June 11, 2026
Since her official debut in 1959, Supergirl has struggled to emerge from the shadow of her cousin, Superman. So it’s a bold move that the second cinematic release in the newly rebooted DC Universe will be Supergirl.
Milly Alcock first appeared as Supergirl in the epilogue to Superman (2025). Her Supergirl is a brash “party girl” – an immediate contrast to David Corenswet’s squeaky clean rendition of Superman. Based on the comic book Supergirl: Woman of Tomorrow (2021) by Tom King and Bilquis Evely, she is a traumatised character, dealing with the destruction of her home planet of Krypton. “I have no people,” Supergirl laments in the trailer.
However, Supergirl was not always so introspective. The character and her alter ego, Kara Zor-El, first appeared in 1938, to cash in on the popularity of Superman. She was a preppy teenager who played a supporting helpmate role, allowing Superman to display his paternal side.
Publishers DC Comics also flirted with the concept of Superwoman. A 1943 story had Superman’s girlfriend, reporter Lois Lane, dream that she was Superman’s female counterpart. In her book Supergirl: Contemporary Feminist Reboot of a Hapless DC Comic Helpmate (2022), Batya Weinbaum suggests this moment reflected the “changing position of women in wartime”.
In a 1947 story, Lois Lane, Superwoman! from Superman issue #45, Lane is convinced she has superpowers, only to discover she is the victim of a ruse where Superman is using his influence to simulate the experience. This prompts her frustrated exclamation: “You men who try to keep women weak and defenceless – I hate you!”
Lane may well have been addressing the DC editors who published her adventures. In his cultural history of comic book heroines, comic book historian Mike Madrid outlines an excerpt from 1950s-era DC Comics’ editorial policy which reluctantly accepts stories featuring women, but only if the female characters are “secondary in importance”.
The ever-changing Supergirl
Nevertheless, as Supergirl developed through the 1960s there were signs that she could develop an identity of her own.
Two years after her secret arrival on Earth, in issue #285 of Action Comics, Superman finally reveals Supergirl to the world. She appears in public in an act that cultural historian Gerard Beritela interprets as her “emergence from male domination”. But ultimately Madrid’s take on this era is that “she is a girl, not a woman, and therein lies the secret of her appeal”. Supergirl isn’t a threatening Superwoman who might develop ideas of her own.
This was the model followed in the 1984 attempt to bring Supergirl to cinema screens. In his DVD commentary, director Jeannot Szwarc discusses his intention to convey Supergirl’s grace and intelligence.
Whereas Superman (played by Christopher Reeve) was introduced in 1978 by the same producers with a daring rescue of a plummeting helicopter, Helen Slater’s Supergirl performs an aerial ballet and frolics with woodland creatures. In comics, Supergirl fared even worse. The character was killed off in 1985’s Crisis on Infinite Earths storyline, partly because of her threat to Superman’s unique status as “the last son of Krypton”, and partly because of the film’s disappointing box office takings.
Various incarnations of Supergirl have been explored following the obliteration of the original version. This regular rewriting has encouraged creators to experiment.
Danny Fingeroth describes a 1996 example, when fellow comic book writer Peter David developed a version of Supergirl to explore Jewish identity, revising the character as an Earth-bound angel based on the concept of Shekhinah, or the divine feminine. This Supergirl’s stories integrated themes of redemption and spirituality.
In comic books, however, death is never permanent. Kara Zor-El and Supergirl were resurrected in 2004 in The Supergirl from Krypton. There was an attempt to add nuance to the character, with a greater emphasis on the trauma she suffered from witnessing the loss of her home planet. But this was rather undermined by various revealing costumes clearly designed to satisfy the male gaze.
It wasn’t until 2015 and the six season Supergirl television show that creators began to deal head on with the character’s agency. Another updated origin story saw Kara (played by Melissa Benoist) being sent ahead to help her baby cousin acclimatise to life on Earth. But after her spaceship arrives late, she has no clear purpose, finding an already adult and established Superman.
In the pilot episode she finally strikes out on her own with the dramatic rescue of an airliner, assuming the mantle of Supergirl. In a show that employed several female writers and became known for its positive representation of LGBTQ+ issues, problematic topics such as Supergirl’s infantilising name and costume were directly addressed.
Kara refuses to wear revealing versions of the costume from the character’s comic book past. In discussions with her employer, CatCo Worldwide Media CEO Cat Grant, she is told: “I’m a girl. And your boss. And powerful. And rich, and hot, and smart. So, if you perceive Supergirl as anything less than excellent, isn’t the real problem you?” Significantly, Grant is portrayed by actor Calista Flockhart, known for the Ally McBeal series – a show that sparked debates about feminism and women in the workplace in the late 1990s.
The 2021 comic book Supergirl: Woman of Tomorrow follows the young alien Ruthye Marye Knoll, who recruits Supergirl to seek revenge after her father is murdered. The story is told from Ruthye’s point of view, the fractured narrative lending the story a fatalistic quality. The narration also emphasises the mythic quality of Supergirl, “who lost everything and kept walking”.
It remains to be seen how closely the film will follow the philosophical source material. Meanwhile, in the pages of the latest DC comic book, writer and artist Sophie Campbell has returned to the brighter tone of the 1960s version of the character, merged with the sensibilities of the 2015 television series. The many interpretations of Supergirl continue to reveal the character’s durability and versatility.
Cover: A scene from Supergirl via Warner Bros.
Source: The Conversation
