Explore the five alien worlds Kara Zor-El visits in Supergirl: Woman of Tomorrow and discover how each planet shapes her epic cosmic journey.
Supergirl: Woman of Tomorrow is the second film in DCU’s Chapter One: Gods and Monsters set entirely in outer space. Supergirl will be flying on five different planets rather than saving people on earth, something quite new from repeatedly origin stories of superheroes for decades. Fans want something new and exciting and Gunn fulfilled fan’s wishes.
Director Craig Gillespie confirmed at Supergirl launch event that the story unfolds across five different planets, and every planet has its own environment (atmosphere, alien species, and visual identity). As Gunn himself put it, they are planning to restructure the big DC universe.
That’s a bold swing. And Supergirl: Woman of Tomorrow will be the first origin movie with a different narrative direction and an important bridge for Superman next movie. So — where does she go? What happens in each world? And why does it all matter for the future of the DCU? Here’s your complete travel guide to the five planets of Supergirl.
Every Superman movie shows Krypton blowing up in the first five minutes and moves on. Supergirl refuses to let it go that quickly — because for Kara, it didn’t. Where Clark Kent was an infant rocketed away from a planet he never truly knew, Kara Zor-El watched her civilization die piece by piece, over years, while she was old enough to understand exactly what she was losing.
The trailers make this devastatingly clear. The trailer showed a moment where a large dome was formed over Argo City by Kara’s father. That Krypton shielded tiny protected city floated through space, its population clinging to survival on borrowed time. Kara’s mother, Alura In-Ze (Emily Beecham), is present in these flashbacks as well, though her role is a limited and haunting one — in the source comic, she dies from radiation poisoning before Argo’s final destruction, a consequence of yellow sunlight slowly changing the chemical composition of the rock beneath the city.
This is the version of Krypton’s destruction that the Supergirl: Woman of Tomorrow showing, a prolonged, agonizing collapse rather than huge explosion. Kara firmly rejects the idea that Krypton died all at once when Ruthye questioned her homeland. It’s a line that reframes everything. Superman’s origin is tragic. Kara’s origin is traumatic.
Eventually, Zor-El follows in his brother Jor-El’s footsteps, builds a rocket and sends Kara off into space. Kara left with a single piece of advice from her mother “be good.” Argo City sequences were filmed on the massive soundstages at Warner Bros. Studios Leavesden, where LED virtual production volumes recreated the dying Kryptonian cityscape with extraordinary detail.
The planet Evely is where Kara’s actual story begins. Kara is living a directionless life ever since in this world, alone and drinking on her 23rd birthday, dancing by herself on Blondie’s “Call Me” to avoid her pain. Her life changes when a young alien girl named Ruthye Marye Knoll walks into her life.
Evely feels like a forgotten corner of the galaxy—rugged, worn down, and full of life that’s barely holding together. The teaser’s early shots of dirty streets and crumbling alien buildings seem to come from this planet, giving it the look of an old spaceport rather than a shining sci-fi city. It’s also where Kara is at her lowest point. This is where Kara is at her lowest, far from Earth, far from her cousin Superman, she is just surviving these days and trying not to die while her birthday feels like a reminder that she belongs nowhere.
It all begins when Ruthye’s father, Elias Knoll (played by Ferdinand Kingsley), is murdered by Krem of the Yellow Hills (Matthias Schoenaerts), the feared leader of the Brigands—a violent gang of space pirates and traffickers. Heartbroken and consumed by grief, Ruthye turns to Kara with one simple but dangerous request: help her hunt down the man who killed her father.
Ruthye isn’t asking for justice through any system, she wants direct, bloody revenge. And Kara, worn down and reckless, agrees. That decision sets both of them on a journey that will test their beliefs and change them in unexpected ways.
Read More 👉 DC Chapter 2: The Future of Batman, Superman, and Wonder Woman
The name Evely is a heartfelt tribute to Bilquis Evely, the artist who co-created Supergirl: Woman of Tomorrow alongside writer Tom King. Her stunning artwork gave the comic its unique identity, blending breathtaking sci-fi worlds with deep emotional storytelling. By naming a planet after her, the filmmakers are paying respect to the artist whose visuals helped shape this story.
