NOTE: This article was originally published in 2016 as a review and discussion of Batman v Superman’s Ultimate Edition, when it was originally released. The article below remains as originally published.

Batman v Superman: Dawn of Justice will never stop being debated. Director Zack Snyder presented us with an event that many had long waited to see (Batman on the movie screen alongside Superman), but he did so according to his own unique vision – for better or worse. Seemingly the latter though, because since Batman v Superman hit theaters, it’s suffered massive criticism for what is supposedly a convoluted and overly grandiose storyline. The home release of Batman v Superman: The Ultimate Edition sparked that debate all over again.

While Batman v Superman’s Ultimate Edition may not fix all of the problems with Batman v Superman‘s story, it does present a much bigger – and yet, more precise – a thematic arc that arguably takes a gimmicky superhero team-up, and elevates into a socio-political metaphor not only fit for the times, but eerily predictive of where things would soon be headed.

Here’s Why Batman v Superman Is Smarter Than You Think.

True Edition

For the purposes of this discussion, we need to be clear: as far as I’m concerned, Batman v Superman: The Ultimate Edition is the only version of the movie worth discussing. Sure, people often try to argue that a “special edition” or “director’s cut” of a film doesn’t constitute the “real” version of the movie; that only the theatrical cut is considered canon. That may be a fair point, but I’m not here to argue canon. In evaluating Batman v Superman‘s merit as smart cinematic work, I need the whole of Snyder and Co.’s vision, and not (as will be discussed later) what Warner Bros. cut together to sell in theaters.

So, from here on out, this discussion will be in reference to Batman v Superman: The Ultimate Edition. If you have not seen that version of the film, and find the theatrical cut to be so unforgivably bad that you can’t give the film a second look, then there’s nothing for us to discuss: you simply dislike this movie.

For those who have seen both versions, or are at least open to another interpretation of the film they saw, let’s break this down.

The American Now

The first thing to realize about Batman v Superman is that it’s not just a comic book movie. This is not just a parable about how Batman and Superman came to respect another after having clashing ideas of what heroism is; that’s certainly part of the story, but it’s not the major thematic subtext which drives it. To understand the thematic narrative of Batman v Superman, one must first look back at Man of Steel.

Zack Snyder’s Superman reboot was met with just as much controversy as Batman v Superman – particularly for its final act, in which the city of Metropolis is decimated in a battle between Superman and the Kryptonian militants led by General Zod. That “Battle of Metropolis” rattled and angered many viewers, who felt that Superman allowing such an excessive level of destruction in Metropolis was both uncharacteristic of his character and in a larger sense, was a cinematic exploitation of Americans’ post-9/11 fears. It was no surprise, then, to learn early on in Batman v Superman‘s development that the film would use the controversy over The Battle of Metropolis as the catalyst for its Batman vs. Superman conflict.

Many fans are able to discern Snyder’s answer to his critics in BvS‘s story, but writer Chris Terrio’s script is woefully underappreciated for how it takes the Battle of Metropolis 9/11 comparisons and extends them into a full-fledged socio-political commentary, as embodied by two of the biggest icons in Americana mythology. It plays like this:

Batman is the right-wing hawk reaction to 9/11. He represents an America that prefers security over civil liberties; the Bush-era mentality of stopping threats pro-actively before they can threaten close to home; He believes in severe (i.e., morally dubious) punishment of criminals; uses military-grade hardware to casually annihilate enemy combatants; and the movie is none to shy about pointing out that Bruce Wayne belongs to the wealthy elite, while The Batman preys on the poor and destitute of Gotham. In short: Batman is the darker and more militant version of America, as scarred by the tragedy of 9/11. He is, as Alfred clearly states, the cruel end result of unchecked rage and feelings of powerlessness (like many felt after 9/11). Batman’s actions – inspired by those feelings – end up starting as misguided a war as… well, you get it.

Superman, on the other hand, isn’t so much a character in the story as he is a symbol – and that symbol is of the more left-wing, liberal American ideal. Superman represents the classic American ideas of hope, justice, and morality for all people; he believes it is his job to police the world and protect the defenseless, no matter their nationality; and in his Clark Kent guise, he spends most of the film trying to defend the civil liberties of the criminal branded by The Batman – a person who, to Clark, represents the poverty and desperation behind Gotham’s criminals, empathy that he faults Batman for not showing to those he punishes so harshly. Clark is also none to shy about pontificating about the role of media and the civil responsibilities of journalists – a far cry from the “bumbling geek” persona of Christopher Reeve, but a clear metaphor.

As the film demonstrates, none of the ideas Batman and Superman represent are infallible. Batman’s rage and need for retribution have him start the wrong kind of war, allowing greater threats to foster. Superman’s actions, though noble in intent, cause political turmoil on a global level; his (excessive?) empathy and concern with maintaining moral high ground in the eyes of the American public, media, and government prevent him from stopping a horrific terrorist attack; and his obsession with judging the other side of the aisle (Batman) stops both him and his political opponent from seeing the true threat facing them both. By the time both parties finally become aware, the situation has grown into a (literal) monster, and it costs the sacrifice of Superman to slay that monster.

In the aftermath, we see a world and a former political rival all transformed by the loss of the noble ideal (Superman), inspired to do better so that the ideal is not truly lost forever. It’s almost eerie how resoundingly accurate a theme it is for the present moment, and that accuracy extends to the much-hated villain in this thematic opera.

Lex Luthor

Jesse Eisenberg’s Lex Luthor was one of the most universally criticized parts of Batman v Superman. But while the character is eccentric and downright weird, his role in the thematic narrative is actually pinpoint on the mark.

If Batman and Superman represent the two clashing political ideologies of a post-9/11 America, Lex Luthor is (clearly) the embodiment of the insidious opportunists who exploited (and still exploit) the turmoil of a post-9/11, war-torn world for personal gain. His criminal empire and machinations may seem vague and confusing narratively, but thematically, Lex’s schemes actually invoke references to so many ugly things that have thrived in the post-9/11 world: arms dealing, human trafficking, an unchecked military-industrial complex, political lobbying, bio-weapons development, corporate corruption – the list goes on.

The real point is: Lex is the businessman opportunist shark looking for personal gain by pitting two political ideologies against one another. Reading that back, Terrio and Snyder deserve a crystal ball and a gig as fortune tellers, more so than ridicule, given where American politics has steered us today (I’ll just leave it there…).

On a more personal level, Lex confesses to a childhood of abuse at the hands of his father, an East German man who felt powerless from having to submit to the will of tyrants. For Lex, Superman is a threatening new socio-political paradigm, in which he, Lex (the top 1%), will experience a profound loss of power and control – something that Lex cannot accept. While criticized for its convolution, there is a sort of intelligent real-world parallel to how this bombastic tycoon manipulates events in foreign nations, in the prison system, politics, and stokes the fears of the public.

Sure, Eisenberg arguably may kill a lot of the smart metaphor to his character with an overly eccentric performance, but that doesn’t change the fact that it’s an interesting framework the filmmakers have set up – and one that’s deeper than most people give the film credit for. Batman v Superman is in many ways the story of how America has become violently divided in a post-9/11 world, and (at least on paper) Lex Luthor serving as the unseen hand nurturing that division makes sense both thematically and characteristically. As does the turn that unravels Luthor’s carefully guided plan…

The Martha Moment

Given the thematic framework we’ve identified, let’s talk about Batman v Superman’s much-hated, much-debated climactic turn:

When the violent fight erupts between Batman and Superman (those two halves of American political ideology) all sense of reason and communication has been lost. These two men, heroes, each see “the other” as the symbol of something that must be fought: Batman hates the uncontrollable threat that is Superman, while the Ultimate Edition makes it much clearer that Batman is the intolerant bully that Clark/Superman knows all too well (remember Man of Steel?) – a bully that must be stopped by “a fist.” Batman v Superman tried to add an ambitious level of thematic grandeur to its titular battle, and therefore, a great deal hinges on the resolution of that battle.

Everyone who has seen the film knows “The Martha Moment” by now: Batman is about to impale Superman to death with a Kryptonite spear, but is stopped when Superman utters the phrase “You’re letting him kill Martha!” When Lois Lane elaborates that Martha is Superman’s mother’s name, Batman remembers his own mother, Martha Wayne, and he and Superman become instant pals.

Here’s the thing: The Martha Moment isn’t a bad idea within the thematic framework of the story (it’s even kind of clever since a lot of comic book fans probably never connected the thread between Marthas Kent and Wayne). But even though it’s smart in concept, the moment is executed quite poorly, and the whole thematic payoff nearly collapses as a result of that mishandling.

It’s a problem of dialogue, really: Superman saying lines like “You’re letting him kill Martha,” or “Save… Martha…” are so clunky and false, since no son that I know ever refers to his mother in times of desperation by her first name. There’s enough built into the character of Batman (and his thematic symbolism) that a line like “You’re letting him kill my mother,” would have just as much impact, and, more importantly, thematic resonance (Lois Lane could’ve easily supplied the “Martha Kent” name that sealed the connection).

The whole idea of “The Martha Moment” is that there is common ground these two heroes (i.e., warring political ideologies) find, and it’s something personal, not ideological. That’s the entire thematic payoff of the story – the larger takeaway that we, the audience, are supposed to incorporate into our real lives. Yet, because it’s handled in such a clunky manner – with inauthentic dialogue, and Ben Affleck forced into overly-dramatic gravitas (“Why did you say that name!“) – the most important thematic turn in the film falls painfully flat, no matter which version you are watching.

When it comes to writing and dialogue, the devil is truly in the details. With a slight revision, Batman v Superman may have stuck its thematic landing.

Comic Book Roots

Let’s not forget where this all sprung from: right from the start of BvS’ production, director Zack Snyder let it be known that Frank Miller’s The Dark Knight Returns storyline (in which an older Batman comes out of retirement for a more brutal campaign against crime) would be direct inspiration for Batman v Superman. What is once again underestimated is how much of a socio-political commentary Dark Knight Returns was for its time – and just how well Snyder emulates that in his film.

Dark Knight Returns was written in the Cold War mid-80s era of Reganomics, the War on Drugs, and fear of nuclear winter; Miller used constant “cut scenes” of media news segments (the rise of the 24-hour news cycle), as well as personal anecdotes from third-party citizens, which all help to flesh out the character and phenomenon of The Batman.

Obviously, Batman v Superman exists in a much different world than the one Dark Knight Returns was written for, but the Ultimate Edition makes it clear that Snyder attempted to honor the spirit of Miller’s story, with the multiple asides to other characters, anecdotal stories, and media broadcasts – all of which frame the question of who Superman is in today’s world. Miller’s story was also unapologetically political, and Snyder clearly sets up from the beginning of the Ultimate Edition (in a much longer segment of the Lois Lane incident in Africa) that politics are a definite part of his film, as well (hence the aforementioned political metaphors).

This is all to say: Not only is Batman v Superman a generally smarter film than many give it credit for being, it’s also a pretty smart adaptation of one of the most respected Batman stories out there.

Does BvS Deserve Another Chance?

No.

Yeah, it might seem strange that after 2000 words of arguing otherwise, I would arrive at this conclusion. But here we are.

The bottom line is that I do believe Batman v Superman is a much better movie than people are giving it credit for being, but only in terms of its depth and ambition. As I already said, the execution of those ideas wasn’t the strongest, resulting in major issues like The Martha Moment, or the confusing nature of Lex’s plot. And in all this analysis, there still is the glaringly simple fact that the theatrical version of Batman v Superman takes all this depth and ambitious storytelling described above and mangles to high hell until it’s something unrecognizable.

More to the point: it seems as though Warner Bros. trimmed away the very subplots and characters that helped to convey the more politicized thematic message of the film; purposeful reduction so that audiences wouldn’t have to sit through (or think beyond) anything more than a basic superhero team-up story. And for those viewers who won’t even invest in watching the Batman v Superman: Ultimate Edition, the film will likely leave a much more negative impression than it would if they engaged with the full version.

Still, for those few of you on the fence (see what metaphor I’m working here?) maybe this will help tip the scales toward getting to watch (or re-watch) Batman v Superman with a new subtext in mind – one that hopefully improves the viewing experience.

…Or just yell at me on Twitter @KofiOutlaw, asking me what I’m thinking and why I even bothered to write this. I know how it goes.

Man of Steel, Batman v Superman, and Zack Snyder’s Justice League are now streaming on Max.

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Fandango has released its list of the most anticipated movies this summer, and the film claiming the top spot may surprise you. The Top 10 list is filled with familiar franchises and superhero fare, from Marvel to DC to Mission: Impossible to John Wick to Jurassic World, just to name a few. One would assume that big-budget remakes of Fantastic Four and Superman would fight it out for box office dominance, but a surprising contender has risen to the top to be the #1 film on the minds of moviegoers for the summer. But that doesn’t mean these superhero films are far behind, still making it into the Top 5.

The Top 10 Most Anticipated Summer Movies in Fandango’s list is led by Jurassic World Rebirth, followed by The Fantastic Four: First Steps in second place, Mission: Impossible – The Final Reckoning in third place, Superman in fourth place, and Thunderbolts* in fifth place. The list is rounded out by From The World of John Wick: Ballerina in sixth place, 28 Years Later in seventh place, How to Train Your Dragon in eighth place, Lilo & Stitch in ninth place, and Freakier Friday in tenth place. You can check out the full list below.

The top 10 most anticipated summer movies are:

1. Jurassic World Rebirth
2. The Fantastic Four: First Steps
3. Mission: Impossible – The Final Reckoning
4. Superman
5. Thunderbolts*
6. From The World of John Wick: Ballerina
7. 28 Years Later
8. How to Train Your Dragon
9. Lilo & Stitch
10. Freakier Friday

These results come from Fandango’s annual Moviegoing Trends & Insights Study as the industry gears up for CinemaCon, running March 31-April 3 in Las Vegas. The online movie ticketing service surveyed over 5,000 moviegoers and split them between Loyal Moviegoers — those who saw five or more movies in theaters in 2024 — and Casual Moviegoers — those who saw fewer than four movies in theaters in 2024.

“As consumers’ appetite and interests continue to evolve, understanding moviegoing behaviors is essential to find new areas of opportunity and help drive industry growth,” said Jerramy Hainline, EVP of Fandango. “With a diverse slate of upcoming films, from superhero epics to action thrillers to cult classic sequels, this summer is proving to have something for all movie fans.”

[RELATED: Superman Star Teases What James Gunn Movie Is Really About (and It Sounds Perfect)]

Loyal Moviegoers made up 41% of the survey sample, seeing an average of 10 movies in 2024. The statistics say they are most likely to be millennials or Gen X, and most likely male. Casual Moviegoers represented 59% of the survey sample, saw an average of two movies in 2024, and are likely to be Gen Z and female. 

It may come as a surprise that neither The Fantastic Four: First Steps or Superman is the most anticipated movie for Summer 2025. Comic book fans like to think that the world revolves around their favorite heroes, but apparently, that isn’t the case. The Jurassic Park/Jurassic World franchise continues to churn out films that audiences look forward to.

Jurassic World Rebirth is something of a soft reboot for the franchise. Its narrative takes place five years after the events of 2022’s disappointing and critically panned Jurassic World Dominion. Directed by Gareth Edwards, the film stars Scarlett Johansson, Jonathan Bailey, Mahershala Ali, Rupert Friend, Manuel Garcia-Rulfo, Luna Blaise, David Iacono, and Audrina Miranda.

Jurassic World Rebirth hits theaters on July 2nd. Let us know what your most anticipated movie of Summer 2025 is in the comments below!

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Pedro Pascal and Isabela Merced are having a friendly rivalry for their upcoming superhero movies, The Fantastic Four: First Steps and Superman, respectively. This summer will see Marvel and DC compete outside of comics with the release of new Fantastic Four and Superman films. Both movies reboot their respective properties and feature stars of HBO’s The Last of Us in central roles. Pedro Pascal leads The Last of Us as Joel, with Isabela Merced joining Season 2 as Dina. Pascal is also playing Fantastic Four leader Reed Richards, and Merced suits up as Hawkgirl in Superman. But which superhero film will dominate at the box office? Let’s find out from the stars themselves.

The stars of The Last of Us are out doing press in anticipation of Season 2. After Isabela Merced discussed her new character Dina, she transitioned into promoting Superman and The Fantastic Four: First Steps both coming out this summer. “See you this summer!” Pedro Pascal teased his The Last of Us co-star, with Merced jokingly responding, “I hate you!”

[RELATED: Superman Star Teases What James Gunn Movie Is Really About (and It Sounds Perfect)]

The Last of Us announced Isabela Merced’s addition to Season 2 as Dina in January 2024. For those who haven’t played The Last of Us Part II, Dina is a new love interest for Ellie and travels with her throughout her latest adventure. She’s also the ex of Jesse, which makes for an interesting and complicated situation that plays out between Dina, Ellie, and Jesse. 

“Dina is warm, brilliant, wild, funny, moral, dangerous and instantly lovable,” said showrunners Craig Mazin and Neil Druckmann in a joint statement. “You can search forever for an actor who effortlessly embodies all of those things, or you can find Isabela Merced right away. We couldn’t be prouder to have her join our family.”

Merced previously spoke of her role in The Last of Us and called out how Dina is the only character who gets a decent ending. “[TLOU’s Dina is] sort of a light in Ellie’s life, in Ellie’s world. I think that’s the general consensus, because you look at the video game, too, and she is really the only one who actually gets sort of a decent ending,” Merced told Total Film. “Everyone else gets kind of screwed or dies!”

[RELATED: Will Marvel and DC Movies Ever Cross Over? (And Should They?)]

As for Merced’s starring role as Hawkgirl in Superman, she teased what fans can expect from Hawkgirl’s superhero costume. “Well, there have been some leaked pictures online,” Merced told Deadline. “However, I think James [Gunn] knows what he wants, and this specific suit is for this specific timeline in the story. I don’t know what else I can say, but I gotta say, the helmet was my absolute favorite. It’s so sick. It’s so badass. It’s perfect.” 

Fans finally got to see Pedro Pascal as Reed Richards in the first trailer for The Fantastic Four: First Steps in February. Concept art for Fantastic Four and Avengers: Doomsday made its way online, featuring a more comics-accurate look at Reed Richards. Pedro Pascal has a trademark mustache, but was missing Mister Fantastic’s signature white sideburns in the FF trailer. However, the leaked concept art featured Pascal ditching his mustache for the white sideburns fans have come to love.

Which superhero movie are you looking forward to the most between The Fantastic Four: First Steps and Superman? Let us know your thoughts in the comments below!

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Superman is kicking off the DCU in style, and this is the best idea that DC Studios could have had. Superman is the first superhero, and kicking off a series of DC movies with him feels right. Superman has existed for over 80 years and during that time fans have gotten some brilliant stories with Superman. These stories have laid out who Superman is and how far he’ll go to save the day, and there are lots of stories that would make for excellent movies and animated series. DC Studios wouldn’t go wrong with adapting a lot of Superman stories, bringing the classics of the superhero medium to the big screen.

However, that doesn’t mean that every classic Superman story should be adapted. Not every story can survive the adaptation to live action. These five Superman stories are stone cold classics, yet they wouldn’t be right for the big screen for a variety of reasons.

“The Death of Superman”

“The Death of Superman” has earned its place among the best modern Superman stories. It wasn’t the first time Superman was killed in the comics — for years the “imaginary stories” of the past gave readers stories that dealt with Superman’s death. However, it was the first one in the mainline universe that actually killed Superman and it wasn’t a red herring. The battle between Superman and Doomsday is one of the most exciting, visceral battles in comic history and everyone thinks they want it on the big screen. However, one needs to look no further than Batman V. Superman: Dawn of Justice to see that it’s not a great idea to adapt “The Death of Superman”. The story and its aftermath depended upon the serial nature of comics to truly make an impact. Beyond that, there’s really no reason to tell the story on the big screen again.

“For the Man Who Has Everything”

Superman Annual #11 gave readers a story that has gone down as one of the greatest Superman stories ever. “For the Man Who Has Everything”, by the Watchmen team of Alan Moore and Dave Gibbons, sees Batman, Robin, and Wonder Woman visiting the Fortress of Solitude for Superman’s birthday. They find their friend in the grips of the Black Mercy, a killer plant that gives its victim their hearts desire, with Mongul there to destroy them all. This is an amazing Superman story, and many would like to see it on the big screen. However, here’s the thing — there’s already been a perfect adaptation of “For the Man Who Has Everything” in the cartoon Justice League Unlimited. This was the only Alan Moore DC adaptation that he ever allowed his name to be on, which means that it’s perfect. There’s no need to bring it to the big screen.

“Whatever Happened to the Man of Tomorrow?”

Alan Moore’s time at DC gave multiple characters brilliant stories. When Crisis on Infinite Earths was coming out, Moore demanded to write the last two stories of the pre-Crisis Superman, literally threatening DC big wig Paul Levitz to get the gig, which led to “Whatever Happened to the Man of Tomorrow?”. Moore teamed with classic Superman artist Curt Swan and George Perez to tell the story of the final days of Superman. Superman’s villains have become more bloodthirsty than ever, challenging Superman in new ways. This leads to the reveal of his secret identity and Superman taking his loved one to the Fortress of Solitude to protect them. This leads to the ultimate Luthor/Brainiac team-up, a siege that costs the lives of Superman’s best friends, and reveal of a villain that no one ever expected to be this monstrous. “Whatever Happened to the Man of Tomorrow?” is a story that closed out the Superman mythos, saying goodbye to the Man of Steel. It’s a brilliant story, but it doesn’t need to come to the big screen.

RELATED: Absolute Superman’s Jason Aaron Teases Heartbreaking Fate of Krypton, Impact on Kal-El, and More

“Last Son”

“Last Son”, by Geoff Johns, Richard Donner, and Adam Kubert, is one of the best modern Superman stories. The story kicks off with a Kryptonian child falling to Earth, which draws out the fathering instincts in Superman. From there, things get insane, as after an attack by Bizarro, the truth behind the child’s origin is revealed — he’s the son of General Zod and Ursa, who they used to escape the Phantom Zone. This leads to Superman battling Zod, Ursa, and Non, a battle he loses. Zod’s actions force Superman to team up with his most dangerous foe, leading to a massive battle of epic proportions. Zod is a great Superman villain but he doesn’t need another big screen appearance — and this story is basically Superman II told exactly as Donner wished it could be, which is another strike against it. Plus, an argument can be made that the story wouldn’t be nearly as good without artist Adam Kubert’s breathtaking visuals. Live action is fine, but sometimes the art on the comic pages is superior and “Last Son” is a perfect example of this.

Superman: Space Age

Superman: Space Age, by Mark Russell and the art team of Mike and Laura Allred, is a retro masterpiece. The story starts at the end of universe in 1985 and then jumps to the 1960s, with Superman coming to Metropolis after leaving Smallville, and retells the story of his life in a three issue masterpiece of comic book storytelling. Superman: Space Age takes elements of the Silver Age DC Multiverse, combines it with ideas from Crisis on Infinite Earths, and gives readers a story that shows how Superman would react to the end of everything. It’s a near perfect story, but it just doesn’t belong on the big screen. Much like “Last Son”, it just wouldn’t look the same without the beautiful pop art styling of the Allreds. They do an amazing job of bringing Russell’s retro Superman story to life, and Superman: Space Age just wouldn’t feel the same without their work.

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While promoting his role in the psychological thriller McVeigh, actor Anthony Carrigan dropped a hint about the emotional heart of James Gunn‘s upcoming Superman film that should excite fans of the iconic hero. Carrigan, who plays the shape-shifting Metamorpho in the DC Universe reboot, suggested this take on the Man of Steel will emphasize hope rather than darkness. His comments come amidst ongoing speculation about how Gunn will reinvent Superman for modern audiences without losing the character’s essential optimism. With DC’s cinematic efforts having previously leaned toward grimmer interpretations, Carrigan’s description suggests a course correction that aligns with Superman’s traditional role as a beacon of hope in the comic book world. This apparent tonal shift potentially signals a return to the character’s inspirational roots.

“I mean, honestly, the only thing I can say is just what a joy it was to work on a project like that,” Carrigan told ComicBookMovie.com. “I’m so excited to obviously bring something like McVeigh to audiences, but also something that inspires such hope and is really about something very uplifting.”

This aligns with James Gunn’s previous statements about his approach. While discussing the film’s tone with GQ in 2023, Gunn explained it wouldn’t be a comedy but would focus on making Superman feel authentic. He acknowledged drawing inspiration from Richard Donner’s classic films starring Christopher Reeve, as well as their depiction of Lois Lane as the strong underpinning to Superman’s character.

“I’m definitely influenced by what Donner did with Superman, and what Christopher Reeve did with Superman, and Margot Kidder, who’s fantastic in the movie. She’s really the heart of it in a lot of ways,” Gunn stated.

The casting of Carrigan as Metamorpho – a character who can transform his body into various elements – shows Gunn’s willingness to embrace DC’s more unusual characters. Carrigan has spoken about his personal connection to the role, noting Metamorpho’s struggle with his appearance resonates with his own experience with alopecia.

[RELATED – James Gunn Shares New Look at DC Hero’s Highly Anticipated Superman Debut]

“With Metamorpho, this is a character who was almost cursed with his powers and thought that he was freakish in terms of what he looked like and that’s something I could totally relate to because of my alopecia,” the actor shared with Rolling Stone earlier this year.

Unlike many superhero films relying heavily on CGI, Gunn confirmed Metamorpho will be brought to life through practical effects. The first teaser trailer offered brief glimpses of the character (in prosthetic and makeup) alongside other heroes like Hawkgirl and Green Lantern.

While plot details remain secret, Gunn has emphasized that additional heroes serve Superman’s story rather than setting up future projects. “The characters are there because they help to tell Superman’s story better, not so we can set up separate projects in the franchise,” he explained.

Based on these comments, it appears Gunn’s Superman aims to balance optimism with emotional authenticity – potentially delivering a version of the hero that honors his legacy while feeling relevant to today’s audiences.

Fans will discover if this vision succeeds when Superman is released on July 11th.

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HBO’s upcoming Lanterns series has added J. Alphonse Nicholson to its growing ensemble cast in a role that will explore the personal history of one of DC’s most prominent heroes. As reported by Deadline, the P-Valley star has been cast as the young version of John Senior, father to Aaron Pierre’s John Stewart, revealing that the series will delve into the Green Lantern’s formative years and family background. This casting decision indicates that Lanterns will incorporate flashbacks or substantial backstory elements that examine how John Stewart’s relationship with his father influenced his development before joining the intergalactic Green Lantern Corps. The character addition underlines how the HBO series plans to explore deeper psychological dimensions of its protagonists rather than focusing exclusively on cosmic heroics.

Nicholson has earned critical acclaim for his portrayal of Lil’ Murda in Starz’s P-Valley. His previous work includes appearances in FX’s Clipped, Hulu’s White Men Can’t Jump remake, and Netflix’s Madam CJ Walker alongside Octavia Spencer. The actor also gained recognition for his work in the feature film Just Mercy, starring Michael B. Jordan. In addition, he delivered a memorable performance in the Tony Award-winning Broadway revival of A Soldier’s Play.

