A few years ago, when the DC film universe was in disarray and a new reboot was looming, I don’t think many would have bet on the new era getting kick-started with back-to-back films featuring Krypto the Superdog! But the popular little CGI pup is emblematic of James Gunn’s attempted change in the franchise’s direction – embrace the comic book weirdness, have more fun, and don’t be afraid to get a little strange. While 2025’s Superman hardly broke box office records, its financial success and critical acclaim was a step in the right direction for rehabilitating the image of a damaged brand. And along the way, fans that have longed for a more eccentric and “comic bookey” approach to these movies were awarded faith that the new DCU would attempt to truly bring the universe to live action, including all the unique weirdness that entails.
However, Warner Bros is on the verge on (yet another) corporate shakeup, thus creating valid doubt that Gunn will be able to see his new universe to its conclusion. But that’s a discussion for another day, once we have much more concrete details on the matter. In the meantime, Craig Gillespie’s Supergirl is the big DC tent pole of 2026, expected to pick up the momentum where Superman left off. But this will be a tougher sell this time around – everyone is familiar with Superman, even if they’re not a fan of the character. While most have heard of Supergirl, getting a film centered around Kal-El’s cousin is a big ask of a far less popular character. Perhaps audiences will deem it too similar, and thus too soon, to Gunn’s Superman. Which makes Supergirl a very important litmus test for the new DCU – can they make films that have their own distinct feel and identity? Especially when James Gunn isn’t in the director’s chair?
The first objective is to establish Milly Alcock’s Supergirl as a worthwhile lead character. Not just someone who is magnetic enough to lead their own film, but a Supergirl that is also distinct enough from her kryptonian cousin. The 2016 TV series Supergirl, starring Melissa Benoist, was a well-received success of the previous decade for the CW. But you could critique the show and state that Supergirl’s personality was very similar to Superman himself. However, Alcock’s introduction at the end of last year’s Superman seemed calculated to avoid that same pattern, as Supergirl/Kara Zor-El crashed her cousin’s hideout to pick up her dog, Krypto. The takeaway of her appearance being this version of the character is a party girl with a much more cavalier approach to decency than her rigid cousin. Or to put it concisely, Superman is the responsible hero, and Supergirl is the fun hero.
Combined with that change in character direction, Gillespie’s film is being loosely adapted from the critically acclaimed 2021 comics issue Supergirl: Woman of Tomorrow, via a screenplay by Ana Nogueira. Some of the plot elements from the comics run are easily apparent in the film’s official synopsis:
Kara Zor-El celebrates her 23rd birthday by travelling across the galaxy with her dog Krypto. Along the way, she meets the young Ruthye Marye Knoll and encounters a tragedy that leads her on a “murderous quest for revenge”.
Kind of a weird way to put it at the end, who were they quoting about the murderous quest? Is it not really a murderous quest? But to digress, Woman of Tomorrow is equal parts epic space adventure and emotionally gripping coming of age story. It’s easy to see why this would be the chosen comic book issue to adapt – in theory, it’s a grand introduction to the character that can get audiences on board right away. The film’s current trailer, our only real glimpse into how this adaptation will take effect, gives us a lot of material to scrutinize
Well, we can see a lot of Gunn humor in this off the bat. Krypto peeing on the floor? He wouldn’t do that when Superman was around! The story itself, while hardly groundbreaking, shows some potential in how it will frame Kara’s arc, and if she can find a positive way forward past the tragedies she’s experienced. To contrast with Superman (2025), in that film Clark Kent was very preoccupied with his earthly dilemmas, and his Kryptonian roots didn’t seem to be something consistently weighing on his psyche. Perhaps that’s owed to his upbringing and human parents, as well as being comforted by the leftover messages from his biological parents. Kara doesn’t have such luxuries to find comfort in, and appears to be more of a lone wolf. Women lead characters are certainly judged harshly within rigid parameters, and when you add superheroics to the mix, you have a character that is expected to represent a certain idealistic image of what a hero should be. So for Gillespie’s film, managing the lead character’s heroics with her genuine flaws and personal struggles will be a balancing act in terms of fulfilling the needs of typical superhero idealism, along with giving grace to a young character who doesn’t have herself fully figured out… and maybe that’s OK, and maybe she will eventually find the peace that will soothe her heartache.
There’s other glimpses and easter eggs throughout the trailer for plot elements that aren’t quite defined yet, most notably Jason Momoa’s debut as the bounty hunter Lobo, whose portrayal will be one of the most anticipated aspects of this movie. But he doesn’t do anything of note here except show up, so we’ll talk more about him sometime down the line. But of all the takes that have been debated about this trailer, many of which I can take or leave, one of the most fruitful has been the discussion on the movie’s look, and most specifically its use of color. Now, at first glance, the film’s cinematography does seem to have a healthy dose of bright lighting and vivid colors – such as how Supergirl’s cape stands out in the trailer’s end set piece. However, some have expressed pessimism that the movie’s look will pale in comparison to the glowing artwork present in Woman of Tomorrow.
The comic issue was illustrated by Bilquis Evely, invoking a warm color palette and illuminating its pages with an array of different colors and shades.
These images are simply gorgeous, and admittedly more dynamic that what we’ve been shown of the movie to this point. This doesn’t mean the film looks bad or lacking in color – in fact, I would say it is above average for what you would expect from a modern superhero movie. Now that might not be saying much – perhaps I’ve seen one too many comic book films that look like grey sludge. Gillespie’s film does show the potential of sensational visuals, with the assumption that the trailer isn’t giving away the film’s most astounding shots. But I also believe there’s validity in the concerns from the fans of the comic, that the movie might not match the visual splendor of Evely’s work. The movie’s cinematographer is Rob Hardy, known for the likes of Ex Machina (2015), Annihilation (2018), & Civil War (2024). Those aren’t bad looking movies, but they are darker stories intentionally evoking a much colder visual look. So it’s yet to be seen if Hardy has the sensibilities to fulfill the expectations some fans have.
But until we can see the final product to judge for ourselves, perhaps we can just take solace in the fact that at least the studio is treating a Supergirl movie like a big deal, with a hefty budget and a well-regarded source material to go with it. Contrast that with the 1984 adaptation of Supergirl, a heavily panned slice of poorly written 80s cheese, which paled in comparison to the effort poured into Superman: The Movie (1978). This time, the resources spent on the two kryptonian cousins are a lot more balanced, and that’s enough to inspire hope.
Supergirl, and her super dog, flies into theaters on June 26, 2026.
