United Cinematic Universe: Phase One
| Phase One | |
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| Based on | Characters published by by
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| Starring | See below |
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Release date | 2007–2012 |
| Country | United States |
| Language | English |
| Budget | Total (8 films): $1.455 billion |
| Box office | Total (8 films): $6.512 billion |
| United Cinematic Universe Phases | |
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Phase One of the United Cinematic Universe (UCU) is a group of American superhero films 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 film, The United, which ended the phase in May 2012. Phases One, Two, and 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 / Superman, Robert Downey Jr. as Tony Stark / Iron Man, Christian Bale as Bruce Wayne / Batman, Gal Gadot as Diana Prince / Wonder Woman, Grant Gustin as Barry Allen / the Flash, Andrew Garfield as Peter Parker / Spider-Man, and Chris Evans as Steve Rogers / Captain America. They all returned to star in The United, which also introduced Scarlett Johansson as Natasha Romanoff / Black Widow and Jeremy Renner as 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 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.
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.[1] 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.[2] The project was internally described as the "United continuity" before the term "United Cinematic Universe" was adopted during production of Iron Man: Armored Dawn.[3]
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.[4] 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.[5] 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.[6] 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.[7]
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.[8] 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.[9]
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.[10] 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.[11]
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.[12] Goodwin said the term was useful because it reflected the way comic book publishing grouped separate titles around major events.[13]
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.[14]
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.[15] 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.[16]
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.[17] 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.[18]
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.[19] 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.[20]
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.[21] 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.[22]
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.[23] 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.[24]
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.[25]
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.[26]
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.[27]
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.[28]
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.[29]
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.[30]
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.[31]
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.[32]
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.[33]
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.[34]
Films
Superman: Last Son (2007)
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.[52]
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.[4] 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.[53]
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.[54] 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.[55]
The casting of Brandon Routh as 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.[56]
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.[57]
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.[58]
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.[59]
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.[60]
Iron Man: Armored Dawn (2008)
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.[61]
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.[62] 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.[63]
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.[64] 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.[65]
The casting of Robert Downey Jr. as 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.[66]
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.[67]
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.[68]
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.[69]
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.[70]
Batman: Gotham Knight (2008)
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.[71]
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.[72] 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.[73]
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.[74] 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.[75]
The casting of Christian Bale as 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.[76]
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.[77]
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.[78]
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.[79]
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.[80]
Wonder Woman: Themyscira (2009)
Diana, princess of Themyscira, leaves her hidden island after Ares manipulates modern conflict and attempts to ignite a war between humanity and the Amazons.[81]
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.[82] 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.[83]
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.[84] 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.[85]
The casting of Gal Gadot as 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.[86]
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.[87]
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.[88]
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.[89]
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.[90]
The Flash: Velocity (2010)
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.[91]
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.[92] 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.[93]
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.[94] 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.[95]
The casting of Grant Gustin as 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.[96]
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.[97]
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.[98]
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.[99]
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.[100]
Spider-Man: Web of Tomorrow (2010)
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.[101]
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.[102] 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.[103]
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.[104] 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.[105]
The casting of Andrew Garfield as 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.[106]
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.[107]
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.[108]
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.[109]
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.[110]
Captain America: Sentinel (2011)
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.[111]
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.[112] 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.[113]
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.[114] 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.[115]
The casting of Chris Evans as 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.[116]
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.[117]
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.[118]
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.[119]
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.[120]
The United (2012)
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.[121]
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.[122] 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.[123]
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.[124] 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.[125]
The casting of ensemble cast as 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.[126]
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.[127]
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.[128]
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.[129]
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.[130]
Short films
United One-Shots are a series of direct-to-video short films 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.
| Film | U.S. release date | Director | Screenwriter | Producer | Home media release |
|---|---|---|---|---|---|
| The Waller File | November 18, 2008 | Lexi Alexander | Sarah Hayes | Freddie Goodwin | Superman: Last Son |
| A Funny Thing Happened on the Way to Gotham | December 8, 2009 | Miguel Sapochnik | Batman: Gotham Knight | ||
| Stark Expo: Aftermath | November 2, 2010 | Louis D'Esposito | Iron Man: Armored Dawn | ||
| Item Zero | September 25, 2012 | 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.[131]
Timeline
Template:United Cinematic Universe timeline Template:External media 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.[132]
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.[133]
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.[134]
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.[135]
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.[136]
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.[137]
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.[138]
Recurring cast and characters
This section includes characters who have appeared in multiple Phase One films, and have appeared in the billing block for at least one film.
