Tag Archives: DCEU

“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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Shazam! Review: A Simple Formula For Maximum Fun

shazam

When a particular genre becomes over-saturated and overdone, it’s tempting to try and reinvent the concept in hopes of striking a new chord. It’s especially tempting when so many others have risen the bar to such an insane extent that success can only be measured in billions instead of millions.

It would’ve been easy for a movie like “Shazam” to give into such temptation. With the recent success of “Aquaman” and “Avengers Endgame” set to break all sorts of box office records, it seems like this movie has to do something extreme, just to stand out. How else would it succeed in such a crowded market in a golden age of superhero movies?

That was my greatest concern before I saw “Shazam.” As much as I loved the trailer, I was worried that this movie would try so hard to stand out that it would overlook the part of actually being a fun cinematic experience. That sort of oversight has been plaguing the DC Extended Universe since “Man of Steel.”

This picture sums up the issues nicely.

Well, having seen the movie, I’m happy to say that none of those concerns were founded. In fact, I’m elated to report that “Shazam” is another big win for DC Comics and superhero movies, as a whole. However, it didn’t win because it reinvented the genre or did something radically different. It won because it followed the basic formula for quality superhero movies and had fun along the way.

It helps that the core appeal of Shazam, as a character and superhero, is that it approaches heroics with a childlike playfulness. Billy Batson, the alter ego of the titular hero, is not some jaded adult like Batman. He’s not even a boy scout idealist like Superman. He’s just a kid and one who got dealt a bad hand, for that matter. Being both an orphan and a troublemaker, he sees the adult world through very different eyes.

That’s a novel perspective, to some extent. Every other superhero movie, even going back to the era of Richard Donner’s “Superman,” has framed the idea through an adult lens. It always starts out as something simple. An individual gets superpowers, they start carrying out simple acts of heroism, and those acts eventually get complicated, as often happens with adult issues.

With a character like Billy, things never get that complicated. Again, he’s a kid. Even in his heroic form, he sees conflict with a childlike simplicity and “Shazam” captures that simplicity perfectly. The movie doesn’t deviate much from the details and themes of the source material. Concepts like the Rock of Eternity and the Seven Enemies of Man are present and accurately portrayed.

Such details may not matter to those unfamiliar with the comics, but such accuracy is largely a bonus. What really makes this movie work is how it follows Billy’s journey and not just the one he undergoes as a hero. His evolution when he’s not a magically-endowed superhero is arguably the most meaningful aspect of the story.

When we first meet Billy, it’s hard to discern whether he has the spirit of a hero. He’s no upstanding boy scout. In fact, he’s very much a troublemaker who’s willing to thumb his nose at police, break the rules when it benefits him, and run away from anyone who tries to help him. However, he never comes close to crossing that might send him down a darker path.

It’s that trait that sets him apart from his villainous counterpart, Dr. Sivana. While he’s no Thanos, he demonstrates that he’s a lot like Billy in a few key aspects. He’s given a chance to become a hero, but is unable to refuse the temptation that often comes with immense power. That failure haunts him and pushes him down a darker path.

For a time, it seems as though Billy could walk a similar path. When he first gets his powers, he reacts in ways that most would expect of a 14-year-old boy. He tries to buy beer. He tries to make money. He even ventures into a strip club. It’s hilarious and cute, but it also establishes the perfect tone for a movie that avoids complicating the standard superhero narrative.

Within that narrative, there’s a hero who makes choices and learns from his mistakes. There’s also a villain who makes choices and refuses to learn from them. When they eventually clash, it’s a flashy spectacle with simple, understandable stakes. It’s no Battle of Wakanda, but it doesn’t have to be.

The look of someone who DIDN’T get to work with Josh Brolin.

From the moment he first gets his powers to the final showdown with Dr. Sivana, Billy develops into his own hero, but never loses his childlike mentality. He’s not forced to grow up too fast, nor does he have to abandon the civilian life he’s trying to establish. Whereas being Bruce Wayne is often an inconvenience for Batman, being Billy Batson is necessary for Shazam.

This shows in the seamless characterization provided by Asher Angel, who plays young Billy, and Zachary Levi, who plays Shazam. At no point does either manifestation feel like a different character. They both wield the same childlike charisma as they navigate their superhero journey. The same lovability that made Levi so great in shows like “Chuck” help him and Angel bring out the best in Billy Batson.

When the movie begins, it’s not clear that Billy has what it takes to be a competent hero. Trying to determine his worth is like trying to determine if some random 14-year-old will one day play in the NFL. The odds are against them, but the potential is still there. By the time the credits roll, the message is clear. Billy has the spirit that Shazam was looking for and you can’t help but root for him.

