I guess they need to distance themselves from the whole "the Force is female" thing since that's a controversial statement now.
What's interesting is that the WW1984 story was more built around Maxwell Lord rather than Wonder Woman herself.
Jenkins could have just ported over WW Dead Earth or WW A League Of One and literally shifted the comic panels into storyboards and kept the same stories and found much more success that way. Just like Schumacher's Batman films could have just lifted some episodes from Batman The Animated Series/Paul Dini and done much better for themselves.
Part of the backlash, I kid you not, was that Jenkins was accused of making Lord too sympathetic. Do I think the general movie going audience has super hero fatigue? I'm not quite sure. I do believe however that it's just easier for creatives to make the films they really want to make. And not use our childhood/young adult nostalgia as proxy vehicles for their axe grinding.
As a showrunner and producer, you have to be cognizant of your competitive space around you. Axe grinding isn't edgy if 75 percent of the other people at your level are doing it as well. If there is one hard fast rule of people in powerful industry positions, it's that you need at least one person who can keep you honest and say the ugly things to you when you need to be told ugly things about your work. There's a reason Daniel Day Lewis attempts to hide into an everyday working class aesthetic in most of his daily life. If you can no longer touch grass with average people who are a paycheck and a half away from being homeless and living check to check, then you are losing touch with a majority of the movie going audience in the country.
Jenkins wasn't railroaded for selling out Wonder Woman for a sub character to take free shots at Pascal's real life "counterpart" She was jobbed for not going for the kill after doing so. No half measures.
The bizarre irony to all this is the institutional investors behind the financing for most of this are betting, knowing it's a bad bet and will lose money most of the time, from what really amounts to public pension money. Yes, from working class people.
I see it a bit differently. I don't think the "Force Is Female" issue is a problem on it's own merits. It's OK to tell whatever story you want, but as long as it's a good story, well made, honest with it's characters and respects the audience. The larger problem I see is the general overall industry disdain for the working class aesthetic. ( When a creative does the opposite, shows empathy for the rank and file, it shows, IMHO, why something like Whiplash works in the other direction)
You have to let the audience decide for itself. You have to respect them enough to allow them the breathing room and the practical boundaries to make their own choices.