It’s back to Nevermore for Wednesday Addams (Jenna Ortega), and this time there are some extra bodies tagging along. The newest trailer for Wednesday’s second season gives us a look at more of the Addams Family’s role in the series alongside a few callbacks to the lore of the franchise that we all know and […]

The post Wednesday Season 2 Trailer Harkens Back to a Classic Addams Family Moment appeared first on Den of Geek.

Punk music features heavily in James Gunn’s films, going all the way back to Tromeo and Juliet. Bands like MxPx, the Runaways, and Bowie help fill out the intricate soundtracks that often go on to be hits in their own right. Guardians of the Galaxy Awesome Mix Vol. 1 reigned over the Billboard Top Soundtracks chart for 11 consecutive weeks, sold over four million copies globally, and was certified Platinum by the RIAA.  A musician in his own right, Gunn led the Icons in the late ‘80s.

But punk is more than just a genre of music; it’s a cultural revolution and a thriving community that is often misunderstood and misrepresented in popular culture. And above all, it’s the exact opposite of the square boy scout Clark Kent. So how did Gunn combine his love of punk with the most wholesome superhero in the zeitgeist, and does it work on film?  

Gunn’s latest feature launches a new take on the world of DC comics. Starting with Superman, the comic book company’s second most popular superhero, is a bit of a risk. Compared to Batman, arguably the biggest superhero in the world, Superman’s light seems somewhat dim. Sure, both his parents are deceased like Batman, and that’s tragic, but he was delivered to two humans who loved him more than they loved their own lives. And Superman didn’t have to watch the demise of his parents, he didn’t grow up alone, and there’s absolutely no vengeance in his heart.  

Tragedies aside, Batman is human. Deeply fallible and vulnerable. When Batman gets his back broken over Bane’s knee, viewers can imagine immediately what level of pain he’s experiencing. But when Superman takes a bullet to the face, the impact ranges from unknown—how much does this actually cause physical pain—to nerdy debates about whether a bullet can even graze his skin? Clark will live either way. Suspense cannot exist when the only threat is a glowing green rock.

Gunn recognized this, and in fact, it’s what burst open the story for him. If the film begins with Superman coming to terms with his first ass-whooping, then his vulnerability is no longer a mystery. Everyone knows what it feels like to lose. 

So at the start of the movie, David Corenswet’s Superman just lost his first physical fight in the field. Back home Clark Kent also fights with his girlfriend, Lois Lane (Rachel Brosnahan). She loves him, but his actions in the cape cause her great concern. A trained journalist, Lois questions Superman’s rogue nature when it comes to managing international conflicts. Clark, on the other hand, believes right and wrong should always be simple. If people are going to die his responsibility is to intervene.

In the middle of one of their fights, Lois laments that she and Clark have nothing in common. She sees herself as punk and Clark as pop. Clark name drops a favored band and Lois scoffs. To Lois, the band can’t be punk because punk is edgy and gritty. Everyone likes that band, just like Clark likes everybody. “Maybe that’s what makes me punk rock,” Clark sulks.

It’s nearly a throwaway line. The audience roars with laughter because Superman is a clean cut, morally superior boy scout. He’s the antithesis of the hard edged fringe community most think of when they hear the word punk. But this line, one of Gunn’s favorites in the film, reads like a loud declarative: being kind is punk. 

“Punk rock is going against the grain,” Gunn tells us when we catch up with the writer-director during the Superman press tour. “We live in an age where everything is so mean and so ugly. Everyone is screaming at one another. Right now the most punk rock thing you can do is be kind, be raw, be open, look out for the person who needs looking out for, be unapologetically earnest. I think those are the things that are most rebellious.” If Batman is loved because he is human, then Gunn’s Superman is loved because he longs to be human. And in Gunn’s mind that is the most punk thing in the world, even when we note that makes Superman a bit of a square.

“Being a goodie, goodie is what’s punk rock about him,” Gunn adds. “He is those things, he is Pollyanna. He is old-fashioned, and aren’t we a little thirsty for people like that [because] there aren’t any anymore? They’ve all become mean.”

Thus every action Superman takes in the new film, right down to his costume, is designed to make him approachable to the public. Some may see this as the opposite of the punk aesthetic where piercings, tattoos, and lots of black tend to make up the uniform. Gunn even previously revealed that he felt torn on the little red shorts that make up Superman’s costume.

That is until star Corenswet fought for the shorts to stay. Maybe the underwear is a little dorky, but maybe that’s the point of them. How scared can a person be of a man wearing underwear over a unitard? It nerfs an all powerful being into an approachable fella. Whether or not moviegoers walk away from Superman thinking about the impact of those shorts, it’s kinda punk to stare weirdness in the face and embrace it. 

Gunn manages to maintain the squeaky clean image of Superman while also infusing elements of antiestablishment thinking, particularly when it comes to the murder of innocents. He will stand against a president or a dictator, and with his full being demands that they preserve human life. Is that not punk rock as hell?!

Rachel Brosnahan, who portrays Lois in the film, seems to think so. She describes Corneswet’s performance as curious.

“He’s an alien,” she considers. “He’s curious about and has this great love for humanity. Watching David be able to stay so honest and at the same time show all these colors—to find the humor but from this most grounded place—it all felt rooted in this core belief system. This third character. He’s created this third character almost [in Superman]… So watching that third character come to life was spectacular.”

Personally, I think the third character is simply the man who loves Lois. For it is only with Lois that the epic hero and the naive farmboy can coexist simultaneously at peace. A rebel and a community leader rolled into one.    

The traits of the punk community can be found in most outsider communities. Ravers, rappers, and even K-Pop stans have been considered fringe, weird, obsessives. To the people living within these disparate fandoms, there exists a community willing to support, uplift, and protect one another at any cost. Gunn recently called Superman an immigrant story. Though no one could have predicted the timing, many long for one good person, willing to confront his shortcomings and grow, a person who leads all of their actions unflinchingly with love. Damnit if it’s not the best use of a nostalgic character. Punk is hope in tiny red shorts. 

The post Is Superman a Punk? James Gunn Weighs In appeared first on Den of Geek.

After something of a mixed bag during Phase 5 of the Marvel Cinematic Universe, the world’s highest-grossing franchise is trying to usher in a new era with a familiar family that’s sporting some new faces. It was a few years ago that casting the Fantastic Four reboot was the only Marvel news fans cared about, […]

The post Fantastic Four: First Steps Is Poised to Finally Give Mole Man His Due appeared first on Den of Geek.

