Super Girl’s Box Office Disaster
This weekend was more than just a rough opening for Super Girl; it became a prime example of what went wrong in the film industry. With a domestic debut of only $38 million and a meager $30 million overseas, it stands out as one of the biggest flops. To put it into perspective, it performed worse than Marvels ($46 million), Flash ($55 million), Black Adam ($67 million), and even Morbius ($39 million).
The global numbers weren’t any better, with the film only managing to bring in $68 million worldwide. That’s considerably lower than Marvels ($110 million), Morbius ($84 million), Birds of Prey ($81 million), and Aquaman and the Lost Kingdom ($80 million). In fact, it didn’t even surpass Madame Web ($50 million) or Blue Beetle ($43 million).
Adding to the disappointment, the production and promotional budget for Super Girl was around $250 million, meaning it needed to earn between $450 million and $500 million to break even. Realistically, it might struggle to reach $200 million globally, leaving Warner Bros. facing significant losses.
Sure, people will come up with excuses later, blaming “toxic fanboys” and superhero fatigue for this calamity. But it’s notable that the same so-called toxic fanboys propelled Wonder Woman to a $400 million success. And, really, when the next installment of Spider-Man hits, it’ll be hard to maintain that superhero fatigue narrative. Because let’s face it: it might be easier to say a movie just wasn’t appealing, especially when it featured a lead that didn’t resonate with audiences.
Interestingly, early projections back in May suggested that Super Girl could open with about $65 million in the U.S. So, what really shifted in public perception? Perhaps the marketing strategies backfired. Plus, some comments from Millie Alcock regarding sexism may not have played well for the film’s image.
DC’s plans under James Gunn’s direction are looking shaky. Last year’s Superman struggled to break even, and now Super Girl has become a well-known failure.
Looking ahead, DC has Clay Face due out in October—something that hasn’t received much demand. Next year, we can expect Gunn’s Superman sequel, featuring Millie Alcock, who seems to be struggling to find her footing in this landscape.
The reason why franchises like Spider-Man remain successful is clear: they don’t alienate or belittle their audience. It’s all about connecting with fans, something that seems lost on Hollywood at times.
To add to the conversation, The Mandalorian and Grogu just wrapped up with a total domestic meeting of only $175 million, and it’s unlikely to reach even $350 million worldwide. This reminds us of Disney’s previous failure with Solo: A Star Wars Story, which could hardly surpass $214 million domestically.
It’s a tough landscape out there, filled with ups and downs, and perhaps the industry needs to take a step back and rethink its approach.
