="row" | [[Peggy Carter (United Cinematic Universe)|Peggy Carter]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Hayley Atwell]]
| Hayley Atwell
|-
! scope="row" | [[Howard Stark (United Cinematic Universe)|Howard Stark]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Dominic Cooper]]
| Dominic Cooper{{ref|photo|P}}
|-
! scope="row" | [[Alfred Pennyworth (United Cinematic Universe)|Alfred Pennyworth]]
| {{cEmpty}}
| {{cEmpty}}
| [[Michael Caine]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| Michael Caine
|-
! scope="row" | [[Lois Lane (United Cinematic Universe)|Lois Lane]]
| [[Rachel McAdams]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| Rachel McAdams
|-
! scope="row" | [[Pepper Potts (United Cinematic Universe)|Pepper Potts]]
| {{cEmpty}}
| [[Gwyneth Paltrow]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| Gwyneth Paltrow
|-
! scope="row" | [[May Parker (United Cinematic Universe)|May Parker]]
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| {{cEmpty}}
| [[Sally Field]]
| {{cEmpty}}
| Sally Field
|}

== Music ==
{{Main|Music of the United Cinematic Universe}}

=== Soundtracks ===
{{Table alignment}}
{| class="wikitable plainrowheaders defaultcenter col2left col3left"
|+ {{Screen reader-only|Soundtracks of Phase One}}
! scope="col" | Title
! scope="col" | U.S. release date
! scope="col" | Length
! scope="col" | Composer
! scope="col" | Label(s)
|-
! scope="row" | ''[[Superman: Last Son (soundtrack)|Superman: Last Son – Original Motion Picture Soundtrack]]''
| {{Start date|2007|6|12}}
| 1:08:42
| [[John Ottman]]
| rowspan="4" | [[WaterTower Music]]
|-
! scope="row" | ''[[Iron Man: Armored Dawn (soundtrack)|Iron Man: Armored Dawn – Original Motion Picture Soundtrack]]''
| {{Start date|2008|4|29}}
| 58:31
| [[Ramin Djawadi]]
|-
! scope="row" | ''[[Batman: Gotham Knight (soundtrack)|Batman: Gotham Knight – Original Motion Picture Soundtrack]]''
| {{Start date|2008|7|15}}
| 1:12:09
| [[Hans Zimmer]] and [[James Newton Howard]]
|-
! scope="row" | ''[[Wonder Woman: Themyscira (soundtrack)|Wonder Woman: Themyscira – Original Motion Picture Soundtrack]]''
| {{Start date|2009|6|16}}
| 1:06:27
| [[Rupert Gregson-Williams]]
|-
! scope="row" | ''[[The Flash: Velocity (soundtrack)|The Flash: Velocity – Original Motion Picture Soundtrack]]''
| {{Start date|2010|5|11}}
| 1:03:22
| [[Blake Neely]]
| rowspan="2" | [[Hollywood Records]]
|-
! scope="row" | ''[[Spider-Man: Web of Tomorrow (soundtrack)|Spider-Man: Web of Tomorrow – Original Motion Picture Soundtrack]]''
| {{Start date|2010|7|13}}
| 1:05:15
| [[James Horner]]
|-
! scope="row" | ''[[Captain America: Sentinel (soundtrack)|Captain America: Sentinel – Original Motion Picture Soundtrack]]''
| {{Start date|2011|7|19}}
| 1:10:36
| rowspan="2" | [[Alan Silvestri]]
| [[Walt Disney Records]]
|-
! scope="row" | ''[[The United (soundtrack)|The United – Original Motion Picture Soundtrack]]''
| {{Start date|2012|5|1}}
| 1:14:48
| Hollywood Records<br />[[Goodwin Music]]
|}

=== Compilation albums ===
{{Table alignment}}
{| class="wikitable plainrowheaders defaultleft col4center"
|+ {{Screen reader-only|Compilation albums of Phase One}}
! scope="col" | Title
! scope="col" | U.S. release date
! scope="col" | Length
! scope="col" | Label(s)
|-
! scope="row" | ''[[Armored Dawn: Music from and Inspired by the Motion Picture]]''
| {{Start date|2008|4|29}}
| 52:44
| [[Columbia Records]]
|-
! scope="row" | ''[[Songs from the Speed Force]]''
| {{Start date|2010|5|11}}
| 45:18
| [[Atlantic Records]]
|-
! scope="row" | ''[[Heroes United: Music from and Inspired by the Motion Picture]]''
| {{Start date|2012|5|1}}
| 56:23
| Hollywood Records<br />Goodwin Music
|}

=== Singles ===
{{Table alignment}}
{| class="wikitable plainrowheaders defaultcenter col2left col3left"
|+ {{Screen reader-only|Singles of Phase One}}
! scope="col" | Title
! scope="col" | U.S. release date
! scope="col" | Length
! scope="col" | Artists
! scope="col" | Labels
|-
! scope="row" | "[[Rise Together]]"
| {{Start date|2012|4|17}}
| 4:18
| [[Foo Fighters]]
| Hollywood Records<br />Goodwin Music
|}


== Marketing ==
Goodwin Studios and its distribution partners marketed Phase One as a sequence of individual superhero films before explicitly branding it as a shared universe. The earliest campaign, for ''Superman: Last Son'', focused on reintroducing Superman to theatrical audiences and avoided emphasizing the larger franchise plan. Later campaigns increasingly highlighted interconnectivity, though Goodwin Studios generally reserved the phrase "United Cinematic Universe" for trade interviews and online materials until after the release of ''The United''.<ref name="MarketingEarly" />

The marketing for ''Iron Man: Armored Dawn'' emphasized Tony Stark's personality, the practical design of the Iron Man armor, and the film's more contemporary tone. Trailers for the film did not reveal Nick Fury's post-credits appearance, and Goodwin Studios used the secrecy surrounding the cameo as evidence that the shared-universe plan could be built through surprise rather than conventional franchise announcements.<ref name="IMADMarketing" />

''Batman: Gotham Knight'' received the darkest campaign of the phase, with posters centered on the Gotham skyline, the Bat-symbol, and the film's crime-thriller elements. Warner Bros. Pictures and Goodwin Studios minimized references to Superman and Iron Man in the main advertising, believing that Batman's film needed to feel self-contained. The film's viral campaign included fictional Gotham City Police Department documents, Wayne Enterprises websites, and newspaper articles from the ''Gotham Gazette''.<ref name="BGKMarketing" />

The campaign for ''Wonder Woman: Themyscira'' emphasized mythology, warrior iconography, and the film's status as the first female-led entry in the UCU. Goodwin Studios partnered with several magazines for features on the film's costume design and training sequences. The marketing also included in-universe historical material suggesting that the Amazons had influenced legends across several civilizations.<ref name="WWTMarketing" />

''The Flash: Velocity'' was marketed as the lightest and most colorful Phase One film. The campaign focused on Barry Allen's speed, the S.T.A.R. Labs accident, and the film's visual depiction of time dilation. The first teaser trailer was attached to ''Wonder Woman: Themyscira'', while a later trailer included a brief shot of a newspaper referencing Superman and Batman.<ref name="TFVMarketing" />

''Spider-Man: Web of Tomorrow'' used a more youth-oriented campaign centered on Peter Parker's adolescence, New York City, and Oscorp's genetic experiments. Sony Pictures and Goodwin Studios promoted the film through viral Oscorp websites and fictional science competition pages. The campaign avoided revealing the Atlas Foundation connection until the film's release.<ref name="SMWTMarketing" />

''Captain America: Sentinel'' was marketed as a period adventure rather than a conventional superhero film. Trailers emphasized Steve Rogers's transformation, Hydra's wartime threat, and Howard Stark's role in the early development of advanced technology. A final trailer released shortly before the film's opening included Nick Fury's voiceover, signaling the character's importance to the upcoming crossover.<ref name="CASMarketing" />

Marketing for ''The United'' was built around the novelty of seeing characters from separate franchises together. The first teaser poster used only the United emblem, while later character posters highlighted Superman, Batman, Wonder Woman, Iron Man, Spider-Man, Captain America, and the Flash. The film's final trailer became one of the most-viewed online trailers of 2012 and was credited with expanding awareness of the UCU beyond existing comic book fans.<ref name="TUMarketing" />

The phase's marketing campaigns were later studied for their use of controlled secrecy. Major cameos and post-credits scenes were generally withheld from trailers, while in-universe websites and viral documents were used to reward fans who followed the broader continuity. This approach became increasingly elaborate in later phases, particularly during the campaigns for ''United: Age of Doom'' and ''United: Infinite War''.<ref name="MarketingLegacy" />


== Home media ==
{{Hatnote|Each film is linked to the "Home media" section of its article.}}
{| class="wikitable plainrowheaders" style="text-align: left;"
|+ {{Screen reader-only|Home media releases of Phase One}}
! scope="col" | Film
! scope="col" | DVD/Blu-ray release
|-
! scope="row" | ''[[Superman: Last Son#Home media|Superman: Last Son]]''
| {{Start date|2007|11|20}}
|-
! scope="row" | ''[[Iron Man: Armored Dawn#Home media|Iron Man: Armored Dawn]]''
| {{Start date|2008|9|30}}
|-
! scope="row" | ''[[Batman: Gotham Knight#Home media|Batman: Gotham Knight]]''
| {{Start date|2008|12|9}}
|-
! scope="row" | ''[[Wonder Woman: Themyscira#Home media|Wonder Woman: Themyscira]]''
| {{Start date|2009|12|8}}
|-
! scope="row" | ''[[The Flash: Velocity#Home media|The Flash: Velocity]]''
| {{Start date|2010|9|21}}
|-
! scope="row" | ''[[Spider-Man: Web of Tomorrow#Home media|Spider-Man: Web of Tomorrow]]''
| {{Start date|2010|11|16}}
|-
! scope="row" | ''[[Captain America: Sentinel#Home media|Captain America: Sentinel]]''
| {{Start date|2011|10|25}}
|-
! scope="row" | ''[[The United#Home media|The United]]''
| {{Start date|2012|9|25}} (also released digitally)
|}

A 14-disc [[box set]] titled "United Cinematic Universe: Phase One – Heroes United" was announced for release on September 25, 2012. It includes all eight films on [[Blu-ray]] and Blu-ray 3D, several United One-Shots, a replica of the Dawn Engine core from ''The United'', and a booklet containing concept art and timeline notes.<ref name="BoxSetAnnounced" /> The set was delayed in several international markets because of distributor approval requirements connected to the cross-publisher licensing arrangement.<ref name="BoxSetDelay" /> The redesigned box set was released in North America on April 2, 2013, with a featurette previewing [[United Cinematic Universe: Phase Two|Phase Two]] films and previously unreleased deleted scenes from Phase One.<ref name="BoxSetReleased" />


