Too Much of a Good Thing? Audience Engagement and the Perceived Decline of the Marvel Cinematic Universe

Written as my dissertation for my Digital Media and Communications degree at University of Birmingham

1. Introduction

The Marvel Cinematic Universe (MCU) has become one of the most commercially and culturally significant media franchises of the twenty-first century. The phenomenon that began with the release of Iron Man (2008) culminated in one of the most significant cinematic events with Avengers: Endgame (2019) and the conclusion of the Infinity Saga. As the franchise shifted into a post-Endgame era, entering what has been labelled the Multiverse Saga, it has expanded beyond film to incorporate streaming platforms. However, this transition has coincided with a noticeable shift in audience reception, with increasing expressions of dissatisfaction and negativity emerging from fans. This raises questions as to whether this response reflects a genuine decline in the quality of the franchise’s output, or whether it instead indicates a shift in the ways audiences engage with the text, where nostalgia may be reshaping, and at times overriding, audience enjoyment.

This dissertation investigates the extent to which audience engagement has shifted in ways that account for changing perceptions of the MCU in the post-Infinity Saga era. It considers how the movement from passive forms of spectatorship towards increasingly active and participatory models of engagement, alongside the rise of online communities, may have impacted fan expectations and practices of communal critique. Drawing on the work of Henry Jenkins (2006a; 2006b), this study engages with concepts such as participatory culture, media convergence and textual poaching to explore how digital platforms have enabled audiences to take a more visible and influential role in shaping discourse surrounding the franchise.

Alongside this, the dissertation examines the impact of industrial factors on audience engagement, particularly the role of streaming and the expansion of content output (Cook, 2026). The increasing volume of interconnected texts within the MCU has raised concerns about oversaturation, potentially altering audience expectations and affecting engagement. Furthermore, the growing responsiveness of producers to audience discourse is considered, particularly in relation to how fan feedback may influence narrative and creative decisions within the franchise (Johnson, 2013).

Accordingly, this study seeks to address the following research question: To what extent is the perceived decline in the MCU’s quality shaped by shifts in audience expectations and models of engagement, and how do these perceptions relate to changes in production and narrative strategies? To explore this, the dissertation employs a mixed-methods approach, drawing on analysis of social media content and survey responses to identify key themes in contemporary reception.

This dissertation is structured as follows: The first chapter outlines the theoretical framework, engaging with Jenkins’s work on audience reception and fandom (2006a; 2006b), while also providing context on the MCU and the broader rise of cinematic universes (Jin, 2024). The second chapter details the data collection process, including ethical considerations and methods of analysis. The third chapter brings together the theoretical framework and findings to examine the impact of audience engagement on the perception of the MCU’s recent output. Finally, the conclusion consolidates these findings to evaluate the relationship between audience behaviour and perceptions of quality within the MCU.

2. Literature Review

In recent years, the MCU has faced a notable shift in both critical reception and audience perception. While earlier phases of the MCU have been praised for their cultural impact, more recent releases have prompted debates about a perceived decline in quality. This change has been mirrored in conversations in online spaces, where audiences have moved towards more active forms of participation, engaging in critique, discussion and expression across social media platforms.

This dissertation aims to explore fans as an active audience, examining how engagement in online spaces reflects these changing perceptions of quality, and whether their loyalty to the franchise influences how fans express themselves online. This chapter begins by exploring audience studies, the emergence of online communities and Casemajor et al’s (2015) evolving models of participation before examining the development of fandom culture in relation to the MCU. Drawing primarily on Henry Jenkins’ (2006a; 2006b) concept of convergence culture, the discussion then considers loyalism within fandom and its influence on online viewing practices and identity expression. 

The chapter will then provide context for the cultural significance of film franchises and cinematic universes, considering how industrial changes have affected audience consumption, particularly in relation to the impact of COVID-19 and streaming. Finally, the chapter examines the MCU as a transmedia phenomenon (Flanagan, McKinney and Livingstone, 2016).

2.1. Audience Studies

Audience studies have long evaluated how viewers engage and interpret media texts. Early research positioned audiences as largely passive, suggesting that while engagement was present, active participation was not considered part of audiences’ repertoire (McQuail, 2010). Viewers were understood to consume media uncritically, often conceptualised through the ‘hypodermic needle’ model. As Roth, Malin and Trenholm (2025, p 358) argue, “receivers were often seen as the passive victims of the all-powerful media”, where influence could “target unsuspecting audience members or inject them with a message”, reinforcing the notion that media messages were directly transmitted and universally received.

This perspective has been widely challenged; Fiske (1987) argues that audiences possess a greater interpretive power than initially assumed. He states that “television and its programs do not have an “effect” on people […] Television does not “cause” identifiable effects in individuals; it does, however, work ideologically to promote and prefer certain meanings of the world, to circulate some meanings rather than others, and to serve some social interests better than others” (p. 19-20). This highlights that, while media can strongly shape and promote particular meanings, audiences retain the autonomy to interpret these messages in ways that align with their “individual experiences and tastes” (Schiller, 1989, p. 156).

As audiences have increasingly recognised this interpretive power, there has been a rise in negotiated and oppositional readings of media texts (Hall, 1980). As these meanings are received and reworked, audiences can connect with others who share similar interpretations, creating spaces for collaboration, reinterpretation and the early formation of fandom. In earlier forms of engagement, audience members would express these interpretations by writing to media producers via letter or email.

In the digital age, Casemajor et al (2015, p. 856) developed a framework that described this type of engagement as ‘passive participation’. They argue that not all audience activity is active or contributory, suggesting that users may “further a political, economical, or organizational agenda set by someone other than the participant themselves”, meaning that audiences continue to leave a digital footprint through consuming media, but they don’t intentionally add to the digital space by posting or engaging with other users. As technologies have shifted and social media has become a standard in everyday life, audiences are becoming increasingly active and intentional in their participation, which Casemajor et al (2015, p.856) label “active participation”. A common way of getting involved is sharing opinions and criticism on content as it is released, through which they can form connections with other users while doing so. This is similar to Rheingold’s (2008) claim that social media has empowered users to express themselves, explore their identities and connect with like-minded peers.

Online fan communities have become increasingly prominent as digital platforms have expanded, offering audiences a place to speculate, debate and discuss elements of the media texts even if they “do not necessarily “produce” new kinds of media texts” (Jenkins, 2018, p. 13). According to Baym (2015), where fan communities had previously interacted with each other in an atomised way, today this form of engagement is largely collective. Social media has offered a space where there is no longer a geographical divide (Huang, 2024), and a higher level of interconnectedness can be formed without being physically or constantly present. Instead, viewers can join ongoing discussions at any point and still feel as though they are part of the community.

