Gal Gadot in ‘Wonder Woman 1984’. Photo: Warner Bros. Pictures.
Preview:
James Gunn says that DC Studios is developing a ‘Wonder Woman’ movie.
No writer has been announced yet.
The company already has a show about the character in the works.
As Superman prepares to return to theaters (albeit in the re-imagined form of David Corenswet) in next month’s eponymous movie, there has naturally been speculation about the rest of the Justice League.
And according to ‘Superman’ director James Gunn (who also happens to run DC Studios with co-chief Peter Safran), we might be seeing Diana Prince, AKA Wonder Woman, back on movie screens sooner than originally suspected.
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As part of a wide-ranging interview to promote ‘Superman’ with Entertainment Weekly, Gunn was asked about the future for Wonder Woman, and he replied that a movie featuring the character is “being written right now.”
When Gunn and Safran were announced as taking over running Warner Bros.’ DC arm (which would go on to be named DC Studios), there was much speculation about whether any of the actors from the Zack Snyder era, including Gadot and ‘Man of Steel’s Henry Cavill, would stay in their roles.
Despite comments from Gadot that she and Patty Jenkins (who had co-written and directed the previous two standalone Wonder Woman outings) were developing a third movie for the character, the DC Studios duo appeared to be steering more towards a complete refresh of the comic book universe.
Gunn and Safran’s initial outline showed they had other ideas for Diana. When they unveiled their first plans around another Wonder Woman project, ‘Paradise Lost.’
It’s a TV series set on Themyscira, the birthplace of Princess Diana, and described as ‘Game Of Thrones’ with the Amazons. It’s set before Diana is born.
Here’s what Gunn said about the show at the time:
“It’s an origin story of how this society of women came about. What does it mean? What are their politics like? What are their rules? Who’s in charge? What are the games that they play with each other to get to the top? I think it’s really exciting.”
And it would seem that, as with Superman, when and if Wonder Woman does return to big screens, she’ll be played by someone new.
Corenswet is our current Superman, and we’re still waiting to learn who will fill the other roles.
Batman, as played by Robert Pattinson in Matt Reeves’ ‘The Batman’ is staying around (a sequel, despite delays, is still being scripted), but he’s as part of the extended “Elseworlds” stories, which exist outside of the DC continuity.
Gunn and Safran’s original announcement also included mention that ‘Batman: The Brave And The Bold’, was in development, adapting Grant Morrison’s run comics run.
It features yet another Bruce Wayne who tries to keep his son, Damien Wayne, in line as Robin. It’s intended to launch the “Bat-family” into the movie universe, but has been hit with scripting issues and delays.
Finally, we have ‘Dynamic Duo’ — an animated feature about Batman’s Robin sidekicks Dick Grayson and Jason Todd — which is tentatively scheduled for June 2028.
When would a ‘Wonder Woman’ movie land on screens?
Since the movie appears to be at the early scripting stage, it’s impossible to speculate when it might head to theaters at this point.
Gal Gadot and Matthias Schoenaerts will star in ‘Ruin.’
It’s a thriller set in the immediate aftermath of World War II.
Niki Caro is directing.
Gal Gadot has not exactly had the best 2025 so far, at least cinematically –– she saw Disney’s live-action ‘Snow White,’ in which she played the Evil Queen, singularly fail to make much magic with critics, audiences or at the box office.
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So she’ll no doubt be hoping for better things from a new thriller, even if it promises some somber subject matter.
The new movie will see ‘Whale Rider’s Niki Caro back in the director’s chair following 2023’s Netflix action pic ‘The Mother,’ starring Jennifer Lopez. That said, the filmmaker is also attached to make an adaptation of Jess Walter’s novel ‘Beautiful Ruins.’
And the director has World War II form, since she also oversaw 2017 drama ‘The Zookeeper’s Wife,’ which saw Jessica Chastain as Antonina Zabinska, who had to save hundreds of people and animals during the Nazi invasion in Poland.
‘Ruin’ is aiming to have its cameras rolling early next year.
Matthias Schoenaerts in ‘The Regime.’ Photograph by Miya Mizuno/HBO.
‘Ruin’ is set in the rubble of Germany following World War II, with a newly released camp prisoner (Gadot) forming an alliance with a German soldier (Schoenaerts) as they both seek revenge on a Nazi Schutzstaffel (AKA the SS, a paramilitary organization loyal to Adolf Hitler) unit.
This latest offering topped the Black List in 2017, becoming the most-liked unproduced script according to that much-vaunted listing.
And together, they’re also developing the Amazon series featuring historic thief characters Butch Cassidy and the Sundance Kid (most famously brought to screens in the 1969 movie) that is set to star Glen Powell and Regé-Jean Page.
Caro serves as producer on the new movie alongside Marc Butan for MadRiver Pictures and Gadot and Jason Varsano for Pilot Wave Motion Pictures. Executive producing are Gillian Hormel for Ludascripts and Mary Aloe for Aloe Entertainment, in addition to the writers. Evan Powell will oversee the film for MadRiver.
As mentioned, Gadot was most recently seen opposite Rachel Zegler in ‘Snow White.’
The ‘Wonder Woman’ star is currently filming MGM Amazon Studios’ ‘The Runner’ and wrapped production last year on Julian Schnabel’s ‘Hand of Dante,’ the latter of which is mystery thriller about A handwritten manuscript of Dante Alighieri’s poem ‘The Divine Comedy’ making its way from a priest to a mob boss in New York City.
Also on the actor’s To Do list is a new take on Cleopatra, which has Kari Skogland aboard to direct, a biopic of real-life Polish nurse, social worker and resistance fighter Irena Sendler, who worked to battle the Nazis in World War II (lots of Nazi fighting in Gadot’s future, apparently) and a new take on 1955 Alfred Hitchcock classic ‘To Catch a Thief.’
Where else can we see Matthias Schoenaerts?
Matthias Schoenaerts in ‘The Regime.’ Photograph by Miya Mizuno/HBO.
And to keep his comicbook credentials burnished, the actor will also be back for Netflix sequel ‘The Old Guard 2’ (which stars Charlize Theron as an immortal warrior who leads a team of mercenaries) and Terrence Malick’s latest, ‘The Way of the Wind,’ an ambitious re-telling of stories from the life of Jesus.
