Daily Archives: May 26, 2020

The Snyder Cut is coming and here is why that’s important

A perfect trilogy

I’m sorry for how rambling this is, but I haven’t been commenting on media for a few years so there is a lot of small things I need to deal with.

As might know by now HBOmax will be releasing The Snyder Cut version of Justice League in 2021 (possibly along with the Ayer Cut of Suicide Squad and maybe a lot of other DCEU content coming in the future).

If you have no idea what I’m talking about, I’ll try and give a truncated (ha! if you know the story you might want to skip down a little) version of what happened.

So, following the success of the more serious and adult version of Batman provided by Christopher Nolan in the Dark Knight Trilogy, Warner Brothers picked director Zack Snyder to direct a new Superman movie with Nolan as Executive Producer. Snyder decided to go in the same direction of the Dark Knight Trilogy and treat the story as an adult subject. Rather than putting his hero in a situation where there is an easy and satisfying resolution, the kind you usually find in comic books (especially of the Silver Age of Comics from the ’50s and ’60s) where a character is unquestionably good because they’re never put in a situation where they have to choose between only bad options. If only life were that simple. This culminated in a scene where Clark is made to choose between killing his enemy Zod or letting more people die (this is after Zod actually does the unthinkable and actually kills people in his evil scheme—up to this point most comic book villains threaten to kill millions but never seem to get the job done). Clarke does the right thing and kills Zod and then immediately has an emotional response to just an act, because that’s a big thing for Snyder’s movies, dealing with the effects of one’s actions, even the right ones that aren’t easy. But everyone freaked out that because “Superman doesn’t kill people”—which is odd because Chris Reeve’s Supes killed Zod after making him a powerless human (oh there was some unnecessary torture in there too), and the early comics has Superman killing people—but never let reality intrude on what golden past people’s nostalgia wants to believe was the case. I’m not terribly surprised, the entire world is caught between two political philosophies—one that sees a golden past where nothing was wrong, and one that sees a dystopian past where nothing was right, neither side wanting to deal in reality. But for some of us, we saw the genius of Man of Steel. Like Homer many generations before, Nolan and Snyder had taken crappy tales that had been told for generations and raised them to an adult art.

Then, Warner Brothers, seeing the money Disney was making with Marvel, pushed for more DC movies. It’s unclear if Snyder wanted more films before having the Superman/Batman/Wonder Woman team-up or if he was simply rushed in production but we got Batman v Superman: Dawn of Justice. The first part of the title was clearly WB executives playing to the lowest common denominator, the second what Snyder wanted. We know there was some executive interference because we finally got a director’s cut that that was a vastly superior movie over the studio approved original showing because the director’s cut had more character development and focus on thematic points and less of a push to make this just a fight movie. I noticed that people who went in looking for Batman v Superman were inevitably displeased with the movie, but those who went in looking Dawn of Justice were happy with it. But the people who hated it were just vicious in their reviews. And they latched onto absolutely bizarre things (the weirdest was that they were taken aback that clearly mentally unstable person would have a PTSD breakdown when he was reminded of the death of his parents—just shocking, that characters should actually act like real people). Attacks were made against the fans who liked the movie, against the director, against the actors, the writer. It was weird. I don’t like Marvel movies, so I don’t see them…I don’t claim the Russos are terrible people, I just don’t go see their movies, and when I was still seeing them for trying to be put up movie reviews attacked their thematic plots not claiming they were racists or misogynists or other weird things I saw labeled against the people behind of Dawn of Justice.  

