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Fans eagerly waiting for Keanu Reeves to Return as John Constantine in the new DC Movie. John A. Constantine is a British occult detective and con man, who is the protagonist of the comic book series “Hellblazer.” His primary weapon against the supernatural entities he confronts is his extensive knowledge of the occult. DC Studios co-head James Gunn recently provided an update on the very much long awaited sequel that has certainly left many fans of the cult classic feeling more than a little pessimistic about the film’s immediate future. 

Gunn spoke in the latest interview on the status of Constantine 2, stating that although there had been talks, the project is in limbo. “I’ve talked about it on and off. I’ve talked to Keanu,” said Gunn. However, he quickly deflated the fan enthusiasm by saying “I haven’t read a script yet.”  

This confession is especially troubling considering The second installment began production in September 2022. when Warner Bros. announced that Reeves and original director Francis Lawrence would return for a second chapter. The project is hovering in the middle for almost two years now and the completed script still hasn’t been confirmed by the DC studio, the challenges the project faces are substantial. 

Keanu Reeves Constantine 2 Script Not Reaching The Gunn’s Desk

Constantine 2’s path has been anything but smooth. It was actually revealed by Reeves himself earlier this year that both he and Lawrence have been attempting to make the sequel “for well over a decade”. Once they did finally pitch a story treatment to DC Studios, they got tentative go-ahead to write a screenplay. In early October, Reeves gave what seemed like a positive update, saying “another draft of the script came in” and that the group was planning on sending it to the studio. 

However, based on comments from Gunn in the last days, it would seem that a draft is not yet in his hands or at least not close to being at his hands.Considering Gunn’s famous motto that he needs “finished pages” to give the go-ahead on projects, and with Deadline recently reporting that he might have just that for GOTG 3, it’s promising. 

Struggles To Keep The Script Original 

The writing has been especially difficult to crack. Peter Stormare, who gave a scene-stealing performance as Lucifer in the 2005 original, revealed earlier this year that Reeves “is not so happy with the scripts” and that there’s been “a lot of back-and forth”.The problem seems to be arising from studio demands that turn the sequel into a large-budget extravaganza with lots of action scenes and special effects. 

Stormare said studios “want to have cars flying in the air, and they want to have people doing flip-flops and fighting action scenes.” However, Reeves is pushing back, refusing to lose the spiritual, grounded tone that ultimately made the original a cult classic. “This movie is spiritual. It’s got demons and ordinary people,” said Stormare, underscoring Reeves’ commitment to keeping the sequel faithful to the darker, more reflective tone of its predecessor. Not wanting to turn this one into another DC superhero movie.

Why Constantine Deserves Better

Constantine (2005), despite receiving mixed critical reviews at the time of release, grossed $230.9 million at the global box office on a production budget of $70-100 million. It is even more significant because over the years it grew a fiercely devoted cult following who adored its gritty supernatural noir style, philosophical musings on faith and redemption, and Keanu Reeves’ melancholy portrayal of the chain-smoking exorcist. 

The movie boasted a strong supporting cast that included Rachel Weisz, Tilda Swinton as the icy angel Gabriel, and a remarkable five minutes of Stormare as Lucifer. As a character John Constantine (adapted loosely from the DC Vertigo Hellblazer comics) had a fanbase who appreciated the darker, more adult angle on the superhero genre. 

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Is Constantine 2 Ready To Deliver A Creative Storyline

Gunn’s update, while discouraging, is not an absolute death knell for the project. The DC co-head did admit he “likes all those people a lot and thinks they’re talented,” so that could mean he’s open to the sequel if the right script comes together. Additionally, Constantine 2 would more than likely be under the DC’s Elseworlds label similar to Matt Reeves’ The Batman franchise which would separate it from the core DC Universe timeline. 

However, the ongoing tension between Reeves’ motive to keep the original’s spiritual approach and Gunn’s expectations for a blockbuster spectacle continues to be a major obstacle for Constantine 2.

Conclusion

While waiting for Constantine 2, one thing is sure that this could beat the fans’ expectations with a great storyline as Reeves’ pushes more to the original character ground and spirituality that already made everyone fall in love with the first part. While balancing the desire for a commercially viable project that meets Gunn’s stated policy of not greenlighting projects without finalized scripts. It will definitely get a commercial hit at the box office as it follows a script that honors the character and story. 

Meet Tilly Norwood – Hollywood’s First “Fake Real” Star introduced by Dutch comedian-producer Eline van der Velden through her AI studio Xicoia. According to Variety, Norwood “has drawn the interest of several talent agents” after being debuted at industry-targeted Zurich Film Festival summit. Van der Velden informed the Zurich Summit panel that studios – early doubters of AI actors in early 2025 – are now “moving quietly ahead with AI projects,” and that she anticipates an imminent announcement of which agency will have Norwood as their client. And lo and behold, some talent agents are already swooping around her.