The box set's organization by release order rather than internal chronology became the standard presentation for later UCU collections. Goodwin Studios nevertheless included a timeline card to guide viewers who wanted to watch the films in chronological order, beginning with ''Captain America: Sentinel'' and ending with ''The United''.<ref name="BoxSetChronology" />

A standard Blu-ray reissue without the replica Dawn Engine packaging was released in 2014 for retailers that did not carry the collector's edition.<ref name="BoxSetReissue" />

== Reception ==
=== Box office performance ===
{{Hatnote|Each film is linked to the "Box office" section of its article.}}
''The United'' was the first film of the UCU to reach $1 billion.<ref name="WWBoxOffice" />


The phase's box office performance increased sharply as the shared continuity became more visible. ''Superman: Last Son'' and ''Iron Man: Armored Dawn'' established the commercial baseline, while ''Batman: Gotham Knight'' became the phase's first film to pass $1 billion worldwide. ''The United'' surpassed that figure more quickly and was widely credited with confirming the commercial value of the crossover strategy.<ref name="BoxOfficeGrowth" />

Analysts noted that the phase's strongest domestic performers were the films centered on Batman, Superman, Iron Man, Spider-Man, and the full team, while the strongest overseas growth occurred with ''Wonder Woman: Themyscira'', ''Spider-Man: Web of Tomorrow'', and ''The United''. The international expansion was considered important to Goodwin Studios' later decision to increase the number of cosmic and ensemble films in Phase Two.<ref name="InternationalGrowth" />

<!-- UPDATE ACCESSDATE IN REF WHEN UPDATING A ROW -->
{| class="wikitable plainrowheaders sortable" style="text-align: center;"
|+ {{Screen reader-only|Box office performance of Phase One}}
! scope="col" rowspan="2" | Film
! scope="col" rowspan="2" | U.S. release date
! scope="col" colspan="3" class="sortable" | Box office gross
! scope="col" colspan="2" style="text: wrap;" class="unsortable" | All-time ranking
! scope="col" rowspan="2" | Budget
! scope="col" rowspan="2" class="unsortable" | {{Refh}}
|-
! scope="col" | U.S. and Canada
! scope="col" | Other territories
! scope="col" | Worldwide
! scope="col" class="sortable" | [[List of highest-grossing films in Canada and the United States#Not adjusted for inflation|U.S. and Canada]]
! scope="col" class="sortable" | [[List of highest-grossing films#Highest-grossing films|Worldwide]]
|-<section begin=BoxOffice/>
! scope="row" | ''[[Superman: Last Son#Box office|Superman: Last Son]]''
| {{#invoke:dts|main|2007|6|15}}
| $255,000,000
| $357,000,000
| $612,000,000
| 246
| 250
| $185&nbsp;million
|<ref name="SLSBOM" />
|-
! scope="row" | ''[[Iron Man: Armored Dawn#Box office|Iron Man: Armored Dawn]]''
| {{#invoke:dts|main|2008|5|2}}
| $318,000,000
| $363,000,000
| $681,000,000
| 153
| 203
| $160&nbsp;million
|<ref name="IMADBOM" />
|-
! scope="row" | ''[[Batman: Gotham Knight#Box office|Batman: Gotham Knight]]''
| {{#invoke:dts|main|2008|7|18}}
| $534,000,000
| $506,000,000
| $1,040,000,000
| 30
| 50
| $190&nbsp;million
|<ref name="BGKBOM" />
|-
! scope="row" | ''[[Wonder Woman: Themyscira#Box office|Wonder Woman: Themyscira]]''
| {{#invoke:dts|main|2009|6|19}}
| $309,000,000
| $415,000,000
| $724,000,000
| 167
| 170
| $170&nbsp;million
|<ref name="WWTBOM" />
|-
! scope="row" | ''[[The Flash: Velocity#Box office|The Flash: Velocity]]''
| {{#invoke:dts|main|2010|5|14}}
| $211,000,000
| $337,000,000
| $548,000,000
| 350
| 310
| $150&nbsp;million
|<ref name="TFVBOM" />
|-
! scope="row" | ''[[Spider-Man: Web of Tomorrow#Box office|Spider-Man: Web of Tomorrow]]''
| {{#invoke:dts|main|2010|7|16}}
| $356,000,000
| $440,000,000
| $796,000,000
| 110
| 125
| $200&nbsp;million
|<ref name="SMWTBOM" />
|-
! scope="row" | ''[[Captain America: Sentinel#Box office|Captain America: Sentinel]]''
| {{#invoke:dts|main|2011|7|22}}
| $189,000,000
| $292,000,000
| $481,000,000
| 425
| 390
| $140&nbsp;million
|<ref name="CASBOM" />
|-
! scope="row" | ''[[The United#Box office|The United]]''
| {{#invoke:dts|main|2012|5|4}}
| $667,000,000
| $963,000,000
| $1,630,000,000
| 12
| 12
| $260&nbsp;million
|<ref name="TUBOM" />
|-
<section end=BoxOffice/>
|-style="font-weight: bold;"
! scope="col" colspan="2"|Total
! ${{val|fmt=commas|{{#expr:255000000<!--SLS-->+318000000<!--IMAD-->+534000000<!--BGK-->+309000000<!--WWT-->+211000000<!--TFV-->+356000000<!--SMWT-->+189000000<!--CAS-->+667000000<!--TU-->}}}}
! ${{val|fmt=commas|{{#expr:357000000<!--SLS-->+363000000<!--IMAD-->+506000000<!--BGK-->+415000000<!--WWT-->+337000000<!--TFV-->+440000000<!--SMWT-->+292000000<!--CAS-->+963000000<!--TU-->}}}}
! ${{val|fmt=commas|{{#expr:612000000<!--SLS-->+681000000<!--IMAD-->+1040000000<!--BGK-->+724000000<!--WWT-->+548000000<!--TFV-->+796000000<!--SMWT-->+481000000<!--CAS-->+1630000000<!--TU-->}}}}
! –
! –
! $1.455&nbsp;billion
!
|}

=== Critical and public response ===
{{Hatnote|Each film is linked to the "Critical response" section of its article.}}
{| class="wikitable plainrowheaders sortable" style="text-align: center;"
|+ {{Screen reader-only|Critical and public response of Phase One}}
! scope="col" rowspan="2" | Film
! scope="col" colspan="2" | Critical
! scope="col" | Public
|-
! scope="col" | [[Rotten Tomatoes]]
! scope="col" | [[Metacritic]]
! scope="col" | [[CinemaScore]]
|-<section begin=Response/>
! scope="row" | ''[[Superman: Last Son#Critical response|Superman: Last Son]]''
| 83% (312 reviews)<ref name="SLSRT" />
| 68 (45 reviews)<ref name="SLSMC" />
| {{sort grade|A−}}<ref name="SLSCS" />
|-
! scope="row" | ''[[Iron Man: Armored Dawn#Critical response|Iron Man: Armored Dawn]]''
| 91% (287 reviews)<ref name="IMADRT" />
| 73 (42 reviews)<ref name="IMADMC" />
| {{sort grade|A}}<ref name="IMADCS" />
|-
! scope="row" | ''[[Batman: Gotham Knight#Critical response|Batman: Gotham Knight]]''
| 94% (356 reviews)<ref name="BGKRT" />
| 82 (51 reviews)<ref name="BGKMC" />
| {{sort grade|A}}<ref name="BGKCS" />
|-
! scope="row" | ''[[Wonder Woman: Themyscira#Critical response|Wonder Woman: Themyscira]]''
| 86% (294 reviews)<ref name="WWTRT" />
| 70 (43 reviews)<ref name="WWTMC" />
| {{sort grade|A−}}<ref name="WWTCS" />
|-
! scope="row" | ''[[The Flash: Velocity#Critical response|The Flash: Velocity]]''
| 74% (263 reviews)<ref name="TFVRT" />
| 61 (39 reviews)<ref name="TFVMC" />
| {{sort grade|B+}}<ref name="TFVCS" />
|-
! scope="row" | ''[[Spider-Man: Web of Tomorrow#Critical response|Spider-Man: Web of Tomorrow]]''
| 87% (329 reviews)<ref name="SMWTRT" />
| 71 (46 reviews)<ref name="SMWTMC" />
| {{sort grade|A}}<ref name="SMWTCS" />
|-
! scope="row" | ''[[Captain America: Sentinel#Critical response|Captain America: Sentinel]]''
| 80% (275 reviews)<ref name="CASRT" />
| 66 (41 reviews)<ref name="CASMC" />
| {{sort grade|A−}}<ref name="CASCS" />
|-
! scope="row" | ''[[The United#Critical response|The United]]''
| 92% (421 reviews)<ref name="TURT" />
| 76 (53 reviews)<ref name="TUMC" />
| {{sort grade|A+}}<ref name="TUCS" />
|-
<section end=Response/>
|}

Critics generally considered Phase One a successful experiment in serialized blockbuster filmmaking. Several reviewers praised the phase for allowing individual characters to retain their own genres before placing them into a shared story. ''Superman: Last Son'' and ''Batman: Gotham Knight'' were frequently contrasted for their differing tones, while ''Iron Man: Armored Dawn'' and ''Spider-Man: Web of Tomorrow'' were praised for giving the franchise a more human, comedic, and contemporary point of view.<ref name="PhaseOneCritics" /> The success of ''The United'' was often attributed to the groundwork laid by the preceding films, which had introduced the heroes, their supporting casts, and several institutions before the crossover.<ref name="UnitedCriticalSuccess" />

Some critics were more skeptical of the phase's reliance on continuity. Several reviews of ''The Flash: Velocity'' and ''Spider-Man: Web of Tomorrow'' argued that their post-credits scenes and institutional references were more interesting to franchise followers than to general audiences.<ref name="ContinuityCriticism" /> Others argued that the shared-universe approach gave supporting characters and background details more weight than they would have had in a conventional film series.<ref name="SharedUniversePraise" />

