Marvel licensed the filming rights of the X-Men and related concepts, such as mutants, to 20th Century Fox, who created a film series based on the franchise. Years later, Marvel started their own film franchise, known as the Marvel Cinematic Universe (MCU), which focused on characters that they had not licensed to other studios (see below). At the time, the rights to Quicksilver and Scarlet Witch were disputed by both studios. As they both held the rights to the characters, with Fox citing the characters' mutant status and being children of Magneto and Marvel citing the twins' editorial history being more closely tied to the Avengers rather than the X-Men, the studios made an agreement wherein both of them could use the characters on the condition that the plots did not make reference to the other studio's properties (i.e. the Fox films could not mention the twins as members of the Avengers while the MCU could not mention them as mutants or children of Magneto).[215] The arrangement became moot following the acquisition of 21st Century Fox by Disney – the parent company of Marvel Studios, and the confirmation that future X-Men films will take place within the MCU.

The race for the streamers to configure themselves as full-service production, distribution, and exhibition outlets has intensified the need for each to articulate a more specific brand identity.

What we are seeing with the streaming wars is not the emergence of a cluster of copy-cat services, with everyone trying to do everything, but the beginnings of a legible strategy to carve up the mediascape and compete for peoples’ waking hours.

Netflix’s penchant for character-centered stories with a three-act structure, as well as high production values (an average of $20–$50-plus million for award contenders), resonates with the “quality” features of the Classical era.

rom early on, Netflix cultivated a liberal public image, which has propelled its investment in social documentary and also driven some of its inclusivity initiatives and collaborations with global auteurs and showrunners of color, such as Alfonso Cuarón, Ava DuVernay, Spike Lee, and Justin Simien.

Quibi as short for “Quick Bites.” In turn, the promos wouldn’t so much emphasize “the what” of the programming as the interest and convenience of being able to watch it while waiting, commuting, or just taking a break. However, this unit of prospective viewing time lies uncomfortably between the ultra-brief TikTok video and the half-hour sitcom.

Peacock’s central obstacle moving forward will be convincing would-be subscribers that the things they loved about linear broadcast and cable TV are worth the investment.

One of the most intriguing and revealing of metaphors, however, isn’t so much related to war as celestial coexistence of streamer-planets within the “universe.” Certainly, the term resonates with key franchises, such as the “Marvel Cinematic Universe,” and the bevvy of intricate stories that such an expansive environment makes possible. This language stakes a claim for the totality of media — that there are no other kinds of moving images beyond what exists on, or what can be imagined for, these select platforms.