Latest news with #ClarkKent
IOL News
a day ago
- Entertainment
- IOL News
What lessons can we learn from Superman about global crises and misinformation?
We delve into how Superman's cinematic returns reflects the pressing issues in the real world. Image: IOL Superman is better than all of your favourites combined. Okay, now that I have your attention. Superman has been in South African and worldwide cinemas for a few weeks, prompting fans of both James Gunn and Zack Snyder to come out in full force. Previous adaptations leaned into moral ambiguity, questions of existence, and had flashy fights in dim lighting as well as a storyline with a fight famously resolved by simply invoking the name "Martha." However, this Superman movie brings him back to his classic identity and concentrates on what makes us human, which is ironic, seeing as he is an alien. At its core, it's a message of hope - hope for the future, hope for mankind and hope for a better world. But then reality hits when you step out of the cinema: We don't live in Metropolis. We don't have Superman. And the world continues to grapple with war and misinformation. The past few years have been defined by global unrest, with headlines dominated by heartwrenching images of war and despair. War rages in Palestine and conflicts engulf African countries and other parts of the world. The Palestine-Israel war has resulted in thousands of deaths, humanitarian crises escalating, and reports of starvation. Additionally, media institutions struggle under the weight of political polarisation and misinformation in the age of AI. In light of this, Superman's dual identity as both a caped hero and journalist, Clark Kent, takes on an interesting and new relevance. When Superman is not saving the world, Clark Kent, a reporter for the fictional 'Daily Planet', is the embodiment of ethical journalism (okay, that ethics line gets blurred when he technically interviews himself, but we digress.) In today's media climate, where public trust in journalism dwindles thanks to AI and misinformation on social media, Kent's role serves as a reminder of what journalism could and should be. It's standing for what's right, even if there is a megalomaniac figure like Lex Luthor out to get you. And in the real world, there are definitely several Lex Luthors and Vasil Ghurkos. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ Ad Loading This intersection of truth and heroism comes at a critical time. A recent Pew Research Center study found that only 26% of Americans say they trust national news organisations 'a lot.' According to a Statista report, Nigeria recorded the highest trust in news at 68%, followed closely by Scandinavian countries like Finland, Denmark, and Norway. In contrast, Hungary and Greece had the lowest trust levels at just 22%, partly due to concerns over media independence. If we take a look at local statistics, trust in South African media has seen a slight decline recently, with an overall trust score of 55%, a 6 percentage point drop from the previous year's 61%. Disinformation on social media continues to rise, while global conflicts are increasingly shaped by information warfare. 'Hope isn't naïve,' said Gunn in a press statement last year. 'It's essential. Especially when the world feels like it's burning.' The upcoming film reportedly leans into these ideals of hope, positioning Superman not as this detached godlike figure with amazing powers and laser eyes, but as someone who wrestles with how to help in a world that sometimes resists truth itself. Of course, we know that Superman's return doesn't offer solutions to our global crisis. He won't swoop in to stop the war in Gaza, he won't get his tech friends to tackle misinformation, and he cannot help feed starving people. But while fictional, his story (specifically this one) gives a real lesson: true justice doesn't come from power, it doesn't come from money. It comes from compassion and humanity. Or in South Africa, we would just say "Just be lekker." IOL
Gizmodo
a day ago
- Entertainment
- Gizmodo
I Love That ‘Superman' Loves Journalism
James Gunn's Superman operates on a litany of fantasies: a world where superpowered individuals have existed for centuries and roam among us, a world where the public almost universally loves a singular alien who has come to planet Earth to uplift and protect humanity's greatest ideals in the name of a better tomorrow. Those are key suspensions of disbelief for practically every superhero movie. But in stark contrast to that, its other key pillar in that suspension is much more down to earth: that modern journalism can be universally accepted to save the day as much as any superhero between all the pocket universe destruction, Kryptonian drama, and superhuman scrapping, Superman is perhaps one of the most surprisingly effective pop culture movies about journalism in a very long time. Comic book characters have long had a history with working in the news industry, from alter egos like Clark himself to Peter Parker, or human allies like Vicki Vale, Lois Lane, Ben Urich, Robbie Robertson, and many more, but more often than not their journalistic backgrounds have to take a backstep to the necessity of a superhero story (especially for heroes themselves, when ethical concerns come into play). Superman does play with the tension of this conflict briefly, although largely to similarly ignore it as the comics do—both Clark and Lois touch upon the conflicts of interest they have in both dating each other and their knowledge of Superman's secret identity; Jimmy Olsen's huge report on Lex Luthor's connection to the Boravian invasion of Jarhanpur is predicated on damning evidence from a source he was previously romantically involved with, information he exchanges on the promise of