As users become entangled in what Jenkins (2006a) deems “participatory culture”, communities are becoming even more prominent within the online space. Jenkins (2007) explores this concept from the position of content sharing and mentorship, describing it as “relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one’s creations, and some type of information mentorship whereby what is known by the most experienced is passed along to novices”. Within participatory cultures, Jenkins (2006a) argues that users can form bonds and learn from other members of the community. This form of culture can provide users, some of whom may have previously felt isolated, a sense of belonging within the online community.

Social media has not only enabled audiences to express their opinions and form connections but also given them a platform to produce new forms of content themselves. Through edits, fan-fiction and other user-generated content, viewers are becoming what has been coined ‘prosumers’, where they are able to take creative liberties over the media they enjoy as well as simply consuming it (Jenkins, 1992). Much of the content created shows appreciation or adds to narratives in ways that enable viewers to reflect themselves and their wants into the media texts they love (Black, Alexander, Chen and Duarte, 2019). As van Djick (2009) argues, while some content is created outside of professional routines and platforms, industry producers seek to retain control by reappropriating amateur content and incorporating it into commercial systems, which reflects a shift in the relationship between producers and audiences. Hills (2002) challenges the notion that fans are “socially atomised”, instead positioning them as active participants whose prosumer practices have become central to contemporary consumer culture. However, as audiences increasingly take on productive roles, these forms of engagement are subject to industrial exploitation. Morrison (2012) suggests that practices such as fanfiction begin to inform “the dominant economic model of publishing”, where “culture industries stop needing to create anything new” as user-generated content can be harnessed to sustain engagement and profitability. 

While the building of these online spaces has been revolutionary for audiences that may not have access to similar communities in real life, it has resulted in the loss of presence that came with live TV (Stenson, 2021). Producers can no longer make the same immediate, direct impact they used to, especially with audience attentions becoming increasingly harder to attract, which has led to the attempt to replicate this in the digital era (Napoli, 2012). While the idea of liveness initially related to live broadcasts, it can now be applied to the likes of online livestreams to simulate collective engagement while tackling this newfound “platform society” (van Dijck et al., 2018). The feeling of being present can now be applied to the online spaces through live discussions where viewers share their excitement and can theorise in real time. As anticipation builds, the industry has adopted liveness as a prominent marketing strategy to spark conversation ahead of film releases. It also allows producers to maintain control in an age of leaks, as Stenson (2021, p. 168) explores, it allows them to “mitigate against the risks that illegally uploaded content can pose to their promotional strategies” and direct the online conversation as they see fit. As this strategy becomes integrated with the online space, unlike the live streams that Stenson (2021) investigates, fans are beginning to be rewarded for being present and available without notice. As Andrejevic (2012) suggests, the value of audiences lies not only in active participation but also in their ongoing attention and readiness to engage.

2.2. Fandom Studies

Building on the study of audience engagement, ‘fandom’ has emerged within online communities. Jenkins (2006b, p. 41) notes the difference between a casual viewer and a fan as “not by being a regular viewer of a particular program but by translating that viewing into some kind of cultural activity, by sharing feelings and thoughts about the program content with friends, by joining a ‘community’ of other fans who share common interests”. In this sense, fans go beyond general audience behaviour by seeking these collective spaces online.

The platform Reddit, founded in 2003, has become one of the most prominent websites for the conglomeration of media and fan communities. Record, Silberman, Santiago and Ham (2018) note that as of 2018, Reddit was the fourth most visited website in the United States and sixth worldwide, highlighting how much of an impact it has had on fandom. It allows audiences to join user-moderated subforums, known as subreddits, dedicated to certain films, TV shows or other franchises to give users a place to share, debate and discuss. In doing so, they can also upvote and downvote certain posts, which increases or decreases the post’s visibility, respectively (Anderson, 2015). The addition of tags and headlines on these posts makes it easier for users to find posts to suit their needs and engage with them as they wish.

Jenkins’ (2006a) study into convergence culture highlights how audiences increasingly seek out entertainment experiences across a wide range of platforms, rather than relying on a single medium. As a result, engagement now extends across interconnected ecosystems, including platforms such as Reddit, where audiences actively search for and discuss content. While user-generated content has played a central role in expanding access to diverse narratives, tropes and forms of representation, the media industry has simultaneously adapted its production, distribution and consumption practices to prioritise accessibility and cross-platform engagement (Ibrahim, Hidayana and Saefullah, 2024). This shift has contributed to ongoing debates surrounding the rise of streaming and the perceived ‘death of cinema’, which will be explored in greater detail later in this chapter.

Jenkins (1992) debate of textual poachers describes “an impertinent “raid” on the literary “preserve” that takes away only those things that seem useful or pleasurable to the reader” (de Certeau, 1984, in Jenkins, 2006b, p. 39), where fans reclaim and reassemble fragments of the text according to their own blueprints. In relation to Marvel, this poaching has resulted in a perceived ‘golden era’ in the franchise that is underpinned by nostalgia and dominates online conversations, as there is a demand for newer films to remain true to its past form (Boym, 2001). This restricted idea of what makes Marvel ‘good’ results in an element of toxicity in the community, which has become more prominent in recent years as the conversation of ‘superhero fatigue’ has emerged (Posada, 2016). Jenkins (2006b) shares that one of the key reasons poaching becomes toxic is because poachers do not see themselves as such but instead as loyalists who are rescuing the essential elements of the text. This rescuing tendency becomes vital with the likes of Marvel, as media writers are expected to respect the source and neglecting that may affect how the text is received. Additionally, viewers may be more critical, resulting in writers potentially becoming more susceptible to what Jenkins (2006b, p. 56) controversially refers to as “character rape”. This highlights the extent to which fans perceive deviations from established characters as violations of the original text and, in turn, a rise in critical responses online.

Within online communities, binge-watching has become an increasingly admired practice, where speed of consumption can act as a marker of engagement and cultural participation. As Jenner (2018) suggests, binge-watching is not only a mode of viewing but also a socially meaningful practice that shapes how audiences position themselves within digital fan cultures. Speed of consumption has seemed to offer fans a level of superiority and opportunity to dominate the conversation. As Bury (2025, p. 121) notes, “the early bird binge-watching fan does indeed get the interactional worm.” This is also noted when it comes to online discussions, where users who post first are more likely to get engagement. For example, an early post on Reddit about a show or film franchise is likely to receive more upvotes than one that appears later (Davis and Graham, 2021). This is because the post is more visible for longer, meaning it is active on the platform for a greater length of time and is likely to receive more interaction as a result.

Kompare (2025, p. 124) highlights a way to counteract this limitation through users taking on the title of fan curator, which are “more established fans (usually, though not always, older) with deeper knowledge of, and access to, the fandom and its texts”. These more established fan creators often guide newer fans and help them assimilate seamlessly into the fandom, which is vital in a community as dense as Marvel. This also provides newer fans with starting bonds that help socialise them into the customs and manners of particular platforms that can facilitate further connections and participation (Kompare, 2025, p. 127). This human interaction is a beneficial and important part of this process, but as the media ecosystem shifts, algorithms can take over. For example, Disney+ features certain characters on their Marvel page, including the current ‘Featuring Characters from Thunderbolts*’ feature, to help fans educate themselves ahead of new releases. However, the absence of human connection through this algorithmic curation means that the process does not necessarily connect with the fan’s particular interests. In the case where prospective fans are looking for a certain film to help them get into the franchise, the algorithmic process can be considered ineffective (Kompare, 2025, p.126).

