For an extended period, the long-awaited sequel to Matt Reeves’ atmospheric 2022 blockbuster, The Batman, has existed in a shadowy realm of speculation. Although its eventual arrival is expected for 2027, the precise details of the film have remained cloaked in mystery. Entire cycles may transpire before the director selects which notorious adversary from Batman’s vast rogues' gallery to introduce next.
Unexpectedly – out of nowhere this week’s news that Scarlett Johansson is in late-stage talks to join the ensemble of the next installment. Who exactly she might play remains a mystery, but that scarcely diminishes the weight of the development: it feels consequential, a reignited signal above a seemingly abandoned cinematic city. Johansson is more than an major star; she is one of the rare performers who consistently commands box office while simultaneously maintaining significant artistic cachet.
Previously, the obvious guesswork might have suggested Johansson as characters like Poison Ivy or Harley Quinn. Yet, neither feels especially likely. For one, Reeves’ interpretation of Gotham, as presented in the 2022 film, was decidedly realistic and conventional. This version seems separate from a broader shared universe where cosmic entities mingle with Batman’s more homegrown enemies.
Reeves evidently prefers a gritty and emotionally rooted Gotham. His antagonists are not supernatural monsters; they are troubled characters often defined by past wounds. Additionally, given Harley Quinn’s separate incarnation elsewhere and another actress already established as Sofia Falcone in a related series, the field of prominent female figures associated with the Batman lore looks relatively restricted.
Emerging from considerable conjecture that Johansson could be playing Andrea Beaumont, also known as the Phantasm. This villain, a vengeful figure from Bruce Wayne’s history, would seem to fit neatly with Reeves’ known taste for Gotham tales rooted in psychological trauma. The director has previously hinted looking for an antagonist who probes into Batman’s personal history, a box that Beaumont checks with gusto.
“The past relationship of Bruce Wayne’s, whose personal tragedy transformed into deadly vengeance.”
In the comics and animation, her origin even creates a natural pathway to introduce the Joker as a low-level gangster – a story beat that could let Reeves to begin teeing up that character for a third film.
Perhaps the even more interesting inquiry revolves around what a extended gap between films implies for a series initially envisioned as a focused arc. Trilogies are typically intended to maintain momentum, not end up becoming into archival curios. And yet, that seems to be the current state of play. Perhaps that is the distinctive charm of this particular cinematic world.
In the end, if Johansson is indeed joining the world, it as a minimum signals that the Reeves-Pattinson collaboration is moving once more, no matter how cautiously. With progress, the Part II may eventually make its way into theaters before the corporate cycle unveils the next version of the Dark Knight.