@Triksy said:

Announced on December 10 and it will be in theaters before Ava DuVernay’s New Gods (announced in 2018).

The News

'Captain Marvel 2’ director Nia DaCosta is the first Black woman to helm a Marvel flick

DaCosta will only be the fourth female director of a Marvel feature—after Anna Boden [who helmed Captain Marvel], Kate Shortland [director of Black Widow] and Chloe Zhao [of Eternals].

Disney just announced a plethora of new things. WTH does WB have?

@Blue-Rose said:

Disney just announced a plethora of new things. WTH does WB have?

NY Times

Managing Movie Superheroes Is About to Get a Lot More Complicated

The most expensive DC movies (up to four a year, starting in 2022) are designed for release in theaters, Mr. Hamada said. Additional superhero films (two annually is the goal, perhaps focused on riskier characters like Batgirl and Static Shock) will arrive exclusively on HBO Max, the fledgling streaming service owned by WarnerMedia.

In addition, DC Films, which is part of Warner Bros., will work with filmmakers to develop movie offshoots — TV series that will run on HBO Max and interconnect with their big-screen endeavors.

To make all the story lines work, DC Films will introduce movie audiences to a comics concept known as the multiverse: parallel worlds where different versions of the same character exist simultaneously. Coming up, for instance, Warner Bros. will have two different film sagas involving Batman — played by two different actors — running at the same time.

Over the last decade, Warner Bros. has generated $8 billion in worldwide superhero ticket sales, including $36 million from “Wonder Woman 1984” over the weekend [Dec. 25-27]; Marvel has taken in $20.6 billion.

Disney has succeeded in part because its divisions collaborate in a way that siloed Warner Bros. never has.

“In the past, we were so secretive,” Mr. Hamada said. “It was shocking to me, for example, how few people at the company were actually allowed to read scripts for the movies we are making.”

More than ever, studios are leaning on pre-established characters and brands — especially if their corporate parents are building streaming services. HBO Max has 12.6 million subscriber activations. Netflix has 195 million. How do you delight Wall Street and quickly close the gap? You start by putting your superheroes to work.

This month [Dec. 2020], Disney announced 100 new movies and shows for the next few years, most of them headed directly to its Disney+ streaming service, which has 87 million subscribers. Marvel is chipping in 11 films and 11 television shows

Warner Bros. has at least as many comics-based movies in various stages of gestation, including a “Suicide Squad” sequel; “The Batman,” in which Robert Pattinson (“Twilight”) plays the Caped Crusader; and “Black Adam,”

Television spinoffs from “The Batman” and “The Suicide Squad” are headed to HBO Max. WarnerMedia’s traditional television division has roughly 25 additional live-action and animated superhero shows,

Sony Pictures Entertainment has its own superhero slate, with at least two more “Spider-Man” movies in the works; “Morbius,” starring Jared Leto as a pseudo-vampire; and a sequel to “Venom,”[…]Sony also has a suite of superhero TV shows headed for Amazon Prime Video.

And don’t forget Valiant Entertainment, which is turning comics properties such as “Harbinger,” about superpowered teenagers, into movies with partners like Paramount Pictures.

On Friday [12/25/2020], Warner Bros. released “Wonder Woman 1984” in North America, where it collected $16.7 million.[…] the studio simultaneously distributed the film in theaters and on HBO Max. Warner Bros. will release its entire 2021 slate in the same hybrid fashion.

WarnerMedia provided only vague information about the sequel’s performance on HBO Max,

So far, “Wonder Woman 1984” has collected $85 million worldwide, with $68.3 million coming from cinemas overseas, where HBO Max does not yet exist. The film, starring Gal Gadot and directed by Patty Jenkins, cost at least $200 million to make and an estimated $100 million to market worldwide. It received much weaker reviews than its series predecessor.

When Mr. Hamada arrived at DC Films in 2018, the division was in urgent need of stability.