Punk music features heavily in James Gunn’s films, going all the way back to Tromeo and Juliet. Bands like MxPx, the Runaways, and Bowie help fill out the intricate soundtracks that often go on to be hits in their own right. Guardians of the Galaxy Awesome Mix Vol. 1 reigned over the Billboard Top Soundtracks chart for 11 consecutive weeks, sold over four million copies globally, and was certified Platinum by the RIAA.  A musician in his own right, Gunn led the Icons in the late ‘80s.

But punk is more than just a genre of music; it’s a cultural revolution and a thriving community that is often misunderstood and misrepresented in popular culture. And above all, it’s the exact opposite of the square boy scout Clark Kent. So how did Gunn combine his love of punk with the most wholesome superhero in the zeitgeist, and does it work on film?  

Gunn’s latest feature launches a new take on the world of DC comics. Starting with Superman, the comic book company’s second most popular superhero, is a bit of a risk. Compared to Batman, arguably the biggest superhero in the world, Superman’s light seems somewhat dim. Sure, both his parents are deceased like Batman, and that’s tragic, but he was delivered to two humans who loved him more than they loved their own lives. And Superman didn’t have to watch the demise of his parents, he didn’t grow up alone, and there’s absolutely no vengeance in his heart.  

Tragedies aside, Batman is human. Deeply fallible and vulnerable. When Batman gets his back broken over Bane’s knee, viewers can imagine immediately what level of pain he’s experiencing. But when Superman takes a bullet to the face, the impact ranges from unknown—how much does this actually cause physical pain—to nerdy debates about whether a bullet can even graze his skin? Clark will live either way. Suspense cannot exist when the only threat is a glowing green rock.

Gunn recognized this, and in fact, it’s what burst open the story for him. If the film begins with Superman coming to terms with his first ass-whooping, then his vulnerability is no longer a mystery. Everyone knows what it feels like to lose. 

So at the start of the movie, David Corenswet’s Superman just lost his first physical fight in the field. Back home Clark Kent also fights with his girlfriend, Lois Lane (Rachel Brosnahan). She loves him, but his actions in the cape cause her great concern. A trained journalist, Lois questions Superman’s rogue nature when it comes to managing international conflicts. Clark, on the other hand, believes right and wrong should always be simple. If people are going to die his responsibility is to intervene.

In the middle of one of their fights, Lois laments that she and Clark have nothing in common. She sees herself as punk and Clark as pop. Clark name drops a favored band and Lois scoffs. To Lois, the band can’t be punk because punk is edgy and gritty. Everyone likes that band, just like Clark likes everybody. “Maybe that’s what makes me punk rock,” Clark sulks.

It’s nearly a throwaway line. The audience roars with laughter because Superman is a clean cut, morally superior boy scout. He’s the antithesis of the hard edged fringe community most think of when they hear the word punk. But this line, one of Gunn’s favorites in the film, reads like a loud declarative: being kind is punk. 

“Punk rock is going against the grain,” Gunn tells us when we catch up with the writer-director during the Superman press tour. “We live in an age where everything is so mean and so ugly. Everyone is screaming at one another. Right now the most punk rock thing you can do is be kind, be raw, be open, look out for the person who needs looking out for, be unapologetically earnest. I think those are the things that are most rebellious.” If Batman is loved because he is human, then Gunn’s Superman is loved because he longs to be human. And in Gunn’s mind that is the most punk thing in the world, even when we note that makes Superman a bit of a square.

“Being a goodie, goodie is what’s punk rock about him,” Gunn adds. “He is those things, he is Pollyanna. He is old-fashioned, and aren’t we a little thirsty for people like that [because] there aren’t any anymore? They’ve all become mean.”

Thus every action Superman takes in the new film, right down to his costume, is designed to make him approachable to the public. Some may see this as the opposite of the punk aesthetic where piercings, tattoos, and lots of black tend to make up the uniform. Gunn even previously revealed that he felt torn on the little red shorts that make up Superman’s costume.

That is until star Corenswet fought for the shorts to stay. Maybe the underwear is a little dorky, but maybe that’s the point of them. How scared can a person be of a man wearing underwear over a unitard? It nerfs an all powerful being into an approachable fella. Whether or not moviegoers walk away from Superman thinking about the impact of those shorts, it’s kinda punk to stare weirdness in the face and embrace it. 

Gunn manages to maintain the squeaky clean image of Superman while also infusing elements of antiestablishment thinking, particularly when it comes to the murder of innocents. He will stand against a president or a dictator, and with his full being demands that they preserve human life. Is that not punk rock as hell?!

Rachel Brosnahan, who portrays Lois in the film, seems to think so. She describes Corneswet’s performance as curious.

“He’s an alien,” she considers. “He’s curious about and has this great love for humanity. Watching David be able to stay so honest and at the same time show all these colors—to find the humor but from this most grounded place—it all felt rooted in this core belief system. This third character. He’s created this third character almost [in Superman]… So watching that third character come to life was spectacular.”

Personally, I think the third character is simply the man who loves Lois. For it is only with Lois that the epic hero and the naive farmboy can coexist simultaneously at peace. A rebel and a community leader rolled into one.    

The traits of the punk community can be found in most outsider communities. Ravers, rappers, and even K-Pop stans have been considered fringe, weird, obsessives. To the people living within these disparate fandoms, there exists a community willing to support, uplift, and protect one another at any cost. Gunn recently called Superman an immigrant story. Though no one could have predicted the timing, many long for one good person, willing to confront his shortcomings and grow, a person who leads all of their actions unflinchingly with love. Damnit if it’s not the best use of a nostalgic character. Punk is hope in tiny red shorts. 

The post Is Superman a Punk? James Gunn Weighs In appeared first on Den of Geek.

Punk music features heavily in James Gunn’s films, going all the way back to Tromeo and Juliet. Bands like MxPx, the Runaways, and Bowie help fill out the intricate soundtracks that often go on to be hits in their own right. Guardians of the Galaxy Awesome Mix Vol. 1 reigned over the Billboard Top Soundtracks […]

The post Is Superman a Punk? James Gunn Weighs In appeared first on Den of Geek.

Punk music features heavily in James Gunn’s films, going all the way back to Tromeo and Juliet. Bands like MxPx, the Runaways, and Bowie help fill out the intricate soundtracks that often go on to be hits in their own right. Guardians of the Galaxy Awesome Mix Vol. 1 reigned over the Billboard Top Soundtracks chart for 11 consecutive weeks, sold over four million copies globally, and was certified Platinum by the RIAA.  A musician in his own right, Gunn led the Icons in the late ‘80s.

