Tag Archives: Batman

Oct 7 2026

The Batman, Part II Dilemma

Well Batfans we will have to wait longer for The Batman, Part II. As most Batfans know by now, filming for The Batman, Part II has come to a screeching halt because its director Matt Reeves had to leave production due to a family matter. As troubling and concerning this news is on a personal note for the director, it is admittedly frustrating for those who have being impatient for a sequel to The Batman.

Ever since February 2022, people who loved The Batman have been clamoring for a sequel, which was announced in April of that year, but it has been hit by delay after delay. The delays began when it was moved from October 2025 to October 2026 (this month) to October 2027 and finally to February 2028. There have been many reasons for the delays.

Let’s start with the crippling strikes from writers and actors that delayed nearly all film and TV productions in the early 2020s. Then there is the fact that Matt Reeves is a meticulous writer who wanted his script for the sequel to be just right. This is to be commended and a testament to his talent that Warner Bros. and DC Studios let him take his time with the script. After all, it took Reeves five years to complete his script for The Batman and his efforts paid off as his film was highly acclaimed and rivaled Christopher Nolan’s Batman films in terms of quality. The film also resonated with fans for its gritty and grounded take on the Caped Crusader in his younger years.

One odd thing with Reeves’ Batman films is that they are competing with DC Studios’ still-unfilmed version of Batman. As of now, there aren’t any concrete plans for a production start of The Brave and the Bold, an exploration of Batman’s relationship with his partner/son Damien Wayne/Robin. To not cannibalize each other, both films could not be released around the same time, and DC Studios head, James Gunn, supported Reeves with his film and seemed willing to pause work on the DC Universe (DCU) version of Batman until Reeves was finished.

Filming was underway for The Batman, Part II (it began in June of this year), and was about two-thirds done when the director had to leave the production. So, what now?

Essentially, we wait. Yes, this is frustrating to many but let’s be real here, personal and family matters are infinitely more important than some film. Reeves should be commended for putting his personal matters first and he should take all the time he needs to attend to his situation and we all wish him well. Anyone else who disagrees just because they can’t get their film any sooner just needs to grow up. We all went through delays during the pandemic and the strikes and it all worked out in the end. So, this isn’t any different.

Of course, Warner Bros. may choose not to wait if Reeves does not come back to the director’s chair and the studio will have to decide how to proceed.

Currently, the film is still scheduled to be released in February 2028 so perhaps Warner Bros. expects Reeves to return to work fairly soon. Then again, Reeves may have to be out a lot longer than expected. The studio could cancel the film, but that would be unwise given the popularity of Batman, and the resources sunk into the film already. We are past the age of disregarding genuinely good films like Coyote vs. Acme for tax write offs. Another director could step in and complete the filming but that idea will give many PTSD over how Justice League turned out. That was where its director Zack Snyder had to leave the film to deal with a family tragedy and was replaced by Joss Whedon, who then turned in a film that was reviled. There are already rampant internet rumors about possible replacements ranging from James Gunn to Andy Muschietti (the slated director for The Brave and the Bold). But it is premature to go there and if that were to happen it would be best to pick a director whose vision and directorial style is similar to Reeves. Possible candidates range from David Fincher, Darren Aronofsky, Gareth Edwards, Guillermo Del Toro or Michael Mann. Good luck trying to get them to agree to undertake such a task.

One thing to consider is that people want a Batman film as soon as possible, and delaying the film any further will dampen interest in it, or increase demand. Just look at what happened with Spider-Man this summer. For all we know, Warner Bros. and Gunn may be planning to fold Reeves’ version of Batman into the DCU or fast track production of The Brave and the Bold to put out some kind of DC film content in 2028.

At this point, it is too early to speculate on how this situation will turn out. But we just have to be patient and wish Reeves well, because no matter what, The Batman, Part II will come out, and it will be worth the wait.

Jul 12 2026

DCU: Fallout From Supergirl

The relatively new cinematic universe, DC Universe (DCU), got off to a solid start with last year’s release of Superman and two TV shows, Creature Commandos and the second season of Peacemaker. However, the DCU and DC Studios, which produces the DCU films and TV shows, have been rattled by the failure of the DCU sophomore film, Supergirl.

It was hoped by DC Studios that Supergirl’s popular cameo appearance in Superman would translate to a healthy and respectable box office performance with her solo film. No one expected it to earn $1 billion dollars but at least it should have earned $400 to $500 million and help cement the DCU. Unfortunately that was not how things turned out and based on BTS stories about how DC Studios struggled with the film’s poor reception during previews is not a surprise. As the film was being put together the film studio and its head James Gunn saw that Supergirl was not scoring well during previews and the film was hastily edited. This resulted in a movie that felt disjointed in its mood. Sometimes it felt like a gritty and somber Mad Max-style action piece. Other times it seemed as if it was trying to ape the atmosphere of a more light-hearted and goofy space adventure like Guardians of the Galaxy.

