Why James Gunn and Peter Safran’s Short-Lived DC Era Was Less Than Super

Why James Gunn and Peter Safran’s Short-Lived DC Era Was Less Than Super hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 11, 2026 12:45pm PT Why James Gunn and Peter Safran’s Short-Lived DC Era Was Less Than Super By Owen Gleiberman Plus Icon Owen Gleiberman Chief Film Critic @OwenGleiberman Latest ‘Avedon’ Review: Ron Howard’s Thrilling Documentary About Richard Avedon, the Great Photographer Who Turned Head-On Portraits Into an Art Form 3 days ago ‘The Cat in the Hat’ Review: Bill Hader Leads an Animated Dr. Seuss Comedy So Overstuffed It’s Like a Marvel Movie for Tots 1 week ago Ken Russell’s ‘The Devils’ Feels More Relevant Than It Did 55 Years Ago.

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That’s Because It’s About a World Gone Mad 2 weeks ago See All Add us as a Google Preferred Source Comments I’m not in the business of second-guessing movie-studio executives. But after yesterday’s bombshell announcement that James Gunn and Peter Safran would be stepping down as the CEOs and chairman of DC Studios, I flashed back to the moment when I first questioned what these two were up to in their new roles.

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31, 2023, the day they announced their grand plans, unveiling the vast roster of DC projects that they were going to be shepherding. There were promising ideas in the mix, and there were a lot of ideas (that’s long been a James Gunn asset and liability — his compulsion to give you too much of what he thinks is a good thing).

But the one that set off my alarm bell was that Gunn and Safran were planning an all-new “Batman” series, one that, within the realm of Warner Bros., would run alongside “The Batman” and its sequel. Related Stories Taye Diggs to Star in Fox’s ‘The Chosen: The Three Kings’ Christmas Special, Which Gets Premiere Date and First Look (EXCLUSIVE) Can you say entertainment headache?

I love the character of Batman as much as anyone, but by the time that announcement was made, it felt as if we’d already had 15 Batmans — a number of which, in the ’90s, felt like reboots. With each new actor (Val Kilmer, George Clooney), the series was starting over, and not all that well (a sensation that would extend into the era when Ben Affleck donned the cowl and the husky voice).

But, of course, the interchangeable flow of Batmans was magnificently transcended when Christopher Nolan made his “Dark Knight” trilogy. And then, against all odds (since “The Dark Knight” was the greatest superhero movie ever made), Robert Pattinson teamed up with director Matt Reeves to make “The Batman,” and that movie turned out to be spectacularly good .

It was clear that Pattinson and Reeves now owned the Batman karma. After 35 years of revolving-door Batman-franchise identity games, Gunn and Safran were going to do their very own version of “Batman,” competing with “The Batman,” turning the Warner Bros.

release schedule into its own mini multiverse. Yes, I realize that Sony had done something similar with the character of Spider-Man (to great success), releasing the “Spider-Verse” series in tandem with the studio’s blockbuster live-action “Spider-Man” movies.

But the fact that the “Spider-Verse” films were animated kept them spiritually separate. It felt like the new DC Studios plan was simply destined to add to the Batman clutter.

It was an early tip-off to how the Gunn/Safran era would be “ambitious,” but in a way that reflected a certain hubris and naïveté, marked by an ethos of scattershot overkill. I was, of course, eager to see if the new DC could rise above superhero burnout — the whole feeling of exhaustion and low-grade rerun fever that now hovers over comic-book movies — and present

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