But punk is more than just a genre of music; it’s a cultural revolution and a thriving community that is often misunderstood and misrepresented in popular culture. And above all, it’s the exact opposite of the square boy scout Clark Kent. So how did Gunn combine his love of punk with the most wholesome superhero in the zeitgeist, and does it work on film?  

Gunn’s latest feature launches a new take on the world of DC comics. Starting with Superman, the comic book company’s second most popular superhero, is a bit of a risk. Compared to Batman, arguably the biggest superhero in the world, Superman’s light seems somewhat dim. Sure, both his parents are deceased like Batman, and that’s tragic, but he was delivered to two humans who loved him more than they loved their own lives. And Superman didn’t have to watch the demise of his parents, he didn’t grow up alone, and there’s absolutely no vengeance in his heart.  

Tragedies aside, Batman is human. Deeply fallible and vulnerable. When Batman gets his back broken over Bane’s knee, viewers can imagine immediately what level of pain he’s experiencing. But when Superman takes a bullet to the face, the impact ranges from unknown—how much does this actually cause physical pain—to nerdy debates about whether a bullet can even graze his skin? Clark will live either way. Suspense cannot exist when the only threat is a glowing green rock.

Gunn recognized this, and in fact, it’s what burst open the story for him. If the film begins with Superman coming to terms with his first ass-whooping, then his vulnerability is no longer a mystery. Everyone knows what it feels like to lose. 

So at the start of the movie, David Corenswet’s Superman just lost his first physical fight in the field. Back home Clark Kent also fights with his girlfriend, Lois Lane (Rachel Brosnahan). She loves him, but his actions in the cape cause her great concern. A trained journalist, Lois questions Superman’s rogue nature when it comes to managing international conflicts. Clark, on the other hand, believes right and wrong should always be simple. If people are going to die his responsibility is to intervene.

In the middle of one of their fights, Lois laments that she and Clark have nothing in common. She sees herself as punk and Clark as pop. Clark name drops a favored band and Lois scoffs. To Lois, the band can’t be punk because punk is edgy and gritty. Everyone likes that band, just like Clark likes everybody. “Maybe that’s what makes me punk rock,” Clark sulks.

It’s nearly a throwaway line. The audience roars with laughter because Superman is a clean cut, morally superior boy scout. He’s the antithesis of the hard edged fringe community most think of when they hear the word punk. But this line, one of Gunn’s favorites in the film, reads like a loud declarative: being kind is punk. 

“Punk rock is going against the grain,” Gunn tells us when we catch up with the writer-director during the Superman press tour. “We live in an age where everything is so mean and so ugly. Everyone is screaming at one another. Right now the most punk rock thing you can do is be kind, be raw, be open, look out for the person who needs looking out for, be unapologetically earnest. I think those are the things that are most rebellious.” If Batman is loved because he is human, then Gunn’s Superman is loved because he longs to be human. And in Gunn’s mind that is the most punk thing in the world, even when we note that makes Superman a bit of a square.

“Being a goodie, goodie is what’s punk rock about him,” Gunn adds. “He is those things, he is Pollyanna. He is old-fashioned, and aren’t we a little thirsty for people like that [because] there aren’t any anymore? They’ve all become mean.”

Thus every action Superman takes in the new film, right down to his costume, is designed to make him approachable to the public. Some may see this as the opposite of the punk aesthetic where piercings, tattoos, and lots of black tend to make up the uniform. Gunn even previously revealed that he felt torn on the little red shorts that make up Superman’s costume.

That is until star Corenswet fought for the shorts to stay. Maybe the underwear is a little dorky, but maybe that’s the point of them. How scared can a person be of a man wearing underwear over a unitard? It nerfs an all powerful being into an approachable fella. Whether or not moviegoers walk away from Superman thinking about the impact of those shorts, it’s kinda punk to stare weirdness in the face and embrace it. 

Gunn manages to maintain the squeaky clean image of Superman while also infusing elements of antiestablishment thinking, particularly when it comes to the murder of innocents. He will stand against a president or a dictator, and with his full being demands that they preserve human life. Is that not punk rock as hell?!

Rachel Brosnahan, who portrays Lois in the film, seems to think so. She describes Corneswet’s performance as curious.

“He’s an alien,” she considers. “He’s curious about and has this great love for humanity. Watching David be able to stay so honest and at the same time show all these colors—to find the humor but from this most grounded place—it all felt rooted in this core belief system. This third character. He’s created this third character almost [in Superman]… So watching that third character come to life was spectacular.”

Personally, I think the third character is simply the man who loves Lois. For it is only with Lois that the epic hero and the naive farmboy can coexist simultaneously at peace. A rebel and a community leader rolled into one.    

The traits of the punk community can be found in most outsider communities. Ravers, rappers, and even K-Pop stans have been considered fringe, weird, obsessives. To the people living within these disparate fandoms, there exists a community willing to support, uplift, and protect one another at any cost. Gunn recently called Superman an immigrant story. Though no one could have predicted the timing, many long for one good person, willing to confront his shortcomings and grow, a person who leads all of their actions unflinchingly with love. Damnit if it’s not the best use of a nostalgic character. Punk is hope in tiny red shorts. 

The post Is Superman a Punk? James Gunn Weighs In appeared first on Den of Geek.

The Paddy’s Pub gang on It’s Always Sunny in Philadelphia are seen as many things – menaces to society, criminals, scum of the earth, sociopaths – you name it. But above all else, they are losers. Within every season, at least one member of the gang consistently eats crap. No, it’s not always their punching […]

The post Which It’s Always Sunny in Philadelphia Character Has Taken the Most L’s? appeared first on Den of Geek.

Punk music features heavily in James Gunn’s films, going all the way back to Tromeo and Juliet. Bands like MxPx, the Runaways, and Bowie help fill out the intricate soundtracks that often go on to be hits in their own right. Guardians of the Galaxy Awesome Mix Vol. 1 reigned over the Billboard Top Soundtracks chart for 11 consecutive weeks, sold over four million copies globally, and was certified Platinum by the RIAA.  A musician in his own right, Gunn led the Icons in the late ‘80s.

But punk is more than just a genre of music; it’s a cultural revolution and a thriving community that is often misunderstood and misrepresented in popular culture. And above all, it’s the exact opposite of the square boy scout Clark Kent. So how did Gunn combine his love of punk with the most wholesome superhero in the zeitgeist, and does it work on film?  

Gunn’s latest feature launches a new take on the world of DC comics. Starting with Superman, the comic book company’s second most popular superhero, is a bit of a risk. Compared to Batman, arguably the biggest superhero in the world, Superman’s light seems somewhat dim. Sure, both his parents are deceased like Batman, and that’s tragic, but he was delivered to two humans who loved him more than they loved their own lives. And Superman didn’t have to watch the demise of his parents, he didn’t grow up alone, and there’s absolutely no vengeance in his heart.  

