James Gunn confirms a Supergirl teaser drops this week Millie Alcock is set to make her feature debut in the DC film, which is due in cinemas on June 26, 2026.
Now, the moment fans of the DC Universe have been waiting for is about to arrive. James Gunn, the visionary director and co-head of DC Studios, has just confirmed that the official Supergirl teaser trailer will be released this week. Following months of excitement after Milly Alcock’s shock debut in Superman, the Girl of Steel is ready to take centre stage.
The buzz surrounding this announcement is sky high. Ever since Alcock delivered that memorable cameo near the end of the Superman movie crashing into the Fortress of Solitude after flying on red-sun planets — fans have been begging for more. Her entrance immediately establishes the tone for a woman markedly different from her cousin, Clark Kent. Where Superman represents hope and positivity, Supergirl seems like a more layered, quixotic, even fascinating character.
The “Look Out” marketing tag line is a pun on and a signpost to this departure from the “Look Up” Superman campaign, and it indicates that Kara Zor-El is the source of whatever new attitude is taking hold of the DC Universe.
Gunn’s confirmation comes after a massive bombshell at WB’s CCXP25 where they previewed fans with Supergirl’s official costume as the world is built with themed vignettes.
The studio certainly went all out to drum up excitement for the next big chapter in the franchise. In releasing the teaser trailer this week they are also tapping into that buzz and making sure people are talking as we get closer to the film’s release on June 26, 2026.
The character has long lived in the shadow of Superman, playing a secondary role for much of its existence. However this new version of Supergirl, based on the acclaimed “Supergirl: Woman of Tomorrow” story arc, will be about giving Kara Zor-El her own adventure. From director Craig Gillespie (I, Tonya) — who is also co-writing the script alongside Zach Dean — this one is being described as a space adventure with emotional impact and complexity. James Gunn has also previously teased that Supergirl will be a cosmic journey fans have never seen before.
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The teaser trailer was originally posted on social media, offering fans their first look at Milly Alcock as Kara Zor-El. Alcock, who won hearts with her portrayal in House of the Dragon, offers a new angle to the role. When she was cast, Gunn himself praised her ability, saying he was “blown away” by her auditions and screen tests.
With an amazing cast led by Jason Momoa as anti-hero Lobo, Matthias Schoenaerts, Eve Ridley and more, this movie has the potential to be something really special. The arrival of Krypto, Superman’s super dog, offers one more connection to the broader Kryptonian lineage being developed in this new DC Universe.
The announcement that the Supergirl teaser is coming this week is the DC Universe revitalization moment. Milly Alcock as a fearless, emotionally layered Kara Zor-El, and James Gunn at the helm of the grand creative vision – it’s clear this franchise is priming itself for a new tonal shift. Whether it’s the CCXP25 costume reveal or the “Look Out!” tagline, everything points to a character and a movie that wants to live outside of Superman’s orbit and find her own place in the cosmos.Supergirl: Woman of Tomorrow could be one of DC’s best defining cinematic moments yet.
Explore the Future of the MCU, including returning heroes, the upcoming Avengers movies, and major story changes shaping Marvel's next phase.
Benedict Cumberbatch has an extraordinary double billing in Hollywood right now. He’s in, a cornerstone, really, of Marvel’s almighty cinematic universe (MCU). On the flip side, he has a solid independent film career, as evidenced by his upcoming film, The Thing With Feathers. That balance of blockbuster dominance and arty experimentation speaks to his versatility, and the power of his star.
Reports indicate that the MCU is the financial foundation and global visibility for Cumberbatch, but projects like The Thing With Feathers are vital to keep his critical worth alive. This file claims the actor is now carrying out a “legacy management” approach, wielding clout to influence the creative direction of his blockbuster commitments and demonstrated by his producing role and director selection preferences while also going back to his experimental, literary roots in adaptations.
The Thing With Feathers is a departure from the visual effects-laden projects that Benedict Cumberbatch has been attached to of late. From acclaimed novelist Max Porter’s bestselling novella Grief Is the Thing with Feathers, the film preserves the book’s idiosyncratic, poetic form and surreal atmosphere.
The plot revolves around an unnamed London father (Dad) and his two sons as they struggle to survive in the wake of the sudden death of their wife and mother. Into their mourning home comes Crow— a frenzied, mythic character who says he’ll remain until the family no longer requires his presence. Crow is the physical manifestation of grief, so for Jack, it’s the personification of losing his wife.
Helmed by Dylan Southern, it employs a dreamlike non-linear narrative to bring Porter’s emotional, stream of consciousness novel to life on the screen, mixing stark household realism with surreal horror.
Cast Highlights
Benedict Cumberbatch as Dad – a profoundly raw portrayal of mourning, more in line with his work in Patrick Melrose than Doctor Strange.
David Thewlis as Crow – a sinister but bright, guardian and bully.
Richard and Henry Boxall play the brothers, and this is the one that really did engage me emotionally.
