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True but this is a more fantasy type world. There has got to be a clayface, manbat, Solomon Grundy or poison ivy running around. 20 years and he had to have fought someone other then the main 3
Well, we wouldn't know and will never find out how it works in Snyder's world. I mean if the existence of Batman himself is thought of as a myth by most people, then what more for the likes of Clayface, Manbat, and Solomon? Clayface can be anybody and manbat is some just large *** bat. Reading on it, Solomon seems to be a Green Lantern villain originally. So we can probably rule him out from Gotham in this world. Poison Ivy can probably pass for some regular lady with some fetish for plants and most likely any victims won't remember with mind controlling plant stuff or they're dead.

It's also possible Snyder wouldn't incorporate all of Batman's rogues. Either way, we'll never find out unless he really explores that side.
 
Yea true. I just think it’s still far fetched for him to be a myth for 20 years.
 
So The Batman with China made 1.1 billion less than NWH without China and made less than WW1, BvS and Aquaman.

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What's the problem with Doomsday? He was a genetically engineered creature in the comics, as he was here. Superman died in this movie after one solo movie, and about half the screen time in this movie. That is MORE screen time than the MCU Spider-Man had before HE died in the MCU! Iron-Spider-Boy only had 1 movie, and small parts in Civil War and Infinity War before his death. And BVS gave a clear signal Supes was coming back, which IW didn't give. But all comic aficionados at least knew both were coming back.

There is a cut line where Lex says Doomsday will "obey only him." So it's clear he tried to engineer Doomsday to do what he wanted him to do. But they may have cut that because the scene was going to show that Luthor failed to make him obey him, which is a bit contradictory to him successfully engineering Doomsday to hate Superman.

As for the Martha scene, I thought from day one it was a brilliant idea and executed perfectly and beautifully. There are tons of comic fans who say they never realized both moms have the same name, and I was one of them! It was a brilliant analysis of the canon to come up with the idea. And the way the scene plays out with the flashback to Crime Alley and the Zimmer music is beautiful. It's also reminiscent of T2 where Sarah Connor is going to kill Miles Dyson, but backs away when she sees his family, and regains her conscience.

Superman says "Save Martha" rather than any other phrase because his identity is still secret from Batman. It would be foolish for him to reveal it to someone trying to kill him, because then Batman could track down Lois and kill her. Saying it was "his mom" would force him to eventually reveal his identity, if Batman agreed to save her. Once Lois shows up, the point becomes moot, as she reveals who Martha is, and there's no way to protect Lois anymore after she reveals herself as Superman's loved one. Also, Superman is in a freaking drugged out daze with a boot on his neck. To expect him to articulately express his thoughts at this point is a bit much to ask.

As for Jeremy Irons saying BVS was muddled, that was in reference to the theatrical cut. I know I've seen a lot of people say Luthor's plot only made sense to them in the extended cut. I felt everything made enough sense to me in the theatrical one, other than the mystery of the Knightmare scene, which I think was SUPPOSED to be a mystery. It was a mystery to Bruce, so why should the audience know more about it than he does? I'm also reminded of Roger Ebert's review of Watchmen, where he said he wasn't sure if he understood all of it and was going to rewatch it. Then he wrote another article saying it made perfect sense on the rewatch. BVS is like that, a dense, complicated story that does not repetitively spoon feed you the same plot points over and over again until they're drilled into your head. Most importantly, like a lot of intellectual, mature movies, say, 2001, you do not NEED to understand the movie in one viewing, and the director doesn't necessarily WANT you to. Tenet got knocked for this too. I am so disappointed with modern audiences who think every movie should be perfectly understood after one viewing. :pfft:That's just a recipe to get more simplistic, dumbed-down movies for little minds.

