The meteoric rise of the Marvel Cinematic Universe fundamentally changed Hollywood, prompting rival studios to aggressively pursue their own interconnected narratives. Warner Bros. Discovery attempted to replicate this success by accelerating the development of the DC Extended Universe, often prioritizing release schedules over a cohesive creative vision. This reactionary strategy resulted in a turbulent period marked by significant critical and commercial setbacks, leaving the franchise without a stable foundation. Amidst the frequent leadership changes and shifting priorities, numerous high-profile projects were abruptly abandoned or relegated to development hell. Among the casualties were Ben Affleck’s solo Batman film, the Batgirl movie, and Ava DuVernay’s New Gods. Another movie, Zatanna, was also scrapped before it could get a chance to flourish.
“I [had] just finished Promising Young Woman, and there was this huge thing in this world that I’d never operated in,” Emerald Fennell explained during a recent appearance on the Happy Sad Confused podcast. The filmmaker provided rare insight into her scrapped Zatanna movie, a project that was once a cornerstone of J.J. Abrams’ plans for a supernatural corner of the DC universe. Fennell’s approach to the Mistress of Magic was intentionally subversive, as she sought to ground the character’s immense power in a deeply personal struggle. “It was a kind of superhero movie, and I was like, ‘Okay, how do I make the version of a superhero movie that I would connect to emotionally,’ which is sort of the woman in the middle of a nervous breakdown,” Fennell stated.
When asked about the movie’s story and tone, Fennel described it as “a script reflective of a woman in the middle of a nervous breakdown, I would say. And in terms of what that means, well, I suppose it just meant that it was probably too far away, maybe a little too far away from the genre.” The writer admitted that the “demented” nature of the screenplay led to feelings of self-doubt regarding her ability to meet the studio’s expectations. “I haven’t read it for a really long time because I found it really difficult. […] The thing [is], I love J.J., and he took a chance on offering me to do it, and I really wanted to deliver something amazing for them, and I always felt like I hadn’t quite maybe delivered the thing that they wanted,” she shared. Despite the creative friction, Fennell noted that the studio was supportive throughout the process, even if the final script contained sequences that she now believes were fundamentally unmakeable in a superhero blockbuster.
Zatanna Can Get a Second Chance in the DCU
Image courtesy of DC Comics
While Fennell’s Zatanna was cancelled, the current leadership at DC Studios appears to be laying the groundwork for the heroine’s return. James Gunn’s Superman officially introduced a “History of Metahumans” mural within the Hall of Justice, a massive painting that chronicled the heroic legacy of the new universe. Included in this mural is the magician Zatara, the father of Zatanna and a prominent member of the Justice Society of America. By establishing Zatara as a historical figure in the DC Universe, Superman has effectively confirmed that his magical lineage is canon.
Furthermore, set images from the production of Clayface have revealed the presence of Vesuvius, a neon-soaked nightclub that serves as Zatanna’s primary performance venue in the comic books. The inclusion of such a specific location within the rain-slicked streets of Gotham suggests that the studio could be using Clayface to establish the DCU’s wider supernatural world. This strategy aligns with the broader creative philosophy of the DCU, which has demonstrated a willingness to embrace lesser-known and weirder characters. Plus, the upcoming Mister Miracle animated series, written by Tom King, and the horror-centric Clayface film directed by James Watkins indicate that the franchise is no longer shying away from genre-bending narratives.
While Fennell’s vision was deemed too radical for the previous era, her focus on the inner world of the protagonist offers a compelling template for how the character could be handled today. The superhero genre is consistently at its most effective when the narrative prioritizes a personal perspective, and the DCU’s recent shift toward director-driven projects could provide the perfect environment for a unique take on Zatanna. Perhaps even Fennell’s scrapped script could get new life.
Clayface is scheduled to be released in theaters on October 21st.
Do you think a character like Zatanna works better as a “demented” psychological study or a traditional superhero? Leave a comment below and join the conversation now in the ComicBook Forum!