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Supergirl
The arrival of the first trailer for Supergirl: Woman of Tomorrow marks a pivotal moment for the burgeoning DC Universe under the stewardship of James Gunn and Peter Safran. For those accustomed to the sunny, optimistic portrayal of Kara Zor-El in television iterations, this 2026 cinematic outing, directed by Craig Gillespie, promises a starkly different experience. Drawing its DNA from the acclaimed comic run by Tom King and Bilquis Evely, the film appears to be leaning into a more atmospheric, cosmic, and perhaps even nihilistic tone that sets it apart from its Kryptonian cousin.
Milly Alcock, perhaps best known to British audiences for her breakout performance in House of the Dragon, takes the lead as Kara. Her casting suggests a departure from the traditional "girl next door" archetype, opting instead for a character hardened by the trauma of surviving a dying world. In this version of the mythos, Kara did not grow up in the comfort of a Kansas farm, but rather on a drifting fragment of Krypton, witnessing the slow death of everyone she knew. This backstory provides the film with a psychological weight that the trailer hints at through vast, lonely vistas and a sense of profound isolation.
Supporting Alcock is an intriguing ensemble that highlights the film’s galactic scope. Matthias Schoenaerts joins the cast as the antagonist Krem of the Yellow Hills, a role that suggests a gritty, Western-influenced conflict across the stars. Additionally, the inclusion of Eve Ridley as Ruthye Marye Knolle signals that the film will maintain the core relationship of the source material: a young girl seeking vengeance and the disillusioned superheroine who reluctantly agrees to help her. This dynamic shifts the film away from traditional superhero tropes and moves it toward the territory of a cosmic odyssey.
Director Craig Gillespie, who demonstrated a knack for subverting expectations with I, Tonya and Cruella, seems an inspired choice to handle such a complex protagonist. Working from a screenplay by Ana Nogueira, Gillespie looks set to provide a visual palette that is both alien and haunting. The production design, hinted at through the initial footage, moves away from the sterile laboratory aesthetic often associated with science fiction, opting instead for something more rugged and ancient.
From a British critical perspective, there is much to be optimistic about. The decision to film partially in the United Kingdom suggests a production that values high-calibre craftsmanship and atmospheric locations. Furthermore, the casting of Alcock brings a specific, sharp-edged energy to the role that feels refreshing in a saturated market.
As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. It is a film that seems less concerned with building a franchise and more interested in exploring the soul of a woman lost in the stars. If the final product matches the ambition of its pedigree, we may be looking at the most sophisticated entry in the genre for years.
Power Ballad
What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life.
Dune: Part Three
Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair.
