A well-placed industry insider has claimed that Henry Cavill is back in the Superman role. This comes from a Twitter account that recently said the Black Adam film will open the door to a new Superman film. If that turns out to be true, Cavill will be appearing in Black Adam. As per the leaks, the film will have some sort of Man of Steel appearance featuring a brighter Superman suit.
The Twitter user on Monday posted the following: “I’ll just say it. Multiple scoopers 100% believe Henry is back, the dm I received said ‘Cavill’s back.’ This friend who told me this I trust very well and has ALWAYS been skeptical over Cavill and Affleck returning. They are now believing into the idea of Cavill’s return,” tweeted AjepArts.
The Twitter user added that “the tides are changing” over at Warner Bros. Discovery. “Before this, it was seen as impossible. But the tides are changing. Something has to be going on,” read the tweet.
The news of Henry Cavill returning as Superman is not new as rumours have been around for over five years or so. Just this Summer at the San Diego Comic-Con, DC insiders and friends of Batman producer Michael Uslan informed a journalist that Henry Cavill can return to the Superman role if he wants to, but that he was asking for a lot of money.
Cavill first appeared as Clark Kent/Superman in the 2013 film Man of Steel. He then went on to reprise the role in 2016’s Batman v Superman: Dawn of Justice and 2017’s Justice League.
He additionally appeared in Zack Snyder's Justice League, a 2021 director's cut of the 2017 DC film. Despite Warner Bros. currently developing several Superman projects, none include Cavill at the moment. Superman last appeared in the DCEU as a shadowy, faceless cameo in the Season 1 finale of the HBO Max series Peacemaker. The actor is currently busy filming The Witcher Season 3.
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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