Dwayne Johnson's 'Surreal' Look back in TV's ‘Young Rock’

This image released by NBC shows Dwayne Johnson in "Young Rock," premiering on Feb. 16. (AP)
This image released by NBC shows Dwayne Johnson in "Young Rock," premiering on Feb. 16. (AP)
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Dwayne Johnson's 'Surreal' Look back in TV's ‘Young Rock’

This image released by NBC shows Dwayne Johnson in "Young Rock," premiering on Feb. 16. (AP)
This image released by NBC shows Dwayne Johnson in "Young Rock," premiering on Feb. 16. (AP)

When Dwayne Johnson sold the idea for a TV comedy about his colorful and challenging early life to NBC a year ago, he was delighted to tell his parents that a version of their family was bound for the small screen.

Days later, his father was felled by a blood clot-caused heart attack at age 75. His loss inevitably altered “Young Rock,” said Johnson, who plays himself in the series debuting on Tuesday. A trio of actors portray Johnson's younger iterations.

“I get emotional when I talk about this, when I talk about my dad and think about it,” Johnson said, pausing to compose himself. “I had a complex relationship with my dad, and he was a complex man.”

The series intended to include the elder Johnson's highs and lows, but after his death his son decided to lean more fully into his “really uncanny ability to make anyone feel good.”

With a smile, he recited dad Rocky Johnson's buoyant greetings, including a favorite: “‘Have you been working out?’”

Dwayne Johnson, billed in his dazzling wrestling days as The Rock, likely got a share of his skill and ambition from his Nova Scotia-born father, who held National Wrestling Alliance titles and was among the first Black champions in World Wrestling Entertainment history.

But he may also owe his dad for the charm and unforced warmth that make Dwayne Johnson instantly endearing, despite his imposing build and status as a box-office star with credits in the “Fast and Furious” and “Jumanji” franchises. The sports comedy “Ballers” is part of his TV resume.

He's the real deal, “generous and lovely,” said Nahnatchka Khan, an executive producer for “Young Rock” along with Johnson. “He's collaborative, funny and willing to take chances. So much of comedy is trust ... and I trust him completely.”

Bradley Constant, who plays the teenage Johnson yearning for girls, cool threads and a car, took on his first major role with guidance from him.

“He reassured me just to be myself. He’s a very genuine, normal guy who’s lived an incredible life, of course,” said Constant, who saw the family’s financial difficulties as a way to help ground him in the role.

“Young Rock” is structured around Johnson's depiction as a 2032 presidential candidate — a less time-certain move the political independent has considered. Is he preparing America for his next chapter?

“I think the people will prepare me. I can say that,” he replied with a laugh.

In the debut episode, he's interviewed by Randall Park, also playing himself but as an actor-turned-TV journalist. Park starred in “Fresh Off the Boat,” which Khan created and produced.

As Johnson recalls the past, there are flashbacks to scenes of him as a child, played by Adrian Groulx; a high schooler (Constant); and young adult, played by Australian actor Uli Latukefu. Joseph Lee Anderson and Stacey Leilua co-star as parents Rocky and Ata Johnson.

Matthew Willig stands tall as the late Andre the Giant, one of the wrestling world figures shown as a commonplace part of Johnson's uncommon childhood and youth marred by setbacks he fought to overcome.

“He really wanted to go there and show the struggle, that it hasn't been a straight line to the top for him,” Khan said. “He's been knocked down a lot and he's had to pivot off what he thought was his dream and find a new dream, a new path. Being able to explore those kinds of moments in a comedy are really important.”

Johnson proved “down for it all. It was just about him wanting to portray the people who affected his life in a real way,” she said, adding that what's depicted in the series happened or was inspired by events.

In reflecting on the past, Dwayne Johnson said, he's come to realize the challenges proved the impetus for real growth.

“It became an anchoring factor in my struggle and my determination to, quite frankly, not be a victim when, again, we were evicted (from housing) when I was 13 or 14,” he said. As he worked with Khan to find the right approach to the show, “I did know in my heart the most important thing was to be authentic and to be OK with ripping some stories open and ripping some past open.”

That includes his own missteps, which Johnson has said included arrests for fighting and theft before he was 17.

While it's “extremely surreal” to watch his early years unfold in the series, he's savoring the perspective that only time can bring.

Even when things were tough, Johnson said, he was bolstered by family and “had this opportunity to go and witness these real-life heroes in front of me, like my dad and these wrestlers who were adored and loved and so strong and powerful.”

“You look back on these stories and you just become so incredibly grateful,” he said.



Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
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Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)

It’s a bird, it’s a plane, it’s a ... a purple and orange shape-shifting chemical compound?

Writer-director James Gunn’s “Superman” was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind “Guardians of the Galaxy” and “The Suicide Squad,” has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.

But you don’t get more mainstream than Superman. And let’s face it, unless Christopher Reeve is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.

In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (Rachel Brosnahan) and Lex Luthor (Nicholas Hoult) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (Anthony Carrigan).

Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in “Superman.” But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like Chris Pratt’s Star-Lord in “Guardians of the Galaxy.” And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.

The heavy lift of “Superman” is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.

Not everything works in “Superman.” For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found Zack Snyder’s previous administration painfully ponderous, this “Superman,” at least, has a pulse.

It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s “Superman” is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.

We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.

Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.

Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.

She and Kent are already an item in “Superman.” When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if “Superman” ought to have been “Lois,” instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.

That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.

The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn's juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that's Krypto's cue to fly back into the movie and run amok.

Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien" by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, “Superman” is an immigrant story.

Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect “Superman” something quite rare in the assembly line-style of superhero moviemaking today: human.