2.3. Franchises

In contemporary media, storytelling is no longer restricted to a standalone text. Instead, there has been an emergence of extensive franchise systems that extend across multiple films, platforms and narrative arcs. A franchise is often described in contrast to authorship in which media texts aim to “distinguish itself from other, less-elevated, forms of mass media” (Corrigan, 1991, p. 102). As Liu (2022) discusses, franchises are largely considered these “less-elevated” forms of mass media, a revelation that was sparked by director Martin Scorsese. In his debate, he compares franchises to cinema, stating that “cinema was about revelation — aesthetic, emotional and spiritual revelation,” whereas franchises were  “perfect products manufactured for immediate consumption” (via New York Times, 2019).

Despite franchises being considered ‘low-level’, expanding texts in such a manner is becoming increasingly popular. Traditionally, franchises have operated through sequels and spin-offs centred around a core intellectual property (IP) where studios can build a recognisable and commercially viable brand (Grainge, 2007), but the industry has shifted to favour transmedia storytelling. A transmedia story “unfolds across multiple media platforms, with each new text making a distinctive and valuable contribution to the whole” (Jenkins, 2006a, p. 97), meaning franchises are starting to combine films, television and other media types to create a coherent, exciting narrative. This type of storytelling has facilitated more active forms of fan engagement as viewers are encouraged to navigate interconnected texts to understand narrative developments. From this, consumers must assume the role of “hunters and gatherers” (Jenkins, 2006a, p.21) to gain a richer entertainment experience with the franchise.

The shift into franchising has been further intensified through the rise of cinematic universes, which differ from traditional franchises in their emphasis on shared continuity and long-term narrative planning (Jin, 2024). Rather than existing as isolated instalments, films in cinematic universes contribute to a broader, interconnected storyline that requires a sustained level of audience attention and investment (Lagano, 2019). The MCU positions itself as a cinematic universe by linking each film through recurring characters and crossovers (Goo et al, 2026) and is cited as one of the most successful cinematic universes (Forbes, 2015) because it combines the already popular brand of Marvel Comics with a series of texts that facilitate and reward audience investment.

Jenkins (2006a) expresses the importance that “each franchise entry needs to be self-contained”, but this is not always reflected in practice within contemporary cinematic universes. In the MCU, increasing narrative connectivity means that individual instalments often rely on prior knowledge of characters, events and storylines established across multiple films and series. As a result, audiences may experience these texts as less self-contained than Jenkins implies. This has significant implications for audience consumption, as engagement becomes less optional and more cumulative, requiring viewers to follow the growing body of content to fully understand the narrative (Jenkins, 2006a). This, as previously mentioned, makes it increasingly difficult for new members to assimilate into communities and effectively pick up on the storyline. Consequently, consumption has shifted from selective viewing towards a more completist approach (McGowan, 2024), where audiences feel compelled to engage with all elements of the franchise.

This issue becomes particularly significant with the MCU’s shift into the Multiverse Saga, where key characters and narratives are being introduced across a range of platforms, including projects that may be overlooked by audiences. As a result, audiences may feel an obligation to engage with content that does not necessarily interest them to maintain an understanding of the wider narrative. As Mittell (2015, p. 210) discusses, this phenomenon can be described as the “televisual equivalent of a can of Pringles”, where viewers continue to watch content, they do not enjoy simply for narrative gratification. Unlike earlier phases, which were structured around a clear narrative build-up through post-credit scenes and crossover events leading to films such as Avengers: Infinity War and Endgame, the current saga presents a less cohesive overarching storyline. As Cook (2026) explores, the increase in content has resulted in the later phases being “not as intentionally crafted to garner audience engagement” as they prioritised interconnectivity over cohesion. This shift has implications for audience participation, as completist practices (McGowan, 2024) may no longer reflect enthusiasm but instead indicate the structural pressures to remain informed required to maintain a sense of belonging within the fandom.

2.4. Hollywood Culture

This shift towards more demanding forms of audience engagement is not solely a product of narrative complexity but is also shaped by wider industrial changes. This idea of completist behaviour can be facilitated by the rise of streaming platforms and increased accessibility (Jenei et al., 2025) as viewers are able to enjoy content at their own pace. The fact that streaming offers an open library, especially for Marvel and Disney+, allows fans to consume the entire franchise at their own leisure ahead of new releases. The COVID-19 pandemic meant that viewers were now confined to their own space, so there was an increase in demand for entertainment (Janei et al., 2025) and a requirement for media convergence (Jenkins, 2006a). Thus, Marvel attempted to break into television with the release of WandaVision in 2021. Similar to Jenkins’s concerns in 2006, this move sparked confusion about whether cinema would no longer be as important as it once was, but instead, the transformation has resulted in cinema still existing within the new forms. Audiences and producers began to recognise that what makes Marvel successful can be translated into the television format, especially considering they already produced content in serial formats with the use of phases (Cook, 2026).

As content has increasingly shifted to streaming, media producers have sought to replicate the communal experience of live television through weekly release models, reintroducing a sense of “communal consensus” among audiences (Jenner, 2018, p. 154). This allows for a collective intelligence that creates a communal excitement that is valued by the media industry (Jenkins, 2006a). This shift to easily accessible content has contributed to rising fan expectations, reflected within online communities where completest forms of engagement are often normalised and rewarded (Mittell, 2015). At the same time, media producers have become increasingly attentive to fan activity, as audiences now constitute a “constituency that media companies both recognize and actively seek to incorporate, encourage, monetize, and manage” (Stanfill, 2019, p. 5). However, while participatory culture suggests greater audience involvement, Jenkins (2006a) emphasises that power remains unevenly distributed, with corporations maintaining significantly greater control over media production than individual consumers, and only certain audiences can participate visibly within these spaces.

As producers remain in a position of power, they are beginning to take advantage of participation online. Producers have started to increasingly draw upon fan discourse and user-generated content, using it to “bend and shade” official narratives (Johnson, 2013). This can be seen within the MCU, including instances like when Kevin Feige confirmed that the child wearing an Iron Man mask in Iron Man 2 (2010) was Peter Parker, retrospectively aligning with fan interpretations. Similarly, audience speculation surrounding characters such as Mephisto following WandaVision demonstrates how fan discourse can influence expectations and, in some cases, future narrative decisions. This reinforced Fiske’s (1987) claim that audiences hold greater power than originally assumed.

