Danny Jarabek

It’s been a full six months into 2026, and quite a lot has happened. The Sundance, Berlin, and Cannes Film Festivals have come and gone. Greta Gerwig’s Narnia has been moved to 2027. Luca Guadagnino’s Artificial has been pushed to 2027, dropped by Amazon MGM, and acquired by NEON to go back into the 2026 slate. Michael has surpassed Oppenheimer as the highest grossing biopic of all time, and Obsession is the cultural box office phenomenon of the year. That means it’s time for an Oscar Pulse check.

With the second film in the rebooted DCU now in wide release to pair with last year’s Superman, we analyze the recent Supergirl movie, exploring its marketing, storytelling choices, and representation of female superheroes. With the film currently sitting at around 54% on Rotten Tomatoes, the reactions have been mixed. We discuss broader trends in superhero films, particularly with female superheroes, gender dynamics, and industry failures when marketing toward female audiences.

Supergirl is the second film in the DCU created by James Gunn and Peter Safran, following Superman from 2025. Clayface will follow this year as the third entry of “Chapter One: Gods and Monsters” in the soft reboot of the DCEU which featured 16 films between 2013 and 2023. Supergirl follows Kara Zor-El who joins forces with an unlikely companion on an interstellar journey of vengeance and justice when an unexpected adversary strikes too close to home.