[A photo of Superman from Max Fleischer’s Superman. Photo Credit to Wikimedia Commons]

Superman has claimed $125 million from domestic viewers in its opening weekend, reaching $55 million to $66 million in its second weekend after its July 11th release date.

Director James Gunn’s Superman has earned a total of $155 million domestically and $250 million internationally. 

However, the movie has come under fire in certain circles for its themes that some claim to be “woke” and for generally handling too many political subjects for a superhero movie.

Meanwhile, advocates of the new film come to its defense, saying Superman has always been a character steeped in such thematic matters.

The summer blockbuster marks the start of a brand new era for DC Studios, which is now headed by director James Gunn of the Guardians of the Galaxy trilogy fame.

In October 2022, DC announced it was putting James Gunn in charge of their cinematic projects, shortly after Gunn’s firing from competitor Marvel Studios when problematic old tweets from the director reemerged.

The new co-CEO of DC Studios made an announcement on the DC YouTube channel saying, “DC has been disconnected in film and television,” noting the shortcomings of the studio during the previous decade.

He went on to announce multiple movies and television series within his new framework titled the “DCU” (short for DC Universe), including an upcoming Superman film featuring actor David Corenswet as the titular character.

By July 2025, Superman had earned $337.2 million at the box office, more than earning back its reported $225 million production budget and making it the top-grossing superhero film this year to date.

Critics and general audiences have had an overall positive reception to the film, with  a 7.6/10 score on IMBb as well as an 83% rating by critics and 92% rating by audiences on Rotten Tomatoes.

Opinion has been split among die-hard fans of the superpowered hero. 

Some fans online have cited this as turning the tide for DC movies from past failures such as The Flash, Aquaman and the Lost Kingdom, and Shazam: Fury of the Gods.

Its bright, colourful, and hopeful interpretation of the Last Son of Krypton has also pleased many comic fans.

However, fans of previous DC Studios head Zack Snyder, commonly referred to as “Snyderfans”, remain largely negative towards this new cinematic take on Superman, preferring Henry Cavill’s portrayal of the character in 2013’s Man of Steel. 

More challenges may await the new movie as it competes with Jurassic World Rebirth and the upcoming Fantastic Four movie, similar action-oriented, big studio blockbusters.

Perhaps the biggest clash Superman will face this summer is not Lex Luthor or another one of its other colourful villains, but rather real-life politics.

Many have already commented that the central plot of the movie strongly resembles ongoing real-world conflicts.

Criticism directed at Gunn includes accusations of an overly simplistic narrative being presented about complex issues. 

One article stated, “It’s neat and clean and not at all how the world works, even in most comic book movies.”

Another common critique of Superman has been that it is “woke.”

Others have defended Gunn and his new film, claiming the themes central to the film have always been part of the character’s DNA from his inception by Jerry Siegel and Joe Shuster. 

Critic Alissa Wilkinson wrote in the New York Times, “Let’s not forget that Superman was created by two Jewish men, Jerry Siegel and Joe Shuster…” adding, “Superman took on corrupt politicians, unscrupulous businessmen and substandard housing conditions. And he was staunchly anti-fascist…”

Gunn’s Superman is not only this summer’s major action blockbuster, but it serves a vital role in many ongoing stories.

Whether in the future of DC as a company hanging on the success of this Superman’s debut, the online conflict between Gunn’s supporters and “Snyderfans,” or in more serious geopolitical conversations, the Man of Tomorrow once again cements himself as a relevant cultural icon for contemporary audiences.