f.“HE’S ON A WHOLE DIFFERENT LEVEL!” — The Rock pays rare tribute to Henry Cavill and hints at hopes of reviving the Black Adam vs Superman fight as Saudi Arabia enters talks to buy WBD.f

In the ever-shifting sands of Hollywood’s superhero landscape, few moments capture the raw passion of fandom quite like Dwayne “The Rock” Johnson’s recent outpouring of admiration for Henry Cavill. On November 25, 2025, amid swirling rumors of seismic changes at Warner Bros.

Discovery (WBD), Johnson took to social media with a post that wasn’t just a nod to a fellow actor—it was a rallying cry for unfinished business. “I’ve got a massive amount of respect for Henry Cavill,” Johnson wrote.

“The way that man works, the way he studies his character, the way he transforms himself into that role — it’s on another level.

Sure, a lot of actors put in the work… but Henry? Henry operates at a tier where even I look at him and think: ‘Man, I want to work with that guy.’” This heartfelt tribute didn’t stop at praise; it reignited the embers of a long-dormant dream: a cinematic clash between Johnson’s Black Adam and Cavill’s Superman.

For DC fans, this statement lands like a thunderbolt from Kahndaq. It’s a reminder of what could have been—and, with the latest twists in WBD’s ownership saga, what just might still be.

As Saudi Arabia’s Public Investment Fund (PIF) emerges as a potential powerhouse in the media conglomerate’s future, Johnson’s words feel prophetic. The stalled Black Adam vs. Superman project, once shelved in the wake of DC’s reboot under James Gunn, now flickers back to life in the collective imagination.

Could this be the catalyst for a revival? Let’s dive into the admiration, the history, the heartbreak, and the tantalizing possibilities ahead.

Johnson’s respect for Cavill isn’t performative; it’s rooted in a shared ethos of relentless dedication.

Both men are titans of transformation—Johnson, the former WWE superstar turned box-office behemoth, has built an empire on sweat equity, from his chiseled physique in Fast & Furious to the brooding intensity he brought to Black Adam in 2022. Cavill, meanwhile, embodies the modern method actor’s grind.

His portrayal of Superman in Man of Steel (2013) wasn’t just a donning of the cape; it was a visceral evolution. Cavill bulked up to 210 pounds of sculpted muscle, poring over comic lore and channeling the alien loneliness of Kal-El with a vulnerability that echoed Christopher Reeve’s iconic warmth.

“The way he studies his character,” Johnson notes, “it’s on another level.” Indeed, Cavill’s preparation for Batman v Superman: Dawn of Justice (2016) involved not only physical metamorphosis but deep dives into philosophical texts on heroism and morality, ensuring his Clark Kent felt like a man burdened by godlike power.

This mutual reverence traces back to their brief but electric on-screen encounter.

In Black Adam’s post-credits scene, Cavill’s Superman crashes into frame, mustache remnants from Mission: Impossible still faintly visible, delivering the line: “Black Adam? You and I have unfinished business.” The tease was electric—a promise of gods clashing, of lightning bolts versus heat vision, of anti-hero versus archetype.

Johnson, who produced the film through his Seven Bucks Productions, had championed this crossover from the start. He envisioned a franchise-shifting saga where Black Adam’s ancient rage met Superman’s unyielding hope, drawing from comics like 52 where their rivalry reshapes the Justice League.

Fans erupted; petitions circulated, and concept art flooded social media. Yet, mere months later, the rug was pulled. James Gunn and Peter Safran, installed as DC Studios co-CEOs in late 2022, opted for a full reboot.

Cavill was out, replaced by David Corenswet in Superman (released July 2025), and Johnson’s Black Adam was sidelined. “I was fired up about doing Black Adam vs. Superman with him,” Johnson lamented in his post.

“I wanted that showdown, the fans wanted that showdown — but unfortunately the project had to pause.”

The pause was more like a full stop, emblematic of DC’s turbulent post-Snyder era. Zack Snyder’s vision had birthed a darker, more mythic DCEU, with Cavill’s Superman as its brooding heart.

Films like Man of Steel grossed over $668 million worldwide, proving audiences craved this grounded take on the Last Son of Krypton. But internal clashes—Snyder’s exit in 2017, the 2017 Justice League reshoots, and WarnerMedia’s merger with Discovery in 2022—left the universe fractured.

Johnson’s Black Adam, despite a $393 million haul, was deemed a disappointment against its $190 million budget, exacerbated by pandemic-era box office dips. Critics panned its formulaic plot, and Gunn’s incoming regime prioritized fresh starts over legacy continuity.

