The second episode of Harley Quinn Season 5 explores the origins of Poison Ivy (voiced by Lake Bell), explaining how the brilliant undergrad Pamela Isley became the green-skinned villain. Until now, the series had dropped hints about Pamela’s lab accident, overlapping her TV show transformation with her classic DC Comics persona. However, the latest episode draws inspiration from the post-Infinite Crisis continuity, revealing there was no accident. Ivy gained her powers due to a devious murder attempt at the hands of Jason Woodrue (voiced by John Slattery), Pamela’s former college teacher and lover. This deep and personal betrayal ultimately thrusts Pamela into a life of eco-crimes, shaping the woman she came to be.

Adding Jason Woodrue to Season 5 of Harley Quinn amps the series’ emotional stakes as it forces Pamela to confront her painful past. However, his presence is also meaningful because Woodrue is best known as the Floronic Man, a DC Comics villain with close ties to Swamp Thing.

Who Is DC’s Floronic Man?

Jason Woodrue’s path from mad scientist to plant-human hybrid spans over six decades of DC Comics history. First appearing in The Atom #1 (1962), Woodrue was introduced as the Plant Master, an exile from a dimension called Floria who used his botanical knowledge to control plant life. His most significant transformation came in 1976 when he used an experimental formula to become the Floronic Man, a being composed of vegetable matter with the ability to mentally control plants.

While Woodrue fought various heroes over the years, his most meaningful role came during Alan Moore’s legendary run on The Saga of the Swamp Thing. In this story, Woodrue made a groundbreaking discovery that changed DC Comics forever: Swamp Thing wasn’t actually Alec Holland transformed into a plant creature but rather an intelligent plant that had absorbed Holland’s memories and consciousness. This revelation redefined Swamp Thing’s character and established Woodrue’s deep connection to “the Green,” a mystical force connecting all plant life on Earth.

[RELATED: Every Classic Superman Suit in Harley Quinn Season 5 Episode 1]

The relationship between Woodrue and Swamp Thing grew more complex when the Floronic Man attempted to use his connection to the Green to destroy all human life on Earth. After suffering a mental breakdown from his communion with the Green, Woodrue was captured by the Justice League and imprisoned in Arkham Asylum. Later, Neil Gaiman’s Black Orchid mini-series established that Woodrue had been a university professor who taught botany to Alec Holland and Pamela Isley, among others, connecting the three plant-based DC characters.

In the post-Infinite Crisis continuity, Woodrue took on the identity of the Seeder, gaining new powers from the Green but still falling short of Swamp Thing’s full capabilities as the Avatar of the Green. This storyline culminated in a battle between Woodrue and Swamp Thing for the title of Avatar, which Woodrue briefly held before being defeated. This new continuity also ties Poison Ivy’s villainous to Jason Woodrue.

Harley Quinn Season 5 Remixes Poison Ivy’s History with Jason Woodrue 

The post-Infinite Crisis continuity expanded on Pamela Isley’s and Jason Woodrue’s connection by revealing that Woodrue was directly responsible for her transformation into Poison Ivy. This backstory echoes elements from the 1997 film Batman & Robin, where John Glover’s Woodrue attempted to murder Isley, inadvertently creating Poison Ivy instead. The comics incorporated this dramatic betrayal by painting Pamela as a naive student who lets herself be seduced by Jason, her teacher, becoming his lab rat for several unethical experiments that shatter her mind.

Season 5 of Harley Quinn reuses the post-Infinite Crisis story, getting rid of its most problematic aspects. As in the comic books, Pamela and Jason are also romantically entangled in the TV show. However, the show underlines how Pamela is already a confident scientist, a far cry from her easy-to-manipulate comic book counterpart. In the show, Jason discovers Pamela has managed to split the DNA of a plant, Frank (voiced by JB Smoove). Jason wants to steal Pamela’s experiment, and when she refuses, he traps her in the lab after releasing poisonous gas. Pamela is forced to inject herself with plant DNA to survive, becoming Poison Ivy.

The Jason Woodrue version of Harley Quinn is among the evilest in the character’s history. He betrays Pamela, a woman he claimed to love, for nothing more than scientific fame. It’s a petty motive for an awful crime, which explains why Ivy was shocked to meet Jason again. Unfortunately for Ivy, her troubles have just begun, as she just turns Jason into the Floronic Man in the TV show, echoing what happened to her many years prior. She might need to weaponize that White Kryptonite, after all.

New episodes of Harley Quinn Season 5 premiere on Max every Thursday.

The post Harley Quinn Just Put a New Evil Twist in a Classic Swamp Thing Villain appeared first on ComicBook.com.

Happy new comic book day! It’s another big week in the world of comics, and the ComicBook staff have come together to break down and review as many of the new releases from this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, IDW, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for two of this week’s biggest books in X-Men: Xavier’s Secret #1 and Detective Comics #1093 so if our smaller reviews here pique your interest, make sure to check out the full reviews for a much more comprehensive analysis of those issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here. With all that said, let’s get to this week’s new comics!

DC

Absolute Wonder Woman #4
Absolute Wonder Woman has brilliantly crafted a sense of awe, honor, and compassion around Diana, but to truly appreciate the picture that’s been painted, look no further than Etta and Gia Candy. In just one issue, Kelly Thompson has already established a meaningful role to play for Etta and her sister Gia, and not only do they get to shine of their own accord, but they also provide a welcome prism in which to better appreciate just how selfless and awe-inspiring Diana truly is. It doesn’t stop there though, as artist Hayden Sherman, colorist Jordie Bellaire, and letterer Becca Carey deliver unforgettable moments throughout the entire issue, delving into the steep price of magic and the power of loyalty in truly vivid ways. Also, when in doubt, giant swords absolutely rule, and there’s that too. Absolute Wonder Woman has been brilliant from the very start, and it’s already making a case to be one of the best books of 2025. – Matthew Aguilar
Rating: 5 out of 5

Black Canary: Best of the Best #3
The fight of the century has steadily become the ultimate underdog story in Black Canary: Best of the Best, but issue #3 sets the stage for an amazing comeback. Tom King brings that authentic big fight feel to the festivities, but it’s those small touches and moments between the punches that elevate it from a fight to a battle of titans. Ryan Sook, Dave Stewart, and Clayton Cowles, are true magicians at creating those visceral moments in the ring, creating the sense of tension and stakes that make these battles into such one of a kind spectacles. As the action plays out in the ring we also get more of a sense of the human stakes behind it all, and not going to lie, seeing Green Arrow get served is never going to hurt either. Black Canary: Best of the Best continues to live up to its name, and I can’t wait to see what happens when the comeback finally arrives. – Matthew Aguilar
Rating: 4 out of 5

Catwoman #72
While the narration structure that runs through the issue and frames the story overall is a little bit of a distraction from the more compelling action on the page, Catwoman #72 is a strong issue. Serving as both heist and subtle examination of Selina’s past, the issue gives readers what they want — Catwoman doing a little breaking and entering in order to attempt to retrieve her secrets form a safe — while also deepening the mystery of what exactly those secrets are and who she is up against. There’s a good bit of action in the issue, brought to life by some fantastic art but the use of color is the real star of the show.
– Nicole Drum
Rating: 4 out of 5

DC Horror Presents…#4
DC Horror Presents… #4 is an odd, but fun little book. There are two stories — one from Patton Oswalt and Jordan Blum featuring Catwoman and one from Steve Kostanski featuring Matter-Eater Lad — and while neither of them really feel like “horror” tales, they contain just the right balance of spooky and humor. “The Diamond that Steals Back” sees Catwoman haunted by disturbing images of a life she never got to have thanks to a demon-possessed diamond. There isn’t a lot to it, substantively, but the idea of the thief being stolen from makes for an interesting premise, particularly in how it factors in what would cause Catwoman the most pain. The Matter-Eater Lad story leans a bit more into comedy and borders on the gross, but it explores the weirdness of the hero’s ability in a way that is pretty unique. Both stories are perhaps a bit weak in terms of art, but overall, the issue’s not a bad read and doesn’t scare too much. – Nicole Drum
Rating: 3 out of 5

Detective Comics #1093
Whether the subtext rings true, Taylor and Janin have crafted a compelling mystery in the Batman mold. The villains feel appropriately arch, aloof, and dangerous enough to be worthy of Batman’s attention, and their victims are both sympathetic and relatively on personal and symbolic levels. If nothing else, Janin appears born to bask Gotham’s dingy streets in a grimy, neon glow, illuminating every violent secret it hides. Detective Comics is a finely packaged dose of grounded Batman storytelling at its best.
– Jamie Lovett
Rating: 4 out of 5 (Read the full review here)

Green Arrow #20
While the idea of a superhero fighting against a corrupt corporation may not be wholly original, it is rarely executed with such skill as seen in the current Green Arrow run. The visuals, focused entirely on mood and character over bombast, set the perfect tone to tell the story of a justified killer, one who has suffered from the indifference of the wealthy and been sacrificed to the bottom line of a corporation. And yet again, the characters are the thing. It’d be easy to paint Ollie here as a paragon of virtue of virtue, a superhero you can feel uncritically good about rooting for because he has the “correct politics.” But the writing here is nuanced enough that even if Green Arrow is broadly correct in his furor over the injustices that have befallen this vengeful woman, he still comes off as smug and self-righteous, someone who takes advantage of privilege at the same time, he’s calling out another for awarding it to him. It’s a much richer text for this complication. And then after all of that, the issue still managed one last well-paced surprise before the end. Green Arrow remains a top-notch superhero story with a fine noirish touch. – Jamie Lovett
Rating: 5 out of 5

Harley Quinn #47
There’s a delicious irony in how Harley Quinn oblivious takes advantage of the citizens of the neighborhood she’s sworn to protect from gentrification, a picture of an out-of-towner with online politics swooping in to save a community that never asked for their help. That illumination nicely primes readers for this issue’s story, which is all about Harley getting a bit overconfident about her abilities and getting duped as a result, her self-righteousness combined with her obliviousness forming a negligent callousness. But primarily, Harley Quinn is a cartoon character stuck in a cartoon rivalry with her cartoon nemesis, who happens to be on the other side of the gentrification struggle. There are delightful scenes of humor in this issue, including a wry, corporate-slogan-laden villain monologue from the object of Harley’s affections, undercut by Harley herself. The artwork in this book is entirely committed to that cartoonish flavor, with thick, bold linework and exaggerated features all around (and also a resemblance to Becky Cloonan’s work). It’s a tidy package of animated energy and satirical humor delivered with a lot of charm. – Jamie Lovett
Rating: 3.5 out of 5

Justice League Unlimited #3
It’s an embarrassment of riches in the Justice League Unlimited corner of the universe, and few teams are as adept at delivering big action and layered storytelling on a grand scale as Mark Waid, Dan Mora, Tamra Bonvillain, and Ariana Maher. Justice League Unlimited #3 touches all aspects of the bigger story at play while also exploring the ramifications from Absolute Power, and some of those moments are as grisly as they are unforgettable. Inferno really gets a bump this time around, and feel like a genuine threat to the world’s way of life, let alone the League itself. This book also continues to be a stunner, delivering epic action in one panel and then pivoting to full-on gruesome horror in the next. Justice League Unlimited has captured what made the original cartoon so brilliant and is adding its own signature flair, and I really can’t think of a bigger compliment to pay it.
– Matthew Aguilar
Rating: 4.5 out of 5

Metamorpho: The Element Man #2
A hilarious indictment of generative AI and the goofballs that tout its “potential,” Al Ewing continues to write the comic that feels both modern and classic in nature, a rare feat. Steve Lieber’s art stylings are also the exact right look not only for this character but for the tone that this series is taking on. This is a must-read comic for fans of the medium as its timeless potential is already obvious two issues in. – Spencer Perry
Rating: 5 out of 5

Superman #22
If you were looking for an issue that crystalized the potential in Lois Lane’s Superwoman transformation, look no further than Superman #22. Clark is always a much better character when Lois is involved and in the mix, and that is equally true now that she finds herself superpowered and working alongside Superman in the field. Joshua Williamson never loses sight of their couple dynamic, but also adds layers to it as new scenarios present themselves, like say when an army of Doomsday haters come to collect him. The banter between Clark and Lois is simply delightful, as is Lois’ assessment of Radiant’s true motives, though equally worthy of celebration is the truly beautiful artwork from the dynamite team of Dan Mora, Alejandro Sanchez, and Ariana Maher. This book is simply stunning from beginning to end, with several pages knocking you for a loop both in terms of concept and brilliance of execution. Few books stun as much as Superman on a month to month basis, and it’s the latest chapter in one of the DC icon’s strongest eras to date.
– Matthew Aguilar
Rating: 5 out of 5

Wonder Woman #17
Wonder Woman #17 continues the needlessly long and drawn out story of the Sovereign explaining his history and story with Wonder Woman, this time narrating how the Wonder Girls decimated his stronghold by working together while in a parallel story Diana tells her infant daughter the story of her father, seemingly dazed by her own grief as she allows her allies to fight the Sovereign battle for her, at least for now. To be honest, there isn’t much new ground covered in this issue. We’re still very much in the same place we’ve been for a few issues, just with the Sovereign running to a new location that is being teased as being the ultimate one, but one that feels rather American-centric for a character that isn’t actually from our world. It’s an easy enough read, but it feels like we’re just reading water.
– Nicole Drum
Rating: 2.5 out of 5

Marvel

Doctor Doom & Rocket Raccoon #1
Doctor Doom & Rocket Raccoon is an interesting book. There’s a good bit of humor — that’s to be expected considering that it’s Rocket Raccoon and the idea of teaming him up with Doctor Doom is itself a little wacky. But there are also some funny little fourth wall breaks through editor “notes” that offer some levity on what is otherwise a little weighty with Doom looking to go back to before time existed to find the “why” of everything. While the actual story falls a little short — we get bogged down in details and some big esoteric things — it’s an interesting window into Doom’s mind, and a pretty fun adventure, too.
– Nicole Drum
Rating: 3.5 out of 5

Fantastic Four #28
Ryan North brings Reed and Sue into “One World Under Doom”, putting the crossover to good use in seeing Victor and Richards once again coming face-to-face. In trying to take down the new Sorcerer Supreme, the two “parents” of the Fantastic Four make a trip to Dane Whitman, aka the Black Knight, in an effort to fire magical fire with fire. While there are some clever twists and turns in here, the story progression is one that can be a tad confusing at times thanks to Mr. Fantastic and the Invisible Woman jumping through a time portal. While this one-off feels a tad too much like a one-off for a crossover rather than looking at the overall story of the FF, it still brings the goods when all is said and done.
– Evan Valentine
Rating: 3.5 out of 5

Hellverine #2
Benjamin Percy’s Hellverine is a testament to his writing ability, as he takes yet another concept that seems sophomoric and giving it gravitas and weight. The art by Raffaele Ienco (with colors by Bryan Valenza) captures not only the specific aura of the place Daken is investigating, but gets across a strong sense of character in all of the images. If there’s a fault to find, it’s minor, but Ienco’s work in many pages lacks a dynamic feel, with the posing of some characters feeling like still moments without energy, there’s no momentum between some of the panels. – Spencer Perry
Rating: 4 out of 5

Iron Man #4
Tony Stark is still licking his wounds following the Roxxon Stark War, and he’s getting a little help from a magical friend to dig into the Mysterium issue at hand. The best part of this issue, for me, was the Scarlet Witch’s journey into the magical plane, which might be free of speech but has some interesting and gorgeous art to see Wanda’s traversal to help out her fellow Avenger. This latest issue focuses far more on the “Iron” versus the “Man” but it still works well at pushing the story forward. Of course, the past once again comes back to bite Tony in the final pages and it will be interesting to see how this new wrinkle plays out.
– Evan Valentine
Rating 3.5 out of 5

Phoenix #7
Stephanie Phillips continues to do tremendous work with what is quietly one of the best comics Marvel is publishing. Not only do the characters themselves feel smart and grounded, but the plot is propelled by the actual personality and powers of the title hero. Phillips just GETS Jean, and this series shows. Marco Renna continues to turn in tremendous splash pages and action beats as well in this (his second issue), with color artist David Curiel elevating the already great work with depth and layers.
– Spencer Perry
Rating: 5 out of 5

Scarlet Witch #8
Wanda and Amaranth continue to work their magic in the pages of Scarlet Witch, and that magic absolutely pops thanks to the insanely talented team of artist Lorenzo Tammetta, colorist Ruth Redmond, and letterer Ariana Maher. While writer Steve Orlando keeps you guessing regarding the origin of these creatures, the moment to moment action screams with style, with some truly cinematic moments woven throughout. Orlando only ups the ante by continuing to find new ways for Wanda to be a complete badass, and while this doesn’t end on the highest of notes for Wanda and her new apprentice, it does leave the reader anxiously waiting to see what happens next, so mission accomplished.
– Matthew Aguilar
Rating: 4 out of 5

The Amazing Spider-Man #66
“The 8 Deaths of Spider-Man” may go down as the least consistent major superhero storyline ever produced. Once again, the story is handed over to writer Justina Ireland, who, along with artist Andrea Broccardo, presents a look at Peter Parker at his most destitute. Having sworn off Spider-Man yet again after undergoing existential trauma during his latest challenge against one of Cyttorak’s scions, Peter has gone full nihilist, seeing no point in anything, least of all trying to do good in a world gone bad. The message here is a bit muddied. As presented previously, Peter’s cynical streak is born out of a feeling of smallness, that on a longer enough timeline, nothing we do matters because, on a long enough timeline, we and everyone we know or help will die. But throughout the issue, Peter is more interested in bemoaning the evils of capitalism, a sense that good can’t ultimately defeat evil, rather than simply that neither side of the conflict matters in the long run. Even if you gloss over that, while it’s nice to have a quiet issue between the more bombastic ones, The Amazing Spider-Man #66 doesn’t offer any insights into Peter’s state of mind that wasn’t already clear by the end of the last scion’s challenge, doubly so for readers who read the Coulson-focused (and cumbersomely numbered) The Amazing Spider-Man #65.DEATHS, which already offered readers a glimpse into the life of The Fatalistic Spider-Man. Add to that the distracting artwork, with characters’ features shifting noticeably from panel to panel, and it’s hard to escape the sense that the issue is spinning its wheels and not in a particularly entertaining way. – Jamie Lovett
Rating: 2 out of 5

TVA #2
Marvel’s TVA #1 felt like an extension of Loki through and through, with a few comic elements thrown in for good measure, but issue #2 rather successfully turns that on its head. In what is a polar opposite approach, issue #2 feels far more firmly entrenched in the comics, with writer Katharyn Blair mixing in the Loki cast at key moments. Ghost-Spider and Gambit play off each other incredibly well, and are the two shining stars in the series so far, though the addition of a Loki series favorite should make the team that much more compelling, especially if we continue to get this much from Hellstrom. Speaking of Hellstrom, Pere Perez and Guru-eFX give the character a substantial aura that’s been missing in some of his other appearances, though the duo’s work on Gambit and Ghost-Spider is also praise-worthy, allowing the banter between the two to pop off the page. The ending few pages only raised the stakes that much higher, so if we can hit this type of balance moving forward, the series could really be onto something special.
– Matthew Aguilar
Rating: 3.5 out of 5

Uncanny X-Men #9
The Raid on Graymalkin was a storyline that failed to hit the same landing as the earlier issues of Gail Simone’s take on Marvel’s merry mutants, but luckily, issue nine is a return to form. While there are some issues with fill-in artist Andrei Bressan’s work here, especially when looking at some facial features of beloved characters, it’s a minor bump in the road. Introducing new young mutants in an X-Men story is a trope that has been examined many times before but the “outliers” feel like the freshest new recruits in recent memory. Seeing the likes of Rogue, Gambit, Wolverine, Nightcrawler, and Jubilee placed into a true role as teachers and mentors really works in pushing the new class of mutants here. Uncanny remains the best of the best when it comes to the X-Men line post-Krakoa and this issue once again shows why.
– Evan Valentine
Rating: 4 out of 5

Wolverine: Revenge #4
This alternate universe is one that is certainly seeing shades of “Old Man Logan” in its recent issue, deciding to take us twenty years into the future from Wolverine’s battle against Colossus, Sabretooth, Deadpool, and the others that became the target of Logan’s ire. In Revenge, however, there’s a sense of optimism and overall hope for a world that has been placed back at square one and how revenge can still factor into such an environment. Wolverine: Revenge feels like the X-Man’s best take on Quentin Tarantino’s Kill Bill, and it truly shines in focusing on Logan’s character and his inability to truly let his revenge go. It’ll be interesting to see if the fifth and final issue is able to stick the landing but this outing from Jonathan Hickman and Greg Capullo but all signs are looking good based on this penultimate outing. – Evan Valentine
Rating: 4.5 out of 5

X-Men: Xavier’s Secret #1
With the X-Men about to clash with the upcoming “Raid on Graymalkin” crossover and Jean’s adventures in the Phoenix series ongoing, putting the X-Men: From the Ashes Infinity Comic together is good timing. Not only does it remind regular readers of the events that brought them here, but for those who have been following the team less closely since the start of the Krakoa era, it serves as a quick primer for what might be an explosive next chapter. But while it’s timely and helpful, X-Men: Xavier’s Secret #1 feels mostly like a bridge to these larger stories. With some slight missteps in the stories being told, it feels like this is one series that didn’t necessarily need revisiting. – Nicole Drum
Rating: 2.5 out of 5 (Read the full review here)

IMAGE COMICS

G.I. Joe: A Real American Hero #313
Most of the action in G.I. Joe: A Real American Hero #313 is simply Destro making a straightforward descent toward the bunker where Cobra Commander hides. Leave it to Chris Mooneyham to make such an indoor stroll into a dramatic event. The subtle recurring gag of the G.I. Joe ninjas and the Drednok’s simply waiting outside for it all to happen is a nice, lightening touch, and Cobra Commander ultimately orchestrating his demise via his arrogance is character-perfect, but then one expects no less from Larry Hama when it comes to G.I. Joe. Having Cobra Commander narrate Destro’s approach somewhat undercut its power — one imagines the quieter version of this issue, where Destro stalks the halls silently, a force of nature that cannot be stopped. Regardless, what we do have more than lives up to the high standards that Hama and his collaborators have set during his decades writing the Joes’ adventures.
– Jamie Lovett
Rating: 4 out of 5

Hyde Street #3
While Hyde Street #3 would have hit a little differently during Christmas time, the issue does insert some new elements into the horror story. Pranky is more of a threat than ever, but we also see the introduction of a new character, Oscar, aka Matinee Monster who curiously intervenes in the taking of a soul. It throws a new threat into things, denying Pranky another soul but giving Mr. X-Ray something else to worry about. It also overall makes for an interesting twist on a heartwarming Christmas story of redemption of sorts.
– Nicole Drum
Rating: 3 out of 5

W0rldtr33 #12
W0rldtr33 returns with an issue revealing the origin of Ph34r, previously revealed to be Gabriel Winter’s younger sister, Sammi. The issue tells a familiar story of a closeted queer youth struggling to find her place. It being the late 1990s, it’s unsurprising that she would go looking for community online, only to find it lacking. But the Undernet serves as a symbol of the dark side of the internet, what one might stumble upon a young person, unprepared, and how it might alter their perception of reality. Tynion, Blanco, and Bellaire tell the story subtly, using an irregular grid with missing panels to represent young  Sammi’s distance from her peers, her isolation, the sensation of trying to fit into boxes that do not fit them, the juxtaposition of who she is against who the world expects her to be, fixation, the crossing of a threshold, and ultimately, that imprisonment. It’s a gauntlet of meaning pulled off admirably with a singular visual device, creating a strong throughline in this otherwise understated yet tragic tale. W0rldtr33 is back, and it is not taking prisoners, no matter how sympathetic they may be. – Jamie Lovett
Rating: 4.5 out of 5

BOOM! STUDIOS

House of Slaughter #29
There’s so much to love about the central premise of James Tynion IV and Sam Johns’ Azure, which delivers its fourth chapter in House of Slaughter #29. That’s partly why it’s so frustrating that it’s just not clicking in the way I want it to. This is truly a dream scenario in a lot of ways, as you have three different masks coming together to face what is one of the most intriguing enemies in the series thus far (which I won’t spoil here). Unfortunately moving between what’s going in on their minds and what’s actually happening in the present disrupts the flow of the story and the battle that’s playing out, and when you multiply that by three characters, it just becomes messy. There are some moments of gold here, especially in regards to Edwin, and some of the character spotlights by Letizia Cadonici, Francesco Segala, and Justin Birch are gorgeous, but the cluttered nature of how the story is playing out at the moment obscures those more positive aspects more often than not. – Matthew Aguilar
Rating: 2.5 out of 5

Power Rangers Prime #3
Power Rangers Prime got off to a stellar start, but issue #3 might even be better than its soaring debut. In just three issues writer Melissa Flores has brought together all five key players, each already equipped with their own individual motives and personalities, rough edges and all. It’s already created a solid foundation for evolving dynamics and relationships within the group, but adding in by far my favorite version of Rita Repulsa yet just makes this a can’t miss affair. That’s all wrapped in the showstopping artwork of Michael YG, Fabi Marques, and Ed Dukeshire, who bring a fresh edge and style to every page but in a way that feels unmistakably Power Rangers. Prime can’t miss, but issue #3 just set a new bar for the series and paints a bright picture of what’s to come.
– Matthew Aguilar
Rating: 5 out of 5

The post Comic Book Reviews for This Week: 1/22/2025 appeared first on ComicBook.com.

Justice League Unlimited has truly captured the brilliance of the best Justice League adventures, and issue three is yet another stellar issue. Creators Mark Waid and Dan Mora have proven on Batman/Superman: World’s Finest that letting them play with DC’s biggest toys leads to fantastic stories, and this newest one us building into something special. From the mystery of new Justice League baddies Inferno to the reveal of the traitor to the team, Justice League Unlimited has kept throwing curve balls at readers, and the latest installment is no different.

Inferno’s attacks on Earth have so far targeted areas with lots of natural resources, and the third issue sees them hitting the Amazon rain forest. This leads the League to call for help from a familiar ally, one uniquely suited to helping them. However, bringing him into the mix may have been the biggest mistake the Justice League could have made.

Inferno’s Newest Attack Reveals Some Startling Secrets

Inferno newest attack involves dropping fire-producing pillars all over the length and breadth of the Amazon rain forest. The Justice League sends in Superman, the Captain, the Flash, Wonder Woman, Stargirl, Star Sapphire, and S.T.R.I.P.E. to try to stop the blaze and figure out how to contain the damage. Superman quickly finds the source of the fire, but when he goes to remove the nearest pillar, he’s burnt by the flames. This shows that the flames are magical in nature, and the League calls in three other members to help them deal with the fire – Zatanna, Doctor Occult, and Xanthe Zhou.

Superman and Flash begin to evacuate the areas surrounding the pillars, while the three magic users begin to use their mystic abilities to try to figure out how to stop the pillars. As the League gets to business, Mister Terrific speculates that the flames of Inferno may be somehow related to the same fires that destroyed Mars centuries ago, but since Martian Manhunter is MIA, there’s no way to be sure. Flash and Terrific try to figure out just what Inferno wants this time – their first attack saw them try to take control of resources while this one is simply an attack designed for collateral damage. This gives Zatanna an idea.

Related: Justice League Unlimited: 7 Dream Team-Ups We Need to See

Since Inferno is using magic to summon the flames, they’re connected to them. That means that Justice League mages can in turn summon them to ask them about their motives. This leads to a dark robed figure appearing, similar to what readers saw in the first issue. They don’t really reveal much more than they did when Superman found their communication device, but add one interesting new caveat – that they want the heroes to live to see them conquer the Earth and that they are agents of vengeance. The robed figure is able to break the summoning, but Doctor Occult jumps through the portal after them.

Mister Terrific realizes that Inferno’s goal with this attack is to take control of the Green, the elemental energy that is present in all plant life. This leads him to dispatch Air-Wave and Aquaman to Lousiana to get the avatar of the Green, Swamp Thing, to help. However, that proves to be a terrible mistake, as Swamp Thing bursts into flames!

Targeting Swamp Thing Shows How Powerful Inferno Is

Inferno’s first attack involved using powerful technology to try and take control of an iridium supply. Their next attack involved using powerful magical items to try to take control of a magical force – the Green. These two attacks are both quite different and show just how much of a threat that Inferno is. Most of the time, the worlds of magic and technology don’t interact, so Inferno using both is quite rare.

Their latest attack also proves just how powerful they are. Swamp Thing is something of a niche character, but one thing that can’t be denied is how powerful he is. While the current Swamp Thing isn’t the classic Alec Holland but new guy Levi Kamei, he’s still completely in control of the Green. Inferno targeting him makes a lot of sense, and the fact that they can they’re able to attack him without even being near him shows just what kind of powerful magic they’re working with. Justice League Unlimited is developing Inferno into the scariest force in the DC Multiverse; if they’re able to destroy Swamp Thing, they are a threat that even the Justice League might not be able to stop.

Justice League Unlimited #3 is available wherever comic books are sold.

The post One of DC’s Most Powerful Heroes Just Met a Fiery Fate appeared first on ComicBook.com.

