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James Gunn Announces Slate for ‘DCU: Chapter One: Gods and Monsters’

James Gunn and Peter Safran, who are currently heads of DC Studios at Warner Bros., announced the slate for the first part of their plan the morning of Tuesday, January 31st. Consisting of five films and five television series, the first chapter of the new DC Universe looks bright. Titled Gods and Monsters this first batch of content will tell the first half of a larger narrative being established by Gunn and Safran.

You can find the list of the freshly announced projects below, and don’t forget to let us know in the comments which projects you are most excited for!:

TELEVISION:

Creature Commandos: A seven-episode animated series that is already in production. Originally a team of classic monsters assembled to fight Nazis, this is a modern take on the concept.

Waller: In a spinoff of HBO Max hit series Peacemaker, Viola Davis will return as the ruthless and morally ambiguous head of a government task force. It is being written by Christal Henry and Jeremy Carver.

Lanterns: Greg Berlanti’s long-in-the-works Green Lanterns TV series has been scrapped (and Gunn and Safran have parted ways with the longtime DC series steward). In its place will be a new take on the space cops with power rings. “Our vision for this is very much in the vein of True Detective,” Safran mentioned. “It’s terrestrial-based.”

Paradise Lost: The duo describe this HBO Max series as a Game of Thrones-style drama set on the all-female island that is Wonder Woman’s birthplace, Themyscira, filled with political intrigue and scheming between power players. It takes place before the events of the Wonder Woman films.

Booster Gold: An HBO Max series based on a unique, lesser-known hero created in 1986. Safran said of the series, “It’s about a loser from the future who uses basic future technology to come back to today and pretend to be a superhero.” Gunn described it as “imposter syndrome as superhero.”

FILMS:

Superman: Legacy: The movie featuring the Man of Steel that Gunn is writing and may direct, although no commitments on that end have been made. Superman is the true kick-off for the duo’s DCU plans. “It’s not an origin story,” Safran said. “It focuses on Superman balancing his Kryptonian heritage with his human upbringing. He is the embodiment of truth, justice and the American way. He is kindness in a world that thinks that kindness is old-fashioned.” A release date of July 11, 2025, has been penciled in.

The Authority: A movie based on a team of superheroes with rather extreme methods of protecting the planet that first originated in the late 1990s under an influential imprint known as Wildstorm, run by artist and now head of DC publishing Jim Lee. “One of the things of the DCU is that it’s not just a story of heroes and villains,” said Gunn. “Not every film and TV show is going to be about good guy versus bad guy, giant things from the sky come and good guy wins. There are white hats, black hats and gray hats.” Added Safran: “They are kinda like Jack Nicholson in A Few Good Men. They know that you want them on the wall. Or at least they believe that.”

The Brave and the Bold: “This is the introduction of the DCU Batman,” said Gunn, “of Bruce Wayne, and also introduces our favorite Robin, Damian Wayne, who is a little son of a bitch.” The movie will take inspiration from the now-classic Batman run written by Grant Morrison that introduced Batman to a son he never knew existed: a murderous tween raised by assassins. “It’s a very strange father-and-son story.”

Supergirl: Woman of Tomorrow: Taking its cues from the recent Tom King-written miniseries, this movie promises a different take than what most think of when Superman’s cousin comes to mind. “We will see the difference between Superman, who was sent to Earth and raised by loving parents from the time he was an infant, versus Supergirl, raised on a rock, a chip off of Krypton, and who watched everyone around her die and be killed in terrible ways for the first 14 years of her life and then come to Earth. She is much more hard-core and not the Supergirl we’re used to.”

Swamp Thing: A horror film that promises to close out the first part of the first chapter.

ELSEWORLDS:

The Batman sequel: Pattinson will continue to portray the Dark Knight in at least one more crime saga movie directed by Matt Reeves. That movie, the executives revealed, will be released Oct. 3, 2025, and is being titled The Batman Part II.

Source: THR

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Robert Hamer
1 year ago

What is really interesting to me is how much of this planned rollout reflects D.C.’s decades-long desire to revamp and relaunch themselves in a way that will make them more competitive against Marvel, but are nervous about fully committing to a 100% clean slate. So they’re moving The Batman (and presumably Joker) continuities to some “Elseworlds” alt-timeline so they can keep those fans invested in a way that doesn’t “interfere” with their “real” continuity. They know they’re not going to improve on Viola Davis as Amanda Waller, so they’re going to keep her around and hope fans just go with it the way we all just sort of accepted Judi Dench‘s M being carried over into the fully rebooted Daniel Craig era.

D.C. Comics has done this multiple times, too. They hire Jack Kirby to bring his signature cosmic weirdness to their comics to give them that Marvel magic in 1971… and then assign him to Superman’s Pal Jimmy Olsen and have one of their veteran artists redraw Superman on his first few issues so Kirby doesn’t change too much of their superhero universe. They bring on Denny O’Neil a few years later to reduce Superman’s powers so he can be more like those more vulnerable Marvel characters… and then retcons those changes within a few months. They rework and relaunch New Teen Titans as a blatant attempt to replicate the X-Men and they replace Barry Allen’s Flash and Hal Jordan’s Green Lantern with two younger heroes who were, in essence, just variations on Spider-Man… but resurrect both of those older characters to appease the older fans. They’ve restarted and rebooted their comic book continuity multiple times in this weird one-foot-in-one-foot-out approach that I can’t help but see as a mirror of how their movie studio is doing business.

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