Category Archives: Wonder Woman

Wonder Woman Earth One Volume 3: Triumph Of A (Loving) Philosophy

Whenever there’s an alternate version of an iconic character, writers often try to give them their own unique twist. Most of the time, it’s distinct, but still subtle. They try not to veer too far from the established canon of the character. Unless they’re writing weird fan fiction, writers stick to whatever is most prominent version of the character within the cultural zeitgeist.

However, Grant Morrison is not like most writers.

He doesn’t follow along with the cultural zeitgeist. Instead, he reverses it. When he writes iconic characters, he reshapes and reimagines them in big ways. All the cultural zeitgeist can do is try and keep up.

He did it for Superman in his critically acclaimed run on “All-Star Superman.”

He did it again with “Wonder Woman: Earth One.”

These stories didn’t simply tell new stories with DC Comics’ most iconic characters. They channeled every element from every era to mold a unique narrative. That’s difficult enough for Superman, given his 80-year history. With Wonder Woman, the challenge is even greater.

Before I get too heavy into spoiler territory, I’ll just say this. Morrison successfully rose to the challenge when reimagining Wonder Woman in the first volume of “Wonder Woman: Earth One.” He succeeds even more in completing that story in “Wonder Woman Earth One: Volume 3.”

It’s challenging because most Wonder Woman fans, including older fans more familiar with her lengthy history, know her mostly as a proud warrior woman. They think Wonder Woman and they see Lynda Carter in the classic 70s show, Gal Gadot in the recent movies, and even the animated version in “Justice League Unlimited” that was voiced by Susan Eisenberg.

These are all great versions of this iconic character. That warrior spirit that makes her one of the fiercest fighters in the DC Universe is a major part of her persona. However, there are other aspects of that persona that have been either retconned or ignored. Morrison makes it a point to embrace those aspects in “Wonder Woman: Earth One.”

Yes, that does include some of the kinkier aspects of Wonder Woman’s origins, which I’ve highlighted before. Namely, it embraces some of the BDSM elements that were woven into the early lore of Wonder Woman by her creator, William Marston.

However, it would be wrong, shallow, and short-sighted to call this aspect of Wonder Woman’s character too crude for modern tastes. These elements aren’t just for sex appeal and titillation. They reflect an important element to Wonder Woman’s philosophy, as defined by Marston.

To use power to dominate over others is inherently cruel and repressive.

To willingly submit with love and compassion is the truth path to peace and justice.

This is the core philosophy that Grant Morrison spends the first two volumes of “Wonder Woman: Earth One” exploring. That philosophy faces its ultimate test in “Wonder Woman Earth One: Volume 3.” I’ll spoil another detail here. It passes with flying colors and in a way that makes for a satisfying conclusion to such a uniquely wonderful story.

The story isn’t just about Wonder Woman facing the worst elements of domination at the hands of arrogant men and powerful gods. It’s about how this unique philosophy ultimately wins.

Now, contrary to what a bunch of whiny trolls may say, this effort is not about “smashing the patriarchy.” Seriously, don’t give these trolls any attention. They’ll say that about any comic that doesn’t cater exclusively to their narrow tastes, which usually involve Wonder Woman being a glorified warrior/stripper.

The story in “Wonder Woman Earth One: Volume 3” is more ambitious. It also has an unusual structure, although not too unusual for Morrison. His writing style often takes advantage of different time periods, using future events to give context to the past. It’s what he did in the first volume of “Wonder Woman: Earth One.” He uses it again, but to tell a very different story.

In the past, Wonder Woman is still sharing her philosophy with man’s world. She continues her fight against what she sees as an endless cycle of domination by the powerful. To her, it’s no different than how the old Greek Gods attempted to dominate the Amazons. It just leads to more conflict and suffering for men and women alike.

This ideology of power domination isn’t exclusive to men, either. Early in the story, it’s established there are women who still fall into this trap, namely Artemis. She doesn’t care for Wonder Woman’s more compassionate approach to dealing with men. She sees them as extensions of Hercules, the man who once brutalized her sisters.

It’s a not-so-subtle nod to the more radical elements of feminism that tend to espouse the same hatred as their anti-feminist counterparts. It’s ironic, but one that Wonder Woman confronts with a unique blend of love, understanding, and warrior spirit.

That’s a potent, but critical combination. It’s very much in line with the persona that William Marston created for her in the early years of her story. While she is certainly capable of fighting with the tenacity of an Amazon warrior, she doesn’t approach conflict the same way as her male counterparts.

For her, fighting isn’t about dominating or subduing an opponent. It’s a way of countering and subsequently tempering their misguided passions. Whether it’s Artemis or Ares, she doesn’t win the battle by knocking them out. She wins it by convincing them to willingly submit. When they do, she embraces them with love and compassion.

This works well for Artemis, but the men outside her homeland are a lot harder to persuade. In both the past and the future, we see male characters trying to cling to or re-establish the domination that they once enjoyed.

In the past, it’s Ares trying to continue his war machine with help from the American military. In the future, it’s a member of an extremist faction of angry men who long for the days when they could dominate women. Given the atrocities committed by angry, misguided men in the real world, this struggle is more relevant now than ever before.

