All Things DCEU News, Discussion, and Speculation - Part 5

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they aren't really mutli-dimensional.. Why does Clark want to help people so much? We never find out. What are his strengths outside of his powers? Don't know.

Certainly Aquaman wasn't developed at all. Nor Cyborg. These characters may have the appearance of depth, but scratch the surface, and there isn't a lot to them.

The only character we've really gotten to know as a person was Wonder Woman. We learned about her naive point of view.. her desire to do good as she was born to do, and why she wants to. In the process, she learns and develops into a more complex person who wants to do good, but now recognizes that it's not obvious how to do so.

What was Superman's arc in either films? Basically... accepting that he needs to become Superman.... and why exactly he wants to do that, we don't know. We just have to believe he's a righteous dude, just because he is.
 
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As I’ve said quite a lot before, DC should just cede the cinema screens to Marvel (because they’ve comprehensively lost), and concentrate their efforts on owning the home TV streaming and broadcast space. It’s where the future is after all. Create a living, breathing multiverse on TV, and only go to the movies with the big team ups.

...but that takes vision... and WB have none.

Watch Disney and Marvel do it first again, instead.

Would have thought that a mainstream DC character be on HBO by now. Batman or the Batfamily characters would be perfect characters to adapt.

Could never really get into the CWverse, or Gotham, so far hope for the best on Titans but those costumes looking ehh


(not really interested in a Watchmen series BTW).
 
they aren't really mutli-dimensional.. Why does Clark want to help people so much? We never find out. What are his strengths outside of his powers? Don't know.

Certainly Aquaman wasn't developed at all. Nor Cyborg. These characters may have the appearance of depth, but scratch the surface, and there isn't a lot to them.

The only character we've really gotten to know as a person was Wonder Woman. We learned about her naive point of view.. her desire to do good as she was born to do. In the process, she learns and develops into a more complex person who wants to do good, but now recognizes that it's not obvious how to do so.

What was Superman's arc in either films? Basically... accepting that he needs to become Superman.... and why exactly he wants to do that, we don't know. We just have to believe he's a righteous dude, just because he is.

The best developed character is probably Wonder Woman, and that's because the bulk of it was handled in her own movie. I will cut Snyder some slack with the Justice League since its obvious a lot of stuff ended up on the cutting room floor, though.
 
Multidimensional characters who are barely likeable lol

Likability is subjective. Dimensionality is not. It is not up for debate that Snyder's Superman is a multidimensional character.

they aren't really mutli-dimensional.. Why does Clark want to help people so much? We never find out. What are his strengths outside of his powers? Don't know.

He tells Jonathan it's because he wants his life to have a purpose. When he was 13 years-old, Jonathan talked to Clark about discovering the reason why he was sent to Earth. When he was 17 years-old, Clark tells his father he doesn't want to be a farmer because he is looking for his purpose. When Clark discovers his Kryptonian heritage in Ellesmere, he begins to learn about his parents and the legacy they had in mind for their son. Jor-El and Lara had a natural born child to serve as a bridge between Krypton and Earth: to be a symbol of hope. Clark embraces this purpose; it aligns with his own. Throughout his life, he's been driven to help people.

Clark's strengths outside his powers? He's thoughtful and kind. He can easily blend in anywhere. He knows how to give people space to make up their own minds about him. He takes leaps of faith on people, and even if trust isn't immediately given, it is eventually earned. He saves and protects bullies who later go on to be friends and allies. He can get the poor, the overlooked, and the oppressed to talk to him. As a low level reporter, he has no problem standing up to his editor-in-chief. He is merciful and forgiving. He's self-sacrificing. He's a sentimental romantic who likes surprising his girlfriend. He loves his mother.

What was Superman's arc in either films? Basically... accepting that he needs to become Superman.... and why exactly he wants to do that, we don't know. We just have to believe he's a righteous dude, just because he is.

Man of Steel: to discover his purpose and become Superman; an identity crisis arc.
Batman v Superman: to overcome cynicism and rejection; an existential arc.
 
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The best developed character is probably Wonder Woman, and that's because the bulk of it was handled in her own movie. I will cut Snyder some slack with the Justice League since its obvious a lot of stuff ended up on the cutting room floor, though.