Tragedies aside, Batman is human. Deeply fallible and vulnerable. When Batman gets his back broken over Bane’s knee, viewers can imagine immediately what level of pain he’s experiencing. But when Superman takes a bullet to the face, the impact ranges from unknown—how much does this actually cause physical pain—to nerdy debates about whether a bullet can even graze his skin? Clark will live either way. Suspense cannot exist when the only threat is a glowing green rock.

Gunn recognized this, and in fact, it’s what burst open the story for him. If the film begins with Superman coming to terms with his first ass-whooping, then his vulnerability is no longer a mystery. Everyone knows what it feels like to lose. 

So at the start of the movie, David Corenswet’s Superman just lost his first physical fight in the field. Back home Clark Kent also fights with his girlfriend, Lois Lane (Rachel Brosnahan). She loves him, but his actions in the cape cause her great concern. A trained journalist, Lois questions Superman’s rogue nature when it comes to managing international conflicts. Clark, on the other hand, believes right and wrong should always be simple. If people are going to die his responsibility is to intervene.

In the middle of one of their fights, Lois laments that she and Clark have nothing in common. She sees herself as punk and Clark as pop. Clark name drops a favored band and Lois scoffs. To Lois, the band can’t be punk because punk is edgy and gritty. Everyone likes that band, just like Clark likes everybody. “Maybe that’s what makes me punk rock,” Clark sulks.

It’s nearly a throwaway line. The audience roars with laughter because Superman is a clean cut, morally superior boy scout. He’s the antithesis of the hard edged fringe community most think of when they hear the word punk. But this line, one of Gunn’s favorites in the film, reads like a loud declarative: being kind is punk. 

“Punk rock is going against the grain,” Gunn tells us when we catch up with the writer-director during the Superman press tour. “We live in an age where everything is so mean and so ugly. Everyone is screaming at one another. Right now the most punk rock thing you can do is be kind, be raw, be open, look out for the person who needs looking out for, be unapologetically earnest. I think those are the things that are most rebellious.” If Batman is loved because he is human, then Gunn’s Superman is loved because he longs to be human. And in Gunn’s mind that is the most punk thing in the world, even when we note that makes Superman a bit of a square.

“Being a goodie, goodie is what’s punk rock about him,” Gunn adds. “He is those things, he is Pollyanna. He is old-fashioned, and aren’t we a little thirsty for people like that [because] there aren’t any anymore? They’ve all become mean.”

Thus every action Superman takes in the new film, right down to his costume, is designed to make him approachable to the public. Some may see this as the opposite of the punk aesthetic where piercings, tattoos, and lots of black tend to make up the uniform. Gunn even previously revealed that he felt torn on the little red shorts that make up Superman’s costume.

That is until star Corenswet fought for the shorts to stay. Maybe the underwear is a little dorky, but maybe that’s the point of them. How scared can a person be of a man wearing underwear over a unitard? It nerfs an all powerful being into an approachable fella. Whether or not moviegoers walk away from Superman thinking about the impact of those shorts, it’s kinda punk to stare weirdness in the face and embrace it. 

Gunn manages to maintain the squeaky clean image of Superman while also infusing elements of antiestablishment thinking, particularly when it comes to the murder of innocents. He will stand against a president or a dictator, and with his full being demands that they preserve human life. Is that not punk rock as hell?!

Rachel Brosnahan, who portrays Lois in the film, seems to think so. She describes Corneswet’s performance as curious.

“He’s an alien,” she considers. “He’s curious about and has this great love for humanity. Watching David be able to stay so honest and at the same time show all these colors—to find the humor but from this most grounded place—it all felt rooted in this core belief system. This third character. He’s created this third character almost [in Superman]… So watching that third character come to life was spectacular.”

Personally, I think the third character is simply the man who loves Lois. For it is only with Lois that the epic hero and the naive farmboy can coexist simultaneously at peace. A rebel and a community leader rolled into one.    

The traits of the punk community can be found in most outsider communities. Ravers, rappers, and even K-Pop stans have been considered fringe, weird, obsessives. To the people living within these disparate fandoms, there exists a community willing to support, uplift, and protect one another at any cost. Gunn recently called Superman an immigrant story. Though no one could have predicted the timing, many long for one good person, willing to confront his shortcomings and grow, a person who leads all of their actions unflinchingly with love. Damnit if it’s not the best use of a nostalgic character. Punk is hope in tiny red shorts. 

The post Is Superman a Punk? James Gunn Weighs In appeared first on Den of Geek.

As it turns out, the name of Showtime’s latest Dexter spinoff is pretty literal. Following the events of 2021 miniseries Dexter: New Blood, iconic fictional serial killer (who kills other serial killers) Dexter Morgan was in need of a resurrection. That’ll happen when your own progeny shoots you in the chest upon experiencing a “Take […]

The post Michael C. Hall Views Dexter: Resurrection As a “Second Chance” appeared first on Den of Geek.

Punk music features heavily in James Gunn’s films, going all the way back to Tromeo and Juliet. Bands like MxPx, the Runaways, and Bowie help fill out the intricate soundtracks that often go on to be hits in their own right. Guardians of the Galaxy Awesome Mix Vol. 1 reigned over the Billboard Top Soundtracks chart for 11 consecutive weeks, sold over four million copies globally, and was certified Platinum by the RIAA.  A musician in his own right, Gunn led the Icons in the late ‘80s.

But punk is more than just a genre of music; it’s a cultural revolution and a thriving community that is often misunderstood and misrepresented in popular culture. And above all, it’s the exact opposite of the square boy scout Clark Kent. So how did Gunn combine his love of punk with the most wholesome superhero in the zeitgeist, and does it work on film?  

Gunn’s latest feature launches a new take on the world of DC comics. Starting with Superman, the comic book company’s second most popular superhero, is a bit of a risk. Compared to Batman, arguably the biggest superhero in the world, Superman’s light seems somewhat dim. Sure, both his parents are deceased like Batman, and that’s tragic, but he was delivered to two humans who loved him more than they loved their own lives. And Superman didn’t have to watch the demise of his parents, he didn’t grow up alone, and there’s absolutely no vengeance in his heart.  

