Now that Supergirl has wrapped its theatrical run, the ending has turned into one of the movie’s biggest arguments: Kara kills Krem after spending most of the story trying to keep Ruthye from giving in to revenge.
That’s where the split starts. In the final stretch, Kara tells Ruthye that killing Krem won’t fix her grief or reverse what he’s done, and then Kara does it herself. People defending the choice call it practical. Krem already got spared once, then went right back to causing more destruction, he poisoned Krypto, and by that point he doesn’t look remotely redeemable. The people who hate the ending see it differently. To them, the movie undercuts its own moral center in a single scene.
Anyone who’s read Tom King and Bilquis Evely’s Supergirl: WoMan of Tomorrow can see why the reaction has been this intense. In the comic, Krem survives. He’s sentenced to centuries in the Phantom Zone, and much later an elderly Ruthye chooses mercy.
Things got louder after screenwriter Ana Nogueira said she believed the comic ended with Ruthye killing a reformed Krem. Tom King has pushed back on that in public and said plainly that Krem is alive at the end.
And for people who keep up with DC on film, this isn’t a small continuity gripe. Critics argue that the movie trades Kara’s compassion and self-control for something colder. It also drags the old Man of Steel Zod debate right into the early days of the new DCU, especially with Milly Alcock expected to return in Man of Tomorrow and James Gunn already hinting at bigger ideological differences between Kara and Superman.
The movie’s theatrical run is already over. Reviews were mixed, audience response landed a little better, and it finished with about $126.4 million worldwide against a reported budget somewhere between $170 million and $186 million.
Author: Emmanuel Pina
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"de-DE": "Emmanuel Pina schreibt bei Softonic über Unterhaltung: Kino, Serien und das Gewirr von Plattformen, in dem man sie suchen muss. Ihn interessiert der Start genauso wie das Kleingedruckte: wo etwas läuft, bis wann, und warum es ohne Vorwarnung aus einem Katalog verschwindet. Er gehört zum Redaktionsteam von Softonic und arbeitet täglich mit KI-Werkzeugen in der Produktion.",
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"fr-FR": "Emmanuel Pina couvre le divertissement chez Softonic : cinéma, séries et l'enchevêtrement de plateformes où il faut aller les chercher. La sortie l'intéresse autant que les petites lignes : où se trouve un titre, jusqu'à quand, et pourquoi il disparaît d'un catalogue sans prévenir. Il fait partie de l'équipe éditoriale de Softonic et travaille au quotidien avec des outils d'IA appliqués à la production de contenu.",
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