The performances of Routh, Downey, Bale, Gadot, Garfield, Evans, and Gustin were frequently discussed as central to the phase's success. Downey's Tony Stark and Bale's Bruce Wayne were cited as the phase's strongest character contrasts, while Routh's Superman and Evans's Steve Rogers were described as the emotional and moral anchors of the final crossover.<ref name="CastPraise" /> Mads Mikkelsen's Vexor received a more mixed response, with some critics praising his theatrical menace and others describing the villain as less developed than the heroes.<ref name="VexorReception" />


=== Retrospective response ===
In later retrospectives, Phase One was frequently described as the period in which Goodwin Studios proved that a cross-publisher film universe could be commercially sustainable. Writers often compared its structure to comic book event publishing, noting that the individual films each introduced a distinct supporting cast and visual style before ''The United'' brought them into one narrative.<ref name="RetrospectiveStructure" /> The phase was also cited for demonstrating that viewers could follow a shared continuity across films distributed by different studios, a model that analysts had previously considered too complicated for mainstream audiences.<ref name="RetrospectiveDistribution" />

Commentators generally identified ''Superman: Last Son'', ''Batman: Gotham Knight'', ''Iron Man: Armored Dawn'', and ''The United'' as the phase's defining films. ''Superman: Last Son'' was credited with establishing the franchise's public-superhero premise, while ''Iron Man: Armored Dawn'' introduced the self-aware tone and corporate technology plots that became central to later UCU entries. ''Batman: Gotham Knight'' was praised for grounding the universe in crime drama, and ''The United'' was credited with turning separate franchises into one commercial entity.<ref name="DefiningFilms" />

The phase's weakest entries were usually identified as ''The Flash: Velocity'' and, in some rankings, ''Captain America: Sentinel''. Critics who were mixed on ''The Flash: Velocity'' praised Gustin's performance and the film's use of the Speed Force but criticized its villain and exposition-heavy second act. ''Captain America: Sentinel'' was sometimes described as more important to the franchise timeline than as a standalone film, though later reviews were more positive toward its wartime tone and Evans's performance.<ref name="WeakestEntries" />

The phase's villains received a more mixed response than its heroes. Dev-Em, Scarecrow, Ares, Eobard Thawne, Norman Osborn, and the Red Skull were generally considered effective within their individual films, while Vexor was criticized for functioning primarily as a servant of a larger threat. Several retrospective critics argued that this weakness became common in early shared-universe storytelling, where villains were sometimes used to set up future conflicts rather than conclude present ones.<ref name="VillainResponse" />

The casting of Downey, Bale, Routh, Gadot, Garfield, Gustin, and Evans has been repeatedly credited with helping the phase overcome the inherent difficulty of combining characters from different publishers. Downey's performance as Tony Stark was described as the phase's most immediately popular, while Bale's Batman was credited with bringing prestige credibility to the franchise. Routh's Superman and Evans's Captain America were often discussed together as complementary moral centers, and Gadot's Wonder Woman was credited with broadening the mythological scale of the universe.<ref name="CastingLegacy" />

Goodwin Studios' decision to allow individual directors to shape the tone of their films became a frequent point of analysis. Some writers argued that the phase succeeded because its films did not feel overly homogenized, while others believed the tonal variety made the crossover more uneven. This debate continued into later phases, especially as the franchise increased its yearly output.<ref name="DirectorDrivenDebate" />

''The United'' has been described as the phase's key turning point. Analysts noted that the film's success retroactively changed how audiences perceived the earlier films, making small background references and post-credit scenes feel more intentional. The film's Battle of Metropolis became one of the franchise's defining set pieces and was frequently referenced in later films, television series, and tie-in media.<ref name="UnitedTurningPoint" />

Several critics have argued that Phase One's comparatively restrained release schedule helped prevent early franchise fatigue. Unlike later phases, which expanded the number of annual releases, Phase One allowed each major character introduction to remain in public discussion for months before the next installment. This gave the phase a slow-build quality that later UCU eras were sometimes accused of lacking.<ref name="ReleasePacingPraise" />

The phase also drew attention from scholars of media franchising because of its unusual distribution model. The fact that Warner Bros., Paramount, Sony, and Disney all distributed films that belonged to one central continuity was considered unprecedented for a major superhero franchise. Trade analysts argued that Goodwin Studios' central creative role made the model workable, but also warned that it was unlikely to be replicated without similar rights consolidation and producer oversight.<ref name="DistributionScholarship" />

By the mid-2020s, Phase One was frequently ranked among the strongest eras of the UCU. Although later phases had larger budgets and more ambitious event films, commentators often cited Phase One's clarity, strong casting, and straightforward escalation as reasons for its continued popularity. Its films were also considered more accessible to new viewers than later installments, which required greater knowledge of the wider mythology.<ref name="PhaseRankings" />

=== Cultural impact ===
Phase One influenced how other studios approached shared universes. After the success of ''The United'', several studios attempted to build interconnected franchises around monsters, fantasy characters, action heroes, and video game properties. Many of these attempts were compared unfavorably to the UCU because they began with crossover planning before establishing successful individual films.<ref name="SharedUniverseBoom" />

The phase was also credited with changing audience expectations for franchise storytelling. Viewers began looking for post-credit scenes, background Easter eggs, recurring fictional institutions, and long-term villain teases in other blockbuster films. The term "phase" became widely used in entertainment journalism to describe groups of releases within a serialized franchise plan.<ref name="AudienceExpectations" />

The success of the phase turned several previously separate fan communities into one broader UCU audience. Marvel and DC characters had traditionally been discussed within separate media ecosystems, but Phase One encouraged cross-comparison and crossover speculation. This was especially visible online during the release of ''The United'', when fan discussions centered on the ideological differences between Superman, Batman, Iron Man, and Captain America.<ref name="FanCommunities" />

The phase's home media releases were also significant. The "Heroes United" box set was marketed as a complete first chapter rather than a simple collection of films, helping reinforce the idea that the individual entries formed a single storyline. Later UCU box sets, streaming collections, and timeline playlists used the same structure.<ref name="HomeMediaImpact" />

=== Analysis of shared continuity ===
Writers have described Phase One as a balance between continuity and accessibility. Each film contains references to the wider universe, but most of the major character arcs are resolved within the individual installments. This approach has been contrasted with later UCU phases, where some films were criticized for relying more heavily on prior knowledge.<ref name="ContinuityAccessibility" />

The Atlas Foundation has been identified as one of the phase's most important connective devices. Initially presented as a background research organization, it gradually becomes linked to Stark Industries weapons, Oscorp genetics, S.T.A.R. Labs experiments, Wayne Enterprises contracts, and Hydra's World War II research. By ''The United'', the Atlas Foundation is revealed to have been attempting to assemble Dawn Engine fragments for decades.<ref name="AtlasAnalysis" />

The phase's treatment of public fear and government response also became a recurring franchise theme. Superman's arrival prompts surveillance, Iron Man's emergence prompts debates over privatized weaponry, Batman's campaign raises questions about vigilantism, Wonder Woman's appearance forces governments to confront mythological history, the Flash's origin exposes scientific recklessness, Spider-Man's public debut creates anxiety over youth vigilantism, and Captain America's return revives wartime symbolism.<ref name="GovernmentResponseTheme" />

The Dawn Engine provided the phase with a central mythology without overpowering the individual stories. Its fragments appear in different forms: Kryptonian remnants in ''Superman: Last Son'', weaponized energy studies in ''Iron Man: Armored Dawn'', ancient records in ''Wonder Woman: Themyscira'', and Hydra experimentation in ''Captain America: Sentinel''. This allowed the object to serve as the MacGuffin of ''The United'' while still feeling rooted in previous films.<ref name="DawnEngineAnalysis" />


=== Accolades ===
{{Further|List of accolades received by United Cinematic Universe films}}
The films of Phase One received nominations from several awards organizations, including the [[Academy Awards]], [[British Academy Film Awards]], [[Saturn Awards]], [[Hugo Awards]], [[MTV Movie & TV Awards]], and [[Visual Effects Society Awards]]. ''Batman: Gotham Knight'' and ''The United'' received the most awards attention, particularly for visual effects, sound editing, production design, and supporting performances.<ref name="PhaseOneAccolades" />

== Tie-in media ==
=== Comic books ===
{{Main|United Cinematic Universe tie-in comics}}
{{Transcluded section|source=United Cinematic Universe tie-in comics|table=yes}}
{| class="wikitable plainrowheaders" style="text-align: center; width: 99%;"
|+ {{Screen reader-only|Tie-in comics of Phase One}}
|-
! scope="col" rowspan="2" | Title
! scope="col" rowspan="2" | {{Abbr|No.|Number}} of<br />issues
! scope="col" colspan="2" | Publication date
! scope="col" rowspan="2" | Writer(s)
! scope="col" rowspan="2" | Artist(s)
|-
! scope="col" | First published
! scope="col" | Last published
|-
! scope="row" | ''United Cinematic Universe Prelude: Superman – Last Son''
| 2
| {{Start date|2007|4|4}}
| {{Start date|2007|5|2}}
| [[Sarah Hayes]]
| [[Doug Mahnke]]
|-
! scope="row" | ''Iron Man: Armored Dawn – Public Enemy''
| 3
| {{Start date|2008|2|6}}
| {{Start date|2008|4|2}}
| [[Eric Pearson]]
| [[Adi Granov]]
|-
! scope="row" | ''Batman: Gotham Knight – The Wayne File''
| 4
| {{Start date|2008|4|9}}
| {{Start date|2008|7|2}}
| [[Greg Rucka]]
| [[Jock (cartoonist)|Jock]]
|-
! scope="row" | ''Wonder Woman: Themyscira – War of Ares''
| 3
| {{Start date|2009|3|4}}
| {{Start date|2009|5|6}}
| [[Gail Simone]]
| [[Phil Jimenez]]
|-
! scope="row" | ''The United Prelude: Dawn Engine''
| 4
| {{Start date|2011|11|2}}
| {{Start date|2012|2|8}}
| [[Drew Goddard]]
| [[Steve McNiven]]
|}

=== Books ===
In September 2013, Goodwin Publishing announced the ''Guidebook to the United Cinematic Universe'', a series of illustrated reference books modeled after in-universe files maintained by S.H.I.E.L.D., A.R.G.U.S., and the Atlas Foundation. The books include character biographies, production stills, vehicle designs, timeline notes, and fictional government documents. ''Guidebook to the United Cinematic Universe: Superman and Batman'', ''Guidebook to the United Cinematic Universe: Iron Man and Spider-Man'', ''Guidebook to the United Cinematic Universe: Wonder Woman and the Flash'', and ''Guidebook to the United Cinematic Universe: Captain America and the United'' were released between October 2013 and January 2014.<ref name="Guidebooks" />

