Latest news with #cinematicuniverse
Geek Girl Authority
14-07-2025
- Entertainment
- Geek Girl Authority
Movie Review: SUPERMAN
Hollywood never tires of telling certain stories. They're always going back to the same well. Trust me, I'm a jerk, and I love to remind them of it. So, when DC announced Superman would once again be jump-starting their newly re-established cinematic universe, I was skeptical. Well, the comic book tentpole finally hit theaters this week. Does Superman leap to box office gold in a single bound? Or are we heading straight for another 'Martha' situation? Read on. Superman Superman follows the titular superhero (David Corenswet), who finds himself struggling to match wits with supervillain, billionaire and all-around bad guy Lex Luthor (Nicholas Hoult). Will 'Supes' be able to rise up and meet the challenge? Rachel Brosnahan, Skyler Gisondo, Nathan Fillion, Edi Gathegi and Isabela Merced co-star in the movie. James Gunn directs Superman from his own script. I was admittedly skeptical looking at the trailers. I desperately wanted to buy in, but something kept holding me back. Do we really, truly need yet another Superman? RELATED: 28 Years Later Spoiler Review Kids, I could not have been more wrong. I should know this. Always trust in James Gunn. Few filmmakers feel quite as at ease with finding not only the heart but also the humor in a story. Gunn and Corenswet gel to find such a delightful sense of wonder in Superman , and this made the film for me. Unassuming Sweetness There's a lot of pressure on Superman , and with that, a lot of focus on David Corenswet as he steps into the iconic titular role. Some should likely recognize him for his recent work in Twisters and Pearl. For most, though, this is the young actor's big-screen breakout. Corenswet brings an unassuming sweetness to the daunting part. As Superman, he's a Boy Scout, and that's okay. His sense of wide-eyed wonder is imperative to Gunn's narrative vision and sells the story's emotion. It's easy to get caught up in Clark's joy, and with that, his pain. RELATED: M3GAN 2.0 Spoiler Review David Corenswet is, however, only one member of a supremely talented cast. In truth, it would be impossible to call out all the stellar performances by both new and existing members of Gunn's recurring acting troupe. With names like Nathan Fillion and Alan Tudyk in the cast, this felt like a return to a joyful old-school 'Nerdvana,' the likes of which we haven't seen in a long time. A Crusading Reporter However, there's one more performance I'd be shirking my duties if I didn't call out. Friends, I've been a Rachel Brosnahan fangirl going back to her days on Manhattan in 2014. It remains one of the best shows no one talked about, so call me biased. It's probably true. Perhaps it should come as no surprise that I'm in love with Brosnahan's portrayal of Lois Lane. Her's is a rare comic book love interest that steps beyond the usual formula. She has her own voice, her own life and a story that could easily be told. I'm officially sending a plea to the DC TV programming team. Can we get an Agent Carter -like series featuring Lois Lane as a crusading reporter? I would watch the heck out of that. We need that spin-off. We deserve that spin-off. RELATED: Movie Review: The Old Guard 2 Doesn't Break Its Stride Gunn, meanwhile, is far from a newcomer to superhero films. We know this. I was pleasantly surprised to find, though, that Gunn avoids falling into the usual Superman traps. For one thing, this isn't an origin story. We really didn't need to see Smallville and what happens to Pa Kent yet again. With that, I suppose, there are some light struggles with characterization. As the audience, we're ushered into a fully established world. Gunn assumes (rightly so) that most already know Superman's origin story. There's some pointed narrative setup, but the film doesn't break its stride to stop and fill in needless gaps. Ultimately, though, Luthor's 'hands-off' villainy allows Superman to step into a different comic movie structure. The resulting film is packed to the gills with stunt set pieces. There's plenty of comic action, but it never feels hurried or jammed, despite the fact that Lex Luthor throws a lot at our protagonist. With everything that happens, it's hard to see where the next threat is coming from, and with that, there are stakes that often feel lacking in comic book movies. There's a beautiful tension here. RELATED: New TV Shows This Week (July 13-19) A Wide-Eyed, Wonderful Look As the final credits rolled, I found myself with the biggest smile on my face. Superman restarts the DC Cinematic Universe with infectious joy. This doesn't feel like the same old Superman origin story, and that's how it should be. This is a wide-eyed, wonderful look at the complicated truth of humanity. Here's hoping the rest of Gunn's DCU follows suit. Superman is now playing in theaters nationwide. Movie Review: JURASSIC WORLD REBIRTH
Geek Tyrant
24-06-2025
- Entertainment
- Geek Tyrant
James Gunn Breaks Down How He's Approaching DCU Interconnectivity Differently From the MCU — GeekTyrant