Two terrifyingly expensive movies, “Batman v Superman: Dawn of Justice” (2016) and “Justice League” (2017), both directed by Zack Snyder, were deemed almost unwatchable by critics. Ben Affleck, who played Batman in the films, wanted to move on, complicating sequel plans. At the same time, filmmakers were developing other DC movies that had nothing to do with the existing story lines — and, in fact, contradicted some of them.

Mr. Hamada and Mr. Emmerich had two options: Figure out how to make the various story lines and character incarnations coexist or start over.

** The answer is the multiverse*. Boiled down, it means that some characters *(Wonder Woman as portrayed by Ms. Gadot, for instance) will continue their adventures on Earth 1, while new incarnations (Mr. Pattinson as “The Batman”) will populate Earth 2.**

“The Flash,” a film set for release in theaters in 2022, will link the two universes and feature two Batmans, with Mr. Affleck returning as one and Michael Keaton returning as the other. Mr. Keaton played Batman in 1989 and 1992.

To complicate matters further, HBO Max gave Mr. Snyder more than $70 million to recut his “Justice League” and expand it with new footage. Mr. Snyder and Warner Bros. had clashed over his original vision, which the studio deemed overly grim, resulting in reshoots handled by a different director,

At least for now, Mr. Snyder is not part of the new DC Films blueprint, with studio executives describing his HBO Max project as a storytelling cul-de-sac — a street that leads nowhere.

The multiverse concept has worked on television, but it is a risky strategy for big screens.[…] New actors can take over a character; James Bond is the best example. But multiple Gothams spinning in theaters?

https://www.nytimes.com/2020/12/27/business/media/dc-superheroes-movies.html

@Triksy said:

When Mr. Hamada arrived at DC Films in 2018, the division was in urgent need of stability.

Two terrifyingly expensive movies, “Batman v Superman: Dawn of Justice” (2016) and “Justice League” (2017), both directed by Zack Snyder, were deemed almost unwatchable by critics. Ben Affleck, who played Batman in the films, wanted to move on, complicating sequel plans. At the same time, filmmakers were developing other DC movies that had nothing to do with the existing story lines — and, in fact, contradicted some of them.

No continuity in the DCEU. PJ didn’t want ZS to ruin her WW84.

Cosmicbook

ZACK SNYDER REMOVED FROM 'WONDER WOMAN 1984' BY PATTY JENKINS

With Wonder Woman 1984 received so poorly by the critics and fans alike, the "blame game" will start to play out in the Hollywood trade sites such as Deadline and The Hollywood Reporter, but while those shill sites are still trying to spin things like WW84 is a success in an act of desperation - as is WB by announcing Wonder Woman 3 - the reviewers and fans know differently as the Wonder Woman 1984 Rotten Tomatoes score keeps dropping and the IMDb fan rating is at a DCEU low.

Now YouTuber Grace Randolph gives us some insider information about the problems surrounding Wonder Woman 1984 in that Patty Jenkins got rid of the Zack Snyder stunt and visual effect teams (Zack also didn't help out with the story), as well as screenwriter Allan Heinberg, from the first movie.

"On the first Wonder Woman, Patty Jenkins was working with Warner Bros. and Zack Snyder's people extensively, and from what I've heard, they didn't always see eye to eye, but that friction, I think created a really great, really unique and very well-balanced film, you know that people really enjoyed," explained Randolph. "Now on Wonder Woman 1984, even though the Snyders are still producers, Warner Bros. gave Patty Jenkins complete creative control as she's made very clear in her interviews before the Rotten Tomatoes score had dropped. That's another lesson to be learned here, don't give interviews or do a victory lap before you have your final Rotten Tomatoes score, because as I am going to show you, she just made a problem for herself even worse by some of the comments she has made in the last few weeks."