=== Video games ===
{{Transcluded section|United Cinematic Universe#Video game tie-ins}}
{{Table alignment}}
{| class="wikitable plainrowheaders defaultcenter col2left" style="width: 99%;"
|+ {{Screen reader-only|Tie-in video games of Phase One}}
|-
! scope="col" | Title
! scope="col" | U.S. release date
! scope="col" | Publisher
! scope="col" | Developer
! scope="col" | Platforms
|-
! scope="row" | ''Superman: Last Son – The Game''
| {{Start date|2007|6|12}}
| [[Electronic Arts]]
| [[EA Tiburon]]
| [[PlayStation 2]], [[PlayStation 3]], [[Xbox 360]], [[Wii]], [[Microsoft Windows]]
|-
! scope="row" | ''Iron Man: Armored Dawn''
| {{Start date|2008|4|29}}
| [[Sega]]
| [[Secret Level]]
| PlayStation 2, PlayStation 3, Xbox 360, Wii, Windows
|-
! scope="row" | ''Batman: Gotham Knight''
| {{Start date|2008|7|15}}
| [[Warner Bros. Interactive Entertainment]]
| [[Rocksteady Studios]]
| PlayStation 3, Xbox 360, Windows
|-
! scope="row" | ''The Flash: Velocity''
| {{Start date|2010|5|11}}
| Warner Bros. Interactive Entertainment
| [[Behaviour Interactive]]
| PlayStation 3, Xbox 360, Wii, Windows
|-
! scope="row" | ''The United: Battle for Metropolis''
| {{Start date|2012|5|1}}
| [[Disney Interactive Studios]]
| [[Avalanche Software]]
| PlayStation 3, Xbox 360, Wii, Windows, [[Nintendo DS]]
|}

== References ==
<references>

<!-- DEVELOPMENT -->
<ref name="Variety2005">{{#invoke:cite|web|last=Lang |first=Brent |date=April 27, 2005 |title=Goodwin Studios Plans Shared Superhero Slate |url=https://example.com/goodwin-shared-superhero-slate |url-status=live |archive-url=https://web.archive.org/web/20260515000000/https://example.com/goodwin-shared-superhero-slate |archive-date=May 15, 2026 |access-date=May 15, 2026 |website=[[Variety (magazine)|Variety]]}}</ref>
<ref name="GoodwinOralHistory">{{#invoke:cite|web|last=Reynolds |first=Mark |date=May 3, 2012 |title=How Goodwin Studios Built the United Cinematic Universe |url=https://example.com/ucu-oral-history |url-status=live |archive-url=https://web.archive.org/web/20260515000000/https://example.com/ucu-oral-history |archive-date=May 15, 2026 |access-date=May 15, 2026 |website=[[Entertainment Weekly]]}}</ref>
<ref name="CinemaUniverseName">{{#invoke:cite|web|last=Kit |first=Borys |date=September 21, 2008 |title=Goodwin Studios Names Its United Cinematic Universe |url=https://example.com/ucu-name |url-status=live |archive-url=https://web.archive.org/web/20260515000000/https://example.com/ucu-name |archive-date=May 15, 2026 |access-date=May 15, 2026 |website=[[The Hollywood Reporter]]}}</ref>
<ref name="SLSDevelopment">{{#invoke:cite|web|last=McClintock |first=Pamela |date=June 12, 2007 |title=Superman Opens Goodwin's United Universe |url=https://example.com/superman-last-son-development |url-status=live |archive-url=https://web.archive.org/web/20260515000000/https://example.com/superman-last-son-development |archive-date=May 15, 2026 |access-date=May 15, 2026 |website=[[Variety (magazine)|Variety]]}}</ref>
<ref name="GoodwinIconsInstitutions">{{#invoke:cite|magazine|last=Breznican |first=Anthony |date=April 18, 2012 |title=Freddie Goodwin on turning icons into institutions |url=https://example.com/goodwin-icons-institutions |magazine=[[Entertainment Weekly]] |access-date=May 15, 2026}}</ref>
<ref name="DistributionDeals">{{#invoke:cite|web|last=Fleming |first=Mike Jr. |date=March 3, 2007 |title=Studios Reach Unusual Distribution Deal for Goodwin Superhero Films |url=https://example.com/ucu-distribution-deals |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="ContinuityGroup">{{#invoke:cite|web|last=Masters |first=Kim |date=July 29, 2010 |title=Inside Goodwin Studios' Continuity Room |url=https://example.com/ucu-continuity-room |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="HayesPhaseOne">{{#invoke:cite|web|last=Ryan |first=Mike |date=April 30, 2012 |title=Sarah Hayes on Connecting Phase One |url=https://example.com/sarah-hayes-phase-one |website=[[Uproxx]] |access-date=May 15, 2026}}</ref>
<ref name="PhaseOnePlan">{{#invoke:cite|web|last=Truitt |first=Brian |date=May 1, 2012 |title=Goodwin Studios Reveals its Phase One Plan |url=https://example.com/phase-one-plan |website=[[USA Today]] |access-date=May 15, 2026}}</ref>
<ref name="PostCreditsPlan">{{#invoke:cite|web|last=Sciretta |first=Peter |date=May 8, 2012 |title=The United Cinematic Universe Post-Credits Plan Explained |url=https://example.com/ucu-post-credits |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="UnitedEarlyDevelopment">{{#invoke:cite|web|last=Finke |first=Nikki |date=August 16, 2009 |title=Goodwin Starts Early Work on The United |url=https://example.com/the-united-early-development |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="PhaseTerm">{{#invoke:cite|web|last=Strom |first=Marc |date=September 12, 2012 |title=Goodwin Studios Announces Phase One Box Set |url=https://example.com/phase-one-box-set-announced |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="PhaseTermGoodwin">{{#invoke:cite|web|last=Lussier |first=Germain |date=September 28, 2012 |title=Why Goodwin Studios Calls Its Films Phases |url=https://example.com/why-phases |website=[[Gizmodo]] |access-date=May 15, 2026}}</ref>
<ref name="DisneyUnitedDistribution">{{#invoke:cite|web|last=Fleming |first=Mike Jr. |date=October 18, 2011 |title=Disney to Distribute The United |url=https://example.com/disney-the-united-distribution |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="TradeDistribution">{{#invoke:cite|web|last=Lang |first=Brent |date=May 3, 2012 |title=The Complicated Release Strategy Behind The United |url=https://example.com/united-release-strategy |website=[[TheWrap]] |access-date=May 15, 2026}}</ref>
<ref name="BrandingPhaseOne">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=September 24, 2012 |title=Goodwin Studios Unifies Phase One Branding |url=https://example.com/ucu-branding-phase-one |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="ContinuityTeam">{{#invoke:cite|web|last=Couch |first=Aaron |date=April 25, 2012 |title=Inside the UCU Continuity Team |url=https://example.com/ucu-continuity-team |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="DirectorsPhaseOne">{{#invoke:cite|web|last=Vary |first=Adam B. |date=May 6, 2012 |title=The Directors Who Built Phase One |url=https://example.com/phase-one-directors |website=[[Entertainment Weekly]] |access-date=May 15, 2026}}</ref>
<ref name="UnitedDrafts">{{#invoke:cite|web|last=Goldberg |first=Matt |date=April 14, 2012 |title=The United Went Through Years of Drafts |url=https://example.com/the-united-drafts |website=[[Collider (website)|Collider]] |access-date=May 15, 2026}}</ref>
<ref name="VexorMalakar">{{#invoke:cite|web|last=Orange |first=B. Alan |date=May 9, 2012 |title=The United's Villains Explained |url=https://example.com/vexor-malakar |website=[[MovieWeb]] |access-date=May 15, 2026}}</ref>
<ref name="WhedonUnited">{{#invoke:cite|web|last=Graser |first=Marc |date=April 13, 2010 |title=Whedon to Write and Direct The United |url=https://example.com/whedon-the-united |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="UnitedRevisions">{{#invoke:cite|web|last=Jensen |first=Jeff |date=April 27, 2012 |title=How Joss Whedon Rebuilt The United |url=https://example.com/united-revisions |website=[[Entertainment Weekly]] |access-date=May 15, 2026}}</ref>


<ref name="LongTermContracts">{{#invoke:cite|web|last=Fleming |first=Mike Jr. |date=July 24, 2010 |title=Goodwin Studios locks core cast for United crossover |url=https://example.com/ucu-long-term-contracts |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="CoreCastMeetings">{{#invoke:cite|web|last=Vary |first=Adam B. |date=April 12, 2012 |title=How the United cast found their team dynamic |url=https://example.com/united-cast-meetings |website=[[Entertainment Weekly]] |access-date=May 15, 2026}}</ref>
<ref name="TonalBalance">{{#invoke:cite|web|last=Robinson |first=Joanna |date=May 4, 2017 |title=The genre experiment of UCU Phase One |url=https://example.com/ucu-tonal-balance |website=[[Vanity Fair (magazine)|Vanity Fair]] |access-date=May 15, 2026}}</ref>
<ref name="RecurringInstitutionalCharacters">{{#invoke:cite|web|last=Truitt |first=Brian |date=May 6, 2012 |title=Nick Fury, Amanda Waller, and the connective tissue of Phase One |url=https://example.com/ucu-institutional-characters |website=[[USA Today]] |access-date=May 15, 2026}}</ref>
<ref name="VisualArchive">{{#invoke:cite|web|last=Desowitz |first=Bill |date=May 2, 2012 |title=Goodwin Studios' Phase One visual archive |url=https://example.com/ucu-visual-archive |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="DawnEngineDesign">{{#invoke:cite|web|last=Failes |first=Ian |date=May 3, 2012 |title=Designing the Dawn Engine |url=https://example.com/dawn-engine-design |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="ActionLanguage">{{#invoke:cite|web|last=Goldberg |first=Matt |date=May 1, 2012 |title=How The United staged eight different action styles |url=https://example.com/the-united-action-language |website=[[Collider (website)|Collider]] |access-date=May 15, 2026}}</ref>
<ref name="PostCreditsReception">{{#invoke:cite|web|last=Sciretta |first=Peter |date=May 8, 2012 |title=The rise of the UCU post-credits scene |url=https://example.com/ucu-post-credits-rise |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="PostCreditsPhilosophy">{{#invoke:cite|web|last=Lussier |first=Germain |date=May 10, 2012 |title=Freddie Goodwin explains the UCU tag scenes |url=https://example.com/goodwin-tag-scenes |website=[[Gizmodo]] |access-date=May 15, 2026}}</ref>
<ref name="CreditSceneAudience">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=May 13, 2012 |title=How UCU audiences learned to stay after the credits |url=https://example.com/ucu-credit-scene-audience |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="ReleaseStrategy">{{#invoke:cite|web|last=McClintock |first=Pamela |date=May 5, 2012 |title=Goodwin Studios' Phase One release strategy pays off |url=https://example.com/phase-one-release-strategy |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="ReleaseCadence">{{#invoke:cite|web|last=Lang |first=Brent |date=May 6, 2012 |title=Why Goodwin kept Phase One to one or two films a year |url=https://example.com/ucu-release-cadence |website=[[TheWrap]] |access-date=May 15, 2026}}</ref>

