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Long established as an allegory for the immigrant experience, especially when viewed through the personal histories of Superman‘s comic book co-creators — second-generation Jewish immigrants Jerry Siegel and Joe Shuster — DC Studios co-CEO James Gunn said his forthcoming film entry of Kal-El keeps in tune with the original 1938-created vision.

“I mean, Superman is the story of America,” the Superman helmer told The Times U.K. in a new profile. “An immigrant that came from other places and populated the country, but for me it is mostly a story that says basic human kindness is a value and is something we have lost.”

When asked how the blockbuster may be perceived in predominantly red versus blue states, especially amid prevailing anti-immigrant and refugee sentiment, Gunn responded, “Yes, it plays differently, but it’s about human kindness and obviously there will be jerks out there who are just not kind and will take it as offensive just because it is about kindness. But screw them.”

Releasing July 11 in theaters, David Corenswet stars as the iconic bespectacled superhero, depicted in the movie as an already established reporter at the Daily Planet dating Lois Lane (Rachel Brosnahan). When he gets drawn into conflict at home and abroad, the Man of Steel — and his trusty flying dog Krypto — must contend with swiftly shifting public opinion as tech billionaire Lex Luthor (Nicholas Hoult) spots an opportunity to ascend.

“Yes, it’s about politics,” Gunn said of his take. “But on another level it’s about morality. Do you never kill no matter what — which is what Superman believes — or do you have some balance, as Lois believes? It’s really about their relationship and the way different opinions on basic moral beliefs can tear two people apart.”

While Gunn said the Warner Bros. Pictures movie aims to balance its message and fun family appeal, the ultimate goal is to tell a human story.

“This Superman does seem to come at a particular time when people are feeling a loss of hope in other people’s goodness,” the Guardians of the Galaxy director shared. “I’m telling a story about a guy who is uniquely good, and that feels needed now because there is a meanness that has emerged due to cultural figures being mean online.”

He continued, “And I include myself in this. It is ad infinitum, millions of people having tantrums online. How are we supposed to get anywhere as a culture? We don’t know what’s real, and that is a really difficult place for the human brain to be. If I could press a button to make the internet disappear I’d consider it. And, no, I don’t make films to change the world, but if a few people could be just a bit nicer after this it would make me happy.”

After a year of musical chairs in fashion, September is gearing up to be one of its biggest show months ever: with debut collections slated from new creative directors at brands including Matthieu Blazy at Chanel and ex-Balenciaga designer Demna at Gucci.

On Sunday in Paris, Michael Rider, who recently succeeded Hedi Slimane at Celine, decided to get a head start.

Acting as a sort of amuse bouche for how he plans to shape the brand’s future, Rider showed a mixture of men’s and womenswear.

The show took place at the brand’s sprawling atelier, a short hop from the Tuileries Garden. Guests included the actor Naomi Watts and, fresh from 18 months of South Korean military service, Kim Taehyung, from the K-pop band BTS, who attempted to shelter from the rain under a giant silk foulard that had been erected above a courtyard.

It was a full-circle moment for Rider, an American designer who previously worked under Phoebe Philo during her tenure at the brand from 2008 to 2017.

While fans of her work, known as “Philophiles”, had hoped Rider would reinstate that era of louche tailoring and minimalism, his opening looks quickly curtailed such expectations. Instead of oversized silhouettes, there was a series of skinny jeans and even skinner trousers, hugging calves so tightly, they should have come with a circulation warning.

These lean silhouettes were a nod to his predecessor, Slimane, who honed his signature sharp-edged style during his stints at Saint Laurent and Dior Homme before introducing it to Celine.

Despite initial criticism, Slimane proved lucrative for Celine’s parent company LVMH. According to analysts, he was estimated to have doubled Celine’s annual sales to €2.5bn (£2.1bn), transforming it into LVMH’s third-largest brand, sitting behind Louis Vuitton and Dior. However, in October, he resigned with rumours of failed contract negotiations to blame.

It’s now up to Rider to pick up that moneyed baton.

Rider’s appointment comes at a difficult time in the fashion industry, with a significant slowdown across luxury markets (for the first quarter of 2025, LVMH reported a 4% sales drop across fashion and leather goods).

At the annual general meeting in April 2024, LVMH’s chief executive, Bernard Arnault, said: “Celine is chic, hip, sexy fashion for young people even if the prices are what they are, and it works.”

Rather than wiping the slate clean, during this period of uncertainty, it appears that Rider is set on evolving on the brand’s existing tried and tested formula.

Speaking backstage after the show, Rider said he “did not want there to be a sense of erasure”, adding that “there was a foundation to build on. That to me felt modern, it felt ethical, it felt strong.”

Rider balanced this homage to the past by intertwining it with his own fashion story. There were nods to his American roots and recent stint as design director of Polo Ralph Lauren, with punchy, coloured knitted V-neck jumpers, neat Oxford shirts and striped ties. Simple evening looks in black including an off-the-shoulder dress and satin lapelled blazers seemed to subtly recall his previous time at Celine.

Accessories, which are easier for luxury brands to shift than a £5k coat, were a focus. Models’ fingers came covered in multiple gold and primary coloured rings. Chunky bangles were stacked on forearms. Giant chain link necklaces were mishmashed. Keyrings jingled with everything from dices to miniature Eiffel Towers.

Rider said he wanted to inject an element of fun. “I would never want to be perceived as cynical. Having a sense of humour in the luxury space is a beautiful thing,” he said.

Bags ranging from colossal woven baskets and enormous leather totes to dainty pouches were emblazoned with logos ranging from a simple C to a “Triomphe” monogram, first created by the house’s founder Céline Vipiana in 1971.

Rider said he was drawn to a logo’s fluid nature. “They can move from something really tasteful to quickly something that is very different from that. They can be many things.”

This coming week, the couture shows in Paris will be filled with delightful, hand-crafted fashions on the runway—and the front rows will be filled with A-listers, too. Ahead of all the stylish action kicking off in the City of Light, one such star—Dua Lipa—has already been spotted checking in to and enjoying the opulence of the Ritz hotel. (Where all the fashion VIPs are known to stay during Fashion Month). And naturally, Lipa nailed a perfectly effortless Parisian look.

The pop star—who has been busy touring this summer—found an ideal day-off look that struck the right balance of chic, yet easy-breezy. It’s the French girl way! She paired summery staples like straight-leg blue wash jeans and a striped button-up dress shirt (styled completely open, safe for one button) with more fashion-minded accessories, like a golden quilted Chanel 25 bag and stiletto sandals.

Now, will Ms. Dua Lipa dial up the fashion ante for sitting front row at the shows this week? You can count it. She was already photographed making a store visit to Schiaparelli, which means we can likely count on seeing her at that star-studded affair. But even before all of the couture chaos begins, the star clearly knows a thing or two about dressing like a local—and eating and drinking like one. Her last trip—avec partner and husband-to-be Callum Turner—saw the pair head to buzzy bistro Chez Janou, the opulent Costes hotel, and for an intimate late-night dinner at Bistrot des Tournelles.

With this elevated casual look, Lipa looked like a true Parisian heading to the café for a croissant. It’s what Emily In Paris fashion only aspires to be.