a weekend-length date with said source. We never know if the latter's report discloses that fact, and it seems Lois never runs anything from her bombshell interview with Clark in the opening act of the film—presumably because in an ideal world she would have to disclose or recuse herself from reporting on it given her personal relationship with the subject. But the fact that Superman even remotely cares about that speaks to its broader interest in journalism, and in particular journalism as a tool of public good. Clark and Lois' first major scene together in the film takes place over an interview at the latter's apartment, after Lois chides Clark that laundering his reputation as the Daily Planet's premiere Superman reporter means just giving himself easy, uninteresting questions to answer. It's a delightful scene to watch from a journalism perspective, even putting aside the hypocrisy of Lois knocking Clark for reporting on himself before proceeding to interview her own romantic partner. Both Clark and Lois take on personas here: the former stops being Clark and 'becomes' Superman, both talking about himself in the third person and adopting the body language and tone he has when he is in costume. But just as importantly, Lois separates herself from being a flirtatious girlfriend (as much as she can outside of, again, removing herself from the interview entirely as a conflict of interest) and becomes 'Ms. Lane,' investigative reporter at the Daily Planet. Aside from including the most concise explanation of how being 'on the record' works with a reporter to ever hit a superhero movie (whenever Superman hits home release, I yearn to clip and send that soundbite to half the contacts in my inbox), the back-and-forth between Lois and Clark frames their interview as, rightfully, Lois speaking truth to Superman's power as a superhuman, godlike entity on the level of nation states like Boravia or corporations like LutherCorp. And that is what Superman is, she argues much to Clark's frustration, if he is going to make unilateral decisions to intervene in international conflicts: a power that a good reporter will question and hold to account. The scene even subtly has Lois navigate the thorny compromise of conducting this interview from a detached perspective, even if the framing of her questions doesn't necessarily align with her own personal beliefs. As she says to Clark at one point, she can't trust Boravia's claims of wanting to liberate Jarhanpur from an authoritarian regime, but as a reporter, she has to allow for that claim to be as valid as Superman's claim that his intervention was the only alternative to save lives. It's a fascinating acknowledgement of public criticism of media impartiality in our own world, an especially delicate act to balance given readings of Superman's Boravia-Jarhanpur conflict as a parallel to the likes of the Russian invasion of Ukraine or Israel's occupation of Gaza (and in particular for that latter reading, criticism of the media's failure to report on Israel's campaign as a genocide). And this is in a superhero movie where a questionably-haircutted Nathan Fillion fights a giant kaiju and summons emerald constructs of pure will in the shape of one-finger salutes! But the reality of journalism on display in that scene between Lois and Clark isn't really the fantasy that sits along the comic book fantasy of superheroes in Superman. Amidst the chaos of the movie's third act of Metropolis being torn apart by Lex Luthor's pocket universe rift, the real stakes of the movie coalesce around Lois and Jimmy's report on Luthor's relationship with the Boravian president, Vasil Ghurkos. Literally filing directly into the Daily Planet's CMS (that's a Content Management System, for those not in the know—from one CMS writer to another, kudos to Mr. Olsen for living the risk of not drafting in the DC equivalent of Google Docs!), from Mr. Terrific's ship, the Planet team launches their article with immediate impact. The report is all over the news and has as much, if not more, sway in turning public opinion back in Superman's favor as Clark literally whizzing around saving lives and trying to stop Metropolis from splitting in half does. The report has direct consequences leading to Lex Luthor's arrest: the Daily Planet is arguably as crucial to saving the day in Superman's finale as the titular hero himself is. In a modern journalism environment where outlets across the industry are shuttering every day, battling the rise of generative AI, or simply trying to navigate a sociopolitical environment that has become increasingly siloed in the echo chambers of a 'post-truth' world, the fact that the Daily Planet survives and thrives in the importance of its mission perhaps requires as much suspension of disbelief as a man who's faster than a speeding bullet and can leap buildings in a single bound. (And that any reporter at what appears to be a primarily print media news organization can afford either Lois Lane's or Clark Kent's apartments, but that's beside the point). Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
Metro
2 days ago
- Entertainment
- Metro
The best moment in Superman was almost cut - it would have been a disaster