The movie doesn’t treat grief as hushed sorrow, but as frenetic, cluttered, and terrifying. Crow becomes the father’s Jungian shadow, making him face feelings he seeks to escape – turning the tale into a psychological thriller where the real beast is internal suffering.
Cumberbatch’s acting is considered to be one of the best if not the best. Praise for him speaks of him being in “terrific shape” and turning in a performance that is “confidential and emotional”. The Guardian also notes that:
“While the attention is on the home drama the film is involving and
affecting.”
Cumberbatch is reportedly taking a more “hands-on producerlike” role who will be able to handle the visual spectacle, with the film’s intellectual depth in the making of the film.
“very protective of the character and wants a director”
—He said
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Cumberbatch gave an interview in early 2025 in the dance where she said she would not be appearing in Avengers: Doomsday (2026), sparking rumors that the character would be written out. However, in the The Thing With Feathers premiere at Sundance he flatly corrected reports.
“I got that wrong, I’m in the next one.”
—Cumberbatch said and also joked to fans,
in reference to the tight Non-Disclosure Agreements (NDAs) and secrecy culture that Marvel instills, which frequently has its actors feed false information to the press to protect surprises.
It is now confirmed that Doctor Strange will appear in Avengers: Doomsday (2026) and will have a “huge” role in Avengers: Secret Wars (2027).
Strange’s place in Secret Wars should be similar to his prominence in the comics, acting as second-in-command (“Sheriff of Agamotto”) to Doctor Doom, leader of the multiverse’s remains (Battleworld). Robert Downey Jr., reprising his role for the first time as Doctor Doom from the MCU, the dynamic between Cumberbatch and Downey Jr. (who also starred together as Sherlock Holmes and Iron Man, respectively) recently tops for the studio.
The next few years are crucial for Benedict Cumberbatch. In a London flat in “The Thing With Feathers” audiences will also get to see him unmasked and fighting a figurative crow. This part reconfirms his dramatic obama essay credentials and acts as a Salto dancer à la spectacle au lieu de suivant.
At the same time, the Marvel Cinematic Universe machine is turning toward him. The active development here is Doctor Strange 3, strongly based on the “Time Runs Out” storyline, and his already confirmed appearance in Avengers: Doomsday, marking him as the story lead of the Multiverse Saga’s concluding chapter. Bird-themed surrealist or multiversal terrors: on both, Benedict Cumberbatch is at the center of two vastly different though thematically connected cinematic universes.
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‘The Mandalorian and Grogu’ will bring Star Wars back to theaters in 2026. Discover how Lucasfilm is redefining marketing, budgeting and fan expectations.
Star Wars’ return to the cinema should have felt like a galactic coronation. With the countdown to the release of The Mandalorian and Grogu (May 22, 2026) now well underway, here comes something rather unexpected — confusion.
It was a seven-year gap on the big screen, so people were expecting a “shock and awe” campaign. What they received in Super Bowl LX was a 30-second parody of a Budweiser commercial narrated by Sam Elliott’s gravelly voice that features Tauntauns pulling a sled. It was bold, it was weird, and it signaled a massive change in how Lucasfilm treats its most precious cargo.
Usually a $10 million Super Bowl spot is spent displaying “heavy artillery” — explosions, high-stakes drama and cinematic scale. Instead of a third wall-smashing joke, director Jon Favreau and new leadership team of Dave Filoni and Lynwen Brennan didn’t just shatter the mold; they pretended it didn’t exist.
The commercial, “A New Journey Begins,” indulged full-force in “Comfort Marketing.” Rather than treating the movie as “there’s mythology behind everything, and you have to do your homework” (a common critique of the Sequel Trilogy era), the ad treated the characters as old friends. It puts its chips on the notion that Grogu is a worldwide icon who doesn’t need a plot summary to sell a ticket — he just needs to make people smile.
Industry watchers have been quick to note the “Solo-esque” red flags. Like 2018’s Solo: A Star Wars Story, this movie has a May release date and a somewhat late marketing push. But the internal economics are another story:
A global take of $500 million would have made The Mandalorian and Grogu a massive success, but it would have been a flop for The Rise of Skywalker. The marketing department was allowed to be “bizarre” about the Super Bowl this year on account of the diminished financial burden.
It’s also the creative debut for Dave Filoni. Filoni, the master of “deep cuts” into Star Wars lore, has brought a surprising cast to the table:
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The Mandalorian and Grogu Star Wars fans expecting as much darkness as Dune will probably find the “Budweiser Parody” off-key. But it is a reminder to the wider world that this franchise can be enjoyable.
Lucasfilm is betting that audiences are ready for a Space Western that values character over complexity after years of galaxy-ending crises. This May will tell if this “confusing” strategy works or ends up as a cautionary tale like Solo. With Sam Elliott narrating and a “swole” Hutt, one thing is certain: this isn’t the Star Wars of 2019. Something much more human.
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