Frankly, I think Snyder gets a bad rap. Snyder was never able to make the movies he wanted to make. MOS probably came closest. You can't tell me that the decision to make a movie about Superman and Batman fighting wasn't a WB idea. Hiring Ben Affleck was a WB idea. Cancelling MOS 2 was a WB idea. Keeping the run time artificially short AT THE EDITING STAGE was a bad idea... Jesus guys, make the cuts on the script stage at least... At least look like you're actually trying.

Yeah, Snyder needs help developing his characters and creating real stakes.... but he had one hand tied behind his back. Working with WB on this franchise without having creative control was the worst thing that ever happened to Snyder's career. he may never make a big blockbuster again.
 
The best developed character is probably Wonder Woman, and that's because the bulk of it was handled in her own movie. I will cut Snyder some slack with the Justice League since its obvious a lot of stuff ended up on the cutting room floor, though.

What's different about Diana's development (not likability) in her movie versus Superman's is MoS? Aren't there a lot of parallels in their journeys?
 
Well, I think that handling character is more than the arc in the broad sense. But it can't be reduced to charisma or charm either.

It's a lot of subtle things. For example, in Wonder Woman, I love the scene on the boat, where Steve and Diana are just talking. This type of scene really gives the characters a chance to breathe, to get to know each other, and it's a chance for the audience to get to know them.

There are aspects of the scene that do contribute to the main arc, but the most important thing is simply adding depth to the relationships, and making the characters feel like more nuanced individuals.

I certainly think that Wonder Woman is a far more effective film in that regard, even if, on some level, the story is similar. Speaking in very broad terms, it's similar to other origin stories also.
 
Likability is subjective. Dimensionality is not. It is not up for debate that Snyder's Superman is a multidimensional character.



He tells Jonathan it's because he wants his life to have a purpose. When he was 13 years-old, Jonathan talked to Clark about discovering the reason why he was sent to Earth. When he was 17 years-old, Clark tells his father he doesn't want to be a farmer because he is looking for his purpose. When Clark discovers his Kryptonian heritage in Ellesmere, he begins to learn about his parents and the legacy they had in mind for their son. Jor-El and Lara had a natural born child to serve as a bridge between Krypton and Earth: to be a symbol of hope. Clark embraces this purpose; it aligns with his own. Throughout his life, he's been driven to help people.

I think it's very debatable. Why has Clark been driven to help people? Didn't he say that he wanted to hurt that kid so bad in MOS? He could have easily taken on the suit, and connected more with his alien routes in other ways. He broods through both movies about how he laments having to do the heroic thing... when he doesn't have to at all. He goes right from putting on the costume, to questioning whether or not he should. And then what happens in BvS? After all this effort in MOS, they erase it by essentially making him wonder if he shouldn't be Superman at all, and just live a human life. Basically, the biggest actual motivator for Superman seems to be Lois. Everything else rings hollow, because there's no set up to make it believable. Clark is not a character. He's just a stand in for all the things that Superman is supposed to be. It seems more like he's flying around and happens to have trouble find him.

Clark's strengths outside his powers? He's thoughtful and kind. He can easily blend in anywhere. He knows how to give people space to make up their own minds about him. He takes leaps of faith on people, and even if trust isn't immediately given, it is eventually earned. He saves and protects bullies who later go on to be friends and allies. He can get the poor, the overlooked, and the oppressed to talk to him. As a low level reporter, he has no problem standing up to his editor-in-chief. He is merciful and forgiving. He's self-sacrificing. He's a sentimental romantic who likes surprising his girlfriend. He loves his mother.

See, and none of that was earned, none of it. It's not development to plop a character on screen and just assert he's this great guy, who always does good, because that's just the way he is. Meanwhile... that's not Clark at all. Clark has difficulty fitting in; he feels foreign; out of place; without a home.. he's an adopted orphan. Why would Clark have faith in humanity or even like humanity? He was bullied as a child, afraid to show his true strength his whole life, and ridiculed throughout his young adulthood... when he gets angry, he passive aggressively lashes out by destroying property, because he's afraid to do it in public. But then... one day.. he puts on a costume and is now Earth's protector?

Meanwhile, let's not even talk about Superman's weaknesses. They never actually dwell on Superman's inability to fit in or his awkwardness; we're just supposed to kind of internalize it. In BvS, Superman is depicted as this all good, but somewhat confused guy. None of Clark's character flaws come home.. he has nothing really to focus on, except this existential dread that's caused by people and places outside of him. Superman is perfect, but the world is against him. That's basically how the movie presents it. It's not about whether he's ready (according to the movie), it's about whether the world is ready.