The new Superman movie is at its most epic when we see Clark Kent's endless compassion – but filmmaker James Gunn has revealed he almost cut out the very moment that shows this best. After the immense pressure to bring one of the most beloved superheroes of all time back to the big screen it would have been easy for the new Superman to crash and burn. Especially in a cultural landscape saturated with superhero content from the likes of rival studio, Marvel (who have their own summer blockbuster, Fantastic Four, about to come out) – retelling Superman's story for old and new audiences is no easy task. Heck, it's only been three years since Henry Cavill last appeared as an iteration of Superman in a movie (Black Adam) so cementing David Corenswet as the newly-baptised Daily Planet reporter was already a tall order. Yet, if the glowing reviews and mightily impressive box office figures are anything to go by, Gunn's vision and the standout cast to go with it (also starring Rachel Brosnahan as Lois Lane and Nicholas Hoult as Lex Luthor) has been an undeniable smash hit. When scrolling through people's takes on social media, discussing it with my friends, or even pondering it at 2am while staring at my ceiling – one reason jumps out above all others. Unlike so much of the superhero content of recent years that prioritises mammoth displays of strength and overly-involved action scenes that forget their characters' human alter egos – in Superman we see the opposite. Yes, it's about battling the enemy, but it's more about preserving the world you love in the big and small ways. We may not all be capable of shooting lasers from our eyes and flying from disaster to disaster but we are all capable of small acts of kindness, no matter how unexpected. It's hardly a new perspective, plenty of people have been praising the movie's human first approach, making Superman's greatest strength his non-super qualities (whether the love he learnt from Ma and Pa Kent or the fierce protectiveness he feels for all living creatures). It harks back to the Clark we know and love from the prequel series, Smallville (coincidentally David's favourite version) who, during one episode, declares his greatest powers are his parents. We've teamed up with Camp Bestival Dorset to give one lucky Metro reader and their family the chance to win family weekend tickets, worth up to £1,172! Created by families, for families, Camp Bestival combines all the fun of a fantastic family camping holiday with everything you would expect from a perfect and action-packed festival adventure. Headliners include music legend Sir Tom Jones, pop icons Sugababes, plus a carnival-filled live show from electronic music duo Basement Jaxx. Simply enter your details here to be in with a chance of winning four tickets to this epic experience. You have until midnight on 23 July to enter. Good luck! * Open to GB residents (excluding Northern Ireland) aged 18+. Promotion opens at 18:01 on 16/7/25 and closes at 23:59 on 23/7/25. Entrant must submit their first and last name, email address, date of birth and postcode when prompted via the entry form available on (available here). 1 prize available of a family weekend camping ticket, including two (2) adult tickets and up to four (4) child and/or teen tickets in any combination as chosen by the winner to attend Camp Bestival (Lulworth Castle, Dorset) from 31st July 2025 to 3rd August 2025. Maximum 1 entry per person. Attendance is governed by the Camp Bestival Terms and Conditions. Full T&Cs apply, see here. No scene proves this better than the small, blink-and-you-miss-it moment when Superman dives to save a squirrel while battling the mid-movie Big Bad. Even in the cinema it elicited a delighted response from the audience with a fond chuckle escaping nearly everyone's lips. It's miniscule moments like this that made the movie, and Superman's characterisation, so fleshed out, grounded and realistic. In many ways, it is just as important as the grand speeches about what it means to be human and the sequences of Superman single-handedly holding up crumbling buildings. Which is why it was so shocking to learn that Gunn almost cut it out of the final version. He told Rolling Stone: 'We showed it to test audiences and some people did not like the squirrel. They're like, 'Why the f**k is he saving a squirrel? Why is he taking time out, saving a squirrel?'' Not sure who they chose to participate in the test audience but they may have missed the point of the movie entirely? Luckily, Gunn stayed strong with his vision, adding: 'There was a cut where I cut it out and I'm like, 'I really miss the squirrel. He's gotta save the squirrel.'' Thank goodness he did, as many fans have reiterated. 'The whole point behind him saving the squirrel was to show his kind heart & willingness to go out of his way for everyone – even the most innocent & tiny of creatures,' X user miss_mjoy shared. 'I liked that no creature no matter how small is seen as insignificant to Superman The squirrel was peak,' the blue elite agreed. 'It's VERY clear some people don't understand Superman in the slightest. 'Why would Superman save a squirrel' BECAUSE ALL LIFE IS PRECIOUS!! BECAUSE ITS THE RIGHT THING TO DO!!' gooberboober42 echoed. 'People that show no sympathy for the squirrel don't understand anything about Superman,' Spideyloui added. More Trending You get the point. The moment may seem insignificant to some – after all if Gunn had gone ahead with the cut it wouldn't have been a notable plot omission – but there would have been something missing. It's a small but mighty part of the beating heart of this movie that has made it so special to people so quickly – and that lack of soul certainly would have been noticed, and perhaps even detrimental. It's more clear than ever that superhero fans are yearning for less carbon cutout powerhouses and for more fallible heroes with the best intentions – and that's what makes scenes like this so important. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Fans are convinced James Gunn just revealed 'perfect' next Batman actor MORE: Games Inbox: What is the next big game for Nintendo Switch 2? MORE: Superman forced to cut two scenes after they were deemed 'overly sensual'
Washington Post
4 days ago
- Entertainment
- Washington Post
A surrogate dad. America's guardian. What Superman means to us.