This doesn’t mean that Supergirl is a terrible film. It has its faults but overall it was a fine superhero film and certainly cannot be compared to those awful Sony films featuring Spider-Man villains or some of the worst of the former DC Extended Universe (DCEU). But in DC Studios’ situation, the film had to be more than fine, it had to stand out and resonate with audiences. Perhaps if they delayed the film to tinker with it some more in reshoots or editing and released it another time it would have fared better. It is maddening to think that Warner Bros. thought that releasing the film in late June sandwiched between the animated juggernauts of Toy Story 5 and Minions & Monsters was a good idea. They could have released the film in early May where it had no competition. It probably would have still received the same negative to mixed reviews but it might have earned much more than it will now. Traditionally, the early May schedule was reserved for films from the Marvel Cinematic Universe (MCU), but this year, there were no MCU films scheduled with only The Devil Wears Prada 2 in the way.

Despite how much Monday-morning-quarterbacking can go on, Supergirl is in the rearview mirror. Where does the DCU go from here? Is it already doomed? Will James Gunn be removed? To answer the last two questions: no the DCU is not in trouble though it took a nasty black eye from Supergirl’s failure and it is too premature to deem the DCU dead or in trouble, and Gunn’s position is safe…for now. Certainly the next DCU film, Clayface, has to do very well, as well as the upcoming TV show, Lanterns. The success of one or both projects will stem all the negativity the film studio is getting until the big test coming with next year’s Superman: Man of Tomorrow.

Fortunately, the previews for Clayface and Lanterns have been received well, especially Clayface’s. What is helping Clayface is that it seems more like a horror film and will come out at a perfect time to take advantage of that perception. Plus, being perceived as a horror film helps distinguish Clayface from standard superhero/comic book films and this is something that DCU needs at the moment. Meanwhile, Lanterns is being marketed as more of a murder mystery which will annoy Green Lantern fans who expected a traditional space adventure, but the more grounded TV show could pull in viewers who are not traditional superhero fans.

Of course, none of that will matter if Superman: Man of Tomorrow does not perform well. Going for it is that like Superman, it is being directed by James Gunn and the reaction to what has been revealed about it has been positive. Given Gunn’s talent, it is unlikely that the film will get negative reception but it has to do at least as well as Superman and earn over $600 million to keep the DCU viable. Its success also will determine the future of the DCU and James Gunn’s position as head of DC Studios.

Gunn’s contract with Warner Bros. will end next spring and no one can say for certain if he will remain as the president of DC Studios. Many have speculated with Warner Bros. being taken over by Paramount Pictures that it will mean that there will be massive executive changes at Warner Bros. Paramount could take a hard look at how the DCU is performing and demand changes or else. Whether or not Gunn will go along with this is unknown, and it has to be considered that he will be wooed by other film studios, starting with Disney. Do not be surprised if news comes out next year after Superman: Man of Tomorrow is released that Gunn will leave DC Studios to work for Marvel Studios with the intent that he could take it over at some point in the future. If that happens what becomes of the DCU? Who will take over and what direction will it take? Obscure heroes like Booster Gold and the Authority will be disregarded for proven popular characters, that is certain. But do not expect a return of the old DCEU or its creator Zack Snyder despite what some fans wish for.

There are many unknowns but expect a hard shift to focus on Batman as the lynchpin of the new DCU. Given the supposed lack of progress in launching a new Batman for the DCU, Gunn could face pressure to just fold The Batman films into the DCU since the first film, was very successful. The only thing is that that grounded version of Batman will be nearly impossible to connect it to the more bright and goofy DCU that Gunn has created. Of course, all this could be moot if the next couple of films and TV shows succeeds.

It is unlikely that the DCU will be dissolved by Warner Bros. anytime soon. It just got started with only two films under its belt. The cinematic universe has not achieved the disastrous results of the DCEU and still has some good will towards it. Some adjustments will have to be made just as Marvel Studios did and continue to do with their MCU films and TV shows. For one, James Gunn will have to step away from actively directing films and concentrate on running DC Studios. Trying to do both is impossible since running a film studio and maintaining the quality of films is a full time position. He has to devote more time to ensuring that what comes out is above average and deserves to be made, otherwise you end up with another Supergirl. Another thing for Gunn to contemplate is that although he loves quirky obscure characters major DCU projects cannot be devoted to them. He should be paying his full attention to the most popular DC characters like Batman, Wonder Woman, The Flash and so on. It’s fine to feature the quirky characters in films about popular characters like Superman did. Doing so would serve as a testbed for the quirky character and see if they are well received by fans, as what happened with Mr. Terrific, who is being considered for a TV show.