Man of Steel: to discover his purpose and become Superman; an identity crisis arc.
Batman v Superman: to overcome cynicism and rejection; an existential arc.

BvS... to which.. I guess, you'd have to say he fails at that, right? His real last words were something like "no one stays good in this world," so he bought into the cynicism. Why now exactly? Because Lex kidnapped his mother? How does that make everyone bad? So, despite the fact that we don't why he's just a naturally good hearted person, he actually denies that part of himself at the end of BvS. So, one step forward, one step back.
 
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It's a lot of subtle things. For example, in Wonder Woman, I love the scene on the boat, where Steve and Diana are just talking. This type of scene really gives the characters a chance to breathe, to get to know each other, and it's a chance for the audience to get to know them.

Isn't the scene mostly sexual innuendo and exposition about the plot? What do you learn about Steve and Diana that we didn't know before from prior scenes?
 
Isn't the scene mostly sexual innuendo and exposition about the plot? What do you learn about Steve and Diana that we didn't know before from prior scenes?

In terms of information? Nothing that I can recall.

But the scene is on the boat between Diana's world and mankind's world. So it's the one moment where neither character is really "at home," so to speak. It's about the subtle interplay between these two characters who are starting to like each other, but who don't know each other very well yet. Steve obviously feels a little intimidated and nervous, but he doesn't want to admit it.

Meanwhile the scene is a reminder that, while Diana's point of view is naive with respect to our world, that's because she is not a part of our world. She's quite knowledgeable and confident in other ways. The customs, habits and assumptions of mankind's world don't make a lot of sense, which Steve already acknowledges here, but it becomes a bigger problem later.

So, in essence, the film's main conflict is already apparent, which is not really with Ares, but with the violence and injustice of mankind's world. However, the redemptive aspects are also present, which are basically the capacity for love, compassion, intimacy, and understanding.

Now, that is a commentary. The scene mostly works because the character interactions feel natural, spontaneous, and there are genuinely funny moments. I seem to recall the director stating that parts of the scene were the result of improvisation.
 
I think it's very debatable. Why has Clark been driven to help people? Didn't he say that he wanted to hurt that kid so bad in MOS?

Yes, he said he wanted to do that, but he obviously chose not to do it. He shows restraint and mercy because he is compassionate and because he doesn't want his powers to be discovered. Afterward, we get to not only see the product of a previous act of mercy (Pete Ross whom Clark saved from the bus accident helps him up), we also get to hear him talk it over with Jonathan. Jonathan tells Clark about how someone with "good character" who can "change the world" is someone who does what Clark just did.

He could have easily taken on the suit, and connected more with his alien routes in other ways.

I don't see how or why that would have been necessary. Donner's first Superman film is universally lauded, yet his Superman simply is told by Jonathan that he was here for a reason that wasn't scoring touchdowns, he dies, Clark finds the green crystal that leads him to the fortress, the AI Jor-El there indoctrinates him for over a decade and he comes out Superman. MoS goes on a similar, yet richer path that is rooted more in Clark's agency as a character and shows us how he learns and grows.

He broods through both movies about how he laments having to do the heroic thing... when he doesn't have to at all.

He doesn't brood about having to do the heroic thing. He is passionate about helping people, but he broods about the best METHOD to do that. He doesn't feel like he has to help people, but he wants to and to do it in a way that best serves the greater good.

He goes right from putting on the costume, to questioning whether or not he should.

Not really. He puts on the costume after Jor-El talks about testing his limits. Practically, this type of testing first related to powers like flight, but more generally speaking making the decision about how to go public was the next test, which Zod's arrival precipitated. In that moment, Superman chooses to take a leap of faith on humanity and turn himself over to them instead of going directly to Zod or hiding. Once he's done that, he proudly explains his suit and mission to Lois and proceeds to embrace both for two years as an active superhero. He only questions himself briefly after the Capitol bombing because it's his existence and presence that is hurting people more than it is helping, based on what he was seeing. So, he pauses for a moment to consider his next move, goes to the mountaintop like Christ on Gethsemane and reaffirms his mission in spite of the "nightmares."