To bring Evely to life on screen, the production used Iceland’s dramatic black sand deserts and ancient lava fields. These real-world landscapes already look like something from another planet, making them the perfect backdrop for Supergirl’s cosmic journey.
If Evely is where Kara hits rock bottom, Holzherr is where the universe opens up. This planet, confirmed by set visitors from the Screen Rant press trip to Leavesden, orbits three suns — each a different color — casting its skies in an extraordinary, trichromatic light that makes the world look like something out of a painting. It’s the kind of planet that stops you mid-sentence and makes you look up.
The name “Holzherr” is another deeply intentional easter egg — it honors Brittany Holzherr, the DC editor who oversaw the publication of the Woman of Tomorrow comic and who reportedly influenced Tom King to make Supergirl the story’s protagonist rather than Lobo. Without Holzherr’s editorial guidance, the source material that inspired this entire film might have been a very different book. Naming a stunning alien world after her is a gesture of real gratitude from everyone involved.
Holzherr is also where the film’s visual ambition reaches its peak.Director Craig Gillespie filmed in real locations, including Scotland’s Highlands, and then used VFX to enhance them is the smart decision. The three-sun sky was achieved through a combination of on-location photography with visual effects that makes a breathtaking scene.
Czarnia is where the story takes its sharpest tonal detour — and delivers its most outrageous character. In DC Comics lore, Czarnia was once a paradise planet: peaceful, prosperous, and entirely without war. Then Lobo was born. A single Czarnian committed genocide and killed every last member of his species expect himself. Only one man is responsible for this heartbreak killing is intergalactic bounty hunter with a wide grin and a steel chain who showed up in that January 2026 teaser.
Lobo’s connection to Czarnia is brought up in an official preview clip released just before the film’s release, where Kara and Ruthye cross his path at what appears to be an interplanetary rest stop. Ruthye’s description cuts right to it: “He’s an immortal with a god complex. Killed off his entire planet.” The scene is darkly comic — Ruthye is terrified, Kara is exhausted, and Lobo is delighted by both reactions.
Lobo was originally the protagonist of Tom King’s source comic — it was DC editor Brittany Holzherr’s guidance that redirected the story to center on Supergirl instead. Giving Lobo his own home planet and backstory is a smart storytelling choice. Czarnia represents a mirror image of Krypton. Where Krypton was destroyed by forces beyond anyone’s control, Czarnia was destroyed by one man’s choice. This emotional parallel makes a character more interesting and meaningful.
Read more 👉 DC Chapter 2 Latest Update: What Is James Gunn’s New Plan?
Every road trip has to end somewhere. For Kara and Ruthye, it ends in a world where Krem of the Yellow Hills has taken refuge — and where their months-long chase across the galaxy finally reaches its violent, emotionally charged conclusion. This is the film’s climax, and the trailers suggest it is spectacularly realized: vast, frozen landscapes, the kind of terrain that makes every fight feel enormous.
The critical detail here, pulled straight from the source comic, is the red sun. Beneath a red sun, Kara loses her Kryptonian powers. No heat vision. No super strength. No flight. This is where the film gets honest about what kind of hero Kara actually is — not an invincible god figure, but a person who has already survived the worst thing imaginable and is still standing. When Krem steals her ship mid-journey and she arrives powerless on this world, she doesn’t fold. She adapts.
Iceland’s glacier fields served as the primary real-world filming location for these sequences, providing the kind of bleak, expansive terrain that communicates danger even before a single punch is thrown. The production finished in May 2025, giving ILM and the VFX team a one year time to polish practical landscapes which already looked like they came from another galaxy.
The journey doesn’t end with Krem’s defeat. It ends with Kara understanding what “be good” actually means when there are no easy answers. Ruthye came looking for revenge. In this final world both characters get matured and become what they are meant to be. Supergirl: Woman of Tomorrow is more deeper than a simple revenge.
What she finds — and what she narrates for the audience throughout the film — is something more complicated, more honest, and far more lasting than simple vengeance. This final world is where both characters earn the people they’re going to become.