Superman, by Joshua Williamson and Dan Mora, has been one of the most intriguing books in DC’s All-In publishing initiative. Lois Lane becoming Superwoman has only been the beginning, with the Time Trapper’s return revealing him to be Superman’s most feared foe: Doomsday. This new Time Trapper has a simple request – for Superman to kill him so he can become god. Williamson somehow came up with the perfect way to up the stakes of the current story – by bringing in the present day version of Doomsday, giving the Man of Steel and his now superpowered wife more than they bargained for.

All of this leads to Superman #22, where a familiar face returns to Metropolis to take possession of Doomsday. Of course, they don’t ask in the nicest way and their arrogance leads to battle, one that sees them try to take Doomsday from SuperCorp. This leads to something that fans never thought they’d see – a team-up of epic proportions.

The Return of Radiant Leads To Some Strange Bedfellows

Superman’s neverending war against Doomsday has taken him many places, and Superman #22 references one of those worlds – Calaton. Calaton was the target of the monster in The Death of Superman sequel Superman/Doomsday: Hunter/Prey. Superman was unable to stop Doomsday’s rampage on that world, and the people of Calaton suffered greatly. While there, Superman met the hero of Calaton – Radiant.

Radiant’s failure to stop Doomsday’s rampage in the past plays into his return in the present. Radiant has a simple ultimatum for Superman – to give up Doomsday and let his army deal with the beast. Superman warns him that nothing they can do will hurt Doomsday, while demanding answers about what they were going to do with Doomsday. Radiant avoids revealing exactly why he wants Doomsday while threatening the people of Metropolis, telling Superman that the city will never survive a battle between his forces and the Couple of Steel. This is too much for Superman, who is dealing with his anger problems in recent issues, and begins the battle.

Related: The Best Modern Superman Comics, Ranked

Radiant’s forces make a beeline for SuperCorp, where the amnesiac Lex Luthor, his genius daughter Lena, CEO of SuperCorp Mercy, and Supergirl are trying to figure out how to deal with Doomsday before Radiant can abscond with the monster. When Lena says that her father would have some way of dealing with Doomsday, it sparks something in his memory and he asks for them to move Doomsday’s containment unit. Unfortunately, Radiant gets there at that moment.

Supergirl is unable to stop the alien warrior, but Superman swoops in to save the day. However, Radiant plays his most desperate card, freeing Doomsday. This causes Superman’s Red levels – the way SuperCorp measures the energy his anger produces – to skyrocket and leads to a sight no Superman fan ever thought they’d see: Superman and Doomsday fighting side-by-side against Radiant’s forces. It’s an epic moment in DC history, perfectly captured in an amazing double page spread from Mora and colorist Alejandro Sanchez.

Superman & Doomsday Teaming Up Seems To Be Just the Beginning for This Titanic New Story

Williamson has been firing on all cylinders since launching Superman in 2023 and this newest story is yet another example of why he’s an amazing Superman writer. Bringing back the Time Trapper and making him the Doomsday of the future is a perfect twist, and Superman #22 builds on that. The return of the monstrous present day Doomsday was always going to have major repercussions and bringing back characters like Radiant is the perfect way to remind readers that Doomsday is more than just a Superman enemy, but one who has caused chaos throughout the universe.

Superman and Doomsday teaming up is one of the biggest moments in the history of the two characters. However, judging from the direction this issue takes the story, it’s only the beginning. As the two former enemies fight side by side, Radiant attacks Jimmy Olsen and Superwoman is given a terrible choice by the Time Trapper – save Jimmy by killing Doomsday and make the Time Trapper into a god or allow the fight to go on without the Time Trapper’s help, leading to the probable death of Jimmy. Williamson keeps finding ways to make this tale fresh, and playing on the often pragmatic Lois’s morals is brilliant. Superhero comics are built on nostalgia, but Superman is showing that it’s possible to give fans something new.

Superman #22 is on sale anywhere comics are sold.

The post DC Just Delivered a Superman Team-Up Fans Never Thought Would Happen appeared first on ComicBook.com.

If you thought 2024 as the year of Superman, then you won’t believe what’s happening in 2025. DC is looking to make this year even bigger for the Man of Steel, and they are kicking things off with a massive lineup for the Summer of Superman. It all begins with a wedding in the Summer of Superman Special #1 and then hits another gear from there, with the return of Le Luthor, a new early readers graphic novel, a deep dive on Metropolis, and big new arcs for the Superman books, including the debut of a brand new series Superman Unlimited. Let’s get into everything that’s happening with the DC icon, starting with the Summer of Superman Special.

Summer of Superman Special #1 – April 16
Dan Slott will be debuting a new ongoing with Superman Unlimited, but he will first jump in with Mark Waid (Justice League Unlimited, Batman/Superman: World’s Finest), Joshua Williamson (Superman, DC All In Special) and Jorge Jiménez (Batman, Super Sons) for the Summer of Superman Special, which hits comic stores and digital retailers on Wednesday, April 16th.

In this oversize issue, Slott, Waid and Williamson deliver a single story in three acts, highlighted by Jiménez’s dynamic art style that has made him a favorite of comic book fans worldwide. The wedding of Lana Lang and John Henry Irons (a.k.a. Steel) serves as the backdrop for an outpouring of love and support from family and friends. However, their big day will also be big trouble, as threats from the past, present and future will spawn major new conflicts for the Superman family.

Featuring a main and variant cover by Jiménez, this 48-page one-shot features additional variant covers by Alexander Lozano, John Giang, Mahmud Asrar, and Dan Jurgens, plus an adorable variant cover featuring Krypto, (Super)man’s best friend, by Chrissie Zullo-Uminga.

Superman #25 – April 23
Just as Superman and Superwoman are recovering from their battles with Time Trapper and Doomsday, the biggest problem of all returns when Superman #25 hits comic book shops on April 23rd. Lex Luthor makes his DC All In return and is ready to fight for control of Supercorp and Metropolis. Written by Joshua Williamson, this oversize (48-page) issue
features art by series artist Dan Mora (Justice League Unlimited, Batman/Superman: World’s Finest), Eddy Barrows (Action Comics) and Eber Ferreira (Action Comics, Action Comics Presents: Doomsday Special) and celebrates the last two years of Superman, connects to Summer of Superman Special #1, and sets up a brand-new storyline featuring Superman’s greatest enemy.

Mora provides the wraparound main cover for Superman #25, with variant covers from a who’s-who of comic book art giants, including Guillem March, Jeff Dekal, Rafael Grassetti, Dave Johnson, Laura Braga, and Fico Ossio, plus an April Fools’ Day variant cover by Dan Hipp.

Superman: The World – June 24
The Man of Tomorrow usually soars through the skies in Metropolis, but no matter where a cry for help comes from, Superman will always be there to save the day. In the tradition of critically acclaimed anthologies Batman: The World and Joker: The World, witness what makes Superman an international symbol of truth, justice, and hope with the global release of Superman: The World on June 24th. Renowned Superman storytellers Dan Jurgens and Lee Weeks join a team of fifteen international creators to tell tales that highlight what makes Superman the greatest superhero of all. Superman: The World is scheduled to launch day and date in the following territories: Brazil, Mexico, Germany, Spain, Serbia, Bosnia, Montenegro, Turkey, India, Cameroon, Poland, the Czech and Slovak Republics, and Argentina.

Superman’s Good Guy Gang – July 1
The Summer of Superman also features the debut of Superman’s Good Guy Gang on July 1st. The first in a multivolume series, this graphic novel is the perfect entry point for early readers ages 5–7 to discover the incredible world of DC’s Super Heroes. Superman’s Good Guy Gang is written and drawn by Death and Sparkles creator Rob Justus and introduces readers to an eight-year-old Clark Kent, and his super-powered friends Hawkgirl and Green Lantern Guy Gardner, as they test their abilities, grow together and maybe even earn some good guy points along the way. Future books in the series will include popular DC Super Heroes Batman, Wonder Woman, Mr. Terrific and more.

Action Comics #1085 – April 9
“Superman Superstars” concludes on April 9 with the release of Action Comics #1085. Written by G. Willow Wilson and featuring art by Gavin Guidry, part one of this two-part story is a real job for Superman. Lois Lane sends the Man of Steel to a scientific outpost in the Arctic to investigate a new technology that promises to halt global warming. But when Superman arrives, he quickly finds out that the outpost has been plagued by a villain who plans to melt humanity’s hopes for survival. Featuring a main cover by Brad Walker, with variant covers by Davide Paratore, Cully Hamner and Danny Earls.

Fans can also celebrate the DC icon on Superman Day, which will happen on April 18th, and DC will have a number of new editions of Superman classics in store for collectors. Those include:

• All-Star Superman Deluxe Superman Day Edition hardcover (new dust jacket featuring art by Frank Quitely)
• Superman Unchained Deluxe Superman Day Edition hardcover (new dust jacket featuring art by Jim Lee)
• All Star Superman #1 Special Edition by Grant Morrison and Frank Quitely
• Superman For All Seasons Book One Special Edition by Jeph Loeb and Tim Sale
• An excerpt of the upcoming young adult graphic novel Jimmy Olsen’s Supercyclopedia by Gabe Soria and Sandy Jarrell
• Action Comics #1 Golden Age–Size Facsimile Edition featuring an homage cover by superstar artist Dan Mora

Are you excited for the Summer of Superman? You can talk all things comics with me on Bluesky @knightofoa!

The post DC Kicks Off Summer of Superman Lineup with Surprise Wedding appeared first on ComicBook.com.

DC has pride and Funko’s here to show it! The all-new drop from Funko features some of our favorite DC heroes and villains showing their pride using different LGBTQ+ flags. The collection includes Harley Quinn, Tim Drake, Poison Ivy, and Batwoman in some of the best Pride Pops that we’ve ever seen from Funko. If you want to pre-order one or all of these figures, you’ll be able to do so starting today, January 22nd at 9am PT / 12pm ET here on Amazon and here at Entertainment Earth. Each Pop will be priced at $12.99 with an arrival estimated for April 2025. Read below for more details on each of the figures. 

• Funko Pop Heroes: Pride – Batwoman: Batwoman is featured with her arms splayed out, her Bat-cape splayed out behind her, with the bright colors of the lesbian flag covering her mask and the vape. 
• Funko Pop Heroes: Pride – Harley Quin: Harley Quinn has one foot daintily placed on the ground, as if she wasn’t about to destroy everything with her hammer. The bisexual flag colors pair goes perfectly with Harley’s original design, with the blue and pink pigtails looking perfectly placed. 
• Funko Pop Heroes: Pride – Poison Ivy: Poison Ivy sits upon her vine, her classically green costume replaced with the LGBTQ+ flag. 
• Funko Pop Heroes: Pride – Tim Drake: Tim Drake, aka Robin, stands in his fighting position with his fists ready for action and a costume elevated by the colors of the bisexual flag. 
• You can check out more of this week’s biggest Funko releases right here.

James Gunn and the (New) DC Studios: What’s Next? 

With Superman about to hit theaters, fans are feeling excited for what’s to come with the new DC studios.  But what is the plan for DC Studios after Superman? As of now, the next big budget film set for release is Supergirl: Woman of Tomorrow. HBO Max also has the TV show Creature Commandos, so maybe a season 2 would make the next logical sense? CEO and filmmaker James Gunn let fans know what’s been up with him and the future of DC Studios in a recent post to Threads:

“The bulk of my time is dealing with post-production on Superman and Peacemaker, but I’m also spending a fair amount of time pre-writing my next DC Studios project and watching dailies and offering ideas on the other projects. It’s much less overwhelming than when I was directing.” 

While this was a hint, it wasn’t a super clear one. The possibilities remain, but my money is still on season 2 of Creature Commandos, since Gunn wrote all of the first season’s seven episodes and will probably be doing the same for this one, too. In any case, it’s nice to hear that progress continues to be made on the new DC!

The post Funko Drops a Stunning DC 2025 Pride Pop Collection appeared first on ComicBook.com.

Readers are now roughly halfway through the first arc of writer Tom Taylor and artist Mikel Janin’s run on Detective Comics, which began as part of the DC All In initiative. It was an ostentatious debut, adding a significant new wrinkle to Batman’s origin story in its first issue and a guest appearance by Superman in the second. With those attention-grabbing scenes out of the way, Taylor and Janin have settled into a moodier mystery narrative befitting a comic book with “detective” in its title. While it relies on some familiar tropes, its presentation and philosophical core give it memorable substance and style.

“Mercy of the Father,” as the arc is called, traces the ramifications of Dr. Thomas Wayne having saved the life of one Joe Chill. Those familiar with the details of Batman’s origin story recognize the dramatic irony in the revelation that Dr. Wayne saved the life of the man who would years later kill both him and his wife in front of his young son Bruce, leading to the invention of Batman. But the dominos don’t stop falling there. At the time of Dr. Wayne’s intervention, Chill also had a pregnant teenage “girlfriend” whom Martha Wayne helped escape Chill’s orbit before she and her husband’s deaths. Now Chill’s daughter, Scarlett Martha Scott, has reentered Bruce Wayne’s life and become a person of interest in Batman’s latest case. 

In its opening flashback, Detective Comics #1093 reveals Bruce’s first meeting with Scarlett in the immediate aftermath of Thomas and Martha’s death. Unaware of their relation to his parents’ killer, they appear as one of the last in a line of pilgrims paying their respects to the deceased at the front gates of Wayne Manor, though Scarlett’s mother, Evelyn, soon becomes nearly manic, frantically grabbing at Bruce and apologizing before Alfred chases her away. It’s the moment the guilt, the regret, and the questions around the decision to save Joe Chill’s life begin to warp the lives of those he left behind.

Bruce and Scarlett get to know each other as Scarlett continues to benefit from the Waynes’ altruistic legacy via some of their charitable institutions. When Scarlett, who has become a brilliant scientist herself, develops a serum capable of reversing the effects of aging, she seeks out her old friend Bruce to become one of the early adopters. It’s a timely offer as Bruce has finally begun to lose a step as Batman as the wear and tear on his body begins to take its toll. He and Scarlett even enter a romantic relationship.

At the same time, a new villain also emerges on the scene, killing children recently released from juvenile detention. Longtime Batman readers know that whenever one of Bruce Wayne’s old friends suddenly reappears ready to catch up on old times at the same time the two are almost always related, if not the same person, doubly so if Bruce and the “old friend” in question spend a night together. This new villain happens to go by the moniker “Asema,” borrowing the name from a shapeshifting vampire in Caribbean folklore who appears elderly during the daytime. The name alone almost guarantees the villain is involved with the sinister organization backing Scarlett’s rejuvenation research, known as “Sangraal,” another name for the Holy Grail.

But while the big swings may be somewhat telegraphed  (Or not? We do not know the fate of Scarlett’s mother, nor whether Scarlett is herself Asema or if it is another of her cohort) the thematic strands tie together nicely. While not plainly stated, this issue implies that Sangraal preys on the young, especially those most vulnerable, to enliven the old, a clear metaphor for generational imbalance in power and wealth. But within that, there’s also the question of second chances, who deserves them, and who gets them. Would Bruce Wayne discourage his father from saving Joe Chill’s life with the knowledge of what would follow? How has that same cruel twist affected Scarlett? Is Bruce Wayne willing to continue his crusade against crime on a near-immortal basis if it costs the lives of several less fortunate children? These ideas swirl around and within each other, creating a tension that spills over into Batman’s aggression toward a deadbeat dad, stemming from his shame at previous failures to protect these children, perhaps brought on by the same aging he now seeks to abate.

This tension is similarly apparent in Janin’s visuals. While the flashback scenes are straightforward and muted, the night scenes in Gotham’s present are searing contrasts of harsh light against deep shadow. Many moments are framed with dramatic top-down angles, one page effectively taking on the classic noir long shot of an alley with two small figures casting long shadows. Panels are increasingly thrown off balance as the action intensifies. It’s an arresting style that makes it difficult for the reader to tear their eyes away from the page.

Whether the subtext rings true, Taylor and Janin have crafted a compelling mystery in the Batman mold. The villains feel appropriately arch, aloof, and dangerous enough to be worthy of Batman’s attention, and their victims are both sympathetic and relatively on personal and symbolic levels. If nothing else, Janin appears born to bask Gotham’s dingy streets in a grimy, neon glow, illuminating every violent secret it hides. Detective Comics is a finely packaged dose of grounded Batman storytelling at its best.

Published by: DC

On: January 22, 2025

Written by: Tom Taylor

Art by: Mikel Janin

Colors by: Mikel Janin

Letters by: Wes Abbott

The post Detective Comics #1093 Review: Batman’s World Is a Vampire appeared first on ComicBook.com.

When you’re smiling, the whole world smiles with you — but there’s nothing to smile about for Joker: Folie à Deux. The Joaquin Phoenix and Lady Gaga-fronted bomb tied Sony’s Spider-Man Universe spinoff Madame Web, video game adaptation Borderlands, the Dennis Quaid-led Ronald Reagan biopic Reagan, and Francis Ford Coppola’s costly mega-flop Megalopolis for the most nominations at the 2025 Razzie Awards. The Golden Raspberry Awards, which sent ballots to 1,202 Razzie Members (movie buffs, film critics and journalists) to vote on the worst films of 2024, revealed those five films lead this year’s nominations with six noms each.

Joker 2, Madame Web, Borderlands, Reagan, and Megalopolis are all nominated for the “$4.97 gold spray-painted” statuette awarded to Worst Picture of 2024. (They averaged a 23 percent “rotten” score on review aggregator Rotten Tomatoes.) The Joker sequel, with a budget estimated to be between $190–200 million, received a “D” CinemaScore — the worst for any comic book movie — before suffering the worst-ever second weekend drop in the genre’s history and finishing its box office run with $206 million (a steep plunge from the $1 billion its predecessor took in five years earlier).

Phoenix, who won an Oscar for his role as Arthur Fleck in 2019’s Joker, is nominated in the Actor category alongside Zachary Levi (Harold and the Purple Crayon), Jack Black (Dear Santa), Dennis Quaid (Reagan), and Jerry Seinfeld (Unfrosted), while fellow Oscar winner Gaga is up for Actress alongside Johnson (Madame Web), Bryce Dallas Howard (Argylle), Jennifer Lopez (Atlas), and two-time Oscar winner Cate Blanchett (Borderlands).

Black received a second nomination in the Supporting Actor category for his voice role as Claptrap in Borderlands, as did co-star Kevin Hart’s Roland, and Tahar Rahim as the villain Ezekiel (Madame Web), Shia LaBeouf for Clodio Pulcher (Megalopolis), and quadruple nominee Jon Voight, who made a boner by appearing in Megalopolis as well as Reagan, Shadow Land, and Strangers.

Supporting Actress names Oscar winner Ariana DeBose for her roles in Argylle and Sony’s Kraven the Hunter, Emma Roberts (Madame Web), Leslie Anne Down (Reagan), FKA twigs (The Crow), and Amy Schumer (Unfrosted). Madame Web director S.J. Clarkson’s feature debut earned her a Worst Director nom, as did Jerry Seinfeld’s feature directorial debut on Netflix’s Pop-Tart origin story Unfrosted. The directing nominees include Coppola, Eli Roth (Borderlands), and Todd Phillips (Joker 2).

Phoenix and Gaga’s Arthur/Joker and Lee/Harley Quinn are recognized as Worst Screen Combo, which includes the following: “Any Two Obnoxious Characters (But Especially Jack Black)” for Borderlands, “Any Two Unfunny ‘Comedic Actors'” for Unfrosted, “The Entire Cast” for Megalopolis, and Dennis Quaid and Penelope Ann Miller for “Ronnie and Nancy” in Reagan.

Joker 2 also earned a nomination for Worst Prequel, Remake, Rip-Off or Sequel, and will compete against the remake of The Crow, Disney’s Lion King sequel/prequel Mufasa, the SSU installment Kraven the Hunter, and Zack Snyder’s Rebel Moon 2: The Scargiver. And finally, the Joker sequel is nominated for Worst Screenplay alongside Reagan, Kraven and Madame Web, and Megalopolis.

In a press release, the Razzies boasted that Madame Web (11 percent), starring Dakota Johnson in the title role as the clairvoyant Cassandra Webb, was touted as a “serious Razzies contender” in scathing reviews that described the Sony movie as a “Marvel knock-off” and the “kind of superhero B-movie you’d find buried in the Walmart dollar bin.”

Megalopolis (45 percent), the star-studded passion project from the director of The Godfather and Apocalypse Now, is an “incoherent $120 million mess” dubbed “WTF the Movie,” while Reagan (18 percent) is described as “a love letter to the 40th President that ‘borrowed’ its plot structure from Citizen Kane (with Jon Voight imitating Bullwinkle’s nemesis Boris Badenov as its narrator).”

The Razzies knocked Joker: Folie à Deux (31 percent) as a jukebox musical that “had its protagonists express their mental illness and villainy – by singing and dancing,” and Borderlands (10 percent) as “a big budget video-game-based bomb that racked up 90% negative reviews” on Rotten Tomatoes and reportedly lost over $100 million at the box office.

The 45th Annual Razzie “Winners” will be announced in a video press release on Oscar Eve, Saturday, March 1. See the full list of Razzie nominees below.

2025 Razzie Award Nominations Complete List

Worst Picture
Borderlands
Joker: Folie a Deux
Madame Web
Megalopolis
Reagan

Actor
Jack Black / Dear Santa
Zachary Levi / Harold and the Purple Crayon
Joaquin Phoenix / Joker: Folie à Deux
Dennis Quaid / Reagan
Jerry Seinfeld / Unfrosted

Actress
Cate Blanchett / Borderlands
Lady Gaga / Joker: Folie a Deux
Bryce Dallas Howard / Argylle
Dakota Johnson / Madame Web
Jennifer Lopez / Atlas

Supporting Actor
Jack Black (Voice Only) / Borderlands
Kevin Hart / Borderlands
Shia LaBeouf (in drag) Megalopolis
Tahar Rahim / Madame Web
Jon Voight / Megalopolis, Reagan, Shadow Land, Strangers

Supporting Actress
Ariana DeBose / Argylle and Kraven the Hunter
Leslie Anne Down (as Margaret Thatcher) / Reagan
Emma Roberts / Madame Web
Amy Schumer / Unfrosted
FKA twigs / The Crow

Director
S.J. Clarkson / Madame Web
Francis Ford Coppola / Megalopolis
Todd Phillips / Joker: Folie a Deux
Eli Roth / Borderlands
Jerry Seinfeld/ Unfrosted

Screen Combo
Any Two Obnoxious Characters (But Especially Jack Black) / Borderlands
Any Two Unfunny “Comedic Actors” / Unfrosted
The Entire Cast of Megalopolis
Joaquin Phoenix & Lady Gaga / Joker: Folie a Deux
Dennis Quaid & Penelope Ann Miller (as “Ronnie and Nancy”) / Reagan

Prequel, Remake, Rip-Off or Sequel

The Crow
Joker: Folie a Deux
Kraven the Hunter
Mufasa: The Lion King
Rebel Moon 2: The Scargiver

Screenplay

Joker: Folie a Deux
Kraven the Hunter
Madame Web
Megalopolis
Reagan

The post Joker 2, Madame Web Lead Razzie Nominations for “Worst” 2024 Movies appeared first on ComicBook.com.

Before DC’s All-In initiative saw the shake-up of several creative teams on its books, writer Tini Howard tackled her final arc with Catwoman. From Catwoman #39 (2022) to Catwoman #68 (2024), Howard wrote for Catwoman, seeing Selena Kyle blackmail crime bosses, reunite with old flames, survive prison, and finally pull off her most deadly heists to date.

Catwoman is no stranger to adrenaline rushes or dangerous heists; however, the scores she takes on in Catwoman #59 through #68 are almost all death sentences. Thankfully, Catwoman has been given the gift of nine lives after the events of Gotham War. While Catwoman does not often have superpowers in the comics, her film counterparts have had some special abilities similar to this.

In Batman Returns, Catwoman Has Nine Lives

Specifically in Batman Returns, Michelle Pfeiffer’s Catwoman dies and comes back to life after a supernatural encounter with some alley cats. As the film progresses, Catwoman survives several more deadly experiences and realizes she has nine lives to use up. At the climax of Batman Returns, she even uses a few of them to take down the man who killed her, evil industrialist, Max Shreck (Christopher Walken). However, she still has one life left after seemingly dying, and the film ends by confirming she is still around.

Even outside of Batman Returns, Catwoman has been depicted onscreen as someone who can defy death thanks to supernatural powers. Just like in Batman Returns, Halle Berry’s Patience Phillips is brought back to life thanks to a supernatural encounter with cats after her death in Catwoman (2004). While the comics often depict Catwoman as a world-class thief without the aid of powers, there has been a precedent from other media to give her abilities like the nine lives.

Tini Howard’s Catwoman Has Nine Lives For Nine Deadly Heists

While much of Tini Howard’s run on Catwoman is grounded in reality, the final arc leans into the mythical. Like in Catwoman (2004), Howard’s Catwoman is gifted supernatural abilities thanks to a feline goddess. In the case of Howard’s Catwoman, though, the execution of these powers falls more in line with Batman Returns’ iteration of Catwoman, as she is not just brought back to life. She is also gifted nine extra lives.

However, where Pfeiffer’s Catwoman uses these nine lives to exact revenge on the men who wronged her, Howard’s Catwoman uses her nine lives to pull off her deadliest heists. This includes stealing corium from a highly radioactive nuclear reactor, working with the Suicide Squad, going to the deepest parts of the sea, facing off against a cannibal, exploring the far reaches of space, and much more.

The stakes are high for Catwoman, and while she is using her nine lives to pull off her deadliest heists, those lives are running out as she powers through each death-defying mission. It’s a powerful send-off for Howard, one that allows her to put Catwoman in some of her most dangerous situations to date.

You can read Catwoman over at DC.

The post Tini Howard’s Final Catwoman Run Plays With Batman Return’s Unique Take on Selena Kyle appeared first on ComicBook.com.

One of the biggest appeals for superheroes is how they help others. It’s not just about fighting the bad guys, cool powers, and bombastic action. Being a hero means helping the community and saving lives. Sometimes, superhero films pull focus away from this. Man of Steel, for instance, focused so much on the fight between Zod and Superman that a key plot point to its Batman v. Superman: Dawn of Justice sequel, is that Superman is seen by the members of the public (including Batman and the government), as a threat instead of a hero. As a result, this depiction of Superman does not feel like a symbol of hope – something that is so important to the character. Where some films pull focus from this message of hope, others — namely Sam Raimi’s Spider-Man 2 and Richard Donner’s Superman II — show exactly why it’s important that heroes are symbols of hope for their communities.

Throughout the first Spider-Man and Superman films, audiences see these heroes help their communities outside of fighting their respective big bads, and that carries over into their sequel films. They are not just power figures with awesome abilities. They are role models and pillars of their community, and the impact they have goes well beyond just the lives they have saved.

Metropolis Stands By Superman Even When He Is Down

In both heroes’ sequels, we find them on the ropes against their respective villains. For Superman, he is outnumbered and overpowered by Zod, Ursa, and Non. While he puts up a good fight, Superman is not always on top. That is especially the case once Zod and Co. realize Superman’s weakness is the people. Once they target ordinary citizens, Superman focuses on saving as many lives as possible, and takes a beating as a result. Plus, the collateral damage is massive, with a section of the city being destroyed.

Despite the damage to their city, the people don’t lose hope in Superman. Even when all seems lost, the civilians hold onto hope. Some are even willing to join the fight while Superman is down – despite being at such a disadvantage against Zod, Ursa, and Non. He inspires them to hold onto hope, and he inspires them to try to be heroes themselves when he cannot.

New Yorkers Will Always Have Spider-Man’s Back

Similarly, in Spider-Man 2, Spidey has a moment of extreme exhaustion after saving a train full of people. He alone keeps the train from going over the rails, which would have likely killed nearly everyone onboard. While he is successful, Spider-Man passes out while not wearing his mask, but the NYC civilians catch him and bring him on board.

Everyone in that cart sees who Spider-Man is – a young man who is just like any other New Yorker. They do not just swear to keep his identity a secret, but when Doc Ock bursts into the train, everyone on board stands in his way. They threaten him that if he wants Spider-Man, he will need to go through all of them.

Like with Superman, the civilians see their hero hurt and at a disadvantage. However, they do not lose hope; instead, they are inspired to step forward themselves and help in any way they can because they know Spider-Man would do the same for them. Also, like Superman, Spider-Man does not let the civilians fight his battles for him, but the impact he’s had on these civilians is clear.

[RELATED: Biggest Superhero Movie Flops]

Both Superman and Spider-Man have dedicated their lives to saving others and helping their communities. They do it time and again, whether that means helping with natural disasters, saving lives, stopping criminals, or fighting a big bad. They often prioritize the safety of the civilians in their communities, and as a result, they have become figures of hope for their communities.

Along with giving the people someone to look up to, the people understand that if their heroes falter it is not a reason to lose hope or condemn them. Instead, they step up and be heroes in their own ways, giving Spider-Man and Superman the time and grace needed to pick themselves back up and join the fight yet again.

