Supergirl opened this weekend to disastrous box office numbers, but its fate was sealed long before that, and it has very little to do with the quality of the film or the performance of its cast.

The second offering in the James Gunn-curated DCU didn’t burn up on its entry into theaters. It was killed by a thousand Kryptonite darts in the weeks and months preceding, by an increasingly crowded YouTube/TikTok/IG landscape of monetized fandom that, as in every other facet of media, now runs on vitriol and negativity. Supergirl became its latest and perhaps most predictable target.

The film’s lead, House of Dragons alum Milly Alcock, was dogged from the moment her casting was announced, with a disturbing amount of venom hurled at her physical appearance (something that has reached a disgraceful zenith since the film’s release). Add to that a female screenwriter in Ana Nogueira (along with the rabid disdain for Gunn’s supposed “woke agenda” from aspiring alpha male online gatekeepers), and from the beginning, the Manosphere was simply not going to allow it to succeed.

A fierce torrent of dudebro think pieces, panel conversations, and supposed scoops flooded social media, each one working to one-up the others with sky-is-falling histrionics, Yellow-Sun-hot takes, and click-garnering thumbnails. More than any superhero movie since the first Captain Marvel film, have performative fragile males worked so hard to poison public sentiment before a second of footage was released.

Alcock especially has been hounded by criticism over her physicality and her perceived lack of enthusiasm on the press circuit (Serious, “Maybe you should smile more” vibes). YouTube accounts such as Nerdrotic Daily and Geeks + Gamers, whose stable of mortally insecure, insufferable incels have been among those most ruthlessly attacking the actress in an effort to grow their already massive viewership among other easily-lured young men weaned on Conservative sexism and toxic masculinity.

And, then, of course, there are the legions of perpetually lathered-up, zealous Zach Snyder fanboys who have been sitting vigil for the last couple of decades, and who want so desperately for the DCU to fail so that they can once again work themselves into a public frenzy to restore their beloved auteur to the lofty place they believe he alone deserves.

But it isn’t easily intimidated conservative men only, as plenty of female content creators gleefully joined in the incessant crepe-hanging over the last few months, proving that it isn’t just the guys who are capable of manufacturing misogyny or being driven to corrosivity by declining revenue streams and oversaturated online spaces. To curry the favor of their largely male audiences, many women in these spaces have face-shamed Alcock with juvenile AI-generated caricatures.

And let’s be clear: art’s interpretation is subjective, and there’s nothing wrong with criticisms grounded in substance, or admonishments about straying from the source material ( as happened here), but that’s not what this is, as evidenced by the giddy celebrations of the film’s financial failure among the men largely filling these spaces.

Supergirl is a flawed yet well-crafted comic book movie. Alcock, especially, does wonderful work embodying the titular character and deserves to get further chances to bring Kara Zor-El to audiences. While it by no means reaches the stratospheric heights of Christopher Nolan’s The Dark Knight, Sam Raimi’s Spider-Man 2, or the Russo Brothers’ Infinity War, it sure as heck isn’t Morbius, Black Adam, or Ant-Man and the Wasp: Quantumania, either.

The sad truth is that even in comic book spaces that should be more evolved than other media landscapes, women actors, writers, artists, and directors still have to do three times the work to get a fraction of the credit, and in an exponentially expanding virtual landscape where the lowest common denominator is courted and women are targeted, we’re going to continue to see these stories play out.

Supergirl is a perfect example of how toxic content creators have ruined the experience of anticipating and seeing a comic book movie, spewing out a steady stream of negativity, speculation, rumor-mongering, and doom forecasting.

By constantly needing to compete in the oversaturated market, they build their brands on grievance, creating ever-more incendiary content and engendering so much hatred toward a film before it’s even out that it doesn’t have a chance to be received on its merits.

Combine that with the reality that 90 percent of these creators are dudes or women trying to draw their gaze, and a female-led superhero movie faces impossible scrutiny.Supergirl didn’t fall, at least not completely.

She simply burned up in the Manosphere.

The Beautiful Mess by John Pavlovitz is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit johnpavlovitz.substack.com/subscribe