When it comes to superhero movies, Marvel has become the household name to beat: the first to establish an interconnected universe of movies, to assemble its heroes on the big screen, and to introduce African and Asian superhero protagonists, microscopic and quantum realms, and magic and celestial beings — the list goes on! These are not just metrics or checkpoints; they are new experiences that familiarize fans with uncharted territories. They exceed expectations… while there are still none.

This race to awe the audience is perhaps the driving force of the superhero movie industry and one of the big reasons for the consistent growth of Marvel. But while Marvel has successfully wrapped up its first saga after more than 10 years and 20 movies and is looking toward its next phase, their “distinguished competition” DC still dwells on the uncertainty of an extended universe, promising a resolution with the concept of a “multiverse” — allowing for multiple versions of characters like Batman in separate continuities. But when did things go south for the first superhero comic book publisher? Where can they go now, and why not in the same direction as Marvel?

Apart from the tendency of Warner Bros. — the studio that produces DC movies — to intervene in the creative process of its directors, the alleged cases of abuse and discrimination toward the cast, and inconsistencies in the movies’ continuity, the main problem stems from Warner Bros.’s lack of understanding of the characters and thus inability to pleasantly surprise the fans.

Over the many decades of superhero movies, fans have figured out the formula of adapting characters from comic books into the big screen. Combined with leaked footage from the sets of upcoming movies, the many theories on the internet, and cast member interviews, it has become increasingly more difficult to keep a story under wraps. But even more so, with Marvel constantly breaking barriers and an arsenal of unique movies, DC was met with countless expectations when they announced a movie with the “World's Finest” superheroes — Superman and Batman — to kickstart a new universe. However, although fans were delighted to see their childhood heroes on screen, they were unhappy with how they turned out, whether it was a modified backstory or a direct change of a hero's values — the very foundation of any character.

But how do you satisfy millions of fans, with their individual visions for the movies and their collective effort to figure out your plans? You do not: you may deceive them with modified trailers (looking at you, Marvel), but at the same time, you do not clash with your audience. You preserve the very essence of their beloved characters, investing time to learn of their values and what makes them resonate with the fans. Only after building this strong foundation, you go forth to introduce new faces and expand the universe. 

Unfortunately, the Warner Bros. executives did not even pay attention to Superman's story prior to making adjustments to the movies he is in. David Goyer, the screenwriter for Man of Steel recalls a suggestion from the studio that fully captures this problem in an interview with The Hollywood Reporter: “The note we got from the studio said, ‘You have to change that.’ We [Goyer, Christopher Nolan, and Zack Snyder] asked why. They said, ‘Because if Superman uses that pod and it’s destroyed while saving the city, how is he ever going to get back home to Krypton?’ There was just this long pause and we said, ‘Krypton blew up. You saw 30 minutes of it!’” Goyer further emphasized that “one of the other things that’s made Marvel incredibly successful is [that] all of their adaptations are true to the source material.”

However disappointing it might be, at the end of the day, we should remember that Hollywood — just like any other entertainment giant — will always remain a business first. Executives will rarely prioritize the value of art when they are more concerned about generating profit, staying afloat, or just not becoming the worst there has ever been — that is the industry, the art, and the harsh truth.

DC excels in exploring untraditional ideas and appealing to a mature audience, but while they have succeeded in animation and games, they struggle in film. Although children and teenagers are the most profitable target audience, it just wasn't a good option for DC to begin with. Violent games, gruesome plots, and R-rated animation were the pinnacles of DC, often making fans think deeply beyond surface-level excitement. Perhaps, this path can be just as promising for cinema, with the “Snyderverse” being the first step — a symbol of peace and trust between the conflicting fanbase and studio. Instead of rushing their next steps in response to the competition, DC should take a look at their strengths and carefully chart their own path.