[RELATED: James Gunn Claims Superman’s Connection to Lanterns Won’t Distract From the Movie]

Adding Nicholson to portray John Stewart’s father represents a significant character development opportunity for Aaron Pierre’s Green Lantern. In the comics, John Stewart’s background includes being raised in Detroit by his father following his mother’s early death, with this upbringing informing his strong sense of justice and community responsibility. While DC Comics has explored various aspects of Stewart’s career as an architect and Marine before becoming a Green Lantern, his family dynamics have rarely been the focus of significant storylines. By incorporating John Senior as a recurring character, Lanterns appears committed to grounding its cosmic hero in relatable human experiences, exploring how Stewart’s upbringing shaped his approach to wielding the power ring’s immense capabilities.

How Lanterns Is Building a Character-Driven Foundation for the DCU

The inclusion of John Stewart’s father highlights the psychological depth Lanterns aims to achieve within DC Studios’ broader universe-building strategy. The series, which follows veteran Lantern Hal Jordan (Kyle Chandler) and newcomer John Stewart as they investigate a murder mystery in the American heartland, represents a deliberate tonal departure from other DCU projects. DC Studios co-CEO James Gunn has emphasized this diversification approach, noting that the contrast between Lanterns’ grittier procedural style and the more optimistic tone of his upcoming Superman film exemplifies the studio’s vision for an interconnected yet tonally varied universe.

“It’s so cool because it is connected to Superman. Because we’ve got Guy Gardner in that and then we’ve got these Green Lanterns over here. And it’s just such a different tone from what Superman is,” Gunn previously explained. “It’s exactly what I want to bring to the DCU is being able to have these very different films and television series that are still part of an overall connected world, but have completely different feels to them.” This strategy allows DC Studios to explore various genres while maintaining narrative cohesion, with Lanterns drawing inspiration from crime dramas like True Detective while Superman embraces more traditional superhero storytelling elements.

The narrative foundation of Lanterns has been crafted by an impressive creative team, with showrunner Chris Mundy (Ozark, True Detective: Night Country) collaborating with writers Tom King (an accomplished Green Lantern comic book writer) and Damon Lindelof (HBO’s Watchmen). This combination of prestige television expertise and deep comic lore knowledge has reportedly produced exceptional scripts, with Lanterns cast member Poorna Jagannathan previously stating, “This is the first script that I’ve read that I understand why there’s an NDA. Everything is so insane. It is the best writing that I have ever read.”

Beyond exploring John Stewart’s family history, Lanterns has assembled a robust supporting cast that includes Kelly MacDonald as Sheriff Kerry, the local law enforcement official who becomes entangled in the cosmic mystery. Garrett Dillahunt portrays William Macon, a character described as “a self-righteous, conspiracy-minded man who masks his ruthless ambition behind a charming and calculated facade,” with many speculating this could be a reimagined version of classic Green Lantern villain Black Hand. Jason Ritter has joined as Billy Macon, William’s son, adding another layer of intergeneration drama to Lanterns. Perhaps most significantly, Emmy nominee Ulrich Thomsen takes on the role of Sinestro, the legendary Green Lantern whose fall from grace and transformation into the Corps’ greatest enemy represents one of DC’s most compelling villain arcs.

Lanterns is expected to premiere on HBO and Max in 2026, following the July 11, 2025 release of Superman.

Are you excited about Lanterns? Let us know in the comments!

The post DC’s Lanterns Confirms New Character With Major Connection to John Stewart appeared first on ComicBook.com.

Superman: The Last Days of Lex Luthor, by Mark Waid, Bryan Hitch, and Kevin Nowlan, is a book that revolves around Superman‘s greatest dilemma. Superman: The Last Days of Lex Luthor #1 sees Superman vow to save Lex Luthor from death, doing everything he can to figure out why Luthor is dying. The story cuts to the core of who Superman is as a hero, as he does his best to save his greatest enemy. Last Days of Lex Luthor #2 sees Superman continue that quest, and Superman decides to turn to the smartest hero he’s ever met… but it’s not Batman or even Mister Terrific. Instead, Superman busts out his Legion flight ring and a time sphere and brings Luthor to the 31st century to meet the smartest hero in DC Comics history — Brainiac 5.

Brainiac 5 has an interesting history as a character. To begin with, he’s a member of comics’ most complicated team, so he’s basically had several completely different versions stemming from the continuity shenanigans that have affected the Legion. However, in every universe, Brainiac is the most intelligent hero around, creating the kind of technology that a team in the far future would need to triumph.

Brainiac 5 Has Been Doing the Impossible For Years

Longtime Superman fans who might not be familiar with the Legion will recognize Brainiac 5’s name as the same as one of Superman’s greatest — Brainiac. Brainiac and Brainiac 5 are both Coluans, the smartest race in the universe. Superman: The Last Days of Lex Luthor #2 clues readers in on the origin of their relationship, as Brainiac 5 comes from a branch of Brainiac’s family that the villain created when he was pretending to be someone else. Brainiac 5 is what’s considered a 12th-level intellect, the highest level of anyone on Colu and beyond. Brainiac 5 wanted to join the Legion to make up for the sins of his family and immediately showed his utility to the team. He perfected the Legion flight rings, giving them the ability to not just fly, but also allowing the Legion to track their members even through time, communicate with anyone wearing one, and act as a link to Brainiac 5’s computer systems. Brainiac 5 isn’t much of a fighter and mostly stays in the Legion base, but when he has to go in the field, he’s equipped with an impregnable force field belt, which can keep him safe from any attacks.

RELATED: Absolute Superman’s Jason Aaron Teases Heartbreaking Fate of Krypton, Impact on Kal-El, and More

Brainiac 5 can also be one of the more difficult members of the Legion. Brainy, as he’s called by teammates, knows that he’s the smartest person in any room he’s in and that has made him arrogant to an extent. This is a person who created the Miracle Machine, a piece of technology that can do anything; he’s earned his arrogance. Most of his teammates understand why he’s the way he is and don’t take it personally, although Legionnaires like Ultra Boy do like to needle the supergenius. Brainiac 5 also has a rather unique link to Superman and the El family, as he and Supergirl are an item in just about every version of DC continuity that contains Kara Zor-El and the two have met. Brainiac 5’s love for Supergirl is one of the best aspects of the character, watching a character whose entire life is based around science trying to figure out love. Brainiac 5 has also had a relationship with Dream Girl in some versions, including the Mark Waid-written mid-’00s Legion of Superheroes, where their relationship was built around how annoying Brainy finds Dream Girl’s precognitive abilities.

Brainaic 5 Makes Batman Look Like an Especially Smart Toddler

Batman definitely has some impressive feats when it comes to his intellect. He’s created the Hellbat armor, a weapon that allows him to face off with Darkseid. He’s a master of making weapons of all kinds and is known for his tactical acumen. However, when it comes right down to it, Batman isn’t as great a scientist as everyone likes to think he is. He’s good, but Brainy is his superior in every way.

Brainiac 5 has casually created technology that Batman wishes he could even understand. Now, obviously, it’s a bit of a cheat to say a scientist from the future would be smarter than someone from the present, but even if all things were equal, Brainy would still be smarter than Batman. However, even Brainiac 5 couldn’t figure out how to cure Lex Luthor, leaving Superman to find another avenue to cure his longtime foe.

The post DC Just Revealed Their Smartest Hero (And It’s Not Batman) appeared first on ComicBook.com.

Expectations are high for James Gunn’s Superman, which is the first theatrical feature in the DC Universe franchise reboot. Ushering in a new era for DC, the film was already under a tremendous amount of pressure to perform at the box office, and now its task is going to become even tougher. Director Bong Joon-ho’s Mickey 17, the sci-fi film starring Robert Pattinson, is set to become a massive box office bomb for Warner Bros. According to Variety, the studio is expected to lose somewhere between $75-80 million on the project, which had a budget of $118 million. That figure does not include $80 million of additional marketing costs.

After numerous delays, Mickey 17 finally opened in theaters earlier this month. Despite earning positive reviews, it struggled during its opening weekend. Even though it won the weekend (dethroning Captain America: Brave New World from the top spot), the $19 million domestic debut wasn’t anything to write home about. As of this writing, Mickey 17 has earned $35 million in the U.S. and $92.2 million worldwide.

Directed by James Gunn, Superman premieres in theaters in July. Promotion for the film is already in full swing, with Warner Bros. releasing multiple looks at the title over the winter. In addition to a teaser trailer, the studio aired a special spot during the Puppy Bowl in February. Gunn has also been pushing the movie on his social media, sharing behind-the-scenes images.

[RELATED – Warner Bros. Shouldn’t Be Putting Its Entire Bet on Superman]

Reports have indicated there’s much more at stake than just the future of the DC Universe when Superman opens. If Gunn’s reboot fails to meet expectations, some feel Warner Bros. could “go the way of Fox” and be acquired by a larger conglomerate. The studio has hit on some hard times. Mickey 17 is just the latest high-profile flop on its hands; Joker: Folie à Deux was another pricey misfire.

Fears of Warner Bros. being bought out would have likely been assuaged if Mickey 17 was a commercial hit. If it was able to turn a profit, that would have lessened the burden on Superman some. But now, the DC film is under even more pressure to be a runaway success. WB has a few other notable titles opening between now and then — such as A Minecraft Movie and Ryan Coogler’s Sinners — though it remains to be seen how those films will fare at the box office. As Mickey 17 illustrated, even positive reviews aren’t always enough to draw audiences out for a non-franchise movie these days.

Hopefully, some of WB’s other 2025 films manage to perform well at the box office, giving Superman some much-needed insulation. Coogler is a recognizable name with hits like Creed and Black Panther under his belt, which helps Sinners’ prospects. In September, Warner Bros. will release Paul Thomas Anderson’s One Battle After Another starring Leonardo DiCaprio. Anderson has never been a huge box office draw, but DiCaprio gives his latest film significant star power. Superman will have its work cut out for itself in July dealing with Jurassic World Rebirth and The Fantastic Four: First Steps; it will likely post strong numbers, but it could use all the help it can get.

The post Robert Pattinson’s Box Office Bomb Puts Even More Pressure on Superman appeared first on ComicBook.com.

Smallville co-creator Al Gough provides an update on the in-development sequel series, suggesting that fans might be in for an extended wait before the project comes to fruition. While appearing on the podcast Talk Ville (hosted by Smallville stars Tom Welling and Michael Rosenbaum), Gough discusses the current status of the show. Highlighting recent behind-the-scenes changes at Warner Bros., Gough seemed to indicate that James Gunn’s upcoming film Superman has halted progress on the Smallville sequel for the time being. That said, Gough remains hopeful that the series will eventually see the light of day at some point.

“That is the thing, I think the problem with most projects in development in any studio and/or any network is regime change,” Gough said. “Warners has obviously gone through a lot, and I think the fact that they are in the process of rebooting Superman again, kind of unfortunately, I think, keeps our thing off the table for a bit. Everything comes around in one form or another, I just read the other day that they are rebooting Buffy for Hulu.”

Smallville ran for 10 seasons, wrapping up its run in 2011. The sequel series, which would be an animated show, has been talked about for some time. Back in 2022, Welling said the plan was for the new series to pick up from where the Smallville finale left off and continue the story. Unfortunately, the project hasn’t been able to get off the ground. Last year, Welling mentioned that the main hurdle was getting approval from Warner Bros. “We need their permission,” he said.

[RELATED – James Gunn Superman Trailer Reimagined as Smallville TV Intro]

Gunn’s Superman premieres in theaters this July. It is the first feature film of the DC Universe franchise, a shared universe consisting of titles across various mediums. The animated series Creature Commandos, which debuted in late 2024, was the DC Universe’s first official release. Several other movies and TV shows are in development.

Smallville was ongoing when Bryan Singer’s Superman Returns was released in 2006, so there is precedent for Superman-related stories to exist simultaneously on the big and small screens. However, that transpired in the pre-MCU era before shared universes were all the rage. It’s possible that now Warner Bros. would prefer to keep the focus on the upcoming film as it looks to properly launch what it hopes will be a lucrative franchise. There is a lot riding on Superman; reports indicate its box office performance could determine the fate of the entire Warner Bros. studio. For that reason, it’s understandable that WB hasn’t given the Smallville sequel series a green light yet. The top priority is ensuring the DC Universe gets off the ground smoothly. Fans are smart enough to recognize separate continuities, but WB probably doesn’t want people’s attentions spread between two different versions right now given the magnitude of Superman.

Of course, this doesn’t mean the Smallville sequel will never be made. Gunn has expressed an interest in producing Elseworlds titles set outside of the main DC Universe timeline. So far, the only project that fits that bill is Matt Reeves’ Batman Epic Crime Saga (consisting of The Batman and The Penguin), but there is potential for more down the line once the DC Universe has found its groove. A Smallville sequel series would be right at home under that Elseworlds banner, and it would be a great treat for fans to see those versions of the characters again.

The post Smallville Sequel Series Finally Get an Update (Is the Superman Movie To Blame?) appeared first on ComicBook.com.

Arrow star Katie Cassidy isn’t mincing words about how she feels about her exit from the series. In a new conversation with Smallville actor Michael Rosenbaum on his Inside of You podcast, Cassidy revisited the time in 2016 when she got the surprise (and very last-minute) notice that her Arrow character, Laurel Lance/Black Canary was being killed off. Needless to say, the announcement came as a massive shock to the actress, who still clearly feels the sting of ending the tole in such an abrupt and awkward way. It goes even deeper than that, as Cassidy claims she believes that the dismissal from the job was, in part, a “political” decision by producers.

“I had to eat some humble pie when they killed me off that show [Arrow],” Cassidy recounted. “It was really hard… I was angry at first. And I was emotional because I was sad, and I was angry because I was so happy… “[I] worked really hard on that show and that character, and I just loved it,” she later added.

As for the specific reason why she was let go? “I think it was a couple of things. I have theories,” Cassidy continued. “I think it was political. It’s a lot.”

[RELATED: 5 Arrowverse Characters Wasted By The Franchise]

When Arrow first premiered in 2012, Cassidy was an easy target for critics and trolls, who found her lover interest character, attorney Laurel Lance, too emblematic of all the negative stereotypes about The CW network’s penchant for producing its shows in a soapy, cheesy, light. Arrow‘s writers and producers (Marc Guggenheim, Greg Berlanti, Andrew Kreisberg) didn’t exactly know how to handle Laurel (or any of the female characters, for that matter) when the series first began. However, Cassidy was able to grow into the role and evolve it, earning the support of fans as they watched Laurel step into the mantle of being Black Canary II, and go through the slow-burn arc of her character getting training from the likes of Ted Grant/Wildcat and Nyssa al Ghul, before convincingly becoming a hero herself. By the time Laurel was killed of in a battle with villain Damien Darhk in Season 4, she had been solidified as a member of “Team Arrow” both literally and figuratively.

As Cassidy recalls, in the immediate aftermath of the bad news she told Arrow‘s producers “’I feel like I’ve always been given the short end of the stick and I have to go.'” She added “I didn’t yell. I just cried because I was sad… [I] worked really hard on that show and that character, and I just loved it.”

Laurel’s death certainly carried a lot of shock value and helped establish the kind of threat that Damien Darhk presented; however, it also sparked a lot of controversy with the fans, to the point that Arrow‘s showrunners quickly reversed course on their decision. The producers used another Arrowverse show, The Flash, to re-introduce Cassidy as the Laurel Lance/Black Canary from Earth-2, a variant reality of the DC Multiverse. Cassidy would go from appearing on The Flash to re-joining Arrow as a full-time cast member again, with the show using Earth-2 Laurel as a soap opera-style evil twin replacement for the original. In that sense, Cassidy had the last laugh, as she continued to rise in popularity with fans, and remained with Arrow through its eighth and final season.

“I was like, ‘Yes!’” Cassidy said, recalling getting the call about her return to The Flash. “I had the support of the fans because that Flash episode I went on … ratings, I guess, were great and … unfortunately, I guess after they killed me, I guess their ratings went down a little. I’m not sure.m And then I was back and like better than ever and happy.”

Arrow can be streamed on Netflix or Amazon Prime Video.

The post Arrow Star Thinks Their Character’s Death Was “Political” (Are They Right?) appeared first on ComicBook.com.

James Gunn’s Superman is under far more pressure to succeed than anyone could have ever suspected, and placing it under such scrutiny is a huge mistake on the part of Warner Bros. Discovery. Gunn’s Superman is set to arrive in theaters on July 11th, marking the official beginning of the DC Universe after its introductory animated series Creature Commandos on Max. Gunn’s DCU is planned as a soft reboot of the preceding DCEU, with some characters and plot elements from the latter carrying over. Given the circumstances of the DCEU’s very abrupt end and hard feelings among a not-insignificant percentage of fans (particularly regarding Henry Cavill’s Superman tenure being cut short) looming over the DCU, Gunn’s Superman already faced an uphill battle, but some new information indicates that it is bearing far more weight on its shoulders than that.

A recent report from Puck News has stated that Superman is viewed internally as holding “almost incalculable importance” to the future of not merely DC Studios and the DCU, but to Warner Bros. Discovery itself. The report also states that fear of Warner Bros. undergoing yet another sale or merger is increasingly palpable. Such reporting should be troubling for DC fans and general audiences alike, as is paints a clear-as-day picture of Warner Bros. yet again falling into the same trap they keep getting into with DC movies.

Warner Bros. Keeps Putting Far Too Much Pressure On Individual Movies To “Save” Or “Fix” DC

To begin with, the report on the incalculable importance Superman bears for Warner Bros. Discovery points to the studio having learned almost nothing from its prior mismanagement of DC movies. More specifically, this is about Warner Bros. frequently putting DC movies into a position of having to “save” DC on film or otherwise repair perceived damage to DC movies collectively based on the mixed or divisive reception of previous ones. This was most recently seen in the calamity of 2017’s Justice League, the infamously thrown together reworking of Zack Snyder’s original cut overlayed with Joss Whedon’s extensive reshoots and other significant alterations. Warner Bros.’ reflexive decision to can Snyder’s plans for the DCEU and rework Justice League at the eleventh hour stemmed for the polarized reception to Snyder’s Batman v Superman: Dawn of Justice, but given the end result of Justice League flopping in theaters, horror stories of the cast and crew being mistreated by Whedon, and the far better received release of Zack Snyder’s Justice League (a.k.a. the Snyder Cut), the decision was clearly anything but a good call.

The side effect of Justice League 2017 was that the damage wrought by the studio edit left the DCEU directionless with multiple cast members either out or only loosely connected to the franchise, and no overarching plan established to replace Snyder’s. With WB’s decision to more or less wing it with the DCEU from Justice League on, individual DCEU movies were put in the unfair position of having to bear the weight of revitalizing the franchise single-handedly. Black Adam‘s mantra of “the hierarchy of power in the DC Universe is about to change” was actually a lot truer than it seemed, as it alluded not simply to Dwayne Johnson’s determination to set up a Black Adam-Superman showdown (and behind-the-scenes struggles to get Henry Cavill back in the cape), but a movie like Black Adam itself, centered on far lesser-known DC heroes like its titular anti-hero and the Justice Society of America, having to overcome years of baggage and mismanagement and post unreasonable Dark Knight-level numbers.

In some form or fashion, preceding DCEU movies like Shazam!, Wonder Woman 1984, Birds of Prey, and The Suicide Squad had also been tasked with “fixing” the franchise rather than telling their own stories and guiding the franchise into its next chapter. The announcement of James Gunn’s DCU plans also pulled the plug on the DCEU and essentially threw its last four movies to the wolves, with the exception of The Flash, which Gunn and DC Studios very clearly positioned and marketed as an essential pillar of DC’s cinematic future. However, releasing a tentpole superhero movie into a situation where the tent of its own franchise has been ripped away and asking it to do big business is far too much to ask even of the Scarlet Speedster, and it is arguable that The Flash, like DC’s three other 2023 movies, was simply set up to fail by being released into such unfavorable circumstances (ironically enough, Dark Flash’s determination to “fix” his timeline leading to the near destruction of the multiverse is some sharp commentary on Warner Bros.’ repeated attempts to “fix” the DCEU doing infinitely more harm than good.)

With such a well-documented history of Warner Bros. burdening DCEU movies with repairing the studio’s own mishandling of the franchise rather than allowing them to progress the franchise as intended, one would think that DC Studios and Warner Bros. Discovery would have learned an important lesson on giving a burgeoning franchise time to breath and managing mixed financial or audience reception in a considered and calculated manner before going into a panic. Instead, it seems that Warner Bros.’ mishandling of DC has, if anything, grown exponentially under David Zaslav’s stewardship, with Superman now tasked with saving Warner Bros. Discovery itself — not DC as a cinematic IP, not the DCU, not even DC Studios, but Warner Bros. Discovery as a Hollywood studio. To call this level of pressure on Superman ridiculous, short-sighted, and irresponsible would be an understatement, but it also sadly tracks with Warner Bros.’ larger history as the owners of DC.

Warner Bros. Has A Bad History Of Being Very Reactionary With DC Movies (To Their Detriment)

It might be easy for many anticipating the DCU’s beginning to label WB’s micromanagement of DC movies as solely a product of Zack Snyder’s DCEU tenure, but it has sadly been something of a dark tradition that DC films have had to endure — going all the way back to the making of Richard Donner’s Superman. That movie was filmed simultaneously with Superman II, but behind-the-scenes turmoil between Donner and the movie’s producers, the Salkind brothers, led to Donner’s termination from the sequel even after Superman‘s massive success in 1978. The Salkinds subsequently hired Richard Lester to replace Donner for Superman II (though Donner’s version was eventually released as Superman II: The Richard Donner Cut in 2006), with Lester reshooting a majority of the film and returning to helm the ill-received Superman III. By that point, the Salkinds had all but lost faith in the Superman franchise, leading to Superman IV: The Quest for Peace being optioned to Cannon Films, given a paltry budget, bombing in theaters, and putting the Superman franchise on ice for nearly 20 years.

The Dark Knight had a similar and arguably far worse trajectory in his own leap to movie screens, with Tim Burton’s Batman being 1989’s summer movie hit to beat, only for the divisive reaction to 1992’s Batman Returns leading to Warner Bros. redirecting the franchise to safer waters with Joel Schumacher’s much-lighter Batman Forever in 1995. Unfortunately, that movie’s success taught WB the wrong lesson to turn 1997’s Batman & Robin into an even campier toy commercial, and its subsequent failure sent Batman into retirement until Christopher Nolan’s 2005 reboot, Batman Begins.

Superman Returns later suffered a similar fate of being positioned as Kal-El’s grand return to cinemas, only for the movie’s underperformance and lukewarm reception to effectively end the Christopher Reeve Superman franchise (Brandon Routh’s Superman being the same Man of Steel as Christopher Reeve’s.) While Christopher Nolan avoided Warner Bros.’ reactionary oversight long enough to complete the Dark Knight trilogy, that’s the exception to what has been a lamentable rule within WB of building up audience excitement for a grand future for DC on the big screen, only to either radically divert course or pull the plug all together at the first sign of trouble. Or, in the case of rumors of Matt Reeves’ The Batman franchise being retconned into Gunn’s DCU (which Gunn and Safran have debunked), movies being fundamentally reworked in films they were never intended to embody in damaging ways. That history has also directly led into the most persistent challenge that Warner Bros. has not managed to shake with DC on film.

[RELATED – Superman: James Gunn Confirms Timeline With Creature Commandos and Peacemaker Season 2]

Wonder Why Fans Keep Pining For The Snyderverse’s Revival? Here’s Your Answer

Amid the beginning of the DCU, the push among many fans for the completion of Zack Snyder’s intended five-part Justice League story has not vanished into oblivion, as many might have expected. In fact, the #RestoreTheSnyderVerse calls have only lingered as an inescapable element of all talk about DC movies. James Gunn and Zack Snyder themselves clearly recognize this, as evidenced in their recent friendly social media picture together, and no reasonable analysis of the image could deny that Gunn and Snyder absolutely knew it would all but encourage further campaigning for and even speculation of the Snyderverse’s return. While many might question the ongoing calls for the Snyderverse’s revival as being a lost cause in light of the DCU’s rise, the circumstances both of how it came to be and the choppy waters it is already headed into actually make it quite easy to understand.

The drama of WB’s revamping of Justice League, the circumstances of Snyder’s exit from the film, the treatment of the cast and crew during the reshoots, WB covering up the Snyder Cut for years, and the studio’s subsequent attempts to downplay it upon its release have all accumulated a great deal of ill will towards Warner Bros. among Snyder’s fans. Coupled with the positive mainstream response to the Snyder Cut (which sparked a 1.5 million #RestoreTheSnyderVerse Twitter trend on March 25, 2021), Warner Bros. still meandering in no clear direction with DC, and Henry Cavill’s Superman comeback in Black Adam ending right after it began, it’s hard to argue that those enamored with the DC Universe launched under Zack Snyder’s watch don’t have quite a lot to be justifiably upset about, which gives some context to the continued Snyderverse push as the DCU kicks off.

Now, with the news that even James Gunn’s Superman has an entire studio riding on it (and one overseen by a CEO known for cancelling movies for tax write-offs, no less), Warner Bros. Discovery and DC Studios have frankly done as much to inadvertently keep the Snyderverse alive as the preceding regimes of Warner Bros. did. After all, when Warner Bros. has such an established history of pulling the rug out from under one growing DC franchise after another, and with the added news of Superman‘s absurd task of saving Warner Bros. Discovery with talk of yet another sale or merger on the horizon, the DCU is already facing many of the same PR nightmares and studio interference that the DCEU dealt with. Add in Snyder’s plans for Justice League 2 and Justice League 3 being made public during the Snyder Cut’s release, and there’s little difficulty in understanding why many fans favor a return to the simplicity and certainty of following Snyder’s roadmap to the finish line over the never-ending turbulence of WB’s constant attempts to course correct DC. If even the DCU reboot that was deemed the safer option by WBD is already in jeopardy, it’s not unreasonable for fans to ask what the point of even going that route was, especially since finishing Snyder’s plans involves a handful of remaining movies.

Should DC Become Another Studio’s Property To Manage? It Might Be The Best Outcome

Parallel to the topic of the DCU already running into the wall of WBD placing all of its chips on Superman, there’s also the aforementioned element of the Puck News report speaking of “genuine fear” that Warner Bros. Discovery may be headed the way of 20th Century Fox in being bought by another studio. In the event the Warner Bros. is sold or bought by another studio a la Fox’s acquisition by Disney, it will be the third such merger that WB has undergone in less than a decade, following the studio’s previous ownership by AT&T and subsequently Discovery. It’s not exactly controversial to say that that history paints Warner Bros. as a very unstable company. The added context of their handling of DC and the latest news of Superman being the only thing that can save WBD has led many DC fans to further advocate such a sale of the studio, or simply handing off DC to another party (the #SellSnyderVerseToNetflix hashtag being one of the more prominent such examples). With the latest reporting on the situation at Warner Bros. Discovery and DC Studios, one can’t help but wonder if maybe fans making such calls might not have the right idea.