Beyond those, Schoenaerts will appear in a documentary called ‘Hollywood Horsemen) which explores the career of horse trainer Rex Peterson and his journey from Nebraska to Hollywood.
This is a “wait and see” project, since while it already has the backing of sales company The Veterans, the rights will be up for grabs at this year’s Cannes Film Festival in hopes of snagging an international buyer.
UTA Independent Film Group, WME Independent and CAA Media Finance are handling U.S. rights.
This is a week of controversial movie releases: not only are we finally getting the Jonathan Majors-led ‘Magazine Dreams,’ but also Disney’s ‘Snow White,’ the delayed and divisive live-action remake of the Mouse House’s 1937 breakthrough animated classic, ‘Snow White and the Seven Dwarfs.’ And it feels like the turmoil surrounding the new version has been as many years in the making as the movie itself.
In a nutshell, ‘Snow White’ was attacked early on by the far right for the “woke” casting of a Latina actress, Rachel Zegler, in the title role, with Zegler later slammed again for comments in which she implied that the story would be more feminist in nature. Then actor Peter Dinklage took Disney to task for revisiting its “backward story” about dwarfs, with Disney responding in a way that made some suspect the studio was going to ditch the dwarfs completely. To top it all off, Zegler and Gadot – the latter an Israeli who served in that country’s military – found themselves on opposite sides over the Israel-Gaza conflict. Got all that?
Now that ‘Snow White’ has finally arrived, we can brush all the outrage aside and focus on the movie. And the bottom line is that it’s neither the best nor the worst of the long run of Disney live-action remakes that begin with ‘Cinderella’ and ‘The Jungle Book.’ It has its strengths (most particularly, its leading actor’s screen presence and charm) and weaknesses – including a padded-out story and the final version of the dwarfs (yes, they’re here) – making it a mixed bag that will probably enthrall little kids but might leave some adults squirming.
We all know the basic story of Snow White (Rachel Zegler) well enough: a princess in a peaceful, beautiful kingdom, her fortunes change drastically after the death of her parents. The throne goes to the king’s second wife, the Evil Queen (Gal Gadot), who is not only obsessed with power but also with being “the fairest of them all,” which she reassures herself about every day by asking her Magic Mirror if she is the fairest.
The cruel Queen not only rules the kingdom like a tyrant but also turns Snow White into a servant reduced to cleaning the castle floors, her previous life and her father’s assurance of a wonderful future fading into the past. And things take a turn for the worse when the Magic Mirror proclaims that the now grown-up Snow White is “the fairest of them all,” prompting the jealous Queen to order her Huntsman (Ansu Kabia) to take Snow White out to the forest and execute her.
The Huntsman can’t do it, allowing Snow White to escape deeper into the woods, where gentle animals – deer, birds, squirrels, and chipmunks – guide her to a house belonging to seven dwarfs who work in a nearby mine. Staying with them and becoming their friend, Snow White’s life is placed in danger again when the Queen finds out she’s alive and sends her minions to find her – a search complicated by a ragtag group of rebels, led by a young man named Jonathan (Andrew Burnap) who develops an increasing affection for Snow White.
The story is more or less the same as the 1937 original – until that last line above. Back in the day, Snow White was a standard Disney princess, waiting for a prince to dutifully come rescue her and sweep her off her feet. This time, the prince has been displaced by Jonathan, a vaguely roguish rebel leader, and Snow White is not nearly as interested in love and marriage as she is in reclaiming the kingdom for herself and her people.
Does this make ‘Snow White’ into the “woke” nightmare that its would-be critics were decrying for the past two years? Hardly. But the “resistance” subplot still falls flat, adding unnecessary filler to a story that took just 80 or so minutes in its original incarnation and now runs nearly two hours. The film’s third act is a succession of scenes that are literally stretched as far as they can go in a strained attempt to extend the movie’s running time. An impressive energy and vitality that marks the film’s first half is all but drained by the time we reach the end.
Luckily, however, there are still things to admire about this ‘Snow White.’ The production design, most of the visuals (especially the animals), and the costumes are all colorful and eye-catching. The animals themselves are adorable. And the film is bolstered considerably by the acting and singing of Zegler (‘West Side Story’), who has an inarguably strong screen presence in addition to a simply gorgeous voice.
(Center) Rachel Zegler as Snow White in ‘Snow White.’ Photo: Disney.
As for the dwarfs, created through motion capture and CG, they kind of resemble the originals yet fall short of being appealing to look at. Their faces flicker between striking flashes of realism and that “uncanny valley” look. In the end, the work done to bring them to life is to a certain degree impressive, but they can’t avoid being distractingly weird to watch as well.
The film also features a handful of new songs to go along with classics from the 1937 film like “Heigh-Ho” and “Whistle While You Work.” Opening number “Good Things Grow” and Zegler’s first solo tune, “Waiting on a Wish,” are standouts, but the rest of the new material, including Gadot’s “All is Fair” and two Zegler-Burnap duets, isn’t memorable at all. That’s kind of par for the rest of the movie, as the interesting bits fight for space with the contrived or unnecessary ones.
Much of the success of ‘Snow White’ rests on Rachel Zegler’s shoulders. She brings a truckload of warmth, charisma, and feeling to the role, and her soaring, crystalline voice only confirms why Steven Spielberg chose her to star in ‘West Side Story.’ Although saddled with a haircut that doesn’t do her any favors (they could have updated that too), she is still an expressive actor who oozes kindness and humanity, making her Snow White a sensation.
Gal Gadot camps it up as the Evil Queen, snarling in her jewel-crusted gowns and clearly having a hell of a time playing the villain after years as the saintly Wonder Woman. She doesn’t have a lot of depth (neither does the character, frankly), but she’s fun to watch – until she opens her mouth to sing. She’s not the worst example of an actor attempting to sing onscreen, but she doesn’t do her big spotlight number any favors, we’re sad to report. At her nasty best, though, she seems like the female version of a certain orange-hued world leader we’re all familiar with, right down to the malignant narcissism.
We don’t love Andrew Burnap’s singing voice either, and there’s not much else about him that stands out: he joins a long line of bland, evanescent leading men in Disney live-action films. The dwarfs, meanwhile, are performed by a combination of voice actors and motion capture artists, but while the names – Dopey, Bashful, Sneezy, Doc, Sleepy, Grumpy, and Happy – are ingrained in our memory, the characters themselves don’t distinguish themselves all that much. And with the addition of the resistance to the story, they don’t get much room to do so.
