Budget: 225 Million

Superman is my favourite comic book superhero, and I didn’t expect this crap.

What makes this blockbuster unbearable isn’t just the total failure of the directing, the catastrophic pacing, or the flat, dumb, lifeless dialogue. The central, most obscene point is the systematic erasure of racialised victims. Less than a minute of scattered images, without voice, without agency, without depth, bodies tossed into the story as sacrificial props. It’s colonial writing in its rawest form: a cinema that denies the subjectivity of the Global South, reducing it to a mere backdrop of suffering to lend false gravitas to the white myth.

Hollywood doesn’t represent the South, it erases it. Lives destroyed by Empire don’t exist, they deserve neither story nor memory. Racialised victims appear as interchangeable shadows, stripped of all political capacity, denied any form of resistance. This isn’t merely structural racism, it’s staged imperialist ideology. The Global North continues to colonise the imagination, continues to naturalise racial hierarchies, continues to produce nothing but emptiness in place of history.

Meanwhile, the Zionists appropriate Superman, projecting themselves onto him, claiming imaginary victimhood, doubling the erasure with an obscene inversion.

It’s cultural capitalism pushed to the extreme: a machine churning out empty spectacle, a pre-AI system, incapable of creating anything but dead, arrogant, depoliticised fiction.

This isn’t simply a bad film; it’s a cultural operation of domination. Every shot repeats the Empire’s imperative: erase real victims, replace the political with hollow entertainment, turn colonial violence into white spectacle. This cinema isn’t entertainment, it’s an amnesia factory.

The film is proof of systemic failure: aesthetic failure, cultural failure, failure of fun, political failure, moral failure. It’s the brazen vulgarity of cultural imperialism, which no longer knows how to produce anything but its own void. A void sold as universal, imposed as the only story, metastasising across the West.

I genuinely think Americans have completely lost sight of what makes a grand spectacle, something enjoyable for all audiences, something fun. People have grown stupid in their relationship with entertainment; they no longer watch “a film” but little phrases or vignettes, supposedly sociological, utterly hollow in meaning.