Cavill, gracious in defeat, posted an Instagram farewell: “My turn to hang up the cape.” Johnson, ever the fighter, doubled down publicly, tweeting support for Cavill and subtly shading the reboot as a missed opportunity.

Enter the wild card: Saudi Arabia’s deepening entanglement with WBD. As of November 2025, the media giant is in the throes of a high-stakes auction, with preliminary bids submitted by November 20 and final offers potentially sealing by Christmas.

Paramount Global/Skydance, led by David Ellison, has tabled a whopping $71 billion offer, reportedly backed by a coalition of Gulf sovereign wealth funds including Saudi’s PIF, Qatar’s QIA, and Abu Dhabi’s ADIA.

Though Paramount initially denied direct involvement of Arab funds, calling reports “categorically inaccurate,” subsequent leaks suggest preliminary talks with PIF have advanced, with Ellison eyeing a merger that fuses Paramount’s CBS News with WBD’s CNN. Comcast and Netflix have also bid, but Saudi’s shadow looms largest.

PIF, flush with oil wealth and a mandate to diversify into entertainment, has already flexed in Hollywood: a $55 billion stake in Electronic Arts’ privatization earlier this year, and whispers of bailing out Ubisoft.

Hollywood producer Patrick Caligiuri, citing Saudi contacts, claims the deal is “one signature away,” positioning the kingdom as an aggressive player in global media.

For DC, this influx could mean liberation from reboot fatigue. Saudi’s Vision 2030 emphasizes cultural exports, and PIF’s sports investments—like Newcastle United and LIV Golf—show a flair for high-profile spectacles.

Fans speculate: Could Saudi backers, unburdened by WBD’s debt (a staggering $40 billion), greenlight “Elseworlds” projects outside Gunn’s canon? Posts on X buzz with this hope; one viral thread from @DiscussingFish claims Black Adam vs. Superman is “revived,” with Johnson returning and Cavill potentially recast—though purists demand the original.

Another from @SandMan99588 ties Saudi’s “major investment” directly to restoring the Snyderverse, with Cavill’s return as a “centerpiece.” Even Netflix France stoked the fire in October, posting a Black Adam-Superman face-off to promote the film’s streaming debut.

“1 vs 1, who wins?” they teased, echoing the debate that’s raged since Black Adam’s tease.

Johnson’s post taps into this fervor, framing the Saudi buzz as a “spark.” “But now… with Saudi reportedly negotiating to acquire WBD? Well, that hope sparks back up again,” he wrote.

“And if the stars line up — believe me — The Rock would love to make that happen.” It’s classic Johnson: optimistic, larger-than-life, with a wink to his “people’s champ” persona. Yet beneath the bravado lies genuine excitement.

In interviews post-Black Adam, Johnson lamented the lost synergy, praising Cavill’s “tier” as inspirational. Their chemistry, even in that fleeting cameo, crackled—two alphas sizing each other up, Johnson’s gravelly defiance meeting Cavill’s steely resolve.

A full film could explore themes of power’s cost: Black Adam’s vengeance-fueled rule versus Superman’s moral compass, perhaps allying against a greater threat like Brainiac or Mongul.

Of course, hurdles remain. Gunn’s DCU, post-Superman’s solid $850 million global gross, is gaining traction with ensemble teases like The Brave and the Bold. Recasting Cavill risks alienating Snyder loyalists, who still trend #RestoreTheSnyderverse. Legal entanglements from WBD’s ongoing splits—separating studios from networks by mid-2026—could delay deals.

And Saudi involvement invites scrutiny: PIF’s human rights record has sparked boycotts in sports, potentially tainting superhero fare. Yet, in a post-streaming world where IP reigns supreme, pragmatism often trumps purity. Johnson’s clout—bolstered by Moana 2’s 2024 billion-dollar smash—makes him a safe bet for financiers eyeing tentpoles.

Ultimately, Johnson’s tribute transcends transaction; it’s a love letter to craft and camaraderie. In an industry of fleeting franchises, Cavill’s Superman endures as a beacon of earnest heroism, much like Johnson’s Black Adam embodies unapologetic force.

Their unrealized duel isn’t just fan service—it’s a chance to reconcile DC’s fractured lore, blending grit with grandeur. As WBD’s fate hangs in the balance, Johnson’s words remind us: Sometimes, respect reignites revolutions. If Saudi seals the deal, and the stars align, we might yet witness gods collide.

The Rock would love that. So would we.

BREAKING NEWS: Scarlett Johansson is in talks to appear in THE BATMAN PART II. Zoe Kravitz will most likely not reprise her role as Catwoman in this film.