And then what happens in BvS? After all this effort in MOS, they erase it by essentially making him wonder if he shouldn't be Superman at all, and just live a human life. Basically, the biggest actual motivator for Superman seems to be Lois. Everything else rings hollow, because there's no set up to make it believable. Clark is not a character. He's just a stand in for all the things that Superman is supposed to be.

They make him wonder that because if Superman is meant to be a force for good, and the result of his presence is that it's hurting more than helping, he has to consider whether Superman, the public superhero, is serving its function. He reflects on this and chooses to be Superman anyway, not because of Lois, but because of what she represents: humanity's potential for hope. In Donner, Superman gives up being Superman to woo Lois, and Diana's heroic change of mind in WW is inspired by Steve whose words she parrots to Ares in their final confrontation. These characters are all characters with dimensions, ups and downs, and choices.

See, and none of that was earned, none of it. It's not development to plop a character on screen and just assert he's this great guy, who always does good, because that's just the way he is.

That's not exactly what happened, and this is no different than most other films of this nature. Not to mention the films never assert that this Superman "always" does good.

Meanwhile... that's not Clark at all. Clark has difficulty fitting in; he feels foreign; out of place; without a home.. he's an adopted orphan. Why would Clark have faith in humanity or even like humanity? He was bullied as a child, afraid to show his true strength his whole life, and ridiculed throughout his young adulthood... when he gets angry, he passive aggressively lashes out by destroying property, because he's afraid to do it in public. But then... one day.. he puts on a costume and is now Earth's protector?

Clark feels different than others but not entirely out of place or without a home. He had parents who adopted him even though he came from a strange ship and kept him even when his body worked differently than other kids' bodies did. When he felt scared about who he was and asked his dad if he could keep pretending to be his son, Jonathan comforts him and says that he doesn't have to pretend because he IS his son no matter where he came from or how difficult it can be. He destroyed property because the man was a bully and an abuser (Reeve Superman actually just hit a guy in Superman II who did roughly the same thing); besides, I believe something like that would be covered by insurance. He still doesn't hurt people.

You should know full well that there are steps between the bar confrontation and going public as Superman, so don't create a strawman. After that incident, Clark finds out more at Ellesmere about his Kryptonian heritage. He also meets Lois. Both experiences give him the knowledge, direction, and support he needs to more fully conceive of his future role. When Zod arrives, everything he's learned is put to the test. He has to take a leap of faith on humanity and on Zod, and choices like wearing the handcuffs to make the military feel more secure and telling them that he's not their enemy are echoes of the lessons Jonathan taught him, the aspirations Jor-El shared about being a source of hope, and the product of those he's saved: Lois and the series of people she researched to learn more about Clark's character and his own story that made her respect and trust him enough to put her life and career on the line.

Meanwhile, let's not even talk about Superman's weaknesses. They never actually dwell on Superman's inability to fit in or his awkwardness; we're just supposed to kind of internalize it.

Sure, they do. Each scene from the flashbacks highlights this. As a child, he feels strange and can't control his powers. We hear that his parents don't let him play with other kids (probably because his powers are fickle and they're afraid he'll hurt someone or expose something, like the Kents did on the TV show Smallville). As a teen, he's teased because he's quiet, and as an adult he gets flack from Ludlow at the bar for not fighting back. Once he is Superman, this repeats itself. So, first we get it in microcosm with family and acquaintances, then we get it in macrocosm with the world.

In BvS, Superman is depicted as this all good, but somewhat confused guy. None of Clark's character flaws come home.. he has nothing really to focus on, except this existential dread that's caused by people and places outside of him. Superman is perfect, but the world is against him. That's basically how the movie presents it. It's not about whether he's ready (according to the movie), it's about whether the world is ready.

Nope. Superman isn't presented as all good in BvS. The movie actually explicitly challenges that by asking if Superman can really exist in a world that expects someone of his power to be like a god and be omniscient and infallible when he isn't those things. The movie explores how both sides have to be ready, because "good is a conversation." Neither Superman nor the public are ready or perfect, and they won't always get it right (nightmares will happen, as the Lang farm story Jonathan tells implies), but they can agree to talk to each and try together.

BvS... to which.. I guess, you'd have to say he fails at that, right? His real last words were something like "no one stays good in this world," so he bought into the cynicism. Why now exactly? Because Lex kidnapped his mother? How does that make everyone bad? So, despite the fact that we don't why he's just a naturally good hearted person, he actually denies that part of himself at the end of BvS. So, one step forward, one step back.

