When Will Gotham City Sirens Stream On HBO Max?

I've been obsessed lately with imagining what a real soundtrack for 'Gotham City Sirens' would sound like, because—plot is great, but the music? That sets the whole mood. To be clear up front: there isn't an official, studio-released soundtrack for 'Gotham City Sirens' (the project floated around Hollywood for years but never produced a canonical score album). So what follows is my fan-curated compilation: songs and instrumentals that capture Harley, Ivy, and Selina’s personalities, and the dark, sultry streets of Gotham. I mixed classic femme-fatale anthems, alt-pop bangers, eerie covers, and orchestral cues so you can imagine walking down a neon alley with bad intentions. Tracklist (fan-curated playlist vibe): 1. 'Bad Reputation' — Joan Jett (opening credits / swagger) 2. 'Bad Guy' — Billie Eilish (Harley’s chaotic sneer) 3. 'Toxic' — Britney Spears (Ivy’s honeyed danger) 4. 'I Put a Spell on You' — Nina Simone (seductive, toxic love scene) 5. 'Heads Will Roll' — Yeah Yeah Yeahs (club montage) 6. 'Sweet Dreams (Are Made of This)' — Eurythmics (dreamlike villainess plotting) 7. 'Criminal' — Fiona Apple (moral ambiguity, underworld scenes) 8. 'Personal Jesus' — Depeche Mode (cat-and-mouse tension) 9. 'Paint It Black' — The Rolling Stones (Gotham noir chase) 10. 'Crazy' — Gnarls Barkley (Harley/Ivy interplay) 11. 'No Church in the Wild' — Jay-Z & Kanye (high-stakes heist) 12. 'Control' — Halsey (Ivy’s empowerment beat) 13. 'Black Magic Woman' — Santana (ancient charm/poison aesthetics) 14. 'Behind Blue Eyes' — The Who (Selina’s quieter moments) 15. Orchestral cue: moody strings + synth (fan-made score cue for finale) 16. Dark electronic outro: heavy bass, glassy synths (closing credits) I also sneak in a few instrumental interludes—think slow cello, warped harp, and subtle electronic percussion—so the playlist breathes like a film. If you want the full cinematic experience, drop those orchestral interludes between the pop/rock tracks. Fans on streaming platforms often recreate variations similar to this list; it’s honestly my go-to soundtrack when I want to feel mischievous and empowered at the same time. It plays like a night out with dangerous friends, and I wouldn't change a beat for that vibe.

This is one of those projects that loves to keep fans on their toes: there is no confirmed theatrical release date for 'Gotham City Sirens' right now. People have been talking about a film bringing together Gotham’s femme fatales for years, and the idea keeps surfacing in headlines, interviews, and rumor threads — but as of the latest official word there hasn’t been a studio announcement locking in a release window for theaters. The reason it feels so nebulous is pretty practical: the project has floated through development with different creatives attached at different times, and the whole strategy at DC has been reshuffled in recent years. After films like 'Birds of Prey' proved that a female-led corner of Gotham could work in interesting ways, the idea of a villain-centric movie — think Catwoman, Harley Quinn, Poison Ivy vibes — gained traction. Still, development notes, director attachments, and writers coming and going are common in Hollywood, and until a studio formally green-lights something with a production schedule, it’s all speculative. On top of that, the leadership changes at the studio have meant priorities shifted toward a freshly outlined universe, so projects that once seemed likely have either been paused, retooled, or shelved. If we were to play industry realist for a second: when a major film finally does get green-lit, the whole timeline usually runs like this — a few months to a year of final scripting and casting, several months of pre-production, a few months of shooting, and then post-production that can take half a year or more. So even after an official go-ahead, you’re often looking at at least a year and a half to two years before theatrical release in most cases — and sometimes longer if scheduling or VFX needs demand it. There’s also the streaming factor; studios now juggle theatrical releases and streaming strategies, so even if 'Gotham City Sirens' gets made, its path to audiences could be the typical theatrical-first window, or it could tilt toward a hybrid release depending on business decisions at the time. I’m excited by the concept because Gotham’s rogues gallery is endlessly fun to explore, and a film that treats those women as complex leads could be great. For now, my best bet is to watch official DC Studios announcements, press releases around movie slates, and major events where studios drop release calendars. Until they post a date, it’s all hopeful waiting — and honestly, that tension is part of the fandom thrill. I’m cautiously optimistic and already imagining how cool the characters and world could look on the big screen.