Any time Disney remakes one of its animation milestones in live action, the question of whether they should even do it always comes up. We’ll skip that debate for now. The company is doing it for the money, just like any other business, and nothing will stop that short of box office failure. Director Marc Webb (‘The Amazing Spider-Man’) isn’t reinventing the wheel, but at least gives ‘Snow White’ some style and elegance.
And while the film does rise up in certain ways and fall down in others, we’ll give it credit for two other reasons. First, seeing a diverse flock of faces in the cast – from the lead role to the supporting ensemble in the village – makes the film’s message of kindness and compassion hit a bit harder. Second, at least in its first half, ‘Snow White’ does project a kind of innocence and even joy that is bracing in these cynical times. We’re hard-pressed to imagine that anyone could get outraged by that.
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What is the plot of ‘Snow White’?
A princess (Rachel Zegler) is cast out of her magical kingdom by her wicked stepmother, the Evil Queen (Gal Gadot ), and finds herself in the company of seven dwarfs who help fight back to regain the land and free her people.
Yet the image comes with a drawback, as the studio has announced that the movie will now be released a year later than planned.
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What’s the story of ‘Snow White’?
‘Barbie’ Director/Writer Greta Gerwig attends a Photo Call at Bondi Beach in Sydney, Australia. Photo Credit: Caroline McCredie Photography.
Adapted from both the original fairytale and Disney’s acclaimed 1937 animated adaptation (which launched the studio’s reputation for cartoon movies), the new film will have a script from Greta Gerwig and Erin Cressida Wilson that eschews the usual romantic subplot in favor of Snow White becoming the leader her father encouraged her to be.
So, in this case, the “fairest of them all” means something different.
Who else is in ‘Snow White’?
Gal Gadot attends the Netflix’s Tudum: A Global Fan Event 2023 at Fundação Bienal de São Paulo on June 17, 2023 in Sao Paulo, Brazil. Photo by Alexandre Schneider/Getty Images for NETFLIX.
Disney has yet to confirm who is playing the dwarf characters, but we do know that the cast includes Gal Gadot as the Evil Queen, Ansu Kabia as the Huntsman and Andrew Burnap as a new character named Jonathan.
Following an outcry about the use of dwarf characters, not least of which was from Peter Dinklage (who said, “You’re still making that f*****g backwards story about seven dwarfs living in a cave together, what the f*** are you doing, man?” on Marc Maron’s ‘WTF’ Podcast), Disney responded with an official statement on the matter.
Here’s what the studio said:
“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community. We look forward to sharing more as the film heads into production after a lengthy development period.”
Now, of course, we can see for ourselves –– and honestly, they’re a little terrifying, walking the edge of the uncanny valley. Of course, movies have been in this situation before: there was the backlash over the initial look of ‘Sonic the Hedgehog,’ so the filmmakers have time to work on the characters before ‘Snow White’ is released.
And talking of the movie’s release…
When will I see ‘Snow White’ in theaters?
For those who had been eagerly awaiting more news about the live-action version of the story, there is a bad news side to the good news/bad news equation –– Disney has announced that the movie is going to be delayed, presumably a knock-on effect from the actors’ strike’s impact on the studio’s schedules.
Once targeted for a March 22nd, 2024, release, the movie will now be in theaters on March 21st, 2025. Does that make you grumpy?
Rachel Zegler and Gal GAdot at Disney D23 Expo 2022 Getty Images
On Netflix now, ‘Heart of Stone’ is an abject lesson in what happens when you really, really, urgently want to put the pieces of a brand-new franchise together, but like someone mis-reading an Ikea instruction booklet, end up with something that feels hastily assembled and shows the joins all over the place.
Rachel Stone (Gal Gadot) appears to be an inexperienced tech, part of an elite MI6 unit headed up by lead agent Parker (Jamie Dornan). What her team doesn’t know is that Stone actually works for the Charter — a covert peacekeeping organization, secret even from other spies, which uses cutting-edge technology to neutralize global threats.
Rachel has been trained to be the consummate professional: a phenomenal field agent who sticks to the mission, follows the numbers, and trusts no one.
When a routine mission is derailed by mysterious hacker Keya Dhawan (Alia Bhatt), Rachel’s two lives collide. As she races to protect the Charter (and its mysterious, powerful AI known as the Heart) and strives to beat the odds, her humanity might just be her biggest asset…
It has the Skydance logo before it. It features a stunt sequence involving a parachute and a motorcycle. And it’s excellent.
Unfortunately for the new espionage thriller starring Gal Gadot, it can only match ‘Mission: Impossible –– Dead Reckoning Part 1’ in the first two elements. For while Tom Cruise’s latest is a sleek, lovingly fashioned Aston Martin, ‘Heart of Stone’ is more like a Tesla; sure, it looks flashy, but under the hood there are all manner of problems.
And prime among them is the tired feeling that emanates from this new movie. One or two ideas hit (the Charter’s nifty, ‘Minority Report’ style AI is housed in a high-tech blimp 85,500 feet in the sky) but in general, there’s little to make genre fans’ hearts race.
There’s also the issue that star Gadot brings largely a monotone performance to Rachel Stone –– while the ‘Mission’ movies have proved that Cruise is great at playing Ethan Hunt, he’s also got the chops to bring a little something else. For Gadot, who is otherwise solid in the ‘Wonder Woman’ films and has done good work elsewhere, there’s the creeping feeling that this attempt to kickstart a franchise won’t function as well as, say the ‘Extraction’ movies have for Chris Hemsworth, another actor looking to prove he can sell tickets (or in this case, entice subscribers) outside of his superhero role.
Stone is part of The Charter, a super-secret organization made up of former intelligence officers who are sick of governments and their various established espionage/military teams not getting the job done.
Somewhat confusingly, despite possessing the incredible (at times, near magical) resource of the tech known as the Heart, the Charter chooses mostly to embed its officers within those teams, rather than just going about its business. There is an attempt to explain why, but it’s not very convincing. It’s just one thing among several that make little sense here.
The concept of competing espionage outfits is also not all that fresh –– ‘Alias’ was doing it back in 2001, and not to push the Ethan Hunt button yet again, but the ‘Mission: Impossible’ franchise also hinges on the idea of an outsider operation getting things done.