You can stream Superman II on Max and Spider-Man 2 on Disney+.

The post Superman & Spider-Man’s Sequel Films Capture the Importance of Being a Symbol of Hope for Your Community appeared first on ComicBook.com.

McFarlane Toys is set to add three more 7-inch scale figures to their DC Multiverse Collector Edition lineup on Thursday, January 23rd at 9am PT / 12pm ET. At that time, look for pre-orders to open up for figures of Power Girl (Power Girl: Reborn), Captain Cold (The Rogues) and Guy Gardner (Green Lantern Corps) here at Entertainment Earth and here on Amazon. Direct links will be added to the list below after the launch, so stay tuned for updates.

• McFarlane Collector Edition Power Girl #31 – See on Entertainment Earth / Amazon
• McFarlane Collector Edition Green Lantern #32 – See on Entertainment Earth / Amazon
• McFarlane Collector Edition Captain Cold #30 – See on Entertainment Earth / Amazon
• You can check out the previous (NYCC 2024) wave of McFarlane Collector Edition figures right here.

Details regarding accessories are unknown at the time of writing, but you can expect the figures to be priced at around $29.99 each.

In other recent McFarlane Toys news, they dropped their third wave of 1:10 and 1:6-scale Marvel poseable figures last week with additions that included X-Men’s Cyclops, Secret Wars Spider-Man, Mighty Thor’s Thor, and more. A full breakdown of the lineup can be found below. Pre-orders are available here at Entertainment Earth and here on Amazon.

• Marvel Collection 1:6 Scale Wave 3 Thor Mighty Thor #177 Comic Cover Statue
• Marvel Collection 1:6 Scale Wave 3 Spider-Man Marvel Super Heroes Secret Wars #8 Comic Cover Statue
• Marvel Collection 1:10 Scale Wave 3 Spider-Man Amazing Spider-Man #302 Comic Statue
• Marvel Collection 1:10 Scale Wave 3 Cyclops X-Men #1 Comic Cover Statue
• Marvel Collection 1:10 Scale Wave 3 Daredevil #600 Comic Cover Statue
• Marvel Collection 1:10 Scale Wave 3 Storm Marvel Tales Featuring Spider-Man and the X-Men #235 Comic Cover Statue
• Marvel Collection 1:10 Scale Wave 3 Captain America All-New Captain America #1 Comic Statue

The post New McFarlane Collector Edition Pre-Orders Include Power Girl appeared first on ComicBook.com.

Eight of the 19 biggest movies in history at the worldwide box office are superhero movies. These titles have proven enduringly popular to global moviegoers of all stripes, with mega-hits like Avengers: Endgame and Spider-Man: No Way Home becoming popular enough to enter a rare breed of movies to crack $1.9+ billion worldwide. Looking at the highest box office points of superhero cinema, it’s easy to imagine that this is a bulletproof domain for major studios. Surely a superhero movie is the closest thing a studio can do to printing money, right?

Of course, anyone who tracks both this realm and box office geekery is well aware that not every superhero movie becomes a Black Panther-sized success. Throughout history, many superhero movies have lost tons of money for their financiers and studios. The seven biggest superhero movie flops in history especially reflect that no amount of money or familiar brand names can save feature film concepts people just aren’t interested in. Ranked from “lowest” to greatest losses, these seven gargantuan flops depict a “bulletproof” subgenre bleeding tens of millions of dollars despite arriving with Marvel or DC monikers.

Fantastic Four (2015)

“It’s fantastic” is one of the last lines uttered in Josh Trank’s Fantastic Four. That same sentiment was not expressed by 20th Century Fox executives once receipts came in for the film’s box office haul. Initially expected to launch a new franchise that would keep the Fantastic Four property out of the hands of Marvel Studios, this dud only grossed $167.9 million worldwide. That included a dismal $56.1 million lifetime domestic haul that resembled the North American opening weekends of the two Tim Story Fantastic Four movies. It was later reported that the feature’s losses amounted to roughly $100 million, an embarrassing outcome.

Black Adam

Once set to the change “the hierarchy of power in the DC Universe,” Black Adam instead was greeted with a shrug by general audiences. Worldwide, the film’s $393.3 million gross was underwhelming but not inherently disastrous. However, Black Adam cost a mighty $200 million to make even before counting marketing costs. Variety would later report that the film’s losses could reach $100 million. Though Dwayne Johnson would later try to counter such claims, years later, it’s clear Black Adam was a costly dud for Warner Bros. No wonder the DC Universe went in a radically different direction.

The Suicide Squad

Like Wonder Woman 1984, The Suicide Squad is one superhero movie box office bomb that comes with a major asterisk. This James Gunn directorial effort also debuted on HBO Max simultaneously with its theatrical release. Additionally, that first Suicide Squad being so toxically recieved (not to mention the five-year gap between installments) couldn’t have helped this production strike a positive chord with moviegoers. No wonder this $185-million-budgeted tentpole only grossed $167.4 million worldwide, leading to roughly $119.5 million in losses.

[RELATED: You Won’t Believe These Actors Were Once Rumored For 2015’s Fantastic Four Movie]

Dark Phoenix

Once upon a time, 20th Century Fox’s X-Men movies regularly scored $400+ million box office hauls. Even as late as 2017, Logan was still scoring $700+ million global box office cumes. Dark Phoenix closed out this era of mutant cinema on an atrocious note, though, with this lambasted sequel only grossing $252.4 million worldwide on a $200 million budget. This led to it losing an estimated $133 million, a far cry from the sizable profits of past X-Men installments.

Wonder Woman 1984

There was once lots of hype surrounding Wonder Woman 1984 because, after all, it was following up a beloved 2017 box office juggernaut. Since its December 2020 release, though, Wonder Woman 1984 has become a widely derided punchline. Its dismal box office numbers haven’t helped its reputation. Released simultaneously in theaters and on HBO Max on Christmas Day 2020, Wonder Woman 1984 had a significantly smaller theatrical footprint than its predecessor despite a heftier $200-million budget. This awkward release strategy led to the project only grossing $166.5 million worldwide and losing an alleged $136.5 million.

The Flash

Before its release, The Flash was talked about by film industry figures and various artists as one of the greatest superhero movies ever created. This film did end up making history for superhero cinema when it hit theaters, but not in a way anyone at Warner Bros. expected or wanted. For a few months, The Flash was the costliest superhero movie flop in history. Grossing just $271.3 million worldwide on a budget that’s been reported to run as high as $220 million, The Flash lost $155 million for Warner Bros. Pictures. That staggering loss exemplified how far The Flash had sped off from pre-release expectations.

The Marvels

Everyone behind The Flash must’ve breathed a sigh of relief once the box office numbers for The Marvels began to come in. This $274.8 million sequel to Captain Marvel grossed a disastrous $199.7 million worldwide. That global haul was more than $1 billion less than the original Captain Marvel. To rub salt into its financial wounds, the $84.5 million domestic haul of The Marvels made this the very first Marvel Cinematic Universe title to miss the $100 million mark domestically. In the end, The Marvels lost an eye-popping $237 million for Disney and Marvel Studios. The rare title in the history of cinema to lose over $200 million in its box office run, The Marvels was a stunning box office misfire and a sign of just how badly superhero movies can do at the box office.

The Marvels is now streaming on Disney+.

The post 7 Biggest Superhero Movie Flops of All Time appeared first on ComicBook.com.

Superman isn’t due in theaters until July 11, but writer-director James Gunn is already getting up, up and away on his next project. The filmmaker, who heads DC Studios with producer Peter Safran, is producing the now-shooting Supergirl: Woman of Tomorrow as the second film in the newly unified DC Universe, which launched with the animated series Creature Commandos (written and executive produced by Gunn). With the show wrapping its seven-episode first season earlier this month, Gunn confirmed he’s begun “pre-writing” a mysterious new project.

“The bulk of my time is dealing with post-production on Superman and Peacemaker, but I’m also spending a fair amount of time pre-writing my next DC Studios project,” Gunn wrote in a post shared to Threads, adding he’s also “watching dailies and offering ideas on the other projects. It’s much less overwhelming than when I was directing.”

RELATED: James Gunn Explains How DC Studios Will Differentiate DC Elseworlds From the DCU

In December, it was announced Max renewed Creature Commandos season 2. Gunn, who wrote all seven episodes of the first season, is likely scripting the new season of the series from DC Studios and Warner Bros. Animation. (The season finale introduced a new team of incarcerated monsters recruited for missions too dangerous for humans, including the fan-favorite King Shark from Gunn’s Suicide Squad redo.)

Another possibility: The Authority. First announced as part of the DC Studios slate along with the feature films Superman (originally titled Superman: Legacy), Supergirl: Woman of Tomorrow, Swamp Thing, and the DCU Batman reboot The Brave and the Bold, Gunn has described The Authority — about a team of superheroes with a zero tolerance approach to superheroics as a sort of anti-Justice League — as “one of my real passion projects.”

When announcing the adaptation of the WildStorm comic book by Warren Ellis and Bryan Hitch, Gunn said, “I’ve been working really hard on it with the writers and we’re starting to put together the entire story. This is a big movie. … WildStorm was a comics imprint that was bought by DC that I really love. We’re moving a lot of these WildStorm characters into the DCU.”

“The Authority’s a very different kind of superhero story,” he continued. “They are basically good-intentioned, but they think that the world is completely broken and the only way to fix it is to take things into their own hands, whether that means killing people, destroying heads of state, changing governments — basically, whatever they want to do to make the world better. We’ll see how that journey goes for them. There are morally gray characters [in our DCU], of which these are.”

Superman introduces one of the original members of The Authority in The Engineer (María Gabriela de Faría), whose liquid metal body is infused with Nanomachines that allow her to interface with machines and shapeshift into any object she imagines.

Gunn wrote the upcoming second season of The Suicide Squad spinoff starring John Cena as the vigilante Peacemaker, and directed episodes with Greg Mottola (Superbad), Alethea Jones (High Potential), and Peter Sollett (Evil). He’s producing Clayface, a spinoff film about the Batman villain written by Mike Flanagan (Doctor Sleep), and the HBO drama series Lanterns from Chris Mundy (Ozark), Damon Lindelof (Lost), and comic book writer Tom King (Supergirl: Woman of Tomorrow, Mister Miracle).

Also in development from DC Studios is The Brave and the Bold. The film will introduce the DCU Batman and Robin (Bruce Wayne’s son, Damian Wayne) and is being directed by Andy Muschietti (The Flash), although Gunn said in December that the script needed work. In January 2023, Gunn and Safran said that their DC Studios is “never going to put a project into production before the script is right.”

DC Studios’ Superman — written and directed by Gunn and starring David Corenswet as the Man of Steel, Rachel Brosnahan as Lois Lane, and Nicholas Hoult as Lex Luthor — is the first film of the new DCU when it flies into theaters on July 11.

The post James Gunn Teases Next DC Studios Project After Superman: What It Could Be appeared first on ComicBook.com.

While Charlie Cox has earned widespread acclaim for his portrayal of Matt Murdock in Marvel productions, the actor has now expressed interest in taking on one of DC’s most iconic villains: Joker, the Clown Prince of Crime. During a recent Fan Expo panel in San Francisco, where Cox appeared alongside Daredevil: Born Again co-star Wilson Bethel, the conversation ventured into dream roles within the DC Universe. Cox’s response reveals the star’s ambition, as Joker is one of the quintessential DC characters, capable of making or breaking careers. Yet, Cox could be a right fit for the job, as he expressed a lot of consideration for the immense legacy he would need to honor, particularly given the legendary performances that have defined the Joker across different eras of film and television.

During the panel discussion, Cox carefully articulated his interest in the role while acknowledging its challenges. “I wouldn’t want to take it on based on the actors you have in the past because they’re so brilliant, but I was thinking, like, the Joker would be a lot of fun,” Cox shared. The actor highlighted Heath Ledger’s towering influence over the role, adding, “If you could find a way to do something… You know, I mean, Heath Ledger, for me, nailed that part, obviously. If you could find a new take on it in some way, that would be cool.”

[RELATED: 7 Daredevil Episodes You Need to Rewatch Before Born Again Premieres]

The Joker’s cinematic legacy spans multiple decades and interpretations, each adding new dimensions to Batman’s greatest nemesis. The role has continually evolved from Cesar Romero’s debut in 1966 to Jack Nicholson’s defining turn in 1989. Still, Ledger’s Oscar-winning portrayal in The Dark Knight revolutionized the character. Subsequent interpretations by Jared Leto, Joaquin Phoenix, and Barry Keoghan have each attempted to live up to the audience’s expectations. 

Ledger remains arguably the definitive version of the villain in live-action, which explains Cox’s caution when expressing his desire to play Joker. However, as Cox underlined, in the hands of a creative team capable of finding a new angle into the Joker legacy, the role could be incredible fun for a talented actor.

Charlie Cox’s Marvel History Is Far From Over

While Cox contemplates potential DC roles, his immediate future remains firmly in the Marvel universe with Daredevil: Born Again. Following the show’s creative overhaul during the 2023 Hollywood writers’ strike, new showrunner Dario Scardapane has crafted what promises to be a darker, more complex take on the Man Without Fear. As such, the series builds upon Cox’s recent MCU appearances in Spider-Man: No Way Home, She-Hulk: Attorney at Law, and Echo, while maintaining the mature themes that defined the original Netflix run.

The new series dramatically raises the stakes by reuniting Cox with Vincent D’Onofrio’s Wilson Fisk, who has transformed from Hell’s Kitchen crime lord to mayor-elect of New York City. This political plot creates a complex dynamic where Matt Murdock must battle corruption through both legal channels and vigilante action. The show also welcomes back fan-favorites Deborah Ann Woll as Karen Page and Elden Henson as Foggy Nelson, while introducing new characters, including Margarita Levieva as Matt’s love interest Heather Glenn and Genneya Walton as BB Urich.

The series promises to delve deeper into the moral ambiguities of vigilante justice while examining how Matt Murdock’s faith and principles are tested by a city where his greatest enemy has achieved legitimate power. Cox’s ability to navigate these complex themes in Daredevil suggests why he might be particularly well-suited to tackle a character like the Joker, having spent years perfecting the balance between light and darkness in his portrayal of the Man Without Fear.

Daredevil: Born Again premieres March 4 on Disney+.

The post Charlie Cox Wants To Put a New Spin on the Joker in the DC Universe appeared first on ComicBook.com.

Time to take a trip back to 1978, because Funko is releasing some new Pops straight from Superman the Movie starring Christopher Reeve. The new Pops hit the high points of the film, featuring characters like Superman, Louis Lane, Jor-El, and Lex Luthor. Even cooler, the Superman Pop is Deluxe, portraying Kal-El among the crystals of his Fortress of Solitude. Lastly, Lex’s pop also offers a Chase option where a bald Lex Luthor grips his toupee in anger. Each figure is expected to arrive in April 2025 and pre-orders will be available starting today, January 20th after 12pm ET here at Entertainment Earth and here or Amazon. Head below for more details. 

• Superman the Movie Funko Pop! Deluxe Superman
• Superman the Movie Funko Pop! Lois Lane
• Superman the Movie Funko Pop! Jor-El
• Superman the Movie Funko Pop! Lex Luthor (with Chase)
• You can check out more of this week’s biggest Funko Pop releases right here.

Superman 5-Film Collection at its Lowest Price Ever

Back in 2023, to celebrate the 85th anniversary of the caped hero, Warner Bros. released the Superman 5-Film 4K UHD Collection, a new boxset that included the Christopher Reeve Superman films from 1978-1987. Well, now it seems that boxset has reached its lowest price ever, having dropped 52% to $62.99. The set includes Superman: The Movie (1978), Superman II & The Richard Donner Cut (1979-2006), Superman III (1983), and Superman IV: The Quest for Peace (1987) on 4K Blu-ray with a digital download code. Head to Amazon here or Walmart here to order, and read below for all included special features. 

Special Features: 

Superman the Movie (1978)

• 4K RESTORATION OF THE FILM
• DOLBY ATMOS AUDIO TRACK
• Commentary by Ilya Salkind and Pierre Spangler
• The Making of Superman – vintage featurette
• Superman and the Mole-Men – vintage featurette
• Super-Rabbit – 1943 WB cartoon
• Snafuperman – 1944 WB cartoon
• Stupor Duck – 1956 WB cartoon
• TV Spot
• Teaser Trailer
• Theatrical Trailer
• Optional English SDH, Spanish, and French subtitles

Superman II & The Richard Donner Cut

• 4K RESTORATION OF THE FILM
• DOLBY ATMOS AUDIO TRACK
• Commentary by Ilya Salkind and Pierre Spengler
• The Making of Superman II – 1980 TV Special
• Superman’s Soufflé – Deleted scene
• Fleischer Studios’ Superman vintage cartoons
• First Flight
• The Mechanical Monster
• Billion Dollar Limited
• The Arctic Giant
• The Bulleteers
• The Magnetic Telescope
• Electric Earthquake
• Volcano
• Terror on the Midway
• Theatrical trailer
• Optional English SDH, Spanish, and French subtitles

Superman III

• 4K RESTORATION OF THE FILM
• DOLBY ATMOS AUDIO TRACK
• Commentary by Ilya Salkind and Pierre Spengler
• The Making of Superman III – 1983 TV special
• Deleted scenes
• Save my baby
• To the rescue
• Making up
• Going to see the boss
• Hatching the plan
• The con
• Rooftop ski
• Boss wants this to go
• Superman honored
• Gus’ speech
• Hanging up on Brad
• Theatrical trailer
• Optional English SDH, Spanish, and French subtitles

Superman IV: The Quest for Peace

• 4K RESTORATION OF THE FILM
• DOLBY ATMOS AUDIO TRACK
• Commentary by Mark Rosenthal
• Superman 50th anniversary special – 1988 TV special
• Deleted scenes
• Clark’s morning
• Jeremy’s letter
• Superman’s visit
• Nuclear Man’s prototype
• Metropolis after hours
• Lex ponders
• Flying sequence (extended scene)
• Battle in Smallville
• Battle in the U.S.S.R.
• Nuclear arms race
• Superman’s sickness
• Red alert
• By my side
• Lark and Lacy say goodbye
• No borders
• Theatrical trailer
• Optional English SDH, Spanish, and French subtitles

The post It’s a Bird, It’s a Plane, No, It’s New Superman: The Movie Funko Pops appeared first on ComicBook.com.

When DC Studios co-chiefs James Gunn and Peter Safran announced their slate of films and TV series, the dynamic duo revealed an interconnected cinematic universe: the new DCU. While upcoming projects like Superman, Supergirl: Woman of Tomorrow, Clayface, The Brave and the Bold, Peacemaker, and Lanterns all exist and are set within the same shared universe as Creature Commandos, there’s something else: DC Elseworlds.

“The DCU’s a multiverse, but we’re going to be focusing on one universe from that multiverse,” Safran explained when unveiling Chapter 1: Gods and Monsters in 2023. “And if something isn’t DCU, we’re going to make that very clear.”

RELATED: The Brave and the Bold Director Says Robert Pattinson Won’t Be the DCU Batman

That includes films like Joker: Folie à Deux (which did not involve DC Studios) and HBO’s The Penguin, a spinoff of The Batman movie that takes place in its own continuity (along with its DC Studios-produced sequel, The Batman: Part II). The Max adult animated series Harley Quinn is under the DC Studios umbrella starting with its just-launched fifth season, but is not set in the same continuity as the animated Creature Commandos (and thus the DCU). Confused?

“All DC television & film projects are now under DC Studios. Because Harley Quinn was developed long before us we didn’t think it was fair to put the DC Studio fanfare on there,” Gunn wrote on Threads when asked why the animated DC Studios logo and fanfare — which depicts the Joe Shuster-designed Superman bursting free from chains — doesn’t precede episodes of The Penguin and Harley Quinn. “On Penguin, which we had a small hand in developing, we have a different DC Studios [animation] at the end.”

Gunn added that the studio is “currently working on the DC Studios Elseworlds opening” that will be attached to out-of-continuity projects like The Batman 2 and potential future spinoff series set in Matt Reeves’ Batman Epic Crime Saga. “Elseworlds” takes its name from the DC imprint that publishes standalone stories set outside regular DC comic book canon like Kingdom Come and Superman: Red Son.

In a recent interview, Gunn said DC Studios is “committed” to telling DC Elseworlds stories while also telling a “big, huge central story” across DCU movies and series.

“I want the freedom to tell Elseworlds stories. We want to be able to tell a story in which Superman is very different [from his DCU counterpart],” Gunn told the Happy Sad Confused podcast. “We want to play with these characters in different ways. One of the things I love about DC over Marvel comic books is that those things are much more plentiful — there’s many more Elseworlds stories, there’s many more presentations of Wonder Woman, and Batman, and Superman, especially, that you see them showing up in different ways in different Elseworlds stories.”

“I think that’s part of the fun of DC,” he continued. “Watchmen is the result of DC telling a story that’s outside of the continuity of DC Comics.”

Superman is set to open July 11 in theaters, followed by Supergirl: Woman of Tomorrow on June 26, 2026, and Clayface on Sept. 11, 2026. Upcoming DC Studios projects that are in development but have yet to announce a release date include Peacemaker season 2, HBO’s Lanterns, and Creature Commandos season 2.

The post James Gunn Explains How DC Studios Will Differentiate DC Elseworlds From the DCU appeared first on ComicBook.com.

The superhero subgenre is so storied and jam-packed by this point that it’s fair to call it its own genre. From serials in the ’40s to Richard Donner’s Superman in the late ’70s to the advent of the MCU, DCEU, and DCU, it’s been a long road. And, for the most part, that road has been filled with Marvel and DC movies, even before the crafting of those aforementioned universes. But there have also been superhero flicks based on properties from smaller publishers and, sometimes, just straight from the mind of a director.

In other words, stuff like Spawn, The Shadow, Bloodshot, and The Phantom. That said, Birdman operates more as a character-piece drama than a superhero film, so it wasn’t considered for inclusion. Without further ado, the best non-DC and Marvel movies out there, ranked.

10) The Rocketeer

20 years before director Joe Johnston gave the MCU what is still one of its best installments with Captain America: The First Avenger he directed the similarly fun throwback The Rocketeer. A critical success but a financial flop, The Rocketeer is nonetheless the exact type of movie that develops an audience over time thanks to services like Disney+.

Like the Pacific Comics (then Eclipse Comics, Comico, Dark Horse, and finally IDW) source material, The Rocketeer harkens back to the serials of the ’30s and ’40s. It’s certainly successful in emulating that time period’s entertainment, and while it can be visually dated in some respects, it’s as entertaining now as it was for the ’90s and aughts kids who grew up with it. Not to mention, the cast is great, with Jennifer Connelly, Little Miss Sunshine‘s Alan Arkin, Goodfellas‘ Paul Sorvino, and 007 Timothy Dalton all delivering standout work.

9) The Mask

If any actor had any one great single year in Hollywood, it was Jim Carrey in 1994. The Mask was the second of three movies he fronted that year, all of which were successful. It’s not quite as hysterical as Dumb and Dumber, but it’s a nice stylistic merging of Carrey’s goofball sensibilities and the darker Dark Horse source material.

As notable as The Mask is for its special effects and further cementing Carrey in the public eye, it’s arguably most well-known for serving as the film debut of Cameron Diaz. All the aforementioned elements help keep Chuck Russell’s movie entertaining, but it’s the chemistry between Carrey and Diaz that truly makes the movie a ’90s minor classic.

8) Mystery Men

Like Small Soldiers, Mystery Men is the definition of a late ’90s cult movie. Arguably overproduced but ridiculously entertaining, it’s a star-studded charmer with an interesting tone and a silly sense of humor.

Mystery Men works as a superhero film, but it excels when it’s a superteam film. There are a few comedy cinema heavyweights present, e.g. Ben Stiller (in between There’s Something About Mary and Meet the Parents), Hank Azaria, and Pee-wee Herman himself, Paul Reubens, but there are also a few fairly serious actors like William H. Macy, Wes Studi, and Geoffrey Rush as the villain, Casanova Frankenstein. Impressively enough, everyone seems to be on the same page as to what the final product should look like. And, while audiences didn’t flock to it at the time, it’s only gotten better as the superhero movie market has become more saturated.

7) Unbreakable

Before it was unnecessarily stretched out to a trilogy (though Split is solid), Unbreakable was just M. Night Shyamalan’s mildly disappointing but still compelling follow-up to The Sixth Sense. In some ways, the movie can feel rushed, but with a beautiful blue color tint, devoted lead performances from Bruce Willis and Samuel L. Jackson, and a nice twist, the good greatly outweighs the bad.

It’s more a movie about loving comic books than it is a comic book movie itself, and that’s a focus that helps it stand out amongst the crowded subgenre. Again, Split is a worthy surprise follow-up, but the less said about Glass, the better.

6) Hellboy II: The Golden Army

Arguably Dark Horse’s biggest property, Hellboy lucked out in getting an auteur like Guillermo del Toro behind it when Hollywood got interested. And, while del Toro’s first film is fun and well-shot, the sequel, Hellboy II: The Golden Army is even more so, and equipped with a better villain as well as a cast more comfortable in their roles.

Naturally, Ron Perlman is as much an asset to The Golden Army as del Toro, and it’s really just a shame that this 2008 film’s relative underperformance at the box office (the same summer as Iron Man and The Dark Knight) led to the franchise being ended here. The combination of actor and director is what really makes The Golden Army just about as all-around terrific and macro-scale accessible as a Hellboy film could be, as was seen with the regrettable and unpleasant 2019 reboot.

5) Super

Before James Gunn was helming the Guardians of the Galaxy trilogy and was given the reins to the DC cinematic kingdom, he was directing the much smaller “super” hero flick Super. A very dark black comedy, Super is not for everyone, but those who can get on its wavelength will get much out of it.

It’s been rare that The Office‘s Rainn Wilson has been the lead in a feature film, but he’s a knockout here as short-order cook Frank Darbo, who makes up for his perpetual lack of ambition with a surplus of imagination. But, now that his wife, Sarah (Liv Tyler), has been “kidnapped” (really, she’s left Frank by her own volition) for the drug peddling Jacques (Kevin Bacon), he’s turning that imagination into action. Too bad he’s just flesh and blood, and his actions could very well get him killed.

4) Darkman

In between his start creating the Evil Dead franchise and making Sony hundreds of millions with the Spider-Man trilogy, there was a project that ultimately amounts to a combination of both IPs: Darkman. Starring an up-and-coming Liam Neeson as scientist Peyton Westlake and a pre-Fargo Frances McDormand as his attorney girlfriend, Julie Hastings, it’s also something of a nice timepiece. The narrative follows Westlake as he’s viciously attacked, burned, and left for dead after Hasting begins digging into the business of a mobster.

It’s after that when the film gets interesting and, to this day, stands as fairly unique. Westlake uses his scientifically inclined brain to give himself an experimental treatment that blesses him with increased strength, but a damaged mind. And, to exact revenge on his attackers, Westlake employs the synthetic skin he has yet to perfect. The face-swapping and Westlake’s turning the gang against itself is the highlight of the film, but Neeson, McDormand, and Larry Drake as the evil Durant are the ones who keep Darkman from feeling silly and collapsing in on itself. The former two are sorely missed in the direct-to-video sequels.

[RELATED: Liam Neeson, Jack Dylan Grazer, and More in Talks for 4 Kids Walk Into a Bank Movie]

3) The Crow

The 2024 remake may not be quite as awful as it was made out to be, but it doesn’t hold a candle to the beautiful dark power of Alex Proyas’ 1994 masterpiece. The Crow is perpetually elevated by the presence of Brandon Lee, whose accidental death while working on the film gives its grief-fueled narrative some extra oomph.

It’s not just Lee that makes the film work as well as it does, though. There’s plenty of grim style in the vein of the original 1989 Caliber Press series, Ernie Hudson gives a tender performance as Sergeant Albrecht, and Michael Wincott is flat-out iconic as the sinister Top Dollar.

2) Dredd

Judge Dredd fans had been burned before when the Sylvester Stallone-fronted disaster hit theaters in the mid-’90s. Then, nearly 20 years later, Dredd, a modern action classic, hit theaters with an absolute thud. Even with a modest $45 million budget, the Karl Urban vehicle couldn’t even break even (it would be interesting to see if that would be the case now that he has The Boys under his belt).

Stylistic and riddled with bone-crunching violence, Dredd is essentially a trippy variation on Die Hard and The Raid: Redemption. Toss in terrific supporting work from Olivia Thirlby as genetic mutant rookie Judge Cassandra Anderson and a great villain performance from Lena Headey as “Ma-Ma” and the film was one of the biggest surprises of the year for those who were lucky enough to be able to see it on the big screen.

1) Kick-Ass

The 2010s got off to a rough start when it came to comic book movies, at least as far as Marvel and DC were concerned. On the DC side, there was Jonah Hex and on the Marvel side, there was Iron Man 2. That was it for 2010. Suffice it to say, Matthew Vaughn’s Kick-Ass was easily the best superhero movie of the year and ended up being one of the best of its respective decade.

Kick-Ass is a movie loaded with style, dark humor, and a star-making turn from Chloë Grace Moretz. All of it works, including Nicolas Cage’s gonzo performance. It’s not for the faint of heart, but Kick-Ass, well, kicks ass.