I think a lot of people involved with the movie second-guessed everything after the critics trashed it. I think the critics did it dirty as hell, partly out of an agenda against Snyder. A lot of them called 300 "fascist," then shortly before BVS' release, Snyder said he wanted to adapt Ayn Rand's The Fountainhead. Some critics used that announcement as another way to pigeonhole him for years as some kind of, well, fascist again. The critics also clearly have a tremendous loyalty to the MCU (borne of good faith or good "perks," I don't know). And, lastly, the critics have a certain kind of prejudice against the superhero genre. This is the prejudice that made a lot of them trash the first half of Superman 1, the serious part, and also which made them ALMOST rate Joker rotten (and the top critics actually did). They just turn their nose up when the genre tries to 'act like' it's more than disposable, flimsy entertainment. This is why Richard Lester said, when he took over directing Superman II and III, that he wasn't going to do "the David Lean stuff" anymore. And why he turned the Superman movies into light action-comedies. Very little has changed in 40 years when it comes to ALLOWING the superhero genre to be "worthy of" going into mature, highbrow places. Which is why I think Snyder's DC work is on a path towards getting a critical reevaluation, like we saw in the past for certain movies that were considered to be in "disreputable" genres, like Scarface and The Thing. If the critics think something is schlock, they HATE it when the schlock "puts on airs" that it's really something important. And they end up missing when that thing REALLY IS something important and meaningful.

Considering all of the above, we're to then believe that no one at The Daily Planet would give Clark the heads up about Batman's heroic past or that he wouldn't oh, I don't know, check their archives for info on him? Maybe google him? That he'd just get upset about him branding some thugs and ignorantly treat him as some run-of-the-mill vigilante, fly in as Superman and tell him to retire? I'm sorry, but that was beyond lame.
Sorry, I'm really confused on your point-of-view here. Since when is Batman considered a "hero" by the press? Isn't the whole point that he's a vigilante outlaw who has to hide out from the law (not to be redundant)? Wouldn't his press coverage in Gotham be akin to JJJ's coverage of Spider-Man? And, besides, the whole press take on Batman in BVS is that he's got "a new kind of mean in him." Superman is trying to stop him based on his current behavior. What he did in the past isn't relevant at this point. You act like Clark would be able to find stories where Gotham's mayor is giving Batsy the key to the city or something.

As for only making $873M, the first two Avengers movies* each made more than that WITHOUT counting their domestic takes, so I think even God would say BvS underperformed to expectations. The WB bean counters sure felt that way lol.
BVS was the SECOND movie in a shared universe, vs. Avengers, the 6th movie. I guess WB would've been happier with the DCEU if it had grossed $4.9 billion over its very first 6 movies, though, right? Oh, wait, it DID! And that was a billion more than the MCU made across its first 6 movies. And a higher per-film average than the Nolan Bat trilogy. A much greater average, even, than the Godzilla/Kong verse which WB keeps plugging away at, with Legendary producing them all consistently.

So why was the panic button on the DCEU pushed? It wasn't because of bean-counting. I'm guessing it was because someone high up at WB simply didn't like Snyder's take on the movies. There was no financial reason to force out Snyder, especially after Aquaman came out and it was clear the DCEU was not damaged in the slightest. The logical thing at that point would to be call up Snyder, apologize for the bad reshoots on SS and JL, and ask him to get working on DC movies again, because his ideas just kept paying off big. The anti-Snyder sentiment at WB is absolutely palpable, especially notable in (now former exec's) Ann Sarnoff's statements to the press, days before the Snyder cut came out on HBO Max, insisting they would never hire Snyder again. This is the same woman who said she would make ANY movie the Wachowskis wanted to make in late 2021, despite their last three movies taking massive financial losses (Speed Racer, Jupiter Ascending, Cloud Atlas). This was always about how much WB LIKES Snyder, not about money. It's clear ZSJL only got made because of a turf war with the people in charge of HBO Max. WB execs have the right to not like Snyder's work, but we have the right to tell WB to hire new execs.

So The Batman with China made 1.1 billion less than NWH without China and made less than WW1, BvS and Aquaman.
The Batman barely outgrossed Suicide Squad, which didn't release in China. And inflation would push up SS's gross above it. The Batman failed to outgross Dark Knight, Dark Knight Rises, Batman v Superman, Wonder Woman, Aquaman and Joker. If you adjust for inflation, the numbers look worse, and Man of Steel likely outgrosses it too. The Batman essentially, as of now, looks to be making the same exact profit BVS did based on budget and gross. So if the panic button was pushed after Batman v Superman, I don't know why it's not being pushed now. If this had been Batfleck's movie, everyone who hates Snyder would be saying The Batman was a massive disappointment for all these reasons, and that the universe needed to be rebooted. The hypocrisy is staggering.

