In anticipation of tomorrow’s teaser trailer, DC Studios has unveiled a striking poster and a preview for next summer’s superhero film, Supergirl. Featuring Milly Alcock (House of the Dragon) as Kal-El’s unpredictable cousin, the character made her first appearance in the concluding moments of DC studio head James Gunn’s $600 million grossing Superman, which launched this fresh universe earlier this year. Inspired by the graphic novel Supergirl: Woman of Tomorrow, the movie is directed by Craig Gillespie, known for I, Tonya, with a screenplay by Ana Nogueira (Hightown). Alongside Milly Alcock in the dual role of Supergirl/Kara Zor-El, the cast includes Matthias Schoenaerts as the antagonist Krem of the Yellow Hill, Eve Ridley as Ruthye Mary Knolle, Jason Momoa as Lobo, Alice Hewkin as a Sklarian Raider, and David Krumholtz and Emily Beecham as Supergirl’s parents. Check out the poster and teaser below… "When a sudden and merciless enemy comes too close to home, Kara Zor-El, also known as Supergirl, reluctantly teams up with an unexpected ally for an epic interstellar quest for revenge and justice.” See you tomorrow. #Supergirl pic.twitter.com/rSNxCI63S8 — James Gunn (@JamesGunn) December 10, 2025 Supergirl is scheduled to be released on June 26, 2026.

      **Ella McCay, 2025.**

      **Written and Directed by James L. Brooks.**

      **Starring:** Emma Mackey, Jamie Lee Curtis, Woody Harrelson, Spike Fearn, Ayo Edebiri, Albert Brooks, Rebecca Hall, Jack Lowden, Kumail Nanjiani, Sheetal Sheth, Erica McDermott, Anthony Gaita, Julie Kavner, Becky Ann Baker, Joel Brooks, Troy Garity, Michael Balzano III, Kellen Raffaelo, Pamela Figueiredo, Tierre Diaz, and Joseph Brooks.

      **SYNOPSIS:**

      An optimistic young woman balances her family and career in a comedic exploration of loved ones and how to navigate them. Presented as a true story about a fictional lieutenant governor gearing up to become governor of “the state she was born in” (a deliberately omitted detail that renders the political side of this narrative—eventually morphing into a hard-to-believe liberal fantasy during a particularly unideal time for such films—hollow and artificial), James L. Brooks makes his return to directing with Ella McCay, which proves to be aimless, often annoyingly tone-deaf, yet includes some charming character portrayals. If the film has merit, it is in illustrating that Emma Mackey can lead a film even amidst a captivating cast of seasoned actors.

      The titular Ella McCay embodies a workaholic, idealist, and well-meaning politician hailing from a dysfunctional family. Flashbacks reveal her upbringing, which made her feel different and out of place as a teenager, while simultaneously intensifying her desire to escape. Her father, Eddie (Woody Harrelson), had to leave his medical practice due to inappropriate relationships with colleagues, cheating on his unnamed wife (a completely underutilized Rebecca Hall). Following her mother’s death, the family relocated, and Ella ended up living with her aunt Helen (Jamie Lee Curtis), around the time she met her high school boyfriend and future husband, Ryan (Jack Lowden), who owns a pizzeria.

      Now an adult and aspiring politician, Ella is on the brink of ascending to the governorship, with Bill (Albert Brooks, always a pleasure to see on screen) transitioning into a cabinet role. This seems like the perfect moment for Ella to champion legislation that benefits moms and others. Unfortunately, her intelligence and passionate advocacy are perceived as a threat, potentially alienating her party members. While fictional, the screenplay hints at parallels with the Democratic Party. Even Bill, her mentor, offers some resistance, raising questions about the nature of their friendship.

      There might have been promise in Ella McCay if it focused on the complexities of political relationships and the hurdles to passing legislation, but it tends to divert attention from her character to the chaotic dysfunction of her family, which invades her life once more. Her father returns, now with a new psychiatrist partner, insisting he’s changed but must reconcile with his children to keep her around. There's also the looming scandal involving Ella and Ryan having relations in a governor’s apartment that technically belongs to someone else, leading to a narrative shift where her once supportive partner suddenly seems like the wrong choice all along. Trooper Nash (Kumail Nanjiani) provides transportation during this turmoil, incorporating a peculiar subplot about his work partner criticized for seeking overtime to enjoy time with his kids.

      At one point, Ella reconnects with her agoraphobic brother, Casey (Spike Fearn), leading to one of those overly familiar sequences where they accidentally get high. Strangely, this turns into a segment following Casey as he attempts to reconnect with a girlfriend (Ayo Edebiri) he hasn’t interacted with for a year, owing to embarrassment from messing up their relationship.

      Throughout the film, there’s a narrator, Ella’s assistant (Julie Kavner), who doesn't contribute much beyond arguably delivering the film's most engaging performance. Nevertheless, she portrays the tale of Ella McCay as much more fascinating than it genuinely is. Much of the film comes off as a disorganized collection of re-emerging family dysfunction that lacks the humor it aspires to have, especially as it treats topics like sexual harassment lightly and approaches agoraphobia in an overly serious manner.

      Furthermore, it’s quite bewildering that a film titled Ella McCay would prioritize family conflicts over developing her identity and professional journey. While it contains the usual quirks and warmth typical of a James L. Brooks film, it feels lifeless and fails to create engagement.

      

      **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★**

      *Robert Kojder*