2.5. Marvel

The MCU initially launched with Iron Man (2008) and quickly introduced a model of interconnected storytelling that differed from traditional franchise structures. They excelled in larger, serialised narratology where development was sustained beyond the traditional trilogy format (Radošinská and Mago, 2023). The brand is highly categorised by its impressive use of transmedia storytelling (Jenkins, 2006a), which Scott (2017) describes as “a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience”. This approach enabled Marvel to transform casual viewers into more active and invested audiences, fostering a culture of participation and long-term engagement (Lomax, 2021, in Cook, 2026).

Marvel was able to provide an accessible entry point for audiences, especially within earlier phases, by reflecting the fandom in the character of Agent Phil Coulson as an “industry-approved conception of an everyfan” (Scott, 2017). Through this character, the producers were able to provide a bridge between the audience and the wider narrative world and give context on any important narrative developments that may have occurred outside of the film itself. Through this, fans were engaged in more detailed and attentive forms of consumption by collecting narrative data, tracking chronologies and identifying ‘easter eggs’ across the franchise (Mittell, 2015). This, combined with the use of post-credit scenes, turns the viewing experience into a ritual and ignites Jenkins (2006a, p. 21) “hunter and gatherer” approach across the franchise.

In recent years, particularly following the conclusion of the Infinity Saga with Avengers: Endgame (2019), the MCU have been considered “critical and commercial failures” (Hughes, 2025). The transition into the Multiverse Saga has been characterised by a significant expansion in content output, which was largely driven by the launch of Disney+ (Cook, 2026). The expansion has been marked by a “quantity over quality” approach where the narrative structure has become fragmented and reliant on audience investment and prior knowledge of the franchise (Cook, 2026).

The current state of the MCU has led to the emergence of ‘fan burnout’, where fans no longer “trust” Marvel to produce content, they should invest time and money in (de Vrij, 2025). The volume and interconnectedness of content appear to have shifted audience engagement towards more rapid and surface-level consumption, known as hyperattention, as viewers attempt to keep up with ongoing releases rather than engage deeply with individual texts (Han, 2015). This further adds to a sense of obligation when viewing rather than engagement as actual interest, as Mittell (2015) discusses.

A comparative model of audience expression rises as nostalgia plays a large role in sustaining interest. The return of legacy characters, like Hugh Jackman as Wolverine and Chris Evans as Captain America, has been described as a large motivator for fans (Jones, 2023), which has provided short-term success as it demonstrates an understanding of fan engagement (Cook, 2026). As Cook (2026) further explores, the franchise is unlikely to maintain interest long-term without returning to a quality over quantity approach and addressing concerns around narrative cohesion. As such, the MCU’s continued success may depend on its ability to ensure engagement feels rewarding rather than obligatory. This tension between expanding narrative complexity and shifting audience expectations highlights a need to further examine how contemporary audiences engage with, interpret and evaluate large-scale transmedia storytelling in the digital age.

3. Methodology

This chapter outlines the methodological approach adopted to investigate audience perceptions of the MCU in its post-Infinity Saga era. A mixed-methods design was employed, combining quantitative survey data with qualitative insights from open-ended responses and social media analysis, allowing for a more comprehensive understanding of audience attitudes, behaviours and online engagement. This chapter details the data collection process, including survey design and the selection of Reddit as a site of analysis, before outlining the use of reflexive thematic analysis to interpret the data. It concludes by addressing the key ethical considerations and methodological limitations, reflecting on the strengths and constraints of the research design.

3.1. Data Collection

This study adopted a mixed-methods approach, combining social media analysis with survey data. Qualitative data was obtained from Reddit posts and open-ended survey responses within a 17-question survey. Quantitative data were drawn from the remaining survey questions, of which 9 of the 17 questions were multiple-choice or Likert-scale items.

The survey followed a cross-sectional design (Hansen and Machin, 2018) as participants were surveyed once within a defined time frame of 60 days. Surveys were selected as an appropriate method for examining audience responses, as they are effective tools to describe and explain attitudes, values and behaviours. As Fink (2017)  defines, they are “information-collection methods used to describe, compare, or explain individual and societal knowledge, feelings, values, preferences, and behaviour”, meaning it would be the most appropriate for studying audience responses. The survey was created on Microsoft Forms and aimed to explore audience experiences with the Marvel Cinematic Universe, with particular focus on comparing the Infinity Saga (2008-2019) and the Multiverse Saga (2021-Present). Demographic questions were asked at the beginning of the survey to enhance this comparative model, to see if length of fandom or age may influence the perception of declining quality in the franchise and contribute to a sense of nostalgia for earlier phases (See Table 1 and Table 2 below).

Additionally, the survey examined how frequently participants shared opinions about the franchise online and whether these views were expressed authentically or shaped by external pressures such as audience expectations and fear of controversy. As Adams (1989) notes, surveys serve exploratory, descriptive and explanatory purposes; this study draws on all three functions to investigate audience attitudes and patterns of online self-presentation.

The survey was distributed using convenience sampling, whereby respondents were “selected based on relevance to the research objectives and on the basis of availability and willingness” (Hansen and Machin, 2018, p. 211). The survey link was shared via personal networks, social media platforms and university group chats, with participants encouraged to redistribute it further to enable elements of snowball sampling. The survey remained active for 60 days and generated 16 responses (See Appendix A).

Table 1. Age range of survey participants

Age	No. Participants
18-25	15
26-30	1
30+	0

Table 2. Length of fandom per participant

Length of Fandom	No. Participants
More than 15 Years	2
11-15 Years	5
5-10 Years (Pre-Endgame)	8
2-5 Years (Post-Endgame)	1
Less than 2 Years	0

A survey method was chosen over interviews for various reasons. The highly structured nature of a survey allowed for efficient and cost-effective data collection (Hansen and Machin, 2018) while enabling the identification of broader patterns across the responses. Additionally, the self-administered format allowed respondents to provide truthful answers and reduced potential pressure associated with interviews, supporting more candid responses. However, it is acknowledged that written responses allow participants greater opportunity to edit, frame or ‘skew’ their answers (Hansen and Machin, 2018), which may impact authenticity. Future research could incorporate follow-up interviews as well, as while surveys skilfully present a snapshot of beliefs, behaviours and attitudes (Hansen and Machin, 2018), interviews would have facilitated a deeper insight into participant perspectives and the decision-making process.

The small sample size presents a limitation for the study by restricting generalisability.  Results should be interpreted as indicative rather than representative of the wider Marvel audience, especially considering that the survey responses spotlight only participants under 30. The reliance on self-reported data also introduces the possibility of response bias and furthers Hansen and Machin’s (2018) concern that participants may alter their responses to present themselves in a socially desirable way.

The second component of my data collection involved a social media analysis of Reddit, where 45 extracts were taken across the r/Marvel and r/MarvelStudios subreddits (See Appendix B). The data combined posts, comments and replies. This was essential in examining “the social conditions of an online space” (Fielding, Lee and Blank, 2017, p. 615). While social media analysis is often contrasted with more traditional quantitative methods used to measure opinions and beliefs, it can be used alongside them to provide a more comprehensive understanding of human behaviour (Hansen and Machin, 2018). The integration of both methods enabled a more rounded exploration of audience engagement within the Marvel fandom.