So, is it time to panic for DC Studios? Not yet, it’s early, Warner Bros. and the fans just have to be more patient and see how upcoming projects turn out. Yes, Supergirl is a failure but this experience was an opportunity for Gunn and the film studio to learn from the mistakes and make adjustments. Seeing what worked and what doesn’t will guarantee future success for the DCU going forward.

Jul 1 2025

The Eve OF The DCU’s Chapter One: Gods & Monsters

After the downfall of the DC Extended Universe (DCEU), the new DC Universe (DCU) cinematic universe has risen from the ashes and kicks off with Superman on July 11, 2025.

Fans of DC have both eagerly anticipated this meant and dreaded it ever since filmmaker James Gunn announced DC Studios’ planned DCU line up in early 2023 with a slate of films and TV shows. The first TV show which actually started the DCU last year was the animated Creature Commandos which streamed on Max. The show received positive reactions although it seemed similar to James Gunn’s DCEU film The Suicide Squad, but with monsters as the main characters forced to work for the government instead of supervillains. One thing that Gunn made clear was that Creature Commandos was canon to the DCU and even one of the featured characters from that show, Rick Flagg, Sr., will appear in Superman.

Right now, fandom and the public at large are focused on Superman, which inaugurates the DCU in live action. The marketing push for the film is very intense and pervasive with the usual deluge of merchandise and trailers (but gotta admit any merch about Krypto the Super Dog is so damn cute; Gunn has a way with animals) and publicity. There is a good reason for the push by DC Studios’ parent company Warner Bros.

RIP DCEU

As everyone knows, the DCEU was supposed to be film studio’s answer to Disney’s Marvel Cinematic Universe (MCU), which has been wildly successful ever since it debuted in 2008. The DCEU had everything going for it: popular superheroes that enjoyed success in the box office and TV with projects like Christopher Nolan’s Batman films, the Arrowverse on TV and Smallville. Even Nolan helped launch the DCEU by helping to create Man of Steel. But for many reasons the DCEU was plagued by many problems, mostly due to studio interference, impatience and greed. Warner Bros. was in a rush to compete with the MCU and didn’t allow the DCEU to grow organically and build up a fanbase like with the MCU. Instead of carefully introducing characters, they were clumsily mashed together just to premiere Justice League, the DCEU answer to The Avengers, just a few short years after Man of Steel. Many of the films were not well received and it seemed as if the DCEU was playing catch up with the MCU. But what really killed the DCEU was interference by studio executives who were chasing the almighty dollar and did not seem to care about the quality of the films.

Despite attempts to salvage the DCEU by the early 2020s it was clear that the cinematic universe was without direction and falling apart. To the studio’s credit, they recognized James Gunn’s talent and vision with The Suicide Squad and offered him the opportunity to revamp its cinematic universe. He essentially started over with the DC properties and has launched the DCU with its initial projects being labeled as Chapter One: Gods & Monsters. Of course, this entailed huge changes including the recasting of the DC characters. Actors, like Henry Cavill, were removed from playing iconic characters and in the case of Jason Momoa, he was recast to play a different role in the DCU. This development was controversial and incense some fans of the DCEU who automatically hated anything to do with the DCU and have taken to the Internet to troll Gunn and the DCU. Unfortunately, that is par for the course with social media these days.

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Nov 13 2024

The Penguin Revels As One Of The Best Comic-Book-Based TV Shows

When the Max limited series The Penguin was first announced, many dismissed it as an unnecessary venture and a half-hearted attempt to expand the crime-infested world of Gotham City as seen in the 2022 film, The Batman. In other words, a production more akin to Gotham or the worst of the defunct Arrowverse TV shows than a cinema-quality presentation. Well, as we now know, The Penguin pleasantly surprised everyone and turned out to be one of the best current TV shows and one of the best comic-book-based TV shows ever.

Colin Farrell reprises the role he originated in The Batman as Oswald “Oz Cobb, a two-bit mobster with lofty ambitions to become a major player in the criminal underworld of Gotham. In the film and the start of the TV show, Cobb is a low-level member of the Falcone crime family, which was left ruined by Batman at the end of the film. During the premiere episode of The Penguin, Cobb (who is derisively nicknamed the Penguin by other mobsters because of his disfigured face and limp) impulsively seizes on an opportunity to rise in the ranks of the crime family. However, because he is derided by the Falcones, Cobb sets out on his own with the help of his young partner Victor Aguilar (Rheny Feliz) to violently create his own criminal empire in the neglected slums of Gotham City.