Tragedies aside, Batman is human. Deeply fallible and vulnerable. When Batman gets his back broken over Bane’s knee, viewers can imagine immediately what level of pain he’s experiencing. But when Superman takes a bullet to the face, the impact ranges from unknown—how much does this actually cause physical pain—to nerdy debates about whether a bullet can even graze his skin? Clark will live either way. Suspense cannot exist when the only threat is a glowing green rock.

Gunn recognized this, and in fact, it’s what burst open the story for him. If the film begins with Superman coming to terms with his first ass-whooping, then his vulnerability is no longer a mystery. Everyone knows what it feels like to lose. 

So at the start of the movie, David Corenswet’s Superman just lost his first physical fight in the field. Back home Clark Kent also fights with his girlfriend, Lois Lane (Rachel Brosnahan). She loves him, but his actions in the cape cause her great concern. A trained journalist, Lois questions Superman’s rogue nature when it comes to managing international conflicts. Clark, on the other hand, believes right and wrong should always be simple. If people are going to die his responsibility is to intervene.

In the middle of one of their fights, Lois laments that she and Clark have nothing in common. She sees herself as punk and Clark as pop. Clark name drops a favored band and Lois scoffs. To Lois, the band can’t be punk because punk is edgy and gritty. Everyone likes that band, just like Clark likes everybody. “Maybe that’s what makes me punk rock,” Clark sulks.

It’s nearly a throwaway line. The audience roars with laughter because Superman is a clean cut, morally superior boy scout. He’s the antithesis of the hard edged fringe community most think of when they hear the word punk. But this line, one of Gunn’s favorites in the film, reads like a loud declarative: being kind is punk. 

“Punk rock is going against the grain,” Gunn tells us when we catch up with the writer-director during the Superman press tour. “We live in an age where everything is so mean and so ugly. Everyone is screaming at one another. Right now the most punk rock thing you can do is be kind, be raw, be open, look out for the person who needs looking out for, be unapologetically earnest. I think those are the things that are most rebellious.” If Batman is loved because he is human, then Gunn’s Superman is loved because he longs to be human. And in Gunn’s mind that is the most punk thing in the world, even when we note that makes Superman a bit of a square.

“Being a goodie, goodie is what’s punk rock about him,” Gunn adds. “He is those things, he is Pollyanna. He is old-fashioned, and aren’t we a little thirsty for people like that [because] there aren’t any anymore? They’ve all become mean.”

Thus every action Superman takes in the new film, right down to his costume, is designed to make him approachable to the public. Some may see this as the opposite of the punk aesthetic where piercings, tattoos, and lots of black tend to make up the uniform. Gunn even previously revealed that he felt torn on the little red shorts that make up Superman’s costume.

That is until star Corenswet fought for the shorts to stay. Maybe the underwear is a little dorky, but maybe that’s the point of them. How scared can a person be of a man wearing underwear over a unitard? It nerfs an all powerful being into an approachable fella. Whether or not moviegoers walk away from Superman thinking about the impact of those shorts, it’s kinda punk to stare weirdness in the face and embrace it. 

Gunn manages to maintain the squeaky clean image of Superman while also infusing elements of antiestablishment thinking, particularly when it comes to the murder of innocents. He will stand against a president or a dictator, and with his full being demands that they preserve human life. Is that not punk rock as hell?!

Rachel Brosnahan, who portrays Lois in the film, seems to think so. She describes Corneswet’s performance as curious.

“He’s an alien,” she considers. “He’s curious about and has this great love for humanity. Watching David be able to stay so honest and at the same time show all these colors—to find the humor but from this most grounded place—it all felt rooted in this core belief system. This third character. He’s created this third character almost [in Superman]… So watching that third character come to life was spectacular.”

Personally, I think the third character is simply the man who loves Lois. For it is only with Lois that the epic hero and the naive farmboy can coexist simultaneously at peace. A rebel and a community leader rolled into one.    

The traits of the punk community can be found in most outsider communities. Ravers, rappers, and even K-Pop stans have been considered fringe, weird, obsessives. To the people living within these disparate fandoms, there exists a community willing to support, uplift, and protect one another at any cost. Gunn recently called Superman an immigrant story. Though no one could have predicted the timing, many long for one good person, willing to confront his shortcomings and grow, a person who leads all of their actions unflinchingly with love. Damnit if it’s not the best use of a nostalgic character. Punk is hope in tiny red shorts. 

The post Is Superman a Punk? James Gunn Weighs In appeared first on Den of Geek.

Wondering when your favorite shows are coming back and what new series you can look forward to? We’ve got you covered with the Den of Geek 2025 TV Premiere Dates Calendar, where we keep track of TV series premiere dates, return dates, and more for the year and beyond.  We’ll continue to update this page weekly […]

The post TV Premiere Dates: 2025 Calendar appeared first on Den of Geek.

Punk music features heavily in James Gunn’s films, going all the way back to Tromeo and Juliet. Bands like MxPx, the Runaways, and Bowie help fill out the intricate soundtracks that often go on to be hits in their own right. Guardians of the Galaxy Awesome Mix Vol. 1 reigned over the Billboard Top Soundtracks chart for 11 consecutive weeks, sold over four million copies globally, and was certified Platinum by the RIAA.  A musician in his own right, Gunn led the Icons in the late ‘80s.

But punk is more than just a genre of music; it’s a cultural revolution and a thriving community that is often misunderstood and misrepresented in popular culture. And above all, it’s the exact opposite of the square boy scout Clark Kent. So how did Gunn combine his love of punk with the most wholesome superhero in the zeitgeist, and does it work on film?  

Gunn’s latest feature launches a new take on the world of DC comics. Starting with Superman, the comic book company’s second most popular superhero, is a bit of a risk. Compared to Batman, arguably the biggest superhero in the world, Superman’s light seems somewhat dim. Sure, both his parents are deceased like Batman, and that’s tragic, but he was delivered to two humans who loved him more than they loved their own lives. And Superman didn’t have to watch the demise of his parents, he didn’t grow up alone, and there’s absolutely no vengeance in his heart.  

Tragedies aside, Batman is human. Deeply fallible and vulnerable. When Batman gets his back broken over Bane’s knee, viewers can imagine immediately what level of pain he’s experiencing. But when Superman takes a bullet to the face, the impact ranges from unknown—how much does this actually cause physical pain—to nerdy debates about whether a bullet can even graze his skin? Clark will live either way. Suspense cannot exist when the only threat is a glowing green rock.

Gunn recognized this, and in fact, it’s what burst open the story for him. If the film begins with Superman coming to terms with his first ass-whooping, then his vulnerability is no longer a mystery. Everyone knows what it feels like to lose. 