Heck, IIRC in BvS ZS had Bruce develop Kryptonite weapons without any real intel that they'd be effective against Superman. All he really had to go on was that Lex Luthor was collecting the meteor fragments. Did Lex experiment on Zod's body and determine Kryptonite's negative effect and did Bruce hack into Lex's system and find that out? If so I must have nodded off during that part. We knew it was lethal, but how did Bruce know?
Which is the exact same thing that happened in Superman 1. Lex Hackman deduced that kryptonite would be lethal to Superman just by seeing a picture of it. Why did no critic ever complain about that, much less use it to claim the whole movie was a disaster? There are things you just have to accept. How exactly would someone accidentally figure out kryptonite was damaging to Superman in real life? It's an almost impossible plot point to overcome with perfect logic. The stuff would have to randomly land next to Superman, and someone would have to observe him going weak from it, and the news would have to get back to the villains. Or Superman would have to admit Jor-El told him about it to the public, which would make him look foolish. You have to accept some allowances in stuff that is still fundamentally founded on pulp fantasy storytelling. Ultimately, yes, we can assume Luthor experimented with fragments of it on the ship and Bruce discovered that intel (which we know Lex wanted him to find out about). The movie said fragments had been found before.
 
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So The Batman with China made 1.1 billion less than NWH without China and made less than WW1, BvS and Aquaman.

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Yeah, ending at $751M. Just slightly higher than 2016’s Suicide Squad at $746M (although waaaay higher than Gunn’s recent The Suicide Squad which only made a shocking $167M). With inflation (which has been rampant recently) Ayer’s Suicide Squad would have made $922M in today’s dollars.

The Batman made respectable money. So did MoS, BvS (which also made most of its initial production budget in product placement before it ever released), Suicide Squad, and Wonder Woman.
 
This guy, Robert Ager, does a wonderful job in expressing what I see about how BvS is perceived by viewers like myself versus the people that disdain it. It’s not about BvS specifically. Rather it inspects the viewer’s comfort level with deeper things going on in any film, i.e., intentional meta-content embedded in the film such as symbolic messages, social or philosophical commentary, questions the story raises, etc., that are manipulated by the filmmaker. It speaks more to how comfortable people are with narratives regarding the nature of reality—basically in terms of how well controlled versus uncontrolled their narrative is, and then as such how secure it makes them feel. But it is wonderfully grounded, and I love how he uses cinema as the centerpiece to basically reveal that.

I will add that it’s also possible for people to understand BvS… for the sake of argument as I do, let’s say… and still dislike it. What I see them say almost without fail is that yeah, I get all that (I’m perceptive and clever enough to see it) but I still feel BvS was poorly executed regardless. But imo that would actually be rather odd for reasons that will be obvious if you watch the video and have no quarrel with Ager’s basic premises.

 
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Roger Ebert's description here of viewing Watchmen twice are I think deeply relevant. BVS is a true mini-Watchmen. Snyder was not willing to dumb down Watchmen for the masses at all. And then I think Snyder and Terrio took very similar storytelling approaches with BVS. It takes multiple viewings to understand everything that's going on and what it all means. As we also just saw with Tenet, a lot of people are not willing to accept that it's okay for a movie to be hard to understand.

https://www.rogerebert.com/roger-eb...urie-im-just-a-puppet-who-can-see-the-strings

Not having read the graphic novel, I found my first viewing somewhat confusing. There were allusions and connections I suspected I was missing. I had to think back and take inventory of the characters. On the second viewing I was better prepared, and found the movie does make perfect sense on the narrative level.
 
As for the Martha scene, I thought from day one it was a brilliant idea and executed perfectly and beautifully.

I have seen a number of different takes on the Martha moment, and why it works for some people. (For those that dismiss it, they just see it as poor writing.) To my mind, there is a Rashomon-like quality to it. It is hard to imagine that this is not intentional on Snyder’s part. The dramatic crux of the film is a scene that viewers can have vastly different reactions to, and to read into in different ways… to identify with various elements in different ways… and yes, even to psychologically project into in different ways… It can for some be the most cringe moment ever in superhero film history, or for other maybe the best moment ever… Hmm! 🤔

As for Jeremy Irons saying BVS was muddled… I'm also reminded of Roger Ebert's review of Watchmen, where he said he wasn't sure if he understood all of it and was going to rewatch it. Then he wrote another article saying it made perfect sense on the rewatch. BVS is like that, a dense, complicated story that does not repetitively spoon feed you the same plot points over and over again until they're drilled into your head. Most importantly, like a lot of intellectual, mature movies, say, 2001, you do not NEED to understand the movie in one viewing, and the director doesn't necessarily WANT you to. Tenet got knocked for this too. I am so disappointed with modern audiences who think every movie should be perfectly understood after one viewing. :pfft:That's just a recipe to get more simplistic, dumbed-down movies for little minds.

