{"id":3123,"date":"2026-06-27T17:06:22","date_gmt":"2026-06-27T17:06:22","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=3123"},"modified":"2026-06-27T17:06:22","modified_gmt":"2026-06-27T17:06:22","slug":"supergirl-writer-ana-nogueira-on-the-movies-key-changes-from-the-woman-of-tomorrow-comic-and-the-status-of-wonder-woman-and-teen","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=3123","title":{"rendered":"\u2018Supergirl\u2019 Writer Ana Nogueira on the Movie\u2019s Key Changes From the \u2018Woman of Tomorrow\u2019 Comic and the Status of \u2018Wonder Woman\u2019 and \u2018Teen Titans\u2019"},"content":{"rendered":"
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\nSPOILER ALERT: <\/strong>This story contains plot details, including about the ending, from DC Studios\u2019 \u201cSupergirl,\u201d now playing in theaters.<\/em><\/p>\n

Read more Why A24 Should Treat Olivia Wilde\u2019s \u2018The Invite\u2019 as a Major Oscar Contender<\/a><\/p>\n

\n\tIt took more than five-and-a-half years, and countless hours reading comic books, for screenwriter Ana Nogueira to get to this moment: watching Supergirl fly onto the silver screen in her full glory.<\/p>\n

\n\t\u201cI\u2019ve seen the movie many, many times, but I had never seen it on a big screen,\u201d Nogueira tells Variety<\/em> about finally getting to watch \u201cSupergirl,\u201d starring Milly Alcock as the superheroine Kara Zor-El, at its Brooklyn premiere on Monday night. \u201cSo that was very cool. Just the size of it was really amazing.\u201d<\/p>\n

\n\tThe scale of writing a superhero movie is something Nogueira has tried not to let get in her head over the half-decade she\u2019s worked with DC Studios to craft a solo adventure for the Last Daughter of Krypton.<\/p>\n

\n\t\u201cIt\u2019s been a really long journey,\u201d she says, smiling over Zoom as she reflects on it all. \u201cIt\u2019s so beyond that I can\u2019t totally put it into words. It\u2019ll probably hit me in a few months, but right now I\u2019m just putting one foot in front of the other.\u201d<\/p>\n

\n\tNogueira, an actor and playwright-turned-screenwriter, was originally tapped to pen a \u201cSupergirl\u201d script when Warner Bros. was developing the movie as a spinoff of \u201cThe Flash.\u201d But when James Gunn and Peter Safran were named co-CEOs of DC Studios in 2022, they decided to take the DCU in a different direction \u2014 and brought Nogueira along for the ride. In fact, they were so enamored with her take on the Supergirl story \u2014 both in its original iteration and her revised pitch, based on Tom King\u2019s \u201cWoman of Tomorrow,\u201d which follows Kara and a young alien girl named Ruthye (Eve Ridley) on a quest for vengeance \u2014 that Nogueira will also pen DC\u2019s upcoming live-action \u201cTeen Titans\u201d movie, as well as a \u201cWonder Woman\u201d film.<\/p>\n

\n\t\u201cLook, I\u2019ve been screenwriting for a long time, and you can go through drafts and drafts and drafts, and it doesn\u2019t happen, or it gets really close, you\u2019re about to be greenlit and something falls apart, so for it all to happen so quickly was nuts and abnormal, for sure,\u201d Nogueira says.<\/p>\n

\n\tBut what really made the \u201cSupergirl\u201d experience unique was that the creatives, including director Craig Gillespie, were all on the same page from the jump. \u201cWe just all saw the same thing,\u201d she says. \u201cAnd we also had Tom King\u2019s comic, which was so helpful, but also [knowing] that you have to leave some stuff behind.\u201d<\/p>\n