With just four months to go until Superman‘s release, it already seems that the DCU is heading into a do or die moment that far exceeds the stakes of simply one movie being successful enough for a franchise to be greenlit. Moreover, with much of the DCU’s announced slate already having shifted to the backburner, per a recent interview with Gunn and Safran, it’s not unfair to ask why Warner Bros. Discovery and DC Studios canned the DCEU for the DCU if there’s such a genuine possibility that they might not even follow through on the latter. Furthermore, it can’t help but raise the question of whether another studio merger or limited licensing agreements with other studios and streaming platforms to make DC movies and TV shows might be the best case scenario for the future of DC in movies and TV.

Warner Bros. has a clear track record of interfering and reworking DC movies in ways that ultimately prove detrimental, which has put DC movies in a decades-long cycle of “reboot-studio panic-course correct-reboot again” that has consistently frustrated audiences and undermined growing DC franchises midway through. With the DCU already running into that before it’s even begun, there might be more justification than ever for DC coming under new management. In the long run, WB’s terrible habit of micromanaging their DC properties either being reigned in by a less skittish parent company or avoided all together via limited licensing deals with other studios might be the only way fans of DC (including and perhaps especially Snyder and Gunn fans alike) can get invested in a DC Cinematic Universe without the constant fear of it being prematurely taken away.

James Gunn’s Superman will be released in theaters on July 11th.

The post Warner Bros. Shouldn’t Be Putting Its Entire Bet on Superman appeared first on ComicBook.com.

When James Gunn’s Superman arrives in theaters this summer, audiences might have to strap themselves in for a long ride. Hollywood insider Jeff Sneider notes in his newsletter that the film has a run time of 2 hours, 20 minutes, making it 140 minutes long. That figure is in the same ballpark as Zack Snyder’s Man of Steel, which was 143 minutes long. It’s important to keep in mind that this reported run time for Superman is not official and the number could change before its premiere this July.

Compared to the other DC Extended Universe installments featuring Superman, Gunn’s film would be shorter than Batman v Superman: Dawn of Justice (152 minutes), but longer than the theatrical cut of Justice League (120 minutes). Superman is also shaping up to be shorter than 2006’s Superman Returns, which ran for 154 minutes.

The first theatrical release of Gunn’s DC Universe reboot, Superman is said to be under an enormous amount of pressure to perform. Some believe that if the film falls short of box office expectations, it could lead to Warner Bros. being sold to or merged with another corporation (a la Fox’s acquisition by Disney). Though the franchise is still in its infancy, some announced projects have been pushed to the back burner, sparking concerns about the DC Universe’s sense of direction.

[RELATED – Superman Rumor Teases “Major Casting Surprise” (Is It Tom Cruise or Chris Pratt?)]

In the build-up to Superman‘s release, Gunn has been generating excitement by sharing behind-the-scenes looks at the film. He’s recently posted photos showcasing Mr. Terrific’s comics-accurate look and María Gabriela de Faría as villain the Engineer.

Superman‘s rumored run time is a fairly standard length for moden studio tentpoles. Coincidentally, Marvel’s The Fantastic Four: First Steps is also alleged to be 140 minutes long. Unlike Snyder, Gunn is eschewing the classic origin story in his Superman, but the film still has a lot on its plate to cover. As the first feature film in a new franchise, the movie serves as many people’s introduction to the DC Universe and will have its hands full establishing various characters and dynamics. Some of the characters included in the movie, like Milly Alcock’s Supergirl and Nathan Fillion’s Guy Gardner, are set to appear in future DC Universe projects, so it will be important for Superman to set them up in a way that gets audiences excited. This all takes time, and it’s better if Superman has the necessary room to ensure all of these elements can breathe as opposed to being rushed. It would be a shame if the shared universe got off on the wrong foot.

Of course, a long run time can be a detriment if the story isn’t properly paced. Fortunately, Gunn perfected his entertaining filmmaking style on the Guardians of the Galaxy trilogy, so it’s difficult to envision a scenario where Superman drags. While it might not be as much of a comedy as Gunn’s Guardians of the Galaxy films or even The Suicide Squad, the director has proven his ability to craft energetic comic book adaptations that engage viewers on an emotional level. As long as he gets audiences invested in Kal-El’s journey, Superman‘s run time will fly by faster than a speeding bullet.

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James Gunn’s Superman boasts a stacked ensemble cast consisting of various DC Comics heroes and villains, but the film could feature even more prominent figures from DC lore. In his newsletter, Hollywood insider Jeff Sneider notes that there are “some major casting surprises” in store for Superman. He speculates that a prominent A-lister might be portraying Jor-El in the film. One name Sneider posits is Tom Cruise, citing the actor’s recently signed deal with Warner Bros. that sees Cruise develop original films and franchise installments at the studio. He also mentioned Chris Pratt as a possibility, but noted that is unlikely since Marvel still has plans for Pratt’s Star-Lord in the MCU.

“Could DC have plans for Cruise? It’s possible… though I can only imagine him as Batman or as Superman’s biological father, Jor-El,” Sneider wrote. “There are said to be some major casting surprises in Gunn’s Superman, and I imagine Jor-El is one of them, so stay tuned on that front…”

Regarding Pratt, Sneider said, “I thought it might be Gunn’s Guardians of the Galaxy star Chris Pratt — and who knows, it still might be — but a source suggested that Gunn wouldn’t do that to Marvel’s Kevin Feige, seeing as how we likely haven’t seen the last of Star-Lord in the MCU.”

[RELATED – Superman: James Gunn Reveals Set Photo of Film’s Mysterious DC Villain]

Superman hits theaters this July and holds the important distinction of being the DC Universe’s first theatrical release. The film is under an immense amount of pressure to succeed at the box office, as some in the industry believe Warner Bros. could “go the way of Fox” (meaning, get bought out) if Superman falls short of expectations.

There are a plethora of Superman-related characters set to appear in Gunn’s film, but so far there’s been no indication Jor-El will be featured. Superman’s biological father has been depicted in previous cinematic iterations; Marlon Brando played Jor-El in 1978’s Superman: The Movie, and Russell Crowe portrayed the character in 2013’s Man of Steel.

There’s definitely precedent for recruiting a big name to play Jor-El, so it wouldn’t necessarily be shocking if Gunn’s Superman followed suit in this regard. From a storytelling perspective, Jor-El would be a good role for a surprise cameo. Gunn is eschewing Superman’s origin story in his film, so by the time the movie’s main narrative starts, Krypton has long been destroyed. This means if Jor-El is in the film, he likely has a small part (perhaps appearing in a brief message to his son in the Fortress of Solitude). That wouldn’t require a sizable time commitment from an in-demand talent like Cruise or Pratt, though casting one of them as Jor-El could prove to be distracting. Audiences may not be able to look past a famous face that suddenly appears during what could be a critical moment for Kal-El’s arc.

Given his extensive history with Gunn, it’d be plausible for Pratt to have a cameo in Superman. However, Gunn’s supposed hesitancy to go that route also makes sense. There are multiple actors who have played both DC and Marvel characters, but they usually don’t take on both franchises simultaneously. Leaked Avengers: Doomsday concept art clearly suggests Pratt will reprise Star-Lord in the film, so his time with Marvel is still ongoing. Making a cameo as Jor-El isn’t the same as portraying a hero poised to make multiple appearances across various movies and TV shows, but Gunn could have someone else in mind for his casting surprise.

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James Gunn’s Superman has a lot riding on it. As the first feature film of the new DC Universe franchise, its box office performance will go a long way in determining where the shared universe goes from here. But there might be more than just the future of DC Comics adaptations at stake; Superman could determine the future of Warner Bros. itself. A report in Puck detailing numerous behind-the-scenes issues the studio is facing notes that Superman is under a “staggering amount of pressure” as it gears up for its release this summer. If it falls short of expectations, Warner Bros. could suffer the same fate as Fox.

“If Warners can’t finally make the DC franchise work, there is genuine fear that the studio will go the way of Fox, which was swallowed by Disney in 2019,” the report reads. It’s important to note that this is not speculation that Disney will buy WB, but there is belief that WB could be acquired by a larger conglomerate.

Starring David Corenswet as the Man of Steel, Superman hits theaters in July. Warner Bros. has been busy promoting the project, with the first official trailer being released back in December. The studio also showcased a new look at the film during this year’s Puppy Bowl, commemorating Krypto the Superdog’s role in the movie.

[RELATED – James Gunn Shares New Look at DC Hero’s Highly Anticipated Superman Debut]

As DC Studios irons out its slate, a Superman sequel has not been officially announced. However, Gunn recently confirmed he is currently working on a new DC movie script — which may or may not be for Superman 2. Still, Superman helps lay the foundation for the DC Universe by featuring characters who will be part of other upcoming projects (such as Milly Alcock’s Supergirl and Nathan Fillion’s Guy Gardner).

While it isn’t surprising that Superman will play a key role in the DC Universe’s future, it is a bit alarming to hear the fate of the entire Warner Bros. studio could be resting on it. That is an inordinate amount of pressure for any big-budget tentpole — even one centering around a character as recognizable as Superman. A closer look into WB’s business practices could explain why the stakes might be so dire. The studio’s current leadership has overseen multiple projects that either underperformed at the box office or went over-budget during production, leading to speculation that DC Studios co-head Peter Safran could become the new head of Warner Bros. Pictures. Despite releasing recent hits like Barbie and Dune: Part Two, there are concerns that several of WB’s upcoming films (many of which are pricey, original fare without a built-in fan base) won’t be large enough draws to make up the cost. If WB films continue to struggle financially, then the studio could end up being acquired, which would be a shocking turn of events.

Summer is frequently a busy time at the theater, and this year will be no exception. Superman finds itself sandwiched between other notable studio blockbusters in Jurassic World Rebirth (opening July 2nd) and Marvel’s The Fantastic Four: First Steps (opening July 25th). Both of those represent stiff competition; the previous three Jurassic World movies all grossed over $1 billion, and Fantastic Four is generating much excitement in the early stages of its promotional campaign. Depending on how those two films are received, Superman could have its work cut out for itself at the box office. Hopefully, reviews for Superman are strong and fans come out in full force to usher in a new era for DC.

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DC Studios co-CEO James Gunn has shared a behind-the-scenes photo from Superman featuring Edi Gathegi in full costume as Mr. Terrific. The Instagram image shows Gunn directing Gathegi on set, providing fans a closer look at the technological superhero ahead of the film’s July release. Mr. Terrific, a brilliant inventor who uses floating devices called T-Spheres, will make his proper DCU debut after briefly appearing in the Superman trailer. Gathegi’s Mr. Terrific appears alongside other DC heroes in the film such as Guy Gardner (Nathan Fillion), Hawkgirl (Isabela Merced), and Metamorpho (Anthony Carrigan), establishing connections that could extend throughout DC Studios’ planned slate of interconnected projects.

“Happy Birthday to my great friend and great actor @iamedigathegi, who you can see in all his technological glory in #Superman in July!” Gunn wrote in his Instagram caption. The image confirms Gathegi’s costume will include signature elements from the comics, including the “Fair Play” emblem and T-shaped mask that renders the character invisible to technological surveillance. Mr. Terrific’s comic book counterpart, Michael Holt, is an Olympic decathlete with multiple PhDs who became a superhero following personal tragedy, eventually serving as chairperson of the Justice Society of America.

[RELATED: Lanterns Gritty Tone Is Very Different from Superman Despite DCU Connections]

Unlike the version portrayed by Echo Kellum in The CW’s Arrow series, which significantly altered the character’s background and abilities, Gathegi’s Mr. Terrific appears more faithful to the comic source material. The character’s inclusion in Superman follows Gunn’s established pattern of introducing lesser-known DC characters to mainstream audiences, similar to his approach with Guardians of the Galaxy and The Suicide Squad. In addition, the connection between Mr. Terrific and Metamorpho is particularly noteworthy, as both characters were members of the Terrifics team in recent comics, suggesting potential storyline developments that might be explored in the film or future DCU projects.

How Superman Establishes the Foundation for DC’s New Universe

Recent statements from Gunn and co-CEO Peter Safran indicate that each project in their DCU slate will stand independently while establishing connections to the larger universe. With that in mind, Superman appears positioned to introduce audiences to various corners of DC Comics lore without requiring prior knowledge of these characters. This approach differs from previous DC film strategies by acknowledging the rich superhero ecosystem from the outset rather than focusing exclusively on the main character before expanding outward in subsequent films. As such, strategic inclusion of characters like Mr. Terrific demonstrates how Superman will serve as an entry point into the broader DC Universe

While Superman maintains its July 2025 release date, other announced projects like The Authority have reportedly been postponed, making the film’s success increasingly crucial for establishing the foundation of the new DCU. The presence of characters from different DC teams in Superman creates narrative pathways that could be explored in future installments as the studio develops its interconnected universe. After all, DC Studios has outlined ambitious production goals, aiming to release multiple films and television series annually across various genres. They will need to tap into different heroes to reach these objectives, and it’s best to reuse characters already introduced somewhere else.

Superman flies into theaters on July 11th.

Are you excited about Mr. Terrific’s theatrical debut? Where in the DCU do you think the character will appear next? Let us know in the comments!

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DC Studios co-CEO James Gunn has revealed a disturbing new image from Superman featuring María Gabriela de Faría as The Engineer, a character from DC’s controversial superhero team The Authority. The promotional image shows The Engineer apparently dead in what appears to be a stadium setting, connecting to previous trailer footage where Superman battles Ultraman in a similar location. This marks the first official confirmation of The Engineer’s significant role in the upcoming film and suggests darker stakes for David Corenswet’s Superman when the movie releases on July 11th. The image is particularly ominous given that The Authority standalone film has been placed on the “backburner” despite initially being announced as part of DC Studios’ first slate of projects.

“Happy Anniversary to the Engineer, created by Warren Ellis and Bryan Hitch, who you can see played to sinister perfection by puppy in human form Gaby de Faria in #Superman this July!,” Gunn shared on X. Previously, fans caught glimpses of The Engineer in the film’s teaser trailer, where eagle-eyed viewers spotted de Faría walking beneath a LuthorCorp sign, hinting at potential connections between the character and Nicholas Hoult’s Lex Luthor. Now that we know she’ll be at the same place as Ultraman, it’s fair to assume the Engineer is indeed working with Lex Luthor.

[RELATED: Superman Lawsuit That Could Have Major Effects on DC Studios Gets a Big Update]

The Engineer, whose civilian identity is Angela Spica, possesses nanotechnology-enhanced abilities that allow her to transform her body into various mechanical configurations. In DC Comics, she’s a core member of The Authority, a team that uses controversial and often violent methods to accomplish their goals — standing in stark contrast to Superman’s traditional approach to heroism. The character’s inclusion in Superman represents Gunn’s commitment to introducing lesser-known DC characters to mainstream audiences while still honoring their complex comic book origins. This reveal also reiterates that Superman will serve as a launchpad for introducing Authority characters before their eventual team-up.

How Superman Is Building a Bigger DCU

The intertwining of Superman with The Authority creates fascinating narrative possibilities for the DCU. In the comics, Superman’s idealism often puts him at odds with The Authority’s pragmatic utilitarianism, creating dramatic potential that could span multiple films. By introducing The Engineer in what appears to be a confrontational or antagonistic role, Gunn lays groundwork for exploring ethical conflicts central to superhero storytelling, namely, the limits of power and the moral responsibilities that come with it. This foundation allows the DCU to tackle sophisticated themes while maintaining the accessibility and optimism associated with Superman. Furthermore, the Engineer’s apparent demise in the stadium scene in Superman potentially sets up future storylines where the remaining Authority members seek vengeance or justice for their fallen comrade.

The Engineer is not the only DC connection woven into Superman. The movie also introduces Nathan Fillion appears as Guy Gardner, a brash Green Lantern working alongside Isabela Merced’s Hawkgirl and Edi Gathegi’s Mister Terrific, apparently working for Maxwell Lord (Sean Gunn). While the HBO series Lanterns will feature different Corps members Hal Jordan (Kyle Chandler) and John Stewart (Aaron Pierre), Guy Gardner will help connect Superman to the future series, despite the gritty tone of Lanterns. Furthermore, Anthony Carrigan joins Superman as Metamorpho, whose molecular manipulation abilities could be used for multiple future DCU projects.

Superman flies into theaters on July 11th.

How do you think Superman will use the Engineer? Will the villain die in the movie? Share your theories in the comments!

The post Superman: James Gunn Reveals Set Photo of Film’s Mysterious DC Villain appeared first on ComicBook.com.

Marvel and DC have announced they are going to start crossing over again, which is huge news for comic book fans. Fans love to see the heroes of their favorite universes together, getting answers to nerdy questions like who would win a fight or how well so and so would work together. However, this announcement says a lot more than it seems; Marvel and DC crossing over is more than just Marvel and DC crossing over, it’s Disney and Warner Bros. Discovery letting Marvel and DC work together. That’s a much bigger deal because it may open the doors for another crossover down the road — one between the Marvel Cinematic Universe and the DCU.

Marvel and DC crossing over on the big screen is something that many fans would definitely want. It’s always been a question of if Disney and WBD could actually figure out a way to profit to their heart’s content. This question’s answer had always seemed like it would be “no,” but the fact that they had to come to some agreement to do comic crossovers shows that they may be more willing to work together than anyone ever thought they’d be. Will the MCU and DCU ever have their crossover? Should they ever?

An MCU/DCU Crossover Is too Tantalizing to Pass Up

Right now is an interesting time in the relationship between Marvel and DC’s cinematic output. The MCU is at the weakest it’s ever been. Marvel Studios has finally had a bomb with The Marvels. After some early successes on Disney+, Marvel’s TV output went from must-see to heavily critiqued. Spider-Man: No Way Home and Deadpool & Wolverine were mega-successes, but most of the other MCU movies post-Avengers: Endgame have been disappointing. The loss of James Gunn to DC was a blow, but things do feel like they’re in an upswing, even if it’s only come from the announcements of the return of the Russo brothers and Robert Downey Jr. for Avengers: Doomsday and Avengers: Secret War. The MCU is on shaky ground for the first time in a long time, its success judged by each successive movie and the future Avengers films.

Meanwhile, the DCU has been riding a wave of hype and results. Gunn proved adroit with DC in The Suicide Squad and Peacemaker, so his announcement as co-head of DC Studios along with Peter Safran made a lot of fans happy. The first project from Gunn and Safran’s DCU — Creature Commandos — was a success with critics and audiences alike, building the hype and faith in this new cinematic DC venture. Superman (2025) is highly anticipated, in the way that MCU movies used to be. The DCU is young, but things already look very, very good for the upstarts.

[RELATED: DC’s Lanterns Series Gives Hal Jordan’s Power Ring a Major DCU Redesign]

Right now, there’s no way that the MCU and DCU should cross over. There’s barely a DCU at all even, and the MCU needs to concentrate on regaining its stature. However, that doesn’t mean that they should never cross over. The DCU is growing quickly and everything so far looks really good. The MCU has the X-Men on the horizon, and is currently bringing in new blood like the Thunderbolts and Fantastic Four. A Superman/Fantastic Four crossover movie? If both are good, everyone would love to see that. The Thunderbolts against Viola Davis’s Amanda Waller? That sounds like a great time. However, both studios really need to put all of their energy into themselves before they ever think of crossing over.

One thing that we haven’t talked about yet is if Disney and WBD would allow it. A comic crossover and a movie crossover are two very different things. Comics might make millions of dollars — either split down the middle or the one who publishes it gets the bigger piece of the pie (which is why they almost always each publish the same number so no one gets more money) — and that’s barely noticed at Disney or WBD. Movies are way more money and a MCU/DCU crossover is potentially a multi-billion-dollar-grossing proposition if it can stick the landing. That’s a lot more money and you best believe that both sides will be doing whatever they can to make sure they get most of that. How would it even work? Which studio would supply the special effects, sound, soundstages, and so on? Who pays for what? The truth of the matter is that there’s a good chance that it will never happen because neither studio is going to budge financially.

The MCU and DCU Should Crossover at Their Strongest

The question of whether the MCU and DCU will cross over is almost certainly no because of the sheer financial logistics of the whole situation. That’s a shame, because a crossover of this nature could be the thing that saves superhero movies at some point down the line. Marvel Studios has wrung a lot of the hype out of superheroes with their formulaic diminishing returns. For every great project, there are several mediocre ones. If the DCU can’t hit correctly and make people excited again, the only thing that could save superhero cinema may be a mega-crossover between the two.

A crossover needs to happen one day, and that’s really all there is to it. There’s too much potential there, too much money to make, and what could be a great movie or series of movies. The insanity of the MCU and the DCU crossing over would break the Internet and would make a lot of people ecstatic. The excitement would be like the old days all over again. Plus, there’s a good chance James Gunn could return to the MCU if such a project happened and everyone should be excited by that. The MCU and the DCU would make great bedfellows, and could change cinema forever with a crossover.

Would you like to see a live-action crossover with the franchises? Let us know in the comments below!

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James Gunn’s upcoming film Superman is currently the subject of a lawsuit that could impact its release in select international markets, as Mark Peary, who is late Superman co-creator Jerry Shuster’s nephew, claims the movie is in violation of copyright laws. This lawsuit has now received a significant update, with Warner Bros. and DC Comics moving to have it dismissed. According to Variety, the parties are “arguing the issue has already been exhaustively litigated,” pointing to numerous instances of the courts rebuffing Peary in the past. Records show that Peary’s mother “signed away all rights to the Superman character” following Shuster’s passing.

“Peary’s complaint fails on every ground,” said WB attorney Daniel Petrocelli. “There are no carve-outs in the controlling 1992 agreement for any foreign copyrights, much less for the copyrights in the 10 countries Peary now alleges in the Complaint,” he added.

The Shuster estate first filed the lawsuit in late January, aiming to block Superman from being released in Canada, the United Kingdom, Ireland, and Australia. Peary, who is the executor of the estate, is seeking “damages and injunctive relief for Defendants’ ongoing infringement” in the countries listed in the lawsuit. In a response, Warner Bros. issued a statement outlining the provisions of Superman’s international copyrights.

[RELATED – James Gunn Celebrates Superman Anniversary With New Look (and Fans Are Excited)]

Scheduled to release in July, Superman is the first film of the rebooted DC Universe franchise that is overseen by DC Studios co-heads Gunn and Peter Safran. WB is in the midst of promoting the movie, unveiling the official trailer late last year and sharing a new look for fans during this year’s Puppy Bowl.

If precedent is anything to go by, it seems like Superman will be able to receive its full planned global rollout. Unless there is new information that comes to light, the fact that Peary has made similar claims that have been dismissed before indicate Warner Bros. and DC are not in violation of any copyright claims. Hopefully, this matter is resolved swiftly, as there are only a handful of months before Superman‘s premiere. It is unknown when the court will make its decision; the lawsuit was filed in New York, and WB has asked that it be “transferred to the Los Angeles judge who handled it previously” if it isn’t dismissed.

Superman is obviously an integral tentpole project for Warner Bros. this year, as the studio is keen on further developing the DC Universe. Gunn and Safran have a multitude of projects in the pipeline and have detailed an ambitious content release strategy that would see multiple films, TV shows, and animated TV series released each year. Gunn is also working on a movie script that could be a Superman sequel. In order for the franchise to take the next steps forward, it’s important for Superman to be a massive commercial hit, and every little bit at the box office counts towards turning a profit. Should the lawsuit prove successful, it would have a negative impact on the film’s prospects.

The post Superman Lawsuit That Could Have Major Effects on DC Studios Gets a Big Update appeared first on ComicBook.com.

Marvel and DC Comics have announced that they are going to start having crossovers again, and everyone is excited. Crossovers between the two publishers have run the gamut from not so great to amazing, and Marvel vs. DC arguments remain a huge part of being a comic fan. Everyone who loves comics, and nowadays everyone who loves superhero movies, talks about the characters of Marvel and DC duking it out to see who would win. It’s an inevitable part of being a superhero fan; we all want to see characters who should never be able to fight finally get the chance to beat on each other before teaming up and going after a villain.

This new round of Marvel vs. DC has a lot of people talking about those old Marvel and DC fights. There are some characters who would just give fans amazing fights, battles that would melt the faces of everyone who reads them. These ten Marvel vs. DC fights are the ones that everyone wants to see, and hopefully we’ll get them sooner rather than later.

Batman Vs. Daredevil

Batman has faced many challenging villains, and is among the most skilled hand to hand combatants in comics. Daredevil isn’t on the same level of heroism as Batman, but he’s definitely on the same level as Batman in fighting skill, with some fans arguing that Daredevil is actually more skilled. That’s why seeing a fight between Batman and Daredevil would be so awesome. Would Daredevil’s radar sense give him his normal advantage, or would Batman be able to exploit it? Batman and Daredevil in a no holds barred battle along the rooftops of New York City of Gotham would be worth the ten dollars that any crossover issue will probably cost. It’s a fight where it’s hard to pick winner, unless you’re talking about the audience.

Nightwing vs. Spider-Man

A lot of people would like to see Spider-Man battle Batman, but it would probably just lead to Batman just putting on some boring armor. A much more interesting fight for Spider-Man would be against a character who actually paved the way for Wall-Crawler — the first young superhero, the first Robin, and current leader of the DC superhero community, Nightwing. Nightwing has often fought enemies who are much more powerful physically than him, and figured out a way to win. Nightwing is smart enough to figure out the spider-sense, but would he be able to survive the battle long enough to make a plan that works? An acrobatic battle between Nightwing and Spider-Man would be an excellent one. Plus, let’s be real — Nightwing and Spider-Man quipping during a fight is gold.

RELATED: I Really Need This to Be the New Marvel/DC Crossover

Wolverine vs. Hawkman

Wolverine is yet another character who people would want Batman to fight — honestly, this whole list could be “Batman vs….” — there’s a long tenured DC hero who would give Wolverine a much better fight. Hawkman can get downright brutal, and his Nth metal granted superhuman strength and healing factor make him just as deadly as the Marvel hero. Wolverine and Hawkman fit together as combatants; they’re two experienced berserkers who can take a fight further than anyone else. Each of them would have to figure out the best way to deal with the others’ advantages, and that would make this an exciting and bloody fight.

The Flash vs. Northstar

Wally West is the greatest Flash of them all, and is one of the most powerful characters in any superhero universe. Wally’s mastered the Speed Force and is much, much faster than basically anyone in Marvel, so it’s hard to figure out who to put him up against. Most people pit the Flash against Quicksilver, but as good as Quicksilver is, he’s just not fast enough. However, there is a Marvel speedster who can match Wally in speed to an extent, and that’s the mutant known as Northstar. Northstar can move at the speed of light, which puts him close to Wally’s league. He also has light powers which would give him an extra weapon to use against the Flash. The Flash vs. Northstar would be an epic battle. Add in Northstar’s sass and Wally’s sense of humor, and this would make for a very entertaining battle.

Iron Man vs. Lex Luthor

Tony Stark is the Marvel Universe’s greatest inventor, his Iron Man armor one of the greatest suits of armor in comics. DC has several characters that could actually match Iron Man as inventors, but there’s one villain that would make for the most epic showdown — Lex Luthor. Lex Luthor is the smartest person on his Earth, and one of the wealthiest. A contest between Iron Man and Lex Luthor would be one of corporate intrigue, with Tony and Lex squaring off in offices and in the public space, with the two of them facing off on every level. It would eventually come to fisticuffs, and that’s where it gets even more interesting. Lex Luthor’s armor is powerful enough to fight Superman; that’s way stronger than anything Iron Man has ever built. How would Iron Man be able to deal with someone who is in every way his superior? Iron Man and Lex Luthor would make for an insanely entertaining battle.