At its core, “Shazam” checks all the right boxes for the classic hero’s journey. Billy Batson is perfectly poised to take that journey and not just because he’s one of many orphans who become superheroes. The movie doesn’t try to subvert these tried and true tropes. If anything, it embraces them and dares to have a little fun along the way.

It’s easy to share in that fun. The humor is exactly what you would expect of a movie that involves 14-year-olds getting superpowers. It’s serious when it needs to be, but never too serious. Given the grim and gritty settings of other DC Extended Universe movies, it’s a breath of fresh air that the superhero genre badly needed.

It’s not without its flaws. Some details of Billy’s life are underdeveloped and glossed over. There were also inconsistencies with Dr. Sivana as well, but none were egregious to the point where they derailed the movie. It simply stuck to a simple formula, mixed in a few twists along the way, and made the most of what it had to work with.

If I had to score “Shazam,” I would give it an 8 out of 10. It didn’t reinvent superhero movies or raise the bar. It was simply a fun, entertaining movie that gave a character with little star power a chance to shine. It even managed to accomplish all this without trying too hard to make him like Batman. For a DC Comics movie, that alone is a major accomplishment.

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The Emerging Problem Of Superman And Lois Lane

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I think I’ve made it fairly clear that I’m a big fan of superhero romances. I’m a big fan of romance in general, but romance between superheroes has a special place in my heart. I was a comic book fan before I was a romance fan. As the years have gone by, it has been among my favorite combinations. I put it up there with pizza and a cold beer.

It certainly helps that superhero comics have inspired some of the most iconic romances of the past century. Say what you will about Rose and Jack in “Titanic.” I still find the love story between Batman and Catwoman is much more complex and compelling in terms of depth, not to mention many times sexier.

Superhero comics have informed a lot with respect to my fondness for romance. I also think they offer unique insights into the complexity of romance. Love is complicated enough. Adding superpowers and super-villains into the mix only compounds the drama. Sometimes it can end in tragedy. Sometimes it can make for some truly epic romance that strikes all the right emotional chords.

In some instances, though, mixing romance and superheroes can cause problems. Like relationships in the real world, there are many ways to screw it up. Comics have done plenty to mishandle romance. Just ask any Spider-Man fan about a story called One More Day and watch them recoil with disgust. I’ve even noted a few examples.

However, there are some instances where romance in superhero comics cause unique problems that are subtle in substance, but vast in implications. It doesn’t always involve relationships that are inherently toxic to multiple characters. Sometimes, those problems can emerge in even the most iconic relationship.

In the pantheon of superhero romances, the top spot is usually reserved for Superman and Lois Lane. In terms of romance in superhero comics, they are the gold-encrusted diamond standard by which all others are measured. Their love is isn’t just iconic. It’s a foundational component for both characters.

Superman loves Lois Lane. Lois Lane loves Superman. That romance is established in the pages of Action Comics #1. It’s a critical part of how both characters evolve over the years. You can’t tell Superman’s story without Lois Lane and you can’t tell Lois Lane’s story without Superman.

In the same way Superman always does the right thing and Deadpool always makes the dirtiest joke, this dynamic is fundamental. It establishes the kind of romance that is pure, unconditional, and uncorrupt. There’s no need for a previous love interest to die or a love triangle to provoke drama. Superman and Lois Lane just love each other and that’s all there is to it.

However, even with a romance this iconic, there is a problem and it’s actually a very recent problem. It affects both Superman and Lois Lane, but I believe it affects Lois to a much greater extent. It stems from an issue that I’ve been noticing more and more lately with certain romances. When it shows up in the most iconic romance in the history of comics, though, I take notice.

The nature of the problem has less to do with love and more to do with how a relationship defines certain characters. In both fiction and real life, it’s common and even romantic for two people to become so close that their lives become heavily entwined. There comes a point, though, where it stops being romantic and starts being destructive.

For most of their history, Superman and Lois Lane’s romance was built around simple, but effective dynamics. Lois Lane loved Superman, but not Clark Kent, who she didn’t know was Superman. Superman kept his identity from her to protect her many years, which created plenty of tension and made for some great moments.

Eventually, Superman reveals his identity to Lois and they eventually get married. I remember that moment. It was an amazing milestone for both romance and comics lore. The problem only came when that dynamic was complicated by a new theme that has since permeated the narrative.

It didn’t start at any particular date, but I think “Superman Returns” marked the unofficial turning point. That movie, on top of turning Superman into a deadbeat dad, made a small, but critical tweak to the Superman/Lois romance. In essence, it turned their love from a strength to a liability that is detrimental to the ideals of Superman and romance, as a whole.