The post 10 Best Superhero Movies That Aren’t Marvel or DC appeared first on ComicBook.com.

2005 was a famously challenging year for the domestic box office, but that doesn’t mean this year didn’t produce some blockbuster movies that are still leaving a profound mark on the film industry. On the contrary, 2005 was home to a slew of costly titles that have developed passionate fanbases still going strong well into the 2020s. Part of that is due to nostalgia from current adults who grew up on these 2005 movies. Part of it, though, is simply that these titles have qualities that made them profoundly latch onto people.

After all, if all it took was nostalgia for a 2005 blockbuster to become beloved or inspire academic essays in 2025, then the likes of Stealth and The Island would’ve already inspired a legacy sequel or two. These seven 2005 blockbusters, in particular, have garnered esteemed reputations over the years that are well worth appreciating now that they’re all turning 20 years old. All of us are getting older, but these enduringly popular 2005 blockbusters aren’t going anywhere.

Star Wars: Revenge of the Sith

2005’s biggest movie by a considerable margin, Star Wars: Revenge of the Sith capped off the Star Wars prequel trilogy with darker storytelling material and narrative beats distinctly connecting these titles with the original three Star Wars installments. Though decently reviewed at the time of its release, Revenge of the Sith has become an outright masterpiece for viewers of a certain age. Phrases like “pathway to many abilities” or “I have the high ground” forever belong to this feature to many moviegoers. Plus, elements of Sith’s story, namely Order 66, keep getting referenced in all kinds of modern Star Wars media.

King Kong

At the time of its release, King Kong made a pretty penny at the box office, but its initial reception was intertwined with criticisms over its lengthy run time and comparisons to director Peter Jackson’s earlier The Lord of the Rings movies. Two decades later, King Kong has garnered a loyal following thanks to its critical contributions to the history of motion-capture animation. Andy Serkis delivering such excellent Planet of the Apes performances doesn’t happen without the technological breakthroughs of King Kong. Also, those divisive The Hobbit movies have made people extra appreciate what Jackson did get right with King Kong.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

The general public was clearly more eager for a proper Lion, the Witch, and the Wardrobe adaptation than anyone could’ve expected. This inaugural live-action blockbuster Narnia movie was the second-biggest movie of 2005 domestically. Since its debut, it’s garnered a cozy reputation as by far the best Narnia feature ever brought to the screen. James McAvoy’s Mr. Tumnus character, meanwhile, proved quite formative for an entire generation of audiences. Tumblr is still awash with fan-fiction and loving art of this Wardrobe character.

[RELATED: 10 Years Ago, Marvel Teased A Very Different Kind of Ant-Man Movie (Watch)]

War of the Worlds

Initially, critics were largely cold on War of the Worlds. The movie was perceived as falling prey to generic thrills and sentimental urges while maintaining the ending of the original H.G. Wells novel inspired divisive responses. Today, that perception has radically changed. Like many early 2000s Steven Spielberg features, War of the Worlds is now praised for a tone evoking a world directly existing in the shadow of 9/11. Its bleaker aesthetic, not to mention having Tom Cruise inhabit a more vulnerable character, has been more appreciated with time.

Mr. and Mrs. Smith

Out of all the movies on this list, Mr. and Mrs. Smith is the most that resembles a time capsule of a bygone era. We’re still making Batman and Star Wars movies. Mr. and Mrs. Smith, though, was a star-driven original concept banking on the public’s ceaseless love for Brad Pitt and Angelina Jolie. These two stars are now divorced and movie stars no longer sell features in a cinematic landscape dominated by pre-existing franchises. Even Mr. and Mrs. Smith has become a Prime Video show in the 2020s. 20 years later, the original Mr. and Mrs. Smith may as well be a movie from another planet.

Constantine

Gripes about how Constantine doesn’t really evoke its comic book source material undeniably and understandably endure today. However, Constantine has amassed its own unique fanbase two decades after its release. They’re more interested in Tilda Swinton’s gender-challenging performance or Rachel Weisz’s captivating turn rather than fidelity to the comics. Keanu Reeves getting such a late-career resurgence certainly hasn’t hurt Constantine’s reputation.

Batman Begins

After two smaller-scale movies, director Christopher Nolan blew up his profile with the 2005 reboot Batman Begins. A stark new take on Batman and superhero movies in general, blockbuster movies would never be the same after Batman Begins. Gritty reboots were now all the rage in Hollywood. Nolan had a specific style of filmmaking that other directors would begin aping immediately. Warner Bros., meanwhile, saw a path forward for DC characters on the big screen in the 21st century that it’s been chasing ever since. Out of all of 2005’s blockbusters, Batman Begins is the one that most overhauled the pop culture zeitgeist.

The post 7 Classic Blockbusters Turning 20 Years Old in 2025 appeared first on ComicBook.com.

Actor Adrien Brody nearly played the Joker in Christopher Nolan’s The Dark Knight, he just revealed in an interview with podcaster Josh Horowitz. Brody doesn’t think that he was very close to getting the role, and he is a huge fan of Heath Ledger’s iconic performance in the final product. Still, Brody said that he was pretty excited for the chance at the time — both to work with Nolan and to play a character he thought he could do justice to. Although that opportunity passed him by, Brody said that he is still open to appearing in a comic book movie.

“Oh no, I wasn’t close,” Brody said humbly when discussing the audition process. “It was a role that I felt very suited to do. Heath did such a remarkable job in that movie. It was indelible. Such beautiful work. Any actor who has a degree of edge would like to delve into a character like that, especially with a filmmaker like Christopher Nolan who brought such a profound vision.”

Like many other, Brody feels that Nolan’s Batman movies look even better in hindsight, saying, “Nobody was doing that at the time. There was nothing like that. Christopher Nolan’s work and what he gave actors in that was such a revelation. It was mind-blowing to see. That would have been such a dream role and I’m sure it was for Heath.”

Ledger’s performance as the Joker became legendary in part because it was his last performance on film — the actor passed away before the movie hit theaters due to a drug overdose. Rumors and speculation have often hinted that Ledger’s “method acting” approach had something to do with his death since he spent so much time in the mindset of such a manic character, but there is much more evidence to suggest that other factors were at play in Ledger’s personal life.

Brody is no stranger to genre fiction, but he has yet to delve into the comic book adaptation space. He told Horowitz that he would consider a role in the MCU “if I was presented with an opportunity to play an interesting character with a filmmaker that elevated me and gave me space to do something vastly different in that world.” He added, “People love them. Who wouldn’t want to be part of something beloved?”

Brody is currently promoting The Brutalist — a tragic biopic of architect and holocaust survivor László Tóth. The movie is currently playing in theaters around the U.S.

The post Adrien Brody Recalls Meeting Christopher Nolan for Dark Knight’s Joker: “I Wasn’t Close” appeared first on ComicBook.com.

When James Gunn’s Superman trailer released in December 2024, it was a good reminder as to why we love the iconic superhero. But when you close your eyes and picture Superman in your mind, who do you see? Well, there’s a very good chance that it’s Christopher Reeve. Although he last appeared as the titular character in Superman IV: The Quest for Peace in 1987, Christopher Reeve has been forever memorialized as an icon in Hollywood, which he established with some of Superman’s biggest cinematic moments. With just four minor acting credits to his name at the time, the actor managed to score the role of a lifetime and launch his career into Hollywood stardom. With his towering height, athletic build, and striking good looks, it was almost as if Christopher Reeve was born to play one of the most famous comic book characters of all-time.

From Dean Cain to Tom Welling to Henry Cavill, several actors have tried their best to live up to the stature of Christopher Reeve’s Superman, but each of them haven’t quite reached the heights that he was able to take the character. Christopher Reeve was not only able to establish his Superman legacy on the big screen, but off of it as well. Following a tragic horse-riding accident in 1995 that left the actor paralyzed from the neck down, Christopher Reeve still managed to honor the red cape. The actor became a vocal activist in the fight to find a cure for spinal cord injuries and became one of the leaders in advocating for disability rights. Considering his legacy combining all facets of his life, it’s not exactly a tough choice to call Christopher Reeve the best Superman actor of all time.

“Look! Up in the Sky!”

In general, most of the actors who have been chosen to play Superman have been relatively unknown at the time of their casting. The only real exception was George Reeves, who was a veteran actor with over 70 credits to his name before his casting in Adventures of Superman in 1952. On the opposite end of the spectrum, Christopher Reeve had appeared in just three TV series roles before being cast in his first movie, Gray Lady Down in 1978. But he wouldn’t have to wait much longer before seeing his career really take off. When Superman: The Movie was released in December of 1978, Christopher Reeve would soon become a household name.

In a 1979 interview with the Los Angeles Times, Christopher Reeve noted the impact that being cast in Superman: The Movie had on his personal life, especially with his own father.

[RELATED – DC Will Never Get a Better Batman Actor Than Christian Bale]

“My family pretty much wrote me off,” said Reeve. “Their attitude was, ‘There goes Chris, he’s going Hollywood.’ And it was pretty clear that if I turned typically Hollywood my father and I would break off relations. He thought it was the ultimate sellout.”

As a classically trained actor at the Julliard School for Drama, Christopher Reeve always had his eye on performing some of the greatest stories ever told. Before his big break in Hollywood, he was even making his mark on Broadway, starring in A Matter of Gravity with Katharine Hepburn. But in just a matter of months, Christopher Reeve went from a budding Broadway actor to a full-blown Hollywood star. And while it wasn’t exactly what he had imagined, it was certainly earned. His performance in Superman: The Movie was what fans of the comic had been waiting for. He delivered both a nuanced and commanding presence to not only Superman, but to Clark Kent as well. His classical training helped prepare him to properly play the dual roles unlike anyone that had come before him, or even after. After appearing in four films as Superman, Christopher Reeve assured himself a lasting legacy that would continue on into the future. He even sported the best Superman costume across all media.

Building a Lasting Legacy

As of 2025, Christopher Reeve is still synonymous with his Superman character. And while that wasn’t his primary objective when signing on to star in the film, it certainly isn’t anything to wave away. When Superman was first created by Jerry Siegel and Joe Shuster in 1938, it would have been impossible to predict the pop culture impact that their comic book character would have on the world. It also would have been equally difficult to predict that Christopher Reeve would become the iconic live-action counterpart to the character just 40 years later.

In the wake of his tragic horse-riding accident, Christopher Reeve could have easily stepped away from the limelight and lived the remainder of his life in complete isolation. Far away from prying eyes and curious diehard fans. But much like Superman, Christopher Reeve continued to press forward and aim to leave a positive mark on this planet. Just a year after his accident, he established what is now known as the Christopher and Dana Reeve Foundation in an effort to find a cure for spinal cord injuries. So while Christopher Reeve turned his role in Superman into a career-defining performance, it was his work off the screen that cemented his title as the best Superman actor of all time.

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I, Tonya and Cruella director Craig Gillespie’s Supergirl: Woman of Tomorrow is set for release on June 26 of next year. It will be the second film of James Gunn’s new DCU following this year’s Superman, in which Supergirl lead Milly Alcock (House of the Dragon) will also have some screentime. The cast surrounding Alcock has gradually been growing the past month, most notably with Jason Momoa moving away from the DCEU’s Aquaman to now play the DCU’s Lobo. And now The Santa Clause, Sausage Party, and Harold & Kumar star David Krumholtz has been added to the list in a pivotal role.

Krumholtz is fresh off of Oppenheimer, and he’s joining the cast of Woman of Tomorrow as Kara Zor-El’s father, alongside fellow new addition Emily Beecham (1899) who will be playing her mother. Though it was initially unclear which of Kara’s parents Krumholtz and Beecham would be playing – human or Kryptonian – Krumholtz confirmed he is playing Zor-El, Kara’s biological, Kryptonian father.

What Did Krumholtz Say About His Newest Role?

Krumholtz posted to Instagram his enthusiasm for the newest addition to his filmography, first by relating to the fans. “I was that kid. Overflowing drawers full of comics…escaping into worlds unknown…imagining myself having powers that would benefit the greater good.”

He then went into a bit of detail regarding his personal feelings about becoming a part of Gunn’s rebooted DC universe. In his words: “Joining the DC Universe is a mind-blowing privilege. Representing the symbol of hope in Supergirl as Zor-El is a personal triumph. My gratitude overflowing now, like those drawers did….”

It’s always nice to see an actor show enthusiasm for their most recent project because it ultimately shines through in their performance and helps the project as a whole. When an actor is a fan of the material and has been all their life, that’s even better.

[RELATED: Before Superman, You Can Stream DC’s OG Supergirl Movie]

Krumholtz was most recently seen as the lead in the indie comedy Lousy Carter, co-starring other comedic vets such as Barry‘s Stephen Root, Spider-Man: No Way Home‘s Martin Starr, and Juno‘s Olivia Thirlby. Up next for the actor is director Scott Cooper’s hotly anticipated Bruce Springsteen biopic Deliver Me from Nowhere, led by The Bear‘s Jeremy Allen White. Krumholtz will play MCA Music Entertainment Group executive Al Teller.

And, while it will be a long wait for June 2026, fans only have to hold out another six months for the first DCU film. Time will tell if Gunn’s Superman is less divisive than 2013’s Man of Steel, but the safe money is on it being a crowd-pleaser. As for what’s out now, the DCU’s very first installment, the excellent Creature Commandos, is now streaming in its entirety on Max. Supergirl: Woman of Tomorrow recently started filming, so the ball is indeed rolling.

The post David Krumholtz Calls Supergirl: Woman of Tomorrow Casting “Mindblowing Privilege” appeared first on ComicBook.com.

While it’s true that art ultimately has to speak for itself, it is also true that marketing plays a big part in whether a project succeeds or fails. This is especially true when it comes to movies as, at any given time, there is quite a bit of competition for a viewer’s attention — and box office dollar. But while marketing a critical component of a film’s success, there are some marketing campaigns that go beyond the tried-and-true elements of trailers, teasers, posters, and social media to capture buzz and anticipation. Some films take things beyond the traditional to reach a wider audience, creating immersive worlds and sparking viral campaigns to draw the public in well before the film hits theaters. While these kinds of efforts are themselves growing more and more common there is one film whose viral marketing campaign set the gold standard nearly 20 years ago — and will never be beaten.

Released in 2008, The Dark Knight was the eagerly anticipated follow up to Christopher Nolan’s critical and financially successful Batman Begins. For Nolan, The Dark Knight was a bit of a risk. The filmmaker had never done a sequel before and hadn’t initially considered a second Batman film. Once the film was in motion, however, there was a lot riding on it — particularly following early criticism of Heath Ledger’s casting as the Joker. With Ledger being the first actor to take on the role following Jack Nicholson’s iconic turn in 1989’s Batman, there were plenty of skeptics, both in terms of fans and critics alike. To counter the negative reactions — and to control the reveal of Ledger in character as the villain — one of the most extensive and most iconic viral marketing campaigns to date was undertaken.

What does Nine Inch Nails have to do with The Dark Knight? More than you think.

One of the most interesting things about The Dark Knight’s viral marketing campaign might be its origins: a surprising connection to the band Nine Inch Nails. Before we get into the movie’s campaign, we first need to look back to Nine Inch Nails’ 2007 album Year Zero. The concept album was supported by an elaborate alternate reality game (ARG) from 42 Entertainment. The game followed the then-near future dystopian version of the United States. In the story, the United States undergoes a massive ideological takeover in the wake of terrorist attacks leading to the country being run by a Christian fundamentalist theocracy with the government maintaining strict control over the populace via increased surveillance and secret drugging of the tap water. In the game, websites “from the future” were sent back to 2007 from the resistance to warn Americans of their impending dystopian future in the hope of preventing it from ever coming to pass. The game included websites, phone numbers, emails, videos, music files, and more that took the story well beyond the album, encouraging fans to participate and use each new piece of information to unlock the next. The campaign was so interesting that it ended up getting media coverage which, in turn, Christopher and Jonathan Nolan saw, prompting them to reach out to 42 Entertainment to see if they could do something similar for The Dark Knight. And thus, a groundbreaking viral marketing campaign began.

[RELATED: Scenes From The Dark Knight: Anthony Michael Hall Shares Heath Ledger, Christopher Nolan Set Stories on Film’s 16th Anniversary]

“I Believe in Harvey Dent” and “Why So Serious?” were just the beginning.

For The Dark Knight’s campaign, 42 Entertainment kicked off this ARG in May 2007 with campaign posters for Harvey Dent bearing the phrase “I Believe in Harvey Dent” as well as hid Joker playing cards with the phrase in comic book stores — including in comics and graphic novels as well as just physically in stores themselves — all around the United States. The cards directed people to a website where, upon submitting their email addresses, they got a pixel of an image. Nearly 100,000 people submitted email addresses to reveal the image, which turned out to be the first official look at Ledger’s Joker. At San Diego Comic-Con, 11,000 one-dollar bills were modified to contain the Joker’s image and the “Why So Serious?” phrase and, in turn, led those who found them to a location where they participated in Joker-adjacent activities and this was just the beginning.

Over the course of the ARG, participants even recovered Nokia cellphones from cakes and unlocked an early screening of the now-iconic opening bank heist from The Dark Knight. The screening of that scene led to positive reception of Ledger in the Joker role, successfully shifting public perception of the casting and ultimately changing the discourse around the film. Even after Ledger’s tragic death in January 2008 before the film’s debut, the campaign continued, now focusing on Harvey Dent instead as though it were a real political campaign. Ultimately, the overall marketing campaign reached its pinnacle with a real-life Bat-Signal lit up at night in two cities — Chicago and New York — that players had to work together to figure out how to activate it. Then they were defaced by the Joker with the game concluding just in time for the film’s release.

What made The Dark Knight ARG work so well?

Ultimately, the marketing campaign was very successful. Not only did public perception of Ledger’s casting as the Joker shift favorably before the actor’s untimely death and ahead of getting to see his actual performance when the film released, but the film became a massive box office success. While The Dark Knight was expected to do well at the box office generally, it exceeded expectations, breaking Spider-Man 3’s opening day and single day record. The Dark Knight ended up being the first superhero film to gross more than $1 billion at the box office, too, and no doubt some of that success can be attributed to the marketing.

But what made the ARG marketing work so well? It largely comes down to the interactivity of the campaign. The ARG actively encouraged fans to participate by treating them like they weren’t just playing a game or hunting for clues and Easter eggs but instead treated them like they were actually participating in the story. The campaign put a priority on fan events that in turn were connected to the release of promotional materials. The participants were, generally, given real skin in the game. There was risk and reward complete with a sense of reality — particularly when it came to the Harvey Dent campaign which even featured a “real” election that Harvey Dent might not win.

By directly incorporating the fans, The Dark Knight’s viral marketing campaign made things personal. While other movies have had viral campaigns that generate buzz — think Toy Story 3’s fake Lots-O’Hugin Bear commercial, Barbie leaning into pop culture, and even more recently films leaning into the power of social media (particularly TikTok) to promote — there’s been nothing quite like The Dark Knight’s ARG. And we may never see something quite like it again.

The Dark Knight is available to rent on Amazon Prime Video.

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Zack Snyder’s Batman v Superman: Dawn of Justice kept one side of the monstrous Doomsday ambiguous, but the TV series Superman & Lois provided a clear answer. Doomsday is famous as the beast who kills the Man of Steel in the Death of Superman comics story. Doomsday has also been adapted outside of the comics in many different forms.

Both 2016’s Batman v Superman and the CW’s Superman & Lois utilize Doomsday in their own ways, with both even reworking the character’s origin story in a surprisingly similar manner. However, while Batman v Superman keeps the idea of Doomsday’s memory and sentience an unanswered question, Superman & Lois answers that very question in its final season.

Batman v Superman‘s Doomsday Was Created From General Zod (But Does He Remember Anything?)

Batman v Superman brought Doomsday to life on the big screen as an “Ancient Kryptonian Deformity” created by Lex Luthor (Jesse Eisenberg). Using the genesis chamber of the Kryptonian scout ship that crash landed in Metropolis in Man of Steel, Lex combines his DNA with the corpse of General Zod (Michael Shannon), with Doomsday being the resulting creation. When the Superman vs. Doomsday brawl begins, the two land right in front of the statue of Superman in Hero’s Park, and Doomsday’s reaction to seeing it gives a very subtle hint to who and what he has become, and once was.

Doomsday looks up at the Superman statue with a seemingly perplexed look on his face, before glancing back to Superman himself, with the two then resuming their battle. While it is a brief, non-verbal exchange between the two Kryptonians, Batman v Superman also leaves the meaning of it open to interpretation. It’s as if Snyder is directly asking how much of Zod’s sentience remains active in Doomsday’s mind after the transformation, but with Snyder also deliberately leaving it a question for the audience to decide.

[RELATED – Is Superman & Lois the Best Superman TV Series Ever?]

Superman & Lois‘ Doomsday Is Created From Bizarro (& He Regains His Memory)

Superman & Lois establishes Tyler Hoechlin‘s Bizarro Superman as the Kryptonian who becomes Doomsday. After Bizarro’s ostensible death in Season 2, Lex Luthor (Michael Cudlitz) revives him in Season 3, and transforms him into Doomsday by repeatedly killing and resurrecting him. This causes Bizarro to mutate into the monstrous creature that slays Superman in their battle that ends Season 3 and begins Season 4.

Subsequently, Lois Lane (Elizabeth Tulloch) manages to seemingly calm Doomsday by reminding him of his life as the Superman of his Earth and the family he once had. Later, during Superman’s final battle with Doomsday in the series finale, he prepares to throw Doomsday into the sun (the yellow sun capable of incinerating Bizarro Superman due to his origin in another universe). However, Doomsday finally remembers who he once was and holds his hand up to stop Superman’s incoming punch. Without any dialogue, it is clear that Doomsday is horrified at the monster he has become and the pain he is forced to endure, stretching out his arms and wordlessly asking Superman to end his suffering. The Man of Steel gives him his requested mercy killing.

Batman v Superman & Superman & Lois Approach Doomsday From Two Great Angles

Both Batman v Superman and Superman & Lois use the same basic retcon to Doomsday’s comic book origin story, making him a Kryptonian Superman villain who dies and is resurrected by Lex Luthor in the form of the rampaging Kryptonian monster. At the same time, both also clearly see an opportunity to play with the idea of what such a revival does to the memory of a deceased person brought back to life. In Batman v Superman, Snyder seems to be suggesting that Doomsday’s metamorphosis might have left him too far gone to fully bring back General Zod, leaving him with a shadow of the memory of who he was, but no more.

Superman & Lois works on the other side of the coin with its version of Doomsday, showing Bizarro’s transformation greatly warping his mind, but not to the point of his sentience or memory being irretrievable. Once Bizarro becomes Doomsday, he’s a much more loyal attack dog for Lex than Batman v Superman‘s far more feral version, but one who shows gradual signs of remembering who he was. The fact that Superman & Lois holds off so long on Doomsday regaining his memory and control of his mind seems to point to the show’s creators looking at resurrection from death as impacting memory to a similar extent as Snyder’s films did, but also with the caveat that a person’s essence can always eventually be retrieved, even after they’ve been morphed into a literal monster.

Ultimately, Batman v Superman and Superman & Lois have distinct takes on both Doomsday’s origin story and the death and return of Superman. While both use the same core premise of how Doomsday is created, they also take radically different approach on what does for Doomsday’s mind and memory as a revived Kryptonian. Batman v Superman chooses to leave it a question mark, while Superman & Lois provides a clear answer.

Batman v Superman: Dawn of Justice and all four seasons of Superman & Lois are streaming on Max.

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The DC streaming series Swamp Thing only ran for a single season, and that was far less than it was worthy of. Based upon DC Comics’ eponymous ecological superhero, Swamp Thing debuted on the now-defunct streaming service DC Universe on May 31, 2019, telling the origin story of Dr. Alec Holland (Andy Bean) and his transformation into the human-plant hybrid creature known as Swamp Thing. The series, which also focused upon Alec’s relationship with his ally Abby Arcane (Crystal Reed) was well-received upon its debut, with many praising its infusion of horror elements into a superhero TV series.

Sadly, Swamp Thing‘s end was announced just after the first episode of the show premiered on DC Universe. While Swamp Thing is set to return in James Gunn’s forthcoming DCU, with James Mangold attached to helm his new big-screen adventure, Swamp Thing‘s single-season story and near-immediate cancellation remain one of the biggest misfortunes of superhero television, considering just how great a series Swamp Thing really was.

Swamp Thing’s Streaming Series Is His Best Adaptation to Date

While Swamp Thing has a long, extensive history and mythology in DC Comics, his history of big and small-screen adaptations is decidedly hit-and-miss. The 1980s Swamp Thing movies directed by Wes Craven and Jim Wynorski were low-budget, campy affairs that did little to move the needle on the character’s popularity. Meanwhile, the 1991 Swamp Thing animated series and its tie-in toy line genuinely captured the character’s essence well, though the show was only given a run of five episodes. Additionally, the live-action Swamp Thing series had an impressive 72-episode run from 1990 to 1993, along with a much-improved suit and makeup on Dick Durock’s titular hero (Durock reprising the role from the two ’80s Swamp Thing films.) Yet, DC Universe’s Swamp Thing stands as the purest and most engaging Swamp Thing adaptation yet.

Not unlike the comics that inspired it, Swamp Thing brought a genuine horror movie tone to its tale of a heroic, swamp-dwelling monster seldom seen in modern superhero movies or TV shows. That tone also enabled Swamp Thing to look and feel wholly distinct from the pop and flair of the Arrowverse and the urban crime saga of Titans to truly stand alone among live-action DC TV shows. What made Swamp Thing stand out even more was just how big-screen-esque it looked.

[RELATED: DCU Fan Art Imagines James Mangold’s Swamp Thing]

Swamp Thing Had Big-Screen Worthy Production Values

Up until relatively recently, live-action superhero stories on the small screen rarely had the resources to match the epic, awe-inspiring scale of cinematic superhero adventures. It can be said that DC Universe’s Swamp Thing was among the first to truly leave any such budgetary restrictions completely out of view to present itself as a superhero movie that just happened to be unfolding as 10 episodes. With big stars like Virginia Madsen, Will Patton, and Kevin Durand among its cast, Swamp Thing carried with it a prestige matched by its haunting swamp setting pulled right out of a Southern Gothic horror movie and which never came across as anything other than the genuine article.

Then there’s the show’s presentation of its protagonist, a literal humanoid mass of vegetation, and here, too, Swamp Thing did not disappoint. Swamp Thing, as seen on his namesake DC Universe series, looked like he’d been pulled right from the comics in the phenomenal suit and make-up worn by Derek Mears. The fact that Swamp Thing also strove to realize its hero through such practical means when CGI and motion capture would likely have been the choice for a cinematic Swamp Thing only made the series that much more unforgettable.

Swamp Thing Captured the Pathos & the Power of Its Title Character

It may be popular to think of Batman as the DC superhero that has encountered the most tragedy, but tragedy and sorrow are baked into Swamp Thing’s DNA. The Swamp Thing series made sure to place great emphasis upon Alec Holland’s tale as being a tragedy of a man morphed into a monster through scientific misfortune, with the in-tandem performances of Andy Bean as Alec and Derek Mears as Swamp Thing perfectly capturing the sadness of Alec Holland’s story combined with the heroism he discovers with his newfound powers and the monster movie-vibe inherent in his setting and transformation.

Swamp Thing also took great care to act as a character study of Dr. Alec Holland the man, a scientist who once indulged in duplicitous research methods that greatly damaged his reputation in the scientific community. Furthermore, Swamp Thing also took a deep dive into the lives of the entire supporting cast. Many of the show’s characters dealt with grief and bitterness in ways not unlike Alec himself, particularly in Maria Sunderland (Virginia Madsen) in her unraveling marriage with her husband Avery (Will Patton) and the increasingly obsessive quest she embarks on to revive her deceased daughter Shawna. As much as any superhero TV series has ever been, Swamp Thing embodied a human drama with top-notch visual effects and production values arguably not matched again in small-screen superhero storytelling until the arrival of Superman & Lois.

The fact that Swamp Thing‘s cancellation came right as the show was getting off the ground makes its swift end deeply unfortunate. Even more so, the fact that Swamp Thing was such a fantastic tribute to its titular hero makes its single-season run (and Swamp Thing’s brief multiversal cameo in the CW’s Crisis on Infinite Earths) even more lamentable. Swamp Thing definitely deserved far better than the 10-episode run it was granted, with no previous live-action or animated take on the character doing him the same degree of justice.

The post This Short-Lived DC Television Show Deserved Better appeared first on ComicBook.com.

In the comics, The Flash has always been an A-list DC character, so why not also in the cinematic universe? Although that’s a valid point, it seems Andy Muschietti doesn’t see it that way, and for a lot of reasons. Recently, the director of the 2023 film said that the low audience numbers were because the hero’s popularity is pretty irrelevant and it just doesn’t appeal to the general public. If you think about it, and compare it to movies about characters like Batman and Superman, you might get what he’s saying. After all, both are such iconic figures in DC, and after so many versions on the big screen, it’s probably easier to pull in a huge crowd. But that’s not really why The Flash went so wrong.