<!-- TABLE / FILM CREDITS -->
<ref name="DigitalSpyPhases">{{#invoke:cite|web|last1=Sandwell |first1=Ian |last2=Longridge |first2=Chris |date=May 15, 2026 |title=United Cinematic Universe phases explained |url=https://example.com/ucu-phases-explained |url-status=live |archive-url=https://web.archive.org/web/20260515000000/https://example.com/ucu-phases-explained |archive-date=May 15, 2026 |access-date=May 15, 2026 |website=[[Digital Spy]]}}</ref>

<!-- SUPERMAN: LAST SON -->
<ref name="SLSDirector">{{#invoke:cite|web|last=Staff |date=June 15, 2007 |title=Superman: Last Son director confirmed |url=https://example.com/sls-director |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="SLSWriters">{{#invoke:cite|web|last=Staff |date=June 15, 2007 |title=Superman: Last Son writing credits |url=https://example.com/sls-writers |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="SLSSynopsis">{{#invoke:cite|web|last=Staff |date=June 15, 2007 |title=Superman: Last Son synopsis |url=https://example.com/sls-synopsis |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="SLSDevelopment">{{#invoke:cite|web|last=Reporter |first=Film |date=June 15, 2007 |title=The Making of Superman: Last Son |url=https://example.com/sls-making |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="SLSProduction">{{#invoke:cite|web|last=Reporter |first=Production |date=June 15, 2007 |title=Superman: Last Son production notes |url=https://example.com/sls-production-notes |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="SLSContinuity">{{#invoke:cite|web|last=Hayes |first=Sarah |date=June 15, 2007 |title=Continuity notes for Superman: Last Son |url=https://example.com/sls-continuity |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="SLSConnections">{{#invoke:cite|web|last=Sciretta |first=Peter |date=June 15, 2007 |title=Superman: Last Son Easter eggs and UCU connections |url=https://example.com/sls-connections |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="SLSBOM">{{Cite Box Office Mojo |id=sls0000 |title=Superman: Last Son |access-date=May 15, 2026 |archive-url=https://web.archive.org/web/20260515000000/https://www.boxofficemojo.com/title/sls0000/ |archive-date=May 15, 2026 |url-status=live}}</ref>
<ref name="SLSRT">{{Cite Rotten Tomatoes |id=sls |type=m |title=Superman: Last Son |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="SLSMC">{{Cite Metacritic |id=sls |type=movie |title=Superman: Last Son |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="SLSCS">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=June 15, 2007 |title=Superman: Last Son audience response |url=https://example.com/sls-cinemascore |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>

<!-- IRON MAN: ARMORED DAWN -->
<ref name="IMADDirector">{{#invoke:cite|web|last=Staff |date=May 2, 2008 |title=Iron Man: Armored Dawn director confirmed |url=https://example.com/imad-director |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="IMADWriters">{{#invoke:cite|web|last=Staff |date=May 2, 2008 |title=Iron Man: Armored Dawn writing credits |url=https://example.com/imad-writers |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="IMADSynopsis">{{#invoke:cite|web|last=Staff |date=May 2, 2008 |title=Iron Man: Armored Dawn synopsis |url=https://example.com/imad-synopsis |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="IMADDevelopment">{{#invoke:cite|web|last=Reporter |first=Film |date=May 2, 2008 |title=The Making of Iron Man: Armored Dawn |url=https://example.com/imad-making |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="IMADProduction">{{#invoke:cite|web|last=Reporter |first=Production |date=May 2, 2008 |title=Iron Man: Armored Dawn production notes |url=https://example.com/imad-production-notes |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="IMADContinuity">{{#invoke:cite|web|last=Hayes |first=Sarah |date=May 2, 2008 |title=Continuity notes for Iron Man: Armored Dawn |url=https://example.com/imad-continuity |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="IMADConnections">{{#invoke:cite|web|last=Sciretta |first=Peter |date=May 2, 2008 |title=Iron Man: Armored Dawn Easter eggs and UCU connections |url=https://example.com/imad-connections |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="IMADBOM">{{Cite Box Office Mojo |id=imad0000 |title=Iron Man: Armored Dawn |access-date=May 15, 2026 |archive-url=https://web.archive.org/web/20260515000000/https://www.boxofficemojo.com/title/imad0000/ |archive-date=May 15, 2026 |url-status=live}}</ref>
<ref name="IMADRT">{{Cite Rotten Tomatoes |id=imad |type=m |title=Iron Man: Armored Dawn |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="IMADMC">{{Cite Metacritic |id=imad |type=movie |title=Iron Man: Armored Dawn |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="IMADCS">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=May 2, 2008 |title=Iron Man: Armored Dawn audience response |url=https://example.com/imad-cinemascore |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>

<!-- BATMAN: GOTHAM KNIGHT -->
<ref name="BGKDirector">{{#invoke:cite|web|last=Staff |date=July 18, 2008 |title=Batman: Gotham Knight director confirmed |url=https://example.com/bgk-director |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="BGKWriters">{{#invoke:cite|web|last=Staff |date=July 18, 2008 |title=Batman: Gotham Knight writing credits |url=https://example.com/bgk-writers |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="BGKSynopsis">{{#invoke:cite|web|last=Staff |date=July 18, 2008 |title=Batman: Gotham Knight synopsis |url=https://example.com/bgk-synopsis |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="BGKDevelopment">{{#invoke:cite|web|last=Reporter |first=Film |date=July 18, 2008 |title=The Making of Batman: Gotham Knight |url=https://example.com/bgk-making |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="BGKProduction">{{#invoke:cite|web|last=Reporter |first=Production |date=July 18, 2008 |title=Batman: Gotham Knight production notes |url=https://example.com/bgk-production-notes |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="BGKContinuity">{{#invoke:cite|web|last=Hayes |first=Sarah |date=July 18, 2008 |title=Continuity notes for Batman: Gotham Knight |url=https://example.com/bgk-continuity |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="BGKConnections">{{#invoke:cite|web|last=Sciretta |first=Peter |date=July 18, 2008 |title=Batman: Gotham Knight Easter eggs and UCU connections |url=https://example.com/bgk-connections |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="BGKBOM">{{Cite Box Office Mojo |id=bgk0000 |title=Batman: Gotham Knight |access-date=May 15, 2026 |archive-url=https://web.archive.org/web/20260515000000/https://www.boxofficemojo.com/title/bgk0000/ |archive-date=May 15, 2026 |url-status=live}}</ref>
<ref name="BGKRT">{{Cite Rotten Tomatoes |id=bgk |type=m |title=Batman: Gotham Knight |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="BGKMC">{{Cite Metacritic |id=bgk |type=movie |title=Batman: Gotham Knight |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="BGKCS">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=July 18, 2008 |title=Batman: Gotham Knight audience response |url=https://example.com/bgk-cinemascore |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>

<!-- WONDER WOMAN: THEMYSCIRA -->
<ref name="WWTDirector">{{#invoke:cite|web|last=Staff |date=June 19, 2009 |title=Wonder Woman: Themyscira director confirmed |url=https://example.com/wwt-director |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="WWTWriters">{{#invoke:cite|web|last=Staff |date=June 19, 2009 |title=Wonder Woman: Themyscira writing credits |url=https://example.com/wwt-writers |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="WWTSynopsis">{{#invoke:cite|web|last=Staff |date=June 19, 2009 |title=Wonder Woman: Themyscira synopsis |url=https://example.com/wwt-synopsis |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="WWTDevelopment">{{#invoke:cite|web|last=Reporter |first=Film |date=June 19, 2009 |title=The Making of Wonder Woman: Themyscira |url=https://example.com/wwt-making |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="WWTProduction">{{#invoke:cite|web|last=Reporter |first=Production |date=June 19, 2009 |title=Wonder Woman: Themyscira production notes |url=https://example.com/wwt-production-notes |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="WWTContinuity">{{#invoke:cite|web|last=Hayes |first=Sarah |date=June 19, 2009 |title=Continuity notes for Wonder Woman: Themyscira |url=https://example.com/wwt-continuity |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="WWTConnections">{{#invoke:cite|web|last=Sciretta |first=Peter |date=June 19, 2009 |title=Wonder Woman: Themyscira Easter eggs and UCU connections |url=https://example.com/wwt-connections |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="WWTBOM">{{Cite Box Office Mojo |id=wwt0000 |title=Wonder Woman: Themyscira |access-date=May 15, 2026 |archive-url=https://web.archive.org/web/20260515000000/https://www.boxofficemojo.com/title/wwt0000/ |archive-date=May 15, 2026 |url-status=live}}</ref>
<ref name="WWTRT">{{Cite Rotten Tomatoes |id=wwt |type=m |title=Wonder Woman: Themyscira |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="WWTMC">{{Cite Metacritic |id=wwt |type=movie |title=Wonder Woman: Themyscira |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="WWTCS">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=June 19, 2009 |title=Wonder Woman: Themyscira audience response |url=https://example.com/wwt-cinemascore |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>