Larry Tye's July 14 op-ed, 'Fear of a 'woke' Superman,' and Jennifer Finney Boylan's July 13 online op-ed, 'Superman's father taught me how to write,' explored the meaning of one of America's original superheroes as he returned to the big screen. Post Opinions asked readers how they felt about Superman — and Clark Kent. These are some of their responses. The best line I heard in any version of Superman came from the TV series 'Lois & Clark: The New Adventures of Superman.' It took Lois Lane (Teri Hatcher) quite a while to discover that her work colleague Clark Kent (Dean Cain) was Superman. He tried to explain his two personas to her this way: 'Superman is what I can do. Clark is who I am.' Although he could fly and lift tremendous weights, and bullets bounced off his chest, he was the son of the Kents, that good, kind and sometimes humorous couple in Kansas. That's why he wanted to use his powers to save lives and help people by doing things that humans couldn't. And he didn't want to take credit, nor to endanger people he loved, so he disguised himself when he did those things. His 'secret identity' was Superman, not Clark Kent. Tina Rhea, Greenbelt Story continues below advertisement The protector of democracy As a child growing up in a suburb of Boston during World War II, I was addicted to comic books, and Superman and Batman were my regulars. My father was away in Europe serving in the Army as a doctor. We all knew how terrifying the Nazis were. And until the American landing in Normandy, I felt as if only Superman and Batman were there to protect us from invasion. Charles Halsted, Davis, California A male role model I grew up in the '50s and '60s, and my first encounter with Superman was in 'Adventures of Superman,' the TV series starring George Reeves. Being a skinny kid with no father in our home, I was fascinated by the idea of a person with incredible powers who could right wrongs and protect the innocent. I imagined that was how most kids felt about their actual fathers. Superman fit the bill of an idealized father, even though I knew he wasn't real. I was bullied a bit in school until I hit adolescence, and I always felt that Superman himself, or having his powers, would keep those kids from bothering me. I bought most of the Superman comic books back then (I wish I had kept them!), and he was always my favorite superhero. The most wonderful power was, for me, the ability to fly. Fly away from your problems, float on clouds, visit faraway lands and just enjoy the freedom that such an ability gives you. I remember pretending to fly like Reeves did in the TV series: He would run a bit, then hop once and launch himself. I did that all the time as a kid, imagining I was soaring. We were relatively poor. My mother had five children, and we lived in my grandmother's house, which provided all of us with shelter and food but not much else. With no father figure to encourage physical activity, I didn't do a lot to get in shape: no sports or hiking, except when my mother's sister and her family visited us. I was very self-conscious about my lacking physique at that time and fantasized about being like Superman (or Superboy), protecting innocent people and stopping criminals. I always thought the supervillains in most Superman comics were unrealistic, and I didn't care for most of them. But stopping crimes, saving people in distress and standing up for all that is good are the characteristics of Superman that I always treasured — and still do. Stephen Tenbrink, Fort Collins, Colorado A distant ideal There are two words that appear in all of my published novels. One is 'volcano,' and the other is 'Superman.' You can make of 'volcano' what you wish, but the fact that I can't resist invoking Superman suggests that he burrowed more deeply into my psyche during childhood than any other character or cultural artifact. When I was a kid, I thought that Superman on TV looked a lot like my father. It's hard to see the resemblance now, but I'm sure a psychologist would have something to say about my perception. Elements of those comics, among them the Fortress of Solitude and the Bottle City of Kandor, still seem to me as memorable and evocative as anything I've seen or read in movies and novels. When I refer to Superman in fiction, it's always as a physical and moral ideal, compared with which my protagonists see themselves falling woefully, comically short. And when I see President Donald Trump's administration posting an unironic image of him dressed in a Superman suit on social media, I think, 'Truth, justice and the American way' — what a neat encapsulation of the things he violates every day. Michael Laser, Montclair, New Jersey Story continues below advertisement Advertisement Putting on the cape At age 14, I became Superman. I was in a radio workshop in New York where teens learned how to tell audio stories. We'd get up super early for our audio production class, then head to WBAI, where our teachers handed us the reins to a live call-in show called 'Once Upon the Air.' One day we decided, 'Let's interview Superman.' Listen 1 min Settings