Scarlet Witch vs. Zatanna

Scarlet Witch is Marvel’s most prominent magic woman, on top of being one of the most powerful characters in the Marvel Universe. Her reality-altering powers allow for a wide range of abilities; add in her magical skill and Scarlet Witch can defeat nearly any hero one on one. However, DC has their own ultra-powerful magical lady and she could actually challenge Scarlet Witch — Zatanna. Zatanna’s backwards talking magic gives her a level of power that can rival Scarlet Witch’s. On top of that, Zatanna has trained in magic much, much longer, which would even up the odds. Could Zatanna overcome Scarlet Witch’s greater power or will Scarlet Witch be able to outsmart one of DC’s craftiest heroes? This would be an amazing match-up.

Hulk vs. Doomsday

The Hulk is the strongest Avenger and many people would like to see him battle Superman. However, there’s a way better match-up for Hulk against a Superman villain, the beast known as Doomsday. Hulk and Doomsday basically have the exact powers — boundless strength, invulnerability, and a hyper healing factor, and all of that is bounded by bottomless rage. Hulk vs. Doomsday is the kind of slugfest that comics were made for. Hulk and Doomsday ripping each apart for eighty pages would be an amazing crossover battle. These two are perfectly made as sparring mates. Dropping these two into a desert and letting them slug it out would make for a titanic tussle unlike anything anyone else has ever seen.

Hawkeye vs. Green Arrow

Hawkeye and Green Arrow have a lot in common. Both of them are archers on teams of gods, both of them are known for being mouthy and temperamental, and both of them are known for their relationships with beautiful women. Hawkeye and Green Arrow is a hard fight to figure out. While Hawkeye has been training since childhood, Green Arrow is also an amazing marksman. Both of them have the same kinds of trick arrows, so there’s no advantage there. It’s even hard to say who is the better fighter; Hawkeye has training from Captain America, but Green Arrow trained with the best fighters in the Justice League and the vigilante community. It’s even hard to say who’s stronger out of both of them. Hawkeye and Green Arrow would be an exciting match-up, because really knows how it would go.

Wonder Woman vs. Rogue

Marvel doesn’t really have a superheroine on the level of Wonder Woman. They’ve tried to make Captain Marvel take that place, but Captain Marvel isn’t even the most popular superheroine in the Marvel Universe. The X-Men have way more popular superheroines and one of them would make for an excellent foe for Wonder Woman — Rogue. Wonder Woman is much stronger and faster than Rogue. She’s a better fighter, with way more experience. Wonder Woman seems to have every advantage on Rogue, but that’s not the case. Rogue is a ridiculously skilled and experienced hero, and her power to drain the abilities of others works on gods, so she can drain off some of Wonder Woman’s power. That would make things more even, and lead this battle into the legendary heights where it belongs.

Superman vs. Thor

Readers have seen battles between Superman and Thor before, namely in the last major Marvel/DC crossover JLA/Avengers #1-4. Thor utilizes magic, which is one of the few forces that can hurt Superman. There’s a question of whether Thor is as strong as Superman — Superman is back to near pre-Crisis levels of strength, meaning he can throw planets again — but his powers have grown exponentially and he’s more skilled in combat. Superman, however, is an indefatigable fighter who has faced worse odds than Thor in his day. Thor is currently going through a major challenge and Superman is facing down his future death again; both of them are at their best. A fight between the two now would be the best fight in the history of superheroes. We all want Superman vs. Thor and hopefully will get it sooner rather than later.

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Superman director James Gunn has shared a new promotional photo from the film that is aimed at getting DC fans hyped for its July release. The new promo image shows actor David Corenswet’s Superman standing in the snow; all we can see are his red boots, a bit of his blue leggings, and a corner of his cape flapping in the wind. Gunn captioned the image by revealing that this is more than a new Superman teaser image – it’s an anniversary milestone.

“One year ago today. Longyearbyen, Svalbard. Faster than a speeding bullet toward July 11, 2025. #Superman,” Gunn wrote.

Longyearbyen is indeed a municipality of Svalbard, Norway, and is the location that Gunn used as the backdrop for Superman’s Fortress of Solitude. It seems that Gunn, Corenswet, and the rest of the Superman production crew were standing in that frigid spot exactly a year ago – or as close to that anniversary as we can get. Cameras officially started rolling on Superman on February 29, 2024, which just so happened to be a Leap Year, as well as Superman’s canonical birthday in DC Comics lore. So, while we’d have to wait four years for the next official anniversary of rolling cameras on Superman, February 28th works just as well.

[RELATED: Superman Trailer Explained (Everything You Need to Know)]

The fruits of Gunn’s labors out there in the snow last year have certainly paid off this year. The Superman teaser trailer became a record-setting debut for DC Studios and Warner Bros.; the most extensive stretches of footage from that teaser were scenes of Corenswet’s Superman bloodied and battered and crashing into the snow, with only his super-dog Krypto within earshot to hear Clark Kent/Kal-El whistle for help and rescue. A subsequent Superman TV spot upped that ante, showing a fully healthy and happy Superman flying through that arctic region. Is this new teaser image actually teasing the joyous snowy flight sequence? That would be the kind of cool Easter egg that James Gunn loves to drop.

It can’t be understated just how much is riding on Superman at this point. Gunn and his fellow DC Studios head Peter Safran held an event this past week, updating select press (and a few friendly “influencers”) on what the larger plans for the DC Universe franchise are, going forward. While it was orchestrated and hosted smartly enough, it was impossible not to notice that the event also revealed some considerable early pull-back from the original slate that Gunn and Safran presented early in 2024. That includes The Authority – a project directly connected to Superman and the original speculated to be a direct “next chapter” step of the DCU saga – now being “back-burnered.” Reading between the lines, it currently feels like Superman is landing in a “wait and see” place with the studio, before other major plans for the DCU slate move forward.

To that end, Gunn will likely be ramping up a major marketing push for Superman leading up to its release, and images like the one above are an easy way to keep fans invested and expand the hype sphere, without the massive cost of traditional marketing. All those Gunn AMA sessions and chat thread responses have been leading to this moment. Time for takeoff.

Superman has a release date of Juy 11th.

The post James Gunn Celebrates Superman Anniversary With New Look (and Fans Are Excited) appeared first on ComicBook.com.

Marvel and DC comics take place on very different Earths, but one thing is the same — the United States of America. Each company has done interesting things with its version of the US; in the Marvel Universe, the government takes a much more hands-on approach with the superhero community, while in the DC Universe, the government is more hands-off most of the time. Both versions of the United States have had different presidents, sometimes the ones from real history, and sometimes not, and strangely enough, some of them have been supervillains. While there have been superhero presidents, it seems like supervillains are much more likely to become the President of the United States.

Most of the time, this usually happens in some kind of alternate universe, but it has also happened in the mainline universe of at least one of the two major superhero universes. Supervillain presidents are a very interesting idea; it honestly makes a lot of sense for villains to try and take the Oval Office, and the fact that some of them succeeded has led to some very interesting stories. These six supervillains have become presidents in their respective universes, with one of them even having done it three times!

Green Goblin

Marvel has some brilliant multiverse tales, and one of the best is Earth X. The Earth X Trilogy is a case of diminishing returns, but the first fourteen issue series is an amazing tour of Marvel’s past and future. It takes place in an alternate future where everyone on Earth has gained superpowers. People are mysteriously starting to live longer, and food is becoming scarce. In the United States, a most unlikely president is elected — Norman Osborn. Osborn actually doesn’t play a huge role in the main narrative of the story, and is killed by the mind-controlling Skull, who proclaims himself the king of America.

Osborn is definitely corrupt, but one gets the impression that he’s also trying to make things work for the United States. As far as supervillain presidents go, he’s pretty tame. This always felt more like a shocking choice than anything else, showing that the world had gotten so bad in Earth X that the people elected a corrupt businessman with a criminal past in order to save them. Imagine that.

Purple Man

Most Marvel fans know Purple Man from the Netflix show Jessica Jones. Zebediah Killgrave was a Croatian spy who gained the ability to control minds through pheromones. The Purple Man was never an A-list villain, but his place in the origin of Jessica Jones, both on TV and in her series Alias, showed readers just how despicable he could be. Mind control is a great power for someone who wants to be president, and in Marvel 1602, it was revealed that Purple Man was able to expand his powers to such an extent that he was able to become president.

Marvel 1602 took place in the year 1602, when the characters of the Marvel Universe started to appear in that year. Steve Rogers was there as Rojhaz, who was a white man that lived with Native Americans and was the guardian of Virginia Dare. Readers learned why a white man was living with the Natives in the book’s last issue and it definitely wasn’t what anyone expected. Rogers was from a future where the Purple Man was able to take the highest office in the land. Purple Man couldn’t kill Rogers, so he sent Captain America back in time. Captain America was the catalyst for the Marvel Universe beginning earlier in the new timeline, creating an entirely new universe. Readers didn’t get a lot of Purple Man as president — it’s honestly a handful of panels — but he was still president.

Number One

So, this one has always been more of an implication than anything else, but it still counts. In the ’70s, Captain America was battling the Secret Empire, a secret group of bad guys who were led by the Council of Nine. It was said that the Secret Empire’s Number One had a high political office in the United States, and eventually Cap was able to hunt him down. Number One ran into the Oval Office with Cap in pursuit. Number One revealed his identity to Captain America and then killed himself rather than face justice.

So, here’s the rub — it was heavily implied that Number One was Richard Nixon, which meant that Number One’s “high political office” was as President of the United States of America. The reveal of Number One’s identity broke Captain America’s faith in the United States, and caused him to give up the mantle of Captain America for a time and become Nomad. Again, this one was only implied – it has basically become canon for fans and people in the Marvel Universe that Richard Nixon was a supervillain who became president.

RELATED: 2025 Comic Preview – All the Biggest Storylines & New Series to Know About

Red Skull

Old Man Logan is a classic Marvel story, taking place in an alternate future where the villains won. Red Skull decided to pull an “Acts of Vengeance” again — “Acts of Vengeance” was a late ’80s story that saw villains go after heroes who weren’t their usual targets — and this time it worked. The United States was cut up into territories for villains like Doctor Doom, Kingpin, Magneto, and the Hulk (who had joined the villains), with the Red Skull taking control of the East Coast and decreeing himself President.

Red Skull killed Captain America, who was Bucky at the time, and started to wear his costume. Red Skull also collected various relics from the dead heroes, creating a macabre trophy room that he spent a lot of time in. Red Skull was constantly trying to break any rebellions before they happened, using his own version of S.H.I.E.L.D. to find heroes and their descendants in order to kill them. Red Skull’s reign ended when Logan went after him in revenge for Hawkeye’s death.

Doom 2099

Marvel’s 2099 books are an untapped vein of brilliant stories, with Doom 2099 fighting Spider-Man 2099 and X-Men 2099 for which is the best book in the line. Doom 2099 starred a character who woke up in the year 2099 and decreed that he was the Doctor Doom of the previous hundred years. Doom immediately went around to take back Latveria from the evil Tiger Wylde, eventually regaining his throne. Doom’s machinations in the world saw him gain more and more power, helping the superheroes of the future battle the corporations that had taken control of the world and its countries.

Eventually, Doom decided to try to take the office of President. The control of the corporations over the United States had eroded the prestige of the office, but it still kept much of its old power. Doom was able to successfully invade the United States, beating the forces of the US and the corporations. Doom took the White House, forced the current president to commit suicide, and then took the Presidency. Doom’s time as president saw him battle the corporations even more, and eventually started a world war in order to fix the rest of the countries of the world.

Lex Luthor

Lex Luthor and Superman’s multi-year war has always been complicated by Luthor’s wealth and prestige. Luthor was able to sidestep the consequences of crimes, using the power of LexCorp and all of the political capital that his billions of dollars could get him to always come out smelling like roses. Lex eventually decided that he wanted to be president and began an overhaul of his image. He started this by helping rebuild Gotham during the Batman classic “No Man’s Land”, when Gotham was cut off from the US after a viral outbreak and a massive earthquake. This bought him a lot of love from the population, and he was able to become President of the United States. He held the office for a while, but eventually his villainous machinations caused him to lose the presidency.

However, that’s not the only time Lex has been President of the United States. In two separate alternate universe stories, Lex Luthor has also been president. The Dark Knight Strikes Again, the rather maligned sequel to The Dark Knight Returns, had Luthor as president. Luthor used his power and his place in the villain community to begin an attack on the heroes of the future. He was defeated by Batman. In Superman: Red Son, Lex was able to become President as well, presenting himself as the capitalist foil to the communist Superman. Luthor was able to end Superman’s reign — partly through the years of plans he had made and partly through Superman deciding to disappear — and helped save the world from Brainiac.

The post 6 Times Comic Book Villains Became President (And One Did it Three Times) appeared first on ComicBook.com.

Superman is considered the first superhero, so it’s fitting that Superman would also lead the superheroes into the era of big-budget movies with 1978’s Superman: The Movie. Since then, Superman has had – let’s say a “checkered” reputation when it comes to feature films. Superman: The Movie and Superman II are all-time greats, but the next two Superman movies don’t quite clear that bar, although Superman III does have some cool ideas. Superman Returns didn’t connect with audiences despite being pretty good, and the DCEU Superman films from Zack Snyder are among the most controversial in a film universe that is nothing but controversial.

The less well-received Superman movies all have their problems, but the biggest criticsms are often the characters. Superman’s characters may not seem like the most complex ever written, but that doesn’t mean filmmakers can be careless with them. Snyder’s DCEU films each had problematic feedback regarding their depictions of different iconic DC characters, but the three Superman characters listed below are the ones who were ruined the most by Snyder’s films.

Lex Luthor

Superman just isn’t Superman without Lex Luthor, and movie fans have gotten two pretty solid Lex Luthors over the decades. Gene Hackman’s Lex wasn’t much like the comic version of the character, but Hackman played his comedic version so well that no one cared. Kevin Spacey’s Lex was more comic accurate, which worked for the movie he was in, though the film itself is largely forgotten. However, there’s another Lex from the films that is the worst version of the character imaginable — Jesse Eisenberg’s Lex Luthor from Batman v. Superman: Dawn of Justice.

Looking at the characters, it’s easy to see what they were going for. Eisenberg’s Lex was supposed to be Eisenberg channeling Mark Zuckerberg as Lex Luthor. This sort of thing — modernizing Lex Luthor to fit the present day — is a tried-and-true part of the character. Playing Lex as an arrogant, yet insecure, tech bro is a good idea, the problem was that they kept messing up in attempting to make the character menacing. Lex Luthor is a lot of things, but there’s always a menace to the character. Eisenberg’s Luthor, on the other hand, felt like a child’s idea of menacing. His Lex was supposed to be scary, but never was, and that’s why it’s considered among Jesse Eisenberg’s worst roles, as well as one of the most mocked performances in the DCEU, which is actually saying something.

Jonathan Kent

There’s a reason Zack Snyder left DC fans divided over his handling of Superman and his mythos. Man of Steel, Batman v Superman, and Justice League are held up as proof that Snyder knows everything, visually, about the comics and is making comic-accurate movies. However, one needs only to look at the DCEU’s version of Pa Kent played by Kevin Costner to see otherwise.

[RELATED: Before July, Check Out This Superman/Fantastic Four Crossover (That Really Happened)]

In the comics, Pa Kent teaches Superman what it means to be a hero. He supports his son and wants him to use his powers to make a difference in the world. He introduces Clark to the legends of the Golden Age superheroes, showing him that he’s not alone in the world and that there are always people like him around. Pa Kent is a cliche — the kind-hearted Midwesterner who is the personification of everything good in America — and that’s why he’s a perfect character.

Costner’s version of the character is a strange take, as he teaches Clark to be selfish and hide his true nature. He’s not a good role model for someone like Clark, and Pa Kent’s death scene in Man of Steel — foolishly sacrificing his life when Clark could have saved the day with his super speed and no one would have been the wiser — is ranked among the worst scenes in a comic book movie (right alongside the infamous “Martha Moment”).

Superman

The DCEU cast some great actors for its roles, and one of the best was Henry Cavill. The British actor oozed Superman from the moment fans saw him in the costume, and everyone was excited to see what Henry Cavill would bring to the table as Superman. The problem that no one foresaw was that these new Superman movies were going to take a page from Christopher Nolan’s Batman films, which presented a more “grounded” version of Superman. That’s how fans got Henry Cavill as the worst on-screen version of Superman, something that shouldn’t have been possible.

The DCEU’s Superman was a conflicted version of the character, one who was fine with killing his foes. This wasn’t a Superman anyone who loved the classic character recognized and was meant to be something completely different. Superman does have an arc through the three Snyder movies, but it’s not an arc that is all that significant or redeeming. Superman is meant to be a fully-formed character when we meet him; any doubts about himself and his powers were taken care of growing up with the Kents. No one wanted to see Superman struggle with who he was, and that’s why the DCEU Superman didn’t appeal to such a large section of the audience. It’s a shame because Cavill really made an excellent-looking Superman and definitely could have played a more traditional version of the character with aplomb.

What Superman characters do you think have been wasted in movies? Let us know in the comments below!

The post 3 Superman Characters Zack Snyder Got Totally Wrong appeared first on ComicBook.com.

The DCU is quickly becoming the hottest brand in superheroes, despite only having one project out in the world — Creature Commandos — and one upcoming film — the new Superman movie. Part of this is its shiny newness; after the monumental failures of the DCEU, superhero fans are ready for DC Comics to be brought to life by the DCU just like Marvel’s comics were brought to life by the MCU. The fading star of the MCU is another part of this as well; after nearly twenty years of formula and diminishing returns, superhero fans are ready for something fresh. The DCU is a roiling ball of potential, helmed by modern super auteur James Gunn, and guessing what directions it’s going to go in has the whole world talking.

DC Comics created the modern conception of the superhero in the ’30s and ’40s, and has nearly a hundred years of heroes, villains, and their allies to bring to the big screen. Everyone wants to see Batman and Wonder Woman, but there are also plenty of other amazing characters that deserve their live-action debut in the DCU. These ten (and some change) DC characters are the ones with the most potential, and can build the DCU into an amazing contender.

Brainiac

Superman looks to be a huge part of the DCU. It’s kicking off with Lex Luthor as the main villain, but there’s another Superman villain who needs to debut sooner rather than later. There are very few villains that Superman actually fears; of that small number, there is one who stands above the others — Brainiac. The Coluan genius has traveled the universe for centuries, trying to learn everything he can. Brainiac does this by stealing cities, shrinking them, and then destroying the surrounding solar system with a supernova, making his miniature cities precious final remnants of dead worlds.

Brainiac has long been Superman’s biggest boogeyman and plays a huge role in the lives of both Superman and Supergirl. The character also plays wonderfully off of villains like Lex Luthor, their frenemy relationship being one that has paid dividends. He also has a place in the Legion of Doom/Injustice League, meaning that he’s also a Justice League foe. Bringing in Brainiac gives the DCU a lot of options, as he could be a villain that entire slates of movies can be built around.

Darkseid

Darkseid has technically made his live-action debut in the Snyder Cut of Justice League, but that doesn’t change the fact that the DCU needs their own version of the villain. The living embodiment of evil, there’s only one Darkseid in the entire DC Multiverse, making him one of the the most dangerous threats ever. He’s the tiger force at the heart of reality, the evil that lies in the hearts of all living beings.

Darkseid is THE DC villain. He’s powerful enough to run through every hero, and presents the perfect foil for any of them. In addition to matching wits with someone like Batman, Darkseid works just as well in laying the unholy smackdown on the entire Justice League. Plus, bringing in Darkseid means that there’s two whole worlds of heroes and villains following him — New Genesis and Apokolips — as well as brilliant stories to adapt like Cosmic Odyssey, the superhero magnum opus that is Final Crisis, and Jack Kirby’s Fourth World Saga. Darkseid is.

Power Girl

Supergirl is getting her chance at big screen stardom for the second time, and there are few characters who deserve it more. Kara Zor-El is cool of course, but some DC readers prefer Kara Zor-L, the Earth-Two version of Supergirl known as Power Girl.

Power Girl is a super fun character, but her history in the comics — looking for her identity after Earth-Two was taken out of existence but she was somehow saved — has made her quite different from Supergirl. Another great reason for Power Girl to debut in the DCU is that she can lead to the debut of Earth-Two. DC has the best multiverse in comics, and the DCU needs to bring it to the general public. Power Girl is the perfect door to that world, her quest for home leading the heroes to Earth-Two.

The Monitor

The MCU built its first three “Phases” by following the blueprint of stories like Thanos Quest and Infinity Gauntlet, and DC has a story that outdoes both — Crisis on Infinite Earths. This twelve-issue maxiseries saw the heroes of the DC Multiverse banding together against the Anti-Monitor, a monster who wanted to destroy the multiverse with antimatter and become the king of the void. It’s the most epic story in the history of superhero comics, with hundreds of heroes and villains fighting a war for all of creation. There’s one character that the DCU needs in prefer to build to this story — the Monitor.

The Monitor started appearing in the years leading up to 1985’s Crisis on Infinite Earths, sometimes helping the villains and always watching the affairs of Earth-One and Earth-Two from his satellite. The Monitor’s origin has been changed over the years as the nature of the DC Multiverse has changed, but all that is important is that he’s trying to save the multiverse any way he can.

Ultra-Humanite

Superman’s first supervillain wasn’t someone like Lex Luthor or Brainiac; no, it was the evil superscientist known as the Ultra-Humanite. The Ultra-Humanite was the prototypical mad scientist, fighting against the Golden Age Superman and the Justice Society; he mastered a technique to move his brain to other bodies, first taking over the body of Delores Winters and later getting his hands on an albino gorilla body that he gave superhuman powers to. Ultra-Humanite was an Earth-Two villain for most of his existence, and was overshadowed by evil superscientists like Luthor and Shazam’s Doctor Sivana. However, the DCU can make him into a big deal all over again, especially since he creates an obvious rivalry with Lex Luthor.

Earth-Two Superman

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Earth-Two is the original DC Universe, where all of the oldest versions of DC’s heroes lived from 1938 to 1986. These are the original superheroes, with versions of the DC Trinity of Superman, Wonder Woman, and Batman forming the core of the superhero community that includes one of the first superteams of all time in the Justice Society of America. Earth-Two Wonder Woman and Batman are cool versions of the popular heroes, but neither are as unique as Earth-Two Superman, the hero who saved the multiverse from the Anti-Monitor.

If the DCU brings in the multiverse, then Earth-Two Superman needs to be present. There’s something about knowing that the Superman who fought the Ultra-Humanite, the original Lex Luthor, evil superscientists, the Nazis, and the corrupt officials of the Great Depression is still around and kicking. Plus, as Power Girl’s father figure, he can act as the endgame of Power Girl’s story arc and build into Crisis on Infinite Earths. Seeing two Supermen work together on the big screen, one old and one young, is what multiverse movies were made for, and just one of the reasons why the original superhero should debut in the DCU.

Hourman

Hourman is yet another Earth-Two superhero, a member of the Justice Society of America. Rex Tyler is a chemist who created Miraclo, a pill that gave him superhuman strength, speed, and durability for just one hour. Hourman soon became addicted to the chemical while fighting alongside the Justice Society of America, as well as the superhero lifestyle, and kept fighting crime even after the JSA was disbanded thanks to his addiction. Eventually, he created a non-addictive version of the chemical and rejoined the Justice Society when they came back together, fathering a son who followed in his heroic footsteps.

Hourman is a low-level hero compared to some of the other Golden Age greats, but he still has an important place in the history of the DC Multiverse. The character brings an interesting aspect into the world of superheroes — addiction. Hourman’s struggles make for unique superhero stories, and definitely fits into the more mature world of James Gunn’s DCU. Hourman has always deserved more attention and the DCU can give it to him.

The Legion of Superheroes

The Legion of Superheroes is the first major teen superteam. Introduced in the Superboy stories of the ’50s, the 30th century teen heroes took the inspirations of the heroes of the past, battling to protect the future. Superboy and Supergirl both became time-traveling members of the team, and the Legion of Superheroes’ superheroes by way of soap operas made them a popular team with DC fans. Many comic creators love the Legion of Superheroes, but their complicated history have made them one of the more difficult DC teams for younger fans who weren’t around for their heyday.

The Legion consists of characters like Lightning Lad, Cosmic Boy, Colossal Lad, Ultra Boy, Saturn Girl, Phantom Girl, and the like. They’re old school superheroes, but their place as superpowered teenagers allows them to be taken in a multitude of directions. The Legion deserve their flowers as one of the most important superteams in the history of superhero comics, and giving them their own series in the DCU — they’re just too big for anything else — is the perfect way to reintroduce them to the world.

Wally West

DC has gone all in on Barry Allen since the comics brought him back in 2008. Barry became the main Flash in the comics, got his own TV show, and made appearances in the DCEU including his own feature film. Barry Allen is a fine character, but there’s a better Flash and it’s the one that the DCU should showcase instead — Wally West.

Wally West was the first Kid Flash, learning the ways of superspeed from generations of speedsters including Barry, original Flash Jay Garrick, and Johnny Quick. He was the first sidekick to graduate into the mantle of his mentor and made the Flash popular again. One of the greatest superheroes of all time, Wally is the fastest, most powerful Flash, and the one who understands the Speed Force the best. Many of Barry Allen’s personality traits that have been developed by various media have all been taken from him. Wally West should be the DCU’s Flash, especially since Barry has become something of a joke in the last few years.

Nightwing

One of the coolest things about the DCU is that DC Studios is trusting fans enough to not just start everything at the beginning. The DCU that fans have seen in Creature Commandos and the trailers for Superman (2025) is a superhero universe that has been operating for some time, which means that many of DC’s greatest legacy heroes can be introduced in the mantles they’ve had for years instead of the ones they started out with in the comics. There’s one character who deserves this treatment more than most: Dick Grayson.

The original Robin, Dick Grayson is the first sidekick in comic history and would go on to become a founder of the Teen Titans, leading the team to becoming the most popular DC team of the ’80s. Grayson graduated from being sidekick to his own hero, taking up the name of Nightwing, paying homage to Superman with a name from Kryptonian history. Nightwing has become one of DC’s most important heroes, a junior member of the Trinity in a lot of ways. He’s the leader that everyone loves, that everyone can go to. Dick Grayson belongs in the DCU, but instead of starting out as Robin, he should be introduced in his perfect form as Nightwing.

Superman has a release date of July 11th.

The post 10 DC Characters Who Deserve Their Live-Action Debut In James Gunn’s DCU appeared first on ComicBook.com.

James Gunn has said that the DCU will only employ post-credits scenes when they know they can pay them off, and he just explained why in more detail. At a press event which ComicBook attended, DC Studios co-chairmen Gunn and Peter Safran fielded a question about post-credits scenes and how they would factor into the over-arching plot that connects movies to each other. They hope to make bake the plot points into the movies themselves rather than teasing out connections before and after each story. Gunn thinks this gives writers more freedom in the long run, and avoids committing to a course too early.