A weak script and terrible use of CGI were just some of the reasons why some fans were unhappy with the production. Still, it’s worth pointing out that much of the marketing was also hurt by the controversy surrounding Ezra Miller. However, to claim, in a nutshell, that Barry Allen isn’t capable of making a big hit is completely wrong. Since his creation, he’s become one of the pillars of DC and has played very important roles in shaping the history of the universe. Maybe Muschietti just doesn’t get that.

Why Andy Muschietti Is Wrong About His View on The Flash‘s Failure

The Flash achieved a score of 63% from critics on Rotten Tomatoes, while fan opinion put it at 82%, which isn’t too bad, but if you consider that the worldwide box office was around $260 million, for a superhero movie, it was underwhelming. According to Muschietti, “It wasn’t a movie that appealed to all four quadrants,” but it’s important to remember that although it’s not entirely an origin movie (since the hero had already been introduced in the DCEU), it still has an interesting premise since it’s based on Flashpoint – a highly significant comic for Scarlet Speedster fans. The problem is that the idea alone isn’t enough, and the script needed to be fleshed out.

Apart from that, Muschietti also highlighted Barry Allen’s role within the superhero genre as not exactly a beloved character. As it happens, The CW’s TV series, The Flash, lasted almost a decade with nine seasons, high ratings, and recognition from various awards aimed at its target audience. Besides, according to USA Today in 2015, 40% of the series’ viewers were female – which also contradicts the words of the film’s director, who claimed that The Flash‘s fans weren’t mainly women.

[RELATED: The Flash: James Gunn Says Movie Is One of the Best Superhero Films He’s Seen]

The famous superhero fatigue, a subject much talked about when DC and even Marvel saw their productions fall, was also a reason Muschietti blamed for the film’s low box office. In fact, this became a debate eventually, but one that has proven to be untrue lately. The high expectations for future films in this genre are a case in point – the teaser trailer for Superman broke records.

On top of that, The Flash is always remembered as a representation of “running at the speed of light,” even for those who aren’t fans of superheroes. Barry Allen is also a member of the Justice League, and to say that he doesn’t seem interesting enough for people to be given a solo movie is basically to show that you don’t understand much about the superhero universe you’re trying to present.

However, if there’s one thing that the director and fans agree on at least, it was the casting of Miller as the character. After all, he was at the center of controversies that began even before the film was released. The actor was arrested on several occasions, faced accusations of harassment and aggressive behavior, as well as being involved in public incidents that generated great repercussions. All of this not only damaged their image but especially the promotion of the film. Deadpool & Wolverine has already proven that the marketing of a feature film is also fundamental for reaching the audience.

What Really Went Wrong With The Flash

The Flash is part of the DCEU, which was already a franchise destined to collapse every year. If there’s one thing that has caused the cinematic universe to lose its way, it’s clearly the accumulation of productions, which has had an impact on quality. At a certain point, the DCU began to value quantity over quality. When it comes to The Flash, we must remember that the film was scheduled for release in 2020 and ended up being postponed due to the pandemic and the screenwriters’ strike, which most likely contributed to rushing the delivery. So, the script was approved with major flaws. According to the majority of critics, the adapted story failed by being confusing, lacking emotional depth, offering a shallow approach to time travel, and even forcing character interactions.

Linked to this is the tone of the story, since for many fans, there was a problem keeping it stable. The Flash was initially presented as a production with comedy elements, featuring light scenes and humor in the interactions between the characters. The big issue is that the story also demanded a more dramatic and serious tone at specific moments, and it ended up faltering in this transition, which needed to be carried out delicately so as not to seem strange or forced. Consequently, this influences other aspects like editing, and this is where another major problem that has been much commented on by the public comes in: the CGI.

According to Muschietti, this part was deliberate – especially when critics emphasized the strangeness of the editing – since the idea was for the audience to see everything from Barry’s perspective. One scene in question was that of the hero saving babies from a nursery as a building begins to collapse around him. The director said that everything was supposed to be a bit distorted in terms of light and texture, but the fans weren’t convinced and took it more as an excuse.

The fact is that The Flash has had a combination of problems surrounding it, and this would clearly bring negative repercussions. It’s not because the hero is unpopular and unable to reach the general public. Obviously, Miller is a big talking point when it comes to the audience, but the film was criticized for its poorly developed story, and when it comes to the superhero genre especially, the script should always be the top priority. Now, with the new DCU led by James Gunn, The Flash has a great chance of being revitalized and done the right way.

The Flash is available to stream on Netflix.

The post Why The Flash Director Is Totally Wrong About the Movie Failing appeared first on ComicBook.com.

Absolute Batman has steadily pulled back the curtain on what led to this world’s Bruce Wayne to suit up and become Batman, but Absolute Batman #4 truly blows the door wide open on the Absolute Dark Knight’s origins. In the process, fans get to see Bruce’s original vision for his war on crime and turns out that Absolute Batman 1.0 had some vampire in its DNA. It’s fascinating to see the original Absolute Batman and how the first mission out affected Bruce’s next iteration, which has taken the world by storm, so let’s get into what went down during his initial test run.

During a flashback we see a gang threatening some citizens who refuse to pay them for protection. The Ten Thieves decide to make an example and throw one of the hostages off the roof, but Batman then makes his grand entrance and saves her before going after the thugs. That’s when we get our first look at Batman version 1.0, and he’s sprawling a mostly black suit with red contacts and claws on both of his gloves, capping off the entrance with a bat-styled “screeee!”

The shriek definitely scares some members of the crew, as does Batman sinking his teeth into one of them, sporting vampire-like fangs and biting down on the thug’s neck to really sell the vampire and bat theme. We then see the thug foaming at the mouth after the bite, so Batman had also laced the fangs with some sort of venom to maximize its effect.

Batman then utilizes his claws to slash another thug’s chest, all while hissing. After deflecting some bullets with his cape, Batman disarms a thug with a gun but then turns the gun around on him and points it his way, ending this sequence with one very surprising visual.

[RELATED: Comic Book Reviews for This Week: 1/15/2025]

After this mission, Bruce is frustrated with how things went, pointing the theatrics of it all. He ditches the voice distorter, the face paint, the fangs that were loaded with paralytic, and the gun, and then decides he needs to go bigger and build the Batman he wants to be. He also bulks up even more as he creates the armor we now see him wear, and the rest is pretty much history.

While theatrics is a part of the new version of Batman as well, it’s Batman’s sheer presence and lethality that strikes the fear into villains’ hearts, as opposed to simply being all smoke and mirrors. Bruce still found ways to implement aspects of a Bat into his new version, but there’s a practicality to those implementations, and they all serve a tangible purpose as opposed to just being there to scare people. We’ll have to wait and see what future evolutions Batman takes, but it’s great to have some context on how he got to where he is now.

What did you think of Absolute Batman 1.0? You can talk all things comics with me on Bluesky @knightofoa!

The post Absolute Batman Reveals Vampire-Inspired Original Costume appeared first on ComicBook.com.

With filming having recently commenced on Supergirl: Woman of Tomorrow, it was only a matter of time before more information about the DC Universe film was revealed — and that includes casting updates. According to The Hollywood Reporter, the DC Studios film has added David Krumholtz and Emily Beecham to the cast of Supergirl: Woman of Tomorrow as Kara Zor-El’s parents. Krumholtz and Beecham join the previously announced Milly Alcock (who plays Kara) as well as Eve Ridley and Matthias Schoenaerts. Jason Momoa is also set to appear in the film as Lobo.

While the report notes that Krumholtz and Beecham will play Kara’s parents, the report isn’t exactly clear on which set of the titular heroine’s parents they will be portraying. Generally, in comics, Kara Zor-El, like her cousin Kal-El/Superman, was sent to Earth with the destruction of Krypton imminent as a child. However, Kara’s ship encountered a little difficulty that led to her arriving on Earth years later — and with her baby cousin now all grown up. On Earth, Kara is adopted by Jeremiah and Eliza Danvers. This means that technically Kara has two sets of parents — her Kryptonian biological parents Zor-El and Alura and her adoptive parents.

[RELATED: The DCU Casts Aquaman’s Jason Momoa as Lobo]

Given that Supergirl: Woman of Tomorrow is set to be based on the DC Comics series of the same name by Tom King and Bilquis Evely which sees Kara, who is celebrating her 21st birthday travelling across the galaxy and ends up encountering a young girl, Ruthye who enlists her on a quest of revenge Krem, the man who killed Ruthye’s father, it seems likely that Krumholtz and Beecham are playing Zor-El and Alura. The Supergirl: Woman of Tomorrow comic generally explores Kara’s trauma and experiences, making her memories of her biological parents feel like a good fit to the overall story of the film. Supergirl: Woman of Tomorrow is directed by Craig Gillespie with a script by Ana Nogueira.

Supergirl will first appear in Superman

While Supergirl: Woman of Tomorrow is currently expected to open in theaters June 26, 2026, fans won’t have to wait that long to meet the character. Alcock is expected to make her debut as Kara/Supergirl in James Gunn’s Superman, which is set to open in theaters on July 11. It is currently how big of an appearance in Superman Alcock will have.

Supergirl: Woman of Tomorrow is currently set to open in theaters July 26, 2026. Superman opens in theaters July 11,2025.

The post Supergirl: Woman of Tomorrow Casts Kara’s Parents (But Which Ones?) appeared first on ComicBook.com.

To celebrate the 85th anniversary of the Man of Steel, Warner Bros. bundled four classic Christopher Reeve Superman films to 4K Ultra HD Blu-ray (plus the Richard Donner Cut of Superman II) as part of a 5-film box set. Over the last couple of years, the set has dropped down to $64.99 (52% off) a handful of times, and today you have another chance to score it at this price here on Amazon and here at Walmart. Everything you need to know about the set can be found below.

The set includes Superman: The Movie (1978), Superman II & The Richard Donner Cut (1979-2006), Superman III (1983), and Superman IV: The Quest for Peace (1987) on 4K Blu-ray with a digital download code. The full list of special features for each film can be found below. 

Superman 5-Film 4K Blu-ray Collection

See on Amazon

Superman: The Movie

Studio description: A box-office smash, an Academy Award-winner and a fan favourite since it first flew into theaters, Superman: The Movie assembles a cast and creative contingent as only a big movie can. As its heart (and for three sequels) is Christopher Reeve’s intelligent, affectionate portrayal of a most human Man of Steel. Reeve, Marlon Brando (Jor-El), Gene Hackman (Lex Luthor) and Margot Kidder (Lois Lane) give performances that fuel the film’s aura of legend. Watching Superman isn’t just like being a kid again. It’s better. Includes theatrical version on both 4K Blu-ray and remastered Blu-ray.

• 4K RESTORATION OF THE FILM
• DOLBY ATMOS AUDIO TRACK
• Commentary by Ilya Salkind and Pierre Spangler
• The Making of Superman – vintage featurette
• Superman and the Mole-Men – vintage featurette
• Super-Rabbit – 1943 WB cartoon
• Snafuperman – 1944 WB cartoon
• Stupor Duck – 1956 WB cartoon
• TV Spot
• Teaser Trailer
• Theatrical Trailer
• Optional English SDH, Spanish, and French subtitles

Superman II & The Richard Donner Cut

Studio description: Theatrical cut. Unwittingly released from Phantom Zone imprisonment, three superpowered Planet Krypton criminals (Terence Stamp, Sarah Douglas and Jack O’Halloran) plan to enslave Earth – just when Superman (Christopher Reeve) decides to show a more romantic side to Lois Lane (Margot Kidder). Gene Hackman also returns as Lex Luthor in this sequel that features a top supporting cast, witty Richard Lester direction, and visuals that astound and delight.

The Richard Donner Cut. Director Richard Donner began shooting Superman II while concurrently filming Superman: The Movie, though the theatrical version of the film was ultimately directed by Richard Lester. In 2006, Donner’s original unique vision was released for the first time. Jor-El (Marlon Brando in footage cut from the theatrical version) appears in key scenes that amplify Superman lore and deepen the relationship between father and son. Lois Lane plots more schemes to unmask Clark Kent as Superman. With so many changes, large and small, including a different beginning and resolution, this version is an eye-opening alternate experience.

• 4K RESTORATION OF THE FILM
• DOLBY ATMOS AUDIO TRACK
• Commentary by Ilya Salkind and Pierre Spengler
• The Making of Superman II – 1980 TV Special
• Superman’s Soufflé – Deleted scene
• Fleischer Studios’ Superman vintage cartoons
• First Flight
• The Mechanical Monster
• Billion Dollar Limited
• The Arctic Giant
• The Bulleteers
• The Magnetic Telescope
• Electric Earthquake
• Volcano
• Terror on the Midway
• Theatrical trailer
• Optional English SDH, Spanish, and French subtitles

Superman III

Studio description: Meet Gus Gorman (Richard Pryor), a naive computer-programming natural. For him a keyboard is a weapon – and, as a result, Superman faces the microelectronic menace of his life. Christopher Reeve reprises his signature role, deepening his character’s human side as Clark Kent sees Lana Lang (Annette O’Toole) at a Smallville High class reunion. And when the Man of Steel becomes his own worst enemy after exposure to Kryptonite, Reeve pulls off both roles with dazzling skill. Relive Superman III with all its heart, heroism and high-flying humor.

• 4K RESTORATION OF THE FILM
• DOLBY ATMOS AUDIO TRACK
• Commentary by Ilya Salkind and Pierre Spengler
• The Making of Superman III – 1983 TV special
• Deleted scenes
• Save my baby
• To the rescue
• Making up
• Going to see the boss
• Hatching the plan
• The con
• Rooftop ski
• Boss wants this to go
• Superman honored
• Gus’ speech
• Hanging up on Brad
• Theatrical trailer
• Optional English SDH, Spanish, and French subtitles

Superman IV: The Quest for Peace

Studio description: Christopher Reeve not only dons the title hero’s cape for the fourth time but also helped develop the movie’s provocative theme: nuclear disarmament. To make the world safe for nuclear arms merchants, Lex Luthor (Gene Hackman) creates a new being to challenge the Man of Steel: the radiation-charged Nuclear Man (Mark Pillow). The two foes clash in an explosive extravaganza that sees Superman save the Statue of Liberty, plug the volcanic eruption of Mount Etna and rebuild the demolished Great Wall of China.

• 4K RESTORATION OF THE FILM
• DOLBY ATMOS AUDIO TRACK
• Commentary by Mark Rosenthal
• Superman 50th anniversary special – 1988 TV special
• Deleted scenes
• Clark’s morning
• Jeremy’s letter
• Superman’s visit
• Nuclear Man’s prototype
• Metropolis after hours
• Lex ponders
• Flying sequence (extended scene)
• Battle in Smallville
• Battle in the U.S.S.R.
• Nuclear arms race
• Superman’s sickness
• Red alert
• By my side
• Lark and Lacy say goodbye
• No borders
• Theatrical trailer
• Optional English SDH, Spanish, and French subtitles

The post Superman 5-Film Collection 4K Blu-ray Box Set Mega Deal Is Back appeared first on ComicBook.com.

The Dark Knight is known for his stylish Bat-branded gear, and now Cat Footwear has delivered a brand new collection that no Batman fan will want to miss. The new collection is fittingly title the Gotham City collection, and features the Colorado Grader Boot and the Intruder Galosh. You can check out up-close looks at both new additions below, and as you can see, they both embrace the style and theme of the World’s Greatest Detective. You can order the Gotham City Collection right here, and you can find a full trailer in the video above.

The Colorado Grader Boot is made up of dark black leather with a distressed yellow undertone, giving the boot a grungier look that would feel right at home in Batman’s city. Coupled with the boot’s yellow accents, it also fells inspired by Batman’s black and yellow costume, and it is certainly inspired by the comics.

That’s because when you look on the inside of the boot, you’ll find full lining utilizing panels from Batman’s 85 year conics history in black and grey. You can also choose from black stealth laces or black and yellow laces to add that final touch. The Colorado Grader Boot retails for $159.95 and can be ordered in men’s sizes here. You can find the official description for it below.

Batman x Cat Footwear Colorado Grader Boot:
Tough, dark, and dependable. These custom Dark Knight-inspired boots were built to go the distance and keep your feet shrouded in mystery. Show your true colors: black and yellow.
FEATURES:
Two sets of laces
Comic strip lining
Batman lace fob
Lateral + medial logo
Stacked EVA + rubber outsole for unmistakable traction

[RELATED: DC Goes All In on Free Comic Book Day 2025 With New Superman, Absolute Universe Stories]

Then there’s the Intruder Galosh, which brings over some of the same style elements but in a shorter frame. The Galosh features the comic panel lining as well, and there’s also the dark black leather with distressed yellow undertone, though more of the shoe seems to be straight up black, broken up by bold yellow lines on both sides of the laces found down the center of the shoe.

There’s also a black Bat-symbol on the side underneath that main yellow ridge, completing the Batman-themed look in a slightly more reserved way. The Intruder Galosh retails for $134.95, and you can check out the new shoe up-close in the gallery above. You can also find the official description below.

Batman x Cat Footwear Intruder Galosh:
Overbuilt and unapologetic. Drawing inspiration from the world’s greatest detective, those rain-drenched Gotham City streets don’t stand a chance.
FEATURES:
Two sets of laces
Comic strip lining
Batman lace fob
Lateral + medial logo
Stacked EVA + rubber outsole for unmistakable traction

Are you excited for Cat Footwear’s Batman Collection? You can talk all things Batman with me on Bluesky @knightofoa!

The post Cat Footwear’s Gotham City Collection is a Must for Batman Fans appeared first on ComicBook.com.

Swamp Thing director James Mangold sheds light on his vision for the upcoming DC Studios project, outlining his approach to working in something that’s part of a massive franchise. In an interview with MovieWeb to promote his Bob Dylan biopic A Complete Unknown, Mangold discussed future films he has in development, including Swamp Thing and an untitled Star Wars movie exploring the origins of the Jedi. “Swamp Thing at DC, it’s just a matter of — do we find a way on the page to say something original?” Mangold said when asked about balancing his creative interests with an established IP.

“I’m not that interested in being handcuffed by so much lore at this point that it’s almost immovable and you can’t please anybody,” Mangold added. “With Bob [Dylan] you have known quantities, yes, but there are ways to interpret them. With other kinds of IP, it gets to a religious level.” The filmmaker underscored the necessity to find the “humanity” in the story in order to connect with the most people possible. “Usually, the movies you remember are the ones that move you.”

Previously, Mangold revealed he views Swamp Thing as a “Gothic horror movie about this man/monster … just a standalone.” While he’s aware DC Studios could see Swamp Thing as a starting point for a new franchise, Mangold is not concerning himself with how the character could fit into the larger DC Universe. The genesis of the project stems from the director’s desire to make “a kind of Frankenstein movie,” which led him to pitch Swamp Thing to DC Studios co-heads James Gunn and Peter Safran. Announced back in 2023, the film does not have a release date as of this writing.

Interestingly, Mangold believes shared cinematic universes are “the death of storytelling” since they encourage viewers to think more about how the various projects fit together instead of concentrating on the story being told in the film or TV show. Despite feeling this way, he has continued to work in major Hollywood franchises, helming Logan and Indiana Jones and the Dial of Destiny before moving on to develop Star Wars and DC films.

While Gunn has expressed interest in telling Elseworlds tales that are not part of the DCU canon, Swamp Thing is set in the shared universe. It was one of the projects Gunn revealed when he outlined the franchise’s first wave of projects. It will be interesting to see how Mangold’s sensibilities fit into that larger operation. Seeing that the director doesn’t want to be “handcuffed” by extensive amounts of lore and mythology, it seems likely he will downplay any DCU connections in Swamp Thing. That would allow the movie’s story to stand on its own, keeping the focus squarely on the character’s dark origin.

Whether Swamp Thing has a future in the DCU will likely depend on a variety of factors, including how Mangold’s film performs critically and commercially. If it’s a success, Warner Bros. would probably be interested in pursuing additional projects featuring the character. But for now, Mangold’s approach is an interesting one in the realm of shared cinematic universes. Many times, projects are conceived with an idea of how everything will come together. Mangold is just trying to make a compelling story that will resonate with viewers.

The post Swamp Thing: James Mangold Offers Major Tease About Character’s Future appeared first on ComicBook.com.

When Batman Begins first hit theaters in 2005, it was immediately obvious that Christopher Nolan was ready to take the Caped Crusader into the 21st Century. Long gone were the days of a campy Batman with colorful DC villains and an unmistakable aesthetic that was like no other. Instead, we were introduced to a realistic world where Batman could logically exist and all of his trauma and mental baggage were a central aspect of his character. And what better actor to bring that gritty version of Batman to life than Christian Bale? His grounded approach to the not-quite-super superhero gave credence to the real-world problems affecting Gotham City. While Bruce Wayne may have been a wealthy playboy with an endless imagination for extracurricular activities, deep down he was still a deeply flawed human who just wanted to make his home a better place to live.

Okay, Christian Bale’s Batman still enjoyed beating his enemies to a bloody pulp and playing with state-of-the-art gadgets that made him look cool as hell. But it was all for a good cause, right? No matter his exact motivations, The Dark Knight Trilogy gave us a live-action Batman that we had never seen before on the big screen. While icons like Adam West and Michael Keaton each gave unmistakable performances as Batman, no other actor was able to provide the all-in physicality as well as the character’s empathy as Christian Bale did. Which is why DC will never get a better Batman.

The Bale Was in His Court

By the time Christian Bale signed on to star in Batman Begins, he was on the cusp of joining the A-list tier of Hollywood actors. He was building heat coming off a string of critically acclaimed movies that put the actor on everybody’s radar. His performances in films such as American Psycho and Reign of Fire not only proved that he was capable of carrying a film, but delivering varied and nuanced performances. However, his most impressive (and dangerous) feat was his dramatic weight transformation after starring in The Machinist.

In the nightmarish thriller, Christian Bale’s weight plummeted to just 120 pounds to play the titular insomniac character. Just six months later, he gained 100 pounds for his starring role as Bruce Wayne in Batman Begins. He gained so much weight that he was actually ordered to lose some extra pounds before filming began. That kind of dedication is what sets Christian Bale apart from his peers; whether or not that dedication is recommended by health professionals is another story. But it’s clear that the Welsh actor takes every one of his roles seriously, and becoming Batman was more than just another paycheck to him.

Beyond the physical transformation to play Batman, Christian Bale tapped into his acting prowess to offer up a performance that we had yet to see in any Batman movie before. While young Bruce Wayne becoming an orphan has always been a cornerstone to the character, Christian Bale tapped into that torment and allowed us to better understand the Dark Knight. Unlike his DC superhero counterparts, Batman isn’t equipped with any super strength or the ability to fly. Instead, his sense of justice is what propels him. In The Dark Knight trilogy, that motivation became more obvious than ever before.

[RELATED: How Creature Commandos Set Up the New DCU Batman]

Taking a Batter Look at the Competition

While DC will likely never get a better Batman than Christian Bale, it’s important to note the actors that came before and after him. Let’s face it, Adam West’s Batman would never pose a physical threat to any criminal in today’s world, but his campiness and screen presence made his performance one of a kind. It would almost be impossible to attempt to duplicate it; instead, just about every modern actor to play Batman has landed in the Michael Keaton camp. He played Batman with such a cool, calm, and collected demeanor that it took the character to a whole other level.

Following in Keaton’s footsteps, Val Kilmer and George Clooney each portrayed Batman as an always-suave crimefighter who is simply never not cool. Unfortunately for both actors, the same cannot be said about the films that they each appeared in. Batman Forever was critically panned and Batman & Robin is regarded as the worst-reviewed Batman movie of all time according to Rotten Tomatoes. While Kilmer and Clooney did what they could with their respective roles, their performances will ultimately be forgotten. Except for Clooney’s Batsuit nipples. Sadly, those will never be forgotten.

Since the end of The Dark Knight trilogy, DC has certainly been on the hunt for its next iconic Batman. Ben Affleck’s take on the character may have been action-oriented, but his performance was neither iconic nor laughably bad – he was just sort of there. As for Robert Pattinson, the jury is still out on his overall performance, but he is off to a great start. He put a unique and grunge-filled spin on the titular character in Matt Reeve’s The Batman. With a sequel currently slated for 2027, he just might be ready to give Christian Bale a run for his money.

You can stream Batman movies on Max.

The post DC Will Never Get a Better Batman Actor Than Christian Bale appeared first on ComicBook.com.

The Superman universe is about to expand in a major way, and it will be a fan favorite Marvel writer at the helm. DC has announced a new Superman ongoing series will launch this May titled Superman Unlimited, and it will be the team of writer Dan Slott (Superior Spider-Man, Spider-Boy, Fantastic Four) and artist Rafael Albuquerque (Detective Comics, Batgirl, American Vampire) taking the Man of Steel on his next grand adventure. This will be Slott’s DC ongoing series debut as well, and Superman Unlimited as a whole is slated to be a driving force in DC’s upcoming Summer of Superman. You can check out a first look at the series below.

With the addition of Superman Unlimited, DC will have three books centered around Kal-El and the Superman family, including Action Comics and Superman. Superman Unlimited is set to debut on Saturday May 21st, but fans can get their first look at the series in a 10-page prelude in DC All In 2025 FCBD Special Edition #1, which will release as part of Free Comic Book Day on May 3rd.

“He’s the first and the greatest superhero of all-time, and I’ve been waiting my whole life to tell stories about him,” said Slott, “Not just because of all the amazing powers he has, but because of who he is inside. Rafael Albuquerque and I are going to take him—and you—to places you’ll want to escape to every month. Millions of surprising ideas for Superman, Lois, the supporting cast, classic rogues, and all-new friends and foes too. If you’ve never read a Superman book, a DC book, or any comic book before—or if you’ve been a Superman fan your entire life—you couldn’t ask for a better place to take the leap and go all in than Superman Unlimited #1.”

Superman Unlimited will kick things off with an extinction-level event in the form of a Kryptonite asteroid shower. This will obviously have a major effect on Superman, but it will also create an arms race for the now extremely valuable (and far more plentiful) resource. This also means more of Superman’s enemies will have access to green Kryptonite, and to survive this new threat, Superman will need to forge some new alliances and rely on some new technology as well. You can find the official description for Superman Unlimited below.

[RELATED: Comic Book Reviews for This Week: 1/15/2025]

“To kick off DC’s Superman Unlimited series in May, a massive extinction-level Kryptonite asteroid showers Superman’s greatest weakness down upon the earth, creating an arms race for the new most valuable resource on the planet: Green K. The greater availability of Kryptonite in the DC Universe changes the balance of power in the criminal empires of Metropolis and across the globe: Intergang, under new leadership, is on the rise, with practically all their foot soldiers carrying at least one clip of Kryptonite bullets on them. The asteroid left massive Kryptonite deposits to be mined, and it houses unlimited horrors yet to be unpacked. To survive, Superman will need to forge new alliances, new tech and new tactics if he hopes to carry on his quest for truth, justice and a better tomorrow!

Superman Unlimited won’t just provide Superman’s nemeses with near-unlimited Kryptonite: the Daily Planet gets an upgrade. A merger with a new incarnation of Morgan Edge’s Galaxy Communications expands the Daily Planet brand into a multimedia news platform with a cable news channel, website, strong social media presence, and—yes—Lois Lane is still editor in chief. Daily Planet regulars Jimmy Olsen, Ron Troupe, Cat Grant and Steve Lombard will staff satellite branches across the DC universe, creating a global network. Behind it all is the tech savvy of a new IT specialist from Gorilla City, King Solovar’s goddaughter, Tee-Nah.”

“Superman Unlimited adds to the foundation of DC’s Superman comics in the same way Jeph Loeb and Ed McGuinness’s Superman/Batman did in the early 2000s,” said DC group editor Paul Kaminski. “Superman Unlimited will capture the big, fun, high-flying adventures that Superman is known for, while also providing big moments for DC’s Superman-related comics with the introduction of a massive new Kryptonite deposit. Imagine a world where Superman is stopping a bank robbery, but every weapon is packed with Kryptonite ammunition and every petty criminal carries a Kryptonite shiv. This is a world of unlimited danger on a level that Superman, and DC’s Superman family of characters, has never faced before.”

“We just launched Justice League Unlimited in the fall, and Mark Waid and Dan Mora are telling a tale of unlimited Super Heroes in that ongoing series,” continued Kaminski. “In contrast, Slott and Albuquerque’s Superman Unlimited is a tale of unlimited Super-Villains that are super-charged by Kryptonite. Green K is everywhere. Superman is going to need to get to work and adapt to survive. Every line of Dan’s pitch is packed with surprises and every line Rafa draws is stunning… 2025 is truly going to be Superman UNLIMITED.”

Superman Unlimited #1 will release in comic stores on May 21st with a cover by Albuquerque and Marcelo Maiolo. The DC All In 2025 FCBD Special Edition #1 will launch in comic stores on Saturday, May 3rd.

Are you excited for Superman Unlimited? You can talk all things comics with me on Bluesky @knightofoa!

The post Superman Unlimited: Fan-Favorite Marvel Writer Dan Slott to Pen DC Ongoing appeared first on ComicBook.com.

