Andy Muschietti Suggests ‘The Flash’ Flopped Due to Female Audiences, Not Ezra Miller’s Issues

The director of *The Flash*, Andy Muschietti, recently posited that the film’s disappointing box office results can be attributed in part to a perceived lack of interest in the titular superhero, particularly among female audiences.

When *The Flash* debuted in 2023, it was shrouded in controversy, primarily due to Warner Bros.’ decision not to recast Ezra Miller amidst growing legal challenges faced by the actor. Between 2020 and 2022, Miller faced multiple allegations, including assault and harassment, culminating in felony burglary charges in Vermont. Despite mounting pressure from fans and industry insiders alike to consider a recast for the character Barry Allen, Warner Bros. stood firm. Complicating matters further, the studio announced plans for a reboot of the DC Universe (DCU) under new leadership from James Gunn and Peter Safran before *The Flash* was even released, diminishing its appeal as it emerged as part of a legacy that was set to be discarded.

Notable figures associated with Warner Bros. Discovery, including CEO David Zaslav and Gunn, publicly championed *The Flash* as a standout superhero film. However, audience reception fell short of expectations, with the movie grossing a modest $270 million against a budget exceeding $200 million. Industry experts have described this outcome as nothing less than an “unmitigated disaster.”The combination of a declining DC Extended Universe (DCEU), mediocre film quality, and Miller’s controversies painted a clear picture of why the film struggled. Yet, discussions continue, with some industry professionals, including Muschietti, searching for alternative explanations rather than addressing the glaring issues within the DC landscape.

Muschietti’s Perspective: A Matter of Character Appeal

In a recent interview on Radio TU’s *La Baulera Del Coso*, Muschietti elaborated on his theory regarding the film’s failure. Although he acknowledged Miller’s legal troubles, his focus shifted to the characters’ broader appeal. He argued that *The Flash* did not exhibit sufficient engagement with all four primary demographic quadrants of moviegoers. He noted: “The Flash failed, among all the other reasons, because it wasn’t a movie that appealed to all four quadrants. It failed at that. When you spend $200 million making a movie, [Warner Bros.] wants to bring even your grandmother to the theaters.”

Muschietti further suggested that a significant portion of the public, especially women, has shown little interest in *The Flash* as a character. He explained, “I’ve found in private conversations that a lot of people just don’t care about the Flash as a character. Particularly the two female quadrants. All of that is just the wind going against the film I’ve learned.” This perspective resonates with a trend observed in both DC and Marvel films, where studio executives often attribute poor performance to women’s engagement levels. Following underwhelming performances of films like *The Marvels* and *Madam Web*, insiders attributed their failures to the belief that female audiences could not shoulder the box office burden.

While it’s true that ticket sales for *The Flash* indicated a lower turnout among women, reducing the issue solely to female disinterest oversimplifies the matter. Historical evidence, such as the enduring popularity of *The Flash* television series—running for nine successful seasons and achieving high viewership on the CW—suggests a more nuanced situation. The diminishing female audience may reflect broader concerns: perhaps women are more affected by the controversies surrounding Miller or are less inclined to support a project that appears to offer limited entertainment value.

To attribute the disconnect merely to women’s dislike of *The Flash* raises significant concerns about the strategies Warner Bros. and DC Studios may employ moving forward. Ignoring the underlying causes behind the lackluster ticket sales could signal a missed opportunity for valuable insights. Factors such as audience sensitivity to off-screen controversies, a growing aversion toward CGI portrayals of deceased actors, or dwindling interest in a film that marks the conclusion of a cinematic universe all deserve scrutiny. Instead of merely scratching the surface of these issues, the studios would benefit from deeper investigative efforts into the nuances of audience reception and engagement.

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