There are no crude male figures in Superman, barring your opinion of characters like Lex Luthor, Guy Gardner, or Jimmy Olsen’s questionable interactions with certain women. Regarded as the most wholesome entry in James Gunn’s diverse array of films, Superman in July was a marked departure from his usual edgy style rooted in his Troma Entertainment days, even as Gunn has ascended to a pinnacle of filmmaking influence. Portraying a polished, optimistic vision, Superman showcases Gunn in a restrained light, demonstrating his attempt to mold a superhero world where compassion is the most radical principle.

After such a significant self-restraint, it’s hardly surprising that Gunn’s subsequent project embraced an over-the-top display of drug-fueled escapades, exposed nipples, and blatant nudity. This refers to the second season of Peacemaker, which debuted last week with John Cena’s character feeling like the most miserable participant in his own wild party after facing several setbacks. Despite Cena’s modesty, remaining in his underwear, Gunn didn’t hold back in showcasing as much exposed skin and chaotic energy as possible, culminating in a scene where a character gleefully pleases himself as he exits the stage, a clear signal of Gunn’s return to his unrestrained roots.

Indeed, the first season of Peacemaker had its moments of audacity as well, with an abrupt scene of the protagonist in an intimate moment with a woman straight out of an 80s rock video. However, the Gunn who directed this was still somewhat in his mischievous phase, throwing in quick shots of nudity and violence, reminiscent of his earlier, freer work like in 2021’s The Suicide Squad. This was a contrast to the more restrained style he had been adapting for Marvel, from whom he had been temporarily dismissed and then rehired. With considerable autonomy in his new projects and a superhero universe seemingly lacking strict guidelines, it was natural for Gunn to integrate elements of his earlier films Slither and Super into this mix.

However, the second season of Peacemaker isn’t just a release valve for Gunn; it’s a critical piece in the sprawling, new DC Universe that he and Peter Safran are crafting, a project with potentially huge implications for Warner Bros. Discovery’s investment. Starting this venture with his other TV spin-off from Suicide Squad, Creature Commandos, which is equally provocative and even more violent, hints at a deliberate method behind the apparent madness. Gunn’s films and shows inject raw, often vulgar, fun because he genuinely revels in it. But at the same time, he’s also defining what the DCU is going to be—a place of naive heroics as well as unashamed, graphic adult content.

Typically, superhero narratives lean towards PG or PG-13 ratings, aligned with their origins and the broadest commercial appeal. Superman embraced this, presenting a character that’s easily relatable to children, a stark contrast to previous darker interpretations. Gunn’s earlier work with Marvel’s Guardians of the Galaxy initially challenged, then conformed to, a relatively conservative range of themes. However, shows like The Boys and Invincible have proven there’s an appetite for flipping these sanitized narratives on their heads, much like the comics of the ‘80s and ‘90s did.

With Superman and Peacemaker season two, Gunn is clearly positioning his DCU to break free from traditional constraints, setting a precedent for future storytellers to explore a full spectrum of storytelling, from pure-hearted to explicitly adult themes. This bold direction not only acknowledges the diversity in comic book storytelling but also paves the way for a richer, more varied cinematic universe. In this new era, Superman saves out of a deep-seated need to do good, while Chris Smith’s flawed hero acts out of a similarly profound, albeit more troubled, impulse. In crafting this new narrative landscape, Gunn ensures there’s room for both to exist and resonate.