DC’s Cinematic Universe Faces Early Momentum Decline
Kara Zor-El’s cameo at the end of James Gunn’s Superman was a delightful surprise, but Warner Bros. Discovery’s decision to rush a standalone Supergirl film always seemed a bit questionable. It felt strange that, following Superman, the studio aimed to expand its cinematic universe with another Kryptonian and a lesser-known Batman villain. Yet, Gunn urged fans to trust his vision, promising a DCU filled with interconnected narratives that would outshine the previous slate of comic book films.
Despite high expectations, Supergirl has stumbled, receiving a lukewarm reception from critics and struggling at the box office, potentially costing WBD between $100–120 million. While flops happen in the film industry, the lack of excitement surrounding Supergirl raises concerns about the future of Gunn’s ambitious plans for the DCU, which seem to be faltering before they even take off.
Drawing loosely from Tom King and Bilquis Evely’s Supergirl: Woman of Tomorrow comic miniseries, the film follows Kara (Milly Alcock), Superman’s cousin, as she embarks on a wild interstellar adventure that takes a dark turn when her dog is poisoned by a crew of sex-trafficking pirates. Unlike Superman (David Corenswet), Supergirl isn’t shy about taking down her foes, especially when they threaten Krypto. However, with an orphaned girl (Eve Ridley) along for the ride, Kara attempts to set a non-lethal example.
Directed by Craig Gillespie and written by Ana Nogueira, Supergirl carries a vibe reminiscent of Gunn’s previous projects, from its animal rescue themes to its soundtrack choices. The film features Supergirl engaging in drunken brawls in alien bars and navigating space in a rundown starship, echoing the style of the Guardians of the Galaxy series. Nogueira channels Gunn’s signature humor, introducing characters like the unhinged bounty hunter Lobo (played by Jason Momoa), whose presence serves as a reminder of the DCEU’s past struggles, though Lobo isn’t the film’s main issue.
While it was refreshing to see Superman skip over Clark Kent’s well-trodden backstory, Supergirl spends a significant amount of time revisiting Krypton’s destruction. Flashbacks aim to convey Kara’s grief and highlight her differing moral compass compared to her cousin. However, instead of delving into her emotions, the film trivializes her substance abuse and follows a predictable adventure that lacks intrigue and visual flair.
One of the film’s more significant shortcomings is its failure to establish Supergirl as a distinct character from Superman. Beyond her darker demeanor and emotional struggles, she remains another invulnerable alien who needs to recharge her powers under yellow sunlight. The film attempts to create tension by placing Kara in situations where she loses her abilities, but by the second instance of her being overpowered, it becomes clear that DC Studios hasn’t solidified a compelling narrative.
This is surprising, given Gunn’s previous insistence that DC Studios would never greenlight a subpar script just because a project was announced. Unfortunately, “half-assed” perfectly describes the overall feel of Supergirl, and as the studio’s second major release, it doesn’t inspire confidence for the DCU’s future. Supergirl needed to showcase that Gunn had a robust plan to build a new universe around some of DC’s lesser-known characters. While we’ve seen glimpses of this potential in HBO’s Peacemaker series, it remains uncertain whether the studio can replicate that success on the big screen. The goal of rebooting WBD’s superhero films was to position DC Studios to compete with Marvel, which is on the brink of its own significant reset. However, while Marvel has reliable franchises like the X-Men and a new Spider-Man film, DC seems to be starting from scratch.
Some of Supergirl’s issues might not be as glaring if there had been more time between its release and that of Superman. The close proximity of the two films highlights their character similarities and suggests that DC may be too comfortable with iterative projects. This raises questions about Gunn’s choice to prioritize a series about the Green Lanterns and a Clayface film before reintroducing more iconic heroes like Batman and Wonder Woman. WBD still plans to release a sequel to Matt Reeves’ The Batman, which won’t technically be part of the DCU, but the Gotham setting may prepare audiences for a new Bane/Deathstroke film that the studio is reportedly focusing on following Supergirl’s underwhelming performance.
These B-tier projects and alternate realities give the emerging DCU a hint of the chaos that has plagued Sony’s Spider-Man spinoff universe since its inception. With WBD’s impending merger with Paramount Skydance, it’s increasingly likely that the DCU may not come together as Gunn envisioned. While next year’s Man of Tomorrow could potentially steer things in a better direction, it seems more probable that DC will release another Super-movie that feels too familiar. This wouldn’t be the first time WB faced a crisis related to its comic adaptations, but it could be the last opportunity for the studio to get it right.