<!-- THE FLASH: VELOCITY -->
<ref name="TFVDirector">{{#invoke:cite|web|last=Staff |date=May 14, 2010 |title=The Flash: Velocity director confirmed |url=https://example.com/tfv-director |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="TFVWriters">{{#invoke:cite|web|last=Staff |date=May 14, 2010 |title=The Flash: Velocity writing credits |url=https://example.com/tfv-writers |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="TFVSynopsis">{{#invoke:cite|web|last=Staff |date=May 14, 2010 |title=The Flash: Velocity synopsis |url=https://example.com/tfv-synopsis |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="TFVDevelopment">{{#invoke:cite|web|last=Reporter |first=Film |date=May 14, 2010 |title=The Making of The Flash: Velocity |url=https://example.com/tfv-making |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="TFVProduction">{{#invoke:cite|web|last=Reporter |first=Production |date=May 14, 2010 |title=The Flash: Velocity production notes |url=https://example.com/tfv-production-notes |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="TFVContinuity">{{#invoke:cite|web|last=Hayes |first=Sarah |date=May 14, 2010 |title=Continuity notes for The Flash: Velocity |url=https://example.com/tfv-continuity |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="TFVConnections">{{#invoke:cite|web|last=Sciretta |first=Peter |date=May 14, 2010 |title=The Flash: Velocity Easter eggs and UCU connections |url=https://example.com/tfv-connections |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="TFVBOM">{{Cite Box Office Mojo |id=tfv0000 |title=The Flash: Velocity |access-date=May 15, 2026 |archive-url=https://web.archive.org/web/20260515000000/https://www.boxofficemojo.com/title/tfv0000/ |archive-date=May 15, 2026 |url-status=live}}</ref>
<ref name="TFVRT">{{Cite Rotten Tomatoes |id=tfv |type=m |title=The Flash: Velocity |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="TFVMC">{{Cite Metacritic |id=tfv |type=movie |title=The Flash: Velocity |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="TFVCS">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=May 14, 2010 |title=The Flash: Velocity audience response |url=https://example.com/tfv-cinemascore |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>

<!-- SPIDER-MAN: WEB OF TOMORROW -->
<ref name="SMWTDirector">{{#invoke:cite|web|last=Staff |date=July 16, 2010 |title=Spider-Man: Web of Tomorrow director confirmed |url=https://example.com/smwt-director |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTWriters">{{#invoke:cite|web|last=Staff |date=July 16, 2010 |title=Spider-Man: Web of Tomorrow writing credits |url=https://example.com/smwt-writers |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTSynopsis">{{#invoke:cite|web|last=Staff |date=July 16, 2010 |title=Spider-Man: Web of Tomorrow synopsis |url=https://example.com/smwt-synopsis |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTDevelopment">{{#invoke:cite|web|last=Reporter |first=Film |date=July 16, 2010 |title=The Making of Spider-Man: Web of Tomorrow |url=https://example.com/smwt-making |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTProduction">{{#invoke:cite|web|last=Reporter |first=Production |date=July 16, 2010 |title=Spider-Man: Web of Tomorrow production notes |url=https://example.com/smwt-production-notes |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTContinuity">{{#invoke:cite|web|last=Hayes |first=Sarah |date=July 16, 2010 |title=Continuity notes for Spider-Man: Web of Tomorrow |url=https://example.com/smwt-continuity |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTConnections">{{#invoke:cite|web|last=Sciretta |first=Peter |date=July 16, 2010 |title=Spider-Man: Web of Tomorrow Easter eggs and UCU connections |url=https://example.com/smwt-connections |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTBOM">{{Cite Box Office Mojo |id=smwt0000 |title=Spider-Man: Web of Tomorrow |access-date=May 15, 2026 |archive-url=https://web.archive.org/web/20260515000000/https://www.boxofficemojo.com/title/smwt0000/ |archive-date=May 15, 2026 |url-status=live}}</ref>
<ref name="SMWTRT">{{Cite Rotten Tomatoes |id=smwt |type=m |title=Spider-Man: Web of Tomorrow |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="SMWTMC">{{Cite Metacritic |id=smwt |type=movie |title=Spider-Man: Web of Tomorrow |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="SMWTCS">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=July 16, 2010 |title=Spider-Man: Web of Tomorrow audience response |url=https://example.com/smwt-cinemascore |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>

<!-- CAPTAIN AMERICA: SENTINEL -->
<ref name="CASDirector">{{#invoke:cite|web|last=Staff |date=July 22, 2011 |title=Captain America: Sentinel director confirmed |url=https://example.com/cas-director |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="CASWriters">{{#invoke:cite|web|last=Staff |date=July 22, 2011 |title=Captain America: Sentinel writing credits |url=https://example.com/cas-writers |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="CASSynopsis">{{#invoke:cite|web|last=Staff |date=July 22, 2011 |title=Captain America: Sentinel synopsis |url=https://example.com/cas-synopsis |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="CASDevelopment">{{#invoke:cite|web|last=Reporter |first=Film |date=July 22, 2011 |title=The Making of Captain America: Sentinel |url=https://example.com/cas-making |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="CASProduction">{{#invoke:cite|web|last=Reporter |first=Production |date=July 22, 2011 |title=Captain America: Sentinel production notes |url=https://example.com/cas-production-notes |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="CASContinuity">{{#invoke:cite|web|last=Hayes |first=Sarah |date=July 22, 2011 |title=Continuity notes for Captain America: Sentinel |url=https://example.com/cas-continuity |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="CASConnections">{{#invoke:cite|web|last=Sciretta |first=Peter |date=July 22, 2011 |title=Captain America: Sentinel Easter eggs and UCU connections |url=https://example.com/cas-connections |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="CASBOM">{{Cite Box Office Mojo |id=cas0000 |title=Captain America: Sentinel |access-date=May 15, 2026 |archive-url=https://web.archive.org/web/20260515000000/https://www.boxofficemojo.com/title/cas0000/ |archive-date=May 15, 2026 |url-status=live}}</ref>
<ref name="CASRT">{{Cite Rotten Tomatoes |id=cas |type=m |title=Captain America: Sentinel |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="CASMC">{{Cite Metacritic |id=cas |type=movie |title=Captain America: Sentinel |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="CASCS">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=July 22, 2011 |title=Captain America: Sentinel audience response |url=https://example.com/cas-cinemascore |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>

<!-- THE UNITED -->
<ref name="TUDirector">{{#invoke:cite|web|last=Staff |date=May 4, 2012 |title=The United director confirmed |url=https://example.com/tu-director |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="TUWriters">{{#invoke:cite|web|last=Staff |date=May 4, 2012 |title=The United writing credits |url=https://example.com/tu-writers |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="TUSynopsis">{{#invoke:cite|web|last=Staff |date=May 4, 2012 |title=The United synopsis |url=https://example.com/tu-synopsis |website=[[Goodwin Studios]] |access-date=May 15, 2026}}</ref>
<ref name="TUDevelopment">{{#invoke:cite|web|last=Reporter |first=Film |date=May 4, 2012 |title=The Making of The United |url=https://example.com/tu-making |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="TUProduction">{{#invoke:cite|web|last=Reporter |first=Production |date=May 4, 2012 |title=The United production notes |url=https://example.com/tu-production-notes |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="TUContinuity">{{#invoke:cite|web|last=Hayes |first=Sarah |date=May 4, 2012 |title=Continuity notes for The United |url=https://example.com/tu-continuity |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="TUConnections">{{#invoke:cite|web|last=Sciretta |first=Peter |date=May 4, 2012 |title=The United Easter eggs and UCU connections |url=https://example.com/tu-connections |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="TUBOM">{{Cite Box Office Mojo |id=tu0000 |title=The United |access-date=May 15, 2026 |archive-url=https://web.archive.org/web/20260515000000/https://www.boxofficemojo.com/title/tu0000/ |archive-date=May 15, 2026 |url-status=live}}</ref>
<ref name="TURT">{{Cite Rotten Tomatoes |id=tu |type=m |title=The United |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="TUMC">{{Cite Metacritic |id=tu |type=movie |title=The United |access-date=May 15, 2026}}{{cbignore}}</ref>
<ref name="TUCS">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=May 4, 2012 |title=The United audience response |url=https://example.com/tu-cinemascore |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>


<ref name="SLSCasting">{{#invoke:cite|web|last=Couch |first=Aaron |date=June 15, 2007 |title=Casting Superman: Last Son for a shared universe |url=https://example.com/sls-casting |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="SLSDesign">{{#invoke:cite|web|last=Desowitz |first=Bill |date=June 15, 2007 |title=Designing the world of Superman: Last Son |url=https://example.com/sls-design |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="SLSVFX">{{#invoke:cite|web|last=Failes |first=Ian |date=June 15, 2007 |title=The visual effects of Superman: Last Son |url=https://example.com/sls-vfx |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="SLSMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=June 15, 2007 |title=Marketing Superman: Last Son inside and outside the UCU |url=https://example.com/sls-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="SLSRetrospective">{{#invoke:cite|web|last=Knight |first=Rich |date=May 15, 2026 |title=How Superman: Last Son shaped Phase One |url=https://example.com/sls-retrospective |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>

<ref name="IMADCasting">{{#invoke:cite|web|last=Couch |first=Aaron |date=May 2, 2008 |title=Casting Iron Man: Armored Dawn for a shared universe |url=https://example.com/imad-casting |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="IMADDesign">{{#invoke:cite|web|last=Desowitz |first=Bill |date=May 2, 2008 |title=Designing the world of Iron Man: Armored Dawn |url=https://example.com/imad-design |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="IMADVFX">{{#invoke:cite|web|last=Failes |first=Ian |date=May 2, 2008 |title=The visual effects of Iron Man: Armored Dawn |url=https://example.com/imad-vfx |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="IMADMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=May 2, 2008 |title=Marketing Iron Man: Armored Dawn inside and outside the UCU |url=https://example.com/imad-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="IMADRetrospective">{{#invoke:cite|web|last=Knight |first=Rich |date=May 15, 2026 |title=How Iron Man: Armored Dawn shaped Phase One |url=https://example.com/imad-retrospective |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>

<ref name="BGKCasting">{{#invoke:cite|web|last=Couch |first=Aaron |date=July 18, 2008 |title=Casting Batman: Gotham Knight for a shared universe |url=https://example.com/bgk-casting |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="BGKDesign">{{#invoke:cite|web|last=Desowitz |first=Bill |date=July 18, 2008 |title=Designing the world of Batman: Gotham Knight |url=https://example.com/bgk-design |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="BGKVFX">{{#invoke:cite|web|last=Failes |first=Ian |date=July 18, 2008 |title=The visual effects of Batman: Gotham Knight |url=https://example.com/bgk-vfx |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="BGKMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=July 18, 2008 |title=Marketing Batman: Gotham Knight inside and outside the UCU |url=https://example.com/bgk-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="BGKRetrospective">{{#invoke:cite|web|last=Knight |first=Rich |date=May 15, 2026 |title=How Batman: Gotham Knight shaped Phase One |url=https://example.com/bgk-retrospective |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>

<ref name="WWTCasting">{{#invoke:cite|web|last=Couch |first=Aaron |date=June 19, 2009 |title=Casting Wonder Woman: Themyscira for a shared universe |url=https://example.com/wwt-casting |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="WWTDesign">{{#invoke:cite|web|last=Desowitz |first=Bill |date=June 19, 2009 |title=Designing the world of Wonder Woman: Themyscira |url=https://example.com/wwt-design |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="WWTVFX">{{#invoke:cite|web|last=Failes |first=Ian |date=June 19, 2009 |title=The visual effects of Wonder Woman: Themyscira |url=https://example.com/wwt-vfx |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="WWTMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=June 19, 2009 |title=Marketing Wonder Woman: Themyscira inside and outside the UCU |url=https://example.com/wwt-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="WWTRetrospective">{{#invoke:cite|web|last=Knight |first=Rich |date=May 15, 2026 |title=How Wonder Woman: Themyscira shaped Phase One |url=https://example.com/wwt-retrospective |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>

<ref name="TFVCasting">{{#invoke:cite|web|last=Couch |first=Aaron |date=May 14, 2010 |title=Casting The Flash: Velocity for a shared universe |url=https://example.com/tfv-casting |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="TFVDesign">{{#invoke:cite|web|last=Desowitz |first=Bill |date=May 14, 2010 |title=Designing the world of The Flash: Velocity |url=https://example.com/tfv-design |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="TFVVFX">{{#invoke:cite|web|last=Failes |first=Ian |date=May 14, 2010 |title=The visual effects of The Flash: Velocity |url=https://example.com/tfv-vfx |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="TFVMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=May 14, 2010 |title=Marketing The Flash: Velocity inside and outside the UCU |url=https://example.com/tfv-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="TFVRetrospective">{{#invoke:cite|web|last=Knight |first=Rich |date=May 15, 2026 |title=How The Flash: Velocity shaped Phase One |url=https://example.com/tfv-retrospective |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>

<ref name="SMWTCasting">{{#invoke:cite|web|last=Couch |first=Aaron |date=July 16, 2010 |title=Casting Spider-Man: Web of Tomorrow for a shared universe |url=https://example.com/smwt-casting |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTDesign">{{#invoke:cite|web|last=Desowitz |first=Bill |date=July 16, 2010 |title=Designing the world of Spider-Man: Web of Tomorrow |url=https://example.com/smwt-design |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTVFX">{{#invoke:cite|web|last=Failes |first=Ian |date=July 16, 2010 |title=The visual effects of Spider-Man: Web of Tomorrow |url=https://example.com/smwt-vfx |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="SMWTMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=July 16, 2010 |title=Marketing Spider-Man: Web of Tomorrow inside and outside the UCU |url=https://example.com/smwt-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTRetrospective">{{#invoke:cite|web|last=Knight |first=Rich |date=May 15, 2026 |title=How Spider-Man: Web of Tomorrow shaped Phase One |url=https://example.com/smwt-retrospective |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>

<ref name="CASCasting">{{#invoke:cite|web|last=Couch |first=Aaron |date=July 22, 2011 |title=Casting Captain America: Sentinel for a shared universe |url=https://example.com/cas-casting |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="CASDesign">{{#invoke:cite|web|last=Desowitz |first=Bill |date=July 22, 2011 |title=Designing the world of Captain America: Sentinel |url=https://example.com/cas-design |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="CASVFX">{{#invoke:cite|web|last=Failes |first=Ian |date=July 22, 2011 |title=The visual effects of Captain America: Sentinel |url=https://example.com/cas-vfx |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="CASMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=July 22, 2011 |title=Marketing Captain America: Sentinel inside and outside the UCU |url=https://example.com/cas-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="CASRetrospective">{{#invoke:cite|web|last=Knight |first=Rich |date=May 15, 2026 |title=How Captain America: Sentinel shaped Phase One |url=https://example.com/cas-retrospective |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>

<ref name="TUCasting">{{#invoke:cite|web|last=Couch |first=Aaron |date=May 4, 2012 |title=Casting The United for a shared universe |url=https://example.com/tu-casting |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="TUDesign">{{#invoke:cite|web|last=Desowitz |first=Bill |date=May 4, 2012 |title=Designing the world of The United |url=https://example.com/tu-design |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="TUVFX">{{#invoke:cite|web|last=Failes |first=Ian |date=May 4, 2012 |title=The visual effects of The United |url=https://example.com/tu-vfx |website=befores & afters |access-date=May 15, 2026}}</ref>
<ref name="TUMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=May 4, 2012 |title=Marketing The United inside and outside the UCU |url=https://example.com/tu-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="TURetrospective">{{#invoke:cite|web|last=Knight |first=Rich |date=May 15, 2026 |title=How The United shaped Phase One |url=https://example.com/tu-retrospective |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>


<ref name="MarketingEarly">{{#invoke:cite|web|last=McClintock |first=Pamela |date=June 18, 2007 |title=Goodwin keeps shared-universe branding quiet for Superman launch |url=https://example.com/early-ucu-marketing |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="IMADMarketing">{{#invoke:cite|web|last=D'Alessandro |first=Anthony |date=May 4, 2008 |title=Iron Man: Armored Dawn campaign keeps Fury under wraps |url=https://example.com/imad-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="BGKMarketing">{{#invoke:cite|web|last=Kit |first=Borys |date=July 16, 2008 |title=Batman: Gotham Knight viral campaign builds Gotham online |url=https://example.com/bgk-marketing |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="WWTMarketing">{{#invoke:cite|web|last=McNary |first=Dave |date=June 17, 2009 |title=Wonder Woman: Themyscira campaign leans into myth |url=https://example.com/wwt-marketing |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="TFVMarketing">{{#invoke:cite|web|last=Goldberg |first=Matt |date=May 12, 2010 |title=The Flash: Velocity races into summer |url=https://example.com/tfv-marketing |website=[[Collider (website)|Collider]] |access-date=May 15, 2026}}</ref>
<ref name="SMWTMarketing">{{#invoke:cite|web|last=Sciretta |first=Peter |date=July 12, 2010 |title=Oscorp goes viral for Spider-Man: Web of Tomorrow |url=https://example.com/smwt-marketing |website=[[/Film]] |access-date=May 15, 2026}}</ref>
<ref name="CASMarketing">{{#invoke:cite|web|last=Truitt |first=Brian |date=July 20, 2011 |title=Captain America: Sentinel sells a wartime hero |url=https://example.com/cas-marketing |website=[[USA Today]] |access-date=May 15, 2026}}</ref>
<ref name="TUMarketing">{{#invoke:cite|web|last=Finke |first=Nikki |date=May 6, 2012 |title=The United campaign turns crossover into event |url=https://example.com/tu-marketing |website=[[Deadline Hollywood]] |access-date=May 15, 2026}}</ref>
<ref name="MarketingLegacy">{{#invoke:cite|web|last=Dockterman |first=Eliana |date=March 29, 2019 |title=How the UCU changed movie marketing secrecy |url=https://example.com/ucu-marketing-secrecy |website=[[Time (magazine)|Time]] |access-date=May 15, 2026}}</ref>

<ref name="OneShotsLegacy">{{#invoke:cite|web|last=Strom |first=Marc |date=September 26, 2012 |title=How the United One-Shots expanded Phase One |url=https://example.com/united-one-shots-legacy |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="BoxSetChronology">{{#invoke:cite|web|last=Lee |first=Jason |date=April 2, 2013 |title=Phase One box set includes timeline card |url=https://example.com/phase-one-box-set-timeline-card |website=HD-Report |access-date=May 15, 2026}}</ref>
<ref name="BoxSetReissue">{{#invoke:cite|web|last=Lee |first=Jason |date=May 6, 2014 |title=Goodwin reissues Phase One collection |url=https://example.com/phase-one-reissue |website=HD-Report |access-date=May 15, 2026}}</ref>
<!-- TIMELINE / SHORTS / MUSIC / HOME MEDIA -->
<ref name="TimelineGuide">{{#invoke:cite|book|last=Hayes |first=Sarah |title=United Cinematic Universe: The Official Timeline |date=2013 |publisher=Goodwin Publishing |isbn=978-1-00000-000-1 |location=Los Angeles}}</ref>
<ref name="ItemZero">{{#invoke:cite|web|last=Strom |first=Marc |date=September 13, 2012 |title=Item Zero expands the world after The United |url=https://example.com/item-zero |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="TimelineInfographic">{{#invoke:cite|web|last=Franich |first=Darren |date=May 17, 2012 |title=Goodwin Studios releases Phase One timeline |url=https://example.com/ucu-phase-one-timeline |website=[[Entertainment Weekly]] |access-date=May 15, 2026}}</ref>
<ref name="BoxSetAnnounced">{{#invoke:cite|web|last=Lee |first=Jason |date=June 6, 2012 |title=United Cinematic Universe Phase One Blu-ray set announced |url=https://example.com/phase-one-blu-ray |website=HD-Report |access-date=May 15, 2026}}</ref>
<ref name="BoxSetDelay">{{#invoke:cite|web|last=Gardner |first=Eriq |date=August 3, 2012 |title=Rights approvals delay some United Cinematic Universe box sets |url=https://example.com/phase-one-box-set-delay |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="BoxSetReleased">{{#invoke:cite|web|last=Breznican |first=Anthony |date=November 20, 2012 |title=Phase One box set will preview Phase Two |url=https://example.com/phase-one-box-set-released |website=[[Entertainment Weekly]] |access-date=May 15, 2026}}</ref>
<ref name="WWBoxOffice">{{#invoke:cite|web|title=Franchises |url=https://example.com/franchises |access-date=May 15, 2026 |website=[[The Numbers (website)|The Numbers]] |publisher=Nash Information Services, LLC}}{{cbignore}}</ref>


<ref name="ThemesMythPolicy">{{#invoke:cite|web|last=Roach |first=Isobel |date=April 12, 2021 |title=Myth and public policy in UCU Phase One |url=https://example.com/ucu-myth-policy |website=[[Wales Arts Review]] |access-date=May 15, 2026}}</ref>
<ref name="ThemesSecondHalf">{{#invoke:cite|web|last=Jaworski |first=Michelle |date=August 3, 2018 |title=The second half of Phase One and the making of the United |url=https://example.com/phase-one-second-half |website=[[The Daily Dot]] |access-date=May 15, 2026}}</ref>
<ref name="PublicHiddenHeroism">{{#invoke:cite|journal|last=Klein |first=Rebecca |date=2020 |title=Public Symbols and Hidden Vigilantes in the United Cinematic Universe |journal=Journal of Popular Film Studies |volume=12 |issue=3 |pages=201–227}}</ref>
<ref name="VisualStylePhaseOne">{{#invoke:cite|web|last=Desowitz |first=Bill |date=May 8, 2012 |title=The visual languages of UCU Phase One |url=https://example.com/visual-languages-ucu-phase-one |website=[[IndieWire]] |access-date=May 15, 2026}}</ref>
<ref name="TrustTheme">{{#invoke:cite|web|last=Gigool |first=Darren |date=March 31, 2023 |title=Trust is the secret theme of United Cinematic Universe Phase One |url=https://example.com/trust-theme-phase-one |website=[[MovieWeb]] |access-date=May 15, 2026}}</ref>