Cobb’s main antagonist in the series is Sofia Falcone (Christin Milloti), the misfit daughter of the head of the Falcone family. She was recently released from Arkham Asylum and seeks to find her place in her family’s criminal organization. But, like Cobb, she is dismissed by the organization and then takes measures to seize control of the organization while plotting revenge against Cobb. In the past, Cobb was her driver and confidante, but he betrayed her to her father to rise in the ranks of the organization after she told Cobb of her suspicions about her father murdering prostitutes. Her father framed her for the murders he committed and has her sent to Arkham for inhumane treatment.

As the two central figures in the TV show rise to power, it is not long before their mutual antagonism towards each other erupts into a deadly gang war for control over Gotham’s criminal underworld.

There are so many reasons why The Penguin is so great. Let’s start with the smart writing that takes great pains to develop and humanize the characters with compelling back stories. This doesn’t mean that we root for the Penguin or Sofia. They are bad people with twisted outlooks in life and who commit heinous acts. For example, in one episode Sofia callously murders most members of her own family while flashbacks revealed her torturous ordeal in Arkham, which made her sympathetic until she acted on her worst impulses. With Oz, we see his troubled past and his supposedly loving relationship with his mother, Francis (Deidre O’Connell). At first it seems to be a tender relationship which conveyed a more vulnerable side to Cobb. But by the end of the series, we come to see how twisted he was even as a child and how his blackened and greedy heart gave him a perverse view of life and his relationship with his mother that borders on the oedipal.

The production is also above par for a TV show and is seamless with The Batman as it evokes the grimy and gritty look of the film. As with the film, Gotham is a seedy, decaying urban hellhole which clearly divides the affluent from the downtrodden. In the mean streets of Crown Point, Cobb’s old neighborhood, the mobster begins his rise to the top of the affluent criminal underworld as he revels in his lower class roots in order to attract economically and socially oppressed allies like Victor. It is not necessary to have watched the film, though some events from it are referenced, most notably the flooding of Gotham that took place at the end of The Batman, which had a severe impact on the life of Victor.

While Cobb and Sofia are the main characters with complex backgrounds, the show also gives Victor well deserved time with his own back story. But in his case, the young criminal is much more sympathetic and vulnerable to the point that he became the heart of the show. Feliz’s acting was as brilliant as Farrell’s and Milloti’s. We find ourselves rooting for Victor and fearing for his safety as his innocence slowly ebbs away as he is exposed to the criminal world of Oz Cobb. It becomes troubling to watch Victor descent as he becomes more and more entrenched since we want him to come out of this partnership with Cobb in one piece.

Still, the stars of the show are Farrell and Milloti. The characters they play share many similarities as disregarded misfits forced to fight their way to the top. As evil as they are, we can’t help but be riveted by their stories. The two actors are certain to at least get Emmy nominations for their work. At the very least, the makeup in this TV show will win awards as it uncannily transformed Farrell into a heavyset, disfigured creature that is unrecognizable.

Of course, as flawless as the makeup is, it would not mean anything without Farrell’s captivating performance that echoes Tony Soprano, Vito Corleone and Robert De Niro’s gangster roles. Like those famous celluloid gangsters, the Penguin is a gruff, brutal thug but displays surprising moments of humanity. What was tragic for Cobb is his realization towards the end of the series that his emotional attachment to others is a vulnerability to him. His reaction at the end of the final episode to this realization cements the Penguin as a truly evil man and elevates him to one of Batman’s greatest villains. In fact, the way the Penguin is shown in this series gives argument for him being an even greater villain than the Joker thanks to his fleshed out and involving back story.

At the time of this writing, The Penguin is supposed to be a limited series that sets up the upcoming sequel to The Batman. Does this mean that the mobster will be the main villain of that film? Who knows, but the Penguin deserves to be the main foe and it would be a mistake to relegate Cobb to a minor presence in the film. Regardless of that, a second season is very warranted since Cobb is such a fascinating character and worth exploring some more. If not, then there are plenty of other members of Batman’s rogue’s gallery that could receive similar treatment, although the current rumor is that a TV show featuring the Joker is being considered. That would be a mistake because we have had two solo films about the Clown Prince of Crime and Batman has a rich roster of foes that deserve their moment in the harsh spotlight as the Penguin has received.   