Despite writing credits for Greg Rucka (a comics veteran who most recently wrote the far more successful ‘The Old Guard’ for the streaming service) and ‘Hidden Figures’ Allison Schroeder, this more has the feel of something developed by feeding various other, better examples of the genre into an AI and having it generate something based on that. Which, given the McGuffin at the, um, heart of this story, we suppose feels appropriate.
And Tom Harper, who has mostly worked in UK TV drama (but has movie credits via the likes of horror ‘The Woman in Black 2: Angel of Death’ and adventurous semi-biopic ‘The Aeronauts‘) struggles at times here to bring the requisite energy.
All that said, there are pieces to recommend. Sophie Okonedo gives good snark as Nomad, the King of Hearts (the commander of the Charter unit of which Stone is a member, since the organization uses card suits to name its various international groups). And during a scene where she meets up with fellow “Kings” there’s some fun to be hard star-spotting via quick cameos, but it feels more like a gimmick than narrative necessity.
Bhatt, making her Hollywood debut after working in India (we can only imagine how tame the action in this must have seemed compared to ‘RRR’) is a likeable presence, bringing a little more energy to the role than the leading lady. Elsewhere, the likes of Dornan, Lusi, Ready and Schweighöfer do what they can with limited screentime, though Dornan fairs better thanks the movie’s one interesting plot turn.
Whether this does actually lead to more movies featuring Gadot’s Stone remains to be seen. Netflix has its own mysterious and slightly terrifying algorithm that drives the films and shows that make it before our eyes and prefers not to release official viewing figures.
So, it might all depend on whether ‘Heart of Stone’ sticks around on the company’s Top 10 or how urgently it sees future films based on this idea as a way of staying in business with Gadot. Let’s not forget that she also has ‘Red Notice’ (which also boasts the star power of Dwayne Johnson and Ryan Reynolds) to keep them both going, a proven result even if itself was hardly the best thing any of them have appeared in.
Zachary Levi attends the World Premiere of ‘Shazam! Fury of the Gods’ in Westwood, CA. Photo: Eric Charbonneau.
Zachary Levi opens up about the superhero film ‘Shazam! Fury of the Gods’ and his future with the franchise. In an interview with The FilmUp Podcast, the actor acknowledges the criticism from movie critics, “I don’t know what the future holds for it all because, unfortunately, the second movie was not well received,” Levi says of the low critics’ score, “The audience score is still quite good, but the critics’ score was very oddly and perplexingly low, and people were insanely unkind.”
Currently, ‘Shazam! Fury of the Gods’ stands at 49% from critics on Rotten Tomoates and an audience score of 86%. For comparison, the 2019 ‘Shazam!’ is certified Fresh on the aggregator site, with a 90% critics’ score and 82% audience score. The film became available on digital less than a month after its theatrical release, grossing $133 million worldwide. The production budget for ‘ Shazam! Fury of the Gods’ was $125 million.
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The actor eludes to reasons why the sequel did not perform as well as its predecessor:
“I think even just the world, from the first movie to the second movie, the world has shifted so much. Social media has shifted so much. Hate, online hate and haters and trolls, and factions and all that has just gotten more galvanized in its toxicity. I think there are people who genuinely, unfortunately, want to destroy certain projects because they don’t like them, or they don’t like me, or they don’t like other people involved in them or whatever.”
Levi questions whether or not he’ll be able to return as Shazam in the new DCU but remains hopeful, “I have no idea where we go from here. I just hope that or believe that history will show… it will be one of those things that people will go back, people will watch ‘Fury of the Gods’ on home streaming or on a plane or whatever, and it will be this movie that they heard so much s**t about and then they will be like, ‘Well, wait a minute.’ ”
Zachary Levi is not the only actor with an uncertain future in the DCU. Fellow actors who held titular characters such as Henry Cavill, Gal Gadot, and Dwayne Johnson are unlikely to return to reprise their roles. While certain superheroes have made cameo appearances in recent films such as ‘Shazam! Fury of the Gods’ and ‘The Flash’ it doesn’t cement their return to the DCU since its revamp. We have yet to see a brand-new movie released under the reign of James Gunn and Peter Safran, other than what has been laid out in the initial roadmap promising ‘Superman: Legacy,’ ‘Supergirl: Woman of Tomorrow,’ ‘Brave and the Bold,’ ‘Swamp Thing,’ and ‘The Authority.’
The three-part original documentary series ‘Superpowered: The DC Story’ premieres July 20th on Max.
Premiering on Max July 20th is the three-part original documentary series ‘Superpowered: The DC Story,’ which examines the history and impact of DC Comics. The series was co-directed by Academy Award-nominated filmmaker Leslie Iwerks (‘100 Years of Warner Bros.’) and Peabody Award-winning filmmaker Mark Catalena (‘Johnny Carson: King of Late Night‘), and was narrated by Rosario Dawson (‘Ahsoka’).
What is ‘Superpowered: The DC Story’ about?
‘Superpowered: The DC Story’ takes an unprecedented look at the enduring and influential legacy of DC, allowing fans to rediscover the universe of characters, as well as the iconic comic book company’s origins, its evolution and its nearly nine-decade cultural impact across every artistic medium. The series features a wealth of interviews with the industry’s most prolific creators and the actors who bring their iconic characters from the page to the screen.
Gal Gadot in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
Moviefone recently had the pleasure of speaking with co-directors Leslie Iwerks and Mark Catalena about their work on ‘Superpowered: The DC Story,’ making it different from past documentaries about DC, focusing on the good and the bad, what they learned that surprised them, the unique structure of the series, fitting the 90-year history into three episodes, assembling the interview and archival footage, and the importance of diversity in comics.
(Left) Co-directors Leslie Iwerks and (Right) co-director Mark Catalena of the three-part original documentary series ‘Superpowered: The DC Story’ which premieres July 20th on Max.
Moviefone: To begin with, there have been several documentaries about the history of DC Comics in the past, how did you approach making this series different from previous DC documentaries?
