All articles tagged with #supergirl
DC’s Supergirl: Woman of Tomorrow, directed by Craig Gillespie and based on Tom King’s DC Comics run, will stream on HBO Max on September 10, with Milly Alcock taking on the lead. After a modest theatrical run and mixed box-office/critical reception, Variety frames the streaming release as part of DC Studios’ broader long‑term streaming strategy.
David Krumholtz announced on Threads that he’s taking an indefinite break from acting, saying the profession has lost its gleam and that he’s redefining his terms, not quitting entirely but exploring a different path; the veteran actor of Supergirl and Oppenheimer has a long résumé including The Santa Clause series, 10 Things I Hate About You, and more, and he's received support from fellow actors as he evaluates his future.
Warner Bros. Discovery CEO David Zaslav says the DC plan remains unchanged after Supergirl’s underperformance, praising James Gunn’s work on the upcoming Superman sequel Man of Tomorrow and outlining a robust pipeline (including Reeves’ Batman follow-up, Clayface, Lanterns) with 14 film releases this year rising to 19 in 2027 as DC brings projects to market when ready.
Warner Bros. Discovery CEO David Zaslav says DC’s future looks bright despite the Supergirl box-office miss, highlighting a strong slate including James Gunn and Peter Safran’s plans for Man of Tomorrow, Lanterns on HBO, Clayface, and Matt Reeves’ Batman: Part II, with more DC titles in development and schedule shifts noted for upcoming releases.
Warner Bros. Discovery missed Wall Street expectations in Q2, with revenue down 11% to $8.7 billion as the Supergirl release underperformed and the lack of NBA rights weighed on advertising and linear networks, though streaming revenue rose 10% to $3.1 billion and EBITDA climbed 75% to $512 million; the Paramount merger remains entangled in antitrust litigation with a trial set for March 2027.
This weekend’s lineup spans theaters, streaming, and rentals: Spider-Man: Brand New Day opens in theaters; indie titles like I Want Your Sex and The Death of Robin Hood roll out; Supergirl hits VOD; The Devil Wears Prada 2 streams on Disney+; and The Drama arrives on HBO Max, with additional new titles like The Devil’s Mouth available on Prime Video for a varied mix of action, satire, and drama.
Day 2 of San Diego Comic-Con 2026 spotlights solo cosplayers with a mix of popular heroes and deep-cut characters, showcasing outfits from Supergirl, Daredevil, Blue Beetle, Thor, and niche picks like the Faun from Pan’s Labyrinth and Sauron, highlighted by impressive prosthetics and a diverse gallery of costumes.
Rory Mellon argues that Supergirl’s $170M production budget and roughly $107M worldwide gross mark a significant box-office failure, signaling trouble for Warner Bros.’ DCU reboot under James Gunn and Peter Safran. The piece contends Gunn’s plan to rush out high-profile characters risks destabilizing audience goodwill by neglecting a solid foundation and suggests focusing first on the 'Golden Trio'—Superman, Wonder Woman, Batman—before expanding. With DCU’s plans loaded with projects like Lanterns, Man of Tomorrow, and others, and the retention of DCEU elements, the author warns of Phase 5 fatigue and questions the long-term viability of the new universe, though Lanterns or Man of Tomorrow could offer a future win.
Minions & Monsters narrowly tops the weekend box office, grossing about $61.4M domestically over five days (and $98.43M globally) while Toy Story 5 trails in close second; Angel Studios’ Young Washington opens around $20M and is projected to beat Supergirl in its second week. Supergirl underperforms, prompting internal studio analysis and a bake-off between versions. Obsession remains in the top 10 but drops from the top five, and the piece also notes on AI actor Tilly Norwood’s Misaligned project and a planned Young Washington sequel.
DC Studios reportedly held two test screenings for rival Supergirl cuts after a creative clash with director Craig Gillespie, prompting DC to take over post-production and deliver its own version (with some revisions credited to Jeremy Slater). The studio cut tweaked the climactic battle with Krem and changed the film's needle-drop soundtrack (ultimately using a Jimmy Eat World cover of 'The Middle' rather than Gunn's preferred Cyndi Lauper 'Girls Just Want to Have Fun'), and THR sources say the studio version scored higher in tests than Gillespie's 11-minute longer Director's Cut. After a middling December test and mixed reviews, DCU plans press on with Clayface and a Superman sequel in 2027, leaving the door open for a potential future Director's Cut release.
Universal/Illumination’s Minions & Monsters opened to $36 million domestic over the July 4 weekend, the franchise’s lowest start, with $64.5 million since Wednesday and $159.8 million global after international play; at the same time, Supergirl plunged about 74% in its second weekend to $9.6 million, underscoring ongoing challenges for non–A‑list superhero titles. Still, the summer box office is up vs. last year and 2019, helped by Toy Story 5’s strength and upcoming releases like Moana, as industry eyes a rebound despite fatigue around long-running franchises.
THR reports that Supergirl’s rocky release stemmed from creative clashes between director Craig Gillespie and James Gunn, plus post-production tweaks and two competing cuts; Warner Bros. released Gunn’s version after a test that favored it overall, while Gillespie’s longer cut wasn’t re-tested. The result contributed to a disappointing opening, and DC Studios is adjusting its slate with projects like Clayface and Man of Tomorrow, while Gunn’s influence persists through spin-offs such as DC Crime and Mr. Terrific.
DC Studios’ behind‑the‑scenes bakeoff between Craig Gillespie’s cut and the studio version for Supergirl yielded middling test scores and a narrow studio win, but the film opened to about $37.1 million and underperformed, prompting post‑production tweaks and music disputes, while Gunn and Safran’s broader DC strategy faces renewed scrutiny yet remains in place.
Supergirl is projected to cross $100 million worldwide this weekend, but its total run will still trail Wonder Woman 1984, with domestic around $75–80M and international only about $34.5M so far; a digital release is expected soon as promotion has lagged.
Supergirl’s disappointing box-office performance is being framed as a potential indicator of a broader slowdown in superhero films, prompting industry watchers to reassess audience appetite, franchise strategies, and DC’s upcoming slate as studios recalibrate risk and investment in the genre.