Supergirl has already sparked debate around its box-office performance which saw it only take just over $60 million globally. Its opening numbers – which Peter Safran has noted "didn't meet our box office expectations" – have prompted heavy speculation about why it didn't draw larger audiences on opening weekend.
Predictably, much of that conversation has centred on the idea that audiences are uninterested in female-led superhero movies. In some corners of online discourse, that has also extended to actor Milly Alcock, who has faced unfair personal criticism of her appearance that's unrelated to the movie itself.
There is a pattern of gender-based explanations being used as shorthand for failure, that often overlooks other – better supported and less misogynistic – explanations.
A major factor behind Supergirl's box office performance has been weak word-of-mouth, with a 54% rating from critics and only a B- CinemaScore in the US (the same as last year's Captain America: Brave New World and X-Men: Dark Phoenix). Criticism has frequently focused on the overly-familiar storyline and reliance on well-worn superhero beats.
Adaptation changes from Tom King and Bilquis Evely's Woman of Tomorrow comic – including the addition of Lobo, played by Jason Momoa – have also divided opinion, with some suggesting the character feels more like an embellishment than an integral part of the story, despite praise for Momoa's dedicated performance. Worse still, the villain Krem of the Yellow Hills has been described as underdeveloped and weak.
Perhaps most (in)famously, a widely-discussed musical cue in the third act has fuelled further debate online, with many even dramatically citing it as 'the worst needle drop of all time'. These elements have limited the movie's ability to generate the kind of positive word of mouth that aids strong box office numbers, and the potential for return visits.
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Despite criticisms of the story and some of its creative choices, Milly Alcock's performance has been widely highlighted as one of Supergirl's stronger elements. There have been many on-screen renditions of this character throughout the years, with Alcock's portrayal offering a noticeably different take on Kara Zor-El.
It leans less into the archetypal hero and more into the flawed, impulsive type whose priorities initially lie more in partying and hanging out with her dog than saving the world like her cousin, Kal-El. This interpretation gives the character room for an intriguing arc that allows for growth and increased maturity, with Alcock's performance frequently singled out for its commitment to that transition.
Even though she is now the face of a movie that underwhelmed at the box office, the praise for Alcock's performance shows that the movie's reception is not rooted in audience rejection of the character, but in the execution of the storyline surrounding her.
The idea that audiences are unwilling to engage with superhero movies led by women is not strongly supported by the genre's history. Yes, there would have been a (toxic) section of the potential superhero audience who would have refused to support the movie, but history shows female-led superhero movies can overcome it.
Wonder Woman, for example, was a major commercial success, grossing over $820 million worldwide alongside strong critical reception. Similarly, Captain Marvel went on to surpass the $1 billion mark globally, demonstrating clear mainstream appeal despite facing significant online scrutiny in the lead-up to release.
Yes, there have been notable disappointments, such as with Black Widow ($380 million worldwide) and The Marvels ($206 million worldwide), but you could say the same about male-led superhero movies.
It is notable that both Gal Gadot and Brie Larson faced disproportionate online commentary during their respective promotional cycles, much of it extending beyond the films themselves and into personal criticism, much like we can see with Alcock today. Box office performance is not solely determined by the gender of the lead, but by a wider set of factors including reception, marketing strength and overall quality.
Looking back to the pre-release period, there were already indications that Supergirl could face challenges at the box office. The movie's marketing campaign lacked impact and reach, failing to ensure that more casual audiences were aware of its upcoming release.
Reactions were mixed to promotional material, with familiar poster designs focussed on generic character poses, and a trailer that offered only a partial sense of the movie's narrative direction.
While the trailers did position Kara as a more emotionally unsettled, directionless protagonist grappling with questions of identity and responsibility, that framing may not have fully conveyed the movie's actual narrative in a way that clearly translated interest into ticket sales. It's hard to garner excitement for a movie if you're unsure what it's actually about, whether it's led by a male or female actor.
Ultimately, Supergirl's box office performance has much more behind it than just reductive arguments about audience bias. In a crowded superhero landscape where online word of mouth travels fast, it is execution and reception that tend to decide a movie's fate – not the gender of the character at its centre.
Supergirl is out now in cinemas.
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