\n\tAdapting well-loved source material is no small feat, especially when introducing a character whose backstory is known to some \u2014 like viewers of the CW series, or the namesake 1984 movie \u2014 but others only know her as Superman\u2019s cousin. Dealing with an epic, interplanetary story raises the stakes even further. \u201cIt can feel really far away from us,\u201d Nogueira says. \u201cI remember trying to dig into the reality of it. You\u2019re just a 14-year-old girl being sent away to save your life. I remember finally cracking that and it feeling very satisfying.\u201d<\/p>\n

\n\tRead on as Nogueira details her process of scripting \u201cSupergirl\u201d and some of the film\u2019s key differences from the \u201cWoman of Tomorrow\u201d storyline.<\/p>\n

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\n\t\tMidway through the movie, Kara\u2019s mother delivers a line that ultimately becomes the core takeaway. On her deathbed, she tells her daughter, \u201cJust be good. That doesn\u2019t mean you cannot be tough. That doesn\u2019t mean you must be nice. Just be good and do what is right. Protect others who cannot protect themselves.\u201d Where did that dialogue spark from?\t<\/h5>\n

\n\tThere\u2019s not a lot about her parents in the lore and canon \u2014 or at least not that I had touched on \u2014 and it was just the fun of [wondering] who did she get what trait from. I imagine her mom as being this deep, earthy woman; she\u2019s not from the House of El, like she\u2019s not Jor-El and Zor-El. So, I\u2019m like, \u201cWho is this woman that he married? And what does she bring to the table if she\u2019s not from this more aristocratic family?\u201d I imagined her as being this woman who was so sure of who she is, and isn\u2019t really afraid, and is really thoughtful. So, I was like, \u201cWhat if [Kara] got this from her mom? What if her softness is from her dad, and her edge is from her mom?\u201d<\/p>\n<\/div>\n<\/div>\n

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\n\t\tFans are eager to see what happened on Krypton and what her experience was like in Argo City. What was it like to get to introduce that aspect of the DCU, since we don\u2019t get that in \u201cSuperman?\u201d\t<\/h5>\n

\n\tIt was a little bit of a journey, because there are different versions of her backstory, and the one directly from \u201cWomen of Tomorrow\u201d was what I believe was in my first draft \u2014 which is that she\u2019s there when the core implodes. There are all these little things that work in comics, but then suddenly in a script, they don\u2019t work, because then there\u2019s a whole aspect where she gets stuck in the Phantom Zone for a decade. It suddenly took over the movie. It\u2019s like you either need to say it in a sentence, or it takes over the movie, and that doesn\u2019t totally work. It was almost crafting a new version of her backstory, because the one that we\u2019ve known for so long is that she\u2019s actually older than Clark\/Superman, and she gets stuck.<\/p>\n

\n\tThat felt like a big responsibility to take on, to change it from what is canon and what is lore. But I still tried to get to the root of what matters about that: She had a whole life and childhood somewhere, and that it was lost to her. It was Krypton, and everything Krypton is, but it\u2019s almost like it could be anywhere; any home that you grow up in is going to be meaningful to you, whether that\u2019s your house in Ohio or your house on another planet. So, I just tried to zero in on that.<\/p>\n

Read more Box Office: \u2018Supergirl\u2019 Flies to $18 Million on Opening Day<\/a><\/p>\n

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\n\t\tIt also adds that extra layer to why her dog, Krypto, is home to her; he\u2019s the only thing that she brought with her, the only tangible reminder of her parents.\t<\/h5>\n

\n\tThat was always in [the script], that he comes to her in this moment of need, even when it was in an earlier draft that she was there at the destruction of the planet. I always had him being this little puppy that she feels like she simultaneously saves \u2014 as we meet him in the movie, he\u2019s obviously just a stray rummaging through some like trash, and so she saves him \u2014 and he saves her simultaneously. One of the things about animals is that the relationship is so pure because it\u2019s pretty wordless.<\/p>\n