At the beginning of that movie, Superman’s actions are the same as they’ve always been. He does the right thing because it’s the right thing. That’s who he is and why he’s so iconic. Towards the end, though, what he does becomes less about doing the right thing and more about resolving his relationship with Lois Lane.

Suddenly, doing the right thing and saving Lois aren’t just supplementary plots. They’re indistinguishable. One is the other and that’s a problem for reasons that go beyond romance and heroism. It wouldn’t have been that big an issue if it had only played out in one sub-par Superman movie, but in recent years, the problem has escalated.

It manifested in its most overt form in “Injustice: Gods Among Us,” a video game with a comic book series tie-in that essentially provides a worst-case-scenario for Superman. In this story, Superman is tricked into killing both Lois and his unborn child by the Joker. It’s not just an atrocity and a tragedy. It fundementally breaks Superman.

I’m not just referring to his spirit either. The death of Lois Lane also marked the death of Superman, as an ideal. In both the game and the tie-in comics, he’s no longer a hero. He’s a tyrant who becomes everything he once fought against. I wouldn’t go so far as to call him a villain, but he’s definitely not the beacon of goodness that so defines his character.

While it makes for a powerful story, the particulars of that transformation are profound and not in a good way. It implies that Superman’s heroism is directly tied to Lois Lane and not supplemented by it. If she dies, then Superman ceases to be that iconic hero who stands for truth and justice.

That sends the message that Superman’s love for Lois Lane isn’t a strength. It’s a crutch. She’s not just his connection to humanity. She’s his lifeline. Beyond putting a burden on a character whose appeal is her ambitious pursuit of truth, it reduces Lois Lane to a singular role and one that’s impossible to maintain.

Unlike Superman, Lois is human. She’s going to age. She’s going to eventually die. Under this dynamic, Superman will eventually lose sight of his ideals. He’ll eventually stop being the hero that fights for truth, justice, and the American Way. Without Lois, he’s destined to give up and for a character who once moved the sun, that’s pretty weak.

This issue came up again in the plot for “Batman v. Superman: Dawn of Justice.” While I enjoyed the movie and don’t think it deserved half the criticism it got, there was one major issue that I felt undercut the story. Once again, it came back to Superman’s relationship with Lois.

Throughout the movie, Superman constantly questions his role and responsibilites as a hero, especially after seeing Batman’s approach to pursuing justice. That’s perfectly appropriate with respect to humanizing his character, but at the end of the day, he bases much of his decision to save the day around saving Lois.

That’s not to say that there isn’t merit to saving a lover, but this is Superman we’re talking about here. This is a hero whose entire appeal is built around him having god-like power, but still doing the right thing. When the right thing is only ever in the context of saving his girlfriend, then that undercuts both the ideals and the romance itself.

It’s largely for that reason, among others, that I find the romance between Superman and Wonder Woman more compelling. Back in 2012, there was a brief period in DC Comics where the timeline was tweaked, which happens fairly often, and Superman’s marriage to Lois Lane was nullified. That gave these two iconic heroes a chance to be together.

I could probably write several more articles about why I think the Superman/Wonder Woman romance is special in its own right. In many respects, I think it’s healthier than the Superman/Lois Lane relationship. It may never be as iconic, but it fundementally avoids this problem.

Wonder Woman can take care of herself. She can save herself and be a hero on her own terms. Lois Lane, however, is becoming more and more defined by how she defines Superman. For the most iconic superhero couple of all time, that’s pretty shallow.

The recent comics have done little to address this issue. With yet another tweak to the timeline, Superman is back with Lois. They even have a child now. However, the nature of their relationship is still on uncertain ground. I still feel it lacks the complementary dynamics that made it work so well for so many years.

There’s a chance it could change. Given the fickle nature of comic book continuity, it’s very likely that the Superman/Lois Lane dynamic will continue to evolve. However, I think it’s going in the wrong direction if Superman’s reasons for doing the right thing are that dependent on Lois.

Whether or not this problem deepens or subsides remains to be seen. Superman and Lois Lane are still the most iconic romance in the history of comics. That will continue to hold true, even if the problem deepens. Superman and Lois Lane are great characters in their own right. That aspect cannot and should not get lost under the weight of their iconic romance.

As much a romantic as I am, I don’t deny that it is possible for a love story to go too far. Loving someone and being dependant on them are not the same thing, especially when superpowers get involved. If a relationship becomes too dependent, then it can be more damaging than a mountain of kryptonite.

