Every DC Studios Movie and TV Show Coming Through 2028 and Beyond
A guide to the announced DC Universe projects involving Superman, Batman, Supergirl, Wonder Woman and the wider DC Studios slate.
DC Studios is building a new shared universe for film and television, with Superman at its center and a long list of projects planned for the years ahead. The slate is being shaped by co-chief executives James Gunn and Peter Safran, who are overseeing a connected DC Universe while also allowing separate, standalone stories to continue outside that continuity.
That distinction is important. Not every upcoming DC production belongs to the same timeline. Some projects are part of the new DCU, while others are described as Elseworlds stories: alternate interpretations that do not need to fit the main continuity. This approach allows multiple versions of familiar characters to exist at once, including different Batmen, without requiring every movie and series to explain how they share the same world.
The studio has announced a broad group of films and television shows, although several remain in development and do not yet have firm release dates. Projects can change during writing, casting and production, so the announced slate should be viewed as a roadmap rather than a guarantee. Even so, the lineup offers a clear picture of DC Studios’ priorities through 2028 and beyond.
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Superman is the foundation of the new DCU. The film introduces a new version of the character and establishes the tone for the interconnected stories that follow. Rather than presenting Superman as a completely unknown figure, the story is designed to show him at an early but active stage of his career, balancing his Kryptonian heritage with his life as Clark Kent.
Superman also brings several other major DC characters into the same setting. Their presence gives the film a wider role than a conventional origin story and helps demonstrate that this universe already contains heroes, villains and extraordinary events. The movie is expected to function as the central starting point for the new continuity, making its characters and world-building relevant to later projects.
The television side of the DCU began with Creature Commandos, an animated series created by Gunn. It follows a covert team assembled from unusual and often dangerous characters, extending the kind of offbeat superhero storytelling associated with Gunn’s earlier work. The series is also significant because its characters can continue into live-action projects, allowing the animated and live-action parts of the DCU to share continuity.
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Peacemaker is another major part of the television plan. The series follows Christopher Smith, a violent and self-important vigilante whose mission is complicated by his personal failures and uneasy relationships. Its second season continues the character’s story while connecting the show more directly to the new DCU. The series occupies a distinctive place in the franchise because it mixes action, comedy and emotional drama without presenting its lead as a conventional hero.
One of the most prominent upcoming films is Supergirl: Woman of Tomorrow. The movie focuses on Kara Zor-El, Superman’s cousin, but presents her as a character with a different history and outlook. Where Superman is often associated with hope and restraint, Supergirl’s story is expected to explore the experience of growing up amid destruction and loss before arriving on Earth.
The film is based on the comic storyline Woman of Tomorrow, which places Supergirl in a more expansive space-faring adventure. Its development signals that the new DCU will not be limited to Earthbound crime stories or traditional superhero team-ups. It also expands the Kryptonian corner of the franchise beyond Superman and gives the studio another major lead character who can anchor future stories.
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Lanterns is planned as a live-action television series centered on the Green Lantern mythology. The project follows two Lanterns investigating a mystery connected to events on Earth, combining a cosmic superhero premise with the structure of a detective story. Its premise gives the series the opportunity to introduce the larger Green Lantern Corps while keeping its first major narrative grounded and accessible.
Green Lantern has been one of DC’s most challenging properties to bring to the screen because the mythology involves alien civilizations, intergalactic law enforcement and a large network of heroes. A television series provides room to explore that mythology over time. Lanterns is therefore expected to be important not only as an individual show but also as a possible gateway to the wider cosmic side of the DCU.
Another announced television project is Paradise Lost, a series set on Themyscira, the island home of the Amazons. The show takes place before the era of Wonder Woman and is intended to explore the society, political conflicts and power struggles that shaped the island. It is not simply a continuation of Diana’s established story; instead, it uses the history of the Amazons as the foundation for a separate drama.
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Paradise Lost could provide the new DCU with its first substantial look at the Amazon civilization without immediately making Wonder Woman the central character. The project also demonstrates the studio’s interest in building out the history of its fictional worlds, rather than introducing every location only when a headline superhero arrives.
Wonder Woman remains part of the broader future of DC Studios, although the character’s next major appearance and the precise shape of her solo project have been treated more cautiously than some other films. The studio has indicated that Wonder Woman is an important part of the DC mythology, while Paradise Lost offers a way to explore Themyscira before Diana’s story moves forward.