No, I don't have to say that. Your entire above analysis is based on a total lack of knowledge of the chronology, plot, and dialogue of the film. The line, "No one stays good in this world," happens nearly 30 minutes before Superman's last words. They are not referencing anything close to the idea that everyone is bad. Superman is saying no one stays good (e.g. no one is perfect; no one is good all the time). Superman is referring to the fact that "good" isn't a status quo. The film itself argues, "good is a conversation." The idea is that good people may sometimes do bad things. For every character in the film, the message is that this movement away from good doesn't have to be damning. While one may not stay good, one can fall and rise to be good again. "Men are still good. We fight. We kill. We betray one another. But we can rebuild. We can do better. We will. We have to."

Superman's last words aren't "No one stays good in this world." His last words are: "This is my world. You are my world." At this point in the film, Superman has persevered in hope that there is good in mankind and good in this world worth fighting for. Despite Lex's ultimatum, Superman apologizes to Bruce and asks for his help. He tries several times to talk to him before choosing a nonlethal show of force: "If I wanted it, you would be dead already." Superman wants Bruce to know he could choose to be the monster Bruce believes him to be, but he's not. He's choosing mercy. Superman holds back until he ultimately has to fight for his life. He uses his last breaths to try one more time to break through to the good that is still left in Bruce. It works.

Superman then proceeds to pursue Lex who he saves from the fist of the abomination of Doomsday. He risks his life to take Doomsday into space and away from Earth where both are hit with a nuclear blast that could have killed them both. He sacrifices his life for a world that has rejected him because it is his world. Everytime Superman is confronted with hate, violence, or doubt, he pushes through it and chooses good. He is rewarded with Bruce's redemption and the world's acceptance.
 
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In terms of information? Nothing that I can recall.

But the scene is on the boat between Diana's world and mankind's world. So it's the one moment where neither character is really "at home," so to speak. It's about the subtle interplay between these two characters who are starting to like each other, but who don't know each other very well yet. Steve obviously feels a little intimidated and nervous, but he doesn't want to admit it.

Meanwhile the scene is a reminder that, while Diana's point of view is naive with respect to our world, that's because she is not a part of our world. She's quite knowledgeable and confident in other ways. The customs, habits and assumptions of mankind's world don't make a lot of sense, which Steve already acknowledges here, but it becomes a bigger problem later.

So, in essence, the film's main conflict is already apparent, which is not really with Ares, but with the violence and injustice of mankind's world. However, the redemptive aspects are also present, which are basically the capacity for love, compassion, intimacy, and understanding.

Now, that is a commentary. The scene mostly works because the character interactions feel natural, spontaneous, and there are genuinely funny moments. I seem to recall the director stating that parts of the scene were the result of improvisation.

:up: Well said. I wish we had more 'mundane' scenes, without the world ending, between Lois and Clark. More moments for them to bond like Diana and Steve had.
 
:up: Well said. I wish we had more 'mundane' scenes, without the world ending, between Lois and Clark. More moments for them to bond like Diana and Steve had.

I thought we more or less got that with the scene at the Kent farm where Lois talks about what she's learned about Clark from her investigation and his confession about what happened to his father. The world wasn't ending at this point. Later, at the military base, the same thing occurs. Sure, Zod was making a threat, but by turning himself over, the idea or hope was that things would be okay: he would leave with Zod and Earth would be spared. Lois and Clark's talk about his suit and the handcuffs and their later talk about how much Lois' faith meant to Clark, were moments of bonding and greater ease than other times in the movie. The "Welcome to the Planet" moment at the end kind of followed up on all of that.
 
In terms of information? Nothing that I can recall.

But the scene is on the boat between Diana's world and mankind's world. So it's the one moment where neither character is really "at home," so to speak. It's about the subtle interplay between these two characters who are starting to like each other, but who don't know each other very well yet. Steve obviously feels a little intimidated and nervous, but he doesn't want to admit it.

Meanwhile the scene is a reminder that, while Diana's point of view is naive with respect to our world, that's because she is not a part of our world. She's quite knowledgeable and confident in other ways. The customs, habits and assumptions of mankind's world don't make a lot of sense, which Steve already acknowledges here, but it becomes a bigger problem later.