James Gunn has always been the kind of storyteller who puts characters first, whether he's working with a sentient tree, a jaded raccoon, or a foul-mouthed vigilante in a chrome helmet. Now, as co-CEO of DC Studios and the creative force behind the new DCU, he's taking that same character-driven mentality and applying it to something a bit more ambitious with an interconnected cinematic universe that doesn't drown its audience in homework. In a recent interview with Entertainment Weekly, Gunn explained how his approach to building the DCU is being shaped by his experience with the MCU. What worked, what didn't, and what he hopes to do differently. Gunn said: 'I am really trying to be careful that anybody can dip in and see the story that is up next and not feel like they're missing information. The other stories can provide added texture to what you're watching.' This idea of accessibility without sacrificing depth and storytelling is key to Gunn's vision. He's clearly aware of the pitfalls Marvel has run into over the past few years, with their sprawling, often overwhelming continuity that has left casual viewers feeling lost and fatigued. With so many films and series feeding into one another, keeping up with the MCU has started to feel like a full-time job for fans. Gunn wants to avoid that. He's designing the DCU so that every installment can be enjoyed on its own, even if it ties into a broader narrative. That means you won't have to watch Superman just to understand what's going on in Supergirl , or need to binge three series to get the next movie. But, for those who do go all in, there will be deeper layers to uncover. The filmmaker added: 'That might change down the line as we get deeper into what's happening in this universe. It could be like Infinity War and Endgame, where you kind of have to see Infinity War to know what's going on in Endgame. 'But right now, I'm trying to keep it so that you don't have to see Superman to see Supergirl, for example. Even though there's a lot of stuff in Superman that leads to Peacemaker, you certainly don't need to see it to see Peacemaker.' It's a smart approach. Marvel's early years thrived because Iron Man , Captain America: The First Avenger , and Thor were all solid standalone films with personality. The shared universe was a bonus, not a requirement. Gunn seems to be recapturing that philosophy, at least for this initial wave of DCU titles. With Superman hitting theaters July 8th, 2025, and Peacemaker Season 2 landing on Max this August, we're about to see this new strategy in action. While the DCU has stumbled in the past trying to play catch-up to Marvel, this new direction is rooted in strong individual storytelling with a light touch of connective tissue. Here's hoping the DCU's new chapter learns from all the bad choices Marvel has made in recent years.
Geek Culture
09-05-2025
- Entertainment
- Geek Culture
The MCU Wasn't the First: Top 10 Shared Cinematic Universes We Love
Love it or not, shared cinematic universes from Star Wars, the Marvel Cinematic Universe to Jurassic Park and Godzilla (aka MonsterVerse) are here to stay. While they are nothing new, the concept of a shared narrative across multiple movies told by different writers and directors into one massive narrative has overtaken Hollywood, with more emerging to provide a brand offering that includes various mediums and is even told across decades. Just to be clear, the concept of a shared universe extends beyond films such as crossovers or spin-offs, but now includes streaming series, potentially even in books and video games (though in some cases, events that occur in these mediums can be subsequently regarded as non-canon). For simplicity though, this article will cover two main mediums – film and TV, which means there has to be more than a shared narrative beyond TV or movies alone (apologies to television universes). Some are very new, and not all of them have stood the test of time, or even figured out what kind of stories they want to tell, but more are being developed as being linked. Recent examples include Amazon's recent control over the James Bond property, where it wants to inject connected streaming content to complement the new movies it wants to make. The John Wick universe is also looking to do the same and more recently, a shared universe also provides a requiem for the brand owner, to maintain the popularity of the franchise across another medium to satisfy fans, and not build franchise fatigue. Case in point? With The Conjuring franchise now shifting toward television and its original leads Patrick Wilson and Vera Farmiga moving into observer roles, it's clear that Warner Bros. sees more value in expanding than concluding with The Conjuring: Last Rites . A Max drama series is already in the works, and though details remain scarce, it signals a pivot from the self-contained horror tales of the Warrens to a broader universe-style format. It also places The Conjuring among a long list of franchises that grew from a single hit into sprawling cinematic ecosystems. While The Conjuring Universe may be one of the newest additions to this club, it's far from the first to try building interconnected stories across films. Marvel Studios made the term 'cinematic universe' part of pop