“We know where we’re headed to with, you know, the larger story and so James makes sure that those building blocks are going to be put in place,” Safran said. “Then around that, there’s a tremendous amount of latitude in terms of what we do.” Gunn agreed, adding that it’s easier to give each screenwriter that freedom if there are no cliffhangers left over from the last release.

“But in terms of those post-credit scenes, like, they can be a real nightmare,” Gunn said. “I’ve done things before where I’ve put in post-credit scenes and, you know, like writing Guardians 3, and I was like, I wasn’t really sure if Adam Warlock should be in it, but I f—ing promised people. You know what I mean? And I’m like, oh, well, now, like, I’m writing the script and things change, and I’m like, he’s kind of, you know — cramming him in there. And I like him in the movie. I like the character, but it made it a little less elegant in some ways, the film. And so I’m really careful about those sorts of promises that we don’t know that we can deliver on.”

[RELATED: James Gunn Reveals Scrapped Characters From Creature Commandos (Could They Appear in the Live-Action DCU?)]

Gunn has talked about this before, hinting that post-credits scenes would be minimal in the DCU and promising that they wouldn’t be essential to the plot. Last year when ComicBook visited the set of Superman, Gunn explained this approach more broadly, saying that he doesn’t want each movie to simply feel like an ad for the next installment. In the case of Superman, he predicted there would only be “maybe two little things, two moments” that were there to tease the future of the DCU.

“If something’s there just to set up something else, f— it. I even say that,” Gunn said last summer. “If that [post-credits scene] works in tandem with setting up characters that exist in other media, then that’s great. If this sets up stuff in Peacemaker, which it does, then that’s great. But that is never, ever, ever, with me, going to be something that I’m going to sacrifice even a moment or a beat in a story for, especially a movie. With TV, you’ve got a little bit more leniency to be able to do that. But in a movie, every beat has to be in there for the movie itself.”

Gunn did acknowledge that it gets more difficult for each movie to “stand by itself” as a franchise like this goes on. However, he said that it’s still worth trying to minimize the barriers to entry, using Guardians of the Galaxy 3 as an example. “You’d be better off seeing the first two Guardians, but even [Avengers:] Infinity War, I explained it in an elevator, the whole plot,” he said. “It’s like trying to keep things as simple as possible so you don’t have to have homework, especially TV shows that some people aren’t into.”

It will be especially interesting to see how Gunn’s philosophy on the connective tissue between movies plays out when the DCU is out of his hands. Gunn was the creator and an executive producer on Creature Commandos, and is the writer-director of Superman, coming this summer. He’s also the showrunner of the next title we’ll see after that, Peacemaker. It won’t be until June of 2026 that we see something with less involvement from Gunn — Supergirl: Woman of Tomorrow, written by Ana Nogueira and directed by Craig Gillespie. After that, the franchise will open up with a lot of different off-screen talent, and we’ll see what they do with the increased creative latitude.

The DCU makes its big screen debut with Superman on July 11th, 2025. Peacemaker Season 2 premieres in August on Max. The first season is streaming there now, along with Creature Commandos.

The post James Gunn Says Post-Credits Scenes Are a Nightmare (& Complicate Future Films) appeared first on ComicBook.com.

During a recent DC Studios press event attended by ComicBook, CEO James Gunn revealed significant details about how Lanterns and Superman will coexist in the DCU while maintaining distinct creative identities. The HBO series, which recently began production under the guidance of showrunner Chris Mundy, represents a darker, more grounded approach to superhero storytelling compared to the more optimistic tone of Gunn’s upcoming Superman film. This deliberate tonal separation marks a crucial strategy in DC Studios’ plan to create a diverse cinematic universe, with Lanterns exploring complex themes through its police procedural format while Superman embraces traditional superhero storytelling.

During the press event, Gunn underlined how the different tones of Lanterns and Superman echo the DCU’s most significant tool. “It’s so cool because it is connected to Superman. Because we’ve got Guy Gardner in that and then we’ve got these Green Lanterns over here. And it’s just such a different tone from what Superman is,” Gunn explained. The filmmaker emphasized that this contrast exemplifies DC Studios’ broader mission to create interconnected yet tonally distinct properties. “It’s exactly what I want to bring to the DCU is being able to have these very different films and television series that are still part of an overall connected world, but have completely different feels to them,” said Gunn. This approach allows DC Studios to explore various genres while maintaining narrative cohesion, with Lanterns taking inspiration from crime dramas like True Detective while Superman channels classic superhero adventures.

[RELATED: James Gunn Claims Superman’s Connection to Lanterns Won’t Distract From the Movie]

Lanterns‘ creative direction has taken shape under an impressive assembly of talent, with showrunner Chris Mundy joining forces with writers Tom King and Damon Lindelof. King has previously expressed enthusiasm about the project’s casting, praising the chemistry between Kyle Chandler’s Hal Jordan and Aaron Pierre’s John Stewart. “When you look at Kyle, you see someone who used to fly jetplanes and embodies Hal. When you look at Aaron, his heart, his soul, and his strength are so John Stewart,” King explained, highlighting how the casting choices allow the show to stand out.

How Lanterns Plans to Reinvent Superhero Television

Lanterns demonstrates DC Studios’ commitment to genre diversity through its structure as a detective story that happens to feature superheroes. The series pairs veteran Lantern Hal Jordan with newcomer John Stewart to investigate a mystery that begins on Earth but reveals far-reaching implications across the galaxy. This premise allows the show to blend noir elements with cosmic superhero action, creating a distinct identity.

The collaboration between showrunner Mundy and writers King and Lindelof brings together expertise from both television drama and comic book storytelling. Mundy’s work on True Detective: Night Country and Ozark demonstrates his ability to craft complex narratives with moral ambiguity, while King’s extensive experience writing Green Lantern comics ensures the show honors its source material. In addition, Lindelof’s previous success with HBO’s Watchmen proves he can adapt superhero properties into compelling drama without sacrificing their essential nature.

Beyond the two Green Lanterns, the series features a robust supporting cast. Kelly MacDonald, known for her Emmy-nominated work in Boardwalk Empire, plays Sheriff Kerry, the local law enforcement official who first encounters the cosmic mystery. Garrett Dillahunt (Deadwood, Fear the Walking Dead) portrays William Macon, a key figure in the investigation. Emmy nominee Ulrich Thomsen (The Blacklist, Counterpart) stars as Sinestro, the legendary Green Lantern who becomes the Corps’ greatest enemy after his tyrannical methods are exposed. Finally, Poorna Jagannathan (Never Have I Ever, The Night Of) plays Zoe, a scientist whose research becomes central to the unfolding galactic conspiracy.

Lanterns is expected to debut on Max in 2026, following the July 11, 2025 release of Superman.

Are you excited about Lanterns? How do you think the TV show will connect to Superman? Join the discussion in the comments!

The post Lanterns Gritty Tone Is Very Different from Superman Despite DCU Connections appeared first on ComicBook.com.

James Gunn says fans probably shouldn’t read too much about his recent photo with Zack Snyder. Being a DC fan has been pretty hard for the last 15 years or so when it comes to movies. After the incredibly successful, Oscar-winning Dark Knight Trilogy from Christopher Nolan, DC immediately looked to reinvent Superman in the same way it did Batman. Christopher Nolan worked with Zack Snyder to hammer out the launching point for a new universe with Man of Steel. Although the movie was divisive because of its dark story and extreme loss of life, it was successful enough for Warner Bros. to be interested in continuing the universe with Batman v Superman: Dawn of Justice.

That movie was even more divisive and led to a lot of panic at WB. However, it was a bit late to course correct as Justice League went into production just weeks after the release of Batman v Superman. Although Zack Snyder intended for the film to generally be lighter than the previous films, Warner Bros. grew concerned over the direction of the series. Snyder eventually had to leave the project during post-production due to a loss in his family, leading to Joss Whedon to take over on reshoots and editing. Ultimately, what we got was not Snyder’s intended vision and it was a pretty big disaster.

This DC franchise eventually imploded after a series of miscalculated duds that were in a universe that couldn’t decide on what it wanted to be. Was it going to continue Snyder’s story? Was it just going to move on, but keep the same actors? No one could really say what the plan was post-Snyder. Eventually, DC hired Guardians of the Galaxy director James Gunn to come in and try and get a hold of things. He decided to reboot the entire thing from scratch with Superman being the first film in the series. With that said, there are still some fans who long to see Zack Snyder’s vision completed with another Justice League movie or two.

[RELATED: James Gunn Teases His Favorite Upcoming DCU Project No One Knows About]

Zack Snyder Isn’t Making a DC Movie for James Gunn

While that has seemed out of the question for some time now, James Gunn recently posted a picture with Zack Snyder that had DC fans losing their minds. At a recent DC Studios event attended by ComicBook, James Gunn was asked if there was anything significant about that particular meeting. Gunn noted that they were not speaking about a DC project for Snyder, instead, they were just hanging out and thought it would be funny to post a picture together.

“I was just talking to Zack as a friend,” said Gunn. “So, you know, we were just hanging out and then we’re like, ‘Let’s take a picture together.’ We knew full well what we were doing….He thought it was funny. I thought it was funny. And that’s that.”

When asked if Gunn showed Snyder an early cut of Superman, Gunn noted that they only briefly saw each other so he didn’t show him the upcoming DC film.

James Gunn and Zack Snyder have known each other since long before either were in the DC universe. James Gunn wrote the script for Zack Snyder’s Dawn of the Dead film and has seemingly remained friendly over the years. Whether or not Snyder ever returns to the DC universe is a mystery. It’s possible another project will exist for him a decade from now, many thought The Snyder Cut would never happen and it did. However, it does seem like another movie in the actual Snyder universe is unlikely given everyone has moved on and Gunn’s universe is now in full swing rather than an idea on a whiteboard.

Some fans have suggested that Zack Snyder would be a great fit for The Authority, one of the films that is on James Gunn’s DC slate. As of right now, there’s no known director for that movie, but it doesn’t sound like Snyder is in contention for the job at the moment. Zack Snyder is already planning his next movie with Netflix at the moment. Either way, it sounds like James Gunn and Zack Snyder were both teasing and trolling the audience.

What do you think of the filmmaker’s remarks? Let us know in the comments below!

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DC Studios has unveiled its most ambitious production schedule to date, with plans that rival Marvel Studios in both scope and scale. During an extensive press event attended by ComicBook, DC Studios co-CEOs James Gunn and Peter Safran detailed their comprehensive strategy for the future of the DC Universe (DCU), revealing plans to produce multiple films and television series annually across various genres and formats. The announcement represents the most concrete roadmap yet for DC’s future under Warner Bros. Discovery, establishing a clear vision for how the studio plans to compete with Marvel’s dominant presence in the entertainment landscape while maintaining its own unique identity.

The scope of DC Studios’ ambitions became clear as Safran outlined their commitment to both existing and potential fans. “Our promise to David Zaslav [Warner Bros. Discovery CEO] when he entrusted us with the future of this crown jewel IP was to really honor the legacy that came before us and build upon it,” Safran explained during the presentation. “And that’s also a promise to the fans who love these characters and equally to those who have yet to experience the magic and the power of this incredible canon. So we’re doing everything in our power to deliver on that promise now.” The executive went on to detail their production targets, stating, “Our production goal is two live-action films and one animated film per year, and we’re also targeting two live-action and two animated series for Max per year.” That means, in the upcoming years, fans can expect to watch many more DC stories on the big screen and from the comfort of their couch.

[RELATED: 5 Elseworlds Stories That Would Amazing DCU Projects]

Perhaps most notably, Safran emphasized their commitment to diversity in storytelling approaches. “We don’t serve just one kind of audience, so why make just one kind of film?” he posed rhetorically. “And our unified approach frees us to tell a diversity of stories across a full spectrum of genres and scales from tentpole events like Superman to family animated fare like Dynamic Duo to indie-style chillers like Clayface.” That seems to be in line with what we know of the DCU so far, with Gunn approving interesting scripts, regardless of how they serve the overarching story of the universe.

DC Studios’ New Approach Balances Independence and Interconnectivity

The new production strategy represents a significant evolution in how DC approaches its shared universe, with Gunn emphasizing the importance of making each project accessible to new viewers while maintaining meaningful connections between titles. “As we’ve talked about before, each one of these stories, each one of these projects that we’re doing needs to be able to stand alone,” Gunn explained. “Somebody needs to be able to go see Superman, you know, without having to have seen Creature Commandos. Somebody’s got to watch Lanterns without necessarily having to have had to watch Superman.”

However, this emphasis on independence doesn’t mean the projects will be entirely disconnected. Gunn revealed that while maintaining accessibility, they’re also creating meaningful links between properties. “We have great connectivity between these things,” he noted. “There is a lot of connectivity between Superman and Peacemaker, including a few actors.” This balanced approach addresses one of the most common criticisms of shared universes such as the MCU – the need to watch everything to understand anything – while rewarding dedicated fans who engage with multiple projects.

Safran elaborated on their resource allocation strategy, explaining, “Working in a multitude of genres affords us the opportunity to allocate resources where they have the biggest impact and budget according to the demands of the story and also the revenue expectations of each title.” This flexible approach allows DC to simultaneously develop large-scale blockbusters and more intimate, character-driven stories without forcing every project into the same budgetary or stylistic template.

Are you excited about the new direction the DCU is taking? Join the discussion in the comments!

The post DC Studios Execs Reveal Production Schedule (& It’s As Big as the MCU) appeared first on ComicBook.com.

DC Studios co-CEO James Gunn revealed he is writing a new DC Universe project that could be a sequel to Superman, though he avoided confirming the specific project during a DC Studios press event attended by ComicBook. The announcement comes as post-production work continues on Superman ahead of its July 11, 2025 release date. Under Gunn and Peter Safran’s leadership, DC Studios has mapped out their “Gods and Monsters” slate encompassing films and television series, with multiple projects now moving through various stages of development and production. However, this is the first time we hear about a direct sequel to Gunn’s Superman, underlining Warner Bros. Discovery’s trust in DC Studios’ new creative vision.

Gunn detailed his writing process for the unnamed project at the press event, specifying its connection to the broader DCU narrative. “I’m writing something else now that would be the next directing thing,” Gunn explained. “It’s connected, without saying exactly what it is.” When asked directly about a potential Superman sequel, Gunn responded by noting he’s “writing something that’s within the DCU,” maintaining deliberate ambiguity about the project’s identity. However, Gunn also underlined that he is not discarding the possibility: “I didn’t say that (it’s not Superman 2).” This marks Gunn’s first new DCU movie screenplay since completing the Superman script. The project also represents his first writing endeavor since overseeing post-production on both Superman and the second season of Peacemaker.

[RELATED: Superman’s James Gunn Confirms Key Hawkgirl Details (And Comic Fans Will Be Thrilled)]

During the press event, Gunn addressed the reduced pace of his current writing schedule compared to his initial year at DC Studios. “The first year I wrote, I think, 650 pages, and the next year I filmed 650 pages,” Gunn revealed, explaining his current focus on a single project. “I can’t do it again. I really, I just can’t.” That intensive period included writing Superman, developing the overall framework for the “Gods and Monsters” chapter, and crafting stories for Creature Commandos, Waller, and Peacemaker season two. DC Studios has since expanded its creative team, bringing in writers including Drew Goddard, Jeremy Slater, Christina Hodson, Christal Henry, and comic book writer Tom King to develop upcoming projects.

Superman 2 Would Confirm DC Studios Is Here For the Long Run

DC Studios’ current production timeline places Superman as a pivotal project in their slate. The film introduces multiple characters who will appear across other DCU properties, including Nathan Fillion as Guy Gardner, Isabela Merced as Hawkgirl, and members of the Authority ahead of their own feature film. Milly Alcock debuts as Kara Zor-El before headlining Supergirl: Woman of Tomorrow, while Frank Grillo’s Rick Flag Sr. connects the film to both Creature Commandos and Peacemaker. A Superman sequel would build upon these established connections while potentially introducing new elements to the shared universe. 

David Corenswet and Rachel Brosnahan’s portrayals of Superman and Lois Lane anchor the DCU’s revised take on the characters, with Safran describing their Superman as “the embodiment of truth, justice, and the American way; he’s kindness in a world that thinks of kindness as old fashioned.” The first film draws inspiration from Grant Morrison and Frank Quitely’s All-Star Superman comic series, along with other sources, including the Fleischer Studios Superman shorts and Superman: The Animated Series. Any follow-up would likely continue exploring these thematic elements while expanding the character’s role in the broader DCU narrative.

The new Gunn screenplay marks DC Studios’ first potential sequel development within their rebooted universe. While the studio has announced multiple standalone films, including The Authority, The Brave and the Bold, and Swamp Thing, along with television projects like Paradise Lost and Booster Gold, they have not previously confirmed any direct theatrical sequel plans. The only sequel we have is Season 2 of Creature Commandos, following the animated series critical and public acclaim.

Stay tuned on ComicBook, as we’ll keep reporting the latest DCU developments. 

What would you like to see in Superman 2? Let us know in the comments!

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Fans won’t have to wait until Superman 2 to see more Krypto after the first movie releases, as he will be popping up regularly in shorts. A brand new DC universe is upon us after a pretty rocky run that started a little over a decade ago. Zack Snyder led the charge on a DC film franchise that kicked off with Man of Steel and was followed up by Batman v Superman: Dawn of Justice. However, things got messy as Warner Bros. wanted to quickly catch up to Marvel by creating a bunch of superhero movies that could rival the MCU.

On top of that, the studio lost faith in Snyder during the making of Justice League and opted to completely scrap his vision in favor of something more light-hearted. It backfired tremendously resulting in a rather slow, but chaotic implosion of the franchise. For years, there was a lot of back and forth on whether this universe would survive, and if roles would be recast, and it seemed like no one at WB could make up their minds until they brought in James Gunn to lead DC. He made the call to pull the plug on everything and start anew, beginning with a new Superman film simply titled Superman. The Man of Steel will be joined by Krypto the Superdog, a beloved comic character that has yet to make his live-action theatrical debut.

Superman’s Krypto the Superdog Will Get Seasonal Shorts

Fans were treated to their first look at Krypto in the first Superman trailer and were immediately smitten with him. It seems like Krypto will play a notable role in the film and likely be one of the big draws for mainstream audiences. When speaking to the press at a DC Studios event, James Gunn confirmed that Krypto is going to be getting a series of seasonal shorts that will begin releasing after Superman debuts in July.

“We’ve got these cool little Krypto shorts that are so fun, man. I’ve been watching all of them,” said Gunn. “He’s a terrible, terrible dog. It’s for families and it’s just really fun and goofy. It’s pretty cool.”

“It’s definitely the Krypto you fall in love with in Superman. He’s a terrible dog,” joked Safran.

It was confirmed that there will be four of these and they will start in the fall. It’s also unclear if David Corenswet’s Superman/Clark Kent will appear in these shorts or if they’re live-action, but it is the same Krypto from the Superman movie.

As of right now, we aren’t totally sure exactly what Krypto will do in Superman. The trailer seems to suggest he may live in the Fortress of Solitude and is able to pick up Superman and take him home after he gets banged up. Supergirl: Woman of Tomorrow is currently filming right now and while it’s unclear if Superman will appear, maybe there’s a chance Krypto will get a cameo. After all, it’s pretty easy to figure out scheduling for a CG dog rather than a real living person.

As for where else Krypto could pop up is a mystery at the moment. He doesn’t necessarily have to appear wherever Superman does, but that would make the most sense. At the very least, with these shorts being seasonal releases, we can probably expect them through to the end of 2026. It’s great to see DC being so proactive with its approach, especially given that a lot of studios wouldn’t have the foresight to prepare these kinds of things until after a character like Krypto has properly debuted. With Marvel, it can be years before we see follow-ups to certain things that people responded well to.

What else do you want to see from Krypto in the DC universe? Let me know in the comments or hit me up on Twitter @Cade_Onder.

The post Krypto Getting Seasonal Spin-Off Shorts Following Superman Movie Debut appeared first on ComicBook.com.

James Gunn’s upcoming Superman is approaching, and fans couldn’t be more excited for this brand-new reimagining of the iconic hero. Other than what’s been revealed in the trailer, little is known about the film’s plot. However, Gunn often takes to social media to offer fans some tantalizing behind-the-scenes looks at Superman, each of which only increases the excitement and speculation about the film. The famed filmmaker recently took to X (formerly Twitter) to share an imposing photo of the movie’s antagonist, Lex Luthor (played by X-Men star Nicholas Hoult), tweeting, “In celebration of the 85th anniversary of Lex Luthor here’s an exclusive photo of Nicholas Hoult as Lex in our upcoming movie, @Superman.” The photo was taken by the film’s VFX supervisor Stephane Ceretti.

This set photo depicts Hoult on the set of the film looking quite dapper in a nice suit. But his intense gaze implies that this isn’t a typical business mogul; just because he doesn’t have superpowers, Luthor has always managed to be a thorn in Superman’s side. While the image may not reveal much – if anything – about the film’s plot, it does give the impression that this version of the supervillain is not one to be trifled with.

Luthor first debuted in Action Comics #23 in 1940 and has since become one of the most iconic antagonists not only in comics, but in popular culture. He started as a brilliant but megalomaniacal scientist determined to rule the world but gradually evolved into a cunning billionaire industrialist. Part of his vendetta against Superman is that he sees the Big Blue Boy Scout as a threat to humanity and that his godlike abilities are undeserved. Despite his crimes, Luthor doesn’t believe himself to be a common criminal, instead seeing himself as mankind’s savior, and has even been something of an antihero on occasion.

[RELATED: Nicholas Hoult Details How “Ruthless” Lex Luthor Will “Outmaneuver” Superman]

Over the decades, the character has made the leap to live action in numerous iterations. Some of his most notable depictions include Gene Hackman’s portrayal of the character in the original Superman films, Michael Rosenbaum’s youthful take in the TV series Smallville, and Jesse Eisenberg’s eccentric tech CEO in Batman v Superman: Dawn of Justice.

Hoult has some major shoes to fill, but from what we’ve seen and heard about his portrayal of the infamous villain, it seems like he’s more than up for the task. Still, Hoult is more than aware of what it means to be the latest actor to take on such a large role, telling GQ, “There’s obviously expectation around it, but the expectation comes from people being enthusiastic and excited about what’s to come. So it’s kind of trying to use that energy and pressure, I suppose, to benefit the process in some ways,” says Hoult. However, the strength of Gunn’s script was what really proved to the actor that it was possible. “It was one of those things that when I first read the script, I was like, ‘Oh, Lex is a brilliant character.’ I think James has just done a wonderful job of creating him on the page. Hopefully what I’ve done and what we did on set has brought that to life in a fun way.”

Superman will be released on July 11, 2025.

The post Superman: James Gunn Celebrates Lex Luthor’s 85th Anniversary With New Movie Image appeared first on ComicBook.com.

DC Studios has a big job ahead of it. Not only do they have to make successful movies, but they have to make everyone forget about the stink of the DCEU and sell a universe of superheroes and supervillains that isn’t nearly as grounded as the Marvel Universe. The DCU has been going great so far, but that run only constitutes one (admittedly excellent) animated series and some big teaser trailers. The DCU has many land mines it needs to avoid if it wants to become as successful as the MCU, and while superhero stories will always be very similar, the DCU needs to think outside the box. Luckily for them, DC Comics has a lot of inspiration to offer, as well as something that can be a guaranteed winner for the films — magic.

DC Comics’ magical side is the best in comics. Legendary stories from the best minds in fiction have all sprung out of this corner of the DC Multiverse, fueled by characters that fans loved or at least loved to hate. If the DCU plays its cards right, it’ll be able to give fans superhero stories unlike any they’ve ever seen before, which is exactly what the superhero film genre needs right now.

DC’s Magic Side Is a Doorway to Unlimited Story Possibilities

Anyone who knows DC’s oeuvre of stories knows that the ones with magic in them are some of the best ever. The great thing about magic stories in superhero comics is that it can be used in a variety of ways, telling multiple kinds of stories. The simplest is, of course, horror and that’s a very big untapped market in the current world of superhero stories. Some of the most critically acclaimed stories of the ’80s and ’90s are DC horror books, like Swamp Thing, The Sandman, Hellblazer, and Arkham Asylum: A Serious House on Serious Earth. All but the last of these stories revolved around magic of sorts, and even Arkham Asylum used occult themes to make its story work. Right now, there’s no one doing any kind of superhero horror, and the DCU can change that by dipping into the magical side of its universe. But magic stories offer so much more than just horror.

Need a powerful and dangerous monster? Patchwork Man and Solomon Grundy, men resurrected by magic and science, are right there. Need a magic detective to solve a crime that no one else could? There’s Doctor Occult and his other half, Rose. Want to tell a story about how the battle against the darkness can break even the best and turn them into monsters? Mister E is the character for you. Want something to appeal to kids? Tim Hunter is the original Harry Potter. Want harder-edged heroes with a magical bent? The Demon and the Spectre would make for amazing film stars. Also, there’s Detective Chimp, a chimp with a genius IQ, the ability to talk, and a love of alcoholic beverages: he deserves his own film trilogy. All of those characters are just scratching the surface of what the magical side of the DCU could be like.

RELATED: DC’s Clayface Movie Story Details Sound Similar to Oscar-Nominated Horror Film

And then, of course, there are the two characters that everyone wants to see show up in the DCU — John Constantine and Zatanna. John Constantine is the poster boy for DC’s magical community, a bad boy who is willing to do anything imaginable, no matter how terrible, to protect the world from darkness. He’s funny, charming, and undoubtedly dangerous, a brilliant combination that has made him a beloved character every time he shows up. Constantine’s first movie turns twenty this year, and while it wasn’t blockbuster successful, it still struck a chord with fans. There’s sequel buzz for Constantine’s next movie, which is a step in the right direction.

Zatanna, though, is a character who could pay dividends for the DCU. Zatanna was DC’s answer to Scarlet Witch, and that’s exactly what the DCU could use her for. Zatanna is a character with basically infinite potential to carry her own films: she has multiple top-notch stories that can be used for inspiration; she’s a member of the Justice League, and she can show up in any number of other films. She’s also one of the founding members of the Justice League Dark, the magic themed version of the Justice League. Zatanna is a perfect example of why the DCU needs its magic side to stand out — she brings so much to the table. She’s what the magic side of things can be if handled right: a character who can be put in any kind of story and still be an important player.

Magic Could be the Edge That Puts the DCU Over the Top

The MCU’s success has made superheroes more popular than ever, but their formulaic superhero movies have also done a lot of damage to the public’s perception of the types of stories that superheroes can tell. The DCU needs to be able to show people that superheroes can be more than just boilerplate action comedies and the best way to do that would be to accentuate the magical side of DC. Magic has always been a successful thing for DC Comics, and there’s no reason it can’t be for DC Studios. Magic can do for these films what it did for DC in the ’80s and ’90s — change the language of superhero stories and create critically acclaimed masterpieces. All it would take is a little hocus pocus.