Reddit was selected as the primary platform due to the public accessibility of its content. Users are not required to create an account to view posts, and the platform explicitly acknowledges the public nature of the website while urging users to “take the public nature of their Services into consideration before posting”. The privacy policy explains that “by using the Services, you are directing us to share this information publicly and freely” (Reddit, 2026). Despite this, ethical considerations were maintained through the anonymisation of all user data. To further minimise bias, data was collected without logging into a personal account to reduce the influence of algorithmic personalisation.

Data collection focused on discussion threads within relevant subreddits, particularly those related to widely praised or poorly received films. During the research period, promotional material for the upcoming Avengers: Doomsday was released, prompting a shift in focus to these emerging conversations. Data was selected through identification of recurring themes, notable discussions and content that aligned with or challenged initial research expectations. This material was organised systematically by topic and film.

It is acknowledged that this approach introduces an element of researcher bias, as data selection was influenced by prior knowledge of the franchise and its audience. However, given the scale of available data, a purely random sampling approach would not have guaranteed relevance to the research aims.

3.2. Analytical Framework

To analyse the qualitative data, the study employed a reflexive thematic analysis (Braun and Clarke, 2006). This framework was applied to the social media data and survey responses and enabled the identification of “relevant patterns of meaning across a dataset” (p. 221) by using codes and coding to develop themes. See Table 3 below for details of the codes and their frequency.

The coding was conducted manually. Initial coding focused on semantic themes and later extended to identify latent themes, allowing for deeper interpretation of underlying meanings and behaviours. This process followed the six-phase framework outlined by Braun and Clarke (2006), beginning with data familiarisation through repeated reading of both survey responses and Reddit posts. Organic and subject codes were then developed, capturing recurring ideas and patterns. These codes were subsequently reviewed and grouped into broader themes, which were then refined and clearly defined to ensure coherence and distinction between each of the themes (See Appendix C). This approach allows for an insight into the data set as well as the ability to interpret the emerging patterns and apply them easily to the research questions.

Thematic analysis was selected due to its flexibility and because it “works especially well for a single researcher” (Braun and Clarke, 2006, p. 248). To enhance intra-coder reliability, the coding was repeated at a later stage to ensure consistency and reduce the impact of researcher bias.

The interpretation of the data and application of themes make for a highly subjective analysis. Similar to the data collection methods, this means that, in this study, generalisability is restricted. To overcome this, the use of inter-coder thematic analysis, where additional coders are enlisted, could reduce subjectivity and offer a more objective and detailed insight into the fandom and online expression under consideration. 

Table 3. Frequency of themes emerging from the survey and Reddit data

Theme	Frequency – Reddit	Frequency – Survey	Total Frequency
Decline in quality and narrative cohesion	38	43	81
Oversaturation and audience fatigue	23	23	46
Nostalgia and the loss of the collective viewing experience	10	6	16
Attachment to legacy characters and the early MCU	28	27	55
Toxicity or polarisation within fan communities	22	1	23
Tension between innovation and familiarity	9	1	10

Note: Frequencies represent total thematic references across all responses, not individual respondents.

3.3. Ethics

Ethical considerations were central to the design and execution of this study. Survey participants were presented with a detailed ethics statement before participation, outlining the purpose of the research, data usage, storage procedures and their rights, including the right to withdraw. Informed consent was obtained in line with established ethical standards by ensuring each participant was provided with “enough information to make an informed decision as to whether they want to participate in a research study” (Boyle and Schmierbach, 2024, p. 63).

Confidentiality was maintained by asking each participant to provide a unique identifier rather than disclose personal information (Boyle and Schmierbach, 2024). Participants were asked to recite this word if they wished to withdraw their data, so their response could be easily found. While this method carried the risk of words being duplicated, which would make it impossible to differentiate responses upon request, no such issue arose with the dataset.

Ethical challenges also arose in the use of Reddit data, particularly regarding user identification. To address this, all usernames and identifying details were removed from the collected material. This ensured that, despite the public nature of the platform where true anonymity is difficult to achieve (Oliver, 2010), individual users could not be traced within the research.

Overall, this mixed-methods approach allowed me to explore audience perceptions of the Marvel Cinematic Universe and better understand fandom expression online. While limitations like sample size, potential researcher bias and time constraints are acknowledged, the methods provided a coherent and relevant approach to my research question, as will be further explored in the following chapter.

4. Discussion/Findings

Engagement with the MCU appears to be increasingly shaped by a tension between nostalgia for the earlier phases of the franchise and the demands of its continued expansion. While audiences usually position the early MCU as coherent and emotionally significant, the more recent content is frequently approached with hesitation and heightened expectations that are not always met. This has contributed to a sense of fatigue, where engagement is driven less by enthusiasm and more by a perceived need to remain up to date.

Analysis of Reddit comments and survey responses identified several key themes, including nostalgia for earlier phases of the MCU, a perceived decline in narrative cohesion and character development, and the growing prominence of obligatory viewing practices. Alongside these trends, the data highlights an increase in critical and oppositional responses, suggesting audience engagement is becoming more evaluative and, at times, increasingly negative.

Taken together, these findings indicate that audience participation is no longer defined solely by enjoyment and immersion but instead reflects a more complex negotiation between attachment and criticism. By situating these themes within broader discussions of contemporary media consumption, media convergence and participatory culture, the analysis offers a critical account of the evolving relationship between audiences and an increasingly expansive media text.

4.1. Nostalgia and Retrospective Idealisation of the Early MCU

Nostalgia emerges as a prominent theme within the data, shaping how audiences interpret the current state of the MCU. Participants (N=7/16) frequently positioned earlier phases of the MCU as more coherent and emotionally engaging (Cook, 2026), often contrasting these experiences with more recent content. This suggests that audiences are not formed through present viewing experiences but are influenced by prior attachments and expectations established through earlier stages of the MCU. Many participants (N=11/16) framed their engagement in comparative terms, measuring recent releases such as Shang-Chi and the Legend of the 10 Rings (2021) and Thunderbolts* (2025) against the perceived quality and impact of earlier films including Avengers (2012) and Captain America: Civil War (2016), indicating that the legacy of the early MCU continues to inform contemporary audience reception.