culture with the MCU, but long before Nick Fury showed up in Tony Stark's living room, other franchises had already laid the groundwork. From monsters to mobsters, and wizards to warriors, Hollywood has always flirted with the idea of shared worlds. Some did it better. Others, just earlier. And some are only now figuring out how to bring their branches together under one cohesive roof. Some franchises, like Star Trek , arguably the earliest example of world-building across media that has continued on to this day, set the groundwork through television, but what matters here is not just who linked titles together first, but who did it with dedicated purpose, narrative coherence, and a sense that each new entry added something worth returning for. Here are the top 10 (current) shared cinematic universes, in order of age. Rocky Balboa started out chasing chickens and climbing the steps of the Philadelphia Museum of Art, but nearly 50 years later, the franchise he launched has grown into a full-blown cinematic universe with its own family tree. Kicking off in 1976 with Rocky , Sylvester Stallone ( First Blood ) wrote himself into film history as the underdog who turned a one-shot fight into a lifetime of sequels. Across six films, Rocky battled opponents, inner demons, and even Cold War tensions, while building a loyal fanbase that stayed with him from the gritty streets of Philly to the quiet contemplation of Rocky Balboa in 2006. The franchise found new momentum with spin-off Creed in 2015, pivoting to the next generation through the eyes of Adonis Creed, son of Apollo (Carl Weathers, Predator ). Michael B. Jordan ( Sinners ) brought fresh energy to the series, and with Stallone stepping into a mentor role, the story found new emotional beats. Under the direction of Ryan Coogler ( Black Panther ) and later Jordan himself, the Creed films explored legacy, identity, and personal growth without ever losing sight of the gloves. Now poised to expand into a 'Creed-verse' with spin-offs, prequels, and even animated projects on the table, this universe proves there's still plenty of fight left outside the ring. Long before post-credit scenes and crossover roadmaps became the Hollywood norm, Star Wars quietly laid the groundwork for what a shared cinematic universe could be. Starting with Star Wars: Episode IV – A New Hope in 1977, George Lucas launched a galaxy that didn't just contain a single story but hinted at entire worlds beyond the screen. While the original trilogy focused on the Skywalker family saga, it also planted the seeds for spin-offs, side characters, and historical backfill. Over time, this universe expanded into prequels, sequels, anthologies, and now Disney+ series, making Star Wars one of the earliest and most enduring examples of a sprawling, interconnected film world. What makes Star Wars unique in the shared universe conversation is its ability to pivot. From space opera to political thriller to samurai western, the franchise has housed wildly different tones and timelines within the same canon. Projects like Rogue One: A Star Wars Story (2016), Solo: A Star Wars Story (2018), and the more recent Andor (2022 – 2025) show a willingness to explore corners of the galaxy that don't always involve Jedi or Sith, while still feeling recognisably Star Wars. Even as it oscillates between nostalgia and reinvention, the franchise remains a model of how a cinematic universe can evolve across generations without losing its identity. Xenomorphs and Yautja haven't shared a screen in over a decade, but traces of their entangled history continue to ripple through the franchise. What began with Alien (1979) and Predator (1987) as standalone sci-fi horror films grew into sprawling mythologies populated by corporate greed, interstellar hunters, and synthetic lifeforms. While Aliens vs. Predator (2004) and its 2007 sequel drew the two species into direct confrontation, neither film is considered canon today. Now, with Alien: Romulus (2024) and the upcoming Predator: Badlands pushing their respective timelines forward, the connections are starting to resurface. A blink-and-you'll-miss-it shot in Predator: Badlands reveals Elle Fanning's character Thia is a Weyland-Yutani synthetic, marking the first direct acknowledgment of the Alien universe since the AVP films. There's also the upcoming Alien: Earth prequel streaming series that could potential expand on the concept. If these new installments stick the landing, it may not be long before a new generation of fans sees these franchises collide again – hopefully with better outcomes than their last official encounter. Wax on, wax off isn't just a catchphrase, but the foundation of a franchise that's quietly built one of the most enduring shared cinematic universes in Hollywood. The Karate Kid kicked things off in 1984 with Daniel LaRusso's (Ralph Macchio, The Outsiders ) underdog journey, guided by Mr. Miyagi's (Pat Morita, M*A*S*H ) unorthodox wisdom. Its success sparked a full trilogy, each installment deepening the mentor-student bond while evolving the emotional stakes. A brief detour in 1994's The Next Karate Kid introduced a new protégé in Julie Pierce (Hilary Swank, Million Dollar