The latest season of Harley Quinn kicks off with an unexpected deep dive into Superman’s history. When Harley (voiced by Kaley Cuoco) and Ivy (voiced by Lake Bell) infiltrate Metropolis Museum’s superhero gala, they stumble upon an elaborate exhibition showcasing the Man of Steel’s most significant costume changes. From emergency containment suits to alternate reality gear, each display tells a unique story about Metropolis’ most excellent protector. While some outfits served practical purposes in Superman’s darkest hours, others represent radical experiments with his powers or reminders of paths not taken. The museum exhibition also underlines how the creative minds behind Harley Quinn are experts in DC’s rich history in comic books and beyond.

Though known for his iconic blue and red suit, the Last Son of Krypton has donned numerous variations when circumstances demanded more than heat vision and super-strength could provide. These costume changes often marked turning points in Superman’s career, whether adapting to new threats, recovering from devastating injuries, or exploring different aspects of his Kryptonian heritage. Let’s take a look at every Superman costume featured in the first episode of Harley Quinn Season 5.

Every Superman Suit in Harley Quinn’s Museum Exhibition

Recovery Suit

First appearing in 1993’s Action Comics #689, the Recovery Suit emerged during one of Superman’s most vulnerable moments. After his resurrection following the “Death of Superman” storyline, this sleek black jumpsuit features silver highlights and a stylized “S.” Later iterations of the suit also explained its crucial medical purpose. Acting as a solar energy collector and amplifier, the suit covers Superman’s entire body, transforming his weakened form into an enhanced solar battery. This practical application of Kryptonian technology helped restore his powers. It also reinforced the sci-fi element of Superman’s mythos, emphasizing his alien origins and establishing a precedent for using advanced technology in times of crisis.

[RELATED: Superman Director Richard Donner Weighs in on State of Superhero Movies]

Electric Suits

In 1997, Superman #123 introduced one of the most dramatic reinventions of the Man of Steel with the Electric Superman suits. Following a radical transformation that turned Superman into a being of pure energy, he required special containment suits. The primary Electric Blue suit featured white lightning patterns over a blue energy form, while its counterpart manifested in red after Superman split into two beings. Both versions granted unprecedented abilities, including energy manipulation, electromagnetic control, interfacing with electronic devices, teleportation, and intangibility. Though controversial among fans, this short-lived transformation pushed the boundaries of what Superman could be, introducing new powers that occasionally resurface in Elseworld stories.

Imperiex War Suit

The Imperiex War Suit debuted in 2001’s Superman #174 as a direct response to the devastating “Our Worlds at War” crossover event. Ma Kent helped design this variation, which maintained Superman’s classic silhouette while incorporating significant symbolic changes. The suit featured darker blue tones and notably replaced the traditional yellow background of the “S” shield with black, mirroring the design choices seen in the “Kingdom Come” storyline. While not providing additional powers, this costume change represented Superman’s emotional state and served as a visual reminder of the war’s tremendous cost.

New 52 Armor

The New 52 Armor, launched with Action Comics #1 (2011), completely reimagined Superman’s costume as functional Kryptonian battle gear. Designed by artist Jim Lee, this modernized interpretation added a protective collar, removed the classic red trunks, and incorporated red piping throughout the suit. The armor featured tapered sleeves ending in points on the hands and a redesigned “S” shield. Despite initial controversy, elements of this design influenced Superman’s appearance across various media and subsequent comic iterations.

Power Armor

Making its debut in 1990’s Action Comics #659, Professor Emil Hamilton’s Power Armor represents humanity’s attempt to replicate Superman’s abilities through technology. Created during a crisis where Mr. Mxyzptlk temporarily stripped Superman of his powers, this silver mechanized suit allowed the depowered hero to continue protecting Metropolis. The full-body armor granted superhuman strength sufficient for punching through brick and concrete walls, while its reinforced plating could withstand small-arms fire and survive falls from several stories. Hamilton also equipped the suit with an array of sensors to compensate for Superman’s lost super-senses.

Space Suit

Featured prominently in Superman: The Animated Series, the Space Suit addressed the practical challenges of extended cosmic missions while reflecting the show’s more grounded approach to Superman’s powers. The full-body suit incorporated his classic costume elements while providing essential life support systems, protection from cosmic radiation, and propulsion systems for zero-gravity maneuvering. This practical addition to Superman’s arsenal served multiple purposes: adding realism to space adventures, creating opportunities for dramatic tension through potential suit damage, and expanding the show’s toy line with new action figure variants.

Brave New Metropolis Suit

Finally, the “Brave New Metropolis” costume, introduced in the 1997 Superman: The Animated Series episode of the same name, is a dark reflection of Superman’s potential for tyranny. The episode explores an alternate timeline version of Superman, born from the loss of Lois Lane and a subsequent alliance with Lex Luthor, transforming the bright primary colors of hope into an all-black ensemble with a modified “S” shield. The monochromatic, more intimidating appearance represented how loss and power could corrupt even the greatest hero, influencing later depictions of evil Superman variants across DC media.

New episodes of Harley Quinn Season 5 premiere on Max every Thursday.

The post Every Classic Superman Suit in Harley Quinn Season 5 Episode 1 appeared first on ComicBook.com.

By trading Gotham City for Metropolis, Season 5 of Harley Quinn uses its beloved satirical tone to joke about the weirdest aspects of Superman’s history. In the first episode, the show follows Ivy (voiced by Lake Bell) and Harley (voiced by Kaley Cuoco) as they crash into a gala event at Metropolis Museum, where the Man of Steel’s legacy is being honored. As part of the exhibition, there are replicas of colored pieces of Kryptonite, each with a tag that describes their effects on Superman. Of course, we have the classic Green Kryptonite, which drains Superman’s power. However, Harley Quinn digs deep into DC history to joke about weirder artifacts, such as pink and red Kryptonite.

Kryptonite has been integral to Superman’s mythology since it was first introduced in 1943 during the Superman radio serial. The radioactive ore originated from Superman’s home planet, Krypton, making it poetically fitting that fragments of his destroyed world became his greatest weakness. While Green Kryptonite remains the most well-known variant, DC Comics and its derived media have introduced numerous colored versions over the decades, each with unique and sometimes bizarre consequences on the Man of Steel.

[RELATED: Harley Quinn Season 5 Premiere Pays Homage to Superman’s Biggest Cinematic Moment]

Over time, the number of Kryptonite variants grew to include over 30 different types, though many appeared once or twice before being forgotten. Harley Quinn‘s museum exhibition picked six colors to explore the Kryptonite legacy: green, red, gold, blue, white, and pink. Some are obviously in the show for the laughs, while others are ominous nods at future storylines.

Every Harley Quinn Kryptonite, Explained

At the Metropolis Museum, visitors encounter an array of Kryptonite specimens, starting with the infamous Green variant simply labeled “Deadly.” The mineral’s radiation interferes with Kryptonian cellular structures, replacing stored solar energy with toxic emissions that overwhelm their natural healing abilities. Initial exposure triggers intense nerve pain throughout the body, accompanied by nausea and rapid loss of powers. Within minutes, victims experience muscle weakness, difficulty breathing, and vulnerability to physical damage. Prolonged contact leads to radiation poisoning, organ failure, and eventually death. Even brief exposure can weaken Kryptonians for hours afterward as their bodies struggle to purge the radioactive particles and restore solar energy absorption. No wonder this variant remains the most feared substance in Superman’s rogues’ gallery, favored by everyone from street criminals to genius adversaries like Lex Luthor.

The exhibition’s Red Kryptonite display, marked only as causing “Random Effects,” represents one of the most unpredictable artifacts in DC Comics history. First appearing in 1949’s Superman #61, this variant was created when regular Kryptonite passed through a mysterious red cloud in space, fundamentally altering its radiation signature. Red K is particularly frightening because its effects manifest differently with each exposure, lasting anywhere from 24 to 72 hours. In some instances, the mineral split Superman into two beings with opposing personalities; in others, it caused rapid aging or transformed him into various creatures, including a dragon-like Drang. The museum’s vague description acknowledges this chaotic legacy while hinting at the countless possibilities each new exposure might bring.

Created for The Adventures of Superman TV series in 1958, the Gold Kryptonite specimen bears the “No Powers” warning – a deceivingly simple description for a highly complex threat. In Superman’s earliest encounters with this variant, its radiation permanently destroyed a Kryptonian’s ability to process yellow sunlight, effectively rendering them powerless forever. Post-Crisis continuity altered its properties, making the power loss temporary but no less dangerous. In modern interpretations, such as the Injustice timeline, Gold K returned to its permanent effects, with Batman wielding it as the ultimate deterrent against a tyrannical Superman.

The Blue Kryptonite display’s note “Cures Effects of Red” reveals one of the more beneficial applications of Kryptonite radiation. Engineered as a weapon against Bizarro creatures, affecting them as Green K affects Kryptonians, Blue K’s properties have varied significantly since its first appearance in 1960’s Superman #140. In some instances, it acts as a healing agent for non-Kryptonians while suppressing Superman’s superhuman abilities. In Smallville, for example, it rendered Kryptonians powerless but immune to Green K’s radiation. Its most consistent modern use remains an antidote to Red K’s chaotic transformations.

The White Kryptonite section, labeled “Kill Plants,” might appear less threatening than its counterparts, but it’s still quite dangerous. Created when normal Kryptonite underwent cosmic radiation exposure, this variant emits a unique frequency that destroys plant life at the cellular level. While seemingly less relevant to Superman’s rogues’ gallery, its presence in the museum foreshadows trouble for Poison Ivy. A single piece could devastate entire ecosystems, running Ivy’s work in Metropolis. Or, more pertinently, prove lethal to meta-humans whose powers derive from botanical sources.

Finally, the Pink Kryptonite exhibit, noted for its ability to “Swap Gender,” represents a significant reimagining of one of DC’s more controversial artifacts. First appearing in 2003’s Supergirl Vol. 4 #79, Pink K originally altered Superman’s sexual orientation, relying on dated stereotypes for comedic effect. The story portrayed Superman suddenly expressing interest in Jimmy Olsen while making stereotypically gay remarks, a portrayal that was criticized for trivializing LGBTQ+ identities. Harley Quinn‘s reinterpretation as a gender-swapping agent moves away from the original’s insensitive comedy, aligning with the Justice League Action animated series, which similarly changed Pink K’s effects to cause physical transformation rather than orientation changes.

New episodes of Harley Quinn Season 5 premiere on Max every Thursday.

The post Harley Quinn Season 5 Takes a Jab at DC’s Weird Kryptonite History appeared first on ComicBook.com.

Season 5 of Harley Quinn takes Ivy (voiced by Lake Bell) and Harley (voiced by Kaley Cuoco) to Metropolis, offering the beloved satirical show the opportunity to joke about Superman’s corner of the DC universe. The series premiere does an excellent job of setting the tone for the season, with Harley and Ivy visiting Metropolis’s museum, diving into the Man of Steel legacy, and even having deep conversations with the Son of Krypton himself (voiced by James Wolk). During one of these chats, Harley even questions when was the last time Superman left Metropolis, to which he replies just one week prior, he flew around the globe to revert the time flow and save Lois Lane (voiced by Natalie Morales) from death. That, of course, is a nod to Richard Donner’s 1978 Superman: The Movie.

In the movie, Christopher Reeve’s Superman faces an impossible choice after Lex Luthor launches two nuclear missiles across the United States. While Superman diverts one missile, the other detonates in the San Andreas Fault, triggering devastating earthquakes across California. Despite his best efforts to save countless lives, Superman arrives too late to prevent Lois Lane’s death, finding her crushed in her car beneath the rubble.

[RELATED: Superman Director Richard Donner Weighs in on State of Superhero Movies]

Overwhelmed by grief and rage, Superman soars high into Earth’s atmosphere and, defying his father Jor-El’s warning about interfering with human history, begins flying around the globe at incredible speed. As he accelerates, the Earth’s rotation appears to slow and then reverse, allowing Superman to turn back time and save Lois before the accident occurs. That iconic imagery would forever echo through the Man of Steel mythos.

The Legacy of Superman‘s Time-Reversal Scene

Richard Donner’s Superman film changed superhero cinema forever, with Christopher Reeve’s emotional performance setting a gold standard for how comic book characters could be portrayed on screen. The time-reversal sequence, in particular, stands as one of the most ambitious and memorable moments in superhero film history. The scene’s raw emotional power comes from its spectacular visual effects and Reeve’s ability to convey Superman’s devastating grief and determination through his performance. Though the concept of Superman reversing time by flying around the Earth wasn’t part of his traditional comic book powers, the sequence perfectly encapsulates his character: his immense power tempered by profound love and responsibility.

While the scene’s scientific accuracy has been debated endlessly since the film’s release, its cultural impact cannot be overstated. The image of Superman racing around the globe has become so iconic that it’s been referenced, parodied, and homaged countless times across popular media. The sequence also sparked interesting discussions about the limits of Superman’s powers and the narrative challenges of having a hero capable of reversing time itself – and unfortunately, it also led to outrage among some fans.

Harley Quinn‘s casual reference to this moment underlines the show’s deep appreciation for DC history. By having Superman matter-of-factly describe one of his most controversial and spectacular feats as a routine occurrence, the show both celebrates and gently mocks the wonderful absurdity of superhero storytelling. It’s no wonder Harley Quinn retains its cult following even after five seasons.

New episodes of Harley Quinn Season 5 premiere on Max every Thursday.

The post Harley Quinn Season 5 Premiere Pays Homage to Superman’s Biggest Cinematic Moment appeared first on ComicBook.com.

Happy new comic book day! It’s another big week in the world of comics, and the ComicBook staff have come together to break down and review as many of the new releases from this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, IDW, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books in Batman/Superman: World’s Finest #35, You Won’t Feel a Thing #1, and Ultimate Wolverine #1, so if our smaller reviews here pique your interest, make sure to check out the full reviews for a much more comprehensive analysis of those issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here. With all that said, let’s get to this week’s new comics!

DC

Batman and Robin: Year One #4
Tonally, Batman & Robin: Year One seems to have settled tonally with #4, balancing Dick’s youthfully quippiness with something a bit more serious so as to make things less of a caricature. It’s a development that is perfectly timed as the issue starts to see things settle in other ways as well. We get a more focused look at the villain of the story, a new mobster named Grimaldi seeking to do in Gotham what his father was unable to do in Miami. We also see Dick have his own foe to face in the issue with the first day of school at hand. While the issue delivers plenty of action, it’s the character development, particularly when it comes to the villain and Batman’s response to him that makes this issue stand out. It feels at last like we’re building towards something that will be a real challenge to both Batman and Robin. – Nicole Drum
Rating: 4.5 out of 5

Batman/Superman: World’s Finest #35
Since the first issue of Batman/Superman: World’s Finest, superhero fans have known that Mark Waid had something special on his hands. Taking a look to the past of both the Dark Knight and the Man of Steel, the team-up book is one that not only highlights what makes Clark and Bruce work so well but the DC Universe at large as well. While artist Dan Mora might have moved onto “bigger” things in the DCU, this hasn’t stopped World’s Finest from continuing its momentum as it does so here by seeing Supes and Bats make their way to the briny deep. In teaming up with the Aquaman of yore, readers get one of our best takes on Atlantis to date. – Evan Valentine
Rating: 4.5 out of 5 (Read the full review here)

Catwoman #72
While the narration structure that runs through the issue and frames the story overall is a little bit of a distraction from the more compelling action on the page, Catwoman #72 is a strong issue. Serving as both heist and subtle examination of Selina’s past, the issue gives readers what they want — Catwoman doing a little breaking and entering in order to attempt to retrieve her secrets form a safe — while also deepening the mystery of what exactly those secrets are and who she is up against. There’s a good bit of action in the issue, brought to life by some fantastic art but the use of color is the real star of the show.
– Nicole Drum
Rating: 4 out of 5

Challengers of the Unknown #2
Christopher Cantwell continues to pen a series that feels classic and timeless in its execution, making for an amazing read. Art for the issue is credited to Jorge Fornes, Sean Izaakse, AND Amancay Nahuelpan (with colors by Romulo Fajardo, Jr. and Matt Herms) and it’s a testament to the work of everyone involved that there’s a seamless fidelity to the imagery. Challengers of the Unknown continues to be the kind of thing that major comics should be, huge stories with grand scales and fun characters. – Spencer Perry
Rating: 5 out of 5

Green Lantern: Fractured Spectrum #1
After the monumental events of Green Lantern: Civil Corps, Green Lantern: Fractured Spectrum #1 feels like a needed setting of the table before things hit critical speed again. For those who have been following along with the Green Lantern corner of the universe, this issue will be especially rewarding as it brings together all of the new characters and concepts that have been established, with Jeremy Adams then adding in a few more for good measure. Adams excels at giving each Lantern their own voice and sense of individuality, and this is no more apparent than with Guy Gardner, who shows that any hero, even one as zeroed in as Guy, can still surprise you. Speaking of surprised, V Ken Marion and Romulo Fajardo Jr. bring an unexpected element to the Green Lantern Corps that I hope to see stick around, especially if that clash with the Sorrow is a sign of things to come down the line. Hal, Kyle, John, Guy, Jessica, Kilowog, and the rest of the Lantern Corp feel like a brilliant fit with Marion’s dynamic style, and Fajardo Jr. simply works wonders in bringing their constructs to life. Things are only going to get crazier from here, and Fractured Spectrum gets the next phase of their story off on the right foot.
– Matthew Aguilar
Rating: 4.5 out of 5

Nightwing #122
Watters and Soy take the opportunity to explore the past to set the stage for the future in Dick Grayson’s world, highlighting his days as the Boy Wonder of Gotham’s Dark Knight. The flashback scene is one that acts as the highlight of the issue, as DC’s past in this “DC Rebirth” timeline is always interesting to dive further into. Unfortunately, the meat of the issue overall doesn’t have much in the way of twists and turns, feeling fairly “run of the mill” when it comes to Bludhaven. Nightwing needs a shot in the arm to help elevate Grayson’s story and its not to be found here unfortunately, despite the interesting enough story focusing on years gone by. – Evan Valentine
Rating 2.5 out of 5

The New Gods #2
The New Gods #2 continues the operatic overture of the series’ debut. As with the first issue, this story opens with a prelude from a guest artist, this time Jesse Lonnegran, who puts their diagrammatic sense of design to good use in introducing a new threat not to Earth or the New Gods, specifically, but to all of creation. Where Kirby’s original Fourth World created a mythological dichotomy between the abundant life and freedom of New Genesis and the death and totalitarian control of Apokolips, Ram V recalibrates the stakes, turning it into a question of existence as created by the Source and the nihilistic darkness of unbeing that preceded creation. Amid that operatic conflict, The New Gods #2 offers intimate scenes of individuals, both gods and mortals. Evan Cagle’s precise but flowingly free linework presents Highfather more feebly than ever before, collapsing in the comforting arms of his attendant, a contrast to Cagle’s depiction of Big Barda using body language to express both her unwavering confidence and every bit of annoyance she feels toward her husband in that moment entirely through her stance and stare. This mix of grand stakes and raw, emotional moments — as well as the mysteries involving Highfather’s secrets and Orion’s unexplained mission — create the sense that The New Gods is on the precipice of something special, and it’s only getting started. – Jamie Lovett
Rating: 5 out of 5

The Nice House by the Sea #5
The Nice House by the Sea continues to be a unique mystery that creates brand new questions any time it answers new ones. What James Tynion IV continues to illustrate in the latest issue is that he’s got an incredible and firm grasp on his characters, making them fully realized and deep. Artist Álvaro Martínez Bueno and color artist Jordie Bellaire continue to knock it out of the park, with major splash pages in the latest issue setting the mood and tone of the series. – Spencer Perry
Rating: 5 out of 5

The Question: All Along The Watchtower #3
It’s difficult not to just lose yourself in the stunning visual feast that is The Question: All Along the Watchtower #3, and while Cian Tormey and Romulo Fajardo Jr. have impressed throughout the entire series, this issue in particular is easily the best one yet. While writer Alex Segura moves you through each step of this growing mystery with ease, the visual storytelling found on every page deserves some additional recognition. Without going into spoilers, that last page sets up a critical next chapter and what will likely be an insanely gorgeous final battle as well, so here’s hoping Renee and the team can get it together and show up for a fight. – Matthew Aguilar
Rating: 4 out of 5

Wonder Woman #17
Wonder Woman #17 continues the needlessly long and drawn out story of the Sovereign explaining his history and story with Wonder Woman, this time narrating how the Wonder Girls decimated his stronghold by working together while in a parallel story Diana tells her infant daughter the story of her father, seemingly dazed by her own grief as she allows her allies to fight the Sovereign battle for her, at least for now. To be honest, there isn’t much new ground covered in this issue. We’re still very much in the same place we’ve been for a few issues, just with the Sovereign running to a new location that is being teased as being the ultimate one, but one that feels rather American-centric for a character that isn’t actually from our world. It’s an easy enough read, but it feels like we’re just reading water.
– Nicole Drum
Rating: 2.5 out of 5

Marvel

Avengers Assemble #5
Avengers Assemble fittingly comes to its end as a celebration of the classic Avengers comics that inspired it. There’s no high concept and no attempts at a widescreen “cinematic aesthetic.” The entire issue is instead a throwdown between the Avengers and the Serpent Society, with each Avenger squaring off against a well-suited foe, leading to several examples of the heroes combining their powers in interesting and exciting ways to outdo their opponents. We even get a killer splash page in the mold of the two vertically stacked rushing toward each other to get the whole fracas started. How much you enjoy the issue will likely depend on how much you appreciate a good old-fashioned superhero slugfest, but it is disappointing that the larger story of Mephisto’s sudden patronage of the Serpent Society goes unresolved, presumably meant as a hook to draw folks into the Marvel Unlimited-exclusive Astonishing Avengers vertical comic this series feeds into. Still, it’s nice to see an example of solid fundamentals at play, and hopefully, we get more such stories in the future instead of the cheap throwback books that fail to recapture the bygone eras they seek to emulate that have become part of Marvel’s bread and butter over the past few years. – Jamie Lovett
Rating: 3.5 out of 5

Exceptional X-Men #5
The fallout from last issue’s revelation begins in earnest in Exceptional X-Men #5, but in what has become tradition with this series, it’s never handled in the exact way you’d expect. While Kitty Pryde’s confession was heard by everyone, the aftermath is examined on a individual level, with writer Eve L. Ewing shifting the focus to Melee (Thao) specifically. The hard moral stance and how that carries positives and negatives makes for a compelling arc for the new recruit, and her exchanges with the rest of her team and Pryde lead to genuine and earned moments of growth and understanding. It also doesn’t paint Pryde as correct in her actions, and we even get a dive into that evolution as well. The book’s opening pages are some of my favorites of the issue, and it’s no secret that Carmen Carnero, Nolan Woodard, and Travis Lanham can handle a stylish clash. The expression work throughout the rest of the issue is strong as well, though the latter half doesn’t connect as much as the first. Despite those small nitpicks, I’ve found myself a major fan of this ragtag group of heroes, and if there was any question, I’m clearly all in.
– Matthew Aguilar
Rating: 4 out of 5

Laura Kinney: Wolverine #2
After a killer debut, Laura Kinney: Wolverine #2 hits the ground running with a Hell’s Kitchen team-up with none other than Elektra, known these days as Daredevil. Writer Erica Schultz has a clear grasp on the Wolverine trademarks, and pairing Laura with Elektra allows the book to capture a familiarity in their dynamic while also clearly setting Laura apart from any past dealings with Logan. At times it does seem that perhaps Laura is a bit more reckless and on edge than she’s been in the past, which is especially apparent in contrast to Elektra’s more methodical approach. That’s part of the fun though, and I’ll forgive Luke Cage for simply not understanding who he’s talking to. Much praise is also due for the stellar work of artist Giada Belviso, colorist Rachelle Rosenberg, and letterer Cory Petit, who lean into those classic Wolverine aspects in some truly wonderful sequences, and when Wolverine and Daredevil are in the mix together, the artwork is simply magic. That massive cliffhanger only makes the wait for next issue even worse, but the series is establishing that it will be more than worth the wait. – Matthew Aguilar
Rating: 4 out of 5

Rogue: The Savage Land #1
Taking a trip back to the often forgotten era of the X-Men in Australia, creators Tim Seeley and Zulema Scotto Lavina follow Rogue and her attempts to survive the horrors of the Savage Land. In taking us to the aftermath of the arc known as the Siege Perilous, the power-absorbing X-Man finds herself not only trapped in the prehistoric locale, but sans the powers that have saved her life more times than she can count. In this flashback story, we get a closer look at Rogue as a character along with peeling back the layers of just how scary the Savage Land can be. Seeley not only give us more insight into Rogue’s struggles but also highlights one of the surprising upsides to the fact that the superhero has so many voices bouncing around inside of her skull. Rogue: The Savage Land feels like a necessary buy for those wanting more insight into Rogue, especially if you’re looking to see how the often thought controversial relationship with her and Magneto began. – Evan Valentine
Rating 4 out of 5

Spirits of Vengeance #5
Kudos to the art team here, whose work in Spirits of Vengeance #5 largely feels cohesive despite the many, many names on the credit page. Sean Damien Hill, Brian Level And Paul Davidson are credited as pencilers, with Jay Leisten, plus Level & Davidson credited as inkers. Visually the book is fun, with weird imagery that will no doubt have Ghost Rider fans excited, and it’s all elevated by the work of color artist Andrew Dalhouse, who brings depth and temperature into these locations and characters. Narratively the series remains a mess and unfocused, which is perhaps keeping it from really being of note and not matching the fun of the imagery. – Spencer Perry
Rating: 3 out of 5

Star Wars: Battle of Jakku Last Stand #3
The penultimate chapter of the Battle of Jakku is here and with it, the forces are in battles that span the universe. On the Luke Skywalker side of the aisle, it almost seems as though it’s the calm before the storm as enemies become allies and surprises abound. Segura has a firm understanding of the universe here, juggling the characterization of the countless characters involved. On the art front, Leonard Kirk has always been an artist whose strong suit was capturing emotion, at least in my opinion. While he brings that same strength here, I would say that the space battles themselves feel almost a bit too claustrophobic in terms of portraying the Republic’s fight against this new rise of the Empire. The penultimate issue of the Battle of Jakku is one that’s strong enough, setting the stage for what we hope will be a ground-shaking conclusion. – Evan Valentine
Rating 3.5 out of 5

Storm #4
Storm #4 is a stunning case of style over substance. Lucas Werneck and colorist Alex Guimaraes bring dramatic polish and compositions to the narrative — Wereneck’s title pages remain a memorable stylistic flourish, only slightly undercut by the recap/credits pages, affecting a drastically different and less interesting aesthetic. However, the actual plotting feels nearly random, shifting focus from one beat to the next. Forcing Storm into another intimate staredown with Doctor Doom but without her mutant powers is a natural enough extension of what the previous issue built up, and the issue seems to be headed in an interesting direction as Doom tries to claim mutants for himself. But this premise is unceremoniously disregarded and suddenly an entirely new set of circumstances — thrust upon Storm seemingly at random — comes to the fore. It’s emblematic of the problem plaguing this series from the start, as each new plot hook is rushed past and forgotten before it ever evolves to its fullest potential as if writer Murewa Ayodele is trying to force as many ideas into the book as possible — many of them compelling ones — as quickly as possible for fear that he’ll lose the opportunity. It makes for a reading experience that is dazzling on the surface but leaves one feeling unfulfilled by the issue’s end. – Jamie Lovett
Rating: 3 out of 5

The Amazing Spider-Man #65.Deaths
“The 8 Deaths of Spider-Man” arc takes a diversion in strongly-numbered The Amazing Spider-Man #65.DEATHS as writer Derek Landy, Kev Walker, Wade Von Grawbadger, and Mattia Iacono take the reins for an aside focusing on Phil Coulson, who recently became the personification of Death in the Marvel Universe. Seeking to answer the question of why Death chose Coulson for that role, the issue offers the most boring possible answer: because Coulson is special. It’s a cop-out that ironically suggests that there is nothing special about Coulson as a character — or at least that the creators and editors charged with mapping out his role in the Marvel Universe lack any particular insight into who Coulson is and why this grim duty particularly suits him. The remainder of the issue sees the art team doing cover versions of iconic moments from Spider-Man’s history across several double-page spreads, and while Walker’s linework is as evocative as ever — using lines sparingly to allow emotion to fill the space — these spreads aren’t additive to Spider-Man’s story and only lead to the tired conclusion that suffering maketh the hero, turning this issue into a forgettable intermission. – Jamie Lovett
Rating: 2 out of 5

The Immortal Thor #19
With departing Asgard for the time being, a series of vignettes checking in with various supporting characters dwelling in the golden realm comprise Immortal Thor #19. Dubbed “Tales of Asgard,” the issue uses Magni, Thor and Enchantress’s son from a dead future, as the connective thread between these scenes, though only barely — he doesn’t even interact with some of the characters featured. Despite that, the issue manages to set the stage for many potentially compelling stories to come involving the return of the Utgard gods and the foretold death of Thor. If there’s a theme connecting these tales, it’s a sense of longing for the past, whether that’s seeking to reclaim past glory, make up for past wrongs, or simply find some measure of the purpose they once had. It’s a state that leaves Asgard ill-prepared for the imminent turn of the wheel that will thrust them into the future, whether they wish it to be or not. The different art styles could have been employed more effectively — their use in the issue feels mostly haphazard — but it’s all solid in its own right. Ultimately, the issue proves a mostly effective palette cleanser, setting the stage for what’s to come. – Jamie Lovett
Rating: 3.5 out of 5