\n\tYou just know each other, and you don\u2019t need to explain yourself ever to a pet. They just love you for exactly who you are. Kara struggles with that, because she can be a little bit difficult. I just think that that\u2019s quite universal for anybody who\u2019s ever loved an animal. It\u2019s a very specific relationship.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\n\t\tLobo, the cigar-smoking alien bounty hunter played by Jason Momoa, was originally in the \u201cWoman of Tomorrow\u201d comic, but got cut from the story. Take me through the decision to add him back for the movie?\t<\/h5>\n

\n\tSo that was brought to me. [Gunn and Safran] were like, \u201cWe want to do \u2018Woman of Tomorrow,\u2019 and we want you to find a way to put Lobo in. We think Lobo has a place in this.\u201d I think their thinking was we know Jason Momoa is interested in this, and how can you turn that down? He\u2019s so excellent in it, and you have to find a place when somebody is willing to go there. But at the same time, it also makes sense, because it\u2019s intergalactic. It\u2019s hard to bring Lobo to Earth \u2014 he\u2019s always taken place in outer space \u2014 so they\u2019re like, \u201cThis is an opportunity to bring in this character that would be hard to bring in.\u201d<\/p>\n

\n\tI knew Tom King had based the comic on \u201cTrue Grit,\u201d but originally, Lobo was the bounty hunter and Kara was the girl. Then he was like, \u201cThat doesn\u2019t quite work.\u201d He flipped it, and he brought in Ruthye. But when I was trying to bring in Lobo, I was like, \u201cThere is a third character in \u2018True Grit\u2019: Matt Damon\u2019s character,\u201d so if we follow that structure, there\u2019s still room for this guy who is like a frenemy to the two of them. And Lobo is the ultimate frenemy.<\/p>\n<\/div>\n<\/div>\n

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\n\t\tRuthye is the narrator of the comic, but in the film, it\u2019s more about seeing the action through her eyes. How did you go about shifting that perspective?\t<\/h5>\n

\n\tIn the original draft of the script, the movie opened with meeting Ruthye and getting to know her. But what we realized is that comic readers know Supergirl really, really, really well, so they are OK with meeting her through somebody else\u2019s eyes. But for the movie-going public, Supergirl is not Batman; we haven\u2019t seen her parents die a bunch of times [like Bruce Wayne\u2019s], we don\u2019t know it that well. I\u2019ve seen Spider-Man get bitten by a radioactive spider a bunch of times, but we don\u2019t have that with her. So, we realized we had to onboard the audience to [Kara] as the focus of the movie, not just through Ruthye.<\/p>\n

\n\tBut we wanted to maintain the sense of wonder of this little girl seeing this extraordinary woman and wanting more from [her]. There\u2019s this element of [Kara] not totally living up to her potential, so we wanted to maintain that, but take the voiceover Ruthye out of it.<\/p>\n<\/div>\n<\/div>\n

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\n\t\tThe film is about two young women learning to save themselves \u2014 and each other. But they also save all these other girls who\u2019ve been kidnapped by the Brigands. How did that come to be?\t<\/h5>\n

\n\tSo, that is not in the comic. I put it in for very boring writer reasons: in the comic, there\u2019s this central planet where there\u2019s been this horrific act in the past \u2014 essentially a genocide, an ethnic cleansing \u2014 and you find out that Krem was in some way involved. What\u2019s really important about this is them coming and seeing loss that is not perfectly reflective of theirs, but just that deep pain that these girls have been through. And we also had to see that Krem is just like a total POS; that this guy is somebody that we are going to want to see meet a certain end. But I needed it to be something that was happening in the present and not the past, because in the comic, you can jump around to the past, but you can\u2019t do that here. I needed something to feel really immediate, like there was saving to be done now<\/em>.<\/p>\n

\n\tI also wanted it to be something that specifically put our girls in jeopardy, so that they would be a target. Because otherwise, I don\u2019t know why the Brigands would come after them. So, it\u2019s those silly, boring writerly things that then end up leading to a larger plot. And it just tracked for me that the Brigands are an all-male race: What do they need?<\/p>\n<\/div>\n<\/div>\n