Randolph continued, "But she cleaned the house when she made the film to better create her vision. I've said, you know this movie has been coming out for two years now, I've made videos talking about how I felt these changes were a mistake. So two of the biggest ones that were really big mistakes was that she got rid of Zack Snyder's stunt team and his VFX people, and she also got rid of screenwriter Allan Heinberg. Oh, that was a huge mistake. Those two things were horrible."

"Instead, Jenkins doubled down on Geoff Johns, who to be fair I think has zeroed in on Patty Jenkins as his only remaining connection to DC films as everyone else abandoned him," said Randolph. "He got fired as being the head of DC films. Everyone else was like, 'Get out of here.' But he had already sunk his hooks into Patty Jenkins, and she felt that he was her safety net, erroneously, that he would be her safety net of making sure this stuff was comics accurate. She should have picked up the comics herself and she would have seen that they were really not following the source material, but I think if she felt Geoff Johns felt it was a good idea, it was a good idea... Ughh... That's incredible to me."

"Very few people knew how bad Geoff Johns was at the time that they really were making Wonder Woman 1984, and despite his extensive work at DC Comics, where, again to be fair, Geoff Johns was very successful as a comic book writer, that's how he got moved up to the movies. They were like, 'Oh, your so good at writing the comics, I'm sure you could help us with the movies,'" explained Randolph. "Oh, my god. Fast forward. He did not. In fact... I've talked about this many times, but I just have to add it in, he's a very selfish individual who only pushed his own comic book stories because you get more money if your stories sell and are based on the films. It was very bad... But just because you get some characters doesn't mean you get them all, and Geoff Johns has never written a Wonder Woman comic so it's incredible... I think this underlines how much Patty Jenkins knows about comic books..."

"Jenkins could have consulted some of the most popular Wonder Woman comic book writers of all time that are still around today... She had Allan Heinberg but she threw Alan Heinberg away. And as we are talking about the comics, as many of you have pointed out, Wonder Woman 1984 doesn't follow any of the source material. Its origin for Cheetah is totally off, and Maxwell Lord is basically a different character," said Randolph.

Regarding wanting a different ending on the first movie, Patty Jenkins has made it known in interviews that she originally wanted the first Wonder Woman movie to end without action, but that Warner Bros. made her change it; however, in an ironic twist, Jenkins got her wish for the ending in Wonder Woman 1984 which backfired completely, just as if it was granted by Pedro Pascal's Max Lord himself.

And regarding surrounding herself with "yes-men" (or people), checking the writers and producers on Wonder Woman 1984 compared to the first movie seems to reveal that Jenkins brought in her own people, including ten new producers (herself included and Gal Gadot), which judging from their credited work looks to be rather questionable as a lot of them seem new or don't have much producer credits, and the ones that do, the movies aren't that good. See the list below.

https://cosmicbook.news/zack-snyder-removed-wonder-woman-1984-patty-jenkins

@HCFan said:

Cosmicbook

ZACK SNYDER REMOVED FROM 'WONDER WOMAN 1984' BY PATTY JENKINS

Warner Bros. gave Patty Jenkins complete creative control as she's made very clear in her interviews before the Rotten Tomatoes score had dropped. That's another lesson to be learned here, don't give interviews or do a victory lap before you have your final Rotten Tomatoes score,

I guess giving directors complete creative control isn’t a good thing. It'll go to their heads. lol The same thing was said about ZS. He had complete creative control over his films and I think the DCEU. He got cocky and made the horrible BvS film. He got even cockier and made a JL film that couldn’t be released in theaters.

@Triksy said:

NY Times

Managing Movie Superheroes Is About to Get a Lot More Complicated

Mr. Hamada and Mr. Emmerich had two options: Figure out how to make the various story lines and character incarnations coexist or start over.

RR claims that Walter Hamada was the enabler in the JL-reshoot affair. If he was, then the investigation didn’t lead to anything, because WH is still working like nothing happened. WB even gave him more to do. He seems to be responsible for DC & WB’s 4-year multiverse plan.