I won’t spoil all the details of how that conflict is confronted and resolved. Those simply looking for Wonder Woman to fight her way through the conflict are only going to get half of what they seek. There is plenty of fighting, courtesy of Ares, but the way those fights end don’t follow the same script as your standard superhero slugfest.

There’s always a larger conversation at play.

There’s always an effort by Wonder Woman and those who support her to confront these misguided passions.

It’s never with force, contempt, or scorn. They all listen with compassion, even to those who spew hate. They let angry men and angry gods voice their grievances, even while fighting back. However, they always counter with love. They understand that you can’t counter anger with more anger or hate with more hate.

Again, that’s a very relevant principle. Anyone who has visited 4chan or a Reddit comments thread understands that.

There’s also a larger story about this world’s version of Steve Trevor. He may not look like Chris Pine from the “Wonder Woman” movie, but the role he plays is just as critical. What he does and what he chooses is instrumental in helping Wonder Woman win the day.

Again, winning in this world doesn’t mean blowing up the bad guys or their weapons. It means winning the argument about which philosophy is more just. More than anything else, “Wonder Woman Earth One: Volume 3” makes the case that a philosophy of loving submission is more palatable than one of angry domination.

Morrison even refines some of Marston ideas from the early Wonder Woman comics. In this world, it’s not men or masculinity that’s the problem. It’s the domineering ideology they’ve embraced and relied on for so long. Letting it go isn’t easy, but convincing men to do so cannot be done with force. That realization must come from within.

In many respects, the philosophy in “Wonder Woman Earth One: Volume 3” transcends gender. Whether you’re a warrior woman or just some normal man with a family, there’s something to be gained by these insights. Loving submission offers something that angry domination does not. Embracing it comes with sacrifices, but Wonder Woman demonstrates that they’re worth making.

It makes for a powerful combination to a power story. Morrison really makes the extra effort to flesh out these ideas that Marston first established while artist, Yanick Paquette, crafts a beautifully colorful world that does justice to all its wonders.

It’ll challenge you perceptions while providing plenty of classic Wonder Woman type entertainment. It’ll also present a different kind of Wonder Woman, one that embraces both her modern iterations and the those of her past. The end result is a true wonder that does justice to this iconic character in a very unique way. If, by the end, you aren’t willing to submit to the loving authority of Wonder Woman, then you’re missing the point.

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Zack Snyder’s Justice League: Celebrating An (Overdue) Vision

The following is a video from my YouTube channel, Jack’s World. It’s a video I never thought I’d get to make. In it, I review Zack Snyder’s “Justice League,” a movie that legions of fans, as well as the cast, fought for. I didn’t think it would succeed, but after years of advocacy, it came out on HBO Max. I made it a point to build my Saturday night around watching it and I’m glad I did. Watch this video to see why. Enjoy!

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Jack’s World: How “Wonder Woman” Celebrates Love And Humanity

The following is a video from my YouTube channel, Jack’s World. It’s a video essay/celebration of the first “Wonder Woman” movie, a film that will always be near and dear to my heart. I know I recently did a review of “Wonder Woman 1984” and I was tempted to do a video about that, but I wanted to first pay tribute to the movie that started Diana’s wondrous journey into film. Enjoy!

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My “Wonder Woman 1984” Review: An (Imperfect) Emotionally Charged Wonder

We’re at a point with superhero movies where the bar has been raised to such a degree that we can’t just call them a passing fad anymore. Love them or hate them, superhero movies have evolved. They’ve developed a complexity and nuance that few genres ever gain, regardless of medium.

Plus, they make billions at the box office. Let’s not forget that. It’s why the Bill Mahers of the world won’t stop whining about superhero movies anytime soon.

Forgetting the whiners and petty nit-pickers of the genre, superhero movies have a higher threshold to achieve to be considered successful. It’s not enough anymore than to just put a famous actor or actress in an iconic costume and replay famous scenes from comics. The story, characters, and themes have to be refined and compelling.

That’s a challenge for any movie, but one that felt far more daunting for “Wonder Woman 1984.” After the success of the first “Wonder Woman” movie, which did a masterful job of establishing Diana’s origin and building her superhero persona, this sequel is tasked with building on that foundation.

As someone who loved the first movie and made it a point to watch “Wonder Woman 1984” on HBO Max with my mom on Christmas day, I had high hopes for this movie. I wasn’t expecting “The Dark Knight” level of quality, but I was hoping for a worthy follow-up.

Without giving away too many spoilers, I’ll say without hesitation that it succeeded. This movie was a beautiful, emotionally driven cinematic experience and a worthy successor to the first “Wonder Woman.”

I say that knowing that some reviews were quite scathing in their assessment of the film. As is my general rule, I never read reviews before I see a movie. As I saw withNew Mutants,” that can wrongly color your perspective. As was also the case with that movie, I was genuinely surprised by the criticisms levied against “Wonder Woman 1984.”

However, I’m not going to waste my time responding to those criticisms. I’m just going to offer my take on why I thought this movie was a worthy follow-up to the first. Like any sequel, its primary goal was building on what the first movie established. In that sense, this movie did succeed.