A key aspect of this nostalgia relates to the communal nature of early MCU viewing experiences, which Jenner (2018, p. 154) notes as a compelling element of contemporary television. One participant described the franchise as “event cinema” (Survey Respondent 1, Q.8), emphasising the value of watching films in a shared theatrical environment, which contributed to a stronger sense of engagement and community. For example:

"Marvel films are event cinema to be enjoyed as thoughtlessly as possible with as many people as possible and being at home on a television dilutes them" (Survey Respondent 1, Q.8)

This suggests that audience engagement with the MCU was shaped not only by the content itself but also by the contexts in which it was consumed. As Stenson (2021) explores, there is value in the liveness of media such as cinema and broadcast television, where producers can capture and sustain audience attention more directly. However, this form of engagement appears to be increasingly disrupted by the shift towards more individualised viewing (Jenei et al., 2025), particularly through streaming platforms, which may reduce the sense of collective experience that previously characterised the franchise.

The shift in viewing practices is further reflected in participants’ discussions of cinema-going habits, with some suggesting that declining attendance is not indicative of reduced interest in the MCU itself. Rather than ‘superhero fatigue’, fans on Reddit instead pointed towards what could be understood as “movie theatre fatigue” (Figure 42), highlighting changing consumption preferences. Audiences appear to be adapting to more convenient and cost-effective modes of viewing, reinforcing Jenkins’ (2006a) argument that older media forms do not disappear, but are reconfigured within contemporary digital environments. This is exemplified on Reddit as:

"… I feel people grew comfortable to the idea of waiting till it hits streaming services. Why spend money to watch the movie when I’m already spending money on a streaming service the movie will end up on?" (Figure 42)

This response highlights how increased accessibility has reshaped audience expectations, positioning cinema as a less essential component of engagement. While communal viewing remains valued, it is increasingly transforming through alternative formats, such as online discussion spaces or episode releases designed to replicate shared anticipation (Huang, 2024).

The importance of shared viewing experiences is also closely linked to audience attachment to the MCU. Participants frequently (N=4/16)associated their engagement with memories of watching the films with others, suggesting that nostalgia is rooted not only in the content itself but the social connections its facilitated. For example:

"I've been a fan since I was a kid and it's something we watch as a family so it has an enjoyable level of nostalgia to it" (Survey Respondent 15, Q.9)

"I used to really enjoy the amount of fun I’d get from being in the fandom, from the creativity and the lore behind it all" (Survey Respondent 7, Q.9)

These responses highlight the significance of participatory culture (Jenkins, 2006a) in shaping audience engagement, where meaning is produced through shared experiences and fan interaction. As viewing practices become increasingly individualised, these connections are often maintained through digital platforms, where audiences continue to engage with the franchise in more active and participatory ways. As Rheingold (2008) suggests, online environments enable users to form communities, express identities and sustain social connections, indicating that while the mode of engagement may have shifted, the desire for communal experience remains central.

However, nostalgia within the data is not limited to shared viewing experiences but is also strongly tied to emotional attachment to the characters and narratives that defined the earlier phases of the MCU (Jones, 2023). While communal engagement shaped how audiences experienced the franchise, it is the character-driven connection that sustains long-term investment, particularly in relation to the pre-Endgame era.

Participants frequently (N=8/16) positioned the pre-Endgame era as the peak period for the MCU, often referring to it as the ‘golden age’. The enthusiasm can be categorised by the stronger character development and more cohesive crossovers. For example:

"…Guardians of the galaxy 1 [sic], and Infinity war are some of the greatest pieces of superhero media ever in my opinion" (Survey Respondent 6, Q.17)

This suggests that audience attachment is not tied to characters, but to particular narrative moments that are perceived as culturally and emotionally significant. By elevating these films as benchmarks, audiences implicitly position more recent content as falling short, suggesting the current state of the MCU is no longer the “pop culture juggernaut it was from 2012 to 2019” (Figure 4.2), reinforcing perceptions of decline explored in later themes. In this sense, nostalgia acts not only as a reflection of past enjoyment but as a framework through which the present is critically evaluated, as found by Jones (2023).

The perception of a ‘golden era’ is further reinforced by the way participants frame Endgame as a definitive conclusion to the Infinity Saga’s central narrative. Several responses (N=4/16) commented on the saga having a definitive conclusion, with one describing it as a “great ending” (Survey Respondent 6, Q.12), suggesting it provided a sense of closure that later content struggled to replicate. For example:

"Endgame was a great ending and now the content is empty, vapid and churned out" (Survey Respondent 6, Q.12)

"The infinity saga had a defined ending to it so everything was building up to that singular thing however, recently it’s building up to multiple things but no one knows what" (Survey Respondent 8, Q.12)

This indicates that audience attachment is not only tied to individual characters or films, but also to the overarching narrative that culminated in Endgame. By viewing this moment as a narrative endpoint, characterised by its recurring characters and crossovers (Goo et al, 2026), the perception of the Multiverse Saga lacking direction or purpose contributes to the perceived decline and assumption that “they went too big and don’t really have anywhere to go now” (Survey Respondent 5, Q.12).

The sense of narrative closure is further complicated by the perception that newer content fails to develop newer characters acceptably. Several participants (N=7/16)express a particular fondness for established, classic characters. For example:

"I liked the build up to endgame along with a lot of the characters that were introduced before endgame like black panther" (Survey Respondent 4, Q.12)

"[I like] Mostly Spider-Man, but also coherent and cohesive storylines" (Survey Respondent 3, Q.9)

These responses highlight how audience attachment to the MCU is strongly rooted in the characters and narrative arcs established during its earlier phases. The prominence of figures such as Spider-Man and Black Panther reflects not only their individual popularity but the broader emotional investment developed through consistent, meaningful storytelling. This aligns with Jenkins’ (2006a) participatory culture, which emphasises how audiences form deep, affective connections with media texts through sustained engagement and search for reflections of themselves in the content to assume a sense of belonging within the community.

4.2. Narrative Fragmentation and Decline in Character Development

Despite the established attachment to the characters that populate both the franchise and its comic book origins, the data suggests that this strong attachment gives rise to frustration with how characters are written in more recent films. One participant claimed that “no one is actually connected to these newer characters” (Figure 14), highlighting a perceived decline in emotional engagement. This can be understood in relation to Jenkins’ (2006b, p. 56) concept of “character rape”, which describes instances where characters are reinterpreted in ways that disregard their established traits and narrative arcs. For example:

"Also, as much as I love Simu, he really wasn't given much character exploration or scenes with emotional weight as I would have liked" (Figure 39)

This response, which refers to Simu Liu’s depiction of Shang-Chi in Shang-Chi: Legend of the Ten Rings(2021), suggests that issues with newer characters are not necessarily due to casting, but rather a perceived lack of depth and development in relation to the character’s comic book origins. Within the context of the MCU, such perceptions appear to be intensified by the rapid expansion of the franchise, where the increased volume of content may limit the attention given to sustained character development. As a result, audiences may interpret these shortcomings not as an isolated issue, but as an indication of the wider franchise and a shift towards prioritising quantity of content over emotional depth.