Baby ), proving the Miyagi legacy could extend beyond Daniel. What really gave the franchise a second wind, though, was Cobra Kai (2018 – 2025). First launched as a streaming series, it recontextualised the original films for a new generation while rewarding longtime fans with surprising character turns, expanded lore, and fresh rivalries. While the 2010 reboot with Jackie Chan ( Rush Hour ) and Jaden Smith ( After Earth ) explored similar themes with a modern backdrop, continuity-wise, it remained separate from the core saga, until plans were made to tie it all together like a swift kick to the face. The upcoming Karate Kid: Legends is set to reunite both film series (or at least acknowledge them) creating what may be the franchise's most ambitious crossover yet. Karate was the hook, but character and continuity have kept this universe kicking. Dinosaurs don't stay extinct for long in Hollywood, and few franchises have managed to evolve their concept across decades quite like Jurassic Park . What began in 1993 as a cautionary tale about cloning and corporate ambition has grown into a sprawling cinematic universe that spans six feature films, several short films, and multiple animated series. Steven Spielberg's original film still stands as the crown jewel, but each subsequent installment has added on new ideas (some more successfully than others) about how humanity grapples with its own hubris. Jurassic World revived the brand in 2015, reimagining the park as a functioning tourist destination before letting chaos predictably run wild. Its sequels – Jurassic World: Fallen Kingdom (2018) and Jurassic World: Dominion (2022) – pushed the concept further, with dinosaurs escaping into the broader world and coexisting (or not) with humans. Alongside this, animated shows like Jurassic World: Camp Cretaceous (2020 – 2022) and Jurassic World: Chaos Theory (2024 – present) continue to expand the universe from different angles and age demographics. With Jurassic World Rebirth on the horizon, the franchise shows no signs of slowing. It may not always be subtle, but it knows how to build anticipation, deliver spectacle, and keep audiences coming back for more. Before the Marvel Cinematic Universe turned franchise-building into a billion-dollar blueprint, shared cinematic universes were more a curiosity than a cornerstone of modern filmmaking. But once Marvel Studios dropped Iron Man in 2008 and followed it up with a bold post-credits promise – a bigger universe waiting just around the corner – the rules changed. No longer were audiences getting standalone blockbusters. They were watching chapters in an unfolding mega-saga. With each release, from Captain America: The First Avenger (2011) to Avengers: Endgame (2019), Marvel redefined long-form storytelling in cinema, turning crossover events and character arcs spanning a decade into mainstream expectations. What set the MCU apart wasn't just the volume of content or its polished synergy between films and streaming series. It was the confidence to plant seeds early by introducing Thanos (Josh Brolin, Dune ) years before he became a major threat, making an obscure team like the Guardians of the Galaxy into household names, and pulling in Spider-Man and the Netflix Defenders into the fold with the Tom Holland-led Spider-Man trilogy (2017 – 2021) and Daredevil: Born Again (2025). By 2025, the franchise includes 36 films (and counting) and multiple Disney+ series all linked, transforming the MCU into a franchise ecosystem that has fundamentally reshaped what audiences expect from blockbusters and how studios plan them. Every new attempt at a shared universe since has either chased this model or tried to avoid direct comparison, but few have managed to do either well. Godzilla and King Kong didn't need decades of lore to smash their way into a shared cinematic universe. Though each iconic monster had cinematic origins in different countries and cultures, 2014's Godzilla from Legendary Pictures set the stage for what would become the MonsterVerse: an interconnected world of towering creatures, secret organisations, and increasingly chaotic showdowns. It expanded quickly with Kong: Skull Island (2017), Godzilla: King of the Monsters (2019), Godzilla vs. Kong (2021), and Godzilla x Kong: The New Empire (2024), each film layering in mythology while delivering the kind of city-leveling action that audiences expect. Apple TV+ joined the party with Monarch: Legacy of Monsters (2023), giving the universe a grounded, character-driven extension that played in the same sandbox without requiring the same budget. By anchoring the series in a post-G-Day world, it added context and consequence to the monster mayhem, something the films only occasionally paused to explore. The MonsterVerse may not chase the prestige of other franchises, but it never promised nuance – it promised spectacle, and consistently delivered on that front. It's a universe where titans rule, and humans are mostly there to survive the fallout. Sonic sprinted past modest expectations in 2020 and launched a shared universe that has quietly become one of Paramount's most consistent performers. What began as a straightforward adaptation