Please watch the video I posted above by Rob Ager! You will love it!

(FYI, he’s really done an excellent job at peeling back layers to Kubrick’s 2001: A Space Odyssey and The Shining.)

… I think the critics did [BvS] dirty as hell, partly out of an agenda against Snyder. A lot of them called 300 "fascist," then shortly before BVS' release, Snyder said he wanted to adapt Ayn Rand's The Fountainhead. Some critics used that announcement as another way to pigeonhole him for years as some kind of, well, fascist again.

300 is a panel-for-panel adaptation of Frank Miller’s graphic novel. It was attacked by some critics as glorifying ”toxic masculinity“ in the same way that Sam Peckinpah‘s work was controversial in the 60s and 70s. And I think the irony that Snyder is working with there is that we are drawn to violence in films for reasons that it behooves us to understand. Like if violence and machismo has a “cool factor” for most viewers (as it evidently does) we should not shy away from it. Rather, by all means, let’s examine it. Sam Peckinpah‘s use of violence was at the time dubbed by one critic “beautiful bloodletting” in the artistic sense. And Snyder has a similar aesthetic of making it look utterly epic, astonishing, and heroic in 300. This actually fits into what he did with Watchmen, but that’s a whole other discussion.

Interesting that when Snyder does it it’s “toxic masculinity“ but when Peckinpah or Tarantino does it It’s high art. 🙄

Snyder’s fascination with The Fountainhead is almost surely not any sort of endorsement of Rand’s objectivism. Snyder has indicated that he’s interested most in the hero’s journey (the technical term is monomyth) of the independent thinker/artist, innovators/creatives in society. My guess is that with The Fountainhead he would like to crack open the mythic aspects of that in Rand’s story, applying ideas from Joseph Campbell.

Zack said in an interview last year that he identifies as a liberal politically, and votes for Democrats, lol. So much for him being an alt right fascist.

… Since when [in BvS] is Batman considered a "hero" by the press? Isn't the whole point that he's a vigilante outlaw who has to hide out from the law (not to be redundant)? Wouldn't his press coverage in Gotham be akin to JJJ's coverage of Spider-Man? And, besides, the whole press take on Batman in BVS is that he's got "a new kind of mean in him." Superman is trying to stop him based on his current behavior. What he did in the past isn't relevant at this point. You act like Clark would be able to find stories where Gotham's mayor is giving Batsy the key to the city or something.

Yeah, in BvS there’s no indication of any sort that the press has viewed Batman as a hero.

BVS was the SECOND movie in a shared universe, vs. Avengers, the 6th movie. I guess WB would've been happier with the DCEU if it had grossed $4.9 billion over its very first 6 movies, though, right? Oh, wait, it DID! And that was a billion more than the MCU made across its first 6 movies...

Agreed, the argument that BvS should have made as much as 2012’s Avengers is shaky at best.

I’ve said it before but it’s a minor miracle that WB allowed BvS to ever be made. At it’s heart, in it’s essence, BvS is something akin to an art house film! It’s more or less in the same vein as the sort of thing Stanley Kubrick or David Lynch would have done (not precisely of course, but in terms of overall aesthetic). Applying a Watchmen-style deconstruction to the first ever live action blockbuster team-up of those two superheroes is something that clearly the GA and critics were completely unprepared for. And the culture wasn‘t ready for it. That BvS made as much as it did is actually astonishing to me.

Yes, I do get that that the critics and GA wanted something more classical and traditional. Depending on whatever that might have been in another director’s hands, hey, who knows? I might even have liked that safer, more conventional approach. But I’m absolutely ecstatic at what I got from Snyder. I‘ve detailed the reasons for that personally elsewhere so I’ll leave it there.

