MCU, DCEU, MonsterVerse, and Now… What? Is It Time for a Superhero Acronym Detox?

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The Rise and Fall (and Rise Again?) of Cinematic Universes: When Branding Goes Wrong

Thanks to an unyielding 16 years of Marvel moviemaking, we live in the age of the shared universe. We have for a while, really, but things have now evolved to a higher plane of a desire to ape the success of Marvel’s interconnected texts: it’s not enough to hastily construct your own connected universe in their footsteps, it has to ape the branding. The thing is, "MCU" is simple and clean. Three letters, exactly what it says it is: the Marvel Cinematic Universe. Some studios just don’t seem to get that.

Enter Warner Bros., who’ve now declared that there is an official way to refer to the collection of films and TV shows that now make up Matt Reeves’ Batman continuity: "The Batman Epic Crime Saga." Or, you know TBECS for short. Just rolls off the tongue!

The reveal comes courtesy of Entertainment Weekly‘s latest preview of the HBO/Max/the artist formerly known as HBO Max show (see, that’s a whole other branding issue), The Penguin. The first TV series entry in TBECS, it’s also what necessitates TBECS being a thing, according to producers Matt Reeves and Dylan Clark, who use TBECS as their internal reference point for The Batman, its upcoming sequel, and The Penguin. After all, once you start throwing TV shows into the mix just saying “Matt Reeves’ Batman movies” doesn’t cut it. No one at Warner wants the Matt Reeves Batman Universe, or the MRBU. They want TBECS!

It’s just the latest in an awkwardly long line of studios trying to force these acronyms on audiences and fanbases in ways that just really don’t understand what makes the MCU acronym work in the first place. Sony flubbed its own Spider-Man branding twice, first with SPUMC–that’s the Sony Pictures Universe of Marvel Characters–and then the SSU–Sony’s Spider-Man Universe–when they realized that naming their movie universe after something Peter Parker does when he gets a little too excited about his sticky webbing was a bad idea. The thing is, no one outside of a business executive at Sony is calling those movies part of the SPUMC or the SSU. Everyone just says Spider-Verse, because it’s simple, it’s short, it’s already part of the language of the films, and it gets the point across.

It’ll be the same thing with TBECS–it’s just too awkward, too flowery, too many sounds to become casual parlance among fans. It’s silly even, considering Warner Bros already got this right with the DCU (or even the former DCEU, the Extended Universe). Will anyone outside of Matt Reeves and Dylan Clark, or anyone outside of Warner Bros. ever actually say “The Batman Epic Crime Saga” earnestly? Probably not. But it is funny to imagine it as a comic book onomatopoeia for Batman punching a goon’s lights out.

So why do studios insist on creating these clunky acronyms that no one will ever actually use? There’s a few reasons:

  • Marketing and Branding: The goal is to create a strong, recognizable identity for a collection of films and TV shows. This is especially important in a market saturated with superhero franchises. By labeling a series of movies with an acronym, studios hope to create a sense of cohesion and encourage audiences to view them as a unified entity. This strategy aims to build anticipation for future installments and encourage viewers to invest in the larger story arc.
  • Interconnected Narrative: Acronyms often signify an intention to develop a complex and interwoven narrative across multiple films and TV shows. This allows studios to explore characters and storylines in greater depth, introduce new characters and elements, and create larger-scale events. However, this can create logistical headaches for studios, as they need to maintain consistency and clarity across multiple projects.
  • Franchise Building: The ultimate goal is to build a long-lasting franchise that can generate revenue for years to come. By establishing a shared universe, studios can easily develop sequels, spin-offs, and other related content, ensuring a consistent flow of revenue and maintaining audience interest. This interconnectedness can also lead to cross-promotional opportunities and expanded merchandising potential, further increasing revenue streams.

However, this approach isn’t always successful, as evidenced by the recent string of unsuccessful branding attempts:

  • The Case of the SSU and SPUMC: Sony’s Spider-Man universe is a prime example of why clunky acronyms fail. The attempt to brand these films as the SPUMC and then the SSU fell flat because they lacked the simplicity and memorability of other, successful franchises. The lack of resonance with fans likely stemmed from the perceived awkwardness of the acronyms, their lack of natural integration into the film language, and the disconnect with the already established "Spider-Verse".
  • "The Batman Epic Crime Saga": A Misguided Attempt? While the "TBECS" branding might seem like a playful nod to the dark and gritty tone of Reeves’ Batman, the acronym feels forced and ultimately doesn’t capture the essence of the franchise. The problem lies in the unwieldiness of the name. It doesn’t roll off the tongue, lacks the natural connection to the Batman mythos, and seems more focused on the corporate branding aspect rather than the narrative essence of the films.

So what do studios need to consider when crafting their cinematic universe branding?

  • Simplicity and Memorability: The acronym should be easy to remember and pronounce, even for casual viewers. It should succinctly convey the essence of the shared universe and resonate with the audience.
  • Natural Integration: The acronym should feel like a natural extension of the film world, often drawing from elements within the story or the characters themselves. This creates a sense of familiarity and organic connection to the franchise.
  • Audience Connection: The name should resonate with the target audience. It should capture their imagination and evoke the desired emotional response, whether it’s excitement, intrigue, or anticipation.

If a studio can nail these key aspects, then their branded universe has a chance of truly taking hold, becoming a memorable part of pop culture and ultimately achieving the goal of becoming a long-lasting, successful franchise.

In the case of the "TBECS", the jury’s still out. Will fans organically adopt the term, or will it be relegated to the same fate as the SPUMC and the SSU? Perhaps, instead of forcing an acronym, Warner Bros should look for a name that naturally fits the universe, like "The Batman Universe". More concise, easier to remember, and less likely to make fans cringe.

Ultimately, studios need to remember that a good brand isn’t forced, it’s cultivated through storytelling and audience identification. Just as the "MCU" became a household name because it seamlessly blended narrative, branding, and fan enthusiasm, successful cinematic universes will emerge from genuinely engaging storytelling, not from clunky corporate branding. The real lesson here? Don’t force something audiences won’t embrace. As much as we love comics and their complex story arcs, in the real world, simple and memorable wins every time.

Article Reference

Alex Parker
Alex Parker
Alex Parker is a tech-savvy writer who delves into the world of gadgets, science, and digital culture. Known for his engaging style and detailed reviews, Alex provides readers with a deep understanding of the latest trends and innovations in the digital world.