Read More 👉 Clayface 2026 Horror Movie Plot, Trailer & DC’s Dark Horror Reboot Explained
It would have been the safe, easy choice to bring Kara to Earth and let her share the screen with Superman in a familiar, grounded setting. James Gunn and Craig Gillespie made the exact opposite decision — and it’s the reason Supergirl has generated the kind of genuine anticipation that only comes when something feels genuinely new.
The DCU’s Earth-based stories have Superman, Batman (via Clayface, releasing October 2026), and the entire Green Lanterns mythology tethered to familiar soil. Supergirl gets the cosmos. She gets five worlds. She gets a story that unfolds like a space western written by someone who grew up reading both Ursula K. Le Guin and Walter Hill screenplays. That emotional toughness and adventure draws from Tom King and Bilquis Evely comic storyline and exactly what Gillespie set out to translate to IMAX.
Supergirl: Woman of Tomorrow using real locations of Scotland and Iceland as alien worlds and enhancing with VFX rather than building everything from scratch in a computer makes the planet look more real and grounded than heavy CGI effects. You can feel the cold. You can feel the distance. When Kara screams into the void of space, you understand why she had to go somewhere the sound wouldn’t destroy everything she loves.
Every planet Kara visits in Supergirl: Woman of Tomorrow is a building block for the DCU’s cosmic architecture. Argo City ties directly into the Brainiac mythology that Man of Tomorrow will explore in 2027. Czarnia introduces Lobo as a full-blown DCU character with room to grow. The alien civilizations glimpsed across Evely, Holzherr, and the Hunt World lay the groundwork for a universe that doesn’t revolve solely around Earth — one where Kara Zor-El is a hero of the galaxy, not just a backup to her more famous cousin.
James Gunn has already teased that Chapter One’s finale will involve a “much bigger story,” and it is increasingly clear that Supergirl will be at the center of it. She’s being set up not as an appendix to Superman’s story, but as a fully independent cosmic protagonist who has already seen more of the universe than any other DCU hero.
Read More 👉 Absolute Universe DC Comics Bombshells from ComicsPRO That Will Reshape 2026
Supergirl: Woman of Tomorrow is a cosmic adventure that uses five different alien worlds to shape Kara Zor-El’s journey. From Krypton to Hunt world, each planet adds a new layer of lesson for her. Instead of relying on familiar Earth-based settings, James Gunn embraces the emotional core of the film and focuses on stunning visuals to make it realistic for the audiences. If executed well, these alien worlds could make Supergirl: Woman of Tomorrow one of the most powerful entries in the new DC Universe.
Supergirl: Woman of Tomorrow opens in theaters and IMAX on June 26.
Follow Fandomfans to get more updates from your favorite movies and series. We deliver deeper details on upcoming movies.
DC’s Lost Zatanna movie hit the dust- find out what Emerald Fennell’s dark, chic take on the character was and why Warner Bros abruptly ended production.
A special kind of heartbreak is reserved for the “best movies never made.” We preoccupy ourselves with Jodorowsky’s Dune and Del Toro’s At the Mountains of Madness, speculating on how they might have altered the cinematic terrain. In 2026, with Emerald Fennell on the press trail for her raw adaptation of Wuthering Heights, a new identity was officially added to that tragic pantheon: Zatanna.
For years, speculation has swirled about what the Oscar-winning writer/director of Promising Young Woman and Saltburn might do with DC’s best stage magician. Now, with Fennell’s recent frank interviews, we at last have a peek behind the curtain.
“It wasn’t a superhero flick, it was a fairly deranged saga about a nervous breakdown.”
–She says
Fennell depicted Zatanna around the time of a very strong personal and professional transition. Immediately following her Academy Award win, she was catapulted into the high-gloss Hollywood movie star — a world she didn’t quite recognize.
Feigen became the tool she used to filter her alienation through the script. Instead of a typical origin story in which a hero discovers how to use their powers to save the world, Fennell’s Zatanna is a woman coming undone.
I had this very simple question: “How do I make a superhero movie that I’m comfortable watching with my kids and that personally speaks to me?” I was a woman having a breakdown.