- A dark grey cell indicates the character was not in the film.
- A C indicates an uncredited cameo role.
- An OS indicates the character appears in a short film.
- A P indicates an appearance in onscreen photographs.
- A V indicates a voice-only role.
Characters are listed alphabetically by last name, as applicable.
Music
Soundtracks
| Title | U.S. release date | Length | Composer | Label(s) |
|---|---|---|---|---|
| Superman: Last Son – Original Motion Picture Soundtrack | June 12, 2007 | 1:08:42 | John Ottman | WaterTower Music |
| Iron Man: Armored Dawn – Original Motion Picture Soundtrack | April 29, 2008 | 58:31 | Ramin Djawadi | |
| Batman: Gotham Knight – Original Motion Picture Soundtrack | July 15, 2008 | 1:12:09 | Hans Zimmer and James Newton Howard | |
| Wonder Woman: Themyscira – Original Motion Picture Soundtrack | June 16, 2009 | 1:06:27 | Rupert Gregson-Williams | |
| The Flash: Velocity – Original Motion Picture Soundtrack | May 11, 2010 | 1:03:22 | Blake Neely | Hollywood Records |
| Spider-Man: Web of Tomorrow – Original Motion Picture Soundtrack | July 13, 2010 | 1:05:15 | James Horner | |
| Captain America: Sentinel – Original Motion Picture Soundtrack | July 19, 2011 | 1:10:36 | Alan Silvestri | Walt Disney Records |
| The United – Original Motion Picture Soundtrack | May 1, 2012 | 1:14:48 | Hollywood Records Goodwin Music |
Compilation albums
| Title | U.S. release date | Length | Label(s) |
|---|---|---|---|
| Armored Dawn: Music from and Inspired by the Motion Picture | April 29, 2008 | 52:44 | Columbia Records |
| Songs from the Speed Force | May 11, 2010 | 45:18 | Atlantic Records |
| Heroes United: Music from and Inspired by the Motion Picture | May 1, 2012 | 56:23 | Hollywood Records Goodwin Music |
Singles
| Title | U.S. release date | Length | Artists | Labels |
|---|---|---|---|---|
| "Rise Together" | April 17, 2012 | 4:18 | Foo Fighters | Hollywood Records 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.[139]
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.[69]
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.[79]
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.[89]
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.[99]
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.[109]
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.[119]
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.[129]
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.[140]
Home media
| Film | DVD/Blu-ray release |
|---|---|
| Superman: Last Son | November 20, 2007 |
| Iron Man: Armored Dawn | September 30, 2008 |
| Batman: Gotham Knight | December 9, 2008 |
| Wonder Woman: Themyscira | December 8, 2009 |
| The Flash: Velocity | September 21, 2010 |
| Spider-Man: Web of Tomorrow | November 16, 2010 |
| Captain America: Sentinel | October 25, 2011 |
| The United | September 25, 2012 (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.[141] The set was delayed in several international markets because of distributor approval requirements connected to the cross-publisher licensing arrangement.[142] The redesigned box set was released in North America on April 2, 2013, with a featurette previewing Phase Two films and previously unreleased deleted scenes from Phase One.[143]
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.[144]
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.[145]
Reception
Box office performance
The United was the first film of the UCU to reach $1 billion.[146]
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.[147]
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.[148]
| Film | U.S. release date | Box office gross | All-time ranking | Budget | Ref. | |||
|---|---|---|---|---|---|---|---|---|
| U.S. and Canada | Other territories | Worldwide | U.S. and Canada | Worldwide | ||||
| Superman: Last Son | Script error: No such module "dts". | $255,000,000 | $357,000,000 | $612,000,000 | 246 | 250 | $185 million | [149] |
| Iron Man: Armored Dawn | Script error: No such module "dts". | $318,000,000 | $363,000,000 | $681,000,000 | 153 | 203 | $160 million | [150] |
| Batman: Gotham Knight | Script error: No such module "dts". | $534,000,000 | $506,000,000 | $1,040,000,000 | 30 | 50 | $190 million | [151] |
| Wonder Woman: Themyscira | Script error: No such module "dts". | $309,000,000 | $415,000,000 | $724,000,000 | 167 | 170 | $170 million | [152] |
| The Flash: Velocity | Script error: No such module "dts". | $211,000,000 | $337,000,000 | $548,000,000 | 350 | 310 | $150 million | [153] |
| Spider-Man: Web of Tomorrow | Script error: No such module "dts". | $356,000,000 | $440,000,000 | $796,000,000 | 110 | 125 | $200 million | [154] |
| Captain America: Sentinel | Script error: No such module "dts". | $189,000,000 | $292,000,000 | $481,000,000 | 425 | 390 | $140 million | [155] |
| The United | Script error: No such module "dts". | $667,000,000 | $963,000,000 | $1,630,000,000 | 12 | 12 | $260 million | [156] |
| Total | $2,839,000,000 | $3,673,000,000 | $6,512,000,000 | – | – | $1.455 billion | ||
Critical and public response
| Film | Critical | Public | |
|---|---|---|---|
| Rotten Tomatoes | Metacritic | CinemaScore | |
| Superman: Last Son | 83% (312 reviews)[157] | 68 (45 reviews)[158] | A−[159] |
| Iron Man: Armored Dawn | 91% (287 reviews)[160] | 73 (42 reviews)[161] | A[162] |
| Batman: Gotham Knight | 94% (356 reviews)[163] | 82 (51 reviews)[164] | A[165] |
| Wonder Woman: Themyscira | 86% (294 reviews)[166] | 70 (43 reviews)[167] | A−[168] |
| The Flash: Velocity | 74% (263 reviews)[169] | 61 (39 reviews)[170] | B+[171] |
| Spider-Man: Web of Tomorrow | 87% (329 reviews)[172] | 71 (46 reviews)[173] | A[174] |
| Captain America: Sentinel | 80% (275 reviews)[175] | 66 (41 reviews)[176] | A−[177] |
| The United | 92% (421 reviews)[178] | 76 (53 reviews)[179] | A+[180] |
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.[181] 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.[182]
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.[183] 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.[184]
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.[185] 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.[186]
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.[187] 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.[188]
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.[189]
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.[190]
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.[191]
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.[192]
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.[193]
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.[194]
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.[195]
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.[196]
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.[197]
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.[198]
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.[199]
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.[200]
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.[201]
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.[202]
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.[203]
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.[204]
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.[205]
Accolades
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.[206]
Tie-in media
Comic books
| Title | No. of issues |
Publication date | Writer(s) | Artist(s) | |
|---|---|---|---|---|---|
| First published | Last published | ||||
| United Cinematic Universe Prelude: Superman – Last Son | 2 | April 4, 2007 | May 2, 2007 | Sarah Hayes | Doug Mahnke |
| Iron Man: Armored Dawn – Public Enemy | 3 | February 6, 2008 | April 2, 2008 | Eric Pearson | Adi Granov |
| Batman: Gotham Knight – The Wayne File | 4 | April 9, 2008 | July 2, 2008 | Greg Rucka | Jock |
| Wonder Woman: Themyscira – War of Ares | 3 | March 4, 2009 | May 6, 2009 | Gail Simone | Phil Jimenez |
| The United Prelude: Dawn Engine | 4 | November 2, 2011 | February 8, 2012 | 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.[207]
Video games
| Title | U.S. release date | Publisher | Developer | Platforms |
|---|---|---|---|---|
| Superman: Last Son – The Game | June 12, 2007 | Electronic Arts | EA Tiburon | PlayStation 2, PlayStation 3, Xbox 360, Wii, Microsoft Windows |
| Iron Man: Armored Dawn | April 29, 2008 | Sega | Secret Level | PlayStation 2, PlayStation 3, Xbox 360, Wii, Windows |
| Batman: Gotham Knight | July 15, 2008 | Warner Bros. Interactive Entertainment | Rocksteady Studios | PlayStation 3, Xbox 360, Windows |
| The Flash: Velocity | May 11, 2010 | Warner Bros. Interactive Entertainment | Behaviour Interactive | PlayStation 3, Xbox 360, Wii, Windows |
| The United: Battle for Metropolis | May 1, 2012 | Disney Interactive Studios | Avalanche Software | PlayStation 3, Xbox 360, Wii, Windows, Nintendo DS |
References
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- ↑ Script error: No such module "cite".
