When it comes to superhero films — especially ones that are part of a larger cinematic universe — conversations about casts and plots are usually quickly followed by a very familiar conversation about expectations: Is “superhero fatigue” real? Has the audience moved on from comic books? Will this movie do well enough at the box office to keep the franchise going?
Supergirl, the newest movie in James Gunn‘s fledgling DCU, has inevitably found itself under this exact same microscope. Starring Milly Alcock, featuring Jason Momoa as Lobo and directed by Craig Gillespie, the film — which took inspiration from the Supergirl: Woman of Tomorrow comic — had a lot of the ingredients it needed to succeed as an entertaining film. But in a summer full of blockbusters like The Odyssey and Spider-Man: Brand New Day, there was an expectation that Supergirl would be a hit for the studio, on the order of last year’s Superman. Supergirl was expected to validate the DCU long-term strategy of building a larger cohesive ecosystem for all these characters to flourish, like the Marvel Cinematic Universe (MCU).
Unfortunately, audiences and critics alike were not all that receptive to Supergirl. The film underperformed at the box office, opening at around $68 million globally against a $180 million budget. And despite near-universal praise for Alcock’s performance as Kara Zor-El aka Supergirl, the film hasn’t connected with fans on the level that DC was hoping for.
But while there has been much speculation about why Supergirl didn’t meet expectations (including a report of creative problems behind the scenes between Gunn and Gillespie), the reality is that those expectations may have been an impossible burden to place on the film to begin with, no matter what the finished product was.
‘Supergirl’ Was Never Going to Be Judged on Quality Alone
Modern superhero movies are no longer evaluated by whether they are entertaining. Instead, they have become progress reports for billion-dollar franchises. Every opening weekend is examined on a molecular level, and viewed as evidence that these franchises are succeeding or failing. In the case of Supergirl, much of the discussion has shifted from the film’s qualities to what the box office means for the future of the DC Universe.
It’s also impossible to discuss Supergirl‘s performance at the box office without acknowledging that, like many female-led blockbusters, discourse expanded well beyond ticket sales, as topics like feminism and “wokeness” inevitably became talking points for those who wished to see the movie fail. Despite this, the film’s failure at the box office was not because it starred a woman, even if some people online wished it was.
None of this discussion focused on whether Supergirl tells a compelling a story. Instead, much of the online conversation is fueled by speculation about franchise momentum, and how much of an impact it will have on the DC Universe. But this was an impossible standard for Supergirl, or any film, to meet. No single film will convince everyone that a cinematic universe will work. For every Avengers: Infinity War, there exists a Thor: The Dark World.
Privileging box office discussions over whether films have memorable performances or strong emotional storytelling is the movie equivalent of evaluating athletes purely by their box scores rather than on-the-field impact.
Have Shared Universes Worn Out Their Welcome?
Supergirl found itself at a very interesting flashpoint in the superhero movie ecosystem. It’s not just DC that is in a precarious position. Even with all the goodwill Marvel built over the years, they are facing an uphill climb when it comes to generating excitement for some of their biggest releases, like the upcoming Avengers: Doomsday. Regardless of individual strengths or weaknesses, Supergirl wasn’t just a summer blockbuster, it was expected to reassure the fans and silence the doubters. It did not do that; instead, it raised concerns about long-term viability.
For a casual audience, it can be harder to invest the time necessary to fully understand a shared cinematic universe. It was an issue that Marvel struggled with, but eventually found its path to massive success. But most moviegoers are less concerned with overall studio strategy and how faithful movies are to their source material; they simply want to know if they’re spending money to be entertained for around two hours. If this gets lost in discussions of box office numbers and cohesion between movies, even well-made superhero movies will struggle.
Shared universes aren’t going away, and nor should they, because when done in a way that is constructive and entertaining, audiences resonate with them. One only needs to look at the cultural impact that was made by Avengers: Infinity War and its sequel, Avengers: Endgame. However, as with the Avengers films, they only work if the individual movies can stand on their own. If there’s a lesson to be learned from Supergirl‘s disappointing box office, it’s that audiences have grown cautious of investing time in a film that is seen as the next building block of these universes.
While Supergirl struggled, DC and Warner Brothers do not seem to be worried about the future. Supergirl isn’t going to sink anything, and the character is set to be a major player in the DC Universe going forward. Nevertheless, it can serve as an example of what studios need to do differently to ensure their films succeed.
- Release Date
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June 26, 2026
- Runtime
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108 minutes
- Writers
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Ana Nogueira
- Producers
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James Gunn, Lars P. Winther, Nigel Gostelow, Peter Safran
