In a bold statement that’s sent shockwaves through the comic book fandom, James Gunn, co-CEO of DC Studios, has proclaimed his rebooted DC Universe (DCU) as “immortal.” This comes at a precarious time for Warner Bros.
Discovery (WBD), with rumors swirling that Saudi Arabia’s Public Investment Fund (PIF) is on the verge of acquiring the beleaguered media giant for a staggering $70 billion. Gunn’s words aren’t just bravado; they’re a direct response to speculation that his carefully crafted shared universe could be dismantled under new ownership.
“The DCU is built to last, no matter who holds the keys to the kingdom,” Gunn reportedly quipped during a recent interview on the set of Peacemaker Season 2.
Fans have latched onto this, seeing it as a rallying cry for the fresh era he’s spearheading, one that kicked off with the animated Creature Commandos and continues with David Corenswet’s Superman hitting theaters in July 2025.
The timing couldn’t be more dramatic. WBD, under CEO David Zaslav, has been hemorrhaging value since the 2022 merger of WarnerMedia and Discovery, burdened by $40 billion in debt and underwhelming box office returns from prior DC efforts.
Enter Saudi Arabia, whose PIF has been aggressively expanding into entertainment as part of Vision 2030, the kingdom’s push to diversify beyond oil. Hollywood insiders whisper that PIF, already a stakeholder in companies like Electronic Arts and Newcastle United, views WBD as a golden ticket to global soft power.
Reports from Variety and Deadline suggest the deal could close by Christmas 2025, potentially bundling Paramount Global into the mix for a mega-merger. Gunn, ever the provocateur, dismissed fears of disruption, stating, “Even if the Saudis swoop in with their checkbook, my projects are locked in stone.
Superman flies on, Peacemaker punches back— the DCU doesn’t bend to boardroom battles.” This assurance has buoyed supporters, but skeptics point to Gunn’s contract expiring in November 2026 as a ticking clock.
Gunn’s confidence stems from the early wins of his Chapter One: Gods and Monsters slate. Superman, directed by Gunn himself, grossed over $900 million worldwide upon release, revitalizing the Man of Steel’s cinematic legacy after Henry Cavill’s abrupt exit from the role.
Critics praised its blend of heartfelt optimism and irreverent humor, drawing comparisons to Gunn’s Guardians of the Galaxy triumphs at Marvel. “It’s not just a film; it’s the foundation of a universe where heroes feel human,” Gunn elaborated in a Forbes interview.
Animated series like Creature Commandos have also streamed successfully on Max, introducing anti-heroes like Weasel and introducing lore that ties into live-action without overwhelming newcomers. With Lanterns and Supergirl: Woman of Tomorrow greenlit for 2026, the pipeline looks robust. Yet, the shadow of acquisition looms large.
If PIF takes control, cultural sensitivities could clash with Gunn’s signature edginess—think Peacemaker’s foul-mouthed antics or The Suicide Squad’s gore. Gunn counters this by highlighting universal themes: “Superheroes are about hope transcending borders. The DCU’s immortality lies in its stories, not its suits.”
Delving deeper into the Saudi angle, the potential buyout isn’t just financial—it’s geopolitical theater. PIF’s chairman, Yasir Al-Rumayyan, has funneled billions into Hollywood, from backing Top Gun: Maverick to eyeing Universal’s assets.
Acquiring WBD would grant access to DC’s pantheon, Harry Potter’s wizardry, and HBO’s prestige dramas, positioning Saudi Arabia as a Hollywood heavyweight. Cosmic Book News, a site known for DC scoops, reports that insiders believe the kingdom craves a Marvel-rivaling event film, something on the scale of Avengers: Doomsday.
Gunn’s DCU, with its interconnected yet self-contained tales, fits the bill, but only if leadership stays the course. “We’ve got a 10-year plan etched in Kryptonian crystal,” Gunn joked on X (formerly Twitter), sharing concept art of the Hall of Justice mural from Superman.
This visual ode to DC’s history—from Golden Age icons to modern vigilantes—symbolizes his vision: a tapestry weaving legacy with innovation, immune to corporate upheavals.
But immortality claims invite challengers, and none loom larger than the ghost of the SnyderVerse. Zack Snyder’s darker, mythic take on DC—epitomized by Man of Steel (2013) and Batman v Superman: Dawn of Justice (2016)—still commands a fervent cult following.
The #RestoreTheSnyderVerse movement peaked in 2021 with the release of Zack Snyder’s Justice League, which, despite mixed reviews, grossed $250 million on HBO Max alone.
Fast-forward to 2025, and Snyder’s Instagram has erupted with nostalgic posts: moody stills of Ben Affleck’s brooding Batman, Gal Gadot’s fierce Wonder Woman, and even Jared Leto’s enigmatic Joker. Fans interpret this as saber-rattling amid WBD’s woes.