… I'm guessing… someone high up at WB simply didn't like Snyder's take on the movies... The Batman barely outgrossed Suicide Squad, which didn't release in China. And inflation would push up SS's gross above it. The Batman failed to outgross Dark Knight, Dark Knight Rises, Batman v Superman, Wonder Woman, Aquaman and Joker. If you adjust for inflation, the numbers look worse, and Man of Steel likely outgrosses it too. The Batman essentially, as of now, looks to be making the same exact profit BVS did based on budget and gross. So if the panic button was pushed after Batman v Superman, I don't know why it's not being pushed now.

With BvS Zack Snyder cleverly subverted the entire studio system. And he continued to do it via social media after stepping away from JL. I think they wanted to send a message to other directors in Hollywood that if you go down this ‘maverick’ road, this will be your fate. Something along those lines, anyway.

Which is the exact same thing that happened in Superman 1. Lex Hackman deduced that kryptonite would be lethal to Superman just by seeing a picture of it. Why did no critic ever complain about that, much less use it to claim the whole movie was a disaster?

Movies from that era (basically anything prior to 2000’s X-Men) had obligatory camp elements because, after all, superheroes and the comic books they originated in are ultimately for children, the execs felt. They assumed that nostalgia for childhood experience of reading comics books and watching Saturday morning cartoons was required in order for adults to give themselves permission to watch such childish things. So the movies evoked that nostalgia with camp elements. Villains in particular were given a camp feel rather than eliciting any realistic sense of threat.
 
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Sorry, I'm really confused on your point-of-view here. Since when is Batman considered a "hero" by the press? Isn't the whole point that he's a vigilante outlaw who has to hide out from the law (not to be redundant)? Wouldn't his press coverage in Gotham be akin to JJJ's coverage of Spider-Man? And, besides, the whole press take on Batman in BVS is that he's got "a new kind of mean in him." Superman is trying to stop him based on his current behavior. What he did in the past isn't relevant at this point. You act like Clark would be able to find stories where Gotham's mayor is giving Batsy the key to the city or something.
I think that after 20 or so years of taking down criminals like Joker, Riddler, Penguin, etc., that (much like Spider-Man) a great deal of the local populace - including a portion of the press - would view Batman as more heroic than outlaw. And I think his past was quite relevant, especially when Clark's ignoring it isn't in keeping with the thoughtful character presented to us in MoS (not to mention his job as an investigative journalist). After all, that "light in the sky" that Superman tells him to ignore was being turned on by the damn police commissioner, a fact Superman likely knew. I just found Superman's motivation for going after Batman to be extremely flimsy & that Snyder, Terrio & Co. didn't sweat the details. You see it differently and that's fine, but no need to be flippant about it.
 
I think that after 20 or so years of taking down criminals like Joker, Riddler, Penguin, etc., that (much like Spider-Man) a great deal of the local populace - including a portion of the press - would view Batman as more heroic than outlaw. And I think his past was quite relevant, especially when Clark's ignoring it isn't in keeping with the thoughtful character presented to us in MoS (not to mention his job as an investigative journalist). After all, that "light in the sky" that Superman tells him to ignore was being turned on by the damn police commissioner, a fact Superman likely knew. I just found Superman's motivation for going after Batman to be extremely flimsy & that Snyder, Terrio & Co. didn't sweat the details. You see it differently and that's fine, but no need to be flippant about it.

There is something of a shorthand approach to Snyder's communication style that many find maddening!
 
There is something of a shorthand approach to Snyder's communication style that many find maddening!
I believe some of the bad decisions weren’t really his fault. I honestly believe bvs was a studio driven movie. The jl being teased, Wonder Woman and doomsday were all studio execs pushing to catch up to the mcu. He just did the best he could to make it work. I feel like he would have made a more self contained Superman vs Batman film with no other outside connections or final big ninja turtle cgi battle. So I don’t really blame him for bvs. That movie had studio interference written all over it.

man of steel had zero of that outside of a few winks to the fans . Mcu blows up and bvs was littered with sooooo many connections and other characters. Felt like iron man 2
 
I have seen a number of different takes on the Martha moment, and why it works for some people. (For those that dismiss it, they just see it as poor writing.)

They have this idea that, "so they became friends because their moms have the same name?" It's just completely overlooking all the deeper context and subtext around this. Trigger words are a real thing, words that trigger memories, flashbacks, feelings and ideas.