Between the two films, Snyder and writer David S. Goyer gave us two movies that had deep philosophical material—Man of Steel was a deconstruction of the problems with Plato’s Republic, Dawn of Justice a similar look at the popular view Nietzsche’s philosophy. Then WB not thrilled with profit margins of about $200-300 million per film and wanting more of the Marvel style profits (around $400-600 million per film) started using more executive control over their DC films. This is a process I have never seen to be good, personally, I have only seen one director’s cut worse than the original film* and only a couple of movies that had a superior alternate ending that was the studio’s picks rather than the director’s**. This first resulted in heavy re-editing of Suicide Squad (leading to almost all of Jared Leto’s Joker being cut from the film), but since in terms of pure profit this had a higher return than the Snyder films the higher-ups at WB/DC decided they knew better than directors.*** They took Snyder’s plan to have three more movies (one where we have a future where Darkseid corrupts Superman and Batman, Cyborg, and the Flash have to send a message to the past to prevent that future, one that is closish to Snyder Cut we’re about to get, and one where the Justice League takes on Darkseid) and just told him to skip the third movie and just go to Justice League. So Snyder did that. And then he had to step away because his daughter committed suicide, and dealing with his family was the more important thing. So Joss Whedon was brought in. I’ll be honest I was hopeful because while he had been stumbling this was the man who created Buffy, Angel, Mal Reynolds, Echo—he knew how to deal with depth (in the years since Justice League I’ve become more convinced that he knew how to assemble a great team but when working solo he may not be as good as the writers he used to work with). We thought he would touch up a few scenes and get the final product ready. What we got was an almost entirely reshot movie.  We know because of the terrible CGI that almost every Superman scene was redone, the weird Russian family was added, terrible sexist jokes were added, and that crappy ethics of Age of Ultron where heroes suddenly don’t understand that when the fate of the entire world is at stake that the needs of the many outweigh the lives of a few, but hey let’s go back to Silver Age nonsense were acting like a boy scout doesn’t have negative repercussions real life. Between Whedon and his bosses at Warner Brother, they tried to make a Marvel movie. Not only did they fail at even that, but they also lost money, a lot of it. Which is good.

The calls for the release of the Snyder Cut started almost immediately, and that’s a story in itself, I’ll just link to that because this getting too long already.

But here’s a summary of what I saw. Fundraising. Online Petitions. Facebook pages and calls to hit social media with #ReleasetheSnyderCut. A lot of sales of shirts and whatnot with the theme of #ReleasetheSnyderCut. Now I’m not privy to all the internal of every fundraiser for this movement but I know a lot of that money wasn’t just used to buy adds but a good portion of it was used to a charitable organization that works for suicide prevention. Personally all I saw was people who wanted a movie and protested politely about it. Yeah we called Whedon, and Geoff Johns, and other WB executives idiots, because they were. They had something people wanted to see that, we now know, would only cost $30 million and will probably vastly more than that.

Luckily for human civilization AT&T recently bought Warner Brothers and it is clear they have cleared out the people who cared more about their egos than profit or artistic integrity. And they have announced that we’ll be getting the Snyder Cut of Justice League in 2021.  

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So that’s the background to this. (And here’s another take on it)

Now let’s get to the important stuff. Why is this important? Well there are as far as I can tell 4 reasons.

1. The first reason is that this shows that movies with depth can make money. Man of Steel, Dawn of Justice, and Wonder Woman—which I argue are discussions of Plato, Nietzsche, and Calvin respectively—made money. Yeah sure not Star Wars or Avengers money, but a mentality that scoffs at a $200 million profit is bad business, especially when scoffing at it makes you lose money. This shows that while Disney can make formulaic movies that everyone will go see it’s mainly because they’re Disney. Trying to beat Disney at their own game is, at best, suicidal. They have the market cornered for simple films that don’t need a lot of depth (not that all their stuff if without meat on the bones, but they’ve always been a fan of skeletons that appeal to the audience)…and what they don’t have Dreamworks and Spielberg take up. The market can only bear so much simple.

Less than a week out from the Snyder Cut announcement it’s hard to say exactly how HBOmax is doing with signups, but I don’t think anyone thinks this is going to hurt their bottom line. And this means that market will continue to give a diversity of movies. Had the #ReleasetheSnydercut movement failed we would have probably had to deal with a revival of the 1990s where there were some years where the deepest thing Hollywood would put out would be a Grisham movie. Thankfully this means that works of both high and low brow material will continue to made and thus everyone can be happy.  

2. This shows that directors should be trusted. WB screwed up trying to get too involved in the Justice League and Suicide Squad, not happy with getting $200 million a movie they wanted more and they ended up getting less. And you know, while Last Jedi and Rise of Skywalker made obscene amounts of money, I don’t think anyone thinks that the studio system over at Disney is exactly churning out anything to please fans, they’re just coasting on a nostalgia…and 2020 may reveal that Disney had better switch to a new model as I don’t think fans are ready for another subpar Star Wars trilogy, another plodding phase 4 of Marvel, or more Disney live actions (especially given how mismanaged the next ones up seem to be).

Maybe AT&T’s move, and the money they’re likely going to be raking in from this, will put some more faith in directors and less in the studio system.

Maybe I’m being too hopeful.

But at least this will not kill the director’s power just yet.

(If you want to further help that I would suggest we all go see Nolan’s Tenet in a couple of weeks. Find a time and place where you feel safe and go see it).