This perception of declining character development is further reinforced by criticisms of the MCU’s technical and aesthetic quality. Participants frequently (N=6/16) pointed to issues such as weaker CGI, poor dialogue, and a reliance on humour over emotional depth. For example:

"There was a period after COVID of increased content but decreased quality, for instance, the CGI teams had a lot less time to produce content and it showed in the final product of certain MCU projects" (Survey Respondent 15, Q.10)

"Poor dialogue writing, overreliance on CGI, weak narratives" (Survey Respondent 12, Q.10)

These responses suggest that perceptions of decline are not limited to narrative structure but extend to how the content is produced and experienced. As Scorsese (2019) notes, franchises are “perfect products manufactured for immediate consumption” that do not take into consideration “aesthetic, emotional and spiritual revelation”. The negligence of these features means that producers prioritise instant gratification that contributes to the “event cinema” but, in turn, disrupts long-term immersion and makes it more difficult for audiences to engage with the characters on an emotional level. In this sense, technical faults contribute to the broader perception that the MCU has become less cohesive (Cook, 2026), reinforcing concerns around both narrative fragmentation and declining character development.

In prioritising quantity, there appears to be a growing perception that the MCU has become increasingly fragmented in its narrative structure. As previously mentioned, participants in this study have described the Multiverse Saga as lacking direction, one noting that it does not “really have anywhere to go now” (Survey Respondent 5, Q.12), suggesting that narrative cohesion is becoming more difficult to follow in comparison to the Infinity Saga. This indicates that the expansion of the franchise has made it more challenging for audiences to engage with both individual narratives and the wider cinematic universe.

As Jenkins (2006a, p.98) notes, “each franchise entry needs to be self-contained”, yet in the case of the Multiverse Saga, this is not consistently achieved. Instead, key characters and plot points are introduced across multiple platforms, particularly through Disney+ series,  contributing to a sense of fragmentation within the films. A key example of this is Thunderbolts* (2025), which was described in the data as:

"Somebody in another post made an excellent point in that thunderbolts [sic] no matter how good it was would be a tough sell for casual fans because nearly every character outside of Bucky in the movie was introduced in either a bad project or a divisive project that kills a lot of good will" (Figure 40)

"When the Disney plus [sic] shows started, it felt like quantity over quality. New characters that got introduced didn’t reappear for years and the overarching storytelling felt less calculated" (Survey Respondent 14, Q.10)

Thunderbolts* represents a key narrative step towards Avengers: Doomsday, introducing ‘The New Avengers’. However, for viewers who are not up to date with the Disney+ series, several of these characters appear with limited context. For instance, John Walker had previously only appeared in The Falcon and the Winter Soldier, while further development for characters such as  Yelena and Bucky occurs within TV shows rather than the films. As a result, cross-platform storytelling may contribute to a reduced connection with newer characters, particularly for audiences who primarily engage with the cinematic releases. This reflects Jenkins (2006a) concept of convergence culture, where audiences are required to navigate multiple platforms in order to construct a complete understanding of the narrative.

Similarly, participants (N=3/16) noted that not all viewers maintain a consistent Disney+ subscription, meaning they miss key narrative developments or encounter them retrospectively. This disrupts continuity of engagement, as audiences are not experiencing character developments in a linear, collective way. Examples from the dataset include:

"I don't have a full-time subscription to Disney plus [sic] to only watch the shows when I have the account, rather than as they release" (Survey Respondent 13, Q.17)

"I don’t have Disney+, I liked the avenger films and a few odd super hero standalones. I don’t care enough to watch the shows, let alone pay for them" (Survey Respondent 6, Q.8)

These responses highlight a financial and practical barrier to engagement, challenging assumptions that streaming platforms increase accessibility (Ibrahim, Hidayana and Saefullah, 2024). Instead, the fragmentation of content across platforms may limit audience participation, contributing to confusion and weakening emotional investment in newer characters. 

In response to these challenges, recent industry strategies have included the reintroduction of established characters and familiar franchises. This can be seen not only in the return of iconic figures such as Steve Rogers, but also in the incorporation of previously separate comic teams such as the Fantastic Four and X-Men. Such strategies appear to function as a means of re-engaging audiences through familiarity and the promise of niche character interactions (Jones, 2023). This is reflected in participant responses (N=6/16) that emphasise the importance of interconnected character relationships:

"The interconnected plots, and character development spurred by events and interactions with other heroes" (Survey Respondent 9, Q.9)

However, the emphasis on building towards large-scale crossover events and long-term narrative planning (Jin, 2024) has led some participants to perceive individual films as “filler”, reducing their narrative significance. As a result, newer characters are often not afforded the same level of development as earlier figures, who benefited from standalone trilogies and extended arcs. The contrast is evident in response to more character-driven projects, such as Wonder Man (2026), which exists largely outside of the Multiverse Saga:

"This is my favorite [sic] Marvel release in years (Other than Daredevil Born Again). Having characters who feel more relatable, […] I started watching because I hadn't heard a single thing about this show and was curious. […] I can't stress how much of a breath of fresh air this is from Marvel" (Figure 44)

This suggests that when narratives are less constrained by overarching continuity, audiences are better able to engage with characters on an individual level. As Stanfill (2019) argues, audiences now act as a “constituency that media companies both recognize and actively seek to incorporate, encourage, monetize, and manage” (p. 5), indicating that such shifts in reception may influence future production strategies. However, the need to balance interconnected storytelling with character development appears to remain unresolved.

Taken together, these findings suggest that narrative fragmentation and uneven character development are reshaping how audiences engage with the MCU. Rather than experiencing the franchise as a cohesive and immersive narrative, viewers are increasingly required to navigate multiple platforms, timelines, and character arcs. As a result, engagement becomes less intuitive and more effortful, contributing to a shift in audience experience from enjoyment towards a sense of obligation when viewing.

4.3. Completism and the Emergence of Anti-Fandom

Building on this shift from enjoyment to obligation, a key theme that emerges from the data is the growing pressure on audiences to engage with the MCU in a more exhaustive and sustained manner. Participants frequently (N=5/16) note that there is a requirement to watch an increasing volume of interconnected texts across film and television in order to fully understand the narrative. This suggests that engagement with the franchise is no longer optional or selective but instead requires a more committed and continuous form of consumption. In this sense, audiences are required to adopt the role of “hunters and gatherers” (Jenkins, 2006a, p.21), seeking out dispersed narrative elements across multiple platforms. This is highlighted on Reddit:

"One of the major complaints about the MCU is that it feels like there is homework to be able to watch certain movies and tv shows" (Figure 25)

This suggests that, with the heightened level of interconnectedness, there has been a shift towards what can be understood as a form of completist viewing (McGowan, 2024). Audiences are starting to feel a sense of obligation rather than engaging with the franchise on their own terms, which in turn contributes to feelings of fatigue. 