José Soto

Oct 18 2024

The Not-So-Radical Superhero Reboots In Comics

An increasingly popular sub-genre in comic books these days are reboots or reimaginings of famous superheroes and supervillains. We’ve seen this earlier in the year with the relaunch of Marvel Comics’ Ultimate Comics line, with Ultimate Spider-Man being the most popular and successful series in that line. The comic book reimagines Peter Parker/Spider-Man as much older than his counterpart in the regular comics, and is married with children, and only recently became Spider-Man.

DC Comics has also jumped into reboot game (though they pioneered this back in the 1950s) with their Absolute line of comics that began this week with the release of Absolute Batman. In this series, Bruce Wayne/Batman is not a mega-rich playboy whose parents are dead. Instead he is an ordinary, lower-class citizen of Gotham, who happens to be the Dark Knight Detective. The Absolute line will continue shortly with the release of Absolute Wonder Woman and Absolute Superman, which will present radical interpretations of the iconic superheroes. Or are they?

These comics have caught on and become very popular thanks to inspired writing and artwork, but the heroes in the comics are essentially the same. Despite being older and married, Peter Parker is still a wisecracking superhero who looks and acts the same way as he does in the regular comics. The same goes for Batman. Sure there are some changes to the costume (with Batman’s bat-themed chest symbol doubling for a huge axe), but he is still a brooding vigilanted patroling the crime-infested streets of Gotham. Again, these are well done comics, but maybe the comic book companies could have gone further and given us radically different takes of these characters. In fact, it’s been done before.

As mentioned before, DC Comics debuted a completely new version of their Golden Age hero, the Flash, in Showcase #4 in 1956, which actually launched the Silver Age of Comics. Originally, the Flash was Jay Garrick, a college student who accidently inhaled these special vapors that gave him his superspeed powers. His costume was fairly simple, with the only distinguishing feature being his steel helmet with wings. When the superhero was reintroduced in Showcase #4, he was reborn as Barry Allen, a police forensic scientist who was struck by lighting and doused with chemicals that gave him his powers. His scarlet costume was a stark contrast to the original Flash, by the way.

Following the success with the new Flash, DC gave readers new, distinctive reinterprations of their older, less popular heroes like Green Lantern, who now boasted a space-themed background, whereas the original Green Lantern had a mystical background. The comic book company went on to reinvent some of the Golden Age supervillains that plagued their most popular superheroes.

The last time DC presented radically different versions of their characters was in the 1990s and early 2000s with their limited imprint of Tangent Comics. Characters were wildly different from the traditional counterparts. For instance, the Flash was now a teenage girl with light-based powers, and the Joker was a female anti-hero who fought crime in the city of New Atlantis.

In 2001 and 2002, DC hired Marvel guru Stan Lee to reinterpret their famous characters. This led to several one-shots called Just Imagine… where Batman was a Black crimefighter whose real name was Wayne Williams and Wonder Woman gained her magical powers from an artifact.

While there is the potential for these radical reimagings to succeed as seen with the Barry Allen version of the Flash, there is also the possibility that the new versions fail to capture reader’s imaginations. The Tangent imprint, while very well done, did not take off in the long run and are largely forgotten to this day, though the comics are worth checking out. This is probably the main reason why the current reimagings of popular superheroes play it safe. Aside from some minor updates and tweaks, Peter Parker and Bruce Wayne are still the characters we know and love. But the comic book companies should be more willing to push the envelope and go for broke.

This has worked in the past, as with the Flash and even with the Miles Morales version of Spider-Man. Perhaps the Ultimate Comics imprint that Marvel first introduced in the early 2000s might have endured to this day if, for example, they had started off with Spider-Man being Miles Morales or have a completely different line up for the Ultimates (the Ultimate Comics version of the Avengers who were essentially the same superheroes in the regular comics).

One character that organically developed into a wildly different version than his regular counterpart was the Ultimate Comcis version of Reed Richards. In the Ultimate Fantastic Four comics the only noticeable difference with the team was that they were much younger than the traditional Fantastic Four. Yes, there were other differences such as the origin of their powers and group dynamics but none of it was out of the ordinary. However, over time, Reed Richards was radicalized and became the villain called the Maker, who continues to pop up. Actually, the Maker is responsible for the new Ultimate Comics line, since he time traveled to the past and prevented the creations of the Marvel superheroes, which is why heroes like Spider-Man got a late start in their careers.

It remains to be seen how long the new interpretations will last or maintain their quality, but comic book companies should not hesitate to allow their creators the freedom to let their imaginations run wild and present readers with radical and unique reinterpretations of their beloved heroes and villains.