In a seismic shift for DC’s burgeoning cinematic universe, Scarlett Johansson is reportedly in final negotiations to join the cast of The Batman Part II, the long-awaited sequel to Matt Reeves’ gritty 2022 hit.

This development, first broken by Nexus Point News and swiftly confirmed by outlets like Variety and Deadline, marks a bold crossover for the Oscar-nominated actress, fresh off her Marvel swan song as Black Widow.

As pre-production ramps up in Glasgow for a spring 2026 shoot, Johansson’s potential involvement injects star power into a project that’s been shrouded in secrecy since its script was locked away in a high-security pouch.

Reeves, known for his meticulous world-building in films like Cloverfield, has teased a villain “never really done in a movie before,” fueling speculation that Johansson could be stepping into uncharted territory.

The news arrives amid heartbreak for fans: Zoë Kravitz is not expected to reprise her role as Selina Kyle, aka Catwoman, the enigmatic anti-heroine who stole scenes—and hearts—in the original.

Kravitz’s departure, hinted at during press junkets as early as August and now corroborated by production insiders, aligns with her character’s motorcycle exit from Gotham at the film’s close, but it stings for those who saw her as the perfect foil to Robert Pattinson’s brooding Bruce Wayne.

This casting pivot underscores Reeves’ vision for a standalone “BatVerse,” distinct from James Gunn’s broader DCU reboot. With The Batman grossing $772 million worldwide and spawning the acclaimed HBO series The Penguin, expectations are sky-high for Part II’s October 1, 2027, release.

Johansson’s addition could bridge high-octane action with emotional depth, but without Catwoman’s whip-smart allure, will the sequel claw its way to the same heights?

Johansson, 40, has been on a roll, headlining the dino-thriller Jurassic World Rebirth, which roared past $800 million at the box office earlier this year, and gearing up for Mike Flanagan’s The Exorcist reboot under Blumhouse.

Her directorial debut, the intimate drama Eleanor the Great starring June Squibb, premiered to critical whispers of awards contention.

Yet, trading Avengers Tower for Gotham’s shadowed spires feels like poetic justice. After nearly a decade as Natasha Romanoff—culminating in the bittersweet Black Widow solo outing—Johansson has voiced a desire for “grounded, character-driven” roles over CGI spectacles.

Reeves’ noir-infused take on Batman, emphasizing psychological torment over bombast, seems tailor-made for her chameleon-like range, seen in indies like Under the Skin and blockbusters alike.

Sources close to the production whisper that her role could be a fresh love interest for Pattinson’s haunted billionaire, perhaps Julie Madison, the socialite from early Batman comics who once donned the Batwoman mantle.

Madison, portrayed fleetingly by Elle Macpherson in 1997’s Batman & Robin, represents Bruce’s pre-vigilante innocence—a stark contrast to Selina’s dangerous spark.

Alternatively, buzz on platforms like Reddit and X points to Andrea Beaumont, the Phantasm from the 1993 animated gem Batman: Mask of the Phantasm. As Bruce’s jilted fiancée turned vengeful vigilante, Beaumont’s arc of love, loss, and mobbed-up betrayal mirrors Reeves’ themes of corruption and identity.

Johansson’s ability to layer vulnerability with ferocity—think her icy turn in Lucy—could elevate this obscure character to iconic status.

Dark horse theories abound: Could she be Pamela Isley, aka Poison Ivy, the eco-terrorist seductress whose botanical wrath has long eluded live-action glory? Or Vicki Vale, the intrepid reporter from Tim Burton’s 1989 Batman, reimagined as a sharper thorn in Bruce’s side? Whatever the guise, her presence promises to deepen the sequel’s exploration of Wayne’s fractured psyche, especially post-Riddler flood.

Kravitz’s absence as Catwoman hits harder than a Batarang to the gut. At 36, the High Fidelity star brought a raw, lived-in edge to Selina—part alley cat, part avenging angel—that echoed Eartha Kitt’s sultry purr and Michelle Pfeiffer’s feral hiss, but with modern bite.

Her chemistry with Pattinson crackled, from that rain-soaked kiss to her defiant “I’m not leaving without you” plea amid Gotham’s chaos.

Fans aren’t mincing words online. “No Selina? What’s the point?” one X user lamented, while Reddit threads in r/DC_Cinematic erupted with pleas for a standalone Catwoman series, akin to The Penguin’s mobster machinations.

Kravitz herself has been coy, focusing on projects like the punk-rock thriller Blink Twice with Channing Tatum, but her off-screen nod in The Penguin’s finale—a letter to half-sister Sofia Falcone—teased unfinished business.

Reeves’ decision might stem from narrative purity: Selina’s arc concluded on her terms, fleeing to Blüdhaven for a clean slate. Sidestepping a forced reunion allows Part II to plunge deeper into Batman’s Year Two isolation, per comic lore.