Options My friend Frank Linkh was the interviewer, and I was Superman. I wanted my hero to be honest and grounded, to listen to children with care, to be clear about his moral compass and to connect with the audience. Most importantly, our entire team wanted to spread magic, wonder and delight. We committed fully so the audience could be transported. After all, this was a show for children, some of whom were excited to know that Superman would take time out of his schedule to talk with them. After he asked me questions, we took calls from children and adults. They wanted to know everything from 'What does it feel like to fly?' to 'Why aren't you married?' Folks asked what I'd done about social issues, whether I supported a draft and how I switched so quickly from my regular suit into my costume. They also asked about the Superman movies and whether I considered myself to be a scientist. Afterward, I couldn't stop smiling. I felt like I could do anything. My worldview has continued to match Kal-El's. Seeing the new movie felt like going home again. Zohar Rom, Arlington A real superhero I was 11 years old in 1978 when the first Superman movie starring Christopher Reeve came out. It was amazing not only to see Superman fly and witness good triumph over evil, but to watch a mild-mannered man morph into a hero and fight against his vulnerability to kryptonite, which threatened to debilitate him and destroy his life. In 1989, I would need to summon similar strength and courage. I was a passenger in a car that lost control, and I was thrown 100 feet from the vehicle. I woke up and knew immediately something was wrong. I could not feel my legs. In the hospital, the doctors told me I suffered a spinal cord injury and would never walk again or be able to have children. Just as I was flying into adulthood, my wings were clipped. My injury became my kryptonite, threatening to destroy me. Because I had an incomplete injury, I worked to regain as much movement and muscle as possible. But even after leaving the hospital and subacute care, I had so many questions: How do I get up the stairs? How do I drive? How will I continue with therapy? How do I live this new life? Thankfully, the American Paralysis Association — now known as the Christopher & Dana Reeve Foundation — was there to answer the questions and provide me with the help I so desperately needed. Six years after I was hurt, Reeve also suffered a spinal cord injury, resulting in paralysis from the neck down. His character's on-screen struggle became all too real. Not only did he need his strength for himself, but he also still continued to help people in need. He became a spokesperson for all of us. I was fortunate enough to have spent time with Christopher and his wife, Dana. They were remarkable people. Not only did they seek to find a cure for spinal injuries, but they also created the foundation's National Paralysis Resource Center. The center is a place where those with spinal cord injuries and other forms of paralysis can get answers for their urgent questions. They help and support family members who become caregivers. The need is great: Roughly 5.5 million Americans use wheelchairs. About 17,000 people in the U.S. sustain spinal cord injuries each year. Unfortunately, the president's fiscal 2026 budget proposal would eliminate funding for the center. It is my sincerest hope that our government rejects this proposal and keeps the Superman legacy alive. Stacey Mahdavian, Basking Ridge, New Jersey
Yahoo
5 days ago
- Entertainment
- Yahoo
Who Sings 'Punkrocker?' That 'Superman' Ending Song, Explained
In one early scene in Superman, Clark Kent (David Corenswet) and Lois Lane (Rachel Brosnahan) argue about what makes a person truly punk rock. Is it liking the right bands, or is it doing something that nobody else will dare to do? Clark asserts that he is actually punk rock because caring and being a good person are punk rock qualities. And so, at the end of the movie, Superman revels in his goofy niceness as the 2006 song "Punkrocker" plays over the end credits. If you missed this song, it comes from the Swedish band Teddybears, who are an electronic post-punk band that has been making music since 1991. The version of "Punkrocker" that plays at the end of Superman is actually Teddybears' second version of the song and features true punk legend Iggy Pop on lead first version of the song was on the Teddybears 2000 album Rock'n'Roll Highschool. But the 2006 version, which they re-recorded with Pop's vocal track, is on their better-known album, Soft Machine. Not truly a punk song at all, the dancey, upbeat "Punkrocker" is one of those great anthems that often appeared on mix CDs in the mid-aughts. If David Corenswet's Superman is meant to represent a younger version of the character, then, in a sense, "Punkrocker" is a throwback track. It's also a song that perfectly suits director James Gunn's style, and will stay in your head for weeks. View the to see embedded media. Who Sings 'Punkrocker?' That 'Superman' Ending Song, Explained first appeared on Men's Journal on Jul 9, 2025 Solve the daily Crossword