The DCU’s first film release will be Superman on July 11th.

The post Why DC Studios Needs to Spotlight the Magic Side of the DCU appeared first on ComicBook.com.

These days, movies are extremely frontloaded. Back in the ’80s and ’90s, a tentpole (or even a smaller genre film) could enjoy several weeks of big-screen success; now, whether a film is deemed a success or failure seems to be determined after its first Sunday. That’s the nature of the beast because the streaming industry has become such a giant that, more often than not, those services are what people are choosing over an expensive trip to the theater. Even still, those first three (or five, for Wednesday openers) days aren’t everything. A movie can open to dropped jaws and applause, but if it plummets from that point and never recovers, those jaws aren’t going to stay dropped. Those are the movies that follow, those that opened very well but couldn’t maintain momentum.

The only exceptions were Onward, which plummeted because of the onset of the COVID-19 pandemic, and stuff like The Twilight Saga: New Moon and Harry Potter and the Deathly Hallows: Part 2, which had devoted fanbases that were fully expected to turn out their first few days. Also excluded was Valentine’s Day, which made more than half its total domestic gross throughout its first three days, but when those three days are February 12th through 14th, it would be baffling for there to be any other outcome.

Batman v Superman: Dawn of Justice

Very few films that could open to $166 million domestically and close with $330.4 million would be considered financial disappointments. Consider Zack Snyder’s Batman v Superman: Dawn of Justice the exception to the unwritten rule. And fair enough, it was the first live-action movie in history to feature both of DC’s two major A-list characters. Yet horrible reviews and toxic word of mouth from general filmgoers trumps profitability.

And Batman v Superman did actually turn a profit. $874 million worldwide against a $250 million price tag, to be exact. But that $250 million doesn’t include the film’s massive marketing push. In short, it may have made money, but not nearly as much as it was expected to (or should have). It was just too dour a theatrical experience to earn repeat business the way 2012’s The Avengers did. Watchmen and X-Men Origins: Wolverine faced similar fates, but there’s no doubt the expectations were higher for Batman v Superman than they were for those two movies.

The Devil Inside

January is known as a dumping ground for good reason. It’s when studios release the projects they pretty much know are going to generate poor reviews and at best a modest return on investment. But it can be dynamite for horror films, no matter how awful the horror film is. For instance, The Devil Inside.

On the plus side, its $33.7 million opening and $53.3 million final domestic gross were amazing returns on a $1 million investment. But there’s no doubt the many who turned out opening weekend didn’t like what they saw. Nor should they have – it’s a movie that has the audacity to end by promoting a website the viewer (a.k.a. the person who shelled out cash for a ticket) can visit, as opposed to an actual conclusion to the film.

[RELATED: 10 Obvious Movie Twists That Fooled No One]

Five Nights at Freddy’s

Five Nights at Freddy’s could be considered an iffy entry here. After all, it was simultaneously released on Peacock. But the fact remains that it couldn’t even come close to doubling its $80-million opening. On average, a movie has a final domestic haul of 2.5 to three times its opening weekend gross.

When all was said and done, Five Nights at Freddy’s netted $137.3 million domestically. Was that enough to make it a massive success on a $20-million budget? Absolutely. Is the fact that it could open to $80 million while also being on a streaming service impressive? Without a doubt. But a 1.7 multiple on an opening weekend gross is miniscule.

Friday the 13th

Compared to other genres, horror is the most frontloaded. It’s expected to be frontloaded. But Marcus Nispel’s surprisingly solid 2009 Friday the 13th reboot was extremely frontloaded. Even the following year’s borderline unwatchable A Nightmare on Elm Street remake enjoyed a far better multiple on its opening weekend haul.

To put it into context, 2010’s Nightmare on Elm Street opened to about $33 million and ended its run with $63 million domestically and a further $52.6 million from overseas markets. Friday the 13th opened higher at $40.6 million, but plummeted after day three, ultimately accumulating $65 million. It didn’t even do particularly well overseas with $26.5 million. It’s unclear why the Freddy reboot nearly doubled its opening weekend domestically while Jason only netted a 1.6 multiple. Neither film was bolstered by glowing word of mouth, but without a doubt, Freddy’s was worse. In this Freddy vs. Jason, Jason should have handily won. But like in the actual Freddy vs. Jason, it was more of a tie.

Godzilla

In hindsight, it’s pretty surprising that Gareth Edwards’ Godzilla was able to kick off the Monsterverse. 1998’s Godzilla sold a comparable number of tickets to the 2014 film and was widely deemed a failure, to the point that other movies’ advertising (e.g. Small Soldiers) made fun of it. The 2014 reboot seemed to get a pass.

This could be credited to two factors. For one, Edwards’ film received far better reviews than Roland Emmerich’s. Two, it had a terrific opening of $93 million. As time has gone on, more importance has been bestowed on opening weekend figures. Even still, with a sharp 66.8% drop on weekend two and a final domestic tally of $200.7 million, Godzilla didn’t quite pull in the numbers that give birth to a cinematic universe.

Which film’s box office drop is most surprising? Let us know in the comments below!

The post 5 Movies That Crashed and Burned After a Great Opening Weekend appeared first on ComicBook.com.

The Marvel Cinematic Universe made superheroes the biggest thing in pop culture. The key to this is the concept of the shared superhero universe, something Marvel revolutionized in the 1960s. Marvel became the standard-bearer for superhero movies, creating a plot formula that fans loved. A big part of that formula is the humor; right from the beginning with 2008’s Iron Man, Marvel gave fans action comedies that changed superhero movies forever. Fans were so used to their superhero films being funny that when the DCEU didn’t follow suit right away, they were doomed in the eyes of many superhero fans.

The DCEU fell apart and is being replaced by the DCU, with DC Studios under the aegis of writer/director James Gunn and producer Peter Safran. The DCU has all of the momentum in the world right now, with its first project, Creature Commandos, building anticipation for Superman (2025). Gunn is an alumni of the MCU, and easily one of the best to work at Marvel Studios, but that has awakened certain fears in many fans. See, the MCU’s reliance on humor has become a lodestone for many reasons and many don’t want to see the DCU go down the same path.

The MCU’s Humor Destroys Tone and the DCU Has To Be Careful About That

Iron Man was a great movie, but not because the story was revolutionary or anything like that. What made the movie work so well was a confluence of two factors — Robert Downey Jr.’s charm and a script that allowed that charm to shine through. The quippy style of humor that typified Iron Man became a huge part of the MCU afterward. While not every movie was a laugh-out-loud action-comedy, most of the MCU used the quips to humanize the characters. Superheroes have always been funny, so for a while, this was fine. Better than fine, actually — Guardians of the Galaxy, written and directed by James Gunn, used the MCU style of humorous superheroes to great effect, and many MCU fans loved Ant-Man and its comedic stylings. Contrary to that, movies like Captain America: The Winter Soldier were serious films, ones that knew when to joke and when to take things in the other direction.

Phases One and Two of the Marvel Cinematic Universe saw Marvel Studios try different things with superhero stories, and in the end, they decided that more humor was better than less humor. This led to a problem that even the biggest MCU fans won’t deny — inconsistent tone. Humor in action movies has often been used to bring the tension of a scene down; it’s a pretty standard part of screenwriting, so for the MCU to use it made sense. However, they took it much too far and that became a problem. The best example of this is Captain America: Civil War. The airport fight scene is easily one of the coolest superhero fights ever put to film… yet there are so many jokes and (for lack of a better term) “bits” that there’s exactly no tension in the vast majority of the fight. Doctor Strange uses Dormammu killing Doctor Strange immediately in a much funnier way than it should have. Thor: Ragnarok and Spider-Man: Homecoming have solid backbones of humor that can often hurt taking the films seriously.

The MCU has overdosed on humor in too many movies, which is actually kind of ironic when one looks at the reaction to the DCEU and films like Man of Steel, Batman V. Superman: Dawn of Justice, and Suicide Squad. One of the biggest problems with fans and critics alike when it came to the DCEU was the often dour and overly serious tone of those movies. The most successful DCEU films, like Aquaman and Shazam!, all used humor in the MCU style and got praised for it. Conversely, Batman V. Superman is considered by many to be one of the worst superhero movies of the 2010s.

RELATED: All 7 Batman Live-Action Movie Batmobiles Ranked

James Gunn coming to DC was a turning point in the game of blockbuster superhero films. Gunn is one of the few MCU filmmakers who was able to mix humor and tone well. The three Guardians of the Galaxy movies are among the funniest in the MCU, but they are also one of the more poignant series, with a strong emotional core. This is the perfect balance for a superhero film series: able to use humor in a way that the rest of MCU doesn’t. Having Gunn, who is responsible for brilliant DC projects like The Suicide Squad, Peacemaker, and Creature Commandos, in charge of the DCU has assuaged some of the worries of the DCU overusing humor to the extent that the MCU does.

Gunn still hasn’t revealed what is coming next to the DCU, but one thing is certain — he isn’t going to be able to direct every single movie. While Gunn can definitely balance tone and humor, the MCU has shown that not everyone can. In fact, one of the biggest problems with superhero movies in general, since the 2020s began, is that there are few who can still make properly-balanced superhero movies. Either the movies are much too dark and the humor is lacking, or there’s too much humor and the movie’s stakes never feel grave. The MCU has proven that fans want some humor in their movies and Gunn’s own films have shown how well he can use humor, but James Gunn has proven to be unique in the world of superhero movie directors.

The DCU Needs To Find the Balance & Nail It

DC has been on a winning streak for the last few years, but all of that will be for naught if the DCU fails. It’s plain to see that the DCU is going to “borrow” some ideas from the MCU — after the way the MCU trounced the DCEU, they certainly should — but they need to sidestep the tone problem that has become such an albatross around the MCU’s neck. Superheroes and comedy go together, sure, but so do superheroes and tense final battles. There’s a reason the final battle of movies like Avengers: Endgame are so memorable — because the stakes are always there. Compare that fight to many of the final battles we’ve gotten since through Phases Three, Four, and Five; too many of them have completely undercut any tension because humor has become the main character trait of every MCU character.

The DCU can’t fall into this trap. If it can’t find a way to use humor effectively in every movie, there’s no hope for the DCU. Fans don’t want the overly serious superheroes of Zack Snyder, but they also don’t want the overly funny superheroes of Ant-Man: Quantumania or Thor: Love and Thunder. If the DCU can’t find the balance, then the game is already lost.

Captain America: Brave New World is now in theaters; Superman will be released in theaters on July 11th.

The post The DCU Has To Avoid Marvel’s Biggest Tonal Mistake to be Successful appeared first on ComicBook.com.

Superman didn’t receive a shiny new Super Bowl trailer, though there was the delightful Guy Gardner spotlight to at least tide big time fans over. While we wait for the marketing blitz to really ramp up, a new TV spot aired on NBA on TNT that features the wonderful trio of David Corenswet, James Gunn, and NBA Hall of Famer and diehard Superman fan Shaquille O’Neal. Shaq is in prime form throughout the commercial, and even gets in a dig at Charles Barkley before it ends. You can watch the full TV spot in the video below.

The video starts with Shaq looking at the new Superman costume in a display, but he’s not just admiring he suit. Instead he’s sizing it up literally, commenting that the boots won’t fit and he might not be able to fit in it anymore.

“This, too small. Boots will never fit, and the belt, not that thin anymore. I thought I sent them my sizes,” Shaq said. Then Corenswet comes up giving full Clark Kent vibes, and he asks Shaq what he’s doing.

Shaq says he was supposed to meet James Gunn here to be in the new Superman movie, and then Gunn comes into the picture and introduces Corenswet to Shaq as Superman. Shaq’s face is hilarious, and then he makes the connection to the poster behind them. Shaq isn’t having it though, and starts to walk away.

[RELATED: DC Just Revealed the Most Insane Green Lantern Yet]

Gunn pleads with Shaq to not be like that but Shaq isn’t staying, though he is content with flying a bit as he makes a flying motion down the hallway. Then he Shaq’s TNT buddy Charles Barkley is brought up, but Shaq isn’t having that either, saying, “F*** Barkley” as he walks out of the room.

Those who have followed Shaq throughout his career know he is a huge fan of the Man of Steel, even going by Superman as a nickname during his time in the NBA. Gunn also makes a reference to Shaq being one of the original superheroes, which is a nod to his role as Steel.

It’s interesting to see how DC and Warner Bros. Discovery have chosen to market Superman to this point, forgoing he typical deluge of trailers and TV spots in favor of fun one-offs like the Guy Gardner feature and now this. While fans obviously want to see more footage from the film, hopefully these charming videos and ads will continue to be used.

Are you excited for Superman, and what do you want to sese more of from the film before it hits theaters? Let us know in the comments and you can talk all things Superman and DC with me on Bluesky @knightofoa!

The post James Gunn Has Bad News For Shaq in Hilarious New Superman TV Spot appeared first on ComicBook.com.

The DCU is getting a lot of hype right now. Creature Commandos teased DC Comics fans with the new status quo of their favorite superhero cinematic universe, and the trailers for Superman (2025) have hyped up the world for the upcoming movies. DC is hot and fans want more. They need look no further than the comics. DC has codified the language of superheroes over the decades, while also creating some of the best superteam comics of all time. These five runs on DC’s greatest teams are just what DCU fans need to wet their whistles, showing off the best of DC and exactly what their superhero universe has to offer.

Here are the 5 greatest runs on DC team books, ever.

Grant Morrison’s Doom Patrol

Grant Morrison has earned their place among the greatest superhero writers in the history of the medium. Morrison is known for their mind-bending ideas and the scope of their stories, while also being a master of characterization. All of that was on display when they took over Doom Patrol (Vol. 2) with issue #19. The Doom Patrol was the weirdest team in DC history: a team of misfits dealing with the strangest problems imaginable. DC tried bringing them back as a run-of-the-mill superteam, but that didn’t work and Morrison, wowing fans on Animal Man, was given a chance on the book. They made Doom Patrol one of the best books on the stands in the late ’80s and early ’90s, creating one of the most amazing team comics of all time.

Morrison wrote Doom Patrol (Vol. 2) from issue #19 to issue #63, along with the Doom Patrol Special. They mostly worked with artist Richard Case, with guest stints from Jamie Hewlett, Mike Dringenberg, Stan Woch, Doug Braithwaite, Steve Yeowell, Kelly Jones, and several others. Morrison embraced the weirdness at the center of the Doom Patrol, throwing threats at the group unlike anything anyone had ever seen before, incuding the team saving the universe several times. However, where Morrison’s Doom Patrol truly shines is with the characters. Cliff Steele, Rebis, and Crazy Jane are the focus, getting some of the best character development imaginable. Morrison fleshed them out beautifully, also building secondary characters like Joshua Clay, Dorothy Spinner, and the Chief. The Doom Patrol show made the team stars by borrowing liberally from Morrison, and for good reason — Morrison’s Doom Patrol is the creme de la creme of superteam comics.

Marv Wolfman & George Perez’s New Teen Titans

The late ’70s were a very bad time for DC Comics. The DC Explosion meant to expand the line and make the company competitive with Marvel, quickly turned into the DC Implosion, and Marvel was eating their lunch in every way. DC needed a hit and it got it when it put writer Marv Wolfman and artist George Perez on 1982’s New Teen Titans. This book brought back DC’s sidekick team — with Robin, Kid Flash, and Wonder Girl forming the team’s core, new members Cyborg, Raven, and Starfire joining, and Beast Boy from the Doom Patrol rounding out the group. Wolfman and Perez’s original run on New Teen Titans, #1-4, #6-34, #37-50, three Annual issues, and Tales of the New Teen Titans #1-4 contains the greatest Teen Titans stories of all time, introducing villains like Deathstroke, Trigon, Brother Blood, and many more.

Everyone knows the Teen Titans from their animated series, but the only reason those even exist is because of Wolfman and Perez’s work. Wolfman and Perez understood the delicate balancing act of a team book; they gave readers bombastic action, rendered beautifully by Perez’s immaculate and detailed pencils, while also building every character into three-dimensional beings. The book is constantly fun to read. It’s one of the best-looking comics of all time, and the characters are so well-fleshed out that they feel like old friends. The book mixes big action-packed epics with smaller-scale, more personal stories, giving readers everything they could want from a team book.

J.M. DeMatteis, Keith Giffen & Kevin Maguire’s Justice League International

The Justice League is DC’s most important superhero team, comprised of the greatest heroes on Earth. Most eras of the Justice League make this clear, having the team go up against the most powerful threats in the DC Multiverse. However, there is one era of the Justice League that went in a different direction. 1987’s Justice League, soon to be rechristened Justice League International, brought together a team of B and C-list heroes that was more about the characters and the humor of being a superhero than the massive adventures. Writers Keith Giffen and J. M. DeMatteis and artist Kevin Maguire worked on issues #1-12, #16-19, #22-24, and #60, giving readers a very different kind of Justice League comic.

RELATED: DC Hasn’t Missed In Years, And I Can Prove It

While the book is still great in the issues that Maguire didn’t draw, buoyed by Giffen and DeMatteis’s hilarious writing, the book is at its best when the three of them are working together. Maguire’s art is known for being extremely expressive, making the jokes that Giffen and DeMatteis write land even better. The best way to describe Justice League International is that it’s basically the MCU set in the 1980s. The book is heavy on humor and character development, living and dying on the strength of the characters, but that doesn’t mean that isn’t some action-packed epics. It’s a perfect superhero comedy, showing the breadth of what DC’s superheroes have to offer.

Geoff Johns’s JSA/Justice Society of America

Writer Geoff Johns is one of the main architects of the DC Universe from 2003 until about 2019. Johns’s rise to prominence in the early ’00s can all be drawn back to one book — JSA. Johns joined the writing team of the book with issue #6 and wrote it until issue #77. Johns worked David S. Goyer, who would go on to co-write DC movies like The Dark Knight, Man of Steel, and Batman V. Superman: Dawn of Justice, from issue #6 to #51 and JSA/JLA: Vice and Virtue, finishing out the book on his own, with its final four issues being written by DC legend Paul Levitz with artist Rags Morales, before relaunching it as Justice Society of America and writing issues #1-26. The Justice Society is the first superteam, having first appeared in the 1940s. Over the years, they became the legacy team, with some original members dying and having their places taken by their relatives or sidekicks and other members’ powers keeping them young. From 2000 to 2009, Johns’s JSA/Justice Society of America was considered by many to be the greatest team comic on the stands.

The Justice Society can be a hard sell for new readers; the team has been around since the early ’40s. However, Johns and Goyer were able to make the whole thing work. The team’s core — Jay Garrick’s Flash, Alan Scott’s Green Lantern, Wildcat, and Hawkman — are archetypal heroes but the writers make them human, using their decades of backstory to inform who they are. Characters like Stargirl, Mr. Terrific II, Power Girl, Atom-Smasher, Sands/Sandman, Doctor Mid-Nite III, Jakeem Thunder, and more grow and change over the run, and fantastic new characters are introduced. Black Adam and Shazam have some of their best stories in JSA/Justice Society of America and readers get to see some of the best DC villains of all time they’ve never heard of. Finally, the books give readers the kind of action that can only be found in an A-list team book, earth-shattering battles that have to be seen to be believed. Johns showed his chops as a writer writing the Justice Society, creating a book that shows just how important history and legacy are to the DC Multiverse.

Grant Morrison’s JLA Run

Justice League International‘s success made DC believe that what people wanted from the League’s stories were groups of lower-tier characters that were more about drama and humor than high-stakes superheroism. While this was true for a time, eventually it started to become diminishing returns and DC decided to bring back the “Big Seven” of the Justice League — Superman, Batman, Wonder Woman, Aquaman, the Flash, Green Lantern, and Martian Manhunter. After the success of the Justice League: A Midsummer’s Nightmare, DC launched JLA, with scribe Grant Morrison joined by up-and-coming artist Howard Porter. Morrison wrote issues #1-17, #22-26, #28-31, #34, and #36-41, mostly working with Porter, with several fill-in artists like Oscar Jimenez.

Morrison’s JLA is widescreen superhero action of the highest order. The Justice League consists of the big guns of the DC Universe and Morrison treats them as such, giving them their Watchtower on the moon, shades of the old Justice League Satellite, and pitting them against universe-shaking threats. Halfway through their run, Morrison introduces the Pantheon League, restructuring the team inspired by the Greek Gods, adding characters like Steel, Orion, Big Barda, Huntress, Plastic Man, and the angel Zauriel. Morrison’s JLA is the most epic superhero book ever, ending with the team battling a death machine created by extinct gods. If that sentence appeals to you, then JLA is exactly the kind of comic you should read.

All of these titles are available to read at DC.

The post 5 Best Eras of DC Teams That DCU Fans Should Check Out appeared first on ComicBook.com.

James Gunn revealed crucial details about Hawkgirl’s portrayal in his upcoming film Superman, confirming that Isabela Merced’s version of the character will feature organic wings rather than technological ones. This significant character detail emerged when the director responded to fan questions on the social media platform Threads, putting to rest speculation about how the character’s iconic abilities would be realized on screen. The choice to give Hawkgirl natural wings rather than mechanical ones signals a deeper commitment to the character’s extraterrestrial origins and rich comic book history while particularly resonating with fans of the DC Animated Universe, where her organic wings helped establish her as one of DC’s most compelling characters. For longtime comic readers, this detail also suggests Gunn’s adaptation will fully embrace Hawkgirl’s heritage as a warrior from the planet Thanagar.

The organic wings of Hawgirl are quite distinct from other recent portrayals in the DC universe, most notably diverging from the metallic wings featured in Black Adam‘s take on Hawkman (Aldis Hodge). While technological wings are great when considering practical filming considerations, Gunn’s commitment to organic wings demonstrates a willingness to embrace more fantastic elements of DC’s cosmic side. This decision suggests Superman will explore the fuller scope of Harkgirl’s alien background rather than simplifying her abilities to mere technological augmentation.

[RELATED: Superman Estate Suing to Deny Release of James Gunn’s Movie In Certain Territories]

The choice is not shocking, given Gunn is a big fan of Justice League and Justice League Unlimited, where Hawkgirl’s organic wings played a crucial role in establishing her distinct identity among Earth’s heroes. These animated series, which ran from 2001 to 2006, introduced many viewers to Shayera Hol’s complex character. Under the guidance of Bruce Timm and his creative team, the animated Hawkgirl became one of the most nuanced characters in superhero animation, with her natural wings serving as a constant visual reminder of her otherworldly origins and the conflicts they created with her adopted home.

Everything We Know About DC’s New Superman Movie

Superman represents DC Studios’ ambitious relaunch of their superhero universe under Gunn and Peter Safran’s leadership, with a stellar cast that promises to bring new depth to iconic characters. David Corenswet leads the film as Clark Kent/Superman, with Rachel Brosnahan as Lois Lane and Nicholas Hoult as Lex Luthor. The supporting cast includes other DC heroes, featuring Isabela Merced as Hawkgirl, Nathan Fillion as Guy Gardner/Green Lantern, Edi Gathegi as Mister Terrific, and Anthony Carrigan as Metamorpho. This ensemble approach allows the film to establish a broader DC Universe while maintaining its focus on Superman’s core story.

The creative direction draws inspiration from various comic sources, with Gunn specifically citing Grant Morrison and Frank Quitely’s All-Star Superman as a key influence. This celebrated comic series was known for its optimistic approach to the Superman mythology while maintaining emotional depth and cosmic scope, two things repeatedly hinted at in Superman’s footage. Gunn has emphasized that despite the film’s expanded scope, the narrative centers on Superman’s journey to reconcile his Kryptonian heritage with his human upbringing in Smallville, Kansas.

Superman flies into theaters on July 11th, marking the beginning of DC Studios’ new era of interconnected storytelling. Are you excited about the DCU Hawkgirl having organic wings? Tell us in the comments!

The post Superman’s James Gunn Confirms Key Hawkgirl Details (And Comic Fans Will Be Thrilled) appeared first on ComicBook.com.

Superman may not be releasing an official Super Bowl trailer this year, but the new James Gunn movie has already given us a Puppy Bowl first look and now it’s released a character-specific tease. Straight from the social media channels for Superman, Warner Bros. has released a new look at Nathan Fillion’s Green Lantern character, Guy Gardner. “Noting this bowl as a touch down,” reads the caption on X (formerly Twitter), which features a quick video of several shots of Fillion’s new DCU hero. Throughout the video he combs his own hair with his fingers with the caption “The only bowl I need,” referencing his iconic hair style.

Though Guy Gardner made his comic book debut in the late 1960s, the character would go on to be at his most popular in the 1980s and 1990s. At that time a somewhat radical reinvention of his appearance was made, giving Gardner his now iconic “bowl cut” hairstyle, a look that has persisted for some time. As comic fans know, Green Lanterns channel their abilities through their own “willpower.” Gardner’s brash and arrogant personality coupled with his truly foolish looking haircut prove just how strong of a Green Lantern he really is. If he’s capable of being that willful, that cocky, and that pompous…all while looking like a young child with no control over his haircuts, then he must be a powerful Green Lantern.

James Gunn has always been public about his love for comics, so giving Guy Gardner his “traditional” haircut even though it fails to meet modern fashion stylings, shows that he’s keeping the live-action DCU feature films in line with the source material. Gunn even once said that, “Giving my old pal Nate a bowl cut might have been my primary reason for casting him.” Not to mention, DC leaning into how ridiculous Nathan Fillion looks in the movie for a little bit of “Big Game” marketing is kind of perfect.

DC is already making big moves with the Green Lantern pantheon of characters for the future of the DCU. In addition to Nathan Fillion taking on the role of Guy Gardner in Superman, but Kyle Chandler and Aaron Pierre will take on the characters of Hal Jordan and John Stewart, respectively. Chandler and Pierre are set to lead a new TV series, titled Lanterns, though it’s unclear where they might make their first appearance in the DCU.

Superman, featuring Nathan Fillion’s Green Lantern, will be released in theaters on July 11

The post Superman’s New Green Lantern Teaser Is Perfect (And DC Fans Know Why) appeared first on ComicBook.com.

A dog is a Man of Steel’s best friend. Animal Planet’s Puppy Bowl XXI kicked off on Super Bowl Sunday with a special message from Superman director James Gunn and his real-life rescue pup Ozu, who inspired Krypto the Superdog in the upcoming DC Studios film. Now in its 21st year, the “ulti-mutt” call-to-adoption television event featured 142 rescue puppies from 80 shelters across 40 states and two countries to raise awareness for one of the most superheroic acts of all: adopting animals in need of fur-ever homes.

“I’m here with my pal Ozu, a rescue pup we adopted back when I was writing the script for my latest film, Superman,” the DC Studios co-chief says in the video message, which you can watch below. “And as Ozu was changing our lives, he became the inspiration for a character in the film that I can’t wait for you to meet: Superman’s best friend, Krypto.”

RELATED: 2025 Super Bowl: 9 Trailers You Can Watch Now Before the Big Game

“Krypto has all the powers of Superman and is lovable as mischievous as many of the irresistible pups you’ll see today,” Gunn said of Puppy Bowl XXI, which marked the first-ever Krypto Super Play awarded to the pup who displayed “super” abilities.

