'Supergirl' vs. 'Superman' Box Office Gap: What Led to the Divide Between DC’s Biggest Releases?

Published 06/27/2026, 2:23 PM EDT

Credits: Drunk Supergirl Makes Superman A New Entrance (2025) 4K Scene | SUPERMAN Movie Clip/Moviegasm via YouTube/ Production: DC Studios, Warner Bros. Pictures, The Safran Company/ Distribution: Warner Bros. Pictures

It appears that Supergirl is off to a shaky start, with the preview numbers suggesting a tough road ahead. The reported numbers say the Milly Alcock starrer has only amassed $7.8 million in previews at the domestic box office and $13 million globally. The Girl of Steel is expected to rake in between $47 million and $50 million this weekend, which is a significant step down from what her cousin’s movie made on its opening weekend. Superman that released last year, managed to bring in $22 million in previews and grossed $125 million in its initial weekend.

This wide gap in box office performance can be explained through some pretty simple but fundamentally strong factors.

Why Supergirl lagged so far behind Superman at the box office

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It is impossible to ignore the sheer historical momentum of the Superman brand. The Man of Steel is arguably the most recognizable superhero on the planet, boasting over eighty years of multimedia dominance, theme songs etched into the global consciousness, and a nostalgic pull that spans multiple generations. Supergirl, despite her passionate fanbase and rich comic history, is often viewed by the general moviegoing public as a spin-off or extension of the Superman brand rather than a standalone pillar.

Moreover, the marketing campaign for Superman was crystal clear: a return to hope, optimism, and classic heroism. It sold audiences exactly what they wanted. Supergirl, on the other hand, struggled to define its identity in its promotional material. Was it a gritty, sci-fi revenge epic in the vein of True Grit in space? Or was it a traditional, hopeful superhero blockbuster? The marketing tried to have it both ways, confusing casual viewers.

Furthermore, highlighting Krem in the trailers - a character who ultimately failed to resonate - did little to convince skeptical moviegoers to buy a ticket. Krem represented a massive tonal mismatch for the film. Instead of challenging Supergirl’s empathy or forcing her to grapple with complex moral choices, Krem was a one-dimensional, transactional villain who stole valuable screen time to explain convoluted machinations. Without an emotional anchor or meaningful stakes, audiences quickly lost interest.

‘Supergirl’ Is Falling Shorter Than Expected of DC’s Top-Grossing Superhero Hits in Box Office Debut

Supergirl’s massive letdown at the box office might indicate a diminishing interest in James Gunn’s DCU.

Franchise fatigue with James Gunn’s DCU

When Superman was about to release, there was a genuine buzz to see how James Gunn’s DCU would eventually turn out. In fact, most of the initial movigoers went in just to get a glimpse of the world James Gunn had envisioned. The rest of the momentum came from a favorable word of mouth.

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But with Supergirl, all the pressure seemed to be on the story and the theme of the movie that ultimately helped the audience decide whether to watch the movie in theaters or not. And the reasons mentioned above convinced most of them to do the latter. Anyhow, it is still not over for Supergirl yet. There are chances that we will see her in the Superman sequel, Man of Tomorrow, even if this movie tanks.

'Supergirl’s' Villain Problem: Was Krem Responsible for Supergirl’s Failure?

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Do you agree with the reasons mentioned, or do you have some other arguments? Share your thoughts.

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Harshit Kumar

503 articles

With nearly two years of experience in content writing, primarily in sports, Harshit has now ventured into the alluring alleys of Hollywood at NetflixJunkie. A true pop-culture fanatic and a certified cheat code for movie trivia night, he brings infectious enthusiasm to every conversation. He has strong opinions about everything from uplifting superhero spectacles to gripping psychological crime dramas, and he is never shy about backing them up.

Edited By: Adiba Nizami

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