That approach leaves room for the new continuity to establish its version of the Amazons and their culture before committing to a specific direction for Wonder Woman. The character is expected to remain central to the franchise’s long-term plans, particularly if DC Studios eventually builds toward larger team stories involving its most recognizable heroes.
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Batman will also have a significant place in the future slate, but his path is divided between two different projects. The DCU’s planned Batman film is The Brave and the Bold. It is designed to introduce a version of Bruce Wayne who exists within the shared continuity and to explore his relationship with his son, Damian Wayne, who becomes Robin.
The presence of Damian makes The Brave and the Bold different from a standard Batman origin story. The film is expected to begin with an established Batman and a complicated family dynamic rather than showing Bruce’s first night as a crime fighter. It can therefore introduce both the world of Gotham and the unusual members of the Wayne family while distinguishing this Batman from other screen versions.
Separate from that project is The Batman Part II, the continuation of Matt Reeves’ crime drama starring Robert Pattinson. This series of films exists outside the main DCU continuity as an Elseworlds story. Its Gotham is grounded, atmospheric and focused on detective work, political corruption and the consequences of Bruce Wayne’s campaign against crime.
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The separate continuity allows The Batman Part II to continue on its own terms. It does not need to include Superman, the Justice League or the more fantastical elements planned for the central DCU. At the same time, it gives audiences another interpretation of Batman while The Brave and the Bold develops a different version of the character for the shared universe.
Swamp Thing is another film announced for the DCU. The character occupies the darker, supernatural side of the DC mythos, and the project is expected to explore horror and the relationship between humanity and the natural world. Swamp Thing offers a strong contrast to the optimistic tone associated with Superman and the street-level focus of Batman.
The film is also one of the clearest signs that the new DCU intends to cover several genres. Rather than making every project look and feel like the same kind of superhero adventure, the slate includes comedy, political drama, science fiction, fantasy and horror. That variety may allow the shared universe to feel broader while still connecting its stories through recurring characters and events.
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The Authority is another announced movie, centered on a powerful team whose methods are far more aggressive than those of traditional superheroes. The group believes that the ends justify the means, creating an immediate contrast with heroes such as Superman. Their willingness to impose solutions rather than seek permission gives the project a potentially confrontational role within the new DCU.
The Authority could also introduce characters and ideas that challenge the moral assumptions of the wider universe. A team that views itself as necessary, even when it causes harm, raises questions about who should wield power and who gets to decide what constitutes justice. Its position on the slate suggests that DC Studios is interested in conflicts between different types of heroism, not merely battles between heroes and villains.
Booster Gold is planned as a television series about a time-traveling character from the future who attempts to become famous in the present day. The character’s public image and personal insecurity create a premise that can support comedy while still fitting into the larger superhero setting. Booster Gold’s story is built around the difference between appearing heroic and actually accepting the responsibilities of a hero.
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The project could also explore time travel and the consequences of changing or manipulating history, although its final direction will depend on the completed series. Like Peacemaker, Booster Gold has the potential to use humor as an entry point into a character who is more complicated than his public persona suggests.
Several other projects have been announced or discussed as part of the wider DC Studios development slate, including stories connected to Amanda Waller and other supporting characters. Development does not always lead directly to production, and the status of individual projects can shift as scripts are revised, creative teams change or studio priorities evolve. For that reason, a project’s announcement should not be treated as confirmation that filming or release is imminent.
The planned schedule through 2028 and beyond is therefore best understood as a collection of connected possibilities. Some productions are close to release or already moving through the production process, while others remain at an earlier stage. The main DCU is expected to grow gradually, with films and television shows introducing different corners of the mythology before larger crossovers become the focus.
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The strategy also gives DC Studios a way to avoid relying on a single formula. Superman can represent the franchise’s central ideal, Lanterns can open the door to cosmic science fiction, Paradise Lost can explore myth and political history, and Swamp Thing can move into horror. Batman’s two separate continuities can serve different audiences without forcing either interpretation to replace the other.
For viewers, the most useful distinction is between projects that belong to the shared DCU and projects labeled as Elseworlds. The shared universe is designed to build toward a common continuity, while Elseworlds productions can tell self-contained stories with their own versions of familiar characters. Release timing, casting and creative plans may continue to change, but the slate’s overall direction is clear: DC Studios is pursuing a larger, more flexible franchise built around several genres and multiple generations of heroes.