People keep asking me where 'Gotham City Sirens' is being filmed, so I dug into the trail of rumors, permits, and studio chatter and tried to separate fact from wishful thinking. The short, blunt reality is that there hasn't been a widely reported, confirmed on-location shoot for 'Gotham City Sirens' yet — the project has spent a long time in development and, while it's been talked about for years, nothing concrete has landed in the public domain as a full production schedule with lock-in locations. That said, if you want to think like a location scout, there are obvious candidates. Big-budget DC movies historically split work between soundstages and city backlots, and the usual suspects include Warner Bros. studios (Leavesden in the UK is a favorite for heavy set work), major North American hubs like Toronto and Atlanta (both offer excellent tax incentives and crew bases), and classic urban stand-ins like Chicago, New York, Pittsburgh, or Detroit when directors want that dense, gritty urban texture people associate with Gotham. So you'll often see a mixed approach: exteriors on the streets of an American city to capture the right skyline and street life, then interior and large-stunt sequences on controlled stages. If you're tracking this because you love on-set spotting, pay attention to local film commission permit listings, social accounts that monitor set activity, and city film office pages — they usually leak the best early clues. Fans also often follow construction permits for large temporary sets or stages; that’s where you sometimes get the clearest hint that something is actually happening. Until Warner Bros. or the production team posts casting notices or a production start declaration, most of what circulates will be speculation and hopeful guessing. Personally, I’m keeping an eye on the UK and Georgia film offices — both have been DC magnets lately — and I can’t help but hope they pick someplace with a killer skyline. It would be wild to see those characters play off a city with actual character, so I’m watching the permits and the tweets with popcorn-ready excitement.

I'll cut straight to it: the movie-lineup centers on Harley Quinn, Catwoman, and Poison Ivy. In the comics the trio is famous from the 'Gotham City Sirens' series, and most adaptations that talk about a 'Gotham City Sirens' movie mean Selina Kyle (Catwoman), Dr. Harleen Quinzel (Harley Quinn), and Pamela Isley (Poison Ivy) as the headliners. Those three bring very different energies to the screen — Selina's sleek, morally flexible thief instincts, Harley's anarchic, unpredictable sparkle, and Ivy's chill but deadly eco-warrior vibes. What I love about the idea of them headlining is how their personalities bounce off each other. Catwoman often acts like the wary strategist, balancing between self-interest and a soft spot for Gotham's weaker folks; Harley is the chaotic emotional center who can flip from goofy to terrifying in a heartbeat; Ivy adds an eerie calm intelligence, with a clear ideological fire when it comes to protecting nature. Together they make a classic odd-couple (or odd-trio) story: capers, schemes, arguments that end in awkward tenderness, and fights where all three use wildly different tactics. The movie version would almost certainly lean into the comic dynamics — equal parts sisterhood and rivalry — giving each character room to steal scenes in their own way. Beyond the trio, a 'Gotham City Sirens' film setup usually throws in a rotating cast of Gotham villains and fractured allies, because those three live in a world full of morally gray characters. If the filmmakers want to keep it interesting, expect layers of double-crosses, getaway sequences, and moments that let each lead flex what makes them compelling on screen: Catwoman's stealth and moral ambiguity, Harley's unpredictability and heart, Ivy's intelligence and menace. Personally, I adore the mix — it's messy, loud, and emotionally messy in the best way — and whenever I picture them together, I smile at the chaos and drama they promise.

Totally into this topic — I’ve followed the rumors and the development mess for years, so here’s how I see it. Back when 'Gotham City Sirens' first popped up as a potential movie, it was being talked about as a Harley/Poison Ivy/Catwoman team-up tied to the films Margot Robbie had already been involved with. That early buzz definitely framed it as part of the older DCEU landscape: studios were building spin-offs from 'Suicide Squad' and the Harley character was a clear bridge. I was excited because the idea of a female-led Gotham heist flick felt like a fresh corner of the cinematic world I love. But then the studio shakes happened. 'Birds of Prey' actually made it to theaters and felt loosely connected to the same continuity, while other projects never moved forward. Over time, the narrative shifted: plans that once looked connected to the DCEU never reached production or were shelved. The bigger turning point was when new leadership reshaped the film slate and started talking about a broader reboot — that effectively dissolved a lot of assumptions about which projects belonged to the DCEU canon. So while 'Gotham City Sirens' was conceived in the era of the DCEU and could have been part of it, it never established a canonical place because it never materialized in a finished film that tied into the existing releases. From a fan perspective, that leaves us in limbo. If Warner Bros. ever greenlights a 'Gotham City Sirens' movie now, it could be made as a continuation, a soft reboot, or a whole new take inside the newer universe plans. Comics-wise, the title and characters exist independently and continue to inspire filmmakers, but the movie version has no definitive DCEU stamp on it in the final, on-screen sense. I still daydream about a gritty, stylish 'Sirens' film that leans into the comic roots and Harley’s chaotic energy — whether it arrives as a DCEU relic or a fresh reboot, I’ll be there with popcorn and an eager headcanon.