The setup for the movie is a dazzling spectacle. Like the first, we get a brief glimpse of Diana’s youth on Themysicra. We see her living and growing amongst her Amazon sisters, showing the kind of power and potential that lies within her. It’s a true sight to behold and one director Patty Jenkins fleshes out meticulously.

Within that setup, though, is an important theme. It highlights the importance of truth and doing things the right way for the right reasons. You cannot and should not take shortcuts to achieve your goal. Doing so will always come at a price and incur consequences. It’s a simple, but necessary lesson that kids and adults alike often learn the hard way.

That leads us directly to the main antagonist of the movie, Maxwell Lord. Played by Pedro Pascal, he comes off as the very antithesis of this lesson. He’s a con-man and a huckster, always looking for a shortcut to get what he wants. That includes tampering with the forces of the gods, which puts him in direct conflict with Diana.

At the same time, this conflict ties closely to another unfolding with Diana’s new friend, Barbara Minerva. Played by Kristen Wiig, she comes off at first as the very antithesis of Diana. She’s a nobody. She has none of Diana’s power, grace, or skill. She’s basically invisible, only ever getting attention from people she doesn’t like.

This is very much in line with the characterization of Barbara Minerva in the comics. She’s Wonder Woman’s chief rival, but she started out as a friend. She’s even sympathetic to some extent. She’s not looking to become a villain, like Maxwell Lord. She just wants a taste of the power and prestige that she sees in Wonder Woman.

She ultimately gets her chance, as does Maxwell Lord. When Barbara stumbles upon the Dreamstone, a relic imbued with the power from Dolos, the god of lies, that can grant wishes to those who wield it. However, like a typical monkey’s paw narrative, every wish comes at a price.

It closely mirrors the lesson young Diana learned in her youth, as depicted in the movie’s opening scenes. Taking any shortcut to get what you desire will come at a price. You can try to avoid the consequences all you want, but it eventually compounds. The more you try, the worse it’ll get.

Maxwell Lord thinks he has a way to avoid this. He thinks he can get everything he wants by simply making the right kind of wish. That ultimately causes a great deal of destruction. I’d go into detail, but I’d rather not reveal too much. All you need to know is that it’s not the kind of destruction Wonder Woman can stop with her fists and her sword.

What happens with Barbara Minerva is even more impactful. Like Maxwell Lord, she’s unwilling to give up any power she gains. Unlike Lord, however, she’s willing to pay any price to keep it. That’s what sends her down a dark path. It’s also what turns her from one of Diana’s friends into a truly tenacious foe.

These conflicts become very personal to Diana because she too is unable to resist the temptation. She may give so much of herself to others, but she also has desires and wishes of her own. That’s where Steve Trevor, played again by Chris Pine, enters the picture.

His death and heroic sacrifice in the first “Wonder Woman” movie was so powerful. That whole movie really sold the love that blossomed between him and Diana. Even as the years go by, his death still burdens Diana. She cannot let go of that love. She wants nothing more than to have it back.

It’s sad, but understandable. If ever someone deserved a consequence-free wish from all her heroic acts, it’s Diana. Unfortunately, there’s no getting around it. She still tries. She gets her chance to be with the love of her life again. As with everything else, though, it comes at a price.

That’s the biggest theme of this movie. Getting what you want by breaking the rules or cheating will always come at a price. Even if you’re willing to pay that price, it does cause damage to yourself and others. It’s a painful lesson and one that gives “Wonder Woman 1984” so many emotional overtones.

It’s because of those overtones that this movie works so well. Wonder Woman, by her nature, is a very emotionally driven character. Her love, compassion, and heart are among her greatest traits. They’re as strong as her fighting spirit. The first movie revealed this and “Wonder Woman 1984” builds on that.

Her greatest struggles always have an emotional weight to them. It’s not just a matter of her beating up the bad guy to save the day. One of those foes was once her friend. Another is someone she can’t defeat simply by beating him up. She has to use that uncanny compassion and heart to win the day. That’s what makes her Wonder Woman.

I would argue that’s the most important aspect of her character and this movie captured it perfectly. I really did feel for Diana as she went through these emotional upheavals throughout the story. It brought out her greatest strengths, as well as her greatest weaknesses.

Now, speaking of weaknesses, this is where I also have to levy some criticisms of my own against “Wonder Woman 1984.” I promise they’re not nearly as petty or overblown as some of the other reviews to this movie. Some have complained about the length and tone of the movie. I honestly think that sort of criticism is misguided.

I’ll still say outright that this movie was not as good as the first “Wonder Woman.” This movie was not as concise and polished, in terms of story. There were a number of “and then this happened” moments that made the story seem a bit jumbled at times. In some cases, it relied too heavily on contrivances and suspension of disbelief to move things along.

I get the sense this was done to keep things moving forward from a plot standpoint. I also think there were some difficulties in revealing the ins and outs of godly magic, which is considerably harder to do in a movie when compared to a comic.

None of these shortcomings kept the movie from working overall. Gal Gadot once again carried her role as Wonder Woman with grace and grit. She, Steve Trevor, and Cheetah all had well-developed characters that played their roles well throughout the story. In terms of the most important elements to a good Wonder Woman movie, “Wonder Woman 1984” got them right.