Leslie Iwerks: So I think when Warner Bros. came to me to do the DC series and also the ‘100 Years of Warner Brothers,’ they were really inspired by ‘The Imagineering Story’ at Disney for Disney+, and said, “We’d love to have you do an approach for DC that’s very similar to what you did for Disney, in that it was warts and all. Tell the story as is. Be honest. Come at it with your own take on DC through time and where the pitfalls were and where the highs were.” We basically had various layers that we weaved in, which was the artist’s story and the personal stories of the artists, but then also the business story, the competition story, the character story, and then the culture story of what’s going on out in the culture that’s influencing these comics and vice versa. So we had to weave those layers like an onion together. Then early on we talked with HBO, and it was important to them and us to basically not tell this in a totally straight chronological way, but be able to flash forward and flashback so that we could remind the audience that this is present, that these characters still live and breathe today in a different form, but this is the beginning of it. So Mark worked with our graphic designer who I thought did a really great take of this time scroller through the years to sort of remind us of, hey, we’re going back. It wasn’t always like this, or here it is today. So it was challenging to always know which one do we flash forward to and why? What’s the theme there and what’s the point of it? It was like a big puzzle.
Mark Catalena: I just wanted to add one thing to what you were saying earlier, Leslie. I think the other organizing principle for us, is that we wanted to come at it from an inspiration point of view. These are people, these are creators, from their point of view, that at some point during their life, they had a revelation, looking at a DC comic, or watching a cartoon. Something hit them hard to make them want to dedicate their lives to working in this industry and then filter that back out through their experience to inspire the next generation. So I think we wanted to really come at it from, why are these people passionate? How are they passionate? Trying to find the emotion that hit them and then dedicated their lives moving forward. We wanted to make it accessible to people. There are a lot of casual fans out there who know this more through maybe cartoons or movies, but it was important to us to say, look, that might be the entry point, but we want to show you where this all came from. We wanted to have them appreciate the source material, like 90 years of comic books. So I think that was one of our main goals, to approach it that way.
Jim Lee in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
MF: It seems like Warner Bros. gave you a lot of freedom to tell the story that you wanted and to be able to include the bad with the good. Was there anything that you discovered that you decided not to include for any reason?
LI: That’s a good question. I think, for the most part, we felt like what we included was the most relevant to the overall story we were trying to tell. Whatever subject we do, whether it be Disney and Imagineering or Warner Brothers and DC, you look at the scope of these histories and you go, there’s so many little dramas and infighting that can happen within an artist or a studio or anything. But you have to pick and choose what are the ones that really are going to matter in the scheme of the entire scope of the storytelling, the years, the span of the years? What are the things that are the big turning points versus just little infighting. Those are the things that the media might like to cover. But for something that’s a real timestamp of history and a piece that’s going to sit on a server on a streaming service for a long time, we want to make sure that we’re really hitting the most important things.
MC: I think the other thing is we wanted to not have story points feel repetitive. A creator and a corporate entity, their relationship and the creative tension, that’s a never ending battle, through any creative industry. So I feel like we’re like, let’s pick the one that’s emblematic of that. Let’s focus on it but we don’t have to hit it every single time it happens because it still happens. I don’t think that’s anything new, and I don’t think that’s necessarily something the audience wants to just keep seeing. It would get boring after a while. So I think we approached every story beat in that way of like, when did it really matter? Let’s focus on that one specific, and that’s emblematic of all of the circumstances, all the occurrences.
Dwayne Johnson in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
MF: The series includes low points in DC history like the poor treatment of Superman creators Jerry Siegel and Joe Shuster, lack of diversity and representation, and the financial failures of movies like ‘Justice League’ and ‘Black Adam.’ Was there anything that the studio asked you to not include?
MC: Look, I think there are always sensitivities around companies’ histories. I think we just wanted to approach it in a very matter of fact way and not editorialize, and basically just tell the truth, tell it neutrally and move on. I think the larger point that we kept going back to was, look, each one of these story points could have been its own documentary. It’s huge, it’s deep, it’s rabbit holes that you can fall into. We wanted to stay on the level of the scope. I think when you look at it as a whole, there’s only so much time you can really bring things up. So we’re constantly trying to think, okay, what does that add to the larger story? We would’ve liked to include a lot of stuff, but things just naturally fall away when you keep your eye on that big picture.
MF: With over 90-years of comics, movies and TV shows, there’s a lot of history to fit in and it seemed like almost everything DC has ever produced was represented in the series. Can you talk about the challenges of trying to fit everything in?
LI: I think it’s hard to acknowledge everything, and I don’t think you ever can. I think what we try to do is put things in there that are quick, perhaps, if we can’t go into coverage on them. We at least acknowledge them briefly, or they’re in the background or they’re in a montage or something, so that we can at least say we’ve acknowledged it, but we don’t necessarily have to stop, otherwise it would just become a long, rambling story. So again, it is just choosing your battles.
Mark Waid in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
MF: As a comic book fan, I know legendary names like Alex Ross, Mark Waid, and Keith Giffen, but a lot of people watching the series may not. Can you talk about the importance of highlighting the comic book creators with this series?
MC: I agree. They’re not household names. I think a large part of it though was, it’s more about what do they represent, and it’s more of their emotion and passion towards this subject that we wanted to come through. We didn’t necessarily plan to say, you need to know Mark Waid‘s entire resume. That doesn’t matter. We want to know, how does he emotionally feel about Superman, how did it affect him, and then how did he then want to affect others? It was more thematic, I think. I mean, look, talking to some of these folks, it was amazing for me. I’m a lifelong DC fan. But just hearing, I think their passion and their approach, like John Ridley and the Gene Luen Yang, there’s such depth there that was really eye-opening for us. That’s what we wanted to come through. Of course, Jenette Kahn and Karen Berger were huge gets for us. We are really happy to have them. Again, they might not be household names, but what they’ve done, if you look at what the comic industry is today, they started it. I mean, they really steered this entire industry in a direction of, we’re going to take something that was considered disposable kids’ stuff, and we’re going to turn it into legit literature and art that can be appreciated by anybody.
LI: (Jennette Kahn and Karen Berger) created graphic novels. Just the way in which people read and consume this art, the storytelling became more sophisticated, the artwork became more sophisticated. The worlds became different. They sometimes became darker, they became more marginalized characters, you name it. I felt like in that era, they were really pushing the envelope to bring new audiences in, but also relate to people that could relate to this very specific sort of world, if that makes sense.
MF: Can you talk about going through the Warner Bros. and DC Comics archives and finding the interviews and footage that you needed for this series?