Snyder’s fascination with The Fountainhead is almost surely not any sort of endorsement of Rand’s objectivism. Snyder has indicated that he’s interested most in the hero’s journey (the technical term is monomyth) of the independent thinker/artist, innovators/creatives in society. My guess is that with The Fountainhead he would like to crack open the mythic aspects of that in Rand’s story, applying ideas from Joseph Campbell.

Zack said in an interview last year that he identifies as a liberal politically, and votes for Democrats, lol. So much for him being an alt right fascist.

Right, although I wouldn't completely dismiss Snyder's objectivist or libertarian leanings. This philosophy exists outside and apart from the traditional American constructs of the left or right. So it's a coin toss whoever those people end up voting for. The emphasis on the mantra of "freedom" in 300 dovetails with an affinity for this philosophy. Government oppression and overreach is a theme in all his DC movies. And he looks at the extreme opposite of that with the anarchy in his zombie movies and the vigilantism expressed by Rorschach and BVS Batman. He's very interested in the concept of freedom and exploring how it survives at both extremes of the spectrum, from fascism to anarchy.

I’ve said it before but it’s a minor miracle that WB allowed BvS to ever be made. At it’s heart, in it’s essence, BvS is something akin to an art house film! ... That BvS made as much as it did is actually astonishing to me.

With BvS Zack Snyder cleverly subverted the entire studio system. And he continued to do it via social media after stepping away from JL. I think they wanted to send a message to other directors in Hollywood that if you go down this ‘maverick’ road, this will be your fate. Something along those lines, anyway.

Right, I think Greg Silverman was running WB pictures at the time, and he had shepherded both 300 and the Nolan Batman films, before moving on to the DCEU. So it probably didn't seem un-commercial to make a darker, more violent movie. To get the deconstruction of the characters in there, that was a bit more surprising. Snyder has said he was shocked at how much freedom he was given by WB, and he clearly took full advantage of it.

But then Silverman was forced out within a year of BVS' release, and Snyder began dealing with all the clowns like Kevin Tsujihara. The best illustration of the insane hatred the new WB has for him is them literally filing a copyright claim when he posted the famous "heroes don't do that" picture of Batman and Catwoman. How petty do you have to be to go after this, as if you actually CAN erase something from the internet, and as if thousands of other people aren't posting similar things every day on Deviant Art or elsewhere? WB decided to go on record trying to erase a meme from the internet, which shows an irrational hatred, not a logically functioning mind.

https://bleedingcool.com/comics/dc-removes-zack-snyder-cut-of-batman-going-down-on-catwoman/
Movies from that era (basically anything prior to 2000’s X-Men) had obligatory camp elements because, after all, superheroes and the comic books they originated in are ultimately for children, the execs felt. They assumed that nostalgia for childhood experience of reading comics books and watching Saturday morning cartoons was required in order for adults to give themselves permission to watch such childish things. So the movies evoked that nostalgia with camp elements. Villains in particular were given a camp feel rather than eliciting any realistic sense of threat.
Yeah, although not so much nostalgia. Just think of the typical Ivy league stuffed shirt snob. They've been looking down on anything childish or nerdy all their adult lives. The only way they can imagine themselves enjoying these 'cartoon' movies is if the movies are constantly putting down, insulting and belittling the material with degrading jokes and self-parody. Then they can feel safe in their knowledge that they are above it all and superior to it as they watch it. They can say, "I don't REALLY think this is good, I'm enjoying making fun of how stupid it is!" And this goes for the business school executives at the studio as well as the film snobs from journalism school. So this is why you get Richard Lester Superman, Joel Schumacher Batman, and the rush on both Marvel and DC's part to turn every new superhero movie into a Guardians of the Galaxy clone. As soon as they saw one superhero movie get away with being a "wink, wink, we know all this stuff is childish nonsense," they just flocked right back to the place they were always more comfortable being, and stopped trying to understand the superhero genre as anything bigger or deeper than that.
 
Warner really effed up DC. I never liked Snyders universe, too damn dark. Now I'm not saying we needed primary colored, 1950's DC, but the only thing that should be dark in DC is Batman. Emo Superman never did it for me, and I hate that they wasted Cavil and never gave him another chance to play a normal, hero Superman with Man of Steel 2. With Cavil getting too old, Affleck gone and WW damaged from that last worthless movie, the powers that be need to do some serious re-casting for those roles. And no, don't make Superman black or g ay or anything but Superman. Same with Batman et al. You take the Flash movie that is already shot and refilm the end, when Flash returns from setting the multiverse right, he goes around to all the other members of the JL to see the new actors in those roles. Flash then turns to the camera, takes off his cowl and we see not Miller, but whoever they cast as the new Flash. Go from there. And give it to someone that will do the characters justice. Pun intended.
 
