Podbit · The Megyn Kelly Show
Supergirl opened $12 million below its already-disappointing $50 million projection, on a $170 million production. The star openly mocked 'dads' and Christians, suggested her character is queer, and celebrated the film having no male love interest. Stu Burguiere's verdict: this isn't misogyny — it's merit.
Where this was said
At 1:30:40 · chapter starts 1:26:30
Megyn Kelly introduces Supergirl's box office disaster by positioning it alongside the Snow White flop as another case of Hollywood casting an actress who then alienates potential audiences with off-screen comments. She plays clips and reads quotes from Milly Alcock's press junket: lamenting 'ownership of women's bodies,' saying she was happy to 'piss off' Christians and dads, suggesting her character is queer, and celebrating that the film isn't 'centered around a man.' The numbers are damning: $38 million opening against a $50 million target, on a $170 million production — meaning the studio would need over $350 million just to break even before marketing costs. The film received a B- CinemaScore and a rotten Rotten Tomatoes rating. Kelly reads the New York Times analyst who blamed 'resurgent misogyny' among superhero fans, which she and Burguiere reject emphatically. Burguiere's argument: this isn't about gender, it's about merit. The recent Superman movie made hundreds of millions because it was good. Wicked made money despite some woke elements because it was a solid film. You cannot coast on a cape anymore. [1] — Megyn Kelly "Supergirl opened $12 million below its already-disappointing $50 million projection, on a $170 million production. The star openly mocked '…" 1:30:40
Ten years ago an ounce of gold was approximately $1,200; today it is around $4,500, representing roughly a 3.75x increase.
Supergirl opened at $38 million at the box office against a projected $50 million opening, on a film that cost $170 million to make, and received a B- CinemaScore.
Supergirl cost approximately $170 to $178 million to produce, meaning the studio would need over $350 million in box office receipts just to break even before marketing costs.
Hollywood spent 15 years printing money by putting capes on anything. That era is over. Making a merit-free, ideologically preachy movie with an actress who lectures her target audience is not a formula — it's malpractice. The recent Superman release got decent reviews and collected hundreds of millions of dollars. The bar is not that high.
Robby Hoffman isn't fearless — she's terrified all the time. The difference is she does it anyway, because not doing it feels worse than the fear itself.
John Mulaney texted Robby Hoffman out of nowhere saying he'd been a fan for a while and wanted to make a Netflix special with her. Robby called it 'shocking, horrifying, anxiety-inducing, surreal and thrilling' — and said yes.
Mulaney is buttoned-up, suit-wearing, classy. Robby is gritty, raw, and undefined. Together they made the collab nobody expected. Batman and Robin. Eminem and Dido.
Music had Pope Gregory forcing notation. Comedy has had 'magical thinking' — he's just got funny bones. But jokes work through discoverable, teachable mechanics. Writing down the rules doesn't kill the magic; it gives more people access to it.
Howard Ashman had one insight nobody else had: animated Disney films should be Broadway musicals. The third song of every great musical is the character sitting alone explaining what they want. That's 'Part of Your World.' That structure — combined with Alan Menken's compositions — generated Beauty and the Beast, Aladdin, and The Lion King, and turned Disney Animation into the most profitable creative engine in entertainment history.
The Lion King musical has been running for 30 years across Broadway, London's West End, and global touring companies. It has grossed over $11 billion in total revenue — more than Avatar, more than Avengers: Endgame, more than any album, more than any video game. It generates an average of $350 million in revenue every single year. Disney owns it outright.
The anonymous French artist Invader has hidden 1,500 pixelated mosaic artworks across Paris alone, with thousands more scattered across 80+ cities — affixed to the Eiffel Tower, the Hollywood sign, and even sent to the International Space Station. He might be even busier than Banksy.
The Flash Invaders app turns city streets into a treasure hunt, letting players scan Invader's hidden mosaics for points. Players have collectively logged over 47 million flashes. Unlike most mobile games that glue you to a screen, this one forces you to look up and engage with your surroundings.
New York draws thousands of young, talented performers every year chasing Broadway stardom — but the hard truth is that most of them never make it. Zelig Williams was one of the rare exceptions.
We use essential and analytics cookies to run Vuci. To understand how the site is used: Privacy Policy.
Install Vuci on your phone
Add it to your home screen for a faster, app-like experience.
Install Vuci on your phone
Tap the Share button, then “Add to Home Screen”.
A new version is available
Reload to get the latest Vuci.