LI: I think that a big shout-out goes to the archive team and Warner Bros. who would help us to put together material or find material that hadn’t been seen before. But it was Mark and the producers working in tandem every single day to find these gems that hadn’t been seen before. A lot of stuff were old interviews that had to get transcribed and then we would go through and say, what’s the most unique bite that no one’s ever heard before? That’s what we do in the beginning, is just really going through the transcripts and these old archival things and trying to find the gems. Again, the gift of working with Warner Brothers and DC was, they were all equally excited as we were to get as much new cool stuff that no one’s ever seen before.
Robert Pattinson in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
MF: The series even includes footage of Bob Kane admitting that he co-created Batman with Bill Finger, something that Kane had long denied and took sole credit for. Where did you find that?
MC: Yeah, I agree. When we saw it, we were like, wait, what? Oh my gosh, this is amazing, and kind of refutes the common knowledge in the world that he never acknowledged Bill. This is amazing. So yeah, there were things like that. Even just the old Joe Kubert, Julius Schwartz and Carmine Infantino interviews that we found. Apparently some guy at a Comic-Con just took them in a room and started filming them. It was amazing because we don’t really hear their voices anymore. So finding that stuff was really cool. I would just say also, with all the photos of the old DC offices and how they worked, that was really fun.
LI: I think also for us, we really want to bring you into that world as tangibly as we can. We want you to see the space. We want you to feel what it was like in that office. We want you to know that it was hot and it was tough, and they were struggling, and it was a man’s world, and there was one woman in there. You know what I mean? It’s like, we want you to feel that. So the more we can find those photos and bring that world to you, the better. The other thing too is, a lot of those old archival interviews obviously don’t look good, so that’s always a struggle. You don’t want to have a really low res, blurry image. So we worked with the graphic team to put them into kind of a comic book frame so that it looked more interesting. So I think that’s something Mark and I, and everyone are always trying to innovate documentaries, are always trying to say, how can we innovate graphically? How can we take the documentary form and push the boundaries and tell every new story differently with pacing, with graphics, with music, with shape, and with structure? We’re excited about always trying to be innovative.
MC: Humor as well, and look, this is a colorful subject. We want it to be fun. We want it to be fast and fun and humorous at times. But that’s kind of our approach.
James Gunn in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
MF: There have been a lot of changes recently at DC Studios with James Gunn and Peter Safran taking over. Gunn appears in the series but there is no mention of future projects like ‘Superman: Legacy.’ At what point did you have to lock the series and were unable to include any new announcements?
MC: I think it was August or September of last year. So it was before the big news of James Gunn taking over and everything. But Jim Lee loved that. He was like, look, we’ve done this. It’s a nice chapter break. Now, there’s going to be a new regime. It’s going to be a new path going forward. That’s a story that’s yet to be told. So yeah, he didn’t mind. I think it is exciting, though, that it’s not a stagnant thing. They’re always trying to innovate. They’re always trying to push, and yeah, it’s a moving target.
MF: DC Comics is more than just Superman, Batman and Wonder Woman, it has also included Vertigo, WildStorm, and Milestone comics. Can you talk about highlighting all of those companies in this series, in particular Milestone?
LI: I think that it was very important and timely for Milestone to have a resurgence when it did. When you look back at the original Milestone, that was the biggest comic book sales by Black creators ever. There’s obviously an opportunity to reinvent that, to bring that back, and especially at a time when Black people’s stories needed to be told, and needed to be heard. I think that the more we bring these stories out and make them honest, truthful and relevant to our own lives, then that’s how these comic books formed from the beginning. It’s in the DNA of DC Comics. So I think that it’s exciting to see these different variations, so to speak, of storylines and characters continue to be successful.
Denis Cowan in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
MF: Leslie, were you a comic book fan before making this series and what did you learn about DC Comics that surprised you?
LI: I didn’t necessarily grow up as a DC aficionado. But I think that to me, I grew up around artists. My family, my grandfather and father are both artists. And myself, I’m an artist. So to me, reading these was inspiring, just from the artistic and story standpoint. But I never really followed the story arcs of these characters necessarily. I did grow up on the ‘Wonder Woman’ Show, though, as silly as that sounds and dates me a bit. But I love the ‘Wonder Woman’ TV show, and I watched the ‘Batman’ show. Those are sort of the campy era when I was a kid watching those. I think it was just, to me, again, the stories that I love to tell are stories about innovators, bold business people and creators who want to push the envelope in the genre that they’re working in. In this case, DC was pushing the envelope and completely reinventing itself time and time again, and finding new ways to keep their characters relevant and fresh. To me, that’s a great business story. It’s a great creative story, and those are the kinds of stories that I like to tell.
Lynda Carter in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
MF: Finally, Mark, as a comic book fan what did you learn about DC Comics that surprised you, and who is your favorite DC character?
MC: Well, I guess what I didn’t know is that it was surprising to me that, for so long, that the creators weren’t respected. There was a stigma against it. There was a shame associated with it. Then on the fan side, of course, there’s a stigma of having liked these characters. I mean, there’s growing up with, you’re a nerd if you like this stuff and whatever. Because I don’t think people understand now what that was like. It was very much in the shadows. It was very much a secret, and now it’s mainstream. It’s out in the open. So that was a big eyeopener for me, just to hear it from the creators themselves. My favorite character? There’s so many. I don’t want to be boring and say Batman, but I would think that’s probably the one. It’s just something about the fact that this is a real person. We always were like, why do these things endure, right? Why have there been thousands of stories about this one character over 85 years? It’s like, well, he doesn’t necessarily have a superpower. He’s a human. I feel like it’s the humanity that people connect with. So I think, above all else, that’s why these things touch so many people. But man, I have tons of favorites.
Margot Robbie in ‘Superpowered: The DC Story.’ Photograph by Courtesy of Max/Warner Bros.
Chris Hemsworth attends the Netflix’s Tudum: A Global Fan Event 2023 at Fundação Bienal de São Paulo on June 17, 2023 in Sao Paulo, Brazil. Photo by Alexandre Schneider/Getty Images for NETFLIX.
After a couple of years of having stars show up in front of greenscreens to be composited into a fancy virtual stage to promote their latest wares, streaming giant Netflix was able to go live for the third TUDUM event: think Comic-Con meets a shareholder meeting, all entirely built around the company’s big hit shows, big name stars and those it has coming in the future.
Held this year in Brazil, the event was more raucous than ever as a parade of famous faces and some rising stars took to the stage (or sent videos) to raise fans’ anticipation for what they can expect in the coming months.
If you didn’t watch it, here’s a handy guide to our picks of what you missed…
Given that ‘Extraction 2’ only just hit Netflix’s servers this past weekend, don’t go thinking that the new movie will be here particularly soon.
But star Chris Hemsworth (who plays veteran soldier Tyler Rake) and director Sam Hargrave arrived to thank fans for their support of the movies so far and promise more to come.
At least, in Hemsworth’s words, they’re talking about a third entry. And if we know anything about Tyler Rake, it’s that he’s exceedingly hard to kill.
With ‘Squid Game’ proving to be one of the company’s biggest hits, Netflix is naturally getting as much as it can out of the Korean series.
Yet because creator Hwang Dong-hyuk takes his time making the show, there was no release date to tease just yet. Work is under way on Season 2, though, and Netflix was able to announce that stars Lee Jung-jae, Lee Byung-hun, Wi Ha-jun, and Gong Yoo will all be returning for the second installment, joining new cast members Yim Si-wan, Kang Ha-neul, Park Sung-hoon, and Yang Dong-geun.
There was more to show from the company’s reality game show based on the series. Yes, for those applied to compete in non-lethal versions of ‘Squid Game’s trials, the first teaser for ‘Squid Game: The Challenge’ ran as part of the event. The show will premiere this coming November.
‘All the Light We Cannot See’
(L to R) Taz Skylar, Iñaki Godoy, Emily Rudd, Mackenyu and Jacob Romero Gibson attend the Netflix’s Tudum: A Global Fan Event 2023 at Fundação Bienal de São Paulo on June 17, 2023 in Sao Paulo, Brazil. Photo by Alexandre Schneider/Getty Images for NETFLIX.
Upcoming from prolific producer/director Shawn Levy (who lists ‘Stranger Things’ among the projects he works on) is a new limited series called ‘All the Light We Cannot See’.
Based on Anthony Doerr’s Pulitzer Prize–winning novel of the same name, the limited series takes viewers back in time to German-occupied Paris. The coming-of-age story follows French teenager Marie-Laure (Aria Mia Loberti) who is blind and connects with Werner (Louis Hofmann), a German orphan, through radio frequencies. As Marie-Laure and her father (Mark Ruffalo) flee Paris to her uncle’s (Hugh Laurie) house in Saint-Malo, the two strangers’ paths intertwine.
Arnold Schwarzenegger, already anointed as Netflix’s Chief Action Officer, is sticking around beyond the first season of spy comedy series ‘FUBAR’ and the ‘Arnold’ documentary.
Schwarzenegger was at the TUDUM event in person to explain what he loves about Brazil and to thank those present and audiences around the world for watching ‘FUBAR’. Despite less-than-glowing reviews, the show will be back for a second season.
The action icon also debuted a blooper reel from the first season:
One of the most anticipated new offerings is the adaptation of Cixin Liu’s best-selling sci-fi trilogy of novels. And it boasts two showrunners who know a thing or two about bringing big books to small screens –– ‘Game of Thrones’ veterans David Benioff and DB Weiss.
Liu’s tomes tell a sprawling story about alien contact and humanity’s shifting fortunes, but here’s your basic synopsis:
“A young woman’s fateful decision in 1960s China reverberates across space and time to a group of brilliant scientists in the present day. As the laws of nature unravel before their eyes, five former colleagues reunite to confront the greatest threat in humanity’s history.”
Nothing to do with James Cameron’s giant movie franchise, the manga and anime versions of ‘Avatar’ are themselves hugely popular.
Set in an Asiatic, war-torn world where certain people can “bend” one of the four classical elements: water, earth, fire, or air. Aang (Gordon Cormier) is the “Avatar”, the only one capable of bending all the elements, and is destined to bring peace to the world from the Fire Nation.
With his new companions Katara (Kiawentiio Tarbell) and Sokka (Ian Ousley), Aang sets out to master the elements while being pursued by the exiled Fire Nation prince Zuko (Daniel Dae Kim), who seeks to regain his honor by capturing the Avatar.
The show’s stars unveiled an exciting first look at their faithfully realized characters, which you can see below.
Also on the anime adaptation front is the live-action take on the best-selling title of all time — ‘One Piece’, written and illustrated by Eiichiro Oda.
The story follows the adventures of Monkey D. Luffy (Iñaki Godoy) and his crew, the Straw Hat Pirates, where he explores the Grand Line in search of the mythical treasure known as the “One Piece” in order to become the next King of the Pirates.
Mackenyu, Emily Rudd, Jacob Romero Gibson and Taz Skylar make up the rest of his crew for the show, which is being brought to life this time by showrunners Steven Maeda and Matt Owens.
‘One Piece’ will kick off on Netflix on 31 August, and you can find the teaser below…
Zack Snyder offers a look behind the scenes of ‘Rebel Moon’
The Netflix’s Tudum: A Global Fan Event 2023 at Fundação Bienal de São Paulo on June 17, 2023 in Sao Paulo, Brazil. Photo by Alexandre Schneider/Getty Images for NETFLIX.
‘Rebel Moon’ focuses on the agricultural moon of Veldt, part of a sprawling galaxy of planets overseen by the ferocious, all-powerful Imperium which oversees the other planets from its home base of Mother World.
When Imperium forces expand out to Veldt’s local area, they target the moon as a potentially rich source of food and new recruits. But the natives, none too happy that their already struggling existence is being threatened, turns to a newcomer, Kora (Sofia Boutella) for help.
The isolated woman, who has her own past with the Imperium, knows that it would be foolish to try and negotiate a better deal with the powerful government, so she rounds up some fighters who could be of use against the might of the enemy. But keeping alliances together won’t be quite so easy…
Snyder’s big attempt to launch a franchise on the scale of ‘Star Wars’, has already put out some imagery and the director, alongside producer/wife Deborah Snyder and star Sofia Boutella, brought some behind-the-scenes footage.
‘Stranger Things’ is no stranger –– pun intended –– to 1980s movie and TV icons and it is adding at least one more in the shape of ‘Terminator’ veteran Linda Hamilton.
She appeared via video to reveal her casting on the show but wouldn’t be drawn on who she might be playing. And given the writers’ strike, we’re going to have to wait longer than planned for the fifth and final season of the show to arrive.