of Sega's iconic video game character quickly grew into a broader cinematic world, with Sonic the Hedgehog 2 (2022) and Sonic the Hedgehog 3 (2024) expanding the cast to include fan favourites like Tails, Knuckles, and Shadow. By 2024, the Knuckles spin-off series marked the franchise's expansion into streaming, showing that there's room for character spotlights alongside theatrical tentpoles. It helps that the Sonic Cinematic Universe strikes a balance between nostalgia and reinvention, staying true to the tone of the games while giving longtime fans enough Easter eggs to stay engaged. Unlike other universes scrambling to reboot or course correct, Sonic's world feels surprisingly stable, powered by clear vision, strong voice casting, and a hedgehog who knows when to hit the gas and when to let the jokes breathe. Denis Villeneuve's Dune revival has done what many sci-fi adaptations struggle with: translating dense world-building into accessible, visually striking cinema. Starting with Dune: Part One in 2021, the franchise took Frank Herbert's universe and delivered a patient, confident adaptation that didn't shy away from how complex the 1965 novel was. Dune: Part Two (2024) expanded that scope with stronger character arcs and sharper pacing, proving there's real longevity in this iteration. With Dune Messiah now in development and Dune: Prophecy (2024 – present) exploring the Bene Gesserit's roots through streaming, the franchise is firmly planting its flag as both prestige cinema and shared universe. Even as it branches into TV, Dune avoids the scattershot feel of many multimedia franchises, keeping a strong sense of identity. It may not have the decades of interconnected stories like Marvel or Star Wars, but it's building something rarer: coherence. If Villeneuve continues to steer the ship, this universe might trade box office scale for long-term critical respect, which is exactly what Dune has always been about. James Gunn's DC Universe might still be in its infancy, but it arrives with a level of intent and creative cohesion that DC's previous efforts rarely enjoyed. After years of starts, stops, and tonal whiplash from Zack Snyder's grim spectacle to more light-hearted detours like The Suicide Squad (2021), Gunn's vision marks a hard reset. Beginning with the animated Creature Commandos (2024) and followed by Superman in 2025, this new era is designed to align films, television, and even animation under a unified storytelling banner. Unlike the Marvel model, where television often played catch-up to the movies, DCU's streaming components like Peacemaker (2022 – present) are essential chapters. What sets Gunn's approach apart is his focus on character-first storytelling, even in the weirdest corners of the roster. It's a universe where no hero (or antihero) is too obscure to matter, and where continuity is guided by tone, personality, and thematic clarity more than strict chronology. Whether this rebuild will deliver the consistency fans have long hoped for remains to be seen, but it's already doing what previous iterations couldn't: starting from a clean slate, with a plan that puts story ahead of spectacle. Star Trek didn't just pioneer the idea of a shared universe – it's the reason the concept continues to exists at all. Nearly sixty years after it first aired, Gene Roddenberry's sci-fi juggernaut continues to evolve, morphing across formats and generations without ever losing sight of its roots. What began in 1966 as a modestly-budgeted network series grew into an enduring media ecosystem spanning feature films, Saturday morning cartoons, syndicated dramas, streaming originals, and multiple animated revivals. No franchise has jumped between formats with such agility while maintaining a consistent continuity that honours both past canon and future expansion. Even the 2009 film reboot, often misunderstood as a clean slate, was cleverly framed as an alternate timeline, preserving the Star Trek Prime Universe while introducing a new generation of viewers to familiar characters in unfamiliar ways. Every era of Star Trek, from the idealism of Star Trek: The Next Generation (1987 – 1994) to the moral complexity of Star Trek: Deep Space Nine (1993 – 1999) to the high-stakes diplomacy of prequel series Star Trek: Strange New Worlds (2022 – present) has contributed to a larger universe built on ideas, not just intellectual property. With more films and shows still on the way, Star Trek remains the blueprint for how to build a universe that spans decades without losing its core identity. As more studios chase interconnected glory, it's clear that not every universe needs to be endlessly expansive, just thoughtfully constructed. Whether it's Marvel refining its multiverse, the MonsterVerse finding new ground with streaming tie-ins, or The Conjuring moving into serialised horror, the key to longevity lies not in sheer volume, but in consistency and evolution. Audiences may love familiar worlds, but they'll only stay invested if each return feels earned. Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she's not reading or being a dedicated cinephile, she's probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace .
Geek Culture
09-05-2025
- Entertainment
- Geek Culture
The MCU Wasn't the First: Ranking 10 Shared Cinematic Universes By Who Did It Earliest (And Best)
Love it or not, shared cinematic universes from Star Wars, the Marvel Cinematic Universe to Jurassic Park and Godzilla (aka MonsterVerse) are here to stay. While they are nothing new, the concept of a shared narrative across multiple movies told by different writers and directors into one massive narrative has overtaken Hollywood, with more emerging to provide a brand offering that includes various mediums and is even told across decades. Just to be clear, the concept of a shared universe extends beyond films such as crossovers or spin-offs, but now includes streaming series, potentially even in books and video games (though in some cases, events that occur in these mediums can be subsequently regarded as non-canon). For simplicity though, this article will cover two main mediums – film and TV, which means there has to be more than a shared narrative beyond TV or movies alone (apologies to television universes). Some are very new, and not all of them have stood the test of time, or even figured out what kind of stories they want to tell, but more are being developed as being linked. Recent examples include Amazon's recent control over the James Bond property, where it wants to inject connected streaming content to complement the new movies it wants to make. The John Wick universe is also looking to do the same and more recently, a shared universe also provides a requiem for the brand owner, to maintain the popularity of the franchise across another medium to satisfy fans, and not build franchise fatigue. Case in point? With The Conjuring franchise now shifting toward television and its original leads Patrick Wilson and Vera Farmiga moving into observer roles, it's clear that Warner Bros. sees more value in expanding than concluding with The Conjuring: Last Rites . A Max drama series is already in the works, and though details remain scarce, it signals a pivot from the self-contained horror tales of the Warrens to a broader universe-style format. It also places The Conjuring among a long list of franchises that grew from a single hit into sprawling cinematic ecosystems. While The Conjuring Universe may be one of the newest additions to this club, it's far from the first to try building interconnected stories across films. Marvel Studios made the term 'cinematic universe' part of pop culture with the MCU, but long before Nick Fury showed up in Tony Stark's living room, other franchises had already laid the groundwork. From monsters to mobsters, and wizards to warriors, Hollywood has always flirted with the idea of shared worlds. Some did it better. Others, just earlier. And some are only now figuring out how to bring their branches together under one cohesive roof. Some franchises, like Star Trek , arguably the earliest example of world-building across media that has continued on to this day, set the groundwork through television, but what matters here is not just who linked titles together first, but who did it with dedicated purpose, narrative coherence, and a sense that each new entry added something worth returning for. Here are the top 10 (current) shared cinematic universes, in order of age. Rocky Balboa started out chasing chickens and climbing the steps of the Philadelphia Museum of Art, but nearly 50 years later, the franchise he launched has grown into a full-blown cinematic universe with its own family tree. Kicking off in 1976 with Rocky , Sylvester Stallone ( First Blood ) wrote himself into film history as the underdog who turned a one-shot fight into a lifetime of sequels. Across six films, Rocky battled opponents, inner demons, and even Cold War tensions, while building a loyal fanbase that stayed with him from the gritty streets of Philly to the quiet contemplation of Rocky Balboa in 2006. The franchise found new momentum with spin-off Creed in 2015, pivoting to the next generation through the eyes of Adonis Creed, son of Apollo (Carl Weathers, Predator ). Michael B. Jordan ( Sinners ) brought fresh energy to the series, and with Stallone stepping into a mentor role, the story found new emotional beats. Under the direction of Ryan Coogler ( Black Panther ) and later Jordan himself, the Creed films explored legacy, identity, and personal growth without ever losing sight of the gloves. Now poised to expand into a 'Creed-verse' with spin-offs, prequels, and even animated projects on the table, this universe proves there's still plenty of fight left outside the ring. Long before post-credit scenes and crossover roadmaps became the Hollywood norm, Star Wars quietly laid the groundwork for what a shared cinematic universe could be. Starting with Star Wars: Episode IV – A New Hope in 1977, George Lucas launched a galaxy that didn't just contain a single story but hinted at entire worlds beyond the screen. While the original trilogy focused on the Skywalker family saga, it also planted the seeds for spin-offs, side characters, and historical backfill. Over time, this universe expanded into prequels, sequels, anthologies, and now Disney+ series, making Star Wars one of the earliest and most enduring examples of a sprawling, interconnected film world. What makes Star Wars unique in the shared universe conversation is its ability to pivot. From space opera to political thriller to samurai western, the franchise has housed wildly different tones and timelines within the same canon. Projects like Rogue One: A Star Wars Story (2016), Solo: A Star Wars Story (2018), and the more recent Andor (2022 – 2025) show a willingness to explore corners of the galaxy that don't always involve Jedi or Sith, while still feeling recognisably Star Wars. Even as it oscillates between nostalgia and reinvention, the franchise remains a model of how a cinematic universe can evolve across generations without losing its identity. Xenomorphs and Yautja haven't shared a screen in over a decade, but traces