In October, Gunn shared the story of his rescue dog, who is featured rescuing the Man of Steel (David Corenswet) in the Superman trailer that flew online in December.

“Ozu, who came from a hoarding situation in a backyard with 60 other dogs and never knew human beings, was problematic to say the least,” Gunn wrote in a social media post. “He immediately came in and destroyed our home, our shoes, our furniture — he even ate my laptop. It took a long time before he would even let us touch him.”

Gunn continued, “I remember thinking, ‘Gosh, how difficult would life be if Ozu had superpowers?’ – and thus Krypto came into the script and changed the shape of the story as Ozu was changing my life.” Describing the cape-wearing Krypto as the “not-so-good-good-boy,” the post was made in honor of Adopt-a-Dog Month, which American Humane celebrates every October to give prospective owners the resources to adopt the estimated 3-4 million animals in shelters across America.

Superman — starring David Corenswet as Clark Kent/Superman, Rachel Brosnahan as Lois Lane, Nicholas Hoult as Lex Luthor, with Edi Gathegi as Mister Terrific, Anthony Carrigan as Metamorpho, Nathan Fillion as the Guy Gardner Green Lantern, Isabela Merced as Hawkgirl, Skyler Gisondo as Jimmy Olsen, María Gabriela de Faría as the Engineer, Wendell Pierce as Perry White, Pruitt Taylor Vince and Neva Howell as Pa and Ma Kent, and Alan Tudyk in an as-yet-undisclosed role — soars into theaters on July 11.

The post Superman Director James Gunn Introduces Krypto the Superdog During Puppy Bowl XXI appeared first on ComicBook.com.

Warner Bros. Discovery and DC Entertainment/DC Comics are being sued by the estate of Superman creator Joseph Schuster to block the release of the upcoming movie by James Gunn in several territories. The lawsuit was filed today by the executor of the Superman estate, Plaintiff Mark Warren Peary, in the Southern District of New York. The suit states the estate is seeking “damages and injunctive relief for Defendants’ ongoing infringement in Canada, the United Kingdom, Ireland and Australia, as well as declaratory relief establishing the Shuster Estate’s ownership rights across relevant jurisdictions. The matter is ripe for adjudication, as Defendants are actively planning a major new Superman motion picture and other derivative works for imminent worldwide release.”

“We fundamentally disagree with the merits of the lawsuit, and will vigorously defend our rights,” a Warner Bros. Discovery spokesperson said in response. We learn that the territories in question are Canada, the United Kingdom, Ireland, and Australia.

[RELATED: Superman Movie Flight Scene Divides DC Fans, James Gunn Responds]

“At issue are foreign copyrights to the original Superman character and story, coauthored ‘on spec’ by Jerome Siegel (‘Siegel’) and Shuster. Though Siegel and Shuster assigned worldwide Superman rights to DC’s predecessor in 1938 for a mere $130 ($65 each),
the copyright laws of countries with the British legal tradition—including Canada, the United
Kingdom, Ireland, and Australia—contain provisions automatically terminating such
assignments 25 years after an author’s death, vesting in the Shuster Estate the co-author’s undivided copyright interest in such countries,” the complaint reads.

“Shuster died in 1992 and Siegel in 1996. By operation of law, Shuster’s foreign
copyrights automatically reverted to his estate in 2017 in most of these territories (and in 2021 in Canada). Yet Defendants continue to exploit Superman across these jurisdictions without the Shuster Estate’s authorization—including in motion pictures, television series, andvmerchandise—in direct contravention of these countries’ copyright laws, which require thevconsent of all joint copyright owners to do so.”

Directed by James Gunn, Superman soars into theaters on July 11th.

The post Superman Estate Suing to Deny Release of James Gunn’s Movie In Certain Territories appeared first on ComicBook.com.

Being a fan of DC Comics isn’t always easy. Over the years, DC superfans like me have had a lot of heartache – the rise and fall of the New 52, the failure of the Green Lantern film, the massive ups and downs of the DCEU, and several comic status quo changes that started great but ended up being disappointing. However, that hasn’t been the case in the last few years. DC has been firing on all cylinders, with its comics, films, and TV shows supplying many of the best superhero stories of all time. The nascent DCU and DC Studios are driving excitement for the brand. Marvel may get all the money, but DC has all of the plaudits.

DC hasn’t missed in the last few years, and it’s actually not all that hard to prove. Looking at the particulars of what DC has been putting out, it’s hit after hit after hit. DC has always pushed the envelope when it comes to superheroes and if this keeps up, there will be a new big dog in the superhero yard.

DC Is All Killer, No Filler, & Has Been for Years

Looking back over the years, the turning point of DC was certainly The Suicide Squad in 2021. James Gunn’s first work for DC was amazing: it took the pieces set up by the DCEU and fixed them. The movie was able to combine the more mature tone of the DCEU, with the kind of humor and love of the DC Universe that those films often lacked. Unfortunately, things on the movie side of things weren’t magically fixed; the remaining films in the DCEU (Black Adam, Shazam!: Fury of the Gods, Aquaman and the Lost Kingdom, Blue Beetle, and The Flash) were all varying degrees of box office failures. However, even then, I wouldn’t exactly call them failures. Most of these movies weren’t terrible. At best, they were standard superhero movies, and at worst, they were The Flash.

The first few years of the 2020s hadn’t exactly been great for any superhero movies or TV shows – well, except for DC. Peacemaker took the fan-favorite character from The Suicide Squad and gave him what is arguably the best live-action superhero TV show ever. It had the humor, it had the action, but most importantly it had the heart. Peacemaker was able to connect with audiences on every level, telling a great superhero story that also tugged at the heartstrings – everything that DC fans wanted from these adaptations and they were finally getting it. The Arrowverse deserves its respect, with even the franchise’s final show Superman & Lois earning a lot of respect and acclaim from fans as it ended this year.

On the big screen, The Batman was another huge win for DC, despite it not being a part of either the DCEU or DCU, it gave fans the kind of Batman movie they always wanted: a dark detective drama that didn’t just walk in the paths of other Batman movies. It also, perhaps coincidentally, is better than just about every MCU movie since 2019 that wasn’t directed by James Gunn.

The end of the DCEU and the announcement of the new DCU, under the control of James Gunn and Peter Safran, is when things really got good. Gunn is probably the best writer/director in comic book movies today. He gets how to make superhero stories work, able to meld plot and character building in ways that many others just can’t. Look at the successes of DC since Gunn and Safran took over. Creature Commandos has opened up the doors of the DCU, with Gunn again melding character and plot expertly. Creature Commandos‘ overarching story is pretty basic, but what makes the show work so well is the magnificent attention and care it pays to the characters – a near-perfect example of how great an adaptation can be.

Related: DC Reveals Lex Luthor’s Key Role in Baby Superman’s Life

The Penguin is another example of what DC does so well. Now, yes, the show isn’t a DCU project (it’s part of Matt Reeves’ That Batman Universe), but it’s following in the footsteps of what the DCU is doing. The Penguin isn’t the standard superhero movie spinoff show: it’s a crime drama that uses Gotham City and its organized crime families as fertile storytelling ground. The Penguin is the best TV show of 2024 because it was more about telling its own story than being an adaptation. It wasn’t a cash-in for a movie, it was a piece of fiction that could stand on its own, which is very important.

Of course, we can’t talk about the DCU without referencing the 500lb. gorilla in the room: Superman. 2024 had some great fandom moments, and the December release of the Superman trailer set the Internet on fire. For two minutes and 19 seconds, the world got a perfect slice of what a superhero trailer should be. Superman has been out in the weeds for a while as a character; sure, people liked Henry Cavill’s Superman, but it’s impossible to say that the world was happy with his role in the DCEU films. Superman‘s trailer felt more like Superman in under three minutes than the multiple hours of Superman we got from the DCEU. The second trailer is also amazing, showing off the Man of Steel in flight beautifully.

Of course, DC is more than just movies and TV: comics have been another place where the brand has been stellar. Marvel was basically the de facto sales leader in the comic market, with DC being a rather distant second. However, when it comes to quality, DC’s comics have been outstanding in the 2020s. The turning point for DC began with 2021’s “Infinite Frontier”, a publishing initiative that was a soft reboot of DC’s comics line. Now, “Infinite Frontier” wasn’t perfect, as DC went heavily on Batman comics and was barely publishing anything else. However, books like Action Comics, Detective Comics, Nightwing, and The Flash were getting praise from fans. “Infinite Frontier” ended with the event comic known as Dark Crisis On Infinite Earths, a crossover I loved, even though it has its share of detractors. However, even the people who didn’t like DCoIE have to admit it was a huge turning point; after the book, DC’s titles started to get way better, in general.

2023 kicked off the “Dawn of DC” publishing initiative. “Dawn of DC” was simple; it was all about rebuilding the DC Universe. DC’s comic continuity can be rather confusing, but “Dawn of DC” did something that DC publishing initiative hasn’t done in a while – it just ignored continuity. We all know who these characters are and we know there’s a multiverse. That was all a fan needed to know to love these books. It worked perfectly. It was back to basics, and chockful of great comics. Superman, Action Comics, Batman/Superman: World’s Finest, Detective Comics, Poison Ivy, Nightwing, Titans, Steelworks, Superboy: Man of Tomorrow, Green Arrow, Justice Society of America (when it came out), Wonder Woman, and many more were all riding high. Sales were going up, and the event comic Absolute Power would lead to the biggest change to DC in decades: the debut of the Absolute Universe.

The Absolute Universe copies Marvel’s new Ultimate Universe almost exactly – a villain-created universe where the heroes get very different origins and lives from the mainline Earth. Absolute Batman stars a more violent (and poor) Bruce Wayne as Batman. Absolute Superman features a Superman who came to Earth much later in his life and is more Kryptonian than earthman. Absolute Wonder Woman stars a version of Wonder Woman raised in Hell and defending the world from its horrors. These three books have been destroying the sales charts, to the extent that DC has gotten the top spot almost every week since they debuted. DC is putting out the best superhero comics – both in their main line (with its new “All-In” initiative) and the Absolute line – bar none.

It’s a Perfect Time To Be a DC Fan

Since 2023, DC has been killing it. There’s really no other way around it. 2023 was when most of the old guard at DC started to fade away, and the new DC Studios started to take command of the adaptations. The comics put out amazing stories, making forays into the top of the charts like never before. Everything is looking good again and only looking better and better over the next few years.

2025 looks to be a tremendous year for DC. Creature Commandos showed that audiences are down for the weirder corners of DC, while Superman (2025) looks like it’s going to be a pop-culture phenomenon. The comics are finally selling well again; The Penguin showed audiences that DC Studios TV series could be more prestige-tier and earn more acclaim than the conveyor belt of Marvel Disney+ shows. DC is proving something that I’ve been saying for years – that it doesn’t miss.

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The battle between Superman and Lex Luthor has reached a strange new place in Superman and Action Comics. Since the latest volume of Superman started, Lex has been an ally of Superman – though imprisoned, he helped Superman as much as possible, even making LexCorp into SuperCorp to help the Man of Steel. Brainiac captured Lex Luthor in last year’s “House of Brainiac” story arc, which ended with Lex losing his memory. Since then, Lex has been something of a kitten, helping SuperCorp and his daughter Lena, while seemingly falling in love with his long-suffering assistant, Mercy Graves. Lex is a changed man… or at least that’s how it seems.

Superman: Lex Luthor Special #1, by Joshua Williamson and Eddy Barrows, concentrates on Lex’s amnesia. The story has a huge twist in it, one that is rumored to play into Dan Slott’s upcoming Superman Unlimited, but also reveals another moment from Luthor’s childhood, one that shows just how linked he and Superman have been for almost their entire lives.

Lex Luthor’s Genius Made a Huge Difference in Baby Superman’s Life

In the issue, the memory-wiped Lex is given a piano by Lena, who remembers Lex’s mother once talking about Lex’s old piano lessons. Lena means for the instrument to jog Lex’s memory and it seemingly does: Lex remembers his piano lessons, as well as his drunken father Lionel’s anger at Lex playing music. While his mother does her best to mitigate Lionel, Lex is still hurt by his father’s rage, crying his eyes out. This is a major moment, as so far, Lex’s memory has been a complete void. It being Lex, though, he hides the fact that he remembers anything from Lena.

The next flashback sees Lex and Lionel in Smallville. Lionel rushes the young Lex to finish the errand they’re on. When two parents and a crying child walk by, Lionel gets angry about the noise the baby is making. He asks Lex why the boy needed them to come downtown and Lex tells him that he had an idea for an invention – one that can send music into space, and he needed a radio transmitter. He tells his father that he was creating the machine specifically for Lionel. Instead of being happy his son wanted to make him something, Lionel is livid with his son’s ingeuinty (for those who don’t know the history – Lionel Luthor hates his son because Lex is smarter than him).

Related: Nicholas Hoult Details How “Ruthless” Lex Luthor Will “Outmaneuver” Superman

In the final flashback of the issue, Lex is running away from his home as his mother and father fight over him. Lionel says that no child could create a machine like the one Lex did and that they can’t let the boy leave their farm, ever. Lex runs through the field before finding a clearing and sitting under the moon. Lex sits down mournfully and turns on his machine, transmitting music out into space. However, someone much closer hears the tune.

The couple with the crying baby is revealed to be Clark and Martha Kent. Baby Kal-El/Clark Kent hasn’t been sleeping at all, spending night and day crying his little eyes out. Neither of the Kents know what to do the calm the baby down and they can’t take him to the doctor, out of fear that medical personnel will realize that he isn’t human. Then, suddenly something changes. Lex’s music transmission plays at a level that Jon and Martha can’t hear, but baby Superman can. The infant Clark calms down and finally goes to sleep, with the Kents proclaiming that it’s some kind of miracle. Meanwhile, young Lex Luthor sits by himself in the field, his head hung in sadness not knowing the happiness he brought to the lives of the Kents and the person who would one day become his worst enemy.

Superman: Lex Luthor Special #1 Shows the Tragedy of Lex Luthor’s Life

Superman and Lex Luthor’s lives have often been a dark mirror. While the Kents loved young Clark with all their heart, young Lex Luthor’s life was very different: his mother loved him, but his father was an abusive monster, his own feeling of inadequacy fueled by Lex’s genius. This issue shows off this difference in Superman and Lex’s upbringings: while baby Clark is being doted over by his parents, who just want him to stop his crying and finally rest, Lex’s father reacts with rage to Lex making him a present. It’s a stark reminder of how the terrors of his early life changed Lex Luthor, forever.

Superman: Lex Luthor Special #1 is one of two Lex one-shots available this week, and does a great job of progressing Lex’s current plot line forward. It’s often been said that if Lex Luthor really cared about humanity as much as he says he does, he could have created ways of helping the planet, and this issue shows that there was indeed a time when the young Lex just wanted to use inventions to help people. It plays into the issue’s main plot – where Mr. Terrific asks Superman if Lex can remember how to make a machine that will allow them to communicate with the alternate Earth of DC’s Absolute Universe – but seeing this portion of Lex’s younger life further explains the formative tragedy that forged him into the villain he became. It’s truly heartbreaking to see what Lex could have accomplished if he was raised better.

Superman: Lex Luthor Special #1 is on sale at DC.

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James Gunn’s Superman is one of the most highly-anticipated movies of 2025 – and one of the most hotly-debated. Not only does Gunn have to re-introduce a new version of Clark Kent/Superman (actor David Corenswet), but the entire future of the new DC Studios and its DC Universe franchise depends on Superman opening wider doors to a mainstream audience than the previous era of the “DC Extended Universe” which was shepherded by Zack Snyder.

It shouldn’t surprise anyone, then, that every bit of footage from Gunn’s film is being weighed against Snyder’s DCEU debut film Man of Steel – including the latest Superman TV spot, which features the first close-up footage of Corenswet’s Superman in flight. Now even fans of The CW’s Arrowverse are weighing in on whether or not Gunn’s Superman can outdo the likes of Superman & Lois!

The image above is from the latest Superman TV spot, which was released during the NFL Conference Championship games. Fan chat threads quickly bent toward the conspiracy theory that Corenswet’s face had been altered with CGI to simulate realistic in-flight physics. That notion led to a wider range of criticism (about the two seconds of footage) about whether or not Gunn is making a Superman movie that is worthy of the big screen and and big budget.

“Man of Steel was over 10 years ago and it still Looks light years better than JG’s Superman!” said one DC fan in a Twitter post, adding, “This downgrade is diabolical!” Another post stated that Gunn’s Superman film is “Getting mogged by a Superman CW show with 1/20 the budget” while showcasing a .gif of Tyler Hoechlin’s Superman in flight, during an episode of Superman & Lois.

There are now entire chat threads filled with side-by-side videos of Gunn’s Superman in flight, compared to footage of Henry Cavill’s Superman in flight, or Hoechlin’s Superman in flight. Despite many positive takes on the footage (see one below), there is still a dedicated consensus in the criticisms of the footage, that Gunn’s take on Superman is too bright, colorful, and CGI-heavy, and is worse than the modern live-action versions of Superman we’ve gotten before.

On the other hand, many positive counterpoints are being made by fans – like the fact that Gunn is the first modern Superman movie director to actually take the physics of in-flight hair into consideration: “Finally, a Superman flying scene where his hair actually flows in the wind – unlike the usual super-speed flights where it stays perfectly gelled, barely moving, like he’s in front of a table fan,” one fan posted before adding that “@JamesGunn is a GOAT.”

James Gunn Responds to Fan Backlash Over Superman Flight Footage

Viewer opinions can’t often be changed once set, so getting Snyderverse or Arrowverse fans to suddenly embrace what James Gunn is doing with his Superman is a somewhat futile battle. However, Gunn did take to his social media account to debunk any assertions that Corenswet’s face was CGI or AI-created during Superman’s flight scenes:

“There is absolutely zero CG in his face,” Gunn wrote in a post. “People’s faces can look different when you put a wide-angle lens up close. The background plate in Svalbard is 100% real as is David.”

This isn’t the first time that Gunn has hopped into the fan discourse about Superman with some film school-style technical clarifications. The first Superman trailer sparked widespread debate about the color palettes ad production design of the film – even some chatter (and confusion) about the type of camera lenses being used and what kind of shot composition we will get in the film.

[RELATED: Why You Really Need to Watch the Superman Trailer in 4K]

As we’ve previously stated (see link above) there is clear evidence that Gunn is using dynamic shifting color tones and stylistic flairs like wide-angle lens shots to immerse viewers in a modern-yet-fantastical DCU world, while trying to have them experience Superman’s godly powers like never before. Whether or not every fan embraces that new vision remains to be seen – and this likely won’t be the last time that shade gets thrown about Gunn’s skills as a filmmaker or ability to pull off a game-changing Superman reboot.

Superman has a theatrical and IMAX release date of July 11th.

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We’re still several months away from James Gunn’s highly anticipated Superman relaunch hitting theaters around the world, but Warner Bros. and DC Studios appear to be gearing up for a massive advertising campaign leading up to its release. With the first teaser trailer out in the world already, fans are looking to the Super Bowl in two weeks as a prime release date for the full trailer. Ahead of that event (and the two NFL conference championship games on Sunday afternoon), DC unveiled a new TV spot for the upcoming film.

The TV spot made its way online late Sunday morning, and includes mostly footage shown in the record-breaking teaser trailer. However, there are a couple of new shots within the 30-second spot, focusing on two of the film’s most important characters. Take a look in the video at the top of the page!

The ad has a new shot of Lex Luthor getting off a massive aircraft, seemingly trying to find the secret Fortress of Solitude. In the final few seconds of the spot, you’ll find some new footage of Superman flying through the ice and snow, directly at the camera.

[RELATED: James Gunn Teases Next DC Studios Project After Superman]

After Henry Cavill’s turn as the iconic hero, this new iteration of the Man of Steel was handed to actor David Corenswet, who is know for his key supporting roles in Pearl and Twisters. The other lead role in the film, that of Lois Lane, went to The Marvelous Mrs. Maisel Emmy-winner Rachel Brosnahan. Nicholas Hoult, who almost landed the role of Bruce Wayne in The Batman, was cast in Superman as the hero’s most popular rival, Lex Luthor.

The cast of Superman also includes Skyler Gisondo as Clark’s best pal, Jimmy Olsen; Wendell Pierce as The Daily Planet’s Perry White; Milly Alcock as Kara Zor-El, aka Supergirl; Isabela Merced as Kendra Saunders, aka Hawkgirl; Nathan Fillion as Guy Gardner; Sean Gunn as Maxwell Lord; Edi Gathegi as Michael Holt, aka Mister Terrific; Maria Gabriela de Faria as Angela Spica, aka The Engineer; Sara Sampan as Eve Teschmacher; Anthony Carrigan as Rex Mason, aka Metamorphosis; Frank Grillo as Rick Flag Sr.; Neva Howell as Martha Kent; and Pruitt Taylor Vince as Jonathan Kent.

Milly Alcock’s Supergirl has already been announced to lead her own solo film in this DCU. Supergirl: Woman of Tomorrow is slated to be released in 2026, just about a year after the debut of Superman. That film went into production earlier this month, with Cruella and I, Tonya‘s Craig Gillespie at the helm.

Superman flies into theaters on July 11th.

The post New Superman TV Spot Released by DC Studios (And it Includes Some New Footage) appeared first on ComicBook.com.

Superman isn’t due in theaters until July 11, but writer-director James Gunn is already getting up, up and away on his next project. The filmmaker, who heads DC Studios with producer Peter Safran, is producing the now-shooting Supergirl: Woman of Tomorrow as the second film in the newly unified DC Universe, which launched with the animated series Creature Commandos (written and executive produced by Gunn). With the show wrapping its seven-episode first season earlier this month, Gunn confirmed he’s begun “pre-writing” a mysterious new project.

“The bulk of my time is dealing with post-production on Superman and Peacemaker, but I’m also spending a fair amount of time pre-writing my next DC Studios project,” Gunn wrote in a post shared to Threads, adding he’s also “watching dailies and offering ideas on the other projects. It’s much less overwhelming than when I was directing.”

RELATED: James Gunn Explains How DC Studios Will Differentiate DC Elseworlds From the DCU

In December, it was announced Max renewed Creature Commandos season 2. Gunn, who wrote all seven episodes of the first season, is likely scripting the new season of the series from DC Studios and Warner Bros. Animation. (The season finale introduced a new team of incarcerated monsters recruited for missions too dangerous for humans, including the fan-favorite King Shark from Gunn’s Suicide Squad redo.)

Another possibility: The Authority. First announced as part of the DC Studios slate along with the feature films Superman (originally titled Superman: Legacy), Supergirl: Woman of Tomorrow, Swamp Thing, and the DCU Batman reboot The Brave and the Bold, Gunn has described The Authority — about a team of superheroes with a zero tolerance approach to superheroics as a sort of anti-Justice League — as “one of my real passion projects.”

When announcing the adaptation of the WildStorm comic book by Warren Ellis and Bryan Hitch, Gunn said, “I’ve been working really hard on it with the writers and we’re starting to put together the entire story. This is a big movie. … WildStorm was a comics imprint that was bought by DC that I really love. We’re moving a lot of these WildStorm characters into the DCU.”

“The Authority’s a very different kind of superhero story,” he continued. “They are basically good-intentioned, but they think that the world is completely broken and the only way to fix it is to take things into their own hands, whether that means killing people, destroying heads of state, changing governments — basically, whatever they want to do to make the world better. We’ll see how that journey goes for them. There are morally gray characters [in our DCU], of which these are.”

Superman introduces one of the original members of The Authority in The Engineer (María Gabriela de Faría), whose liquid metal body is infused with Nanomachines that allow her to interface with machines and shapeshift into any object she imagines.

Gunn wrote the upcoming second season of The Suicide Squad spinoff starring John Cena as the vigilante Peacemaker, and directed episodes with Greg Mottola (Superbad), Alethea Jones (High Potential), and Peter Sollett (Evil). He’s producing Clayface, a spinoff film about the Batman villain written by Mike Flanagan (Doctor Sleep), and the HBO drama series Lanterns from Chris Mundy (Ozark), Damon Lindelof (Lost), and comic book writer Tom King (Supergirl: Woman of Tomorrow, Mister Miracle).

Also in development from DC Studios is The Brave and the Bold. The film will introduce the DCU Batman and Robin (Bruce Wayne’s son, Damian Wayne) and is being directed by Andy Muschietti (The Flash), although Gunn said in December that the script needed work. In January 2023, Gunn and Safran said that their DC Studios is “never going to put a project into production before the script is right.”

DC Studios’ Superman — written and directed by Gunn and starring David Corenswet as the Man of Steel, Rachel Brosnahan as Lois Lane, and Nicholas Hoult as Lex Luthor — is the first film of the new DCU when it flies into theaters on July 11.

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The latest season of Harley Quinn kicks off with an unexpected deep dive into Superman’s history. When Harley (voiced by Kaley Cuoco) and Ivy (voiced by Lake Bell) infiltrate Metropolis Museum’s superhero gala, they stumble upon an elaborate exhibition showcasing the Man of Steel’s most significant costume changes. From emergency containment suits to alternate reality gear, each display tells a unique story about Metropolis’ most excellent protector. While some outfits served practical purposes in Superman’s darkest hours, others represent radical experiments with his powers or reminders of paths not taken. The museum exhibition also underlines how the creative minds behind Harley Quinn are experts in DC’s rich history in comic books and beyond.

Though known for his iconic blue and red suit, the Last Son of Krypton has donned numerous variations when circumstances demanded more than heat vision and super-strength could provide. These costume changes often marked turning points in Superman’s career, whether adapting to new threats, recovering from devastating injuries, or exploring different aspects of his Kryptonian heritage. Let’s take a look at every Superman costume featured in the first episode of Harley Quinn Season 5.

Every Superman Suit in Harley Quinn’s Museum Exhibition

Recovery Suit

First appearing in 1993’s Action Comics #689, the Recovery Suit emerged during one of Superman’s most vulnerable moments. After his resurrection following the “Death of Superman” storyline, this sleek black jumpsuit features silver highlights and a stylized “S.” Later iterations of the suit also explained its crucial medical purpose. Acting as a solar energy collector and amplifier, the suit covers Superman’s entire body, transforming his weakened form into an enhanced solar battery. This practical application of Kryptonian technology helped restore his powers. It also reinforced the sci-fi element of Superman’s mythos, emphasizing his alien origins and establishing a precedent for using advanced technology in times of crisis.

[RELATED: Superman Director Richard Donner Weighs in on State of Superhero Movies]

Electric Suits

In 1997, Superman #123 introduced one of the most dramatic reinventions of the Man of Steel with the Electric Superman suits. Following a radical transformation that turned Superman into a being of pure energy, he required special containment suits. The primary Electric Blue suit featured white lightning patterns over a blue energy form, while its counterpart manifested in red after Superman split into two beings. Both versions granted unprecedented abilities, including energy manipulation, electromagnetic control, interfacing with electronic devices, teleportation, and intangibility. Though controversial among fans, this short-lived transformation pushed the boundaries of what Superman could be, introducing new powers that occasionally resurface in Elseworld stories.