So, in essence, the film's main conflict is already apparent, which is not really with Ares, but with the violence and injustice of mankind's world. However, the redemptive aspects are also present, which are basically the capacity for love, compassion, intimacy, and understanding.

Now, that is a commentary. The scene mostly works because the character interactions feel natural, spontaneous, and there are genuinely funny moments. I seem to recall the director stating that parts of the scene were the result of improvisation.

You've just laid out many of the reasons I love that scene in WW. Although not completely analogous, I found the scene between Father Leone and Clark in MoS ticked many of the same boxes in the sense that it is this somewhat liminal place in the film that underscores the film's central conflict. It's also a simple scene set in a simple place. The emotions seem true to each character and his place in the story. From this scene alone, I feel like I get a clearer picture of humanity, Smallville, and Clark. The only thing it's really missing is the light and fun quality found in the WW scene.
 
This is one of the worst takes on here. lol

Aquaman
Shazam
WW sequel

I'm good.

Oh no, I’m so crushed that the guy with the endless sexy girl gifs doesn’t agree with me :whatever:

At least make an argument as to why moving to concentrate on the emerging new paradigm is a bad idea. DC have been following Marvel like whipped curs for years. Time they were brave and attempted something new. The future is streaming. DC could and should take steps now to conquer that before Marvel do it before them (again).
 
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You've just laid out many of the reasons I love that scene in WW. Although not completely analogous, I found the scene between Father Leone and Clark in MoS ticked many of the same boxes in the sense that it is this somewhat liminal place in the film that underscores the film's central conflict. It's also a simple scene set in a simple place. The emotions seem true to each character and his place in the story. From this scene alone, I feel like I get a clearer picture of humanity, Smallville, and Clark. The only thing it's really missing is the light and fun quality found in the WW scene.

Yeah, although I haven't seen Man of Steel recently, I'm sure you're right that the scene does fill a similar role in the film. I would have to re-watch it to see how I feel about it, comparatively. These things also have a subjective element, so there is plenty of room for people to feel differently, or to connect with one thing more strongly than another.

I can only express why I connected much more strongly with the character material in WW than in MoS. One thing to note about the Wonder Woman film, to my mind, is that the 2nd act is really, really strong, particularly in the way that Diana's refusal to accept the norms and rules of mankind's world builds over time.

On the boat, it's just a playful thing. Banter with Steve. But, gradually, it becomes more and more serious. The uncomfortable clothes, and the need to disguise her identity. A mild scandal when she enters the deliberations over the armistice. A burst of righteous outrage when dealing with the generals.

All of that leading to the No Man's Land scene where she rejects Steve's insistence that nothing can be done and steps out into a hail of bullets to break the stalemate. All to save some people that know one else but her believes can be saved.

So it's not one isolated piece. I thought that the film as a whole built very strongly from the seemingly relaxed, playful character material to the more dramatic moments.
 
Oh no, I’m so crushed that the guy with the endless sexy girl gifs doesn’t agree with me :whatever:

At least make an argument as to why moving to concentrate on the emerging new paradigm is a bad idea. DC have been following Marvel like whipped curs for years. Time they were brave and attempted something new. The future is streaming. DC could and should take steps now to conquer that before Marvel do it before them (again).
DC/WB needs heavy restructuring, but I don't think it's anywhere near at the point where a full-on capitulation is in order.

The future is indeed streaming, though the theater experience won't likely be superseded anytime soon. I foresee a meld of the two, with the lines between film & tv blurring even further.

There's been small steps being made to have those two enterprises co-existing. HBO and Disney have both attempted limited cinematic runs for season premieres/finales. Universal at one point were planning on a Dark Tower universe running concurrently between theatrical releases and tv seasons. Unfortunately plans fell through, but I definitely think that's the way for these vast comic book lores to be done justice on a large scale. With WB having a strong position in cinema and on TV (via HBO), they'd do well to jump on this before another major studio beats them to the punch again.
 
DC/WB needs heavy restructuring, but I don't think it's anywhere near at the point where a full-on capitulation is in order.

The future is indeed streaming, though the theater experience won't likely be superseded anytime soon. I foresee a meld of the two, with the lines between film & tv blurring even further.