— Emerald Fennell
This wasn’t just “gritty” like we’ve grown accustomed to from DC, it was psychological terror. For a character like Zatanna, who practices Logomancy (speaking backwards to affect reality), a broken mind is a frightening weapon. When the magician loses her grasp on reason, reality itself starts to distort.
If you’ve seen Saltburn, you’re aware Fennell doesn’t do “palatable.” Her take on Zatanna would almost certainly have swapped clean CGI energy blasts for something more tactile and grotesque.
| Feature | The Traditional Heroine | Fennell’s Zatanna (The Archetype) |
| Mental State | Resilient & Stoic | Fractured & “Hysterical” |
| Relationship to Power | A Responsibility | An Addiction/Burden |
| Aesthetic | Clean & Heroic | Grotesque & Baroque |
This incarnation of the character was described as a “hard woman” — untidy, scary, and thoroughly human. It was a dismissal of the “cool girl” trope, instead dwelling on the bodily and cognitive toll of doing magic.
The removal of Fennell’s Zatanna exemplifies an escalating anxiety in contemporary film: the struggle between auteur ambition and franchise security. While Zatanna probably will debut in the new DCU (if not before in James Mangold’s Swamp Thing), she will unquestionably be a more “stable” version of the character.
Fennell’s “lost” script is still an intriguing “what if” — a souvenir from a moment when the superhero genre nearly gripped something decidedly raw, unsettling, and revolutionary. It appears that in today’s blockbuster economy there’s a lot of room for monsters, but precious little for meltdowns.
Read More 👉 ‘Star Trek: Starfleet Academy’ Rebuilds Hope as Episode 6 is Turning Point
The still unproduced Emerald Fennell’s Zatanna is not merely a scrapped project, it’s an alarm that modern blockbuster cinema is too scared to ring. With all the sophistication as well as volatility of the mind, it tested safe franchise logic that was unthinking. What we lost was not a superhero movie, it’s a risk. And in today’s studio system, that may be a rarer magic than any other.
Fandomfans is a platform where you can get all the deeper details from the DC franchise about characters and movies.
Why Supergirl may become DC's biggest 2026 blockbuster, leading the new DC Universe into an exciting future.
Superman got the spotlight and hype as “The Man of Steel is back” but it defines the new era of James Gunn’s DC universe. It isn’t the one we know with the Cape and S-Shield, but comes right after it. It is confirmed now with the Supergirl: Woman of Tomorrow release on June 26. The film is not safe and audience pleasing but a louder and messier and that’s why Supergirl 2026 could end up being the DCU’s most important movie yet.
Let’s get one thing out of the way immediately. If you’re picturing Melissa Benoist’s warm, optimistic, “we can all be heroes” version of Kara Danvers — wipe that from your mind. That series and Supergirl version was great on its own level but James Gunn brings a completely different character and storyline.
Gunn and DC Studios made it crystal clear that this version of Supergirl is not that earnest and saving the world type. But a “less earnest and more edgy” type which means they deliver a darker and more complex tone. It’s a direct rejection for an inspiring character which defines previous adaptations. This one is a hero who has seen the worst things that could break most heroes but she is still standing. This Kara carries weight. She carries trauma. And she carries it across the cosmos.
The DCU Chapter One source material tells you everything you need to know. Based on Tom King and Bilquis Evely’s Eisner-nominated comic series, the story follows Kara helping a young girl named Ruthye avenge her father’s murder at the hands of a space pirate named Krem of the Yellow Hills. It’s a revenge road trip set among the stars — part western, part cosmic epic, part character study. It’s not a city-saving origin story. It’s something far more personal.
Every franchise has one rule that they cast their superheroes performance lead that nobody saw before. Gal Gadot was unknown before Wonder Woman and Robert Downey Jr. before Iron Man was also unpopular. And Milly Alcock Supergirl? She might just be the best casting surprise of the entire DCU.
Milly Alcock played a young Rhaenyra Targaryen role very well. The face expressions and body tone was dynamically balanced when she was told she couldn’t have the thing she was born for. She was rejected by the system to rule and sit on a throne as she deserved. The performance was furious, layered, and heartbreaking all at once.