Ultimate Wolverine #1
It can be difficult to take familiar elements and ideas and give them new twists and while Ultimate Wolverine #1 definitely does lean into some familiar things, this isn’t merely another remix. Condon has crafted a take on the idea of Wolverine as a brutal killer that offers readers enough mystery and questions that makes the story stand on its own even for the more “what if” elements of the storyline. By giving readers glimpses of where the character has been but not quite revealing everything and keeping some of the dynamics between characters and groups a bit of a mystery. The result is a compelling story, one that will have readers wondering what’s next. – Nicole Drum
Rating: 5 out of 5 (Read the full review here)

Image Comics

Feral #9
You just knew something was severely off with the mysterious “lady” and her supposed safe haven, and the disturbing truth comes to light in Feral #9. The intrigue spills into violent chaos, and if the stakes weren’t high enough already, they’ve reached truly critical levels here. Writer Tony Fleecs doesn’t give you a moment to breathe as Elsie and Gigi attempt to save the kids and a Lorde still under this house’s thrall, and this just might be the most visceral issue of the series to date, with the outstanding team of Trish Forstner, Tone Rodriguez, and colorist Brad Simpson painting a truly nightmarish picture of survival with the series’ patented animated flair. In short, Feral isn’t letting anyone out of its clutches anytime soon. – Matthew Aguilar
Rating: 4.5 out of 5

G.I. Joe #3
The first two issues of G.I. Joe have been absolutely stacked with high octane action, and in that respect, issue #3 takes a moment to breathe. That’s not to say there isn’t action at all, but it’s in a different vein, with one mostly happening outside of view while the other is a one on one confrontation that just seems silly when you put it into perspective, and Stalker earns MVP status for calling that out as well. The most compelling aspects are found on the Cobra side through Clutch’s undercover point of view, as Joshua Williamson continues to develop the hierarchy within Cobra and the complicated dynamic between Cobra Commander and Destro. Cobra headquarters simply looks fantastic in the hands of artist Tom Reilly, colorist Jordie Bellaire, and letterer Rus Wooton, and it all comes together towards the end too, as we get a major tee-up for next issue now that more of the pieces are in place. There’s plenty to love in G.I. Joe #3, but it doesn’t quite hit the supremely high bar of issues #1 and #2. – Matthew Aguilar
Rating: 3 out of 5

The Moon Is Following Us #5
The Moon Is Following Us comes to the end of its first arc with an epic battle, shocking deaths, and twisted betrayal. The last of those brings a fundamental question for the series’ heroes: Can they, having been willing to do anything to save their child, truly fault another for doing the same? The battlefield chaos is hard to follow at times, but Rossmo’s delicate linework and colors drive home that this carnage occurs in a world of dream stuff. There’s also a sense of near-infinite escalation here as an entirely new facet of the story only emerges in this issue’s closing pages. It’s a lot, making for a somewhat hectic but thrilling reading experience, but one that keeps its eyes on the emotional core of its story, that of parents and children wrestling with grief and the struggle of letting go. Halfway through the series, and with the sense that we may finally have all of the cards on the table, it’ll leave the reader excited to see how things coalesce in the story’s back half. – Jamie Lovett
Rating: 4 out of 5

Other Publishers

Minor Arcana #5
Minor Arcana #5 is possibly the most gut-wrenching issue of the series to date. The issue digs into the story of Theresa’s grandfather Budd as he struggles with a sense that something bad is coming for him. It’s a story that, largely, unfolds in a way that is going to be very familiar for many readers: a sense that there is more that we should be doing with our lives, a sense of discontent, a sense of being stuck in an endless loop of drudgery and want. But the issue has a turn that not only shines a light on Theresa’s story in the present, but also will make the reader really consider the nature of what a bad feeling could really be about. Beautifully written and beautifully drawn, this is a stunning issue and one that will absolutely haunt you. -Nicole Drum
Rating: 5 out of 5

Shadow of the Golden Crane #1
Shadow of the Golden Crane arrives as an interesting corner of the World of Hellboy, digging into a fresh side of the franchise and exploring another decade that’s ripe for potential. Chris Roberson pens the script, which manages to take the focus off Hellboy to surprising effect, focusing instead on Susan Xiang, a BPRD agent with plenty of appearances already under her belt, and fleshing her out even more. With Michael Avon Oeming on art, and colors by Chris O’Halloran, there’s a high bar for the visual look of the series, and though O’Halloran’s colors look good, there are some times where visually things get lost, with details left by the wayside. It’s not bad by any means, but the standard previously set by these two does make these moments glaringly obvious. However the book is one of our first Hellboy titles in some time and it’s nice to be back. – Spencer Perry
Rating: 4 out of 5

Star Trek: Lower Decks #3
The Cerritos crew embarks on a new adventure in Star Trek: Lower Decks #3. The comic continues to offer everything fans loved about the animated series in terms of character dynamics and tone through a combination of Ryan North’s strengths as a writer (endearingly snappy dialogue plus an appreciation for science and ability to make it digestible to lay readers, with that last one feeling well represented by the introduction of certain new Starfleet branch) and artwork that is dynamic without being ostentatious. That might sound like damning with faint praise, but rather it gives the comic the consistent rhythm that characterized the TNG era of Star Trek television which Lower Decks spent five seasons celebrating. Jack Lawrence’s lines are a little thicker; his characters are a little more cartoonishly abstracted from the original models than other artists who have worked on Lower Decks in comic book form, but this feels like a natural evolution of the aesthetic as it adapts to the comics medium and hardly feels distracting or out of place. Come for the latest hijinks of the Lower Decks crew, and stay for the explanation of metastability vs. stability via a cowboy emoji on a line graph (you’ll see). – Jamie Lovett
Rating: 4 out of 5

You Won’t Feel a Thing #1
What becomes of an old detective at the end of their days? Scott Snyder and Jock have told plenty of noirish tales, and the main character of their new DSTLRY series You Won’t Feel a Thing, having spent most of his life and career chasing serial killers, could likely have starred in a few of them. But what happens now that death has come for him, not in the form of a masked murderer but as a tumor applying increasing pressure on his brain? Can he go quietly into that dark night, or will unfinished business have him going down fighting? – Jamie Lovett
Rating: 4.5 out of 5 (Read the full review here)

The post Comic Book Reviews for This Week: 1/15/2025 appeared first on ComicBook.com.

I’m a huge fan of James Gunn‘s DCU work. The Suicide Squad and Peacemaker were excellent, combining deep characters, action, and plot in beautiful ways. Creature Commandos was just as great: that last episode was a heartbreaker, and the show did a brilliant job of setting up what the landscape of the new DCU is. I don’t think I’m alone in saying that I’m extremely excited for what comes next.

Gunn obviously has a deep love for DC and it shows in all of his work. That’s why I, another fellow lover of DC, have a simple request to the filmmaker: give us Earth-Two in the DCU. In fact, I think that he should go completely pre-Crisis with it, and there are lots of great reasons for this. I think the world is ready for a true superhero franchise multiverse, and Earth-Two is the perfect place to start.

Earth-Two Is the Best Alternate Earth in Comics

Multiverses are all the rage nowadays. It’s an amazing concept that doesn’t always get used well, but bringing Earth-Two into the DCU, along with the rest of the pre-Crisis multiverse, could finally show people just how well a multiverse can be used in superhero stories. Earth-Two is the home of the Justice Society of America, a world where the age of superheroes began in 1938 when Superman first allowed himself to be known to the public. There are decades of superhero history on Earth-Two, and those decades could be mined for films and TV shows.

Earth-Two’s heroes aren’t doppelgangers of familiar characters, they are rich characters on their own. Jay Garrick/Flash is the quintessential superhero; Wildcat is the gruff bruiser with the heart of gold; Hawkman is an ancient warrior; Starman is the prototype for every superhero scientist that came after him; the Spectre is an inhuman force trying to remember being human; Johnny Thunderbolt is the mascot; the Sandman is the detective; Hourman became addicted to his superpower pills; Black Canary is the woman who can beat up all the men, and Mister Terrific is the polymath who pulls out the victory in the nick of time. Earth-Two Batman is a more happy version of the Caped Crusader, a Bruce Wayne who didn’t allow the darkness of Gotham to suck him down — he even married Catwoman eventually. Earth-Two Superman is probably my favorite Superman variant, a man of the people who didn’t just fight the supervillains, but also worked hard to help the common man, going after crooked government officials and those who would take advantage of their power. Earth-Two Wonder Woman is a warrior for peace and truth, something that doesn’t always come across in more modern portrayals.

[RELATED: Why James Gunn’s Superman Trailer Reminded Me I Love Superman]

Any of these characters could have brilliant adaptations. Alan Scott wrestling with his sexuality during the ’30s and the ’40s has so much potential as a movie or TV series (see the recent comic series for an example). Hourman dealing with his addiction to both Miraclo and being a superhero is a look at superheroes that is quite unique. You can even just straight-up adapt Sandman Mystery Theater, the detective thriller series starring the Sandman. Look at the success of The Penguin; Sandman Mystery Theater has the potential to be even better than that. A Justice Society movie has “blockbuster” written all over it, and going in that direction means that the DCU can do crossover movies between the heroes and villains of the different Earths. And that leads to a very important place in DC history: Crisis on Infinite Earths.

One day, the DCU is going to need to have its Infinity War/Endgame moment the road to that is paved through Earth-Two. Introducing the DC Multiverse through Earth-Two not only allows the DCU to tell superhero stories very different from what has come before, but it sets out a road map for the future. Earth-Two means that Earth-Three, the world where evil always wins, can come next. We can see Earth-X, the world where the Nazis won WWII and the only resistance is from the superhero team known as the Freedom Fighters. There are infinite ideas out there and DC has already proven many great ones on the comic page, that are now ready for the screen.

Earth-Two in the DCU Is a Win-Win

The DCU, in my opinion, is going in the right direction. DC Comics have always been more fantastical and weird, and Creature Commandos captured that. The DCU slate goes in some great directions that show off the true breadth of DC Comics. I feel that bringing in Earth-Two and going in a pre-Crisis direction would build on that.

The DCU has to set itself apart from Marvel immediately, and Earth-Two gives it a chance to do that. Superhero movies are in danger of getting stale, and the best way to combat that is to not do what everyone else has done. And from where I’m standing, that’s Earth-Two.

Creature Commandos is streaming on Max. The first DCU film release will be Superman on July 11th.

The post I Want Earth-Two in the DCU appeared first on ComicBook.com.

Suicide Squad: Kill The Justice League has been mired with controversy since this new take on the DC supervillain team entered the “Arkham-verse.” Failing to find a player base due to how the fandom received its game mechanics and overall story, the final update for the video game has arrived. With the final entry in the game having arrived earlier this week, there has been even more controversy regarding how the Suicide Squad’s story comes to an end here and the wool that was pulled over players’ eyes. The grand finale here is one that feels “perfect” for Kill The Justice League in that it highlights simply what did not work about the story overall.

Warning. If you don’t want to be spoiled on Suicide Squad: Kill The Justice League’s final update, be forewarned that we’ll be diving into spoiler territory. “Kill The Justice League” wasn’t just the name of this controversial game, it was something that Harley Quinn and her squad seemingly were able to pull off. Over the course of the game, the likes of Superman, Green Lantern, Flash, and Batman are all killed by the super villains working for the government. Thanks to the Justice League members being brainwashed by Braniac, all seemingly meet their end while Wonder Woman does the same while evading the supervillain’s mind control. Unfortunately, Suicide Squad: Kill The Justice League couldn’t leave well enough alone.

[RELATED: Suicide Squad: Kill the Justice League Final Update Released With Patch Notes]

“It Was All A Dream”

Many wondered when Suicide Squad: Kill The Justice League arrived if this would be the true death of DC’s greatest heroes in the Justice League. To say the least, many saw the deaths of some of their favorite comic book characters as quite the shock, with figures like Batman and Superman dying in ways that didn’t necessarily feel as grandeur and epic as they could have been. Ultimately, their deaths have been undone in the final update as it is revealed that the Justice League the Squad fought were indeed clones.

In the final cutscene, players are able to witness the Justice League and the Suicide Squad team-up to defeat the final Braniac, following the anti-heroes taking down several iterations of the villain across the multiverse. While Harley and her friends escape Waller’s clutches as well, Diana of Themyscira is unable to escape the clutches of the Grim Reaper. Wonder Woman remains dead after she lost her life at the hands of the cloned Superman, adding insult to injury.

Did It Even Matter?

The Arkham games that focused on the Dark Knight are still considered to be some of the best superhero video games of all time, taking a new approach to the Bat in a way that resonated with fans. For the Suicide Squad, the take fell flat in attempting an entirely new approach to its gameplay that didn’t really make use of the individual skills of these supervillains with bombs implanted inside of them. Alternate takes on the Joker, Ms. Freeze, and Deathstroke simply were too little too late in turning the tides for the Warner Bros game, to say nothing of how the cinematic worked in the updates.

Each update following the main story would use a combination of the in-game engine with two-dimensional still images that conveyed future entries following the initial game’s release. At the end of the day, the still images with overlapping voice acting felt like a poor way to convey what little story Kill The Justice League had left for players, releasing alongside the already controversy story beats that populated the entry.

What makes the failure of Suicide Squad: Kill The Justice League all the more tragic is it could very well be the final entry in the Arkham universe and ending on such a sour note is a disservice to the Dark Knight’s winning streak. I don’t know the best method that could have been taken to make this game a success but most players will agree, this wasn’t it.

Want to see what the future holds for DC’s heroes and villains in the video game world? Follow along with Team Anime on ComicBook.com for the latest updates on superhero video game representation and hit me up directly @EVComedy to talk all things comics and anime.

The post Suicide Squad: Kill The Justice League’s Ending Cements Its Messy Legacy appeared first on ComicBook.com.

Since the first issue of Batman/Superman: World’s Finest, superhero fans have known that Mark Waid had something special on his hands. Taking a look to the past of both the Dark Knight and the Man of Steel, the team-up book is one that not only highlights what makes Clark and Bruce work so well but the DC Universe at large as well. While artist Dan Mora might have moved onto “bigger” things in the DCU, this hasn’t stopped World’s Finest from continuing its momentum as it does so here by seeing Supes and Bats make their way to the briny deep. In teaming up with the Aquaman of yore, readers get one of our best takes on Atlantis to date.

For Batman/Superman: World’s Finest #35, Clark, Bruce, and the Boy Wonder join Aquaman as residents of the deep are becoming monsters thanks to a mysterious virus. Two different sides of Atlantis, Tritonis and Poseidonis, are caught in the maelstorm and Arthur doesn’t seem like the unifying at this point in his career. Our issue ends in typical superhero fashion, with quite the cliffhanger of an often-forgotten villain who is making a surprise appearance in Davey Jones’ locker. Once again, the inclusion of this antagonist proves just how knowledgeable Mark Waid is in the DCU and concocts interesting contrasts for his stories with the elements and characters therein.

To start off this review, I must state that I’m not a big fan of Arthur Curry. Granted, I’ve read about him plenty when he makes appearances in Justice League appearances and DC comic book crossovers, but in terms of stories strictly focused on the DC deep, I’m at a loss. In World’s Finest, Waid and his artistic cohort for the issue, Adrian Gutierrez, are able to present quite the engaging take on Atlantis and Arthur’s place within it. Much like real world politics, if an elected leader, or in Atlantis’ instance its king, is not physically present, citizens might get a bit wary if a crisis befalls society and said leader is nowhere to be found.

[RELATED: Batman Just Got Another Wild new Version of the Batmobile (And It’s Lethal)]

It’s in this quagmire that we are able to see Curry at his finest, attempting to explain to his people that his role as a member of the Justice League ultimately benefits them as well. Saving the world inherently means that Aquaman is saving Atlantis but its a rationale that falls on deaf ears here. Honestly, there are a lot of moving pieces to this take on the underwater civilization and it makes me want to pick up an Aquaman solo book to see if things play out similarly. Perhaps, that’s one of the best compliments you can give a comic book, in that by reading it, it only makes you want to consume more.

Of course, Batman, Robin, and Superman are still a part of this story, which Waid does not forget here. Once again calling on the antics of DC Comics’ Silver Age, the writer brings back Lori Lemaris, one of Clark’s first girlfriends who just so happens to be a mermaid. Her presence here makes for a solid connection between Kent and Atlantis as she can break down the current problems of the day facing her people to Superman. Bruce Wayne and Dick Grayson might not have a strong connection to the deep but considering their lack of super powers, their predicament also makes their situation an interesting one.

Of course, it takes a village to create a hit story and Waid finds a solid partner here in Gutierrez. Standing in the giant shadow of Dan Mora is no easy feat, but Adrian does his job here and the some. Where the artist most shines is in his action scenes, capturing energetic panels in a way not often seen in superhero comics. Direction is such a key component for any comic book, superhero or otherwise, and Gutierrez has an unbelievably strong eye for this. The characters, heroes and villains alike, appear larger-than-life here and it works amazingly well in tandem with Waid’s writing.

Batman/Superman: World’s Finest after thirty-five issues hasn’t missed a beat, remaining the gold standard of superhero storytelling in the DC universe. It’s timeless storytelling that continues to show what makes these characters work so well. The series remains a must buy for anyone that is a superhero fan and I hope it continues well into the future.

Published by: DC Comics

On: January 15th, 2025

Written by: Mark Waid

Art by: Adrian Gutierrez

Colors by: Tamra Bonvillain

Letters by: Steve Wands

The post Batman/Superman: World’s Finest #35 Review: A Perfect Window Into The DCU appeared first on ComicBook.com.

One of the most exciting and unique aspects of the newly launched DC Universe from DC Studios is the fact that actors will cross over between animated and live-action projects. With Creature Commandos launching the franchise, a lot of fans are wondering if and when the characters from that show will pop up in live-action formats, hoping to see those actors transition their voice roles into on-screen performances. Unfortunately for some of the show’s stars, there were characters who didn’t make it through the first season of Creature Commandos, leaving their potential DCU futures a little murky. WARNING: Spoilers for Creature Commandos ahead…

One example is Maria Bakalova, who is starting to become one of James Gunn’s frequent collaborators. After voicing Cosmo in Guardians of the Galaxy Vol. 3, Bakalova was cast in Creature Commandos as Princess Ilana, a character created just for the series. In a surprising twist, Ilana was killed at the very end of the Creature Commandos season finale, after being revealed as the true villain behind the show’s events.

So does that mean Bakalova is done with the DCU for good? There’s a lot of backstory to explore with the Princess, given that she’s a new character, not to mention the fact that Bakalova could always take on another role in the franchise moving forward (Sean Gunn is already playing three characters). Ahead of the Creature Commandos finale, ComicBook spoke with Bakalova about her future with the budding franchise.

“I’m trying to take it one step at a time, because you never know what’s going to happen at the end,” Bakalova told us. “My dream is to be able to work with James again and again and again, do the rest of my life. I do want to be a part of this new DC universe, because knowing that he is behind it. I just have incredibly big hopes for it, and Creature Commandos is evidence of that.

“I mean, if I’m able to play this character in the future, I will definitely do it. If I’m able to play something else with James in charge, I will definitely do it. It’s really my dream to just be a part of this team.”

[RELATED: Everything Creature Commandos Taught Us About the New DCU]

It sounds like, if it were up to her, there would be no end to Bakalova’s time with the DCU. Given how much James Gunn likes to work with his repeat cast members, it seems like the chances are high for Bakalova to return at some point down the line. Just don’t bet on Princess Ilana coming back with her.

The entire first season of Creature Commandos is now streaming on Max.

The post Creature Commandos Star Addresses DCU Future After Character’s Surprising Demise appeared first on ComicBook.com.

Creatures Commandos has given DC fans their first look at the DCU and what a look it was. Many people questioned the wisdom of starting with such an unknown concept, but Creature Commandos‘ cast of monsters has proven to be a very interesting doorway into the all-new cinematic universe based on DC Comics. The show was packed with clues about the shape of the new DCU, revealing many familiar aspects. Now that the first season is over, it’s time to look at everything the show set up and see just what might be in store for the future. All of it points to it being an exciting future for DC fans.

The DCU Already Has Films In Its Canon

So, we’ll start with the easy stuff. The very existence of Task Force M shows that much of James Gunn’s previous DC work is canon to the DCU. The Suicide Squad and Peacemaker happened, down to that story about Superman getting shot. This is to be expected; since Gunn is in charge of things, it makes sense for those projects to be canon. John Economos and Amanda Waller are the same characters, and the death of Rick Flag Jr. at Peacemaker’s hands had been established by Waller and Rick Flag Sr. Flag probably doesn’t know all the details, but that’s just how Waller rolls.

Amazons Are A Controversial World Discovery

The show went into greater detail about the DCU as the season progressed. Its first phase concentrated on Circe and the Sons of Themyscira, establishing that Themyscira is not only known to the world but also rather controversial with the chuds of the manosphere. There are even university classes taught about it, as evidenced by Professor McPherson, who Clayface killed and impersonated in an attempt to trick the Creature Commandos in going back and killing Princess Illana Rostovic in Pokolistan. An interesting little wrinkle about Pokolistan is that the Princess’s knights are vaguely reminiscent of the Atomic Knights, survivors of a nuclear holocaust on either a future or alternate Earth, depending on the DC continuity in question. This fits Grodd’s plans for the world – he may have created that nuclear Earth if he got his way.

DC’s WWII Heroes

G.I. Robot made fans of DC’s Golden and Silver Age very excited. The robot’s origin episode establishes that Sgt. Rock and his Happy Company exist in the DCU. This opens DC’s entire slate of WWII war heroes – including the Losers, who are Flag family-relations – and also could open the door for the Justice Society of America to exist at some point. G.I. Robot’s meeting with scientist Will Magnus also opens things up for the Metal Men, a group of robots with different personalities and element-based capabilities made by the roboticist.

The Long History of DCU’s Monterverse

The stories of The Bride and Eric Frankenstein show that the monster side of the DC Universe is in full effect. Both of them have been long-time DC characters, and their existence also means that perhaps the Patchwork Man – a Swamp Thing-related monster that is created similarly – potentially exists. Monsters are a very important part of the show, and this fits in with the name given to the first story arc of the DCU: “Chapter One: Gods and Monsters”. Monsters have always been special in the DC Universe; while many of them are frightening enemies, just as many are heroes. Task Force M could play a major role in the future dealing with the monsters of this world.

RELATED: Creature Commandos: DC Studios Logo Pays Homage to a Classic Superman Story

The DCU Batman Universe

The biggest reveals from Creature Commandos are all Batman-related. The show’s inclusion of Doctor Phosphorous let us know that Gotham exist (something reinforced by the appearance of Clayface), but the season’s penultimate episode showed that Gotham is pretty much exactly the way it is in all other media. Well, Rupert Thorne is dead, but other than that, it’s Gotham. Viewers even got a glimpse of the Caped Crusader himself. James Gunn clarified that Batman has existed for some time in the DCU, meaning that we’re not jumping in at the exact beginning of the heroic age. This is a universe that has been in motion for a very long time, which is extremely exciting for fans of DC Comics. Also, Marvel Comics exists in the DCU – the Bride called Doctor Phosphorous “Ghost Rider.” So that’s interesting and does fit something that DC and Marvel have done in previous years, with comics often showing aspects of the other fictional universe of superheroes.

More Hero & Villain Teases

Star City and Metropolis are things as well. The latter is obvious because of Superman (2025), while Nina’s origin episode revealed Star City, which opens the door for heroes like Green Arrow to eventually show up. Gorilla Grodd has been established as a major potential threat in the DCU, using his telepathic powers to move people like pieces on a game board, all in the pursuit of the destruction of humanity, a familiar role for the simian tyrant.

This is actually perfect for Grodd; while he’s often portrayed as a brutal monster – which again plays into the title “Gods and Monsters” – he’s also a cunning evil super genius, who can manipulate events from the shadows. Grodd’s existence means that Gorilla City exists (fingers crossed we get to Solivar and maybe even the Ultra-Humanite in the albino gorilla body), which also opens the door to the Flash and the DCU version of twin cities of Central City and Keystone City. That last one depends on whether the DCU is going to do a classic Earth-Two, which is the original home of Keystone and the Justice Society; after all, multiverses are all the rage).

The DCU Is More Fully Formed Than We Guessed

Creature Commandos turned out to be the perfect way to introduce fans to the DCU. For years, everyone thought that the only way to be successful was the MCU’s method – a slow rollout at the beginning of the universe, holding fans’ hands and showing them everything as it builds and progresses. However, Creature Commandos went in a different direction: Gunn used what fans already knew about DC – The Suicide Squad, Peacemaker, Batman, Gotham City, Themyscira – to widen the foundation of his universe. He used each member of Task Force M to expand upon a variety of things, opening doors for a lot of DC characters and concepts to come.

Creature Commandos was a perfect starting roadmap for the DCU, building excitement for what’s to come. It’s the most entertaining extended trailer for a franchise universe ever – a seven-episode run that teased the breadth of this new DC cinematic endeavor. In Gunn we trust.

You can stream Creature Commandos on Max.

The post Everything Creature Commandos Taught Us About the New DCU appeared first on ComicBook.com.

Supergirl: Woman of Tomorrow is getting up, up and away. Filming has begun on the next DC Studios film following summer’s Superman, which officially launches the DC Universe from James Gunn and Peter Safran. Milly Alcock (HBO’s House of the Dragon) is playing Kara Zor-El/Supergirl — the Krypton-born cousin of Kal-El/Superman (David Corenswet) — leading a cast that includes Eve Ridley (3 Body Problem) as the plain-raised alien girl Ruthye Marye Knoll, Matthias Schoenaerts (The Old Guard) as the Kingsagent Krem of the Yellow Hills, and Jason Momoa (Aquaman) as intergalactic bounty hunter Lobo.

The second DCU film is shooting at Warner Bros. Studios Leavesden in the U.K., already home to Game of Thrones spinoff House of the Dragon and future site of the main hub for DC Studios starting in 2027. (While the Atlanta-based Superman shot in the United States, Gunn has confirmed most future DC projects will film in London.)

RELATED: DC Movies and TV Shows to Watch After Creature Commandos

Productions shot on the state-of-the-art film and television studio’s soundstages include the Harry Potter and Fantastic Beasts films, Barbie, and DC adaptations Wonder Woman (2017), Justice League (2017), Pennyworth (2019), Wonder Woman 1984 (2020), Sandman (2022), The Batman (2022), The Flash (2023), and Aquaman and the Lost Kingdom (2023). The Batman 2 and HBO’s Harry Potter TV series are also scheduled to shoot at WBSL this year.

Gunn and Safran are producing Supergirl, which is directed by I, Tonya and Cruella‘s Craig Gillespie. Ana Nogueira (The Vampire Diaries), who is also scripting the Teen Titans movie for DC Studios, wrote the screenplay based on the eight-issue Woman of Tomorrow comic book run by writer Tom King and artist Bilquis Evely.

The True Grit-inspired series sees the 21-year-old Supergirl — one of the last survivors of the planet Krypton — chaperone farm girl Ruthye on a galaxy-spanning journey for justice to track down her father’s killer: Krem of the Yellow Hills. And to avenge another of Krem’s victims, vulnerable and wounded while under a red sun: Superman’s beloved dog, Krypto. Over eight issues, Kara and Ruthye embark on a months-long quest as they battle bounty hunters, dinosaur-like alien beasts, and space dragons.

It’s a “much more hardcore” version of the F-bomb-dropping Supergirl, Gunn said when announcing the DCU Chapter 1: Gods and Monsters in 2023. “We see the difference between Superman, who was sent to Earth and raised by loving parents from the time he’s an infant, versus Supergirl, who was raised on a rock chip off of Krypton, and watched everyone around her die and be killed in terrible ways for the first 14 years of her life.”

Supergirl: Woman of Tomorrow is scheduled to open in theaters on June 26, 2026.

The post Supergirl: Woman of Tomorrow Movie Starts Filming appeared first on ComicBook.com.

The Batman Epic Crime Saga spans a feature film (2022’s The Batman), a prequel comic book (The Riddler: Year One), and a spinoff television series (2024’s The Penguin), with a sequel (2027’s The Batman: Part II) in development at DC Studios. Connecting them all is Matt Reeves, who oversees this expanding corner of the DC universe that is — at least for now — standalone, existing separately from the interconnected DCU under the purview of DC Studios co-chiefs James Gunn and Peter Safran. Now that The Penguin has wrapped up its Golden Globe-winning first season on HBO and Reeves’ Batman sequel has been pushed from 2026 to 2027, the filmmaker has one priority: the Dark Knight’s return.

“I would love to do more [spinoff series],” Reeves told MTV News, adding that “the thing we’re really focused on” is The Batman 2.

