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Jack Fisher’s Weekly Quick Pick Comic: Wonder Woman #71

Once a week, comic book fans rejoice as pencil, ink, and imagination come together to bring us a batch of new comics. Whether they involve superheroes, gritty crime drama, sappy romance, or talking ducks in ties, great comics take many forms.

As someone who awaits every Wednesday like Christmas, I make it a point to select one comic from this crowded field that helps make the day feel uniquely festive. It doesn’t always involve superheros gods, demigods, and talking animals. This week, however, that’s exactly what “Wonder Woman #71” contains. That’s not an exaggeration. This comic contains all of that, along with a uniquely impactful story.

The Wonder Woman comics have always been more fanciful than most, even without its former allusions to BDSM. When Wonder Woman isn’t fighting alongside the Justice League or going toe-to-toe against cosmic threats like Darkseid, she often deals with the divine mischief caused by her divine heritage. Since the arrival of writer, G. Willow Wilson, there has been plenty of mischief to go around.

For the past few issues, Diana has been investigating some decadent happenings in a small town called Summergrove. At first, it doesn’t look quite as dire as some of the other godly influences that Wonder Woman has dealt with. The people of this typical community have just become a bunch of free-wielding hippies, randomly pursuing every decadent desire that enters their mind, among other things.

It’s not quite as pornographic as it sounds. Wilson manages to keep things PG-13, for the most part. However, the free loving and utter disregard for Western propriety are just part of the issue. This major disruption in a community not used to public nudity isn’t due to some sudden realization that Puritan traditions are asinine. It’s a direct result of Atlantiades, the god of lust and desire.

Aside from being the offspring of Aphrodite, as well as the kind of deity that aspiring erotica/romance writers could worship, Atalantiades presents a unique challenge to Wonder Woman. Yes, she’s causing real harm to innocent people and their families by exercising her divine power, but she’s not doing it directly, nor is she doing it out of malice.

She is, like many gods in both the world of DC Comics and beings of mythology, unaware of how her power influences frail mortal minds. She doesn’t see ordinary humans with the same care and concern as Wonder Woman. Whereas Diana respects and protects them, gods like Atalantiades pity and manipulate them.

It puts Wonder Woman in a tricky position of convincing Atalantiades that what she’s doing to the people of Summergrove is wrong. The past couple issues have steadily revealed how bad things have gotten. Families are being torn apart and the community is collapsing around itself as people just abandon their responsibilities and ignore all consequences to their action.

It may seem fun, but even the most free spirit of individuals can’t avoid consequences. That’s what it means to be human. However, Atalantiades and the rest of her divine brethren don’t understand that the way Wonder Woman does. Their divinity means they don’t have to deal with the same consequences. They only have to worry when those consequences impact other gods.

That’s another lesson that Atalantiades has to learn the hard way. While Wonder Woman helps her deal with the damage she did to Summergrove, her activities obscure another emerging conflict centered around her mother, Aphrodite. This conflict has higher stakes and greater consequences, mainly because it involves unleashing a mythical beast.

It’s this culmination of consequences that helps “Wonder Woman #71” stand out. There are plenty of stories that involve Wonder Woman fighting mythical beasts and protecting people from unholy manipulations. However, she ends up having to do both here and she can’t resolve both solely through fighting.

Wonder Woman can do a lot of incredible feats, but she doesn’t absolve people or gods of consequences, nor would she if she could. She can’t fight Atalantiades or the people she has influenced, but she can convince her to take responsibility. That’s not as easy as a simple scorn or lecture, but it does make for some revealing exchanges.

Wilson, like many other accomplished Wonder Woman writers, explore the unique and strange perspective of divine beings like Atalantiades. That’s understandable because they’re not mortal. They don’t see mortality, desire, and consequences the same way an ordinary person in the suburb sees it. In many respects, it reveals just how unique Wonder Woman is because she goes out of her way to relate to ordinary people.

Atalantiades makes clear that she doesn’t see love and desire the same way as Diana. Throughout this story arc, even other gods like Aphrodite go out of their way to denigrate Diana’s perspective on matters of love and mortals. She sees it as something empowering and intimate. They see it as something chaotic and corrupt.

Wonder Woman #71” doesn’t entirely resolve that argument, but it does make a compelling case for each side. Atalantiades demonstrates what happens when love and desire run rampant. It’s sexy and even humorous, at times, but it’s also flawed and Wonder Woman helps belabor that.

As more consequences of Atalantiades’ actions play out, Wonder Woman has a chance to make her point in other, more direct ways. This is also where the artwork of Tom Derenick and Xermanico get more vibrant as divine debates turn into divine clashes. It helps highlight how strong Wonder Woman can be with both her words and her fists.

Wonder Woman #71” is not the endgame of this larger story surrounding Atalantiades and Aphrodite, but it is definitely the most dramatic. Wilson explores some pretty heavy topics in this story, touching on gods, love, and the frail mortal beings that get caught in the crossfire. It puts Wonder Woman in some difficult situations in which her compassion has to be as strong as muscles.

As always, she rises to the occasion and inspires more awe and wonder in the process. That’s what makes her Wonder Woman.

 

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Exploring Radical (And Kinky) Idealism: “Wonder Woman Earth One Volume Two” Review

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When “Wonder Woman Earth One: Volume 1” came out in 2016, it was groundbreaking in how it re-imagined Wonder Woman while reconnecting her with her kinkier roots. For years, she’d been moving away from the unique brand of feminism that her creator, William Moulton Marston, had once defined her. This culminated in her 2017 movie in which all the BDSM connotation were purged from her persona.

While many creative forces over multiple decades turned Wonder Woman into someone very different from her creator had intended, Grant Morrison and Yanick Paquette went in the opposite direction. They dared to embrace the kinks and reshape Wonder Woman’s story in a way that works while retaining Marston’s original themes.

That story remains one of my favorite Wonder Woman stories of all time and one I’ve gone out of my way to praise. Finally, after a two-year wait and a prolonged absence of kink from superhero comics, “Wonder Woman Earth One: Volume 2” has arrived. Fans of warrior women, feminist utopias, and not-so-subtle bondage themes can rejoice.

Like any sequel, it faces the inescapable challenge of matching the high bar set by its predecessor. On top of that, it also has to dig deeper into an aspect of Wonder Woman that generations of writers have tried to overwrite or ignore. Even with an elevated profile, thanks to her movie, this is a part of Wonder Woman’s persona that is largely unknown or undeveloped.

The greatest challenge of Volume 1 was to reintroduce Marston’s radical concepts of love, submission, and domination in a way that didn’t feel like bad fan fiction. Morrison and Paquette succeeded by building the story around this dazzling, techno-feminist utopia on a mythology built on ideas that seem antithetical to the world dominated by lies, mistrust, and cynicism.

If the goal of that story was to affirm the potential of these ideas, then “Wonder Woman Earth One: Volume 2” is built around how those ideas are challenged. It’s one thing to defend them on an island paradise populated by immortal warrior women of unyielding compassion. It’s quite another to defend them in a world where gay frogs inspire conspiracy theories.

Wonder Woman’s situation is considerably different this time around. She’s not insulated on her island paradise. She’s well-known public figure, an established superhero, and a vocal proponent for her radical ideology. She presents it as a viable way of achieving peace and justice in a world full of suffering and hatred. Unlike other wide-eyed idealists, she comes off as entirely genuine.

Not surprisingly, the world isn’t eager to sign up for her novel approach of peace through submission to a loving authority. It doesn’t just come from grumpy old men who only want women to make babies and sandwiches, either. Even among other women, her ideas are challenged and deconstructed throughout the story.

What does it even mean to submit to a loving authority?

Why is she so sure that it’ll work in the world outside her idyllic homeland?

How are men supposed to approach this concept?

How far is she willing to go to implement her ideas?

These are all difficult questions that get asked throughout the story. Wonder Woman doesn’t avoid these questions, but she doesn’t get a chance to answer them either. Even though she is celebrated by many, nobody seems capable of embracing her ideology as completely as her.

To further complicate this challenge, Nazis enter the picture. Trust me, it’s not as shallow as it sounds. The story isn’t built around Wonder Woman acting like Captain America, traveling the world and punching Nazis. In fact, the way she handles her enemies in this story is very different to the methods she used in the “Wonder Woman” movie. However, that’s where the story gains both complications and nuance.

Through a few flashbacks and side-plots, we get to see how Wonder Woman’s ideology confronts something that’s completely antithetical to everything she stands for. Initially, it looks like her approach works. She’s so compassionate and so empathetic that she can take violent, hate-filled Nazis and redeem their souls. That’s where the complications come in.

In both the events that unfolded in the past and those that play out in the present, we see shortcoming of Wonder Woman’s ideals. It’s not that someone taints or disproves them. As the conflict plays out, we see how the components necessary to make her ideology work aren’t as abundant as they are in her homeland. As a result, Wonder Woman pays a price for her idealism and it’s a steep, heartbreaking price.

Not all of it is a direct result of her ideology, though. Wonder Woman also deals with a devious adversary in Dr. Psycho, who effectively turns her ideals against her. He doesn’t just question or deconstruct the merits of submission to a loving authority. He manipulates them to his own ends, which plays right into the hands of her critics.

It’s tragic in that it leads to heartache for Wonder Woman and her friends, but it stops short of breaking her. This is Wonder Woman, after all. Loss, defeat, and criticism do not break her. No mortal or God can break her. Those are her words, not mine. These challenges, however, put her in a difficult position where she has to confront unpleasant truths.

Without spoiling too many plot points, I’ll note that Wonder Woman comes to realize that there are grater complexities to loving submission than she ever could’ve realized. She sees first-hand how difficult it is to get someone to willingly submit in a world where weakness can invite harm, exploitation, and injustice. Just preaching her message isn’t enough. By not doing more, it costs her and those she cares about.

In terms of the larger narrative, “Wonder Woman Earth One: Volume 2” is a wonderfully effective evolution of the world that Morrison and Paquette created. Along the way, the story continues to embrace the unique principles of the original iteration of Wonder Woman that Marston crafted in 1942.

Not entirely, that is.

If there’s any shortcoming to the narrative, it’s how incomplete it feels at the end. It’s not a cliff-hanger, but there are many lingering plot threads that don’t get resolved. Granted, it says on the final page that there is a Volume 3 planned for this series. Given the two-year gap in between this book and its predecessor, the wait seems nothing short of agonizing.

Even with those dangling threads, “Wonder Woman Earth One: Volume 2” is still a complete Wonder Woman story that’s unlike anything you’ll get in the movies or comics. If I had to score it, I would give it a 9 out of 10. The lack of resolution at the end is the only thing keeping it from a perfect score. It still gets so many things right about who Wonder Woman is and why she’s so endearing.

The fact that she can be endearing while retaining the radical spirit that Marston had envisioned helps make “Wonder Woman Earth One: Volume 2” all the more remarkable. She’s not just a fierce warrior woman. She’s the personification of a different approach to gender, power, and love. It may seem bizarre and kinky to us, but it has powerful implications for people of any gender.

It doesn’t go overboard with the BDSM undertones, nor does it focus heavily on gender politics. They are mentioned, but not forced into the plot. There are things Wonder Woman does that feminists, conservatives, and BDSM fans can get behind. At every turn, she carries herself as someone who is willing to embrace everyone. It’s that unconditional, universal compassion that makes her Wonder Woman.

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The following is a review I wrote for PopMatters for Wonder Woman #46. Enjoy!

Dark Connections and Darker Divinity in ‘Wonder Woman #46’

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May 11, 2018 · 10:00 pm

Wonder Woman And Sex Positivity

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I know I’ve been talking about Wonder Woman a lot lately. No, I’m not going to apologize for that. I’ve had a perfectly valid reason and no need for excuses. It’s not unreasonable to say that Wonder Woman is having the best year she’s had in her 75-year history and that includes the era in which she made Lynda Carter a sex symbol.

The “Wonder Woman” movie is an unabashed success. Just this past week, it surpassed both “Batman v. Superman: Dawn of Justice” and “Suicide Squad” to become the highest-grossing DC Comics movie to date on the domestic front. It managed to do all this with a female director in Patty Jenkins, a strong female lead in Gal Gadot, and a naked Chris Pine. I think ladies everywhere deserve to flex their ovaries this year.

As great a year as she’s had, there’s been another major development with Wonder Woman that will likely slip under the radar. That’s a shame too because it’s an important development, which is another way of saying it has very sexy implications. Given the nature of this blog, it would be a professional failure on my part if I didn’t talk about it.

In this case, it has to do with what’s been going on with Wonder Woman in the comics. Now, I don’t deny that a very small percentage of the people who saw the “Wonder Woman” movie actually follow the current comics. Most have probably read Wonder Woman comics in the past, seen her in various cartoons, or watched the old Lynda Carter TV show.

The current comics, however, are kind of an afterthought. That’s understandable in some cases. If you only saw the “Captain America” movie, you might be a little confused to find out he’s a Hydra agent in the comics. If you only ever saw the “Iron Man” movie, you might even more confused to find out that Tony Stark is in a coma and Iron Man is a 15-year-old black girl from Chicago.

The comics are confusing, convoluted, and frustrating to say the least. I say that as someone who has been closely following comics for nearly two decades. There are so many different interpretations, alternate universes, and re-launches that most reasonable people would decide it’s not worth the aggravation. I like to think I’m reasonable in most instances, but I guess my love of comics is just that strong.

For those Wonder Woman fans who do follow DC’s iconic comics, they got an overdue, but extra-satisfying treat. As part of DC’s ongoing Rebirth initiative, Wonder Woman’s comic was re-launched and revamped in a way that helped streamline a mess of conflicting continuities and scrambled timelines. Trust me, it’s much more complicated than it sounds. Just look up something called “Flashpoint” to see what I mean.

If you’re a Wonder Woman fan, though, you don’t need to know the cow shit to appreciate the flowers. Under the pen of Greg Rucka, an accomplished comic book writer who has written Wonder Woman in the past, and Liam Sharp, an equally-accomplished comic book artist, Wonder Woman’s entire story underwent an overhaul.

That story is one that I cannot recommend enough to Wonder Woman fans. If you loved the movie, then you’ll love these comics. They cover everything that makes Wonder Woman great. Her heart, her compassion, her warrior spirit, and her sex appeal is all on highlighted in all the right ways for all the right reasons. It may very well be the most balanced she’s ever been as a character.

However, it’s the conclusion of that story, which culminated just last week with the release of Wonder Woman #25, that introduces an important element to Wonder Woman’s story. It goes beyond simply capping off a successful run on an iconic comic book series in a satisfying way. That alone is pretty remarkable, especially at a time when comic companies can’t resist killing major characters for a sales boost.

Specifically, it has to do with Wonder Woman’s sexuality. I know that’s a favorite topic of mine and for good reason. Her sexuality is actually pretty broad compared to other male heroes who simply want to bang supermodels all day. Her origins have strong ties to the world of BDSM and in recent years, she has been revealed to be bisexual.

Despite these details, Wonder Woman has been one of those characters who has been sexually nullified, so to speak. For a good chunk of her history, she’s never been allowed to be overtly sexy. Sure, her attire is sexy and she’s not exactly shy about showing off her body. When it comes to having an actual sex life, though, it might as well be on par with the Hulk’s penis. We know it’s there. It’s just not something we talk about.

Sure, she’s allowed to have love interests. Steve Trevor, who was played by Chris Pine in the movie, is her most famous. She’s had others, including Batman in the Justice League cartoon and Superman in the comics at one point. However, the sexuality in all those relationships is severely muted, if not outright ignored.

That changed somewhat in Wonder Woman #25. Greg Rucka and Liam Sharp actually acknowledged that Wonder Woman can be sexual and it doesn’t have to be some big, shocking ordeal. She’s a powerful woman and she has sex. That should not be shocking on any level.

On top of that, Rucka and Sharp make it a point to mix Wonder Woman’s sexual inclinations with her romantic inclinations. Remember, Steve Trevor? Well, now he’s not just the man who managed to get Chris Pine naked in  the “Wonder Woman” movie. He’s the one who makes love with Wonder Woman in Wonder Woman #25. I’m sure both Chris Pine and Gal Gadot would approve.

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It was a sweet, beautiful scene that mixed both romance and sexuality. After a long journey that had many heart-wrenching moments, Wonder Woman returns to Steve, who prepared a romantic night for them. She opted to skip most of it, head into the bedroom, and make love. I’m not going to lie or apologize. That moment made me shed tears of joy and gave me a boner.

It may not seem like a big deal, Wonder Woman getting frisky with her oldest and most well-known love interest. Trust me, both as an erotica/romance writer and a comic book fan. It’s a huge deal and it adds a critical dimension to Wonder Woman’s character that tends to get censored way too often, which is sex positivity.

I’ve talked about sex positivity before, namely how it stands in contrast to sex negative feminism. I’ve even talked about distinctly sex positive superheroes like Starfire. Given Wonder Woman’s status as a feminine ideal, you’d think she would be naturally sex positive. That thinking wouldn’t be dead wrong, but it wouldn’t be right either.

It may be a result of her having not-so-subtle BDSM origins. It may also be a byproduct of the heavy censorship comics endured for most of its history, thanks largely to a bullshit moral panic from the 1950s that nearly killed the industry. Whatever the reasons, Wonder Woman’s BDSM origins were purged and her sexuality was effectively ignored.

She was still a woman, but her sexuality was about as prominent as her appendix. Her entire persona, even into the modern era, emphasized her warrior woman status. She only fought and looked good while doing it. That was pretty much the core of her character.

Now that’s not to say she had no other appeals. She most certainly did. However, her sexuality, and even her attitudes towards sex, were either ignored or circumvented. That’s why this new development in Wonder Woman #25 is so critical.

In this case, Wonder Woman actually did something even Starfire struggles to accomplish. She created a perfect balance of sexuality and love. Starfire may have a very healthy attitude towards sex and nudity, but she tends to be too casual when it comes to romance. She’s perfectly comfortable having sex, but expressing love through sex is a bit trickier.

For Wonder Woman, it’s a natural manifestation of her loving, compassionate personality. She has love for her friends, her fellow heroes, and Steve Trevor. Rucka and Sharp just let her express it through her sexuality in a way that was sincere, meaningful, and perfectly appropriate for the context of the story.

That kind of sex positivity is exceedingly rare these days. I’ve said before that the world needs more of it. There are ominous signs that society is becoming more sexually uptight. Sexuality, especially of the female variety, is still very much a taboo. Men and women alike seem to have conflicting attitudes that can manifest in unhealthy ways.

How fitting is it that Wonder Woman, the most iconic female hero of the last century, finds a way to achieve a beautiful balance between sexuality and romance? It’s a powerful element that I hope DC Comics doesn’t censor once more. A female hero knows how to fight, love, and make love in a meaningful, compelling way is a beautiful story in its own right. You could even say it’s a true wonder.

Yes, I know that sounds cheesy as hell. No, I’m not going to apologize for that either.

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My (Spoiler Free) Wonder Woman Movie Review

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I’ve been obsessing over it. I’ve been anticipating it. I’ve found any possible excuse to talk about it on this blog, including those involving hidden BDSM undertones. If you still weren’t convinced of how excited I was about the “Wonder Woman” movie, then I can’t help you and neither can Superman. Well, after years of waiting and agonizing over the failures of lesser female heroes, it happened. The “Wonder Woman” movie has arrived.

I’ve been following this movie since the release of its first trailer, making it clear along the way that this is one of the most important movies of the past decade. It’s not just an important step towards making us forget about “Catwoman.” It’s an overdue, understated milestone in the growth of female superheroes and female characters in general.

Wonder Woman is, by most measures, the most iconic female character of the past century. She is the standard by which all female heroes, and many female characters in general, are measured. She embodies the ideals of womanhood, generating hope for some and conflict for others. For her to have waited this long to get a movie while Ant Man of all characters got one is a travesty.

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However long it took and whatever controversy emerged along the way, including those involving armpits, doesn’t matter anymore. The movie has arrived and I made it a point to see it, despite the crowds and overpriced candy. That leaves just one pressing question that doesn’t need the lasso of truth for an answer.

Is the “Wonder Woman” movie actually good?

Well, I’m here to say as part of my official review that yes. It is good. It’s every bit as good as its Rotten Tomatoes and Metacritic score would indicate. This is not a “Dawn of Justice” type scenario where critics and fans don’t see eye-to-eye. The consensus is clear. “Wonder Woman” is a damn good movie.

What makes it good, though? Well, that’s where it helps to understand the challenge this movie faced, as well as the scope of the story it told. Unlike Batman and Superman, Wonder Woman’s origins aren’t as universally known and again, I’m not just referring to the BDSM elements.

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Most people know she’s an iconic female superhero. Most know she’s a warrior princess from an island populated solely by women. Few people actually know the details of that story or the emotional undertones behind it. Even fans of the old Lynda Carter TV series only ever got part of the story.

This movie doesn’t assume that the audience knows the core of Wonder Woman history or what makes her who she is. Patty Jenkins, the director tasked with deciding which assumptions to make, made a concerted effort to explore both who Diana is and where she came from.

The parts about her being a warrior on an island of female warriors is still there. What makes it resonate is how the movie adds emotional elements to the story. There’s an undeniable innocence at first, seeing Diana as a child, running around her paradise island of Themyscira, eager to see more than others allow her to see.

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This establishes and important tone for the story and for Wonder Woman’s character, as a whole. Even on an island paradise run by women, Wonder Woman dares to break with tradition and do more than what others would dare. She’s willing to test the rules of the Amazons and the rules of men alike. She is, at her core, a free spirit who seeks out wrongs to right and will step up when others won’t.

This makes her emergence as a warrior all the more meaningful because it gives her the strength and means break with tradition and fight the battles that no one dares. She doesn’t just become strong for the sake of being strong. Her training, her desire, and her capacity to kick ass has purpose. She makes the audience want her to succeed.

That kind of emotional resonance never wanes as the larger conflicts unfold. This is where Wonder Woman’s supporting cast really shines, especially in Chris Pine’s portrayal of Steve Trevor.

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It might have been the trickiest part of the movie, handling how Wonder Woman’s long-time companion and frequent love interest, Steve Trevor, was handled. There have been instances in the comics and cartoons where Steve Trevor has been a beta male. There have also been times where he’s just been an glorified nanny to Wonder Woman, trying to keep her on a leash and not in a kinky sort of way.

That doesn’t happen in this movie. Chris Pine’s take on Steve Trevor is one that men and women alike can appreciate. He’s very much his own character who earns the respect of both Wonder Woman and everyone he works with. He doesn’t just show that he’s worthy of Wonder Woman’s affection. He earns it.

It’s probably the greatest accomplishment of the movie. Wonder Woman’s partnership with Steve Trevor and his allies is all about complementing one another, not hindering one another. Trevor isn’t just some man trying to put Wonder Woman in her place. He and his friends try to guide her through the conflict, doing their part whenever they can and letting Wonder Woman do hers.

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Those looking for a movie that shows Wonder Woman attacking male oppression and exposing men for the pig-headed brutes they are will be disappointed. There are heroic men and villainous women in this movie. There’s no gender agenda at work here. There are times when gender dynamics are explored, but it’s never done with the impression that one is worse than the other.

The movie gets the message and the dynamics right. It gets the characters and their personalities right. Needless to say, Gal Gadot gets Wonder Woman right and looks absolutely stunning in that outfit in every single frame. On top of that, the various fight scenes and acrobatics that go with any hardened Amazonian warrior are a spectacle to behold.

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It checks so many boxes. It has so many satisfying moments from beginning to end. There are moments of humor, including those of the crude, sexual kind. Chris Pine even gets naked at one point. Granted, he’s no Hugh Jackman, but I think most heterosexual women and gay men will be happy with what they see.

So are there any issues with this movie? Is “Wonder Woman” the most flawless work of cinema since “Godfather II?” Well, this is the part where I have to be somewhat petty because this movie isn’t perfect. It does have some flaws, but none of them are overly egregious.

If there are any shortcomings, it’s in the limited time it spends exploring Themyscira and its culture. There is some time spent on the mother/daughter dynamics between Wonder Woman and her mother, but it feels somewhat minimized, as do the rest of the Amazons. Many do get to shine in a few fight scenes, but none get a chance to be all that memorable.

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There’s also the matter of the mythology behind the main conflict. Wonder Woman has always drawn heavily from Greco-Roman Mythology, so much so that it fuels a great deal of Wonder Woman’s iconic stories. However, the mythology in this movie is fairly flat and streamlined. It presents a very simple, bland view of the gods that are so integral to the Amazons. It feels like an oversight, but one that doesn’t derail the story.

Overall, I would not proclaim “Wonder Woman” to be the greatest superhero movie of all time. I would still put movies like “Deadpool” and “The Avengers” above it, but not by much. It is still very much in the top echelon of superhero movies. It is also groundbreaking in that it is the first female solo movie that succeeded where too many others have failed.

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It’s impossible to overstate how critical this movie was for DC Comics, Warner Brothers, and superhero movies in general. “Wonder Woman” had so much riding on it from the get go, but it succeeded. It rose to the challenge. Much like Wonder Woman herself, this movie dared to defy convention and do something special.

If I had to score this movie, I would give it a solid 4.5 out of 5. It has all the right elements. It’s concise, compelling, and satisfying. It is a wonder unto itself. It was a long time coming, but like so many things, it was worth the wait.

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