So at the start of the movie, David Corenswet’s Superman just lost his first physical fight in the field. Back home Clark Kent also fights with his girlfriend, Lois Lane (Rachel Brosnahan). She loves him, but his actions in the cape cause her great concern. A trained journalist, Lois questions Superman’s rogue nature when it comes to managing international conflicts. Clark, on the other hand, believes right and wrong should always be simple. If people are going to die his responsibility is to intervene.

In the middle of one of their fights, Lois laments that she and Clark have nothing in common. She sees herself as punk and Clark as pop. Clark name drops a favored band and Lois scoffs. To Lois, the band can’t be punk because punk is edgy and gritty. Everyone likes that band, just like Clark likes everybody. “Maybe that’s what makes me punk rock,” Clark sulks.

It’s nearly a throwaway line. The audience roars with laughter because Superman is a clean cut, morally superior boy scout. He’s the antithesis of the hard edged fringe community most think of when they hear the word punk. But this line, one of Gunn’s favorites in the film, reads like a loud declarative: being kind is punk. 

“Punk rock is going against the grain,” Gunn tells us when we catch up with the writer-director during the Superman press tour. “We live in an age where everything is so mean and so ugly. Everyone is screaming at one another. Right now the most punk rock thing you can do is be kind, be raw, be open, look out for the person who needs looking out for, be unapologetically earnest. I think those are the things that are most rebellious.” If Batman is loved because he is human, then Gunn’s Superman is loved because he longs to be human. And in Gunn’s mind that is the most punk thing in the world, even when we note that makes Superman a bit of a square.

“Being a goodie, goodie is what’s punk rock about him,” Gunn adds. “He is those things, he is Pollyanna. He is old-fashioned, and aren’t we a little thirsty for people like that [because] there aren’t any anymore? They’ve all become mean.”

Thus every action Superman takes in the new film, right down to his costume, is designed to make him approachable to the public. Some may see this as the opposite of the punk aesthetic where piercings, tattoos, and lots of black tend to make up the uniform. Gunn even previously revealed that he felt torn on the little red shorts that make up Superman’s costume.

That is until star Corenswet fought for the shorts to stay. Maybe the underwear is a little dorky, but maybe that’s the point of them. How scared can a person be of a man wearing underwear over a unitard? It nerfs an all powerful being into an approachable fella. Whether or not moviegoers walk away from Superman thinking about the impact of those shorts, it’s kinda punk to stare weirdness in the face and embrace it. 

Gunn manages to maintain the squeaky clean image of Superman while also infusing elements of antiestablishment thinking, particularly when it comes to the murder of innocents. He will stand against a president or a dictator, and with his full being demands that they preserve human life. Is that not punk rock as hell?!

Rachel Brosnahan, who portrays Lois in the film, seems to think so. She describes Corneswet’s performance as curious.

“He’s an alien,” she considers. “He’s curious about and has this great love for humanity. Watching David be able to stay so honest and at the same time show all these colors—to find the humor but from this most grounded place—it all felt rooted in this core belief system. This third character. He’s created this third character almost [in Superman]… So watching that third character come to life was spectacular.”

Personally, I think the third character is simply the man who loves Lois. For it is only with Lois that the epic hero and the naive farmboy can coexist simultaneously at peace. A rebel and a community leader rolled into one.    

The traits of the punk community can be found in most outsider communities. Ravers, rappers, and even K-Pop stans have been considered fringe, weird, obsessives. To the people living within these disparate fandoms, there exists a community willing to support, uplift, and protect one another at any cost. Gunn recently called Superman an immigrant story. Though no one could have predicted the timing, many long for one good person, willing to confront his shortcomings and grow, a person who leads all of their actions unflinchingly with love. Damnit if it’s not the best use of a nostalgic character. Punk is hope in tiny red shorts. 

The post Is Superman a Punk? James Gunn Weighs In appeared first on Den of Geek.

This post contains spoilers for Superman As the first movie in a rebooted DC universe, it’s no surprise that Superman begins with title cards that establish the world. As a superhero movie post-Iron Man, it’s also no surprise that Superman has a mid-credit and post-credit scene. What is surprising, then, is the approach that James […]

The post Superman Post-Credits Scenes Explained appeared first on Den of Geek.

Punk music features heavily in James Gunn’s films, going all the way back to Tromeo and Juliet. Bands like MxPx, the Runaways, and Bowie help fill out the intricate soundtracks that often go on to be hits in their own right. Guardians of the Galaxy Awesome Mix Vol. 1 reigned over the Billboard Top Soundtracks chart for 11 consecutive weeks, sold over four million copies globally, and was certified Platinum by the RIAA.  A musician in his own right, Gunn led the Icons in the late ‘80s.

But punk is more than just a genre of music; it’s a cultural revolution and a thriving community that is often misunderstood and misrepresented in popular culture. And above all, it’s the exact opposite of the square boy scout Clark Kent. So how did Gunn combine his love of punk with the most wholesome superhero in the zeitgeist, and does it work on film?  

Gunn’s latest feature launches a new take on the world of DC comics. Starting with Superman, the comic book company’s second most popular superhero, is a bit of a risk. Compared to Batman, arguably the biggest superhero in the world, Superman’s light seems somewhat dim. Sure, both his parents are deceased like Batman, and that’s tragic, but he was delivered to two humans who loved him more than they loved their own lives. And Superman didn’t have to watch the demise of his parents, he didn’t grow up alone, and there’s absolutely no vengeance in his heart.  

Tragedies aside, Batman is human. Deeply fallible and vulnerable. When Batman gets his back broken over Bane’s knee, viewers can imagine immediately what level of pain he’s experiencing. But when Superman takes a bullet to the face, the impact ranges from unknown—how much does this actually cause physical pain—to nerdy debates about whether a bullet can even graze his skin? Clark will live either way. Suspense cannot exist when the only threat is a glowing green rock.

Gunn recognized this, and in fact, it’s what burst open the story for him. If the film begins with Superman coming to terms with his first ass-whooping, then his vulnerability is no longer a mystery. Everyone knows what it feels like to lose. 

So at the start of the movie, David Corenswet’s Superman just lost his first physical fight in the field. Back home Clark Kent also fights with his girlfriend, Lois Lane (Rachel Brosnahan). She loves him, but his actions in the cape cause her great concern. A trained journalist, Lois questions Superman’s rogue nature when it comes to managing international conflicts. Clark, on the other hand, believes right and wrong should always be simple. If people are going to die his responsibility is to intervene.

In the middle of one of their fights, Lois laments that she and Clark have nothing in common. She sees herself as punk and Clark as pop. Clark name drops a favored band and Lois scoffs. To Lois, the band can’t be punk because punk is edgy and gritty. Everyone likes that band, just like Clark likes everybody. “Maybe that’s what makes me punk rock,” Clark sulks.