Her debut? An all-AI comedy sketch called AI Commissioner — from script to performance, it was all generated. Eline even went on to state that she wishes Tilly to become “the next Scarlett Johansson or Natalie Portman.” Daring, isn’t it?

Actors Are NOT Having It

News of Norwood’s agency buzz triggered swift backlash from working actors. Hollywood stars publicly criticised on social media, asking how a computer-generated “actress” would fill the role of actual actors. The Wrap covers –

Actress Melissa Barrera (In the Heights) took to Instagram: “Hope all actors repped by the agent that does this, drop their a$. How gross, read the room.”

Others sarcastically predicted that contracting an AI “actress” would be a PR debacle at best, a catastrophe at worst. The Independent’s report included similar zingers by stars such as White Lotus’s Lukas Gage: “She was a nightmare to work with!!!!”.

Van der Velden compares AI to previous technologies such as animation or CGI – “a new brush, a new paintbrush” – that enhance storytelling without doing away with live performance. She underlines that “nothing – certainly not an AI character – can take away the craft or joy of human performance”. 

Overall, some people think that it can jeopardize the real talent of real performance and their careers too but some believe that this is an experimental creative tool of Norwood.

Impact on Acting Careers and Talent Agencies

Tilly Norwood’s appearance has fueled controversy for the classic acting roles in the future. Critics caution that if studios or agencies start dealing with AI characters as commodities, human actors may see fewer opportunities, stated by Deadline. The 2023 SAG-AFTRA agreements already contain firm safeguards (negotiated under union pressure) to avoid unapproved AI use of actors’ likenesses. Union officials have maintained that any application of a performer’s digital double needs to be affirmatively approved and paid for.  On the agency front, some reps may consider an AI actor to be a publicity stunt worthy of consideration — industry speculation about an agency inking Tilly to garner press attention has been out there – but most agents are cautious. 

According to Hollywood Reporter, agencies that try to sign Norwood could destroy confidence: “If your agent does this, drop their a$.”  Practically speaking, even if Norwood or other AI talent land the occasional job (commercials, voiceovers, background), big stars will continue to be required for bankable leads, and productions will need to work with union rules. 

In the short term, Norwood’s case has placed agencies on notice that AI is a “hot” issue – agents can softly scout for AI talent or ignore the trend, but they risk blowback either way.

Studio Strategies and Production Trends

The Hollywood studios seem cautiously interested in generative AI. At the Zurich panel, Van der Velden saw a change in studio mindset from skepticism (“this is nothing”) early in 2025 to interest (“we need to do something”) mid-year.  Industry analysts point out that studios might view AI tools as means to reduce costs and speed content production (e.g., automating background extras, pre-visualization, or editing). Experts have indicated that AI may allow even smaller studios to “make high-end content at a fraction of the expense,” possibly expanding competition.

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The Audience? Torn in Two

The Deadline reports that the web’s leading “digital influencer,” Lu do Magalhães, boasts more than 8 million fans despite being a complete computer simulation.  This pairing demonstrates that although mainstream cinema audiences first refuse to accept blatant deepfakes, younger or more computer-literate audiences occasionally accept or indeed prefer artificial celebrities on the web. 

As van der Velden contends, if Norwood can provide compelling performances, audiences may be more concerned about story than she is machine. But at least for now, many industry observers believe AI actresses like Tilly will remain curiosities rather than genuine replacements for popular live performers.

So, Is Tilly Replacing Real Stars?

Tilly Norwood is only one example of AI’s growing footprint in entertainment. Industry analysts are forecasting that AI tools will become widespread in production pipelines (storyboarding, visual effects, language dubbing, etc.), though leadership in creativity will still be human-driven in the near term. Some believe AI will unleash a deluge of cheap content (offering regulation or curation), while others envision it as fueling indie innovation.  What is certain is that Hollywood will incorporate AI increasingly – though cautiously.

As the case of Tilly Norwood shows, studios and tech companies might chase “AI actors” as an experiment, but mass acceptance will depend on how audiences respond and union negotiations. If Norwood is successful at finding employment and garnering eyeballs, it will inspire more AI productions; if she crashes or incites consumer hostility, the market will tap the brakes.

Conclusion

As Variety and others point out, the controversy surrounding Tilly Norwood illustrates broader issues of whether AI is merely “another tool” for directors or a force that might disrupt conventional acting work. The long-term direction will depend on the degree to which Hollywood harmonizes progress with art and labor considerations – and a chapter that continues to be written.