From Kang to Doomsday: Unpacking the MCU’s Phase 6 Revolution

Supergirl’s outfit has never been just an outfit. Costume has been a constant source of identity issues for the character. And still, a debate continues to revolve on social platforms. From Melissa Benoist’s sunny Arrowverse take on the character to Milly Alcock’s gritty DCU debut, Supergirl’s wardrobe has been telling stories long before she’s landed her first blow.

At the heart of the development of Supergirl’s look is not about fashion trends. It is what kind of hero the world needs her to be. And while Benoist’s suit was a symbol of unity and hope, Alcock’s costume is for survival, sorrow, and isolation. Those two creations embody very different approaches to storytelling. 

The Arrowverse Supergirl: Dressing the Paragon of Hope

It seemed like there were dark leather suits and gritty realism everywhere when Supergirl premiered in 2015. Costume designer Colleen Atwood had to find a way to take Silver Age idealism and translate it into a contemporary, realistic look without making the character seem cold.

The solution was subtlety. Melissa Benoist’s costume was based more on texture than armor or detailing. The matte Euro-jersey material absorbed rather than reflected light, making the outfit appear soft, friendly and human. This Supergirl was supposed to be inspiring, not frightening. Strength was there, but never aggressive. 

Arguably the most conscious decision was the omission of the notorious midriff costume that the character sported in the comics. The high neckline, long sleeves and thumb holes suggested function over fashion. Kara was portrayed as a hard-working, active hero — not a pinup. Even the thumb holes brought an “activewear” feel, making the suit more about function than fantasy. 

The Skirt Debate

For the first four seasons, the red pleated skirt was a staple of Benoist’s Supergirl. In part, it paid tribute to the character’s comic legacy and suggested that femininity and strength could co-exist. She was able to save the city, but do so while being joyous and kind and emotionally open.

But the skirt was also contentious. Critics said that it infantilized the character, comparing it to a cheerleader uniform rather than armor for battle. Yet the show leaned into this tension. That skirt sent a message: Supergirl wasn’t required to ditch the traditionally feminine signifiers to be capable. Her sunny disposition wasn’t a vulnerability — it was her superpower. 

Reality Steps In: The Pants Era

The biggest change was in  , when the character started wearing full length pants instead of the skirt. Though it was presented as maturing character-development, the change was due more so to production needs. Shooting in Vancouver’s brutal weather, the original suit was an ordeal for Benoist.

The new suit highlighted unity and protection. The elongated blue body, attached boots, and solid gold belt gave the outfit a more armored, technological look. It was sensible, but it also watered down the immediately recognizable outline Supergirl has. It was practical—but it also diluted the instantly recognizable Supergirl silhouette.

Benoist’s Supergirl remained, above all else, an icon. Her costume was sleek, luminous and aspirational, customized to comfort both viewers and the world she saved. 

The DCU Supergirl: Armor for a Broken Survivor

Milly Alcock’s Supergirl finds itself in a vastly different world. Kara is no longer defined by being integrated or hopeful under James Gunn’s DCU. She’s defined by loss.

Born amongst the remnants of Krypton and seeing all she loved perish, this Supergirl is not a light—she is a survivor. Her costume reflects that reality. Taking inspiration from Supergirl: Woman of Tomorrow, the costume dispenses with sleek minimalism and introduces layered textures, metallic weaves and visual weight. This is not clothing. It is armor.

Read More 👉  Kathleen Robertson and Mark Engelhardt Join the Hit CBS Series the Tracker

A Crest Without Warmth

The largest visual change is the House of El symbol. The Kingdom Come diagonal slash that has traditionally been a sign of disenchantment is now part of Alcock’s crest. The elimination of yellow is vital. Yellow is warmth, sunlight and positive feeling. It’s gone to indicate mourning. She bears the name of the family, but not its innocence. 

The Return of the Skirt—Reclaimed

In a surprising about-face, the DCU reintroduces the skirt. But this is not the CW’s smiling cowlick of cheer. It’s heavier, more structured, and worn with thigh-high boots. The skirt on this occasion is cultural, not cute — a claim that femininity doesn’t need justification.

In contrast to the earlier debates, Alcock’s Supergirl is not depicted as trying to be “approachable” by putting on the skirt. She vents it because she doesn’t give a damn what people think about it. Her toughness is unquestionable. 

Space Grunge and the Drifter Myth

Maybe the most revealing aspect of Alcock’s visual design is what she wears on top of the suit. The oversized trench, combat boots and sunglasses make her a cosmic drifter. This Supergirl hides herself from the world, cloaking trauma in layers.

The contrast is deliberate: under the tattered, dirty shell is the regalia of a bygone culture. It is visual storytelling at its most efficient. 

Conclusion

The shift from Arrowverse to DCU is a game changer for the genre in and of itself. Supergirl isn’t just a beacon of hope anymore. She was evidence that hope could exist after ruin. 

Melissa Benoist’s Arrowverse suit was a beacon of hope, warmth, and community, making Supergirl someone to look up to. Millie Alcock’s DCU design, however, is armor – forged through loss, survival, and emotional wounds. All of these identities give us a visual representation of Supergirl’s arc from a bright emblem of hope to a profoundly human survivor, reminding us that what a hero wears can tell the tale of who they are—and what they’ve been through. 

Catch up on the DC universe costumes revolution with facts and accurate details theory behind the symbol with Fandomfans.