It’s nearly a throwaway line. The audience roars with laughter because Superman is a clean cut, morally superior boy scout. He’s the antithesis of the hard edged fringe community most think of when they hear the word punk. But this line, one of Gunn’s favorites in the film, reads like a loud declarative: being kind is punk. 

“Punk rock is going against the grain,” Gunn tells us when we catch up with the writer-director during the Superman press tour. “We live in an age where everything is so mean and so ugly. Everyone is screaming at one another. Right now the most punk rock thing you can do is be kind, be raw, be open, look out for the person who needs looking out for, be unapologetically earnest. I think those are the things that are most rebellious.” If Batman is loved because he is human, then Gunn’s Superman is loved because he longs to be human. And in Gunn’s mind that is the most punk thing in the world, even when we note that makes Superman a bit of a square.

“Being a goodie, goodie is what’s punk rock about him,” Gunn adds. “He is those things, he is Pollyanna. He is old-fashioned, and aren’t we a little thirsty for people like that [because] there aren’t any anymore? They’ve all become mean.”

Thus every action Superman takes in the new film, right down to his costume, is designed to make him approachable to the public. Some may see this as the opposite of the punk aesthetic where piercings, tattoos, and lots of black tend to make up the uniform. Gunn even previously revealed that he felt torn on the little red shorts that make up Superman’s costume.

That is until star Corenswet fought for the shorts to stay. Maybe the underwear is a little dorky, but maybe that’s the point of them. How scared can a person be of a man wearing underwear over a unitard? It nerfs an all powerful being into an approachable fella. Whether or not moviegoers walk away from Superman thinking about the impact of those shorts, it’s kinda punk to stare weirdness in the face and embrace it. 

Gunn manages to maintain the squeaky clean image of Superman while also infusing elements of antiestablishment thinking, particularly when it comes to the murder of innocents. He will stand against a president or a dictator, and with his full being demands that they preserve human life. Is that not punk rock as hell?!

Rachel Brosnahan, who portrays Lois in the film, seems to think so. She describes Corneswet’s performance as curious.

“He’s an alien,” she considers. “He’s curious about and has this great love for humanity. Watching David be able to stay so honest and at the same time show all these colors—to find the humor but from this most grounded place—it all felt rooted in this core belief system. This third character. He’s created this third character almost [in Superman]… So watching that third character come to life was spectacular.”

Personally, I think the third character is simply the man who loves Lois. For it is only with Lois that the epic hero and the naive farmboy can coexist simultaneously at peace. A rebel and a community leader rolled into one.    

The traits of the punk community can be found in most outsider communities. Ravers, rappers, and even K-Pop stans have been considered fringe, weird, obsessives. To the people living within these disparate fandoms, there exists a community willing to support, uplift, and protect one another at any cost. Gunn recently called Superman an immigrant story. Though no one could have predicted the timing, many long for one good person, willing to confront his shortcomings and grow, a person who leads all of their actions unflinchingly with love. Damnit if it’s not the best use of a nostalgic character. Punk is hope in tiny red shorts. 

The post Is Superman a Punk? James Gunn Weighs In appeared first on Den of Geek.

This is like discovering that the pyramids weren’t built by natural erosion, but by ancient engineers

The post How Termites and Ants Built the Tropics’ Best Soil appeared first on Green Prophet.

Japanese singer Ayako Tanaka visits Japan’s Jera wind farm

The latest Renewable Energy Statistics 2025 report from the International Renewable Energy Agency (IRENA) based in the United Arab Emirates reveals a widening global divide in the renewable energy transition. While Asia added the lion’s share of new renewable energy capacity in 2024—an astounding 71%—regions such as Africa, Central America, and the Caribbean collectively contributed only 2.8% to global growth.

Africa, in particular, expanded its renewables capacity by just 7.2%, despite its vast untapped resources and pressing need for energy access.

This imbalance poses a serious challenge to the global goal of tripling renewable capacity by 2030, as agreed at COP28. If the current growth trajectory continues, the world will reach only 10.3 terawatts (TW) of installed renewables by 2030—falling 0.9 TW short of the 11.2 TW target. To stay on course, annual capacity must grow by at least 16.6% over the next five years.

Here is a simple infographic showing the global divide in new renewable energy capacity additions for 2024. Asia dominates with 71%, while Africa and other developing regions together account for just 2.8%, highlighting the urgent need for more equitable investment. Would you like a version with additional data or annotations?

Francesco La Camera, Director-General of IRENA, underscores the urgency of closing this investment and infrastructure gap. “The renewable energy boom is transforming global energy markets, driving economies and creating vast investment opportunities,” La Camera said. “However, the growing regional divide highlights that not everyone is benefiting equally from this transition.”

Indeed, countries that have succeeded in attracting renewable investment—particularly in Asia and parts of Europe—are now reaping broader economic rewards, including increased energy security, job creation, and industrial growth.

The 2024 data also highlights the overwhelming dominance of solar and wind energy, which accounted for 97.5% of all net renewables additions. Solar energy alone contributed 453 GW, reinforcing its position as the most cost-competitive and rapidly scalable clean energy source on the planet. Wind followed with 114 GW.

With renewables now representing 46.2% of global installed power capacity—nearly equal to fossil fuels at 47.3%—the economic and environmental case for continued investment is stronger than ever. Renewable electricity generation grew by 5.6% in 2023 compared to 2022, reaching 8,928 terawatt-hours, while non-renewable generation grew by only 1.2%.

Still, the benefits of this energy revolution are not evenly shared. As La Camera notes, “Bridging the divide and closing the investment gap between countries and regions is critical. It requires targeted policies, international financing, and partnerships that unlock capital and technology where they are needed most.”

UN Climate Change Executive Secretary Simon Stiell echoed this call to action: “To deliver on the global agreement at COP28 to triple renewables by 2030, we need to move much further and faster, and make more progress on the key enablers for vulnerable developing countries. The investments required will pay huge dividends—cutting emissions, driving economic growth, creating jobs, and supporting affordable, secure energy for all.”

The message is clear: the green energy future is well underway, but unless more inclusive policies and financing mechanisms are put in place, the clean energy divide could become the defining inequity of the 21st century.

The post Asia Powers Ahead in Global Renewable Boom, But Africa Risks Being Left Behind appeared first on Green Prophet.

