The Death and Return of Superman (film)

Lore & Background

The film features Max Landis, while drinking Johnnie Walker mixed with water, discussing Superman's influence on comic book superheroes and his fading popularity in the 1990s. Landis describes how DC Comics executives concluded Superman had to die to become relevant again, leading to the creation of Doomsday and the battle that killed both combatants. He notes that DC shipped three million copies of Superman #75 worldwide, nearly all sold out within the first day.

Landis then recounts the 'Reign of the Supermen!' arc, where four characters claimed to be Superman: Hank Henshaw, Steel, Superboy, and the Eradicator. Henshaw defeated the other three and destroyed Coast City. However, in DC canon, Hal Jordan's transformation into Parallax and his destruction of the Green Lantern Corps occurred in the separate 'Emerald Twilight' storyline, triggered by Mongul and Cyborg Superman's annihilation of Coast City—not directly caused by Henshaw. The real Superman eventually returned from a 'healing coma' and defeated Henshaw, but fans felt betrayed, and sales of Superman comics declined and never recovered.

Landis recalls a lesson from his father John Landis about killing vampires: writers can kill vampires any way they want because vampires do not exist. He argues that the 'Death of Superman' story arc made death irrelevant in comics, as hundreds of characters would die and resurrect multiple times thereafter.

Reader's Guide

The Death and Return of Superman is significant as a fan film that critiques and summarizes a landmark comic book event. It gained attention for its monologue format and cameo appearances from notable performers such as Elijah Wood, Mandy Moore, Simon Pegg, and Ron Howard. The film reflects on the commercial and narrative impact of Superman's death and resurrection, arguing that it trivialized death in comics. Produced by Bryan Basham, creator of COPS: Skyrim, the film was part of Landis's earlier web series work, including Cooking With Comics and videos like Vague Recollections of Watchmen and Drunk Comic Book History: The Robins. Its legacy lies in its meta-commentary on comic book storytelling and fan reactions.

Did You Know?

• The film was first shown in Los Angeles on November 27, 2011, and uploaded to YouTube in 2012.
• It features cameo appearances by Elijah Wood, Mandy Moore, Simon Pegg, and Ron Howard, among others.
• Max Landis's father John Landis is portrayed by Simon Pegg in the film.

Production & Premiere

The Death and Return of Superman is an independent fan film crafted by Max Landis, a writer known for his work on Chronicle. The project was brought to life under the production banner of Bryan Basham, who had previously created the web series COPS: Skyrim. Landis first presented the finished piece to a live audience at a screening in Los Angeles on November 27, 2011. A year later, in 2012, the film found a much wider digital audience when it was uploaded to YouTube, allowing fans around the world to experience the piece on their own terms. Structurally, the film operates as a spoken-word monologue delivered by Landis himself, punctuated by short, parody-like sketches that visually illustrate the comic book events he is narrating. This blend of direct-address storytelling and comedic visual gags gives the project a distinctly personal, almost podcast-like energy, setting it apart from more traditionally produced fan films. The casual, intimate framing underscores that this is a creator talking directly to fellow enthusiasts rather than a studio product aiming for broad commercial appeal.

Narrative Arc & Comic Book History

Landis walks the audience through the pivotal 1990s storyline that reshaped Superman's place in popular culture. He explains how, as the Man of Steel's cultural relevance began to wane, DC Comics leadership concluded the only way to reignite interest was to kill him. The film traces the creation of the monstrous Doomsday, the escalating confrontations between the two titans, and the mutual destruction that followed. Landis notes that Superman #75 shipped three million copies worldwide and that nearly every single one sold out on the very first day of release. The narrative then moves into the aftermath: the funeral, and the subsequent 'Reign of the Supermen!' arc, which introduced four impostors—Hank Henshaw, Steel, Superboy, and the Eradicator. Henshaw's victory over the others and his destruction of Coast City triggered Hal Jordan's descent into the Parallax, wiping out most of the Green Lantern Corps. The real Superman eventually emerged from what DC called a 'healing coma'—technically identical to death but merely temporary—and defeated Henshaw. Landis highlights that fans felt deeply betrayed by the resurrection, and Superman's comic sales dropped sharply, never fully recovering.

Cameo Ensemble & Creative Lineage

One of the film's most striking features is its impressive roster of cameo appearances, drawing in a wide range of recognizable performers. The cast includes Elijah Wood, Mandy Moore, Elden Henson, Zach Cregger, Jimmi Simpson, Matthew Mercer, and Jennette McCurdy, each lending their name and face to brief on-screen moments. Two particularly notable cameos anchor the personal storytelling: Ron Howard appears as Max Landis's son, while Simon Pegg steps into the role of John Landis, Max's father. This ensemble approach reflects a broader pattern in Landis's creative output. The monologue-over-sketch format he employs here is not new to him; he had previously explored the same style in his web series Cooking With Comics, as well as in standalone videos like Vague Recollections of Watchmen and Drunk Comic Book History: The Robins. The Death and Return of Superman thus sits within a small but consistent body of work where Landis uses casual, conversational storytelling to dissect beloved comic book narratives, inviting a community of collaborators to populate his world.

The Vampire Lesson & Thematic Core

Near the film's close, Landis pours himself another drink—Johnnie Walker mixed with water—and recalls a childhood conversation with his father, John Landis. The younger Max lists the classic methods for killing a vampire: a stake through the heart, exposure to sunlight. His father's response cuts to the heart of the film's central argument: because vampires do not exist, writers can kill them in whatever way they see fit. Landis extends this logic to Superman. In his telling, the 'Death of Superman' arc did not truly kill the character; rather, it rendered the concept of death meaningless within the comic book medium. Once readers accepted that a superhero could be brought back from the grave, the stakes of any future death evaporated. Landis points out that in the years following Superman's resurrection, hundreds of comic book characters would die and return multiple times, each resurrection further eroding the emotional weight of mortality. The film ultimately positions itself not as a celebration of the storyline but as a wry, slightly bitter meditation on how one bold creative decision permanently altered the rules of the genre.