Old Hollywood Movies have funny ways of vanishing, only to burst back into our lives unexpectedly. At one moment they are collecting dust in the vaults of studios, considered outdated by now and the next they are lighting up streaming services, film festivals and even TikTok feeds. So as you compare today’s blockbusters dominating the theaters and the awards seasons, you might be wondering which classic films you could still sink some quality time into and the answer might surprise you: plenty.

Thirty, 50 or even 80 years later, these films are as relevant as ever. Fueled by internet algorithms, cultural nostalgia, and storytelling that will never grow old, Old Hollywood has attracted a generation of new fans. This revival isn’t accidental — it’s a reminder that extraordinary film doesn’t go bad. 

Below are five Old Hollywood masterpieces that gleamed once again, discovered anew through viral moments, unlikely reboots and well-earned cult devotion.  

Old Hollywood Movies That Refuses to Stay Buried

From 1942—Casablanca 

First on the list is Casablanca. Rick Blaine’s immortal “Here’s looking at you, kid,” delivered by Humphrey Bogart to Ingrid Bergman as Ilsa Lund, still stings with the same muted pain decades later. Upon its release the film was a full-blown phenomenon making a fortune at the box office and receiving critical acclaim winning three Oscars, including Best Picture. 

By 60s it was pretty much forgotten in the haze of New Hollywood’s grit. Revival struck in 1970 when a TV station looped it endlessly out of a programming error. Viewers tuned in obsessively, and it became appointment TV. By the ’80s home video cemented its legend.

And now, Algorithms from Netflix are now mass-marketing it to Millennials on romantic playlists —and memes are flooding social media. Love, sacrifice and moral uncertainty are its themes, which ring true in our divided world demonstrating that black-and-white romance never dies. 

From 1946—It’s a Wonderful Life

It’s Wonderful Life (1946) next in the list of Old Hollywood Movies. George Bailey, played by James Stewart, is a suicidal man who is shown the meaning of life by an angel in Frank Capra’s charming, sentimental film. 

They wagged their heads at it in Hollywood. In 1974, it was made available to television stations as a non-commercial holiday message when the copyright expired. Families weeping over Zuzu’s petals as they are glued to screens. It was a Christmas tradition by 1990 and earned millions of rerun dollars. 

Gen Z found it on Prime Video in lockdowns, leading to TikTok’s with millions of views for its mental health message. Stewart at his most nakedly vulnerable is like therapy — timeless in troublous times. 

The Wizard of Oz 

The Wizard of Oz (1939), Judy Garland’s Dorothy skipping along the yellow brick road made the movie a Technicolor box-office sensation and won two Academy Awards. But after World War II, it quietly dropped out of sight — until 1956, when annual broadcasts on CBS television brought it back into living rooms and made it a beloved ritual. 

Children like Steven Spielberg were obsessed with ruby slippers, giving rise to a ritual. MGM’s new color technology was dazzling on small screens, popularizing “Over the Rainbow” in pop culture. Revivals went crazy in the ’70s with album sales and ’80s VHS booms. 

Now, it’s on HBO Max for nostalgic eyeballs, as Pink Floyd shows up on YouTube for Dark Side of the Moon sync-ups. 

From 1950—Sunset Boulevard 

Sunset Boulevard (1950) remains a quintessential post-1950 film noir Directed by Billy Wilder, it delves into Hollywood’s seedy underbelly with a story of a has-been and obsession. 

The plot is a flashback narrated by struggling screenwriter Joe Gillis (William Holden), who is on the run from repo men and takes refuge in the decaying mansion of reclusive silent film star Norma Desmond (Gloria Swanson). She retains him to revise her script for a comeback, resulting in a demented romance in the midst of her view of stardom, her faithful butler Max (Erich von Stroheim) supporting her globe. It comes to a tragic end in her Sunset Boulevard home, with a jibe at the transitory character of fame.  

Retro for cancel-culture darlings, streaming-era stars. On TCM and YouTube, it is trending with film students analyzing the toxicity of the industry — Swanson’s mania is still very much relevant. 

From 1952—Singin’ in the Rain 

Singin’ In the Rain (1952) – Gene Kelly’s high spirited musical parody of the shift to talking movies. It was a modest success at the time, but then lay dormant until the 1960s, when it was voted top musical by the American Film Institute. Home video in the 80’s made “Good Morning” dances a party staple. Disney’s stage version and Baz Luhrmann references kept the flame. 

Post-2000, TikTok challenges featuring Kelly’s rain-soaked twirl through the air explode yearly — more than 500 million views. Its optimism breaks intuitive doom-scrolling, who doesn’t want that puddle-jumping glee? 

Read More👉  Everything We Know About A Knight of the Seven Kingdoms Till Now

Conclusion

What these Old Hollywood Movies loudly, unapologetically declare is that great cinema doesn’t grow old, it hibernates. When the world finally gets around to their feeling, thinking, or magical selves, they rouse themselves up, stronger than ever. None revives feel quite as nostalgic as rediscovery, from moral courage in Casablanca to candid talk of mental health in It’s a Wonderful Life, to unadulterated cinematic bliss in Singin’ in the Rain. 

None of those can save a movie; they merely returned these movies to the people who were most desperate for them. These classic gems make itself a silent yet painful reminder that like us, some stories never truly end or they may never be done with us in the first place in a world that is obsessed with the new. 

Get into the nostalgia with Fandomfans for these old hollywood movies with great story and cast.