Bright colors, a little grit, and a whole lot of femme fatale energy — that's what pulls me into 'Gotham City Sirens' every time. If you're asking which comics inspired that particular trio vibe, think of three streams that merged: Harley Quinn's cartoon-to-comic origin and her early team-ups with Ivy, Selina Kyle's modern reinventions in the 2000s, and the long tradition of Gotham stories that treated these women not just as foils for Batman but as protagonists of their own messy lives. The most direct source is the actual series 'Gotham City Sirens' (2009–2011) by Paul Dini with art chiefly by Guillem March — it's the centerpiece and intentionally draws on those earlier portrayals. For Harley's mindset and darker playfulness, read 'The Batman Adventures: Mad Love' (Paul Dini) and later Harley-centric runs that pushed her into antihero territory; those stories define her chemistry with Ivy and Selina. For Selina, Ed Brubaker's 'Catwoman' run is hugely influential in making her a sympathetic, morally ambiguous lead — pair that with her memorable turns in 'Hush' (Jeph Loeb/Jim Lee) for the seductive, cunning Selina we get in the Sirens team. Poison Ivy’s ecological obsessions and charisma show up across many Batman arcs, but 'No Man's Land' is a standout for putting her on a larger Gotham canvas and showing green-powered agency beyond being just a cameo villain. Where to read? The quickest routes are digital services: 'Gotham City Sirens' is collected in trade paperbacks (the series' 26 issues were gathered across volumes) and is available on DC Universe Infinite and on Comixology/Kindle. Libraries can be gold — check Hoopla or Libby/OverDrive for digital loans if your library subscribes. Physical copies pop up at your local comic shop, major bookstores, or online retailers like Amazon and Bookshop; used shops often have the single issues if you're hunting. If you want to follow a nice, character-focused order: 'Mad Love' for Harley origin, Brubaker's 'Catwoman' for Selina depth, key 'No Man's Land' issues for Ivy context, then dive into the 'Gotham City Sirens' trades. It’s a sweet, sharp ride — I always end up rooting for them even when they’re up to no good, and that’s the fun of it.

Ah, the whole 'Gotham City Sirens' situation is one of those projects that’s lived in rumor-land for years, and if you’re asking who’s directing the big-screen version right now, the short reality is: no one official. There have been several waves of development chatter since DC first put the idea on its slate, but no director was officially locked in for a theatrical 'Gotham City Sirens' film as of the most recent studio reshuffles. What that means for fans is both frustrating and kind of intriguing — the concept keeps getting tossed around because it’s so appealing (Harley Quinn, Poison Ivy, Catwoman teaming up? Yes please), but it hasn’t had a confirmed creative captain at the helm to push it into production. Back when the project first popped up in the mid-to-late 2010s, Margot Robbie’s involvement as a producer and potential Harley Quinn lead was frequently mentioned, which fueled a lot of excitement. There were also assorted industry names floated in the press at different times — writers and producers attached, whispers about creative directions, and so on — but none of those whispers matured into an official director announcement for a big-screen adaptation. Add to that the huge shake-ups in DC’s movie strategy in recent years, and you get a project that keeps getting re-evaluated every time a new slate is announced. The only slightly related, confirmed thing we did get was 'Birds of Prey', directed by Cathy Yan, which explored a similar corner of Gotham’s female antihero space — so the studio has shown interest in these characters in theatrical form, just not a united 'Sirens' film with a named director. If you’re hoping for an update that names a director and a release date, I have to keep expectations grounded: the best answer is to keep an eye on official DC/WB announcements. For now, 'Gotham City Sirens' is a high-potential idea that’s bounced between development stages and studio priorities. That leaves room for optimism — sometimes lengthy development leads to a stronger team and a fresh creative vision — but it also means there’s no one I can point to and say, "That person is directing it." Personally, I’m still rooting for a movie that treats the trio with the same chaotic energy and character focus that makes the comics so fun. If a director with a sharp, character-driven sensibility steps up, I’ll be first in line to celebrate.

I get why the rumor mill is buzzing — the idea of Batman stepping into 'Gotham City Sirens' is the kind of crossover fantasy that makes fandom forums light up. From my view, there are a few realistic ways that could play out, and they depend a lot on tone and continuity. If the movie leans into the same universe as recent DC films, a brief Batman cameo (a shadow in an alley, an offscreen voice, a silhouette by the Bat-signal) feels plausible without derailing the female-led focus. On the other hand, if the filmmakers want the movie to stand alone — which would make sense to keep the spotlight on Harley, Catwoman, and Poison Ivy — then the smartest move is to use suggestive nods: headlines, graffiti, or a pair of boots disappearing down a rooftop rather than a full-on brawl with the Dark Knight. From a storytelling perspective, cameos can be both thrilling and problematic. I’ve seen them used as cheap fan service, and I’ve seen them elevate a scene when they actually push the plot forward. For 'Gotham City Sirens', a cameo that informs a character’s motivation — like Bruce Wayne appearing in a way that complicates Selina's choices, or Batman’s symbol triggering Ivy’s rhetoric about power — would feel earned. There’s also room for non-Batman cameos: villains like Penguin or Black Mask, antiheroes like Renee Montoya, or even a sly Joker reference could add texture. If the movie taps into multiverse concepts (which Hollywood loves lately), then a cameo could come from an unexpected corner of DC, but that risks turning the movie into a nexus for promotion rather than a cohesive story. Personally, I’d prefer restraint. Give me bold character work and a clear narrative for the Sirens, sprinkled with Easter eggs for the attentive viewer. If Batman shows up, let it be meaningful — not just a stunt. A late-credits tease or a quiet, morally ambiguous moment with Bruce Wayne would land better for me than a two-minute stunt sequence. Either way, I’m excited to see how they balance the universe-building impulse with the chance to let these women run the show; a cameo done right could lift the whole thing without stealing the thunder, and that’s the balance I’m hoping they hit.