of their entangled history continue to ripple through the franchise. What began with Alien (1979) and Predator (1987) as standalone sci-fi horror films grew into sprawling mythologies populated by corporate greed, interstellar hunters, and synthetic lifeforms. While Aliens vs. Predator (2004) and its 2007 sequel drew the two species into direct confrontation, neither film is considered canon today. Now, with Alien: Romulus (2024) and the upcoming Predator: Badlands pushing their respective timelines forward, the connections are starting to resurface. A blink-and-you'll-miss-it shot in Predator: Badlands reveals Elle Fanning's character Thia is a Weyland-Yutani synthetic, marking the first direct acknowledgment of the Alien universe since the AVP films. There's also the upcoming Alien: Earth prequel streaming series that could potential expand on the concept. If these new installments stick the landing, it may not be long before a new generation of fans sees these franchises collide again – hopefully with better outcomes than their last official encounter. Wax on, wax off isn't just a catchphrase, but the foundation of a franchise that's quietly built one of the most enduring shared cinematic universes in Hollywood. The Karate Kid kicked things off in 1984 with Daniel LaRusso's (Ralph Macchio, The Outsiders ) underdog journey, guided by Mr. Miyagi's (Pat Morita, M*A*S*H ) unorthodox wisdom. Its success sparked a full trilogy, each installment deepening the mentor-student bond while evolving the emotional stakes. A brief detour in 1994's The Next Karate Kid introduced a new protégé in Julie Pierce (Hilary Swank, Million Dollar Baby ), proving the Miyagi legacy could extend beyond Daniel. What really gave the franchise a second wind, though, was Cobra Kai (2018 – 2025). First launched as a streaming series, it recontextualised the original films for a new generation while rewarding longtime fans with surprising character turns, expanded lore, and fresh rivalries. While the 2010 reboot with Jackie Chan ( Rush Hour ) and Jaden Smith ( After Earth ) explored similar themes with a modern backdrop, continuity-wise, it remained separate from the core saga, until plans were made to tie it all together like a swift kick to the face. The upcoming Karate Kid: Legends is set to reunite both film series (or at least acknowledge them) creating what may be the franchise's most ambitious crossover yet. Karate was the hook, but character and continuity have kept this universe kicking. Dinosaurs don't stay extinct for long in Hollywood, and few franchises have managed to evolve their concept across decades quite like Jurassic Park . What began in 1993 as a cautionary tale about cloning and corporate ambition has grown into a sprawling cinematic universe that spans six feature films, several short films, and multiple animated series. Steven Spielberg's original film still stands as the crown jewel, but each subsequent installment has added on new ideas (some more successfully than others) about how humanity grapples with its own hubris. Jurassic World revived the brand in 2015, reimagining the park as a functioning tourist destination before letting chaos predictably run wild. Its sequels – Jurassic World: Fallen Kingdom (2018) and Jurassic World: Dominion (2022) – pushed the concept further, with dinosaurs escaping into the broader world and coexisting (or not) with humans. Alongside this, animated shows like Jurassic World: Camp Cretaceous (2020 – 2022) and Jurassic World: Chaos Theory (2024 – present) continue to expand the universe from different angles and age demographics. With Jurassic World Rebirth on the horizon, the franchise shows no signs of slowing. It may not always be subtle, but it knows how to build anticipation, deliver spectacle, and keep audiences coming back for more. Before the Marvel Cinematic Universe turned franchise-building into a billion-dollar blueprint, shared cinematic universes were more a curiosity than a cornerstone of modern filmmaking. But once Marvel Studios dropped Iron Man in 2008 and followed it up with a bold post-credits promise – a bigger universe waiting just around the corner – the rules changed. No longer were audiences getting standalone blockbusters. They were watching chapters in an unfolding mega-saga. With each release, from Captain America: The First Avenger (2011) to Avengers: Endgame (2019), Marvel redefined long-form storytelling in cinema, turning crossover events and character arcs spanning a decade into mainstream expectations. What set the MCU apart wasn't just the volume of content or its polished synergy between films and streaming series. It was the confidence to plant seeds early by introducing Thanos (Josh Brolin, Dune ) years before he became a major threat, making an obscure team like the Guardians of the Galaxy into household names, and pulling in Spider-Man and the Netflix Defenders into the fold with the Tom Holland-led Spider-Man trilogy (2017 – 2021) and Daredevil: Born Again (2025). By 2025, the franchise includes 36 films (and counting) and multiple Disney+ series all linked, transforming the MCU into a franchise ecosystem that has fundamentally reshaped what audiences expect from blockbusters and how studios plan them. Every new attempt at a shared universe since has either chased this model or tried to avoid direct comparison, but few have managed to do either well. Godzilla and King Kong didn't need decades of lore to smash their way into a shared cinematic universe. Though each iconic monster had cinematic origins in different countries and cultures, 2014's Godzilla from Legendary Pictures set the stage for what would become the MonsterVerse: an interconnected world of towering creatures, secret organisations, and increasingly chaotic showdowns. It expanded quickly with Kong: Skull Island (2017), Godzilla: King of the Monsters (2019), Godzilla vs. Kong (2021), and Godzilla x Kong: The New Empire (2024), each film layering in mythology while delivering the kind of city-leveling