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- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ 79.0 79.1 Script error: No such module "cite". Cite error: Invalid
<ref>tag; name "BGKMarketing" defined multiple times with different content - ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ 89.0 89.1 Script error: No such module "cite". Cite error: Invalid
<ref>tag; name "WWTMarketing" defined multiple times with different content - ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ 99.0 99.1 Script error: No such module "cite". Cite error: Invalid
<ref>tag; name "TFVMarketing" defined multiple times with different content - ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ 109.0 109.1 Script error: No such module "cite". Cite error: Invalid
<ref>tag; name "SMWTMarketing" defined multiple times with different content - ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ 119.0 119.1 Script error: No such module "cite". Cite error: Invalid
<ref>tag; name "CASMarketing" defined multiple times with different content - ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ 129.0 129.1 Script error: No such module "cite". Cite error: Invalid
<ref>tag; name "TUMarketing" defined multiple times with different content - ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".Template:Cbignore
- ↑ Cite error: Invalid
<ref>tag; no text was provided for refs namedBoxOfficeGrowth - ↑ Cite error: Invalid
<ref>tag; no text was provided for refs namedInternationalGrowth - ↑ Template:Cite Box Office Mojo
- ↑ Template:Cite Box Office Mojo
- ↑ Template:Cite Box Office Mojo
- ↑ Template:Cite Box Office Mojo
- ↑ Template:Cite Box Office Mojo
- ↑ Template:Cite Box Office Mojo
- ↑ Template:Cite Box Office Mojo
- ↑ Template:Cite Box Office Mojo
- ↑ Template:Cite Rotten TomatoesTemplate:Cbignore
- ↑ Template:Cite MetacriticTemplate:Cbignore
- ↑ Script error: No such module "cite".
- ↑ Template:Cite Rotten TomatoesTemplate:Cbignore
- ↑ Template:Cite MetacriticTemplate:Cbignore
- ↑ Script error: No such module "cite".
- ↑ Template:Cite Rotten TomatoesTemplate:Cbignore
- ↑ Template:Cite MetacriticTemplate:Cbignore
- ↑ Script error: No such module "cite".
- ↑ Template:Cite Rotten TomatoesTemplate:Cbignore
- ↑ Template:Cite MetacriticTemplate:Cbignore
- ↑ Script error: No such module "cite".
- ↑ Template:Cite Rotten TomatoesTemplate:Cbignore
- ↑ Template:Cite MetacriticTemplate:Cbignore
- ↑ Script error: No such module "cite".
- ↑ Template:Cite Rotten TomatoesTemplate:Cbignore
- ↑ Template:Cite MetacriticTemplate:Cbignore
- ↑ Script error: No such module "cite".
- ↑ Template:Cite Rotten TomatoesTemplate:Cbignore
- ↑ Template:Cite MetacriticTemplate:Cbignore
- ↑ Script error: No such module "cite".
- ↑ Template:Cite Rotten TomatoesTemplate:Cbignore
- ↑ Template:Cite MetacriticTemplate:Cbignore
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
- ↑ Script error: No such module "cite".
Cite error: <ref> tag with name "ItemZero" defined in <references> is not used in prior text.
Further reading
- Script error: No such module "cite".
- Script error: No such module "cite".
- Script error: No such module "cite".
External links
- Phase One at Goodwin Studios
- The Dawn Saga collection, including United Cinematic Universe Phase One, on United Hub
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- United Cinematic Universe: Phase One
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