Supergirl’s Box Office Prospects
The opening weekend for Supergirl: Women of Tomorrow is projected to bring in between $47 million and $65 million. That range, frankly, would be disappointing for a superhero film, especially considering it has a hefty cost of around $175 million, which includes at least $75 million for production and marketing.
To break even, the film needs to rake in about $500 million globally, but seeing that it might only pull in $65 million domestically, that’s looking pretty grim.
It doesn’t seem like the film’s lead, Millie Alcock-Zegler, is helping matters. She’s been making waves in the media, sometimes portraying herself as a victim and taking shots at father figures in the Christian community, which isn’t exactly fostering goodwill with potential audiences.
There’s a larger context to consider here. This film isn’t just about making a profit; it’s also about reviving the DC superhero series in a way that feels justified and fresh.
Supergirl is the second film from the newly restructured DC Studios under the leadership of writer and director James Gunn. The first, Superman, which came out in 2025, struggled at the box office, bringing in only $619 million, while its production and marketing costs soared past $300 million. So far, it’s just about breaking even.
Moreover, Gunn’s Superman hasn’t exactly ignited cultural conversations, and that’s concerning.
The next crucial test for Gunn’s vision will be Supergirl. If it performs poorly, as many expect, he could find himself in a tough spot, especially if a merger with Paramount changes ownership of the studio.
From my perspective, it doesn’t feel particularly innovative. Even within the movie itself, Gunn’s choices seem questionable. He’s set to release Clay Face later this year—a film that, honestly, seems irrelevant to many. After delivering two seasons of Peacemaker, he kind of went silent. Then there’s Lanterns, presumably trying to capitalize on the popularity of Green Lantern.
On another note, it feels like Gunn and Supergirl are turning away a chunk of their potential fan base by implying that critics of this film might just be sexist. This approach runs the risk of alienating audiences, particularly men, who historically embraced strong female characters like Ripley from Alien.
I can’t help but wonder—was there really a demand for this film?
Gunn’s storytelling sensibility feels rather dated now. While he created Guardians of the Galaxy, which was beloved despite having a couple of lackluster sequels, his deconstructive style doesn’t carry the same freshness it once did. Honestly, I’ve grown tired of it. And to be upfront, I wasn’t a fan of his Suicide Squad movie, either.
We’ll find out more in about a month when Supergirl hits theaters.