The answer is the multiverse. Boiled down, it means that some characters (Wonder Woman as portrayed by Ms. Gadot, for instance) will continue their adventures on Earth 1, while new incarnations (Mr. Pattinson as “The Batman”) will populate Earth 2.

GJ wanted to erase ZS’ from JL and WW84 and he succeeded. WW84 ignores MOS and BvS. And if it exists on Earth-1, then the continuity problem will remain. Unless something happens in WW3 or Flash. So far, Flash will link Earth-1 with Earth-2.

@HCFan said:

Cosmicbook

ZACK SNYDER REMOVED FROM 'WONDER WOMAN 1984' BY PATTY JENKINS

That's another lesson to be learned here, don't give interviews or do a victory lap before you have your final Rotten Tomatoes score,

GG must be feeling really stupid. She jumped the gun with her WW84 is Certified Fresh IG post. What possessed her to post that so soon? And she didn’t deleted it.

@Triksy said:

@Blue-Rose said:

Disney just announced a plethora of new things. WTH does WB have?

NY Times

Managing Movie Superheroes Is About to Get a Lot More Complicated

The most expensive DC movies (up to four a year, starting in 2022) are designed for release in theaters, Mr. Hamada said. Additional superhero films (two annually is the goal, perhaps focused on riskier characters like Batgirl and Static Shock) will arrive exclusively on HBO Max, the fledgling streaming service owned by WarnerMedia.

NX jumped in and b*tch slapped D+ and HBOM with its list of 70 original films.

NX

2021 = a new movie EVERY WEEK on Netflix. Here's a sneak peek at 27 of the biggest, brightest, fastest, funniest, feel-good, feel-everything films and stars coming to Netflix this year.

https://twitter.com/NetflixFilm/status/1348993262669897731

@Blue-Rose said:

NX jumped in and b*tch slapped D+ and HBOM with its list of 70 original films.

NX

2021 = a new movie EVERY WEEK on Netflix. Here's a sneak peek at 27 of the biggest, brightest, fastest, funniest, feel-good, feel-everything films and stars coming to Netflix this year.

https://twitter.com/NetflixFilm/status/1348993262669897731

The streaming war sounds like a PC game. Odd move from HBOM.

The Verge

WarnerMedia extends its 20 percent discount on HBO Max subscriptions

A discount on HBO Max that was supposed to end today, January 15th, has been extended until March 1st, 2021. The fine print of the offer hasn’t changed: you can get six months of HBO Max for 20 percent off the normal total cost, which is usually $90 before tax. You’ll pay $70 with this deal (it’s like paying just under $12 per month instead of $15), but the catch is that you have to prepay in full and it’s nonrefundable.

This discount is open to both new and returning HBO Max subscribers, but it can’t be stacked with a free trial or any other promotion.

WarnerMedia kicked off this deal in early December 2020 on the heels of Warner Bros. announcing that its 2021 slate of films would debut on HBO Max alongside the theatrical releases and remain available to stream for 30 days. Wonder Woman 1984 was the first of its films to launch, and you have a few more weeks to catch that one before it’s a theater-exclusive.

https://www.theverge.com/good-deals/2021/1/15/22233281/warnermedia-hbo-max-subscription-six-month-offer-sale-deal

@Triksy said:

The streaming war sounds like a PC game.

Yes, but it's on.

Per Kantar’s Entertainment on Demand Service – 2020 had a total of 233 mil new streaming subscriptions.

NX is the largest streaming service (203 mil subscribers) in the market.

D+ is the second largest streaming service (86 mil subscribers) in the market.