Well the Constantine HBO Max series is already ruined for me:

https://comicbookmovie.com/constant...ome-familiar-faces-for-hbo-max-series-a193270
It was officially announced late last year that a new HBO Max Constantine series from J.J. Abrams' Bad Robot production company was in-development, and we know have an intriguing update courtesy of some new character breakdowns.

We already know that the Scouser occultist will be reimagined for this show, with "a BIPOC actor in their late 20s" being sought for the lead. Based on these descriptions, it sounds like Johnny boy will be joined by a few familiar faces.

PAUL: "Non-Binary, Trans Male, 40-59; A nightclub owner and trafficker based in Soho. Paul is wry and sceptical, a wheeler-dealer with a twinkle in his eye. A crude comparison might be Grace Jones meets Lando Calrissian. Paul is the survivor of a youth of hardship and excess, but he has risen to the top in his world...and is now struggling to stay there. Supporting role, multiple seasons. Ethnicity: Black / African Descent."

THE GURKHA: "Male, 30-49. a Nepalese man in his 30s-40s. An enigmatic and intimidating figure, a seemingly unstoppable yet shrewd killing machine. Less because of his stature than his look, which should send chills down our spines. Taciturn and physically capable, this is a very action/stunt-heavy role with limited dialogue. This role is ex-Gurkha. Professional acting experience is not essential but martial arts experience is a must. Ethnicity: Asian."

AKARA: "Female, 8-11. A 10-year-old girl of Cambodian heritage. The emotional heart of our story. Akara suffers from a bodily affliction that makes her at times grotesque and unusually strong -- potentially very dangerous. Her arc is not unlike that of someone who has a terminal illness. At times a victim and a scared young girl, Akara finds her strength along the journey and discovers an unshakeable will within her. Professional acting experience is not essential but the role is demanding so we are looking for someone really talented. We can consider children slightly younger or older if they look 10 years old and have that level of maturity. Must have a good level of English. This role will also speak Khmer. Ethnicity: Asian."

PICH: "Male, 60-70. A man of Cambodian heritage. Akara’s stoical grandfather. Racked by guilt due to his granddaughter’s inherited affliction, but covers it with a subtle warmth and dry sense of humor. A survivor of the Killing Fields, he’s been through horrors we can’t imagine. Though he doesn’t look it, he is at times stunningly strong despite his age. Professional acting experience is not essential. Must have a good level of English. This role will also speak Khmer. Ethnicity: Asian."
 
WB has only one consistent plan for DC media in the post-Snyder era, and that is to "reimagine" almost every white, straight and/or male character to change one or more of those characteristics to something else. :cuckoo:
 
It's the J. J. Abrams method of selling a pitch to the studio execs. "I don't have any new ideas, a good story, or any exciting scenes to offer you, BUT I'll change the race, gender or sexual orientation of any character you've got to be more diverse, which will make your movie an automatic darling with the press and get you a lot of 'attaboys' on the cocktail party circuit!"
 
I’m in a minority on this but I actually really liked what Abrams did with his two Star Trek flicks. I have complaints about some aspects of Into Darkness but nothing that ruins my enjoyment. I enjoyed that cast and feel its a shame Beyond derailed that series.
 
I saw all 3 of the Treks in an IMAX fan event, having never seen anything Star Trek before, including those films. They're by far the best movies Abrams has made, especially Into Darkness. I can understand him getting the Star Wars job based on that, but, sadly, he completely dropped the ball there. Star Trek Beyond was just terrible...terrible CGI and a cringeworthy comedic approach. I think Damon Lindelof was probably the key to making those Star Trek movies work. I actually like Prometheus, World War Z and Tomorrowland too, so Lindelof seems pretty a-ok in my book. I never saw his TV work, but I'm definitely curious to watch the Watchmen series.

*singing to the tune of who needs the Kwik-E-Mart* Who watches the Watchmen? Not meeee!

Yet!

I also love that Snyder is bringing back Sofia Boutella in Rebel Moon, because she was the best thing in Beyond. And not bad in The Mummy or Atomic Blonde either.
 
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