<!-- CRITICAL AND PUBLIC RESPONSE -->
<ref name="PhaseOneCritics">{{#invoke:cite|web|last=Jaworski |first=Michelle |date=August 3, 2018 |title=Revisiting UCU Phase One, the rise of the United |url=https://example.com/revisiting-ucu-phase-one |website=[[The Daily Dot]] |access-date=May 15, 2026}}</ref>
<ref name="UnitedCriticalSuccess">{{#invoke:cite|web|last=Lussier |first=Germain |date=June 29, 2018 |title=Ten years later, Goodwin Studios still sees Phase One as its boldest gamble |url=https://example.com/phase-one-gamble |website=[[Gizmodo]] |access-date=May 15, 2026}}</ref>
<ref name="ContinuityCriticism">{{#invoke:cite|web|last=Roach |first=Isobel |date=April 12, 2021 |title=United Cinematic Universe Phase One: Enter the shared universe |url=https://example.com/ucu-phase-one-analysis |website=[[Wales Arts Review]] |access-date=May 15, 2026}}</ref>
<ref name="SharedUniversePraise">{{#invoke:cite|web|last=Ames |first=Jeff |date=November 28, 2022 |title=United Cinematic Universe phases ranked |url=https://example.com/ucu-phases-ranked |website=[[ComingSoon.net]] |access-date=May 15, 2026}}</ref>
<ref name="CastPraise">{{#invoke:cite|web|last=Knight |first=Rich |date=December 4, 2022 |title=The first four phases of the UCU, ranked |url=https://example.com/ucu-first-four-phases-ranked |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>
<ref name="VexorReception">{{#invoke:cite|web|last=Ulatowski |first=Rachel |date=November 16, 2023 |title=How the UCU's first phase created a crossover model |url=https://example.com/ucu-phase-one-model |website=[[The Mary Sue]] |access-date=May 15, 2026}}</ref>
<ref name="PhaseOneAccolades">{{#invoke:cite|web|title=United Cinematic Universe Phase One awards |url=https://example.com/ucu-phase-one-awards |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>


<ref name="RetrospectiveStructure">{{#invoke:cite|web|last=Fujikawa |first=Jenn |date=April 25, 2018 |title=The Essential United Cinematic Universe Guide: Phase One |url=https://example.com/essential-ucu-phase-one-retrospective |website=[[GoodwinStudios.com]] |access-date=May 15, 2026}}</ref>
<ref name="RetrospectiveDistribution">{{#invoke:cite|journal|last=Benezra |first=Karen |date=July 8, 2019 |title=Distributed Continuity and the UCU Model |journal=[[MediaWeek]] |publisher=[[Penske Media Corporation]] |volume=24 |issue=28}}</ref>
<ref name="DefiningFilms">{{#invoke:cite|web|last=Gigool |first=Darren |date=March 31, 2023 |title=Why United Cinematic Universe Phase One worked |url=https://example.com/why-ucu-phase-one-worked |website=[[MovieWeb]] |access-date=May 15, 2026}}</ref>
<ref name="WeakestEntries">{{#invoke:cite|web|last=Ames |first=Jeff |date=November 28, 2022 |title=Every UCU Phase One movie ranked |url=https://example.com/ucu-phase-one-ranked |website=[[ComingSoon.net]] |access-date=May 15, 2026}}</ref>
<ref name="VillainResponse">{{#invoke:cite|web|last=Chitwood |first=Adam |date=May 5, 2022 |title=The villains of UCU Phase One, ten years later |url=https://example.com/ucu-phase-one-villains |website=[[Collider (website)|Collider]] |access-date=May 15, 2026}}</ref>
<ref name="CastingLegacy">{{#invoke:cite|web|last=Vary |first=Adam B. |date=May 4, 2022 |title=The cast that made Phase One work |url=https://example.com/ucu-phase-one-casting-legacy |website=[[Variety (magazine)|Variety]] |access-date=May 15, 2026}}</ref>
<ref name="DirectorDrivenDebate">{{#invoke:cite|web|last=Robinson |first=Joanna |date=May 6, 2022 |title=Did Phase One succeed because it was director driven? |url=https://example.com/phase-one-director-driven |website=[[Vanity Fair (magazine)|Vanity Fair]] |access-date=May 15, 2026}}</ref>
<ref name="UnitedTurningPoint">{{#invoke:cite|web|last=Lussier |first=Germain |date=May 4, 2022 |title=The United changed blockbuster continuity |url=https://example.com/the-united-turning-point |website=[[Gizmodo]] |access-date=May 15, 2026}}</ref>
<ref name="ReleasePacingPraise">{{#invoke:cite|web|last=Knight |first=Rich |date=December 4, 2022 |title=Why Phase One's release pace still works |url=https://example.com/phase-one-release-pace |website=[[CinemaBlend]] |access-date=May 15, 2026}}</ref>
<ref name="DistributionScholarship">{{#invoke:cite|journal|last=Park |first=Eun |date=2021 |title=Shared Universes and Industrial Cooperation in the United Cinematic Universe |journal=Journal of Franchise Media |volume=6 |issue=2 |pages=44–62}}</ref>
<ref name="PhaseRankings">{{#invoke:cite|web|last=Ulatowski |first=Rachel |date=November 16, 2023 |title=All UCU phases ranked from worst to best |url=https://example.com/all-ucu-phases-ranked |website=[[The Mary Sue]] |access-date=May 15, 2026}}</ref>
<ref name="SharedUniverseBoom">{{#invoke:cite|web|last=Lang |first=Brent |date=June 15, 2017 |title=How The United sparked Hollywood's shared-universe boom |url=https://example.com/shared-universe-boom |website=[[TheWrap]] |access-date=May 15, 2026}}</ref>
<ref name="AudienceExpectations">{{#invoke:cite|web|last=Dockterman |first=Eliana |date=March 29, 2019 |title=How post-credit scenes changed blockbuster audiences |url=https://example.com/post-credit-audiences |website=[[Time (magazine)|Time]] |access-date=May 15, 2026}}</ref>
<ref name="FanCommunities">{{#invoke:cite|web|last=Jaworski |first=Michelle |date=August 3, 2018 |title=How Phase One united superhero fandoms |url=https://example.com/phase-one-fandoms |website=[[The Daily Dot]] |access-date=May 15, 2026}}</ref>
<ref name="HomeMediaImpact">{{#invoke:cite|web|last=Lee |first=Jason |date=April 2, 2013 |title=Heroes United box set turns Phase One into a complete story |url=https://example.com/heroes-united-box-set-impact |website=HD-Report |access-date=May 15, 2026}}</ref>
<ref name="ContinuityAccessibility">{{#invoke:cite|web|last=Roach |first=Isobel |date=April 12, 2021 |title=Continuity and accessibility in UCU Phase One |url=https://example.com/continuity-accessibility-phase-one |website=[[Wales Arts Review]] |access-date=May 15, 2026}}</ref>
<ref name="AtlasAnalysis">{{#invoke:cite|web|last=Couch |first=Aaron |date=May 5, 2022 |title=The Atlas Foundation, explained |url=https://example.com/atlas-foundation-explained |website=[[The Hollywood Reporter]] |access-date=May 15, 2026}}</ref>
<ref name="GovernmentResponseTheme">{{#invoke:cite|web|last=Truitt |first=Brian |date=May 6, 2022 |title=How Phase One made superheroes a political problem |url=https://example.com/superheroes-political-problem |website=[[USA Today]] |access-date=May 15, 2026}}</ref>
<ref name="DawnEngineAnalysis">{{#invoke:cite|web|last=Goldberg |first=Matt |date=May 7, 2022 |title=The Dawn Engine and the mythology of UCU Phase One |url=https://example.com/dawn-engine-analysis |website=[[Collider (website)|Collider]] |access-date=May 15, 2026}}</ref>

<!-- TIE-IN MEDIA -->
<ref name="Guidebooks">{{#invoke:cite|web|last=Cowen |first=Trace William |date=September 9, 2013 |title=Goodwin announces guidebooks to the United Cinematic Universe |url=https://example.com/ucu-guidebooks |website=[[Complex (magazine)|Complex]] |access-date=May 15, 2026}}</ref>

</references>

== Further reading ==
{{Refbegin}}
* {{#invoke:cite|web|last=Fujikawa |first=Jenn |date=April 25, 2018 |title=The Essential United Cinematic Universe Guide: Phase One |url=https://example.com/essential-ucu-phase-one |url-status=live |archive-url=https://web.archive.org/web/20260515000000/https://example.com/essential-ucu-phase-one |archive-date=May 15, 2026 |website=[[GoodwinStudios.com]]}}
* {{#invoke:cite|book|last=Robinson |first=Johanna |title=UCU: The Rise of Goodwin Studios |date=2023 |publisher=[[Liveright]] |isbn=978-1-00000-111-5 |location=New York City}}
* {{#invoke:cite|book|last1=Gonzales |first1=Dave |last2=Edwards |first2=Gavin |title=Heroes United: The Making of a Shared Universe |date=2024 |publisher=Goodwin Publishing |isbn=978-1-00000-222-9 |location=Los Angeles}}
{{Refend}}

== External links ==
* [https://www.goodwinstudios.example/ucu/phase-one Phase One] at Goodwin Studios
* [https://www.goodwinstudios.example/ucu/the-dawn-saga The Dawn Saga] collection, including United Cinematic Universe Phase One, on [[United Hub]]

{{United Cinematic Universe|Studios}}
{{Live-action theatrical films based on Marvel Comics}}
{{Live-action theatrical films based on DC Comics}}

[[Category:United Cinematic Universe: Phase One| ]]
[[Category:United Cinematic Universe phases|Phase 1]]
[[Category:Film series introduced in 2007]]
[[Category:2007 establishments in the United States]]

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