Much of the concern is directed towards the Disney+ series, with participants (N=11/16) suggesting that recent years have seen an oversaturation of content. Through media convergence (Jenkins, 2006a), this shift towards streaming has resulted in an increased volume of releases, particularly during the COVID-19 pandemic when demand for entertainment was heightened (Janei et al., 2025). However, this expansion appears to have had a negative impact on audience engagement. In response to the survey question “What do you dislike about the MCU?”, the interconnected nature of the franchise and the reliance on TV series emerged as prominent concerns. For example:

"The one thing I really dislike about it is having to watch multiple other shows/movies to fully understand a newer one" (Survey Respondent 2, Q.10)

These responses suggest that engagement with the MCU is becoming increasingly effortful, as audiences feel required to consume content beyond their initial interest in order to maintain understanding. Rather than enhancing the viewing experience, this level of interconnectedness may instead create fatigue, where keeping up with the franchise becomes time-consuming and, at times, overwhelming. This contrasts with the intentions of transmedia storytelling (Jenkins, 2006a; Ryan, 2015; Schiller, 2018), which aims to enrich the narrative, but in this case appears to contribute to a sense of fragmentation. However, the continued positive reception of more contained, character-driven projects such as Wonder-Man (2026) and Loki (2021-2023) suggests that fatigue is not necessarily a result of content volume alone but is more closely tied to the interconnected structure and perceived lack of narrative cohesion.

In response to this complexity, audiences and fan communities have adapted to help newer viewers navigate the franchise. More experienced fans increasingly take on the role of “fan curator” (Kompare, 2025) as they possess a “deeper knowledge of, and access to, the fandom and its texts” (p. 124). This is reflected across the Reddit forums in features such as “The Road to…”, where users compile lists of essential viewing for upcoming releases. These practices enable audiences to navigate the dense narrative more easily, while also creating spaces for discussions and shared experiences. As outlined by Jenkins’s (2006a) concept of participatory culture, audiences actively contribute to meaning making through discussion, explanation and shared interpretation. In this sense, participation has shifted from forms of passive participation (Casemajor et al., 2015) towards increasingly active and collaborative modes.

However, while participation has become a central feature of the MCU fandom, it has also created space for increased negativity within the community. This can be understood in relation to textual poaching, where audiences “take away only those things that seem useful or pleasurable to the reader” (de Certeau in Jenkins, 2006b, p. 39). Within the MCU fandom, this has contributed to the construction of a ‘golden era’ of the franchise, often associated with the Infinity Saga, which fans seek to preserve as the “authentic” version of the franchise. As Jenkins (2006b) suggests, this can lead to tensions within fandoms, as fans position themselves not as poachers, but as loyalists defending the integrity of the text. 

From this, a form of anti-fandom has emerged, where participants note it has become “cool to hate Marvel now” (Figure 28). This shift appears to be closely linked to the growing sense of obligation and fatigue, where audience engagement has become increasingly critical and oppositional. Rather than disengaging entirely, audiences continue to participate but through more negative forms of expression. This can be identified in responses such as:

"Yet now it seems like if a movie doesn't have the absolute perfect story and flawless CGI, it's written off or called trash" (Figure 1)

"People have huge rose colored glasses for early mcu [sic]" (Figure 3.1)

However, this premature negativity does not represent the fandom. As Bury (2025) notes, “the early bird binge-watching fan does indeed get the interactional worm” (p 121), suggesting that those who engage first, often through critique, gain greater visibility within online spaces. This may amplify the presence of negative discourse, even if it does not reflect the views of the entire fan community.

Considering all the findings, there appears to be a significant shift in how audiences engage with the MCU and participate within its fandom. Rather than being driven primarily by enjoyment, immersion and shared enthusiasm, engagement is increasingly shaped by feelings of obligation and critical evaluation. The growing complexity of the franchise, combined with the pressure to keep up with interconnected content, has altered how audiences interact with the text and with one another. As a result, the MCU fandom has become more fragmented rather than unified and celebratory, with participation encompassing both attachment and critique. While fandom remains central to the franchise’s success, it now reflects a more complex and, at times, strained relationship between the audience and the brand.

5. Conclusion

This dissertation set out to explore the extent to which changing audience engagement has shaped perceptions of the MCU in its post-Infinity Saga era. Through analysing audience responses across Reddit and survey data collected for this study, it is evident that the perceived decline in quality cannot be attributed solely to the changes in content production or narrative decision-making. Instead, it reflects a broader shift in how audiences engage with, interpret and participate in the franchise.

5.1. Summary of Findings

One of the key findings is that the expansion of the MCU across multiple platforms has contributed to a sense of narrative fragmentation (Cook, 2026), making it more difficult for audiences to follow the overarching storyline and form meaningful connections with newer characters. While transmedia storytelling (Ryan, 2015; Schiller, 2018) is intended to enhance engagement, in this case, it appears to have increased the level of effort required to participate, particularly through cross-platform viewing. As a result, audiences are increasingly required to adopt what Jenkins (2006a, p. 21) describes as a “hunter and gatherer” approach, seeking out dispersed narrative elements to maintain understanding.

This shift has contributed to the emergence of completist viewing practices (McGowan, 2024), where engagement is shaped less by personal interest and more by a perceived obligation to keep up with the franchise. Rather than enhancing enjoyment, this has led to increased feelings of fatigue. At the same time, participatory culture (Jenkins, 2006a) has transformed the audience from passive consumers to active contributors, using online platforms to critique and interpret content. This has reshaped the fandom into a more visible and collective space.

However, this increased participation has also contributed to more critical and oppositional forms of engagement. Drawing on Jenkins’ (2006b) concept of textual poaching, audiences often position themselves as protectors of an ‘authentic’ version of MCU, particularly in relation to the perceived ‘golden era’ of the Infinity Saga. As a result, nostalgia (Jones, 2023) plays a key role in shaping expectations, often intensifying dissatisfaction with newer content. The rise of anti-fandom further reflects this shift, where audiences continue to engage through critique rather than disengagement.

5.2. Limitations and Future Research

Due to the size of the Marvel community, the data collected cannot be considered fully representative of the entire fandom. As identified in the survey (see Appendix A), many fans do not actively share their opinions online, and when they do, their responses may be shaped by a desire for visibility or alignment with dominant discourses. While critique often appears to dominate online spaces, there remains a significant presence of positive engagement within Reddit communities, suggesting that findings may, in part, reflect algorithmic bias. Future research could address this by conducting larger-scale studies to better assess the balance between positive and critical responses.

Additionally, given the constantly evolving nature of online discourse, it is difficult to capture a fully accurate representation of audience sentiment at any single point in time. For instance, the release of promotional material for Spider-Man: Brand New Day during the writing of this dissertation was largely met with positive reception, highlighting the fluidity of fan responses.

Overall, this study demonstrates that the perceived decline in the MCU is not solely a reflection of reduced quality but is deeply intertwined with shifts in audience behaviour and expectations. The increasing complexity of the franchise, combined with the pressures of cross-platform consumption, has redefined what it means to be a Marvel fan, while also reinforcing the significant role fandom plays in the franchise’s continued success.

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7. Appendices

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