{"id":3001,"date":"2026-07-03T21:40:44","date_gmt":"2026-07-03T21:40:44","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=3001"},"modified":"2026-07-03T21:40:44","modified_gmt":"2026-07-03T21:40:44","slug":"behind-the-supergirl-bomb-competing-cuts-creative-differences-exclusive","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=3001","title":{"rendered":"Behind the \u2018Supergirl\u2019 Bomb: Competing Cuts, Creative Differences (Exclusive)"},"content":{"rendered":"
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Usually, test scores go up, up, and away. But this March, the scores for Supergirl <\/em>actually went down when DC Studios held a bakeoff, testing competing cuts from filmmaker Craig Gillespie and from the studio, run by James Gunn and Peter Safran.<\/p>\n

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It was a moment of extreme disappointment for those involved, as the stakes were high, particularly for DC. Supergirl\u00a0<\/em>would be a key test for the Warner Bros. division as its first feature not written and directed by Gunn, following last year\u2019s inaugural outing,\u00a0Superman<\/em>.<\/p>\n

It needed to work to prove the studio could expand beyond projects directed by Gunn, the A-list filmmaker behind the\u00a0Guardians of the Galaxy<\/em>\u00a0movies,\u00a0Peacemaker\u00a0<\/em>and\u00a0The Suicide Squad<\/em> \u2014\u00a0and\u00a0the very publicface of the brand. <\/p>\n

Months later, the\u00a0Supergirl<\/em>\u00a0outcome is now well known. The\u00a0movie, starring Milly Alcock as the title character and budgeted in the $180 million range, crashed and burned on its opening weekend, grossing just $37.1 million, even lower than the reviled, DC-centric bomb,\u00a02024\u2019s\u00a0Joker: Folie a<\/em>\u00a0Deux<\/em>, which opened to $37.6 million and was not made by Gunn and Safran.<\/p>\n

And while one failure need not be an indictment of a slate, and there have been all sort of think pieces as to why the movie failed \u2013 was Alcock right for the role? Was Gillespie right for the take? Are audiences tired of superheroes? Was opening the movie in late June a mistake? Was the budget too high? \u2014 the fate of\u00a0Supergirl<\/em> may have been seeded early on.<\/p>\n

Gunn and Gillespie had creative differences over the direction of the movie, numerous sources tell\u00a0The Hollywood Reporter<\/em>, and the film never found its footing in the post-production process. The test scores, which are counted on a scale out of 100 points,\u00a0never escaped the 60s, according to multiple insiders. Another insider said the movie\u2019s top score was 70.<\/p>\n

\u201c\u2019They were not creatively aligned\u2019 is the polite way of describing things,\u201d said one insider.\u00a0<\/p>\n

Other insiders dispute this characterization, saying Gunn, Safran and Gillespie had the normal amount of healthy friction any filmmaker and studio have as part of the process of making a movie better. And multiple sources say the duo respect the filmmaking chops of Gillespie, known for guiding Margot Robbie to an Oscar nomination for\u00a0I, Tonya<\/em>.<\/p>\n

Filming wrapped in May 2025, and as early as the fall of that year, the studio and\u00a0Gillespie knew the movie wasn\u2019t working. After a\u00a0December test screening proved to be just okay, the studio\u00a0decided to take matters into its own hands and took charge of the post-production to make its own cut. Gunn also enlisted writer Jeremy Slater, who previously wrote an unmade feature based on DC superhero team The Authority<\/em>, to help with the post-production process.\u00a0<\/p>\n

The extent of Slater\u2019s involvement is unclear, although it seems he helped write scenes for a nine-day shoot of additional photography. Original screenwriter Ana Nogueira remained involved in the post-production process as well. One issue at play was the climactic fight, which was reconfigured.\u00a0<\/p>\n

Other issues with the movie are unclear, but it is known that music was a key friction point. From his first\u00a0Guardians<\/em>\u00a0of the Galaxy<\/em>\u00a0movie on, Gunn established himself as the master of the movie soundtrack and the all-important needle drop, earning praise for finding the right song and dropping it at the right time. Gillespie also has a reputation for melding music to movies, as seen in\u00a0Cruella<\/em>, his 2021 movie that cast Disney villainess Cruella de Vil as a punk rock rebel in London\u2019s fashion scene.<\/p>\n

The movie had a least four test screenings, according to sources, with screenings held in\u00a0December 2025 as well as February and March of this year. And while social media users and critics are dunking on the movie\u2019s use of a cover of the Jimmy Eat World song \u201cThe Middle,\u201d the big needle drop in the final set piece at the February screening was a cover version of Cyndi Lauper\u2019s \u201cGirls Just Want to Have Fun.\u201d That song choice came from Gunn, but it ultimately was abandoned for the Jimmy Eat World cover,\u00a0also a Gunn choice.<\/p>\n

The movie employed two editors. There was Tatiana S. Riegel, Gillespie\u2019s longtime post partner who edited his\u00a0Lars and the<\/em>\u00a0Real Girl<\/em>,\u00a0I, Tonya<\/em>, and\u00a0Cruella<\/em>. And there was Fred Raskin, Gunn\u2019s longtime cutter who worked on all the\u00a0Guardians of the Galaxy<\/em>\u00a0movies and Gunn\u2019s DC series Peacemaker<\/em>. (Raskin is also Quentin Tarantino\u2019s go-to editor.) He was brought on later in the process and proved a key instrument in the studio\u2019s slowly heavying hand.<\/p>\n