There's been small steps being made to have those two enterprises co-existing. HBO and Disney have both attempted limited cinematic runs for season premieres/finales. Universal at one point were planning on a Dark Tower universe running concurrently between theatrical releases and tv seasons. Unfortunately plans fell through, but I definitely think that's the way for these vast comic book lores to be done justice on a large scale. With WB having a strong position in cinema and on TV (via HBO), they'd do well to jump on this before another major studio beats them to the punch again.

The idea of a combination of the two is sound - I suggested elsewhere that keeping the solo stuff on the streaming platform, and the team up movies on the big screen would be a way to go. But the TV platform should be the main focus. Large budget TV shows of the scale of GoT and Westworld.

You’ll see from my sig that my dream would be for Amazon to buy DC, and follow that format... and while that’s sadly unlikely, I’d like to think someone somewhere at WB is forward thinking enough to see the potential in streaming going forward. You can bet someone at Marvel is thinking about it. Get ready for an X-men streaming universe on Disney’s platform...

And Amazon have bought the rights to the Dark Tower, so at least one of my beloved universes might get a decent adaptation on their platform!
 
Frankly, I think Snyder gets a bad rap. Snyder was never able to make the movies he wanted to make.

Eh I don't think I'd go that far.

Well, I think that handling character is more than the arc in the broad sense. But it can't be reduced to charisma or charm either.

It's a lot of subtle things. For example, in Wonder Woman, I love the scene on the boat, where Steve and Diana are just talking. This type of scene really gives the characters a chance to breathe, to get to know each other, and it's a chance for the audience to get to know them.

There are aspects of the scene that do contribute to the main arc, but the most important thing is simply adding depth to the relationships, and making the characters feel like more nuanced individuals.

I certainly think that Wonder Woman is a far more effective film in that regard, even if, on some level, the story is similar. Speaking in very broad terms, it's similar to other origin stories also.

Beat me to it. You also mention charisma, and that's another important factor. Gal as Diana is just infectious because the writing and direction allows her to be. Cavill has his hands tied behind his back most of the time, since the writing and direction for Superman called for a much more somber and stoic character, which I think is a mistake. I've seen Henry be perfectly charming in other films (I almost couldn't believe Man from U.N.C.L.E. starred the same actor), but his version of Superman hasn't really gotten a chance to show that off. We got hints of it in Justice League, but they went a little too far in the opposite direction that time. But even then many people seem to have responded better to that interpretation.

That's why if the rumors of a Shazam cameo are true, I hope they continue taking him in a lighter, more likable direction.
 
Oh no, I’m so crushed that the guy with the endless sexy girl gifs doesn’t agree with me :whatever:

At least make an argument as to why moving to concentrate on the emerging new paradigm is a bad idea. DC have been following Marvel like whipped curs for years. Time they were brave and attempted something new. The future is streaming. DC could and should take steps now to conquer that before Marvel do it before them (again).

Oh no, my sexy hnnngh avies are offended!

I have no issues with some films made for streaming, I do have issues with WB/DC pretty much giving up the cinema screens all together, that's all. That was a hyperbole reaction on your part.
 
As much as I hate to agree with BN, the idea that DC/WB should just stop making cinema films just because Marvel is better at it is a pretty bad idea. No offense.
 
Yeah. They've had ups and downs before. This'll pass eventually.
 
I mean Justice League was a flop but I mean how would you do it better to further build the DCEU in terms of world building
 
Frankly, I think Snyder gets a bad rap. Snyder was never able to make the movies he wanted to make. MOS probably came closest. You can't tell me that the decision to make a movie about Superman and Batman fighting wasn't a WB idea. Hiring Ben Affleck was a WB idea. Cancelling MOS 2 was a WB idea. Keeping the run time artificially short AT THE EDITING STAGE was a bad idea... Jesus guys, make the cuts on the script stage at least... At least look like you're actually trying.

Yeah, Snyder needs help developing his characters and creating real stakes.... but he had one hand tied behind his back. Working with WB on this franchise without having creative control was the worst thing that ever happened to Snyder's career. he may never make a big blockbuster again.

huh? MOS and BVS were all the movies he wanted to make. He wasn't forced into making them and had everything to do with how they turned out.
 
As much as I hate to agree with BN, the idea that DC/WB should just stop making cinema films just because Marvel is better at it is a pretty bad idea. No offense.

The idea that any studio that isn't making as much money as another studio is should stop making films is just...absurd.
 
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