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\n\t\tThe final battle sees an emotional breakthrough for Kara and Ruthye, but also a very final moment for Krem. It also leads us to what we\u2019re going to see for Supergirl when she joins Superman in \u201cMan of Tomorrow.\u201d How did you go about crafting the ending?\t<\/h5>\n

\n\tThe ending between Kara and Krem was always in it, from the pitch \u2014 truly from the very beginning. Because the comic ends with Ruthye killing him, but in the far, far future. We knew we weren\u2019t gonna be able to do that kind of time jump, and I find it\u2019s quite a dark ending of the comic. He essentially has changed, and she kills him anyway, because she still just has this anger, and you understand there\u2019s this element of deserve, right? So, we wanted to craft a villain who would deserve this, but we also wanted Kara to really care about preserving Ruthye\u2019s innocence, and to feel like she could take on [killing him], that she could be the one to bring justice to this man, and do it without burdening this child. It\u2019s different for Supergirl, and I think it will feel different for audiences.<\/p>\n

\n\tBut I also find it really interesting because it means she has her own moral compass going forward. One that is separate from what Superman\u2019s famous moral compass is: that he never takes a life. It\u2019s really exciting to see. I have no idea what happens between the two of them in \u201cMan of Tomorrow,\u201d that\u2019s above my pay grade. But it\u2019s really exciting to think about them going forward and having these different viewpoints on how you deal with villains.<\/p>\n<\/div>\n<\/div>\n

\n
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\n\t\tJames and Peter kept you in the fold on \u201cSuperman\u201d to know about the connective tissue to \u201cSupergirl,\u201d but I understand not giving you all the deets on the next one, because you\u2019re a little busy crafting \u201cWonder Woman\u201d and \u201cTeen Titans.\u201d What stage are those two in?\t<\/h5>\n

\n\tOh, they\u2019re so early. They\u2019re in very different stages, I\u2019ll say that. They\u2019re all just such great characters, and I can\u2019t believe I get to figure out what I would do with them the way that we did with Kara and Supergirl. But it\u2019s still early days on both.<\/p>\n<\/div>\n<\/div>\n

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\n\t\tWhat was it like to get the green light from James and Peter, and to know that you were going to continue in this universe?\t<\/h5>\n

\n\tIt\u2019s a huge compliment and a vote of confidence. It\u2019s honestly quite overwhelming. I can\u2019t even think of the size of it. I just really try to keep my head down and make sure that I like the work that I\u2019m doing, and that I think that it\u2019s good work. I can\u2019t write something that I don\u2019t like. I can\u2019t write something that I don\u2019t see. I don\u2019t have that gear. So, taking in how big it is is something I actually try not to even think about. I just try to stick to the script.<\/p>\n

Read more K. Bhagyaraj, Prolific Tamil Cinema Writer-Director-Actor, Dies at 73<\/a><\/p>\n

\nThis interview has been edited and condensed.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

“Supergirl” writer Ana Nogueira on the movie’s key changes from the “Woman of Tomorrow” comic, plus her “Wonder Woman” and “Teen Titans” scripts.<\/p>\n","protected":false},"author":1,"featured_media":3122,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2598,2089],"class_list":["post-3123","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-ana-nogueira","tag-supergirl"],"yoast_head":"\n\u2018Supergirl\u2019 Writer Ana Nogueira on the Movie\u2019s Key Changes From the \u2018Woman of Tomorrow\u2019 Comic and the Status of \u2018Wonder Woman\u2019 and \u2018Teen Titans\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=3123\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Supergirl\u2019 Writer Ana Nogueira on the Movie\u2019s Key Changes From the \u2018Woman of Tomorrow\u2019 Comic and the Status of \u2018Wonder Woman\u2019 and \u2018Teen Titans\u2019 - 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