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Nathan Fillion Explains Why ‘Man of Tomorrow’ Feels Different From ‘Superman’

Fillion opens up about Guy Gardner’s complicated loyalties and what separates the upcoming movie from ‘Superman.’

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Nathan Fillion Explains Why ‘Man of Tomorrow’ Feels Different From ‘Superman’

Nathan Fillion has offered fresh insight into Guy Gardner’s transformation from intergalactic peacekeeper to corporate-sponsored celebrity—and teased how Man of Tomorrow will take a different path from Superman.

Fillion’s bowl-cut Green Lantern first entered the new DC Universe as a member of the Justice Gang in Superman. He later appeared in Peacemaker before making the jump to HBO’s darker, detective-driven Lanterns.

Despite the dramatic differences between those projects, Fillion believes the character can remain consistent while adapting to each story’s atmosphere.

He compared the experience to spending one weekend in colourful Metropolis and another in shadowy Gotham. The individual would remain the same, he explained, but the two weekends would feel entirely different.

Guy Gardner turns superhero status into a business

In Lanterns, Guy is not merely a superhero. He has become a carefully packaged product supported by LordTech and its billionaire founder, Maxwell Lord.

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The series drives that point home when John Stewart returns to Rushville and spots a promotional display featuring Guy advertising an energy drink. It is an image that immediately separates him from fellow Green Lanterns Hal Jordan and John Stewart.

Hal is too unpredictable to become a polished spokesman, while John treats the responsibilities of the ring far too seriously to turn himself into a corporate mascot. Guy, however, appears perfectly comfortable mixing heroism with advertising.

Fillion said Guy enjoys being recognised as someone special and believes marketing naturally accompanies that position. His financial ambitions also play a role: Guy dreams of opening his own bar, and achieving that goal requires money.

“For that, you need corporate sponsorship,” Fillion explained.

In other words, Guy does not see commercial partnerships as compromising his heroic identity. He considers branding another tool—one that can build his public profile while funding the future he wants.

Fillion described him as someone who understands both the superhero business and the actual business surrounding superheroes.

Rushville remains haunted by Hal and John’s decisions

Guy’s polished public image exists in stark contrast to the painful history surrounding the Green Lantern name.

A decade earlier, Hal Jordan and John Stewart became caught in the devastating Battle of Rushville.

Hal, played by Kyle Chandler, was desperate to prevent his younger partner from replacing him. His decisions helped bring an extraterrestrial confrontation directly into Rushville, placing both John and the town’s population in danger.

A disillusioned John, portrayed by Aaron Pierre, eventually took Hal’s ring before abandoning the very object he had spent years trying to earn. The destruction left Rushville’s residents deeply suspicious of Green Lanterns and permanently damaged the organisation’s public image.

When the Guardians selected Guy as Earth’s next Green Lantern, he inherited more than a powerful ring. He also inherited a reputation in need of repair.

That is where LordTech’s public-relations machine apparently became useful.

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Was Guy’s Green Lantern beacon really an apology?

In Episode 6, titled “Bad Optics,” Guy installs a Green Lantern beacon in Rushville resembling Gotham’s famous Bat-Signal.

The symbol is presented as an attempt to rebuild trust following the destruction caused by his predecessors. Fillion believes Guy genuinely wanted the beacon, but he suspects the decision was also influenced by LordTech’s damage-control specialists.

The actor described it as the likely product of a team working to improve the Green Lantern brand rather than a purely personal act of compassion.

John eventually uses the beacon to summon Guy and asks him to obtain Hal’s decommissioned ring from the Guardians of the Universe. He believes the ring could help him investigate Hal’s death.

Guy initially resists, but John reminds him of an uncomfortable truth: Guy only received his current position because John rejected it ten years earlier.

According to Fillion, John deliberately pulls on that thread to secure Guy’s cooperation. By helping him retrieve the ring, Guy can consider the old debt repaid.

The relationship between the two men is therefore built on pride rather than friendship. They understand one another and share the rare experience of being selected by the Corps, but they do not truly regard themselves as colleagues.