If I had to score this movie, I’d give it a 4 out of 5. It has some noticeable flaws, more so than its predecessor. However, Gal Gadot is still an amazing Wonder Woman, Patty Jenkins is still a great director, and this world they explored together was full of dazzling wonder.

For a year that has been so bleak and dire, it’s just what we needed. For that, I thank “Wonder Woman 1984” and all those who helped make it happen.

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“Wonder Woman: 1984” To Be Released In Theaters AND HBO Max On Christmas: Why This Is A BIG Deal

More often than not, we don’t realize when a fateful decision is a big deal that has ramifications for years to come. Those kinds of moments are rare, but powerful. I doubt the first person to use a cell phone knew just how big a deal that breakthrough was when they made that first call.

Other decisions are more obvious. You know from the get-go that this is one of those choices that might not be surprising, but you get the sense it’ll be one of those moments that you can cite as a major turning point years from now.

This Christmas, we may just experience one of those moments because that’s the day “Wonder Woman 1984” is set to come out, both in theaters and on streaming. I don’t think it’s a stretch to claim this decision could change movies, entertainment, and media for years to come.

It finally became official. After being originally set for release in June 2020, Warner Brothers decided that, rather than simply wait for this once-in-a-century pandemic to end, they’re going to release “Wonder Woman 1984” in theaters and on HBO Max on the same day. This is what The Hollywood Reporter had to say.

THR: ‘Wonder Woman 1984’ Heading to HBO Max, Theaters Dec. 25

With a second wave of COVID-19 impacting many parts of the globe, Wonder Woman 1984 is changing course yet again.

The tentpole is all but giving up on a traditional theatrical release and will instead bow in whatever cinemas remain open Dec. 25 as well as stream on HBO Max in the U.S. for one month beginning on Christmas Day. In international markets where HBO Max is not available, the film starts rolling out Dec. 16.

“At some point you have to choose to share any love and joy you have to give, over everything else,” director Patty Jenkins said in a statement Wednesday. “We love our movie as we love our fans, so we truly hope that our film brings a little bit of joy and reprieve to all of you this holiday season.”

Jenkins urged audiences to watch the $200 million tentpole in theaters where it was safe to do so, and on HBO Max where it is not. In a note echoing Jenkins, star Gal Gadot added, “It wasn’t an easy decision and we never thought we’d have to hold on to the release for such a long time but COVID rocked all of our worlds.”

Growing the number of HBO Max customers is of huge import to TimeWarner, even if it means giving up on potential box office ticket sales that Wonder Woman 1984 would have earned had it been pushed to sometime in 2021. The hope is that a high-profile Christmas Day title such as the superhero sequel will lure new subscribers (HBO Max is pricier than most other streamers, at $15.99 a month).

That’s just the basics. “Wonder Woman 1984” is still coming out in theaters, as it was always meant to. However, with theaters on the brink of collapse in wake of the pandemic, Warner Brothers is opting to gamble on the future of streaming media. They’re dropping this big name blockbuster that cost $200 million to make on their signature streaming service, HBO Max.

Logistically speaking, it’s understandable. The news surrounding the pandemic has been bleak, even by 2020 standards. Even though a vaccine seems imminent, it might be too late to save the movie industry as we know it. The damage has been done. That industry must change. This may very well be the biggest change we’ve seen since in decades.

This is not some forgettable movie like “Trolls World Tourskipping theaters for streaming. That could’ve been written off as a calculated risk for a movie that was never going to make much at the box office to begin with. This is a tentpole blockbuster from a studio’s biggest franchise skipping over what many see as the most critical part of a movie’s life.

The first “Wonder Woman” movie made north of $800 million on a budget of $150 million during its theatrical run. That’s a lot of profit, but may be a profit that even a blockbuster movie just can’t make anymore in a post-pandemic world. Even after the pandemic ends, who’s to say that the theater industry will just go back to the way it used to be?

Now, it seems Warner Brothers are prepared to leveraging their future on their HBO Max streaming service. “Wonder Woman 1984” is, by far, their biggest chip and most valuable asset. It, more than any other movie they had in the can, was most likely to get their studios’ profits going again once the pandemic waned.

Instead, this movie that has so many excited and eager, myself include, is going to be Warner Brothers’ boldest gamble at turning HBO Max into a viable Netflix competitor. They’re not just looking to do for HBO Max what “The Mandaloriandid for Disney Plus. They want to go a step further and make streaming the new avenue for big title blockbusters.

It’s impossible to overstate how big a shift this is for the movie industry. Whereas “Trolls World Tour” on streaming was a sign, releasing “Wonder Woman 1984” on the same day it comes out in theaters is a monumental shift.

It’s essentially sacrificing potential profits at the box office for a new host of subscribers to HBO Max. Will that ultimately make more money in the long run? It’s possible.

After all, those who buy a movie ticket to see “Wonder Woman 1984” are only going to pay for that ticket. From that purchase, Warner Brothers will only see a fraction. If a bunch of people subscribe to HBO Max, they may ultimately pay much more to the studio through its monthly $16 fee.

Even if most just buy an HBO MAX subscription for a single month and cancel, it’s very likely that plenty will stay subscribed, keep paying, and keep coming back for more wonderful blockbusters. In the long run, “Wonder Woman 1984might make more money for its studio overlord than it ever would have in the theaters.

That’s still a big if. So much of a movies profits is still tied to its box office. Nobody quite knows how this new model of releasing a movie will work. Streaming a movie on the same day it comes out in theaters may help widen the audience, but without those profits, the idea of footing the bill for a $200 million movie might be less tenable.

Would that mean that big budget blockbusters like “Wonder Woman 1984” became less rare?

Would that mean that theaters as a whole would diminish both in numbers and in importance for the industry?

Would that mean that blockbusters will ultimately have to cater to a streaming audience instead of a casual movie-goer?

It’s hard to say. Nobody knows. I certainly don’t know. I doubt anyone knows, but most can already sense that this could be the start of a much larger trend. Releasing “Wonder Woman 1984” on streaming and in theaters could ultimately be the point of no return for the movie industry.

This could be the future of entertainment and movies. Theaters are no longer the center of all things film and there’s no going back. Whether other blockbusters follow suit remains to be seen. I have a feeling Disney will be watching how “Wonder Woman 1984” performs closely, given how it opted to delay “Black Widow” until May 2021.

If it proves profitable in the long run, I suspect that Disney will follow suit and so will every other studio. At that point, the movie industry will have permanently changed and we’ll be able to cite this announcement as the moment it began.

There’s only one certainty at this point. On Christmas this year, I’ll be curled up on my couch to watch “Wonder Woman 1984” through my current HBO MAX subscription. Whatever monumental changes this movie inspires in the industry, it’s still Wonder Woman. I still intend to partake in her wonder, no matter what form it takes.

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“Zack Snyder’s Justice League” Teaser Is Here And Why I’m So Hopeful

This past weekend was a damn good weekend if you’re a fan of all things DC Comics. The festivities surrounding DC FanDome, a showcase of the revamped future of DC Comics, was truly a sight to behold. As someone who is genuinely concerned about the future of DC Comics, and the comics industry in general, this was an incredible experience that gives me some tangible hope.

In a year like 2020, hope is almost as precious as a vaccine. Let’s not lose sight of that.

There were many highlights. I already cited the new “Wonder Woman 1984” trailer as a wonder to behold. However, the one teaser that got me most excited was the first full teaser of Zack Snyder’s Justice League, which is set for release on HBO Max in 2021.

Now, the story and politics surrounding this movie are way too complicated, not to mention distressing, for me to go over. I’ve already touched on it before, so I’ll simply present the teaser for those who haven’t seen it. Hopefully, it evokes in others the same excitement I felt.

Now, I want to make one thing clear. I was not among those loudly protesting for the release of this movie. I saw the first “Justice League” movie in theaters. I didn’t hate it, but I could tell that it was not a well-organized movie. While I may not have joined the #ReleaseTheSnyderCut movement, I did hope that we’d get some sort of extended cut at some point, if only because there’s a solid precedent for it.

Solid doesn’t mean good, but in Zack Snyder’s case, I think there’s a context worth considering here. Snyder’s record as a filmmaker is mixed, but the man clearly knows how to think big. For a franchise like DC Comics and Justice League, you need that kind of vision and scale to do justice to these characters. That’s why I thought he was such a good choice to turn DC Comics into a major film franchise.

Snyder approaches movies as a huge, over-arching vision. He’s great at making spectacles. His work on “300” is proof of that. However, Snyder also has a nasty habit of clashing with studios who want to chop his vision up into something people can see in a movie theater without taking one too many bathroom breaks. Oftentimes, that grand vision is difficult to condense into a commercially viable product.

It happened with both “Batman v. Superman: Dawn of Justice” and “Watchmen.” Each movie came out in theaters to mixed reviews by both fans and critics, to put it mildly. However, each movie also has an extended version that came out later. In both cases, the extended product was far superior. They include additional plots and details that make the overall vision more complete and satisfying.

This is especially true of “Watchmen.” Seriously, if you haven’t seen the Ultimate Cut of that movie, I highly recommend it. Even if you hated the theatrical cut, this one is a lot more satisfying, even if it’s over three-and-a-half hours long.

The same goes for “Batman v. Superman: Dawn of Justice.” Its extended cut is far more complete and concise than what we saw in theaters. No, it doesn’t make Jessie Eisenberg any less annoying as Lex Luthor, but it is a more competent and complete movie. It’s just longer and more fleshed out.

There’s also an extended version of Zack Snyder’s other film, “Sucker Punch.” Now, I’m not a big fan of that movie and that extended version doesn’t add much, especially compared to “Watchmen.” However, those extra minutes of footage add critical context to the movie that make it work better, as a story. Even if you don’t like how the movie plays out, you can at least appreciate the context.

In every case, it shows that Snyder had a solid vision for these stories. Too much of that vision got left on the cutting room floor. With “Justice League,” we’re not just talking about an extra half-hour of footage. Basically, this version of the movie contains footage that was almost entirely scrapped for the theatrical cut. It’s the same cast and concept, but a very different vision.

It’s also a vision that will have the time and space to be complete. According to Deadline, this cut of the movie will be nearly four hours long, divided into hour-long segments. That’s a hell of a vision and if history is any indication, it’ll be a spectacle worth seeing.

I, for one, will be eager to see the finished product. Snyder has shown in the past that he can tell a damn good story when he has enough time, space, and energy. HBO Max may be a more fitting platform than a standard movie theater. It may also open the door to a bolder vision for DC Comics in the future.

Only time will tell. All I’ll say from here on out is that the Snyder Cut is almost here. Hallelujah!

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Wonder Woman 1984 Final Trailer!

This year has been objectively terrible, but there’s still time to for it to end feeling slightly less awful. Among the many casualties of this year has been the release of “Wonder Woman 1984.” This movie was supposed to come out back in May. Then, a global pandemic hit and everything wonderful was either cancelled or pushed back.

However, there’s only so much you can do to push back Wonder Woman. Pandemic or not, her wonder is worth fighting for. That includes pushing through with a theatrical release. I don’t care how many masks I have to wear. I don’t care how many times I need to dip my hands in soap and/or hand sanitizer. I’m going to see this movie in a goddamn theater. This final trailer only proves why.

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“Justice League: The Snyder Cut” Is (Actually) Being Released: My Thoughts, My Hopes, And The Implications

It’s happening.

It’s really happening.

After years of hashtags, billboards, and incessant curiosity, it’s really happening. The fabled “Snyder Cut” of 2017’s “Justice League” is going to be released. Near as I can tell, this is not a joke. It’s not some wild rumor that some renegade trolls concocted. This is real. According to major entertainment news outlets, including The Hollywood Reporter, this is going to happen.

Zack Snyder’s original vision for “Justice League” is coming out in 2021 exclusively on HBO Max, the latest entry to the streaming wars, courtesy of Warner Brothers. I doubt those outside devoted fans of comic books and superhero movies understand why this is such a big deal, but as someone within that circle, I can assure you that this is big.

Rather than explain the whole story, I’ll just cite The Hollywood Reporter, which does a commendable job of summing up the issues. If you need more information on the story of this mythical cut of an otherwise forgettable movie, Forbes also did a decent rundown of the timeline.

THR: Zack Snyder’s $20M-Plus ‘Justice League’ Cut Plans Revealed

In the time since its release, something unusual happened: A growing movement of fans, rallied by the hashtag #ReleasetheSnyderCut, had called, agitated, petitioned — even bought a Times Square billboard and chartered a plane to fly a banner over Comic-Con — for Snyder’s version to be released. And on the film’s second anniversary, the hashtag had its biggest day ever — with even the movie’s stars Gal Gadot and Ben Affleck adding their voices on Twitter.

So here, the morning after, was their agent saying that Toby Emmerich, chairman of Warner Bros. Pictures, was acknowledging the movement, and more importantly, was willing to accede. “This is real. People out there want it. Would you guys ever consider doing something?” was what Emmerich was asking, Zack Snyder recalls.

The answer to Emmerich’s question, a whispered-about secret for months, was revealed Wednesday when Zack Snyder confirmed, at the end of an online screening of his 2013 movie, Man of Steel, that his version of Justice League was indeed real. And that it will be coming to HBO Max, the WarnerMedia digital streaming service launching May 27, and is expected to debut in 2021.

Now, I have my share of opinions about “Justice League” and Zack Snyder. I actually saw the theatrical version of “Justice League” when it came out. While I gave it a respectable review, I don’t deny that the movie has its flaws. I’m not an overall movie buff, but even I could tell that the movie was heavily edited. There was definitely a vision and plenty of potential, but a lot of it got lost on the cutting room floor.

In its current form, Justice League” is one of those movies that gets less compelling with age. You can see it once, have an enjoyable experience, and completely forget that experience within weeks. It’s not a movie that you can re-watch and feel engaged. It’s just too bland and sanitized.

Snyder’s cut of the movie promised to be different. He had a much different vision, but couldn’t realize that vision due to a family tragedy that tore him away from the project. Now, we’ll get to see the essence of that vision.

Personally, I’m curious. I’m not curious enough to shell out money for yet another streaming service, but I’m certainly interested in what Snyder had planned for this movie. A big part of that curiosity stems from Snyder’s history as a filmmaker whose vision tends to get lost on the cutting room floor.

This has happened to him multiple times before and for other superhero movies. There were a lot of heavy criticisms levied against “Batman v. Superman: Dawn of Justice” and some of those criticisms were valid. However, the longer and more complete Ultimate Edition of the movie directly addressed some of those flaws. I honestly think the movie would’ve done better if that edition had come out.

A far more notable example, in my opinion, involves Snyder’s take on “Watchmen.” That movie is somewhat polarizing among fans, although I personally liked it. However, this movie has multiple extended cuts, including a director’s cut that Snyder himself says is most consistent with his vision for the film.

That’s actually the version I own on blu-ray. I think it’s an underrated gem among superhero movies. It’s more complete, concise, and compelling. It better encapsulates the essence of “Watchmen” and the story it tries to tell.

It’s because of these instances that I believe will help Snyder’s cut of Justice League.” History shows that he can tell a great story, so long as the critical details aren’t cut out in the final edit. Granted, editing is a core aspect of finalizing a movie. It’s necessary to get a movie to within a reasonable time-frame for a movie-watching experience. Not everyone wants to sit in a theater for four hours unless it’s something J. R. R. Tolkein wrote.

Snyder’s desire to tell a larger story seems to get away from him. In that sense, it might be a good thing that this isn’t coming out in theaters. Instead, it’s coming out on a streaming platform that people can consume at their own pace. People already consume hours on end of old shows. Consuming a four-hour movie isn’t quite as daunting. Just look at “The Irishman.”

This is where I feel the larger implications of this announcement may come into play. A non-insignificant reason why Snyder’s movies keep getting chopped up into something that doesn’t do well with critics or fans is because they’re so long. His efforts to tell a bold story just don’t fit within that reasonable two to three hour time-frame for a movie. Movies like “Watchmen” reveal that those stories can be compelling.

Beyond the story, the impact of the Snyder Cut could extend beyond Justice League,” superhero movies, and the movie-making process as a whole. This is where I believe there could be larger implications that will likely impact future movies, including those that don’t involve superheroes.

For decades, there has been this idea that movies have to operate within certain restrictions. For the most part, there’s merit to those restrictions. Movies beyond three-and-a-half hours just aren’t feasible for a general audience or their bladder. A trilogy like “Lord of the Rings” was a rare exception, but could never become the norm.

Thanks to streaming platforms like Netflix and HBO Max, this may no longer be the case. Now, there’s a new method for releasing these movies. The current global pandemic, as well as the recent success with direct-to-streaming releases, will further raise the importance of those platforms.

With these new tools and emerging trends, why should movies be confined to the limits imposed by movie theaters? Why can’t there be a four-hour Justice League” movie? Why can’t there be a five-hour Avengers movie? Why does any movie have to be chopped up and edited to such an extent that it loses important aspects of its plot?

The Snyder Cut could make the case that those restrictions need not hinder a bolder vision. There’s still a place for the kinds of popcorn movies we see in theaters, but why not also invest in a place where a movie like Snyder’s cut of “Justice League” can also exist?

The world of movies, media, and story-telling is changing. Regardless of how the Snyder Cut ends up being in the eyes of fans, its impact could be far greater. Hopefully, it leads to bigger, bolder, and better stories. It may not always warrant the cost of another streaming service, but it opens the door to so many possibilities.

Time will tell. Hopefully, we’ll see if the wait was worth it in 2021.

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Wonder Woman, Relationships, And Misguided Standards For Female Heroes

I love superhero comics. I love romance. Naturally, I love it when they’re combined into a perfect package of super-romantic sentiment. I’ve singled out a few favorites of mine in the past, as well as a few not-so-favorites that act as cautionary tales. Chances are I’ll find plenty more excuses to write about superhero romance in the future.

That said, I’d like to take a step back from the specifics of superhero romance and assess the forest from the trees, so to speak. Instead, I thought I’d highlight something that I’ve been noticing within the pages of some of my favorite comics. It’s not necessarily an egregious flaw, but it is a distressing trend for lovers of romance like myself.

It has to do with how superheroes are portrayed when they’re in romantic relationships. Almost every popular superhero is caught up in a romantic sub-plot. Superman has his ever-iconic love story with Lois Lane. Cyclops and Jean Grey have decades of romance and drama. Spider-Man gets around so much that he has multiple iconic romances.

Not every superhero is defined by their romantic sub-plot, although some are more effected by it than others. It’s hard to tell the story of Sue “Invisible Woman” Richards without involving her husband and children. However, certain characters are held to different standards when it comes to romance.

That’s to be expected, given the diverse circumstances of each hero. Not every hero is going to be affected by their romantic sub-plot in the same way. That effect also changes through different eras. Even the iconic relationship between Superman and Lois Lane has changed a great deal over the years, although not necessarily for the better.

However, this particular era has really twisted the standards for female superheroes in romantic relationships and not in a good way. I won’t go so far as to call it a double standard like the others I’ve cited, but the differences are stark. It goes like this.

A male superhero gets caught up in a romantic sub-plot. The plot progresses, he enters a relationship with his romantic interest, and continues being the same hero he’s always been. The relationship supplements his story.

A female superhero gets caught up in a romantic sub-plot. The plot progresses and she enters a relationship with her romantic interest, but the relationship conflicts with her ability to be a superhero. It gets to a point where the act of her being a hero is detrimental to the relationship. She can have one or the other, but not both.

These scenarios are somewhat generic, but they convey a similar message. Male superheroes can be in romantic relationships without it undermining their heroic persona, but female superheroes can’t have those relationships without it becoming an obstacle.

This strange, unbalanced dynamic played out recently in the pages of “Wonder Woman #754.” I’d even go so far as to argue that Wonder Woman suffers the most from this dynamic, despite being one of the most iconic female superheroes of all time. Given that she’s the ideal that other female superheroes are compared to, I think that’s telling.

The main plot of the issue isn’t important. The side-plot is where this dynamic showed up. There were frequent flashbacks that highlighted Diana’s recent “drama” with her long-time romantic interest, Steve Trevor. I put drama in quotes because it feels less like drama and more like forced excuses.

It’s been an issue for Wonder Woman for decades. Despite being her most iconic love interest, going back to the 1940s, Steve Trevor has never been that official with Diana. Even though they’ve professed their love for one another in many forms and in many timelines, they’re rarely ever shown as being in a functional, mature relationship.

It’s not just with Steve Trevor, either. Even in the classic “Justice League” cartoon in which she was romantically linked to Batman, nothing ever became official. There’s was never a point where Wonder Woman went from being single to being in a real, functioning relationship.

In fact, the only time Wonder Woman was ever in a functional romantic relationship was when she dated Superman during DC’s short-lived New 52 era in the comics. During that time, Wonder Woman and Superman had their own comics and their own stories. Sometimes, those stories became entwined. Sometimes, they didn’t. It never undermined their relationship or vice versa.

I know comic fans have strong opinions about the New 52 as a whole, but I find it telling that this was really the only time Wonder Woman was allowed to be in a relationship while still being Wonder Woman. For her to be someone’s girlfriend and still be the hero she’s always been, her significant other had to be Superman.

Take a moment to think about the scope of that standard. Wonder Woman, the standard-bearer for female superheroes for decades, can be in a functional relationship, but only with someone as capable as Superman. She and Steve Trevor can be in love, but they can’t have a relationship. He’s just an ordinary man. He’d just undermine Wonder Woman’s ability to be the ideal female hero we know and love.

Meanwhile, male heroes like Batman and Spider-Man can become romantically involved with far less capable individuals, many of which don’t have superpowers and can’t fly across the planet to be on time for date night. They’re still allowed to be in those relationships, but Wonder Woman can’t even make the effort with one of her most iconic romances with Steve Trevor.

As a fan of superhero comic, romance, and Wonder Woman, I find this both flawed and frustrating. While the “Wonder Woman” movie did an solid job establishing genuine romance between her and Steve Trevor, they still never got a chance to actually be in a relationship. It’s as though a female hero can’t be in a relationship without losing something. At the same time, a male hero can’t have a complete story without one.

It’s a strange disconnect and I think it’s getting worse. In recent years, superhero comics have made a concerted effort to develop female characters and I applaud that effort. It has led to some major successes. The problem is that, like Wonder Woman, these female characters aren’t really allowed to become anyone’s girlfriend. Being in a relationship is seen as an obstacle to being strong, independent, compelling characters.

Respectfully, I call bullshit.

Being in a relationship isn’t detrimental to any character, male or female, if the relationship is well-written. In addition, female characters don’t have to be completely, 100-percent independent to be great. In fact, making them that emotional single-minded is a good way to make them unlikable and unrelatable because, in the real world, people have relationships. They form bonds, rely on others, and are effected by those close ties.

Now, I don’t deny that writing great female characters is challenging, especially in recent years. It feels like you can’t write female characters without having an agenda anymore, even when it’s not printed on a shirt. Again, I call bullshit. Female characters, like all characters, are deeply affected by the loving bonds they form. They deserve the same development and exploration as their male counterparts.

Why can’t Wonder Woman be in an official relationship with Steve Trevor?

Does being Steve Trevor’s girlfriend make Wonder Woman any less a superhero?

Does any female superhero lose something when they become someone’s girlfriend?

These are relevant questions that are worth asking. If someone as iconic as Wonder Woman can’t be in a relationship with someone without undermining what makes her Wonder Woman, then that’s not a problem with her as a character. That’s a problem with the standards and assumptions we have about superhero romance.

I’m sorry if this rant feels dragged out, but this has been bothering me for a while. I’d be happy to discuss it more. Please share your thoughts in the comments.

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“Wonder Woman 1984” Trailer Is Here (And It’s Wonderful)!

We live in a strange, yet wonderful era when it comes to movie trailers. It’s strange in that sometimes, the trailers are basically the movie. It tells you pretty much everything and if you go to see the movie, you don’t get much more than you got out of the trailer. That’s basically how I felt about “Suicide Squad.”

That’s a downside. The upside, however, more than makes up for it. When done right, a great movie trailer can take your excitement for a movie and turn it up to 11. You might have been excited about a movie already. In the internet era, that’s easier than ever. Then, the trailer comes along and suddenly, you feel like there’s liquid awesome flowing into your veins. It’s a great feeling.

That brings me to “Wonder Woman 1984.” It’s the sequel to the first movie that was groundbreaking in so many ways. I did plenty to praise it when it came out. I even made a wish list on what I wanted to see in the sequel. I didn’t know how much I would actually get when more details came out.

Now, those details are here! The first trailer of “Wonder Woman 1984” has officially dropped. All I can say is, it’s a wonder to behold and if you haven’t seen it, do yourself a favor and watch it at least 10 times, like I did.

Sure, other movies can promise a lot, but can they promise a female warrior demigod swinging from bolts of lightning from a magic lasso? I didn’t think so.

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