“We’re talking about doing the second season of The Penguin, but my big priority is to get The Batman 2 shooting and going,” Reeves said. “And then it’ll be exciting where we’ll go from there.”

RELATED: The Batman 2 Director Teases Sequel’s Unexpected Villain and Story: “It’s Going to Show Different Sides” of Robert Pattinson

Reeves also confirmed that production is scheduled to begin this year on the sequel, which will come five years after Robert Pattinson suited up as a year-two Batman in the 2022 film. “Our plan, and our hope, is absolutely to do another season [of The Penguin],” Reeves said. “We just have to come up with the idea that we think is the right idea, which is what we’re working on.”

While development on The Batman 2 is “taking longer than I would have wanted,” Reeves said, “I’m super excited about what we’re doing, so I really can’t wait to share that with everybody.”

In 2020, it was announced that Reeves was developing a streaming series set in the world of The Batman for HBO Max (later Max). Described as an “examination of the anatomy of corruption in Gotham City,” the GCPD series from Boardwalk Empire creator Terence Winter was to launch “a new Batman universe across multiple platforms.” But Winter eventually exited the since-scrapped series, elements of which were folded into The Penguin (about Colin Farrell’s Oz Cobb and his rise to power as Gotham City kingpin).

Reeves was also developing an Arkham Asylum series that was allegedly being reworked into a spinoff series focused on Barry Keoghan’s Joker, although Gunn dispelled those rumors. One thing Reeves isn’t ruling out, however, is a Penguin-style spinoff following Selina Kyle/Catwoman (Zoë Kravitz), half-sister of the currently incarcerated Sofia Falcone (Cristin Milioti).

As series producer Dylan Clark previously told ComicBook, HBO is interested in Batman spinoffs for “marquee characters” like Farrell’s Penguin, who is confirmed to return opposite Pattinson in Batman 2.

“The streaming-cable space was was a no-brainer for some of the bigger characters. Casey [Bloys, Chairman and CEO, HBO and Max Content] was the first person that said, ‘I need a marquee character,’” Clark said. “And Matt said, ‘You know, I have this really good idea for Colin for the second movie.’ And Casey said, ‘I want that. You can’t just have these characters be in the movie space.’”

Clark continued, “It was a natural transition that way, and I think we have some great ideas to explore more characters from our movie space to do this same thing with Casey and Sarah [Aubrey, Max original programming chief].”

All episodes of The Penguin are available to stream now on Max. Warner Bros. has dated The Batman 2 for Oct. 1, 2027.

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Despite an illustrious career spanning over two decades, including two Academy Award nominations, actor Djimon Hounsou has revealed he’s still struggling financially in Hollywood. The revelation is particularly striking considering Hounsou’s trajectory, from his breakthrough role in Steven Spielberg’s Amistad to becoming a staple of blockbuster franchises like the Marvel Cinematic Universe and the DC Universe. During a recent interview with CNN’s African Voices Changemakers, the star opened up about the challenging financial realities of his acting career, highlighting ongoing issues of pay inequality in the entertainment industry that persist even for performers of his caliber.

“I’m still struggling to make a living,” Hounsou admitted in the interview. “I’ve been in this business making films now for over two decades with two Oscar nominations, been in many blockbuster films, and yet I’m still struggling financially. I’m definitely underpaid.” The actor’s candid revelation contrasts his impressive resume, which includes critically acclaimed performances in films like Amistad, Gladiator, and Blood Diamond, the latter earning him his second Academy Award nomination for Best Supporting Actor in 2007.

[RELATED: Djimon Hounsou Reveals How Rebel Moon Brought Friendship With Zack Snyder Full Circle]

The actor further elaborated on his experiences with pay negotiations in Hollywood, sharing how he often faces lowball offers despite his extensive experience and accolades. “I still have to prove why I need to get paid,” Hounsou explained. “They always come at me with a complete low ball: ‘We only have this much for the role, but we love you so much and we really think you can bring so much.'” These struggles persist despite Hounsou’s involvement in major box office releases, including roles as Korath in Guardians of the Galaxy and Captain Marvel, the Fisherman King in Aquaman, and the wizard Shazam in multiple DC films.

From Oscar Nominations to Ongoing Industry Struggles

Hounsou’s journey in Hollywood began with Steven Spielberg’s 1997 historical drama Amistad, though his breakthrough performance was met with unexpected obstacles. “I was nominated for the Golden Globe, but they ignored me for the Oscars,” the actor recalled. Despite this early setback, Hounsou would go on to earn two Academy Award nominations for Best Supporting Actor – first for Jim Sheridan’s In America in 2004, where he delivered a powerful performance as an HIV-positive artist, and then for Edward Zwick’s Blood Diamond in 2007, starring opposite Leonardo DiCaprio.

The actor connected his personal experiences to broader issues in the industry, stating, “That’s a sign for you that systemic racism is not something you can deal with lightly. It’s so deeply inserted in everything that we do, across the board.” He also referenced fellow actor Viola Davis’s similar struggles with fair compensation, noting how even acclaimed performers continue to face pay equity challenges regardless of their achievements. Davis, who has won an Oscar, an Emmy, and a Tony Award, has previously spoken about facing similar compensation disparities despite her accolades.

In recent years, Hounsou has maintained a strong presence in major productions, taking on roles in films like A Quiet Place Part II and Zack Snyder’s Rebel Moon. His work has also extended beyond acting, as he founded the Djimon Hounsou Foundation to address the cultural disconnection between Africa and its diaspora. “My acting work really opened my eyes,” Hounsou shared. “As I was doing research for [Amistad], I became profoundly aware of the disconnect between Afro-descendants from their roots and culture. Because when you don’t know where you came from, you don’t know who you are.”

The post Marvel, DC Star Djimon Hounsou Says He’s “Definitely Underpaid” by Hollywood appeared first on ComicBook.com.

The Fastest Man Alive wasn’t a runaway hit with audiences — especially women. That’s according to The Flash director Andy Muschietti, who says in a new interview that his DC film flopped in part because it failed to draw an audience of all four quadrants: older men, older women, younger men, and younger women. The antepenultimate chapter of the DC Extended Universe (since relaunched as the new DC Universe), which starred Ezra Miller as the titular scarlet speedster Barry Allen opposite Michael Keaton’s Batman, ended its nine-week run in theaters with just $266 million at the global box office when it opened in the summer of 2023.

“The Flash failed, among all the other reasons, because it wasn’t a movie that appealed to all four quadrants. It failed at that,” Muschietti told Radio Tu’s “La Baulera del Coso” show. “When you spend $200 million making a movie, [Warner Bros.] wants to bring even your grandmother to the theaters.”

RELATED: The Brave and the Bold Director Andy Muschietti Says Robert Pattinson Won’t Be the DCU Batman

According to Comscore PostTrak exit polling, which reports audience demographics, The Flash‘s first Thursday night screenings pulled in 47% men over 25, 29% men under 25, and 17% women over 25 and just 7% women under 25 (per Deadline). The film went on to receive a B CinemaScore from opening night moviegoers and a 77% from PostTrak exits, with 59% of audiences giving it a “recommend.”

In an opening weekend postmortem, Deadline reported that the “male-heavy” Flash failed to pull in as many women as 2017’s Wonder Woman — the first female-led movie from DC Films — or 2018’s billion-grossing Aquaman, starring a frequently shirtless Jason Momoa in the title role. (Compared to The Flash‘s 17% from women over 25 and 7% from women under 25, Aquaman received 84% approval from the female 25-plus demographic, and it was more popular with moms than dads at 91% approval versus 85%.)

“I’ve found in private conversations that a lot of people just don’t care about the Flash as a character,” Muschietti told La Baulera del Coso. “Particularly the two female quadrants. All of that is just the wind going against the film I’ve learned.”

While The Flash placed first in its opening weekend with $55 million, pulling ahead of Pixar’s animated Elemental ($29.6 million), it dropped to third place in its second weekend with $15.1 million (behind the leggy Elemental‘s $18.4 million) as Sony’s animated Spider-Man: Across the Spider-Verse swung back to No. 1 in its fourth weekend. Flash‘s second weekend was just a hair above the female-skewing No Hard Feelings, the R-rated Jennifer Lawrence comedy that opened in fourth place with $15 million. By its second weekend, the Sony comedy’s $7.8 million outpaced The Flash‘s $5.2 million — a 65% plunge in its third week in theaters — and Flash fell behind Disney’s live-action The Little Mermaid in its sixth week.

In addition to the many controversies of its embattled lead actor, who previously appeared as Barry Allen in 2016’s Batman v Superman: Dawn of Justice, 2016’s Suicide Squad, and 2017’s Justice League, The Flash failed in part because of its barely-fresh score on Rotten Tomatoes (63%) and B CinemaScore — at the time tied with Batman v Superman as the worst for the DCEU, lower than 2016’s Suicide Squad (B+), 2017’s Justice League (B+), and other divisive installments like 2020’s Birds of Prey (B+), 2020’s Wonder Woman 1984 (B+), and fellow 2023 bomb Shazam! Fury of the Gods (B+).

Last month, when DC Studios co-chief James Gunn was asked why a Clayface movie was greenlit over a “more prominent” character like the Flash, Gunn wrote on Threads that DC Studios is “holding a beat on development” on a potential Flash project set in the DCU.

Meanwhile, Muschietti is attached to direct The Brave and the Bold, which will introduce the DCU Batman and Robin, and Max’s animated Creature Commandos featured cameos by the Flash villain Gorilla Grodd. (The Flash also appeared, albeit briefly, in a vision of a since-averted post-apocalyptic future alongside Batman, Wonder Woman, Supergirl, and more superheroes who are confirmed to exist in the DCU.)

DC Studios’ Superman, written and directed by Gunn, will officially launch the new DCU when it soars into theaters on July 11. Supergirl: Woman of Tomorrow will follow on June 26, 2026, with Clayface set for Sept. 11, 2026. Also in the works are Peacemaker season 2 (TBA 2025), HBO’s Lanterns, a second season of Creature Commandos, and Muschietti’s The Brave and the Bold, which isn’t expected until after The Batman: Part II opens in late 2027.

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2025 is looking to be the year of Superman and that’s alright with me. The recent release of the trailer for James Gunn’s Superman as gotten not just comic book fans but moviegoers more hyped than ever for the upcoming film, reigniting an interesting in and a love for it’s titular character. I am one of those fans. While I’ve long been a fan of Superman, it’s a love that has waned over time, but that trailer has reminded me of exactly why I am such a fan of the character and it all comes down to how much Gunn’s movie reminds me of a particular story: All-Star Superman.

Mark Waid Boiled Superman Down to His Essence for Me

All-Star Superman is one of the greatest Superman stories ever told. I’d go so far as to say it’s one of the greatest superhero comics ever, if not the greatest. Grant Morrison and Frank Quitely teamed together to create a story that took everything great about Superman and put it on display. It showed how cool all the things that the post-Crisis DC tried to convince us were lame really were. It’s beautiful. In the second volume of the hardcover reprints, Mark Waid wrote the introduction and it shows an understanding of the character of Superman that few have. Waid wrote, “Gods achieve their power by encouraging us to believe in them. Superman achieves his by believing in us.”

That quote took All-Star Superman and brought it to the next level for me. That’s when I truly realized why I loved Superman. Superman represented something that humanity needs. He’s the hero that humans have created over and over again. He’s Sinbad. He’s Hercules. He’s Arthur. He’s something that we feel the need to constantly create.

While Waid showed me the way, it was Morrison who again drew the throughline for me when I was reading SuperGods. Grant Morrison is all about the reality of fiction. To paraphrase what Morrison said at one point in the book: Superman will outlive us all. How are we more real than that? We create the things that we want to see in the world and Superman is just that. Jerry Siegel and Joe Shuster created a character that represented the things that all humans want in the world. We want someone who cares about us. We want someone who will save us from ourselves long enough for us to reach the next stage. Just like Jor-El says in Superman: The Movie, “They will join you in the sun.”

Superman‘s trailer was a massive success because it hits that button that makes me, you, everyone love Superman. James Gunn captures the super and he captures the man. He captures the bombast and he captures the hope. There’s a feeling throughout the trailer, a sense of who Superman is and what he means that is always there. I watched it and I got the same feeling that I got when I read Mark Waid’s introduction to All-Star Superman Volume Two. That feeling, that sense of wonder, that sense of awe, that sense of love is right there in the trailer. Watch it again. It just feels like Superman, doesn’t it? It feels like Superman in a way that nothing else has in a while, right? That’s why we love it.

Superman has a lot riding on it. The failure of Superman in the DCEU – and yes, Snyder failed with Superman – is a big reason why that cinematic universe never really worked. Superman is such a huge part of DC, of pop culture, that when he’s not right, it’s obvious. Gunn is making Superman right, just like Morrison did, just like Waid and Siegel and Shuster and Donner and Magin and Binder and so many others have. We need Superman right now. Hope is short order, the world is falling apart. We need someone to believe in us. We need someone to believe in us.

If Loving Superman Is Wrong, I Don’t Want To Be Right

The world can be a cold place. We all watch it all the time, on our phones, and we make jokes about the terror that infects every second of our lives. Regardless of what you’re political beliefs are, you feel it. Hope is far off at times – more often than not, really – but we have Superman. Over the last eighty-six and some change years, thousands of people – writers, artists, editors, directors, actors, film crews, special effects crew, and more I’m forgetting – have banded together to create stories of this god who loves us. We have thousands of hours of this strange visitor from another planet, this Titan that could easily lord over us, just loving us. Fighting for us. Trying to be like us.

Maybe if Superman wants to be like us, we aren’t that bad. Maybe the darkness, the cold isn’t total. Maybe it won’t win. Superman – who is really us in every way that counts – can be better, so we can, too. And there’s something about that feeling. If we can make Superman, we can make the world better.

James Gunn’s Superman opens in theaters July 11th.

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Over its first season, Creature Commandos used its story of a quirky group of monsters to build the foundations of James Gunn’s and Peter Safran’s DC Universe. Even though the series has kept the focus on Task Force M’s operation in Pokolistan, each episode has cleverly placed nods to other characters, locations, and events that help flesh out the larger cinematic universe, underlining how metahumans and caped heroes are common in this world. It couldn’t be different with Episode 7 of Creature Commandos, which adds some unexpected references on top of everything we’ve seen so far.

Star City, Bludhaven, and Metropolis

The flashback scenes of Episode 7 of Creature Commandos unfold in Star City, the birthplace of Nina (voiced by Zoë Chao). That’s relatively easy to verify, given that Star City’s name is featured in newspapers and broadcast channels in the episode. If the name rings a bell, that’s because Star City is closely associated with Green Arrow, a fan-favorite character who became incredibly popular thanks to The CW’s Arrow, a TV show that spawned a beloved interconnected universe of live-action DC heroes.

Star City is not the only key DC location mentioned in Episode 7. As a news report explains, the hunt and capture of Nina after she’s found in Star City was conducted by animal experts from Metropolis and Bludhaven. Metropolis is the city of the Man of Steel, which will be prominently featured in the upcoming Superman. As for Bludhaven, the town is the base of operations of Nightwing, aka Dick Grayson, the first Robin. Since The Brave and the Bold is set to introduce Damian Wayne as Robin, Dick Grayson has probably already flown away from his Bat-nest and is acting in Bludhaven, which makes the Creature Commandos nod even more enticing.

Marvel Comics Exists in the DCU

When Task Force M breaks into Princess Ilana’s (voiced by Maria Bakalova) castle, The Bride (voiced by Indira Varma) pokes fun at Dr. Phosphorus (voiced by Alan Tudyk) by calling him “Ghost Rider.” That’s obviously a nod to the flaming-skull Marvel hero of the same name. That means Marvel Comics exists in the DCU, continuing a decades-old tradition of the two major superhero publishers fondly referencing each other. For instance, the Marvel Cinematic Universe’s Iron Man 3 namedrops the Super Friends DC animated series, while in Eternals, Ikaris (Richard Madden) is mistaken for Superman. It’s nice to see Gunn is keeping the trend alive, proving that the Marvel vs. DC rivalry has more to do with fans than the companies.

[RELATED – Creature Commandos Is Setting Up Frankenstein as DC’s Biggest Monster (and Not Just Physically)]

How Long Has Batman Been Active?

The most shocking detail of Creature Commandos Episode 7 is that the DCU’s Batman might be older than we all expected. By the end of the episode, Dr. Phosphorus tells the Bride he hasn’t been intimately touched in 15 years since transforming into a radioactive skeleton. Episode 6 of Creature Commandos establishes the fact that Dr. Phosphorus kills Rupert Throne and takes over his operation right after the incident that warped his body and mind. Following that, Dr. Phosphorus’ crimes attract the attention of Batman, who defeats the villain and sends him to Belle Reve. Even if Dr. Phosphorus enjoyed years of prolific criminal activities, that would mean the DCU’s Batman is active for at least a decade. That’s a surprising timeframe that would nevertheless explain how the Bat-family is already established.

All Hail the King (Shark)!

At the end of Episode 7, Amanda Waller (Viola Davis) gives The Bride leadership of all future Task Force M operations to reward her for killing Princess Ilana and preventing World War III. In this scene, The Bride is introduced to her new team. Dr. Phosphorus and Weasel (voiced by Sean Gunn) remain active assets, while GI Robot (voiced by Sean Gunn) has been rebuilt into a hulking metal body. Since GI greets The Bride as if he doesn’t know her, it’s fair to assume he doesn’t preserve his memories, making his Episode 3 death more meaningful.

Among the new recruits are Nosferata and Khalis, two Creature Commandos members with cameos in Episode 4. Rounding up the team is King Shark, one of the prominent members of Task Force X in 2021’s The Suicide Squad. Creature Commandos confirmed that Project Starfish and the operation in Corto Maltese happened in the DCU, making The Suicide Squad at least partially canon. King Shark’s presence is another piece of evidence that Gunn’s first DC movie is mostly still part of the new continuity.

All episodes of Creature Commandos are currently available for streaming on MAX.

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Part of why the American superhero movie is so popular with studio executives isn’t necessarily because it works every single time. However, when these titles do resonate with the general public, they do so in a profound manner. Several of the biggest movies in history have happened to be superhero features. These titles are capable of delivering massive box office hauls that go down in the history books in all the right ways. From the 2000s even to the erratic years of the 2020s, superhero films bring the noise in theaters in the best way possible.

Nine superhero movies, in particular, set the kind of box office records that fill up the dreams of the Bob Iger’s or David Zaslav’s of the world. These weren’t just profitable tentpoles, these were motion pictures redefining just how big theatrical movies could be. These nine superhero movies shattered box office records that, even decades later in some cases, still register as quite impressive.

Spider-Man

While Blade and X-Men had proven lucrative before 2002, it was Spider-Man that really proved Marvel Comics movie adaptations could soar to extreme heights domestically. To boot, its gargantuan $400+ million domestic haul outdid even 1989’s Batman in terms of superhero movie box office hauls. Spider-Man‘s box office run was impressive just from its first three days of release, though. This title’s $114-million domestic haul was the first time in history any movie exceeded $100+ million on its three-day North American opening weekend.

X-Men: The Last Stand

Though it would sink like a stone in the weeks afterward, X-Men: The Last Stand was certainly a magnificent record-smasher for its opening weekend. At the time of its release, The Last Stand had the biggest Memorial Day opening weekend in history. It was also the largest X-Men opening title ever and only the fourth movie ever (circa May 2006) to exceed $100 million on opening weekend. In hindsight, The Last Stand also started three consecutive years of glorious Memorial Day openers, with Pirates of the Caribbean: At World’s End and Indiana Jones and the Kingdom of the Crystal Skull also delivering $100+ million bows in 2007 and 2008, respectively.

Spider-Man 3

Spider-Man had become the first movie to open to $100+ million back in 2002. Why wouldn’t Spider-Man 3 (also opening the first weekend of May) set a new opening weekend record of its own? With a $151 million three-day bow, Spider-Man 3 was the first movie in history to exceed $150 million on its domestic opening weekend. Just six years earlier, no movie in history had cracked nine-digit figures over its opening weekend. Spider-Man 3 showed that the box office landscape was evolving at an exponential rate.

The Dark Knight

The Dark Knight snatched Spider-Man 3’s domestic opening weekend crown just 14 months after that Sam Raimi movie debuted. Whereas Spider-Man 3 had a major dropoff after its gargantuan opening, The Dark Knight was unstoppable in its theatrical run. This film generated enough repeat business to eventually become the first non-James Cameron movie in history to clear $500+ million domestically. A barrier once thought to belong only to Titanic was now also the territory of Batman.

The Avengers

It’s odd how poetic the film industry can be sometimes. Ten years to the weekend that Spider-Man broke the $100+ million domestic opening weekend ceiling, The Avengers strolled into multiplexes to set another opening weekend record. This time, this Joss Whedon feature became the first movie in history to hit $200+ million in its domestic opening. Given that the previous Marvel Studios high in terms of opening weekend had been Iron Man 2’s $128 million debut, this Earth-shattering $206-million debut was astonishing to witness. As George Lucas might say, The Avengers opened to numbers that somewhat rhymed with Spider-Man’s domestic bow.

[RELATED: Is 2025 the Make-or-Break Year for Superhero Movies?]

Deadpool

Though it took eons for Deadpool to reach movie theaters, once it did, people came out in droves to see it. Deadpool’s $136-million domestic debut was an industry-redefining bow since it was the first time in history an R-rated movie exceeded $100+ million in its domestic opening weekend. Any perceptions that an R-rating would immediately obliterate a movie’s box office potential were erased thanks to Deadpool’s huge numbers.

Batman v. Superman: Dawn of Justice

A month after Deadpool’s arrival, a much darker take on superheroes, Batman v. Superman: Dawn of Justice, hit theaters to extraordinary numbers. The $166 million debut of this project outpaced the opening weekends of all but three Marvel Studios releases at the time. It was also the biggest March opening weekend in history as well as the largest domestic bow for a DC Comics adaptation. Dawn of Justice took down many records on opening weekend, though, like The Last Stand ten years later, it didn’t stick around in theaters long after its debut.

Avengers: Endgame

It’s truly extraordinary how much the Avengers franchise blew up between 2012 and 2019. In just seven years, this saga went from opening to $207 million to scoring a mind-boggling $357 million debut. Avengers: Endgame was the first motion picture in history to open over either $300 or $350 million in its domestic arrival. In a single North American weekend, it exceeded the lifetime domestic haul of Spider-Man 3. 17 years earlier, a $100+ million opening staggered the industry. Now Endgame had once again redefined the domestic opening weekend record to amazing results.

Spider-Man: No Way Home

2021 was a rocky year for the film industry. Theatrical exhibition was trying to get its sea legs back with COVID cases still surging and studios sending countless titles to streaming. Spider-Man: No Way Home capped off the year with some extreme hope, though. This production scored the biggest December opening weekend in history, beating out Star Wars: The Force Awakens for that honor. Seeing pre-COVID box office records shatter once again was an extremely hopeful sign for exhibitors. Once again, a Spider-Man movie’s record-breaking box office haul was a game-changer for the industry.

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The new DC Universe franchise kicks off this year with Superman, followed by Supergirl: Woman of Tomorrow next year, and appropriately, Warner Bros. just made its classic 1984 Supergirl movie available to stream on Max. Supergirl starring Helen Slater as Kara Zor-El was added to the Max catalog on January 1st and is there for subscribers now. Whether you’re a nostalgic long-time fan or a student of superhero history, now is the time to revisit this one.

Supergirl is a part of the continuity established by the 1978 Superman movie starring Christopher Reeve. It takes place after the events of Superman III and is the penultimate movie in this series before Superman IV: The Quest for Peace. Supergirl was a critical and commercial flop in its time, even earning two Golden Raspberry Award (Razzie) nominations. These days, DC fans are used to this kind of disappointment and may find something to like in this quirky movie.

These four Superman films and Supergirl were produced by Ilya Salkind, who persuaded his father and co-producer Alexander to purchase the film rights to Superman in 1974. There are many reports that the Salkinds had contentious relationships with other creatives on these projects — particularly director Richard Donner. Ilya wrote a treatment for Superman III that would have introduced Supergirl in a very convoluted manner, but his ideas were reined in by studio intervention.

[RELATED: The Only Three Superman Movies With a Fresh Rating on Rotten Tomatoes (But There Should Be More)]

Instead, Supergirl was introduced in her own film the following year. The movie was written by David Odell and directed by Jeannot Szwarc – neither of whom had worked on the previous three films. It finds Kara living in Argon City — a Kryptonian community that survived the planet’s destruction by transporting itself into an alternate dimension. When that city’s power source is accidentally launched toward Earth, Kara takes a ship to go after it. In the process, she becomes Supergirl, taking after her long-lost cousin.

Superman does not appear in this movie, though Marc McClure reprises his role as Jimmy Olsen. We also meet Lois Lane’s younger sister, Lucy, played by Maureen Teefy. Beyond that, connections to the Superman films are tenuous at best. The story is mostly about Kara’s battle with a witch named Selena (Faye Dunaway) for control of Argo’s power source and for the affection of a young man named Ethan (Hart Bochner). In the end, Kara returns to Argo, leaving her future involvement in the series questionable.

What Went Wrong With Supergirl?

The original plan was for Christopher Reeve to make a cameo appearance in this movie as Superman, but the actor bowed out of the project early on. Instead, we see a news broadcast explaining that Superman is currently off the planet on an unspecified “peace-seeking mission.” Meanwhile, Supergirl did not make an appearance in Superman IV, leaving this spinoff generally disconnected from the rest of the franchise.

Supergirl earned a total of $14.3 million at the global box office against a $35 million production budget. Critics tore into Dunaway’s performance as the villain Selena, as well as Peter O’Toole’s portrayal of the Argonian wizard Zaltar. At the time of this writing, the movie has a dismal 8% fresh rating on Rotten Tomatoes, with an average score of 3.4 out of 10. The audience score is a little more generous at 26% fresh, and retrospective critics have been kinder to the movie in recent years, which has actually driven its average score up.

Revisiting Supergirl now could be a fun way for many fans to prepare for the DCU to take off this summer. Even if you’re not tempted to watch it on its own, a completionist must include it in a binge-watch — all four Superman movies starring Reeve are on Max as well, along with the belated sequel Superman Returns.

However you prepare, Superman hits theaters on July 11th, followed by Supergirl: Woman of Tomorrow on June 26, 2026.

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One of Batman’s most iconic tools may just be the Batmobile. The vehicle is pretty much the vigilante’s Swiss army knife of equipment, serving as everything from transportation to protection to weaponry and beyond and has seen many iterations over the decades. Most recently, DC’s Absolute Batman #2 debuted a brand-new version of the vehicle, on that is more insane than even The Dark Knight Trilogy’s Tumbler but now, the Scott Snyder-written book has done it again, introducing another new version of the Batmobile that makes the case that bigger isn’t always better.

Warning: spoilers for Absolute Batman #4 from Scott Snyder, Nick Dragotta, and Gabriel Hernandez Walta beyond this point.

Absolute Batman #4 gives readers a deeper look into the early moments of Bruce Wayne’s efforts as Batman, revealing some of his first forays into fighting Gotham’s crime — including something of a proto-Batman that not only used a gun but was much more theatrical, complete with face paint and a pair of fangs containing a paralytic that deployed when he bit a foe. But we also see Bruce’s efforts evolve and that leads us to the introduction of what may just be the tiniest ever Batmobile — just don’t let the size fool you because that thing is lethal.

[RELATED: DC Reveals the Tragic Origin & Meaning of Batman’s Wild New Absolute Costume]

While in pursuit of a tractor trailer truck full of weapons and drugs being brought into Gotham by the Maronis and Falcones, Batman uses a radio-controlled car that he’s tricked out to wreck a shipment and subsequently take down the henchmen driving the truck. The tiny Batmobile isn’t anything particularly special; the issue describes it as “a bottle jack. An RC Roadster loaded with a 4600KV, Some black paint. All under a grand,” but it packs a major punch. It also serves as a reminder that while Absolute Batman is an alternative version of the iconic hero with a different origin and vastly different resources, he’s still incredibly intelligent and able to come up with elaborate and effective tools to support his crime-fighting trade.

The tiny Batmobile also isn’t the only new and interesting gadget of sorts that we’re introduced to in Absolute Batman #4. The issue also reveals Bruce testing out a new tool, the Bat-Thumb. That device is a sort of grappling hook but isn’t one that you have to manually throw or fire out of a gun. Instead, it’s a device that’s worn strapped to his hand and wrist that activates with a bend of the hand. Once activated, the Bat-Thumb extends and curls to attach to whatever surface the user plans to anchor themselves to. The issue shows Bruce using it to climb in through a window and while the Bat-Thumb looks like a ridiculous device, it’s one that seems a lot more practical, giving Batman an on-demand device that presumably could have other uses as well.

Between the tiny Batmobile and the new Bat-Thumb, Absolute Batman is really giving readers not just new equipment to be excited about as part of the vigilante’s arsenal, but also serves to highlight that, at the core of this character in any iteration is his ingenuity — which means it will be interesting to see what this version of Batman comes up with next.

Absolute Batman #4 is on sale now.

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