‘Man of Tomorrow’ will explore Lex Luthor more deeply

Fillion will return as Guy Gardner in Man of Tomorrow, the 2027 follow-up to James Gunn’s Superman.

The actor stopped short of revealing specific plot details but explained the most important difference between the two films.

While Superman allowed audiences to understand who Clark Kent truly is, Fillion believes Man of Tomorrow will reveal considerably more about Lex Luthor.

“In this movie, I think we’ll learn more about who Lex Luthor is,” he said, adding that such an exploration is equally important.

The new film brings back David Corenswet as Superman and Nicholas Hoult as Lex Luthor. Rachel Brosnahan will also return as Lois Lane, alongside Fillion, Isabela Merced and Edi Gathegi.

The story is expected to place Superman and Luthor in an uneasy alliance against the highly intelligent alien threat Brainiac, played by Lars Eidinger. The film is scheduled to arrive in theatres on July 9, 2027.

Nathan Fillion and James Gunn’s trusted partnership continues

Fillion’s journey through the DCU is the latest chapter in his long creative relationship with writer-director James Gunn.

Their collaboration began with Slither in 2006 and has since expanded across approximately a dozen projects.

Fillion said Gunn remains fundamentally the same person he first worked with, despite the enormous expansion in the size and scope of his productions. He praised the filmmaker’s love of storytelling, ability to think on several creative levels and enthusiasm for his work.

That trust may explain why Guy Gardner has quietly become one of the connective figures holding Gunn’s developing DC Universe together.

He is arrogant, commercially ambitious and frequently difficult—but he is also fearless enough to wear the ring. In Fillion’s hands, those contradictions make Guy far more interesting than a conventional hero trying to do everything for the right reasons.

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Taylor Swift won Video of the Year at the 2026 VMAs. So how did Madonna leave with seven trophies?

Swift claimed the night’s top video prize, while Madonna led all winners at the Snoop Dogg-hosted ceremony in Los Angeles.

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Taylor Swift won Video of the Year at the 2026 MTV VMAs, while Madonna led the night with seven awards.

The biggest prize went to Taylor Swift, but the biggest haul belonged to Madonna. At the 2026 MTV Video Music Awards, Swift won Video of the Year for “The Fate of Ophelia,” while Madonna finished the night with seven awards.

The ceremony took place on Sunday, September 27, at the Peacock Theater in Los Angeles, with Snoop Dogg as host. Madonna collected three of her awards during the televised show: Artist of the Year, Best Dance for “Confessions II – The Film,” and Best Collaboration for “Bring Your Love” with Sabrina Carpenter.

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Swift took the top video prize

Swift’s Video of the Year win was only part of her night. She also won Best Direction for “Opalite” and received the inaugural Artist Director Honors, recognising her work behind the camera. The honours added another chapter to a VMA career that has increasingly celebrated her as both a performer and a director.

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Madonna’s wins reached across performance and filmmaking. Alongside her three televised awards, “Confessions II – The Film” won Best Cinematography, Best Choreography and Best Long Form Video. Her album Confessions II took Best Album, bringing her total to seven. She also returned to the VMA stage as a performer for the first time in 23 years.

There were other names to celebrate. BTS won Song of the Year for “Swim,” Best K-Pop for “SWIM” and Best Group. Sienna Spiro was named Best New Artist, while LISA won Best Pop for “Dream” featuring Kentaro Sakaguchi.

For Swift, it was a night crowned by the award every Video of the Year nominee wanted. For Madonna, it was a sweeping return to the VMA spotlight: seven trophies and a performance that brought her back to the show’s stage after more than two decades.

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Chuck Lorre’s Award Night Began With Charity and Ended in Political Debate

Recognized for supporting meals for people facing serious illness, he used his speech to address Trump and the Democrats.