Rumors from That Park Place suggest that if PIF acquires WBD, Snyder could return, backed by Christopher Nolan as a creative consultant, to helm a SnyderVerse revival.
Nolan, whose The Dark Knight trilogy redefined superhero cinema, has reportedly been courted for a Dark Knight Returns adaptation, pitting an aging Batman against Superman in a dystopian clash.
Gunn didn’t mince words on this front, labeling a full SnyderVerse resurrection “an interesting fever dream, but pure delusion.” In a candid X thread, he mocked the idea as “nostalgia on steroids,” arguing that audiences crave forward momentum, not rehashed epics.
“Zack’s a genius, but lightning doesn’t strike twice in the same multiverse,” Gunn tweeted, garnering 50,000 likes from DCU diehards. This jab underscores a deeper rift: Snyder’s operatic style polarized viewers, with box office hauls like Justice League’s $657 million paling against Marvel’s billions.
Gunn’s DCU, by contrast, prioritizes ensemble vibes and character arcs, as seen in Peacemaker Season 1’s Emmy nods. Yet, Snyder loyalists fire back, citing Gunn’s Superman as “woke-lite” compared to their hero’s gravitas. Online forums like Reddit’s r/SnyderCut buzz with petitions, amassing 100,000 signatures for a Snyder-led Elseworlds lane.
Gunn’s retort? “Delusional if you think one man’s shadow eclipses a universe built for everyone.”
The fan wars have escalated into a cultural proxy battle, with X threads dissecting every crumb. Pro-Gunn voices hail his inclusivity—diverse casts in Lanterns and queer-coded heroes in Clayface—as DC’s path to relevance in a post-Endgame world.
Snyder stans, meanwhile, decry it as sanitized slop, yearning for the raw spectacle of slow-motion apocalypses. Gunn’s immortality boast amplifies this divide, positioning the DCU as a phoenix rising from DCEU ashes. “We’ve learned from every misstep,” he told Reel 360 News.
“No more solo slates clashing like titans; this is harmony in heroism.” Projects like The Authority, helmed by James Watkins, promise gritty team-ups without Snyder’s gloom, while Swamp Thing by James Mangold channels Alan Moore’s horror roots.
Even Matt Reeves’ The Batman universe, an Elseworlds outlier, nods to Gunn’s canon with shared tech lore. As WBD’s sale inches closer, these interconnections fortify the DCU’s defenses.
Economically, Gunn’s gamble pays dividends. Superman’s success spiked DC Comics sales by 30%, with reprints of Action Comics #1 fetching record prices at auction. Merchandise—from Krypto plushies to Justice League Funko Pops—has flooded shelves, bolstering WBD’s valuation amid bidder frenzy.
Comcast and Netflix lurk as alternatives, but PIF’s deep pockets make it the frontrunner. Forbes analysts predict that any buyer would be foolish to scrap Gunn’s momentum; after all, Guardians of the Galaxy turned B-listers into A-listers. “The DCU’s immortality isn’t hype—it’s metrics,” Gunn asserted.
Still, whispers persist: if Saudis prioritize spectacle, could Snyder’s epic crossovers tempt them? Gunn shuts it down: “Reviving the past is like rebooting a floppy disk in 2025. Fun thought experiment, but we’re streaming in 4K.”
Looking ahead, Gunn’s DCU charts a multiversal map brimming with potential. Peacemaker Season 2, premiering August 2026, bridges Superman’s optimism with squad-based chaos, starring John Cena alongside Frank Grillo’s Rick Flag Sr.
Lanterns explores Green Lantern lore through a noir lens, with Tom Rhys Harries as the shape-shifting Clayface adding monstrous flair. Gunn’s hands-on role—writing Supergirl and overseeing animation—ensures cohesion. “Immortal means evolving,” he reflected. “We honor roots but plant new seeds.” Amid acquisition chaos, this resilience shines.
Saudi billions might reshape studios, but they can’t erase a universe alive in fans’ imaginations.
Critics of Gunn’s bravado argue it’s premature. Cosmic Book News claims insiders see him ousted post-sale, paving Snyder’s return with Affleck and Cavill. Yet, evidence mounts against: Zaslav’s public endorsements and Superman’s ROI scream continuity. Gunn’s X activity—teasing Lobo cameos and DCU playlists—keeps buzz alive.
“Mock the Snyder dream all you want,” one fan tweeted, “but Gunn’s building empires, not echoes.” As December 2025 unfolds, the DCU stands defiant, a testament to creative fortitude over corporate flux.
In the end, Gunn’s declaration isn’t just words—it’s a blueprint for endurance. Whether PIF inks the deal or not, the DCU’s heroes endure, mocking doomsayers with capes aflame. From Metropolis skyscrapers to Gotham’s shadows, immortality beckons, one blockbuster at a time. Fans, buckle up; the saga’s just immortalized.