If you see a journalist wearing black today, chances are they cover entertainment.

The scribes are in collective mourning due to “Supergirl’s” terrible box office weekend. The same scribes don’t don black for any ol’ movie, though.

They reported on “Masters of the Universe” under-performing a few weeks back without the dark garments and teeth gnashing. The same held true for “The Breadwinner,” the Nate Bargatze vehicle that under-perforrmer mere weeks ago.

At first, journalists were trying to spin away the awful numbers – $38 million at U.S. theaters, and collectively less across the globe.

Now, it’s time to start the five stages of grief. For far-Left journalists, that typically stars with the fans.

AKA the bigots.

Yes, misogny is partly to blame for “Supergirl’s” terrible box office debut. Not the film’s anemic script, lackluster star, bland action set pieces or low-stakes adventure.

Not even the CGI dog – as big a flaw as any movie could muster – gets name checked today.

Just ask The New York Times, which immediately blasted fans for not rallying around a movie Variety dubbed, “Super horrendous.”

box office analysts on Sunday noted an uncomfortable truth: Female-led superhero movies have been rejected almost uniformly over the past five years or so, perhaps reflecting a resurgent misogyny among the core fan base, which is largely male.

The same Variety that excoriated “Supergirl” also blamed misogyny for the film’s poor showing.

While the culture war is a contributing factor in the poor performance of female-led superhero films, with hordes of online misogynists lashing out at them sight unseen, previous entries like “Wonder Woman” and “Captain Marvel” withstood similar backlash — who can forget the manly meltdown over women-only screenings of “Wonder Woman?” — to big box office returns, and the female-focused “Barbie” shattered records, grossing $1.4 billion worldwide.

Later in the SAME PARAGRAPH, the far-Left site admitted the problem.

That’s because those films were made with care and consideration, unlike “Supergirl…”

Oh.

Kudos to Forbes.com for a fair, sober analysis of the film’s failure.

There is absolutely zero way to spin the performance of Supergirl over the weekend, the film coming in below even not-great expectations. Supergirl made $38 million in its domestic opening weekend, less than a third of Superman and below all-time horrors like Morbius at $39 million.

Bottom line: Audiences, male and female, love great movies. They rallied for 2017’s “Wonder Woman” and the “Hunger Games” franchise. They ignored inferior films like “Birds of Prey,” “Madame Web” and “Wonder Woman 1984.”

It’s not complicated. Why are reporters trying to make it so?

Actually, we know why…

The post Legacy Media Mourns ‘Supergirl’s Box Office Collapse appeared first on Hollywood in Toto.

The fundamental place to challenge the exploitation theory is not over the labor theory of value or the iron law of wages, but here, over its conceptual framework—over the doctrines of the primacy of wages and the deduction of profits from wages.

Call it the “Lady Ghostbusters” effect.

The Legacy Media and the Left, but we repeat ourselves, went to war on behalf of the 2016 pop culture reboot.

Why?

Director Paul Feig replaced the franchise’s all-male heroes with women. That helped trigger the dawn of the woke era and told journalists to defend the film, sight unseen.

Proof? The Washington Post told us we were sexist for disliking the film’s first, awful trailer. That was just part of the media manipulation behind the film.

We’re seeing a lesser version of that playing out on behalf of “Supergirl.”

The new movie debuted in theaters this weekend to a terrible $40 million opening haul stateside. That’s super low for a Lycra-clad character. Here’s how it compares to recent fare in this genre:

• “Black Adam” – $67 million
• “Captain America: Brave New World” – $88 million
• “The Fantastic Four: First Steps” – $117 million
• “Birds of Prey” – $33 million
• “The Marvels” – $46 million
• “Shazam: Fury of the Gods” – $30 million

That’s terrible news for James Gunn, trying to re-establish DC as a movie franchise of consequence.

Look closer.

For all the girl-power energy behind the film, mostly concocted by the team’s stars and Legacy Media outlets, the movie couldn’t draw the one demographic it craved.

Women.

The Bulwark’s Sonny Bunch noted that inconvenient truth on Elon Musk’s X.

One of the things worth noting about SUPERGIRL is that the opening weekend audience was *59 percent* male. It’s not just that no one was interested in this, it’s that women specifically were not interested in this. pic.twitter.com/XZcSyoNq9Y

— Sonny Bunch (@SonnyBunch) June 28, 2026

Bunch followed it up with two important notes:

This is not new or unique (I believe CAPTAIN MARVEL’s audience was also something like 60% male) but the male-heavy nature of the audiences for these movies is probably something to think about when green lighting them/developing their stories!

Plus, he recalled that 2017’s “Wonder Woman,” a massive hit, drew more women than men to theaters. (And it didn’t trigger, or require, a woke defense at the time)

Hmmm.

Women love going to the movies, of course, Just look at the box office haul for this year’s “The Devil Wears Prada 2.” “Barbie” became one of the biggest hits in years, and that wasn’t drawing male viewers like flies.

Allegedly neutral media outlets shouldn’t go to bat for a film based on any woke advantages or angles. Nor should they attack audiences for having the “wrong” takes on a film.

More importantly?

Hollywood might reconsider making sulky, drunken Gen Z types the stars of movies. It might not be catnip for the demographic they’re so eager to court.

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