There were signs that things were getting better. Deep into winter, test scores improved and hit the low 70s. However, rather than continue to tinker away on that cut, the studio decided to force a bakeoff by creating two cuts, one by Gillespie and one by the studio.<\/p>\n

It is unclear what major differences emerged, but one source says Gillespie\u2019s version was 11 minutes longer and featured more of the villain, Krem, played by Matthias Schoenaerts.\u00a0 When the two competing versions tested, the scores surprisingly dropped significantly, although the studio\u2019s inched out ahead of Gillespie\u2019s\u2026but by only two points, according to sources. Gillespie\u2019s version scored strongly on song choices, pacing and villain.\u00a0Eking out a win, even a middling one, the studio chose its cut as the one to go into theaters. A studio insider says the differences were not particularly pronounced. <\/p>\n

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Studio insiders paint the back-and-forth process as routine, but others, including one franchise filmmaker who spoke anonymously for this story but was not involved in Supergirl<\/em>, held the opposite view.\u00a0<\/p>\n

\u201cIt happens more than you think,\u00a0but it\u2019s not normal,\u201d said the filmmaker of the bakeoff.\u00a0\u00a0\u201cIf a studio is going to put money into the test process, it means they feel strongly about certain things.\u201d<\/p>\n

The movie was never tested again. (As a point of comparison, the canceled\u00a0Batgirl<\/em>\u00a0and the box office disappointment\u00a0Shazam! Fury of the<\/em>\u00a0Gods\u00a0<\/em>tested in the in the 60s, like most of\u00a0Supergirl<\/em>\u2019s tests.). And from that point on, if Gillespie believed strongly that something should be in the movie, he had to advocate for it, said one source.<\/p>\n

\u201cWhile\u00a0Supergirl<\/em>\u00a0didn\u2019t meet our box office expectations, it\u2019s just one component of a broader, long-term strategy at DC Studios that we remain confident in,\u201d Safran to the\u00a0New York Times<\/em>, marking a rare time a studio chief commented on a bomb on opening weekend.<\/p>\n

And in many ways, the strategy remains intact.\u00a0Despite the setback, Gunn, and Safran will continue to\u00a0guide the ship.\u00a0It is unclear when the the duo\u2019s contracts are up, but sources believe it is either the end of 2026 of the end of 2027. By then, DC Studios will have released not only\u00a0Clayface<\/em>, the modestly budgeted horror movie centered on the Batman villain, but also\u00a0Man of Tomorrow<\/em>, which Gunn is currently directing and which is slated to open July 9, 2027.\u00a0The Batman: Part II<\/em>, from Matt Reeves, is also in production and has an Oct. 1, 2027 date, but stands separate from the DCU.<\/p>\n

And Gunn will continue to exercise his ideas, especially his penchant for spotlighting lesser known side characters. A\u00a0Superman<\/em>\u00a0spinoff focusing on Jimmy Olsen, played by scene-stealing Skyler Gisondo, is getting a comedic take with mockumentary series\u00a0DC Crime<\/em>\u00a0that will shoot in this fall. <\/p>\n

There is also a series focused on Mr. Terrific, played by Superman<\/em> breakout Edi Gathegi, that is in active\u00a0\u00a0development with Allan Heinberg (The Sandman<\/em>) writing the pilot.<\/p>\n

But\u00a0Supergirl<\/em>\u2019s failure does put a scrutinizing spotlight on Gunn, who has positioned himself as the face of the company as no other studio head has before, thanks to his prodigious output on social media and comments in the press about quality control.<\/p>\n

Other studio heads, such as Marvel\u2019s Kevin Feige or Warners\u2019 Pam Abdy, are known to get vigorously involved in the post-production process. But none are filmmakers making their own movies while also running, or co-running, a major studio division. There is almost no modern precedent (Steven Speilberg runs Amblin, a production company, not a studio arm. Rob Reiner was a partner at Castle Rock, a large scale entity that was run by Alan Horn. More recently,\u00a0Frozen<\/em>\u00a0filmmaker Jennifer Lee ran Walt Disney Animation Studios until 2024 before stepping back to refocus on directing.)<\/p>\n

The challenge for Gunn, and thus DC Studios, is to navigate the fine line of being filmmaker friendly while also trusting his strong artistic point of view that has guided him all his career.<\/p>\n

DC Studios, however, has other challenges looming larger than\u00a0Supergirl<\/em>\u2019s failure or the villainy of Brainiac. There are\u00a0the anxieties of David Ellison\u2019s Paramount\u2019s upcoming acquisition of Warners.\u00a0<\/p>\n

And perhaps the biggest challenge ahead for Gunn and Safran may be guiding a superhero studio\u00a0right as superhero movies are no longer a a bulletproof genre for moviegoers<\/p>\n

\u201cGen Z does not care about superhero movies,\u201d noted one studio head. \u201cThat genre belongs to millennials.\u201d<\/p>\n

Read more Malta Film Commissioner Johann Grech Has an Ambitious Plan to Lure More Blockbusters: A Land Sea Super Stage<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

For months, DC Studios knew Supergirl wasn't working. 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