While Is Anyone Listening? may not satisfy those looking for hard statistics, it’s a compelling read for anyone interested in the intersection of science, philosophy, and animal behavior. Herzing’s voice—at once personal, precise, and probing—asks us not just to decode dolphin sounds but to consider our role as co-inhabitants of a shared, noisy planet.

The post Want to speak “dolphin”? appeared first on Green Prophet.

Japanese singer Ayako Tanaka visits Japan’s Jera wind farm

The latest Renewable Energy Statistics 2025 report from the International Renewable Energy Agency (IRENA) based in the United Arab Emirates reveals a widening global divide in the renewable energy transition. While Asia added the lion’s share of new renewable energy capacity in 2024—an astounding 71%—regions such as Africa, Central America, and the Caribbean collectively contributed only 2.8% to global growth.

Africa, in particular, expanded its renewables capacity by just 7.2%, despite its vast untapped resources and pressing need for energy access.

This imbalance poses a serious challenge to the global goal of tripling renewable capacity by 2030, as agreed at COP28. If the current growth trajectory continues, the world will reach only 10.3 terawatts (TW) of installed renewables by 2030—falling 0.9 TW short of the 11.2 TW target. To stay on course, annual capacity must grow by at least 16.6% over the next five years.

Here is a simple infographic showing the global divide in new renewable energy capacity additions for 2024. Asia dominates with 71%, while Africa and other developing regions together account for just 2.8%, highlighting the urgent need for more equitable investment. Would you like a version with additional data or annotations?

Francesco La Camera, Director-General of IRENA, underscores the urgency of closing this investment and infrastructure gap. “The renewable energy boom is transforming global energy markets, driving economies and creating vast investment opportunities,” La Camera said. “However, the growing regional divide highlights that not everyone is benefiting equally from this transition.”

Indeed, countries that have succeeded in attracting renewable investment—particularly in Asia and parts of Europe—are now reaping broader economic rewards, including increased energy security, job creation, and industrial growth.

The 2024 data also highlights the overwhelming dominance of solar and wind energy, which accounted for 97.5% of all net renewables additions. Solar energy alone contributed 453 GW, reinforcing its position as the most cost-competitive and rapidly scalable clean energy source on the planet. Wind followed with 114 GW.

With renewables now representing 46.2% of global installed power capacity—nearly equal to fossil fuels at 47.3%—the economic and environmental case for continued investment is stronger than ever. Renewable electricity generation grew by 5.6% in 2023 compared to 2022, reaching 8,928 terawatt-hours, while non-renewable generation grew by only 1.2%.

Still, the benefits of this energy revolution are not evenly shared. As La Camera notes, “Bridging the divide and closing the investment gap between countries and regions is critical. It requires targeted policies, international financing, and partnerships that unlock capital and technology where they are needed most.”

UN Climate Change Executive Secretary Simon Stiell echoed this call to action: “To deliver on the global agreement at COP28 to triple renewables by 2030, we need to move much further and faster, and make more progress on the key enablers for vulnerable developing countries. The investments required will pay huge dividends—cutting emissions, driving economic growth, creating jobs, and supporting affordable, secure energy for all.”

The message is clear: the green energy future is well underway, but unless more inclusive policies and financing mechanisms are put in place, the clean energy divide could become the defining inequity of the 21st century.

The post Asia Powers Ahead in Global Renewable Boom, But Africa Risks Being Left Behind appeared first on Green Prophet.

“By integrating photosynthetic organisms into materials science, we can harness the sun’s renewable energy to create valuable materials,” said Bae. “There is a great need for sustainable alternatives to current practices that rely on finite resources.”

The post Living Plastics That Clean Water and Heal Themselves—Powered by Sunlight appeared first on Green Prophet.

Japanese singer Ayako Tanaka visits Japan’s Jera wind farm

The latest Renewable Energy Statistics 2025 report from the International Renewable Energy Agency (IRENA) based in the United Arab Emirates reveals a widening global divide in the renewable energy transition. While Asia added the lion’s share of new renewable energy capacity in 2024—an astounding 71%—regions such as Africa, Central America, and the Caribbean collectively contributed only 2.8% to global growth.

Africa, in particular, expanded its renewables capacity by just 7.2%, despite its vast untapped resources and pressing need for energy access.

This imbalance poses a serious challenge to the global goal of tripling renewable capacity by 2030, as agreed at COP28. If the current growth trajectory continues, the world will reach only 10.3 terawatts (TW) of installed renewables by 2030—falling 0.9 TW short of the 11.2 TW target. To stay on course, annual capacity must grow by at least 16.6% over the next five years.

Here is a simple infographic showing the global divide in new renewable energy capacity additions for 2024. Asia dominates with 71%, while Africa and other developing regions together account for just 2.8%, highlighting the urgent need for more equitable investment. Would you like a version with additional data or annotations?

Francesco La Camera, Director-General of IRENA, underscores the urgency of closing this investment and infrastructure gap. “The renewable energy boom is transforming global energy markets, driving economies and creating vast investment opportunities,” La Camera said. “However, the growing regional divide highlights that not everyone is benefiting equally from this transition.”

Indeed, countries that have succeeded in attracting renewable investment—particularly in Asia and parts of Europe—are now reaping broader economic rewards, including increased energy security, job creation, and industrial growth.

The 2024 data also highlights the overwhelming dominance of solar and wind energy, which accounted for 97.5% of all net renewables additions. Solar energy alone contributed 453 GW, reinforcing its position as the most cost-competitive and rapidly scalable clean energy source on the planet. Wind followed with 114 GW.

With renewables now representing 46.2% of global installed power capacity—nearly equal to fossil fuels at 47.3%—the economic and environmental case for continued investment is stronger than ever. Renewable electricity generation grew by 5.6% in 2023 compared to 2022, reaching 8,928 terawatt-hours, while non-renewable generation grew by only 1.2%.

Still, the benefits of this energy revolution are not evenly shared. As La Camera notes, “Bridging the divide and closing the investment gap between countries and regions is critical. It requires targeted policies, international financing, and partnerships that unlock capital and technology where they are needed most.”

UN Climate Change Executive Secretary Simon Stiell echoed this call to action: “To deliver on the global agreement at COP28 to triple renewables by 2030, we need to move much further and faster, and make more progress on the key enablers for vulnerable developing countries. The investments required will pay huge dividends—cutting emissions, driving economic growth, creating jobs, and supporting affordable, secure energy for all.”

The message is clear: the green energy future is well underway, but unless more inclusive policies and financing mechanisms are put in place, the clean energy divide could become the defining inequity of the 21st century.

The post Asia Powers Ahead in Global Renewable Boom, But Africa Risks Being Left Behind appeared first on Green Prophet.