action that audiences expect. Apple TV+ joined the party with Monarch: Legacy of Monsters (2023), giving the universe a grounded, character-driven extension that played in the same sandbox without requiring the same budget. By anchoring the series in a post-G-Day world, it added context and consequence to the monster mayhem, something the films only occasionally paused to explore. The MonsterVerse may not chase the prestige of other franchises, but it never promised nuance – it promised spectacle, and consistently delivered on that front. It's a universe where titans rule, and humans are mostly there to survive the fallout. Sonic sprinted past modest expectations in 2020 and launched a shared universe that has quietly become one of Paramount's most consistent performers. What began as a straightforward adaptation of Sega's iconic video game character quickly grew into a broader cinematic world, with Sonic the Hedgehog 2 (2022) and Sonic the Hedgehog 3 (2024) expanding the cast to include fan favourites like Tails, Knuckles, and Shadow. By 2024, the Knuckles spin-off series marked the franchise's expansion into streaming, showing that there's room for character spotlights alongside theatrical tentpoles. It helps that the Sonic Cinematic Universe strikes a balance between nostalgia and reinvention, staying true to the tone of the games while giving longtime fans enough Easter eggs to stay engaged. Unlike other universes scrambling to reboot or course correct, Sonic's world feels surprisingly stable, powered by clear vision, strong voice casting, and a hedgehog who knows when to hit the gas and when to let the jokes breathe. Denis Villeneuve's Dune revival has done what many sci-fi adaptations struggle with: translating dense world-building into accessible, visually striking cinema. Starting with Dune: Part One in 2021, the franchise took Frank Herbert's universe and delivered a patient, confident adaptation that didn't shy away from how complex the 1965 novel was. Dune: Part Two (2024) expanded that scope with stronger character arcs and sharper pacing, proving there's real longevity in this iteration. With Dune Messiah now in development and Dune: Prophecy (2024 – present) exploring the Bene Gesserit's roots through streaming, the franchise is firmly planting its flag as both prestige cinema and shared universe. Even as it branches into TV, Dune avoids the scattershot feel of many multimedia franchises, keeping a strong sense of identity. It may not have the decades of interconnected stories like Marvel or Star Wars, but it's building something rarer: coherence. If Villeneuve continues to steer the ship, this universe might trade box office scale for long-term critical respect, which is exactly what Dune has always been about. James Gunn's DC Universe might still be in its infancy, but it arrives with a level of intent and creative cohesion that DC's previous efforts rarely enjoyed. After years of starts, stops, and tonal whiplash from Zack Snyder's grim spectacle to more light-hearted detours like The Suicide Squad (2021), Gunn's vision marks a hard reset. Beginning with the animated Creature Commandos (2024) and followed by Superman in 2025, this new era is designed to align films, television, and even animation under a unified storytelling banner. Unlike the Marvel model, where television often played catch-up to the movies, DCU's streaming components like Peacemaker (2022 – present) are essential chapters. What sets Gunn's approach apart is his focus on character-first storytelling, even in the weirdest corners of the roster. It's a universe where no hero (or antihero) is too obscure to matter, and where continuity is guided by tone, personality, and thematic clarity more than strict chronology. Whether this rebuild will deliver the consistency fans have long hoped for remains to be seen, but it's already doing what previous iterations couldn't: starting from a clean slate, with a plan that puts story ahead of spectacle. Star Trek didn't just pioneer the idea of a shared universe – it's the reason the concept continues to exists at all. Nearly sixty years after it first aired, Gene Roddenberry's sci-fi juggernaut continues to evolve, morphing across formats and generations without ever losing sight of its roots. What began in 1966 as a modestly-budgeted network series grew into an enduring media ecosystem spanning feature films, Saturday morning cartoons, syndicated dramas, streaming originals, and multiple animated revivals. No franchise has jumped between formats with such agility while maintaining a consistent continuity that honours both past canon and future expansion. Even the 2009 film reboot, often misunderstood as a clean slate, was cleverly framed as an alternate timeline, preserving the Star Trek Prime Universe while introducing a new generation of viewers to familiar characters in unfamiliar ways. Every era of Star Trek, from the idealism of Star Trek: The Next Generation (1987 – 1994) to the moral complexity of Star Trek: Deep Space Nine (1993 – 1999) to the high-stakes diplomacy of prequel series Star Trek: Strange New Worlds (2022 – present) has contributed to a larger universe built on ideas, not just intellectual property. With more films and shows still on the way, Star Trek remains the blueprint for how to build a universe that spans decades without losing its core identity. As more studios chase interconnected glory, it's clear that not every universe needs to be endlessly expansive, just thoughtfully constructed. Whether it's Marvel refining its multiverse, the MonsterVerse finding new ground with streaming tie-ins, or The Conjuring moving into serialised horror, the key to longevity lies not in sheer volume, but in consistency and evolution. Audiences may love familiar worlds, but they'll only stay invested if each return feels earned. Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she's not reading or being a dedicated cinephile, she's probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace .