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Filed under Comic Books, Jack Fisher, Superheroes, Marriage and Relationships, romance, superhero movies

Heroes, Villains, And The Forgotten (But Relevant) Message Of “Megamind”

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Every now and then, a movie comes along that was unremarkable in its time, but gained greater meaning years later. It’s one of those unspoken challenges of movie making that doesn’t involve dealing with difficult actors. Sometimes, a movie is either ahead of its time or too late to make much of an impact. Like cooking the perfect steak or good fart joke, timing is everything.

That brings me to “Megamind,” a very well-done, but often overlooked animated movie from Dreamworks. Since it’s not Pixar and doesn’t involve “Shrek,” it had a lot working against it before it came out. However, it also had plenty more going for it and not just in terms of quality 3D animation at a time when “Avatar” finally made that gimmick viable.

The movie boasted an amazing voice cast that included Brad Pitt, Will Ferrell, Jonah Hill, Tina Fey, and David Cross. It also did plenty to leverage that star power. Will Ferrell even famously dressed up as the titular character at the San Diego Comic Con to promote the movie. I’m not saying that, alone, would’ve made that movie a success, but Will Ferrell is one of those rare talents who can make anything more appealing.

You can’t argue with THAT kind of appeal.

In addition, the movie told a compelling story in a way that was concise, enjoyable, and appealing for adults and children alike. It showed in the favorable reviews it received from critics and the high scores it earned from audiences. Unfortunately, it didn’t quite show in the box office totals. The movie did well, but it fell short of the high bar that both Pixar and “Shrek” have set for animated features.

The reason for the movie’s shortcomings are numerous and varied. It came out in 2010, just in time for titles like “Toy Story 3,” “How To Train Your Dragon,” and “Tangled” to steal the show. It also came out at a time when superhero movies were just starting to ascend. “Iron Man” had just come out and the scars from “X-men Origins: Wolverine” were finally starting to heal.

However, “Megamind” really jumped the gun in terms of timing. We were still a few years before “The Avengers” cemented superhero movies as ultimate box office gold encased in vibranium. As a result, the remarkable concept that “Megamind” introduced went forgotten, but I believe it’s worth remembering.

The plot of “Megamind” is simple on paper, but complex in its implications. It tells the story of a self-proclaimed super-villain named Megamind, who was voiced by Will Ferrell. His persona is essentially a comedic parody of every super-villain trope that ever existed. He’s a mad genius bent on conquest and domination, but is constantly thwarted by an overly-powerful, overly-handsome hero.

That hero, appropriately voiced by Brad Pitt, is Metro Man. Like Megamind, he’s also a parody of every superhero trope. He’s part Superman and part Captain America, grossly overpowered and so morally pure that it’s laughable. As such, the movie never attempts to frame Metro Man’s heroism or Megamind’s villainy in a serious sort of way.

That approach is key because the way the story plays out essentially flips the script on the standard narrative surrounding superheroes, super-villains, and what motivates both of them. It conveys a message that didn’t really have much impact in 2010, but if it came out just five years later, its themes would’ve been much more relevant.

At its core, “Megamind” asks what would happen if an over-the-top villain like Megamind actually defeated an over-the-top hero like Metro Man. How would he react? How would the society around them react? These are questions that often have simple answers in other superhero movies. “Megamind” dares to add an extra layer of complexity.

Early on in the movie, Megamind achieves what Lex Luthor, Dr. Doom, and every other mustache-twirling villain failed to achieve. He defeats his heroic nemesis. He takes over the city he seeks to rule. There is no longer anyone or anything to stand in his way. He is, for all intents and purposes, the most powerful being in Metro City.

That’s not the end of the story, though. That’s just the beginning. Shortly after this achievement, which caught Megamind himself by surprise, he has an existential crisis of sorts. Suddenly, there are no more plots left to hatch. There are no more battles left to fight. He has everything he ever wanted, but it still leaves him feeling empty inside.

It leads him on a path that reveals some unexpected insights into the whole hero/villain dynamic. At first, Megamind doesn’t know how to handle his new situation. It’s so unfamiliar and so jarring that it causes serious distress. Even for a super-genius, sudden change and unfamiliarity can be very difficult to handle.

Megamind’s first instinct, which is usually the same instinct most ordinary people act on in such distressed states, is to return to something familiar. He attempts to recreate the status quo as he knew it, which led him to create a new hero in Titan, who is voiced by Jonah Hill. He says outright that without a hero to fight, he has no purpose. Since he happens to be a super-genius, he just decides to create one.

In doing so, he learns as well as everyone else in Metro City that creating a hero is not as easy as just giving someone heroic abilities. On top of that, he also learns that it’s not always possible to go back to that comfortable status quo. In fact, attempting to do so could only make things worse.

Without giving away the entire movie, which I encourage everyone to see, “Megamind” presents some pretty insights into what it means to be a hero and a villain. At a time when more complex villains like Walter White and Erik Killmonger are gaining greater appeal, I believe these insights are more critical now than they were in 2010.

A great deal of what drove Megamind early on was his assumption that he’s the villain and Metro Man is the hero. As such, they’re destined to fight each other with the hero always triumphing. He never stops to question that assumption, nor does he contemplate his goals for after he succeeds. It’s not until he actually succeeds that he realizes how flawed those assumptions were.

Metro Man realizes that even sooner. In one of the main twists of the story, “Megamind” shows that even idealized heroes aren’t immune to this inescapable dynamic. Like Megamind, Metro Man does what he does because he assumes that’s his role. He doesn’t question it until it becomes untenable.

By breaking that classic hero/villain dynamic, both Metro Man and Megamind reveal that the nature of the struggle between a superhero and a super-villain is often incomplete. They may think they know what they want. Heroes want to save the day. Villains want to conquer and rule. Beyond that, though, there’s no other vision. It’s just an endlessly repeating cycle that eventually goes nowhere in the long run.

In a sense, the entire story of “Megamind” is a reflection of the paradox of superheroes. Heroes may save the day and defeat the villains at every turn, but they never go beyond that struggle. They never attempt to change the conditions that allow the villains to instigate conflict, nor do they do anything to prevent new villains from emerging. They save the world, but don’t do anything to change it.

This shortcoming is a big part of “Megamind” from the beginning. No matter how many times Metro Man defeated Megamind, he always ended up back in jail. From there, he always escaped. He never changed or reconsidered his actions until he actually succeeded. To some extent, Metro Man does exactly what keeps Spider-Man and Batman from effectively achieving their heroic goals.

Ultimately, the resolution that “Megamind” offers in the end is something that undercuts the hero/villain dynamic completely. In the end, both Megamind and Metro Man stop making assumptions about their roles and actually make choices of their own, for once. In Megamind’s case, his choice conveys something that no other superhero movie has dared to attempt.

He takes the same traits and abilities that make him a villain and uses them to become a hero. More importantly, though, he doesn’t do so because of a role based on an assumption. He does it because that’s what he chooses. When finally given a choice to do something with his abilities, he chooses to do good. That’s not just uplifting, even for an animated movie. It speaks heavily to the forces that shape our identity.

In the context of modern superhero movies, “Megamind” both parodies and subverts the foundation of the genre. It doesn’t just ask the question as to what would happen if a villain actually beat the hero. It asks whether those who identify as villains are capable of doing heroic things, if given a choice.

Even with more complex villains like Walter White, most superhero movies and superhero media, in general, still follow the same dynamic that trapped Megamind. They have a villain, put them in a particular role, and keep them in that role by locking them into a cycle.

For some inherently villainous individuals, like Lex Luthor, that cycle isn’t necessary. For others, though, it poses interesting questions that rarely get answered. The villains have their roles. The heroes have theirs. The story plays out and the heroes triumph, but does that have to be the end of the story?

Megamind” dared to expand on that story and while it may have been ahead of its time, those themes are still relevant. As superhero movies continue to set new box office records, they will likely become even more relevant and “Megamind” will get the appreciation it was just too premature to achieve.

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Filed under Comic Books, Jack Fisher, Superheroes, movies, philosophy, psychology, superhero movies

wonder-woman-cheeta-kristen-wiig

How’s this for timing? A few days ago, I write an article about all the reasons why Cheetah should be the main villain in “Wonder Woman 2.” Earlier today, director Patty Jenkins announces that Kristin Wigg will play Cheetah. I’m not saying my article had anything to do with this news, but some coincidences are just uniquely satisfying.

CBR: Patty Jenkins Confirms Kristen Wiig For Wonder Woman 2

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March 9, 2018 · 11:04 pm

Why Cheetah Should Be The Main Villain In Wonder Woman 2

It’s been a while since I talked about Wonder Woman, DC Comics, or developments surrounding the planned sequel to her first movie, which I praised to no end last year. Even though a sequel was announced shortly after the movie’s historically successful debut, not much news has come from it.

There’s a reason for that, albeit a distressing one. The news surrounding anything related to DC’s movie universe has been pretty grim since “Justice Leagueunder-performed at the box office. While I enjoyed the movie and gave it a glowing review, I can’t deny that it’s perceived shortcomings have caused all sorts of problems for the DC movie universe.

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Those problems aside, Wonder Woman is still seen as the lone bright spot in a bleak outlook, especially as Marvel keeps raising the bar with their movies. To date, “Wonder Woman” remains the highest rated, highest grossing DC Comics movie. That makes the success of the sequel, still only known as “Wonder Woman 2,” of paramount importance to the future of superhero movies.

To date, there hasn’t been much news surrounding “Wonder Woman 2.” The only official details we have thus far are that Gal Gadot will continue to play Wonder Woman as only she can and Patty Jenkins is once again set to direct it. According to Jenkins herself, it will to be a very different movie compared to the first one. These are her words:

“We’re actually making a totally different film with a lot of the same, similar like things that we love, but it is its own movie completely, so it’s not ‘two’ to us. It’s an entirely new adventure together that we couldn’t be luckier [to do].”

I’m certainly excited about it, as I am with all things related to Wonder Woman. However, there’s one element that I believe will determine whether “Wonder Woman 2” is a “Dark Knight” level success or a “Batman and Robin” sized disaster. By just referencing “Dark Knight,” I think most superhero movie fans know where I’m going with this.

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It’s all about the villains. Regardless of the studio making the movie, the heroes involved, or the sex appeal of said heroes, the movie often succeeds or fails by how compelling or forgettable the villain is. Nobody will ever forget Health Ledger’s Joker in “Dark Knight.” Conversely, I’m pretty sure everyone has already forgotten Steppenwolf in “Justice League.”

Wonder Woman” may not have had an iconic villain on the same level as Heath Ledger’s Joker, but the combined narratives of both Ares and Dr. Poison worked because they supplemented Diana’s journey towards becoming Wonder Woman. Since the core of “Wonder Woman” was built around that journey, she didn’t really need a villain of Joker caliber.

However, she’ll need one for “Wonder Woman 2” and that’s where Cheetah comes in. She has already been rumored to be the villain of the movie. She’s no Joker, but she is probably Wonder Woman’s most well-known villain. The fact that she isn’t an embittered child of Zeus, a story so old that it pre-dates movies, comics, and the printing press, makes that status all the more remarkable.

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From a pure comic book stand point, Cheetah makes the most sense as the main villain for “Wonder Woman 2” because she’s also one of Wonder Woman’s oldest foes. Her origins go all the way back to the earliest, and also kinkiest, era forged by Wonder Woman’s creator, William Marston.

Like many other classic villains, Cheetah’s persona mirrors Wonder Woman’s in many respects. In her earliest incarnation, Priscilla Rich, she’s an aristocrat woman born to a powerful family. Her mother isn’t a queen, like Diana, but just being in that privileged position from birth puts a great many expectations and temptations on her. It brought out the best in Diana, but it brought out the worst in Cheetah.

From a purely thematic standpoint, that’s an important component for Wonder Woman’s journey. In the same way characters like General Zod embody the kind of person Superman might have become, Cheetah shows Wonder Woman the much darker path she could’ve walked.

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That path already has a very lengthy gap for Patty Jenkins to work with. The conclusion of “Wonder Woman” and the events of “Batman Vs. Superman: Dawn Of Justice” reveal that Diana had been secretly living in the modern world since the end of World War I. That’s a lot of time for her journey to take many turns, some of them darker than others.

That significant breadth of time actually plays to Cheetah’s advantage because her title is not tied to one person. In some instances, it’s a legacy that others take on. In others, it’s a curse that gets transferred from one person to the other. In every case, though, Cheetah embodies a persona that directly clashes with everything Wonder Woman’s stands for.

Wonder Woman fights for compassion. Cheetah fights for herself.

Wonder Woman believes in blessings. Cheetah believes in curses.

Wonder Woman is deeply empathic. Cheetah is exceedingly callous.

Wonder Woman is loyal to her friends. Cheetah betrays them.

Wonder Woman believes in love. Cheetah is driven by hate.

These contrasts were best embodied in Cheetah’s earliest incarnations, but it’s actually her more modern persona in Barbara Ann Minerva that, I believe, has the most potential for “Wonder Woman 2.”

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Like other Cheetah’s before her, Barbara is a privileged woman from a powerful family in which she has all these expectations thrust upon her. As a result, she shares many of the selfish, arrogant, neurotic traits of Priscilla Rich and every spoiled rich brat that ever lived. However, what makes Barbara’s story more compelling is that in her most recent incarnation, she started off as a close friend of Diana.

It’s an element to the villain’s journey that makes their story more entwined with that of the hero. By starting off as a friend, it makes the inevitable clash that much more dramatic. Given the high drama we got in Diana’s final battle against Ares in “Wonder Woman,” it makes sense to take a similar approach with “Wonder Woman 2.” Diana, as we’ve seen, is at her best when drama and passions run high.

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The Barbara Ann Minerva that Diana knows in the most recent comics can come off as a spoiled brat at times, but she has a genuine fascination with gods, mythology, and the divine. In that context, it’s only natural that Diana would start out as an ally and a friend.

For Diana, especially after how her first movie ended, she would need a friend. After losing Steve Trevor, she would need someone to connect with in a world that is still very new to her. Conversely, Diana can give Barbara the connection she seeks to the world of gods, demigods, and magical lassos that make for hilariously awkward moments.

These two women have everything they need to forge a powerful friendship. At the same time, though, they have everything necessary to create a bitter rivalry as well. In the comics, Barbara’s ambitions and bad choices are what turns her into the feral, villainous Cheetah. It’s those differences in choices doesn’t just make their clash dramatic. It makes it genuinely heartbreaking for Diana.

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To some extent, making a new friend and seeing them become an enemy would be even worse than losing Steve Trevor. It would also provide a legitimate explanation as to why Wonder Woman remained hidden from the world for so long, up until the events of “Batman Vs. Superman: Dawn Of Justice.”

Cheetah can do for Diana what Killmonger has recently done for Black Panther. She can give Wonder Woman an enemy that forces her to confront the harsher parts of a world that is still new to her. Back home on her paradise island of warrior women, she was sheltered from all these hardships. Now, she’s all alone in having to face them. That struggle is what will forge her into the iconic female hero that we know and love.

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This is, of course, my own personal sentiment and I understand that doesn’t account for much. I’ve already made a wish list of all the things I want to see in “Wonder Woman 2” with the understanding I’ll probably only get a fraction of it, at most. After the first movie, both Gal Gadot and Patty Jenkins have done plenty to earn my trust.

It’s simply my hope that a sequel to such a wonderful, ground-breaking movie will find new ways to raise the bar for superhero movies and female superheroes, in general. That bar is still rising and I believe a character like Cheetah can help raise it for Wonder Woman.

 

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My Wish list For “Wonder Woman 2”

I know it’s been a while since I talked about Wonder Woman. In my defense, there have been a lot of distractions between the holidays, the response to the “Justice League” movie, and recent news stories to which I just couldn’t resist responding. Make no mistake, though. I haven’t forgotten about Wonder Woman or the fact that she had a breakout year in 2017.

In many respects, Wonder Woman was one of the best parts of 2017. She didn’t just amaze audiences by proving that there is a market for female superheroes, even after “Catwoman.” She raised the bar for the entire genre, both in terms of critical and commercial success. That bodes well for other female-led superhero movies.

While other female superheroes play catch-up, though, Wonder Woman is set to continue rising the bar. She’s Wonder Woman. That’s what she does through Gal Gadot’s charisma and she does it with uncanny grace. Shortly after her movie came out, a sequel was announced to the surprise of no one. At the moment, “Wonder Woman 2” is slated for release on November 1, 2019.

While that date seems so far away, some details are already starting to trickle in. Director, Patty Jenkins, has already started teasing details. At the recent Palm Springs Film Festival, she indicated that the sequel would be a very different film compared to its predecessor. Naturally, she didn’t give too many details, but it’s enough to get Wonder Woman fans excited.

Since I consider myself among those fans, I already find myself contemplating what a “Wonder Woman” sequel will entail. It wouldn’t be the first time I’ve contemplated such things, either. While it’s too early to know or even speculate what “Wonder Woman 2” will bring, we can still hope and imagine the wondrous possibilities.

In that spirit, here is a brief, but basic wish list for what I hope to see in “Wonder Woman 2.” Granted, if Ms. Jenkins is serious about this being a very different movie, chances are not much on this list will apply. I understand and accept that. This is just the giddy Wonder Woman fan in me daring to imagine how wonderful this movie can be.


Wish #1: Establish More Villains (And Make It Personal)

If Wonder Woman has any flaws, beyond those that assholes and trolls point out, it’s that her list of villains isn’t quite as iconic as that of Batman or Superman. For much of her history, Wonder Woman’s greatest battles have been tied to those of the Justice League or those of her fellow Amazons. She’ll be a major force in those battles, but they rarely have major personal stakes.

Wonder Woman 2” presents a golden opportunity to change that because there are a few villains with strong personal ties to Diana. While Ares was more built up boss battle in the first movie, villains like Cheetah can test Diana’s heart, as well as her skill.

The recent Wonder Woman comics have done an excellent job establishing the deep personal struggle between Wonder Woman and Cheetah. While there are multiple women who have gone by Cheetah, the overall theme is the same. She is Diana’s rival, but there was a time when she was also her friend.

Having to fight her friends is an agonizing challenge for Wonder Woman, which we saw play out in the “Justice League” movie. It brings out her heart and her passions for all the right reasons. A more personal villain can only help expand that appeal in “Wonder Woman 2.”


Wish #2: Maintain A (Very) Distant Connection From The Other DCEU Films

While I stand by my statement that “Justice League” did not deserve the negative reviews it got, I don’t deny that the “Justice League” movie has become somewhat of a toxic brand. It’s not quite on the same levels as “Batman and Robin,” but at this point there’s just no way to salvage the backlash.

It’s for that reason, among many others, that I hope “Wonder Woman 2” maintains an extremely distant connection from the larger DC Extended Universe. I’m not saying it should cut itself off entirely. Even the first movie made it a point to establish that this movie was part of a larger world. The sequel should reflect that.

However, the events of “Justice League,” however big they might have been, shouldn’t be a major driving force in the narrative. Whether it takes place in the modern day or in the past, like the first movie, it can’t be too beholden to the events of other major DC movies.

A big part of the success of “Wonder Woman” was its ability to stand on it its own, apart from the rest of DC’s main superheroes. “Wonder Woman 2” should build on that and I imagine Patty Jenkins isn’t going to want to be too constrained by the burdens of other movies. For Wonder Woman, despite her kinky past, there can be no such restraints.


Wish #3: Build On The Amazons’ Mythology (And Diana’s Family Ties)

There were a lot of positives in “Wonder Woman” and I went out of my way to acknowledge them in my review of the movie. However, if there was one flaw in the overall narrative, it had to do with the limited exposure of the Amazons. That’s because in nearly every medium, Wonder Woman’s story is inherently enriched by her Amazon heritage.

The first movie did enough to establish who the Amazons were, why they are so important, and how important they are to Wonder Woman. Unfortunately, it didn’t do much more than that. After Diana left Paradise Island, we didn’t hear from them again. That’s why I hope “Wonder Woman 2” takes the time to expand on the story of the Amazons.

They already showed how badass they can be in “Justice League.” I sincerely hope they get more opportunities in “Wonder Woman 2.” Between Diana’s mother and her more notable siblings, there’s a wealth of material for Wonder Woman to build on. It further raises those personal stakes I mentioned earlier, which can only help expand the appeal of Wonder Woman’s world.


Wish #4: Let Wonder Woman Address Social Issues (In Her Own Unique Way)

Given Wonder Woman’s iconic status as a female icon, it’s unavoidable that she’s going to provoke discussions about social issues. These days, that leads to many heated, hateful, and downright counterproductive conversations. However, that’s exactly why I still want Wonder Woman to address those issues in “Wonder Woman 2.”

Gal Gadot has already shown that she gets the unique spirit of love and compassion that Wonder Woman espouses. Sure, she is prone to making a few controversial remarks, but overall she gets what Wonder Woman is about. She even showed this in the first movie, having Diana navigate the very patriarchal world of the early 20th century, but without using that as an excuse to hate it.

Like it or not, there are a lot of social issues going on in the world. For the most part, we do a poor job debating those issues, as a society. Wonder Woman, with her emphasis on compassion and love for all, is the perfect antidote to that.

I don’t know how she’d go about it in “Wonder Woman 2.” A lot of that depends on the setting, the time period, and the conflicts involved. Whatever form it takes, though, I think it’ll be good for the audience and for the superhero genre to see Wonder Woman confront these social issues as only she can.


Wish #5: Expand The Emotional Stakes (And Let Gal Gadot Channel Her Passions)

This is more of a broader hope for “Wonder Woman 2.” While there are quite a few specific things I’d love to see in this movie, I think it’s more important that it embody the necessary theme that makes Wonder Woman so endearing. Like with some of my other wishes, those themes revolve heavily around the emotional stakes of Wonder Woman’s journey.

We didn’t see too much of that in “Justice League,” but we saw plenty of that in the first movie. Every battle she fought was an emotional struggle. That struggle gave Gal Gadot the opportunity to emote in a way that would make any Amazon warrior proud. Wonder Woman has never just been about fighting injustice or kicking ass. That is always secondary to her heart.

Some of the best moments in “Wonder Woman” just involved her taking a moment to smile, explore, and share herself with others. Whether it was making Steve Trevor feel awkward or making friends with Etta Candy, we got to see Wonder Woman share her passions with others outside the battlefield. That helped make her endearing on so many levels.

Wonder Woman is already a very likable, very passionate character. She’s the kind of person that men and women, alike, can rally behind. Any successful sequel will take those themes and run with them. There’s so much to love about Wonder Woman and how Gal Gadot brought her to life. If “Wonder Woman 2” can build on those themes, then it already has the most important ingredient for more wonderful success.

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Filed under Comic Books, Jack Fisher, Superheroes, Wonder Woman