It’s not just Chris Hemsworth that can bring the action goods. Gal Gadot has plenty of that sphere under her belt –– she has an iconic superhero character too and has appeared in the likes of ‘Red Notice’ and the ‘Fast & Furious’ franchise.
She’s back on Netflix with new action thriller ‘Heart of Stone’, which will see her playing Rachel Stone, an operative for a secretive organization known as The Charter, who step in when governments can’t handle tough situations. It’s a lonely life for the agents who serve as the knife’s edge of the operation. And things just get tougher when a hacker gets control of The Heart, a powerful tech system that helps the Charter with its missions. Compromised and alone, Stone will have to stop the new threat.
There was, of course, a lot more to see, and you can see it at Netflix’s TUDUM site.
Gal Gadot attends the Netflix’s Tudum: A Global Fan Event 2023 at Fundação Bienal de São Paulo on June 17, 2023 in Sao Paulo, Brazil. Photo by Alexandre Schneider/Getty Images for NETFLIX.
It’s never easy to be the head of a studio division––your every decision is scrutinized at a microscopic level, and you’re often held responsible if your movies tank. And if you’re already a recognizable person already in popular cultural, such as James Gunn, that is magnified even more.
So, when he’s not busy working with fellow incoming DC Studios boss Peter Safran to figure out a workable slate of movies for Warner Bros. moving forward, Gunn is on social media, engaging with fans, and in some cases that means quashing rumors.
Answering a commentator on Instagram who expressed concern over his “booting” of Henry Cavill and ‘Wonder Woman’ star Gal Gadot from the DC Universe, the filmmaker replied, “I’m not sure where you’re getting that we ‘booted’ Gal,” Gunn replied.
The question, of course, rose from word that the DC team (though not directly Gunn and Safran, despite their being involved in the decision-making process) had rejected director Patty Jenkins’ plan for the next ‘Wonder Woman’ movie, and effectively closed the door on at least her continued involvement. Gadot’s status starring as the character remains in limbo.
Henry Cavill Officially Returning as Superman.
Henry Cavill, of course, had announced his return as Superman, only for Gunn to reveal that, while a new Superman movie was in the works, Cavill would not star.
Gunn has, of course, come in for a fair amount of criticism, but hit Twitter in recent days for a thread in which he hit back. “One of the things Peter & I were aware of when we took the job as heads of DC Studios was a certain minority of people online that could be, well, uproarious & unkind, to say the least,” he wrote. “Our choices for the DCU are based upon what we believe is best for the story & best for the DC characters who have been around for nearly 85 years. Perhaps these choices are great, perhaps not, but they are made with sincere hearts & integrity & always with the story in mind. No one loves to be harassed or called names––but to be frank, we’ve been through significantly worse.”
Gunn continued, “Disrespectful outcry will never, ever affect our actions. We were aware there would be a period of turbulence when we took this gig, & we knew we would sometimes have to make difficult & not-so-obvious choices, especially in the wake of the fractious nature of what came before us. But this means little to us in comparison to our jobs as artists & custodians in helping to create a wide & wonderful future for DC.”
Beyond the news on a movie about a younger Superman, we don’t yet know much about Safran and Gunn’s plans for the future of DC. But they’re set to start announcing their slate early next year, and you know the internet will be ready with opinions.
(L to R) Director James Gunn and actress Jennifer Holland at the World Premiere of ‘Thor: Ragnarok.’
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He might have used it as an ongoing refrain when ‘Black Adam’ was on its way and in theaters, but the hierarchy of power in the DC Universe has not exactly changed in Dwayne Johnson’s favor.
The Rock hit social media to admit that: “James Gunn and I connected, and Black Adam will not be in their first chapter of storytelling. However, DC and Seven Bucks have agreed to continue exploring the most valuable ways Black Adam can be utilized in future DC multiverse chapters.”
Which is not to say that there will never be another ‘Black Adam’ movie, but it won’t happen any time soon.
For his part, Gunn commented, “Love @TheRock & I’m always excited to see what he & Seven Bucks do next. Can’t wait to collaborate soon.” Again, which might be a diplomatic way to say that Black Adam is effectively dead at DC for now.
It’s somewhat of a blow for Johnson, who had championed making ‘Black Adam’ for nearly two decades, only for it to somewhat underperform at the box office. There had been recent reports that the movie would be headed for profitability, but they appeared to be largely placed by the superstar’s production company and new reporting from The Hollywood Reporter casts a less favorable light on the financials.
Though the movie apparently had a $190 million budget, that ballooned to $260 million after test screenings generated 20 days of additional photography and tinkering (Johnson had mentioned reshoots back before the movie came out). That also included adding Henry Cavill in a late-hour end credits cameo as Superman, though we all know that he’s not going to be in the DCU going forward.
And with more than $100 million in promotional costs, a $391 million global haul does not a happy studio accounting department make.
Johnson had been talking up development of a ‘Black Adam’ sequel and potential sequel for Aldis Hodge’s Hawkman character, but all that seems unlikely, at least for the foreseeable future.
Proof, then, that there are some things even the Rock can’t shoulder.
But what of the other side of the ‘Shazam’ spectrum (since Black Adam was created as villain for that character)?
With Cavill out and Gal Gadot and other actors’ status in DC’s future in a state of limbo, fans reached out to ‘Shazam!’s Zachary Levi, worried that he’s similarly headed for the super-unemployment line, even though sequel ‘Shazam! Fury of the Gods’ is headed to theaters on March 17th.
Levi replied in typically whimsical style that he’s all “Gucci” (see the tweet below) but of course a lot might ride on how ‘Fury of the Gods’ performs.
Oooh, I really wouldn’t go believing everything you see on the internet. I’m Gucci, Ash. We all Gucci. 😎 https://t.co/684SarbP1P
We’ll still have to wait for Gunn and co-chief Peter Safran to announce their plans (they have a multi-year idea in play), but for now, DC’s immediate future includes ‘Fury of the Gods’, ‘The Flash’ (even with its attendant issues) on June 16th, ‘Blue Beetle’ on August 18th and the ‘Aquaman and the Lost Kingdom’ on December 25th.
(L to R) Director James Gunn and actress Jennifer Holland at the World Premiere of ‘Thor: Ragnarok.’
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