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Chuck Lorre’s Award Night Began With Charity and Ended in Political Debate

Chuck Lorre was meant to be accepting an award for his philanthropy. He used the microphone for something considerably less conventional: a speech that took swipes at Donald Trump, Melania Trump, the political left and Robert F. Kennedy Jr..

The television producer spoke on Saturday, September 26, at Project Angel Food’s Angel Awards in Los Angeles. His daughter, director Nikki Lorre, presented him with the Founders Angel Award, the organisation’s highest honour and one it has given only once before in its 37-year history.

Lorre began by acknowledging the pressure on a comedy writer to get laughs. Then he turned to politics. He said he wanted a government more concerned with people’s health and welfare, before launching into a profane joke about President Trump. He also made a harsh personal remark about the first lady, contrasting her with Michelle Obama. The comments were part of Lorre’s routine, rather than claims established by the event.

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His criticism did not stop with Republicans

Lorre urged the Democratic National Committee to move away from what he called “far-left woke culture” and seek a “common sense middle ground” with working-class voters. He quickly turned that point into another joke, this time targeting Kennedy over vaccination. His remarks moved between political argument and punchline, with little interest in the polite script of an awards acceptance speech.

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The setting gave the speech another dimension. Project Angel Food prepares and delivers medically tailored meals for people facing serious illnesses in Los Angeles County. Lorre’s family foundation helped make its expanded kitchen and campus possible; according to the organisation, the project increased its annual meal-production capacity from 1.5 million to more than 4.5 million. The gala raised more than $1 million, according to the event coverage.

Lorre may have delivered the night’s most provocative lines, but the award recognised work with a practical effect: helping the charity put more meals in the hands of people who need them.

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‘Avatar’ Overtaken: ‘Avengers: Endgame’ Is Back on Top

Marvel’s return to the big screen reshapes the race for the highest-grossing film of all time.

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‘Avatar’ Overtaken: ‘Avengers: Endgame’ Is Back on Top

Seven years after its original release, Avengers: Endgame has unfinished business at the box office.

The Marvel Studios blockbuster has overtaken James Cameron’s Avatar to become the highest-grossing film worldwide once again. According to The Walt Disney Company’s October 4 announcement, Endgame now holds an estimated $2.9255 billion, narrowly ahead of Avatar’s $2.9237 billion. That puts just $1.8 million between two of cinema’s biggest hits.

The lead is small. The comeback, however, is substantial: a film released in 2019 has drawn enough fresh ticket sales to rewrite the all-time chart.

The ‘Encore’ release that tipped the balance

The latest theatrical run, titled Avengers Endgame: Encore, has earned $126 million worldwide, according to TheWrap. That includes $36.2 million in North America and $89.8 million from international markets—the extra business that pushed the film back into first place.

Audiences also had a reason to return beyond revisiting a familiar blockbuster. TheWrap reports that the reissue features a modified ending and three new scenes during and after the credits, connected to Avengers: Doomsday. The release therefore serves two purposes: bringing an established favourite back to cinemas and giving viewers a bridge to the next Avengers story.

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A rivalry with a history of reversals

This is another change of leadership in a box office contest that has lasted for years.

Endgame first displaced Avatar in 2019. Cameron’s science-fiction epic regained the crown following its Chinese re-release in 2021. Now, another theatrical return has swung the result in Marvel’s favour. Re-releases have become a decisive part of the competition, extending both films’ earning lives well beyond their original runs.

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The distinction matters: this is the record for worldwide theatrical revenue without adjustment for inflation, including re-release earnings. It measures money collected rather than the number of tickets sold.

Why ‘Endgame’ matters to ‘Doomsday’

The timing gives Marvel’s comeback an added significance. Avengers: Doomsday is scheduled to reach cinemas on December 18, 2026, and Disney has positioned Endgame as an important foundation for that next chapter.

Explaining the connection, Anthony Russo said: “You really need to pick the story up from where you left it in Endgame.”

That makes this return more than a victory lap. A film remembered for closing a major chapter of Marvel’s story is now helping introduce the next one—and, along the way, has taken back Hollywood’s most closely watched box office title.

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