Yet, it risks alienating viewers who cherished her as the film’s moral compass, challenging Bruce’s vengeance-fueled crusade with empathy and guile.

Still, hope lingers. Insiders note Kravitz’s exit isn’t ironclad—scheduling clashes with her directorial ambitions could shift. A Falcone-Kyle spinoff, perhaps exploring Selina’s diamond-heist roots, feels plausible in HBO’s expanding BatVerse. For now, though, Gotham’s nights grow lonelier without her shadow.

As The Batman Part II assembles its ensemble, confirmed returnees include Pattinson’s sinewy Dark Knight, Jeffrey Wright’s steadfast Jim Gordon, Andy Serkis’ wry Alfred Pennyworth, and—under heavy prosthetics—Colin Farrell’s scheming Oswald Cobblepot.

Barry Keoghan’s Joker, that unhinged Arkham tease from the post-credits stinger, looms as a wildcard, though Reeves has downplayed an immediate showdown.

The script, co-penned by Reeves and Mattson Tomlin (The Batman’s Year Two beatsmith), was finalized in June after months of clandestine tweaks. High-security measures—think locked pouches and NDAs thicker than the Batcave walls—hint at a plot twisting familiar foes into fresh nightmares.

Reeves, at September’s Emmys, gushed about Pattinson’s New York read-through, praising the script’s “emotional core” amid Gotham’s rot.

Production under DC Studios’ James Gunn and Peter Safran adds oversight polish, with Reeves’ 6th & Idaho banner steering the wheel alongside Dylan Clark. Warner Bros. eyes a $200 million-plus budget, banking on IMAX spectacles to eclipse the original’s moody cinematography by Greig Fraser.

Early set photos from Glasgow suggest rain-slicked streets and brutalist architecture, amplifying the sequel’s tactile dread.

For Johansson, this leapfrog from Marvel to DC isn’t just career chess—it’s a meta-commentary on superhero fatigue. Post-Avengers: Endgame, she’s championed female-led stories, from Marriage Story’s raw divorce drama to producing The Outpost’s war-torn grit.

In Batman’s orbit, she could subvert the damsel trope, perhaps as a therapist unraveling Wayne’s trauma or a corporate shark entangled in Wayne Enterprises’ shadows.

Speculation swirls: If Poison Ivy, envision lush greenhouse lairs where flora turns fatal, pitting intellect against Batman’s brawn. As Talia al Ghul, League of Shadows heir, she’d weave global intrigue, her maternal twist on The Dark Knight Rises’ Miranda Tate.

Johansson’s voice work in Sing proves her sonic versatility for a masked menace, too.

X timelines buzz with fan art: Johansson as Ivy, vines coiling like Black Widow’s webs; or Beaumont, her Phantasm armor gleaming under moonlit gargoyles.

“ScarJo swinging from ledges? Sign me up,” one post quips, while another frets, “Don’t let her outshine Pattinson—keep it grounded.” The discourse mirrors the film’s ethos: heroes as flawed humans, not gods.

Yet, beneath the hype lies tension. DC’s reboot under Gunn prioritizes interconnected whimsy—think Superman’s heart in 2025—while Reeves’ Elseworlds saga stays earthbound, a cop thriller in cape drag. Johansson’s franchise hop bridges that chasm, her MCU gravitas lending legitimacy to Batman’s indie streak.

Will it pay off? The Penguin’s Emmys nods suggest yes, but box office whispers demand innovation.

Kravitz’s void amplifies the stakes. Catwoman’s been Batman’s mirror since 1940—seductive, independent, a thief of both jewels and resolve. Without her, Part II risks a broody echo chamber, unless Johansson’s enigma fills the purr.

Fans petition for cameos, even flashbacks, but Reeves’ track record (The Morning Show’s layered ensemble) favors bold cuts.

As 2026 dawns with cameras rolling, one truth endures: Gotham never sleeps, and neither does its storytellers. Johansson’s rumored ingress promises reinvention, a siren call amid the fog. But in a city of capes and claws, will she soar or scratch? October 2027 holds the verdict.

This breaking wave reshapes the BatVerse, blending Johansson’s luminosity with Reeves’ shadows. From Jurassic roars to exorcist chills, her 2026 slate’s a gauntlet, yet Batman beckons as capstone. Catwoman’s farewell? A narrative feint, perhaps, priming a solo prowl.

For now, the Bat-Signal flickers with promise—and peril. In Hollywood’s endless night, every deal’s a riddle, every role a revelation. Johansson in Gotham? That’s not just news; it’s legend in the making.