Now transpose that energy onto Kara Zor-El — a woman who watched her entire world die, who arrived on Earth after Clark Kent had already claimed the Kryptonian legacy, who has every right to be angry and chooses to channel it into something bigger than herself. The parallels are almost too perfect.
James Gunn himself — the man who has cast everything from Groot to Peacemaker, has called the decision to cast Milly Alcock “the best bit of casting” he has ever done. That’s not PR speak. That’s a filmmaker who’s seen the dailies and knows something the rest of us don’t yet.
Read More 👉 Star Wars’ Ahsoka Tano Replacement Succeeded Where Anakin’s Padawan Failed
Just when you thought the casting couldn’t get more interesting, Jason Momoa entered in a picture. Not as Aquaman. Not as any hero. As Lobo, he was a twisted character who didn’t care about anything. But more dangerously he is a terrible space bounty hunter.
Momoa has wanted this role for years and it shows. The first teaser footage already has fans losing their minds, and the dynamic between Kara’s controlled, purposeful fury and Lobo’s absolute chaotic energy is exactly the kind of unpredictable pairing that makes for legendary cinema. Think of it as the cosmic version of a buddy cop movie where one partner has a moral compass and the other one eats their moral compass for breakfast.
James Gunn has confirmed that Lobo isn’t just a cameo — he’s a vital part of Supergirl’s story. That alone makes this film a must-watch. Because when a character as anarchic as Lobo is woven into the narrative with purpose, rather than just tossed in for fan service, you know the storytelling is operating at a different level.
Read More 👉 Supergirl: Woman of Tomorrow’s Five Planets Explained: Every Alien World Kara Visits
Superman restarted the DC film universe with confidence. It established tone, introduced the world, reintroduced characters audiences loved and characters they hadn’t met yet. But Superman was the foundation. Supergirl 2026 — as the second film in DCU Chapter One: Gods and Monsters — is where that foundation gets tested.
History is pretty clear on this: the second chapter of any rebooted franchise is where audiences decide if they’re truly on board. The first film earns goodwill. The second film spends it. Like Marvel, The Winter Soldier was the biggest hit after Iron Man 2. The dark knight sequel was a cultural event.
I, Tonya and Cruella director Craig Gillespie is the perfect Director for this film because he already proved his work with films which featured anti-hero women who refused to be defined by what the world expected of them — has openly compared Supergirl to Iron Man in terms of ambition and character-first storytelling. This suggests that the film is set to rule alone not as a universe builder.
Let’s talk about the discourse, because it’s impossible to ignore. There was a trailer line that sparked a full-blown Snyder vs. Gunn fan war online. Tracking numbers fluctuated. Reddit had opinions. Twitter had louder opinions. And somewhere in the middle of all of it, Zack Snyder dropped a cryptic post that sent half the internet into a spiral.
Controversy = Cultural Relevance
Here’s the thing about backlash — it means people care. The films that nobody argues about are the ones that nobody remembers. The Dark Knight faced skepticism before release. Wonder Woman was written off as a risk nobody wanted. Guardians of the Galaxy was literally described by studio executives as a movie that “couldn’t possibly work.”
Every era-defining superhero movie has had a pre-release controversy arc. The ones that survive that arc and deliver something real become classics. Supergirl is already in that arc. The question is just whether it sticks the landing and based on everything we know about the cast, the source material, and the director, the answer looks like yes.
Read More 👉 DC Chapter 2 Latest Update: What Is James Gunn’s New Plan?
Supergirl isn’t trying to be Superman. That’s the whole point. She’s not trying to inspire through warmth or win people over with optimism. She’s trying to be something the DCU desperately needed — raw, cosmic, uncompromising, and unapologetically herself.
With Milly Alcock delivering what James Gunn calls his best-ever casting decision, a source comic that’s won industry awards, Jason Momoa finally getting to be the character he was born to play, and a director who’s made a career out of making complicated women feel like icons — Supergirl: Woman of Tomorrow has every ingredient to be not just DC’s biggest film of 2026, but one of the most memorable superhero films in years. June 26 can’t come soon enough. And when it does, don’t say you weren’t warned.