Imperiex War Suit

The Imperiex War Suit debuted in 2001’s Superman #174 as a direct response to the devastating “Our Worlds at War” crossover event. Ma Kent helped design this variation, which maintained Superman’s classic silhouette while incorporating significant symbolic changes. The suit featured darker blue tones and notably replaced the traditional yellow background of the “S” shield with black, mirroring the design choices seen in the “Kingdom Come” storyline. While not providing additional powers, this costume change represented Superman’s emotional state and served as a visual reminder of the war’s tremendous cost.

New 52 Armor

The New 52 Armor, launched with Action Comics #1 (2011), completely reimagined Superman’s costume as functional Kryptonian battle gear. Designed by artist Jim Lee, this modernized interpretation added a protective collar, removed the classic red trunks, and incorporated red piping throughout the suit. The armor featured tapered sleeves ending in points on the hands and a redesigned “S” shield. Despite initial controversy, elements of this design influenced Superman’s appearance across various media and subsequent comic iterations.

Power Armor

Making its debut in 1990’s Action Comics #659, Professor Emil Hamilton’s Power Armor represents humanity’s attempt to replicate Superman’s abilities through technology. Created during a crisis where Mr. Mxyzptlk temporarily stripped Superman of his powers, this silver mechanized suit allowed the depowered hero to continue protecting Metropolis. The full-body armor granted superhuman strength sufficient for punching through brick and concrete walls, while its reinforced plating could withstand small-arms fire and survive falls from several stories. Hamilton also equipped the suit with an array of sensors to compensate for Superman’s lost super-senses.

Space Suit

Featured prominently in Superman: The Animated Series, the Space Suit addressed the practical challenges of extended cosmic missions while reflecting the show’s more grounded approach to Superman’s powers. The full-body suit incorporated his classic costume elements while providing essential life support systems, protection from cosmic radiation, and propulsion systems for zero-gravity maneuvering. This practical addition to Superman’s arsenal served multiple purposes: adding realism to space adventures, creating opportunities for dramatic tension through potential suit damage, and expanding the show’s toy line with new action figure variants.

Brave New Metropolis Suit

Finally, the “Brave New Metropolis” costume, introduced in the 1997 Superman: The Animated Series episode of the same name, is a dark reflection of Superman’s potential for tyranny. The episode explores an alternate timeline version of Superman, born from the loss of Lois Lane and a subsequent alliance with Lex Luthor, transforming the bright primary colors of hope into an all-black ensemble with a modified “S” shield. The monochromatic, more intimidating appearance represented how loss and power could corrupt even the greatest hero, influencing later depictions of evil Superman variants across DC media.

New episodes of Harley Quinn Season 5 premiere on Max every Thursday.

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I’m a huge fan of James Gunn‘s DCU work. The Suicide Squad and Peacemaker were excellent, combining deep characters, action, and plot in beautiful ways. Creature Commandos was just as great: that last episode was a heartbreaker, and the show did a brilliant job of setting up what the landscape of the new DCU is. I don’t think I’m alone in saying that I’m extremely excited for what comes next.

Gunn obviously has a deep love for DC and it shows in all of his work. That’s why I, another fellow lover of DC, have a simple request to the filmmaker: give us Earth-Two in the DCU. In fact, I think that he should go completely pre-Crisis with it, and there are lots of great reasons for this. I think the world is ready for a true superhero franchise multiverse, and Earth-Two is the perfect place to start.

Earth-Two Is the Best Alternate Earth in Comics

Multiverses are all the rage nowadays. It’s an amazing concept that doesn’t always get used well, but bringing Earth-Two into the DCU, along with the rest of the pre-Crisis multiverse, could finally show people just how well a multiverse can be used in superhero stories. Earth-Two is the home of the Justice Society of America, a world where the age of superheroes began in 1938 when Superman first allowed himself to be known to the public. There are decades of superhero history on Earth-Two, and those decades could be mined for films and TV shows.

Earth-Two’s heroes aren’t doppelgangers of familiar characters, they are rich characters on their own. Jay Garrick/Flash is the quintessential superhero; Wildcat is the gruff bruiser with the heart of gold; Hawkman is an ancient warrior; Starman is the prototype for every superhero scientist that came after him; the Spectre is an inhuman force trying to remember being human; Johnny Thunderbolt is the mascot; the Sandman is the detective; Hourman became addicted to his superpower pills; Black Canary is the woman who can beat up all the men, and Mister Terrific is the polymath who pulls out the victory in the nick of time. Earth-Two Batman is a more happy version of the Caped Crusader, a Bruce Wayne who didn’t allow the darkness of Gotham to suck him down — he even married Catwoman eventually. Earth-Two Superman is probably my favorite Superman variant, a man of the people who didn’t just fight the supervillains, but also worked hard to help the common man, going after crooked government officials and those who would take advantage of their power. Earth-Two Wonder Woman is a warrior for peace and truth, something that doesn’t always come across in more modern portrayals.

[RELATED: Why James Gunn’s Superman Trailer Reminded Me I Love Superman]

Any of these characters could have brilliant adaptations. Alan Scott wrestling with his sexuality during the ’30s and the ’40s has so much potential as a movie or TV series (see the recent comic series for an example). Hourman dealing with his addiction to both Miraclo and being a superhero is a look at superheroes that is quite unique. You can even just straight-up adapt Sandman Mystery Theater, the detective thriller series starring the Sandman. Look at the success of The Penguin; Sandman Mystery Theater has the potential to be even better than that. A Justice Society movie has “blockbuster” written all over it, and going in that direction means that the DCU can do crossover movies between the heroes and villains of the different Earths. And that leads to a very important place in DC history: Crisis on Infinite Earths.

One day, the DCU is going to need to have its Infinity War/Endgame moment the road to that is paved through Earth-Two. Introducing the DC Multiverse through Earth-Two not only allows the DCU to tell superhero stories very different from what has come before, but it sets out a road map for the future. Earth-Two means that Earth-Three, the world where evil always wins, can come next. We can see Earth-X, the world where the Nazis won WWII and the only resistance is from the superhero team known as the Freedom Fighters. There are infinite ideas out there and DC has already proven many great ones on the comic page, that are now ready for the screen.

Earth-Two in the DCU Is a Win-Win

The DCU, in my opinion, is going in the right direction. DC Comics have always been more fantastical and weird, and Creature Commandos captured that. The DCU slate goes in some great directions that show off the true breadth of DC Comics. I feel that bringing in Earth-Two and going in a pre-Crisis direction would build on that.

The DCU has to set itself apart from Marvel immediately, and Earth-Two gives it a chance to do that. Superhero movies are in danger of getting stale, and the best way to combat that is to not do what everyone else has done. And from where I’m standing, that’s Earth-Two.

Creature Commandos is streaming on Max. The first DCU film release will be Superman on July 11th.

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Creatures Commandos has given DC fans their first look at the DCU and what a look it was. Many people questioned the wisdom of starting with such an unknown concept, but Creature Commandos‘ cast of monsters has proven to be a very interesting doorway into the all-new cinematic universe based on DC Comics. The show was packed with clues about the shape of the new DCU, revealing many familiar aspects. Now that the first season is over, it’s time to look at everything the show set up and see just what might be in store for the future. All of it points to it being an exciting future for DC fans.

The DCU Already Has Films In Its Canon

So, we’ll start with the easy stuff. The very existence of Task Force M shows that much of James Gunn’s previous DC work is canon to the DCU. The Suicide Squad and Peacemaker happened, down to that story about Superman getting shot. This is to be expected; since Gunn is in charge of things, it makes sense for those projects to be canon. John Economos and Amanda Waller are the same characters, and the death of Rick Flag Jr. at Peacemaker’s hands had been established by Waller and Rick Flag Sr. Flag probably doesn’t know all the details, but that’s just how Waller rolls.

Amazons Are A Controversial World Discovery

The show went into greater detail about the DCU as the season progressed. Its first phase concentrated on Circe and the Sons of Themyscira, establishing that Themyscira is not only known to the world but also rather controversial with the chuds of the manosphere. There are even university classes taught about it, as evidenced by Professor McPherson, who Clayface killed and impersonated in an attempt to trick the Creature Commandos in going back and killing Princess Illana Rostovic in Pokolistan. An interesting little wrinkle about Pokolistan is that the Princess’s knights are vaguely reminiscent of the Atomic Knights, survivors of a nuclear holocaust on either a future or alternate Earth, depending on the DC continuity in question. This fits Grodd’s plans for the world – he may have created that nuclear Earth if he got his way.

DC’s WWII Heroes

G.I. Robot made fans of DC’s Golden and Silver Age very excited. The robot’s origin episode establishes that Sgt. Rock and his Happy Company exist in the DCU. This opens DC’s entire slate of WWII war heroes – including the Losers, who are Flag family-relations – and also could open the door for the Justice Society of America to exist at some point. G.I. Robot’s meeting with scientist Will Magnus also opens things up for the Metal Men, a group of robots with different personalities and element-based capabilities made by the roboticist.

The Long History of DCU’s Monterverse

The stories of The Bride and Eric Frankenstein show that the monster side of the DC Universe is in full effect. Both of them have been long-time DC characters, and their existence also means that perhaps the Patchwork Man – a Swamp Thing-related monster that is created similarly – potentially exists. Monsters are a very important part of the show, and this fits in with the name given to the first story arc of the DCU: “Chapter One: Gods and Monsters”. Monsters have always been special in the DC Universe; while many of them are frightening enemies, just as many are heroes. Task Force M could play a major role in the future dealing with the monsters of this world.

RELATED: Creature Commandos: DC Studios Logo Pays Homage to a Classic Superman Story

The DCU Batman Universe

The biggest reveals from Creature Commandos are all Batman-related. The show’s inclusion of Doctor Phosphorous let us know that Gotham exist (something reinforced by the appearance of Clayface), but the season’s penultimate episode showed that Gotham is pretty much exactly the way it is in all other media. Well, Rupert Thorne is dead, but other than that, it’s Gotham. Viewers even got a glimpse of the Caped Crusader himself. James Gunn clarified that Batman has existed for some time in the DCU, meaning that we’re not jumping in at the exact beginning of the heroic age. This is a universe that has been in motion for a very long time, which is extremely exciting for fans of DC Comics. Also, Marvel Comics exists in the DCU – the Bride called Doctor Phosphorous “Ghost Rider.” So that’s interesting and does fit something that DC and Marvel have done in previous years, with comics often showing aspects of the other fictional universe of superheroes.

More Hero & Villain Teases

Star City and Metropolis are things as well. The latter is obvious because of Superman (2025), while Nina’s origin episode revealed Star City, which opens the door for heroes like Green Arrow to eventually show up. Gorilla Grodd has been established as a major potential threat in the DCU, using his telepathic powers to move people like pieces on a game board, all in the pursuit of the destruction of humanity, a familiar role for the simian tyrant.

This is actually perfect for Grodd; while he’s often portrayed as a brutal monster – which again plays into the title “Gods and Monsters” – he’s also a cunning evil super genius, who can manipulate events from the shadows. Grodd’s existence means that Gorilla City exists (fingers crossed we get to Solivar and maybe even the Ultra-Humanite in the albino gorilla body), which also opens the door to the Flash and the DCU version of twin cities of Central City and Keystone City. That last one depends on whether the DCU is going to do a classic Earth-Two, which is the original home of Keystone and the Justice Society; after all, multiverses are all the rage).

The DCU Is More Fully Formed Than We Guessed

Creature Commandos turned out to be the perfect way to introduce fans to the DCU. For years, everyone thought that the only way to be successful was the MCU’s method – a slow rollout at the beginning of the universe, holding fans’ hands and showing them everything as it builds and progresses. However, Creature Commandos went in a different direction: Gunn used what fans already knew about DC – The Suicide Squad, Peacemaker, Batman, Gotham City, Themyscira – to widen the foundation of his universe. He used each member of Task Force M to expand upon a variety of things, opening doors for a lot of DC characters and concepts to come.

Creature Commandos was a perfect starting roadmap for the DCU, building excitement for what’s to come. It’s the most entertaining extended trailer for a franchise universe ever – a seven-episode run that teased the breadth of this new DC cinematic endeavor. In Gunn we trust.

You can stream Creature Commandos on Max.

The post Everything Creature Commandos Taught Us About the New DCU appeared first on ComicBook.com.

The new DC Universe franchise kicks off this year with Superman, followed by Supergirl: Woman of Tomorrow next year, and appropriately, Warner Bros. just made its classic 1984 Supergirl movie available to stream on Max. Supergirl starring Helen Slater as Kara Zor-El was added to the Max catalog on January 1st and is there for subscribers now. Whether you’re a nostalgic long-time fan or a student of superhero history, now is the time to revisit this one.

Supergirl is a part of the continuity established by the 1978 Superman movie starring Christopher Reeve. It takes place after the events of Superman III and is the penultimate movie in this series before Superman IV: The Quest for Peace. Supergirl was a critical and commercial flop in its time, even earning two Golden Raspberry Award (Razzie) nominations. These days, DC fans are used to this kind of disappointment and may find something to like in this quirky movie.

These four Superman films and Supergirl were produced by Ilya Salkind, who persuaded his father and co-producer Alexander to purchase the film rights to Superman in 1974. There are many reports that the Salkinds had contentious relationships with other creatives on these projects — particularly director Richard Donner. Ilya wrote a treatment for Superman III that would have introduced Supergirl in a very convoluted manner, but his ideas were reined in by studio intervention.

[RELATED: The Only Three Superman Movies With a Fresh Rating on Rotten Tomatoes (But There Should Be More)]

Instead, Supergirl was introduced in her own film the following year. The movie was written by David Odell and directed by Jeannot Szwarc – neither of whom had worked on the previous three films. It finds Kara living in Argon City — a Kryptonian community that survived the planet’s destruction by transporting itself into an alternate dimension. When that city’s power source is accidentally launched toward Earth, Kara takes a ship to go after it. In the process, she becomes Supergirl, taking after her long-lost cousin.

Superman does not appear in this movie, though Marc McClure reprises his role as Jimmy Olsen. We also meet Lois Lane’s younger sister, Lucy, played by Maureen Teefy. Beyond that, connections to the Superman films are tenuous at best. The story is mostly about Kara’s battle with a witch named Selena (Faye Dunaway) for control of Argo’s power source and for the affection of a young man named Ethan (Hart Bochner). In the end, Kara returns to Argo, leaving her future involvement in the series questionable.

What Went Wrong With Supergirl?

The original plan was for Christopher Reeve to make a cameo appearance in this movie as Superman, but the actor bowed out of the project early on. Instead, we see a news broadcast explaining that Superman is currently off the planet on an unspecified “peace-seeking mission.” Meanwhile, Supergirl did not make an appearance in Superman IV, leaving this spinoff generally disconnected from the rest of the franchise.

Supergirl earned a total of $14.3 million at the global box office against a $35 million production budget. Critics tore into Dunaway’s performance as the villain Selena, as well as Peter O’Toole’s portrayal of the Argonian wizard Zaltar. At the time of this writing, the movie has a dismal 8% fresh rating on Rotten Tomatoes, with an average score of 3.4 out of 10. The audience score is a little more generous at 26% fresh, and retrospective critics have been kinder to the movie in recent years, which has actually driven its average score up.

Revisiting Supergirl now could be a fun way for many fans to prepare for the DCU to take off this summer. Even if you’re not tempted to watch it on its own, a completionist must include it in a binge-watch — all four Superman movies starring Reeve are on Max as well, along with the belated sequel Superman Returns.

However you prepare, Superman hits theaters on July 11th, followed by Supergirl: Woman of Tomorrow on June 26, 2026.

The post Before Superman, You Can Stream DC’s OG Supergirl Movie appeared first on ComicBook.com.

One of the most thrilling athletic competitions of the year is right around the corner, and as if seeing Team Ruff and Team Fluff going head to head in Puppy Bowl XXI isn’t already enough reason to tune into the event, this year gives DC fans even more to be excited about. In honor of the upcoming Superman, which brings Superman’s beloved canine companion Krypto into the mix, fans can get an all-new look at the upcoming DC film when they tune in to the festivities. With filmmaker James Gunn drawing heavy inspiration from his own dog Ozu to develop Krypto’s on-screen performance, Gunn (and Ozu) will have a special message for fans during the event. Puppy Bowl XXI kicks off on Sunday, February 9th at 2 p.m. ET and will air across Animal Planet, Discovery, TBS, truTV, Max, and discovery+.

“Animal Planet’s Puppy Bowl serves as an annual pop culture programming event that continues to expand in reach, awareness, and of course, puppies, every year,” Howard Lee, Chief Creative Officer of U.S. Networks and President of Discovery Networks, shared in a statement. “Win or lose, Puppy Bowl XXI will have the cutest players in the game on Sunday, February 9th and will inspire families across the country to adopt a new furry friend.”

The special look at Superman is described, “One incredible pup who displays ‘super’ abilities will be presented with the Krypto Super Play award. Audiences can catch a special sneak peek of Superman within Puppy Bowl before its theatrical release on July 11th. During the game, writer and director James Gunn will deliver a special message with his dog Ozu, who serves as the inspiration for the character Krypto in DC Studios’ Superman.”

Per press release, “The annual three-hour television event will feature 142 rescue puppies from 80 shelters across 40 states – and two countries – as they compete in the cutest competition of the year. With more puppies than ever before, Puppy Bowl XXI will highlight their inspiring journeys from birth to adoption, as well as the tremendous dedication of the rescues and shelters that help find animals their forever homes.”

“The game kicks off when Puppy Bowl referee Dan Schachner blows the whistle and the PEDIGREE Starting Lineup players take the field at PROGRESSIVE Stadium. Julep, the first-ever St. Bernard-mix, and Smoosh, the only Pekingese to compete in the games, will head up Team Fluff while Mr. Pickles, a Pug-Chihuahua from Dallas, and Tuani, a Chihuahua-German shepherd who traveled all the way from Nicaragua, will look to bring Team Ruff to victory. The two teams will go head to head on the gridiron in hopes of bringing home the Walmart ‘Lombarky’ trophy and see which puppy player has what it takes to be named the MVP (Most Valuable Puppy) and win the SUBARU OF AMERICA, INC. Underdog Award.

[RELATED – Why DC Studios Is About to Have a Big Year in 2025]

“Eleven inspiring special needs dogs, including Jolene, an American Pit bull terrier-mix competing in a wheelchair, and Sprinkle, a blind and hearing-impaired Australian shepherd-mix, will take the field, giving it their all and not letting their disabilities slow them down.

“Interspersed with extended puppy play, star matchups and behind-the-scenes moments are the SUBARU OF AMERICA, INC. ‘Pup Close and Personal’ segments, sharing the backstories of some of the all-star athletes. Dan Smyers, from superstar country duo Dan + Shay, will bring a rescue puppy from Wags & Walks Nashville backstage at one of his concerts for some socialization and to boost their chances of being adopted. Additionally, Kansas City Chiefs defensive tackle Derrick Nnadi and his girlfriend, Nani, will visit The Humane Society of Greater Kansas City, where they’ll meet Parsnip, a rescue Pit bull-mix about to compete in the games. Derrick and Nani spend time helping train Parsnip and detailing the kind of home that will be a good fit for him.

“Fan-favorite returning elements include the Adoptables segments featuring puppies — and a few kittens — that will be available for adoption during the game, sportscasters Steve Levy and Taylor Rooks providing play-by-play commentary, the Wisdom Panel pet DNA test results to help provide insights into each player’s breed mix and other unique traits, the Kitty Halftime Show presented by ARM & HAMMER Hardball and much more.

“Before the big game, the brand-new Puppy Bowl XXI Kickoff will air at 1 p.m. ET on Animal Planet. Ten puppy prospects from across the country will engage in practice drills and show off their moves in the first-ever Puppy Combine. Each pup will compete to be selected as the top pick in the Puppy Bowl Draft and join the Team Ruff and Team Fluff rosters. The show will also check in with BISSELL and the BISSELL Pet Foundation to see how they are continuing to make an impact with their lifesaving efforts and as they prepare to send Trixie from their partner shelter, Little Traverse Bay Humane Society, to compete in Puppy Bowl XXI.”

Puppy Bowl XXI kicks off on Sunday, February 9th at 2 p.m. ET and will air across Animal Planet, Discovery, TBS, truTV, Max, and discovery+.

Will you be tuning into the event? Contact Patrick Cavanaugh directly on Twitter or on Instagram to talk all things Star Wars and horror!

The post Superman Sneak Peek Coming to Puppy Bowl XXI (Along With Lots of Puppies) appeared first on ComicBook.com.

2024 is in the books – and what a year it was. While there were some big failures in various fandoms, there were also a lot of signs of hope. The fandoms that makeup pop culture were taken on quite a ride, with some huge moments sticking out to make 2024 one of the more memorable years in recent memories.

The best moments in fandom shone brightly in 2024. These moments redefined their respective fandoms, grabbing some that were in the mud and cleaning them off for a sparkling tomorrow. 2025 is going to be an epic year, and some big reasons for that can be found in the best fandom moments of 2024.

The Avengers: Doomsday/Secret Wars Reveal

The Marvel Cinematic Universe has been on something of a downswing in the last few years, but 2024 changed all of that. Fans are excited again for the first time in ages and a big reason for that came from San Diego Comic-Con. Marvel was back in Hall H, and they made an announcement that set the Internet on fire – not only would Captain America: Winter Soldier/Captain America: Civil War/Avengers: Infinity War/Endgame directors the Russo Brothers return to direct the upcoming Avengers: Doomsday/Secret Wars, but Robert Downey Jr. would take up the role of Doctor Doom in the movie.

The announcement was hype personified and it was all anyone could talk about for days. The Russos and RDJ were huge parts of the MCU’s prior success – arguably they are the best directors and the best actor/character in the MCU’s history. Having them come back for the next Avengers film took movies that fans weren’t that excited about and shot their expectations into the stratosphere. However, Marvel wasn’t done with their announcements for the next Avengers duology – Chris Evans is also going to return for Doomsday/Secret Wars.

2024 was a banner year for Marvel Studios, but there was another moment in July that would remind everyone that Marvel is still the biggest name in fandom, one that would show the future of the MCU…

Deadpool & Wolverine’s Massive Success

Everyone knew that Deadpool & Wolverine was going to be successful, but it’s doubtful that anyone figured it would be as massive as it was. Deadpool & Wolverine made over a billion dollars, and it impressed fans and critics alike. While the MCU was nowhere near dead, it had been in a funk for several years, with movies and TV series showing diminishing returns. 2023’s The Marvels was Marvel Studios’ first bomb and they needed something massive to show fans that things weren’t going down the tubes. That was Deadpool & Wolverine.

Deadpool & Wolverine is the best multiverse project that Marvel has put out, bringing back characters from previous Marvel movies like Jennifer Garner’s Elektra, Chris Evans’s Human Torch, Aaron Stanford’s Pyro, Dafne Keen’s X-23, and Wesley Snipes’s Blade – it even gave fans a taste of Channing Tatum’s Gambit. Most importantly, it brought back Hugh Jackman as Wolverine, getting the longest-tenured superhero actor back to the game.

Everyone knew that Jackman and Ryan Reynolds’s Deadpool would be like Reese’s Cups – two great tastes that taste great together – but Deadpool & Wolverine was better than everyone expected. It gave MCU fans, Fox X-Men fans, and anyone who liked superheroes a great story and succeeded in every way. It showed that Marvel Studios could still put out amazing projects, giving hope that Fantastic Four: First Steps, the upcoming Avengers movies, and the still-just-over-the-horizon X-Men films would be as great as what came before.

Wicked Made Everyone a Theater Kid

Author Gregory Maguire wrote Wicked: The Life and Times of the Wicked Witch of the West in 1995. It was the first in a series of books Maguire wrote about the villains of classic fairy tales and would be his most successful. Maguire wrote sequels to Wicked, all of which became bestsellers, but the story truly entered the zeitgeist with its Broadway debut on October 30, 2003. Wicked became a sensation, becoming Broadway’s hottest ticket before touring the country.

Big-screen Broadway adaptations aren’t exactly common, but Wicked became enough of a phenomenon to warrant one. Pop star Ariana Grande was cast as Glinda the Good Witch and Cynthia Erivo got the nod as Elphaba, the titular Wicked Witch. The two went on a media tour together and showed off the kind of relationship that shows they built a connection working on the movie, which is usually a good sign. People were excited about the movie and luckily, Wicked delivered.

Wicked is the kind of movie that (nearly) everyone enjoyed, which is a rarity. For two and a half hours, everyone in whatever theater Wicked is playing becomes a theater kid, which is quite an accomplishment. What makes the movie so great is not only the quality of it as an adaptation or the great songs or the work the crew put into the film, but the love that everyone involved had for Wicked and each other. Wicked has gone from a beloved book to a Broadway phenomenon to a pop-cultural cinematic event. Talk about “defying gravity.”

Related: Wicked Star Cynthia Erivo Reveals She Co-Wrote Original Song for Sequel

Marvel Rivals Made A Near-Perfect Hero Shooter

The summer of 2024 saw fans get their hands on the beta for Marvel Rivals, a third-person hero shooter that starred the heroes and villains of the Marvel Universe. The beta showed off a good portion of the roster and the gameplay, enough to make players excited for the full edition of the game. After the beta ended, NetEase Games started to release videos with the rest of the roster, building anticipation until almost the last moment before the game’s full release.

Marvel Rivals was released on December 6, 2024, for PlayStation 5, Windows, and XBox Series X/S, and it blew players away. Up until this point, hero shooters were defined by Overwatch, but Marvel Rivals has taken that crown. The art style is unforgettable, and the fact that it took this long for a hero shooter based on Marvel feels like a travesty after seeing just how great Marvel Rivals plays. NetEase was able to pull it off, with the Steam version of the game hosting an average of 400,000 players a night. Streamers have embraced the game as well, and there are reports that Marvel Rivals has cut Overwatch‘s player base in half.

Marvel Rivals has an insane amount of hype behind it, with players waiting breathlessly for updates. Marvel Rivals was always going to be successful, but no one could have guessed it would have become this big. The game is the perfect hero shooter for the moment, and it can only go up from here.

Superman ‘s Trailer Broke the Internet

In October 2022, it was announced that writer/director James Gunn, of Guardians of the Galaxy, The Suicide Squad, and Peacemaker fame, and producer Peter Safran would become the heads of a new DC Studios. A slate of movies, called “Chapter One: Gods and Monsters” were released, but the biggest news was that Gunn was going to write and direct the next Superman movie, which was then called Superman: Legacy, and it would be the first film in the new DCU. The movie was slated for July 2025, and the hype train left the station.

2023 and 2024 would see more information released about the movie, with the title being changed to Superman. The hype built and built, until December 2024 saw a poster and the teaser trailer released. Fans had been burnt by DC and Superman movies before, so a lot was riding on the new trailer. It was a make-or-break moment.

And the trailer killed it.

Superman’s trailer showed off a variety of characters and events, exciting longtime DC readers, but what truly made the trailer work was the feel. The whole thing felt like a Superman project should feel. Gunn captured the hope at the core of the character and put it onscreen. Superman‘s teaser trailer made fans even more hyped. It was heavily discussed for days, with everyone having an opinion on it. It truly broke the Internet and showed that maybe DC movies would finally reach the levels that Marvel ones had.

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