Supergirl’s Wrapped—But Can She Really Carry the Future of DC?
Imagine rebooting an entire cinematic universe, and your second move after Superman is… Supergirl. Not Batman. Not Wonder Woman. Not even Green Lantern. Supergirl.
That’s not just bold—it’s a high-wire act with no safety net.
Here’s what happened: James Gunn confirmed on Threads that Supergirl: Woman of Tomorrow has officially wrapped filming. Directed by I, Tonya’s Craig Gillespie and starring House of the Dragon standout Milly Alcock, the film is adapted from the 2021–2022 comic miniseries by Tom King and Bilquis Evely. A revenge-driven space opera that’s more Logan than Man of Steel, the story follows Kara Zor-El helping a young girl hunt down her father’s killer across the galaxy.
And if that sentence made you blink—good. Because this ain’t your CW Supergirl.
Why This Isn’t Just Another Cape Flick
Let’s be real: Supergirl has always lived in Superman’s shadow. She’s the backup dancer to his headliner. But the Woman of Tomorrow comic flipped that dynamic, casting Kara as something between cosmic drifter and reluctant protector. She’s bruised, bitter, and finally interesting.
Gunn knows this. He’s betting on it.
And casting Milly Alcock—whose House of the Dragon performance had more edge than a Valyrian sword—is a dead giveaway. This Supergirl won’t be twirling in a red skirt delivering PSAs. She’s more likely to headbutt a bounty hunter into orbit.
The Pattern—and the Gamble
Studios love a redemption arc. Remember Thor: Ragnarok? After two bland installments, Taika Waititi turned Thor into a neon-soaked comedy demigod and saved the franchise. DC’s trying something similar—but it’s riskier.
Because unlike Thor, Supergirl doesn’t have an existing billion-dollar fanbase. Her last solo film? The 1984 flop no one wants to talk about. Her TV version? Safe, sanitized, and deeply tied to a universe DC just threw in the trash.
So what’s different this time? Two words: creative freedom.
With Ana Nogueira writing and Gillespie directing, this isn’t just corporate checkbox cinema. Gillespie’s known for turning messy characters (Tonya Harding, Cruella de Vil) into cult favorites. And the original comic? It’s basically True Grit meets Dune—not your standard popcorn fare.
But Wait—Jason Momoa as Lobo?
Here’s where it gets murky. Lobo isn’t in the comic, but he’s in the movie. Or at least Jason Momoa’s version is. That suggests DC isn’t just adapting—it’s remixing. Which could mean tonal whiplash if not handled carefully.
Think Justice League (2017): studio meddling turned it into a Frankenstein’s monster. Gunn’s challenge is to balance loyalty to the source with the demands of building a new cinematic universe. So far, he’s threading the needle. But just barely.
The Bigger Picture
Supergirl isn’t just the second movie in Gunn and Peter Safran’s “Gods and Monsters” slate—it’s a litmus test. If it flops, critics will say DC’s still cursed. If it works, it’ll signal something rare: a studio learning from its mistakes.
And with a 2026 release date, the pressure’s mounting.
Final Thought:
This isn’t a nostalgia play. It’s not about brand recognition. It’s about whether DC can finally stop chasing Marvel’s tail and do something weird, wild—and genuinely new.
Would you follow a Kryptonian girl with a sword into space?
Comment below. We’re listening.