The streaming services that earned the most new streaming subscribers in 2020:

1. 18.3% – D+
2. 17.0% – APV (Amazon Prime Video)
3. 13.2% – Hulu
4. 12.5% – NX
5. 12.0% – HBOM
6. 06.2% – AT+ (Apple TV+)

The streaming services that earned the most new streaming subscribers in 2020 Q4:

1. 19.2% – HBOM (hybrid release system helped draw in new subscribers)
2. 13,7% – Hulu
3. 13.0% – D+
4. 07.4% – NX (less than half of 2020 Q1 (16%); reasons: content slate, recent price increase, Cuties controversy)
5. 04.4% – Peacock
6. ??.?% – APV (remained consistent (with Q3? (16%)), mostly because of increase in online shopping, which is part of its Prime membership)

41% of new HBO Max subscribers said specific content was their key motivating factor for signing up, with “Wonder Woman 1984” the specific title for one in five of them.

29% of Americans are drawn to sign up for a subscription because of specific titles.

Most recommended shows on streaming in 2020:

• NX – “Ozark”
  
• NX – “Tiger King”
  
• NX – “The Queen’s Gambit”
  
• NX – “Cobra Kai”
  
• NX – “Stranger Things”
  
• NX – “The Crown”
  
• NX – “Schitt’s Creek” (S01-S06)
  

• NX – “Outlander” (only S01-S03)

• D+ – “The Mandalorian”

• APV – “The Boys”

• APV – “Schitt’s Creek” (S01-S06 available for digital purchase)

• APV – “Outlander” (S01-S04)

On several streaming services:

• “Outlander”
  
• “Schitt’s Creek”
  

Odd move from HBOM.

People are obviously bored, because they were anxiously awaiting AT&T’s 2020 Q4 report. They want to know if the hybrid release system is doing wonders for HBOM, which is struggling. You don’t have to give discount when you’re releasing 17 theatrical films on HBOM and theaters on the same day. You’re already losing millions. WW is doing badly in the BO ($148,220,000 worldwide). It slipped from #1 to #2 in its fourth weekend and from #2 to #3 in its fifth. The Croods, which was released on Nov. 25 in theaters and then on PVOD on Dec.18, was #2.

According to the Observer, HBO Max added 8.5 million activations to its subscription base in Q4 (October 2020-December 2020), raising its total activations to 17.1 million. This marks a 98.8% increase as compared to the 8.6 million the company had in Q3. HBO Max activations have doubled since then, coinciding with Max’s availability on Roku and Amazon Fire and the hybrid release of Wonder Woman 1984.

According to Deadline, HBOM costs $15 a month for direct retail subscribers. Existing HBO subscribers are entitled to activate their subscriptions at no extra cost. Also, no data on WW84’s performance was shared in the earnings release.

@Blue-Rose said:

@Triksy said:

NX is the largest streaming service (203 mil subscribers) in the market.

Keep in mind that NX has 73 mil American subscribers and is available in 190 countries.

D+ is the second largest streaming service (86 mil subscribers) in the market.

D+ doesn’t say how many American and international subscribers it has, but it is available in like 55 countries + the Caribbean.

People are obviously bored, because they were anxiously awaiting AT&T’s 2020 Q4 report.

I wasn’t anxious. Just a little bored.

They want to know if the hybrid release system is doing wonders for HBOM, which is struggling.

• 05/27 – 06/30 Q2 > 4.1 mil in 35 days of HBOM’s launch
  
• 07/01 – 09/31 Q3 > 4.5 mil in 92 days > total 8.6 mil
  
• 11/19 – WW84 hybrid announcement
  
• 12/03 – 2021 film slate hybrid announcement
  
• 10/01 – 12/08 > 4.0 mil in 69 days > total 12.6 mil
  
• 12/09 – 12/31 Q4 > 4.5 mil in 23 days > total 17.1 mil
  

Well?

The Wrap

‘Wonder Woman 1984’ Tops ‘Soul’ in Christmas Week Viewing, Nielsen Reports [12/21-12/27]

Upon its release on Christmas Day, “WW84” logged a whopping 2.3 billion minutes of viewing on Nielsen’s streaming charts, beating out fellow holiday release “Soul,” which logged around 1.6 billion minutes on Disney+. While the longer run time for “WW84” was a factor in this disparity — it is 50 minutes longer than the Pixar movie — strong demand for the first major superhero film since the rise of COVID-19 was also a factor, as seen by the fact that “WW84” was also the first film since the start of the pandemic to earn an opening weekend higher than $10 million at the domestic box office.

While “WW84”” and “Soul” led the charts, Netflix held seven of the top 10 most-watched titles for Christmas week, with “The Office” leading at No. 3 with 1.4 billion hours logged. The acclaimed NBC comedy was moved from Netflix this month after years on the streaming service

Netflix’s new limited series “Bridgerton” was in fourth with 1.2 billion minutes, while the George Clooney film “The Midnight Sky” was in fifth with 1.1 billion minutes. Sitting just outside the top 5 was Disney+’s “The Mandalorian,” which released its season finale on December 18 and logged 1.02 billion minutes during Christmas week.

https://www.thewrap.com/wonder-woman-1984-tops-soul-in-christmas-week-viewing-nielsen-reports/

@Blue-Rose said:

@Triksy said:

The streaming war sounds like a PC game.

Yes, but it's on.

Is all this competition a good thing? Studios can barely come up with fresh theatrical films. They keep remaking and rebooting or they make lousy sequels, prequels and spin-offs. lol

Pressure can make streaming services choose quantity over quality or quality over quantity. I think they’ll choose the former, but time will tell.

@Triksy said:

The Wrap

‘Wonder Woman 1984’ Tops ‘Soul’ in Christmas Week Viewing, Nielsen Reports [12/21-12/27]

Upon its release on Christmas Day, “WW84” logged a whopping 2.3 billion minutes of viewing on Nielsen’s streaming charts, beating out fellow holiday release “Soul,” which logged around 1.6 billion minutes on Disney+. While the longer run time for “WW84” was a factor in this disparity — it is 50 minutes longer than the Pixar movie

This article says that Nielsen doesn’t release HBOM’s numbers in its charts. The release of these stats might be motivated by WarnerMedia’s desire to, y’know, one-up Soul here. lol

WarnerMedia, HBOM and WB haven’t won anything. All Nielsen does is count the total amount of minutes a film or show was screened. The number doesn’t reflect the number of people who streamed the film or show. WW is 1.5x longer than Soul. More people watched and or rewatched Soul

Assume that every time that WW84 and Soul were screened they were screened in their entireness. That would mean that:

2.25 bil min / 151 min = 14,900,662x WW84 was screened
1.67 bil min / 101 min = 16,534,653x Soul was screened

Soul was screened 1,633,991 more times than WW84 and it wasn’t such a highly anticipated film as WW84. lol

@Triksy said:

The Wrap

‘Wonder Woman 1984’ Tops ‘Soul’ in Christmas Week Viewing, Nielsen Reports [12/21-12/27]

Upon its release on Christmas Day, “WW84” logged a whopping 2.3 billion minutes of viewing on Nielsen’s streaming charts, beating out fellow holiday release “Soul,” which logged around 1.6 billion minutes on Disney+. While the longer run time for “WW84” was a factor in this disparity — it is 50 minutes longer than the Pixar movie

That was repeated everywhere. If you want a certain info to become fact, keep repeating it.

GG and PJ tweeted about it too. PJ just thanked Nielsen. But GG posted a part of an article which is misleading. She still has the certified fresh post on her IG while WW84 is smelly rotten right now on RT. So she seems to like to mislead.

WarnerMedia, HBOM and WB haven’t won anything. All Nielsen does is count the total amount of minutes a film or show was screened. The number doesn’t reflect the number of people who streamed the film or show. WW is 1.5x longer than Soul. More people watched and or rewatched Soul

On March 18, ZS’ 240 min cut will be released. On March 19, D+ will release an ep of F&WS. It’s probably 60 min. I’ll bet you $10 that ZS will play dumb and thank Nielsen too if his cut is #1.

Assume that every time that WW84 and Soul were screened they were screened in their entireness. That would mean that:

2.25 bil min / 151 min = 14,900,662x WW84 was screened
1.67 bil min / 101 min = 16,534,653x Soul was screened

Some say that D+ has more subscribers than HBOM and that HBOM only has 17.1 mil subscribers. That’s true, but HBOM had 17.1 mil subscribers at the end of Q4 (12/31). WW84 was released 12/25. Nielsen’s chart was for the week of 12/21-12/27. It’s reasonable to assume that HBOM’s subscriber base in that week was close to 17.1 mil. The amount of times that Soul was screened doesn’t surpass the amount of HBOM subscribers or doesn’t surpass it by much. And the amount of times that HBOM subscribers screened WW84 is less than 17.1 mil.

Soul was screened 1,633,991 more times than WW84 and it wasn’t such a highly anticipated film as WW84. lol

Soul wasn’t released in theaters. So if a ticket cost $10, then that’s almost WW84’s opening weekend gross. It grossed $16.7 mil in its opening weekend.

@HCFan said:

Cosmicbook

ZACK SNYDER REMOVED FROM 'WONDER WOMAN 1984' BY PATTY JENKINS

Now YouTuber Grace Randolph gives us some insider information about the problems surrounding Wonder Woman 1984 in that Patty Jenkins got rid of the Zack Snyder stunt and visual effect teams (Zack also didn't help out with the story),

I must repeat this here too.

So ZS is supposed to be some sort of film genius? Sure, don't make me laugh.

"On the first Wonder Woman, Patty Jenkins was working with Warner Bros. and Zack Snyder's people extensively, and from what I've heard, they didn't always see eye to eye, but that friction, I think created a really great, really unique and very well-balanced film, you know that people really enjoyed," explained Randolp.

Funny. ZS couldn’t make his own DCEU films something that people “really enjoyed.” Did people really enjoy MOS and BvS? If they did, ZS would still be making DC films. I guess ZS surrounded himself with “yes-men” too when he made those crappy films.

BTW, PJ should be happy WW84 wasn't released solely in theaters. That abomination would have flopped for sure. So WW84 was saved by COVID-19.

@Triksy said:

NY Times

Managing Movie Superheroes Is About to Get a Lot More Complicated

At least for now, Mr. Snyder is not part of the new DC Films blueprint, with studio executives describing his HBO Max project as a storytelling cul-de-sac — a street that leads nowhere.

Cosmicbook

ZACK SNYDER RUMORED FOR WONDER WOMAN 3

With WW84 turning out to be such an epic disaster, it's now claimed that Zack Snyder might be brought in to save the franchise and direct Wonder Woman 3.

It's further claimed that with all the excitement and hype surrounding Zack Snyder's Justice League on HBO Max, that Zack might actually get to do his Justice League 2 and Justice League 3 sequels.

The info comes from YouTuber Grace Randolph.

"I had a WONDERFUL evening watching a certain movie. ALSO I’m hearing exciting things from multiple sources: - JL2 & 3 might now be possible - some suits want Zack Snyder to direct Wonder Woman 3, which I think is an excellent idea The hype the real... Don’t let up now," tweeted Randolph.

I agree with Grace in that it probably is a good idea for Zack Snyder to director Wonder Woman 3, as not only did Zack Snyder first cast Gal Gadot for his Batman vs. Superman, but Zack also came up with the story for the first Wonder Woman movie and had Allan Heinberg write the script who wrote Wonder Woman comic books […]

Randolph has actually claimed that director Patty Jenkins removed Zack Snyder and his VFX team from Wonder Woman 1984 because she butted heads with Snyder and his team over elements in the first movie and particularly the ending, as Jenkins didn't want a violent ending with lots of action, and ironically, Jenkins got her wish for WW84, which was a complete disaster.

While it's impossible to know how well WW84 would have performed at the box office, a big indication that WW84 is a huge failure comes from the fact that the Chinese rejected the film and that it bombed at the Chinese box office.

The Numbers

------- WW17 WW84 -------
$38,010,000 $18,400,000 – Opening Weekend
$89,100,000 $25,500,000 – Total

Box Office Mojo

------- WW17 WW84 -------
$37,676,314 $18,700,000 – Opening Weekend
$90,498,909 $25,000,000 – Total

Warner Bros. also never announced anything in regards to HBO Max subscriptions, as obviously if WW84 brought in a lot of subscribers, certainly, WB would use that to promote WW84 and HBO Max as well, but they didn't.

It's also claimed that the lackluster Coming to America 2 obliterated the Wonder Woman 1984 opening--another sign WW84 is a big failure and never would have made a billion dollars at the box office, which is how Jenkins and Gadot, a producer on the sequel, were paid, especially after word of mouth got around about how the flick is just so bad.

What also is particularly alarming is that the shill media gave WW84 a high batch of initial advanced reviews, which saw the flick's Rotten Tomatoes score skyrocket, but once the movie was able to be reviewed normally, the WW84 Rotten Tomatoes score plummeted to 59% Rotten; so taking away those first batch of fake reviews, the Rotten Tomatoes score should even be lower. Not good. By comparison, the first movie sits at 93% Fresh, again which was from a story by Snyder.

What's also interesting is that Jenkins made all her new deals (Star Wars, Cleopatra) prior to the release of WW84, which means she may have wanted to sign those deals before the flick's release because obviously if WW84 was received so poorly like how it was, those opportunities might have no longer been available following the film's release. It's also noteworthy that Jenkins opted to do movies outside of Warner Bros. first before a third Wonder Woman flick, if Jenkins does that at all (especially considering that her Star Wars movie will flop).

So the good news is that if Zack Snyder does return to direct Wonder Woman 3 and Justice League sequels, Snyder can bring back the Gal Gadot Wonder Woman everybody knows and loves and not the weirdo version that takes advantage of men and doesn't like action.

https://cosmicbook.news/zack-snyder-wonder-woman-3

@Triksy said:

@Triksy said:

NY Times

Managing Movie Superheroes Is About to Get a Lot More Complicated

At least for now, Mr. Snyder is not part of the new DC Films blueprint, with studio executives describing his HBO Max project as a storytelling cul-de-sac — a street that leads nowhere.

Cosmicbook

ZACK SNYDER RUMORED FOR WONDER WOMAN 3

With WW84 turning out to be such an epic disaster, it's now claimed that Zack Snyder might be brought in to save the franchise and direct Wonder Woman 3.

It's further claimed that with all the excitement and hype surrounding Zack Snyder's Justice League on HBO Max, that Zack might actually get to do his Justice League 2 and Justice League 3 sequels.

Small-Screen

WB Executives Are ‘Not Impressed’ With Zack Snyder’s Justice League

Now, this really shouldn’t come as a surprise since there’s been a pretty obvious rift between Snyder and the executives over at Warner Bros.

It’s no secret that they did not want this movie to ever see the light of day.

Even though Snyder revealed in a recent interview that the initial call that kickstarted the Snyder Cut of Justice League going into production came from Warner Bros’ boss, Toby Emmerich, the real push to get the film made came from AT&T, Warner Bros’ parent company.

https://www.small-screen.co.uk/wb-executives-are-not-impressed-with-zack-snyders-justice-league/

You don’t need any scooper to tell you that. It’s clear that ZSJL isn’t a priority for WB by the place they’ve positioned it on their launch schedule.

03/18 – ZSJL
03/19 – D+’s Falcon & The Winter Soldier (announced 12/10/2020)
03/31 – GvK (03/24 in Europe, India, Taiwan & 03/26 in China)
04/16 – Mortal Kombat

Subscribe to HBOM for one month and watch three new films. Which one made you subscribe? $15 for three films and everything else on HBOM from 03/18 to 04/18.