3. Playing to the lowest common denominator doesn’t pay off.  

Clearly WB executives thought that their fans didn’t want to see non-white actors—seriously any long term reader of this blog will know that I don’t go into an argument about race or gender like a lunatic. And I tend to find arguments that say putting an all-female cast is pushing feminism (from the right), or that not including any actors of color is racist (from the left) equally preposterous if someone tries to make them. Ghostbusters sucked because it was poorly written not because it was an all-female cast, one should never look for a conspiratorial argument. But they cut out Karen Bryson, Kiersy Clemons, Harry Lennix, Orion Lee, playing Cyborg’s Mother, Iris West (Flash’s girlfriend), Secretary Swanwick/Martian Manhunter, and Ryan Choi (Atom), that ranges from major roles to fan service. And while they also cut Defoe, our new Green Lantern, and the gods…the seems to have been a lot of cutting out of non-white actors. So much so I’m not comfortable saying that WB executives didn’t think that, incorrectly, their fans were a bunch of white boys who couldn’t emphasize with anyone who didn’t look like them. Might also suggest why we had to be treated to that idiot Russian family—because WB producers thought we would be able to relate to them. Hint: we didn’t (honestly if the Russians had died and Steppenwolf had lived I would have been happier, they were so hamfistedly forced in I learned to loathe them).

Some of the characters who were cute…I see a pattern

And dare we forget the at best juvenile, and at worst sexist, “thirty” and face planting in Wonder Woman’s cleavage.  Whatever the motive was the producers thought this more sophomoric humor would be best, which is probably why they hired Whedon (both the producers and Whedon forgot that Whedon’s quirky humor, which this was hardly the best example of, only works when counterposed with serious stakes like Buffy dying or having to send Angel to hell mere moments after he gets his soul back…without tragedy the humor just comes off as dumb).  

Thankfully this has shown that this kind of assumption that your audience is dumb, racist, sexist, and just useless has proven to be a big mistake monetarily and hopefully will be kept at bay for a while longer.

4. Finally, that there is still the power of the consumer to control the market. Various idiots from all sides of the political spectrum like to talk about how capitalism is not responsive to the market anymore, and this strangely usually leads arguments that power should be put in the hand of bureaucrats or executives—weird how few sides want to give economic power to the people. But what does work is a primarily civil but forceful call for what we want.  

In the last couple of days there has been this weird call that fans of the Snyder Cut are bullies and racists. I’m sure there are some assholes out there, every movement has them. But the Snyder cut fans were asking for the scenes with Cyborg’s backstory, the return of Flash’s girlfriend Iris, the return of Secretary Swanwick (who is the Martian Manhunter), and the man who would eventually become the superhero Atom. Not one of these people is white. What we wanted to be removed was that dumb Russian family—never do we want to see that bullshit again.  

It’s a bizarre argument that I can’t find any basis in fact. At best it bizarrely cherry-picks to find the few scum that every pop culture fandom has. It’s like me saying that the one former friend I found out was hiding from me that he was #MAGA scum for years, at which point I promptly cut off all ties to him, was also a die-hard Marvel fan and extrapolating out that all Marvel fans much be fascist trash—that is obviously not the case.  

What the Snydercut fans did was raise money for charity, and make their presence known on social media, and buying a lot of ad space. I don’t recall any serious calls for Joss Whedon to die (at least not tied to this, there was some #MeToo stuff in his life but that’s a whole other bag of cats), no one threatens to burn down Warner, nothing like that. It was social media and boycotts.  

But then again we live in a society where a peaceful protest of taking a knee is seen not as something to agree or disagree with the cause of the protester but like it’s an all-out assault to end their way of life.  

But knee jerk lunatics aside, this showed that civil but forceful movement can have an effect. Just so long as we all do the right thing and not get HBOmax as we promised and do not at any level support or encourage any kind of pirating or stealing of the material. We argued for this, now we have to put up on our side and pay for what we wanted. Otherwise they’ll just go back to make worthless dreck.

And then there is this last weird thing in all of this. Several major news sources are saying that WB putting this out through is caving into “toxic fandoms” and how this sets a dangerous precedent. First off this is hardly the first time that fans have demanded that artists meet what they wanted…the first time I can recall is when the public forced Sir Arthur Conan Doyle to bring Sherlock back from the dead, and then there was that time fans brought Star Trek back, and in further irony of Joss Whedon’s life I could have sworn it fans clamoring that got him Serenity to follow Firefly after it was cancelled (so when fans are for Whedon that’s good before his wife outed him as hating women, when they’re against after we know the truth about him, that’s toxic. Makes not a damn bit of sense to me but Hollywood’s always been crazy). Demands of fans have been pushing pop culture for as long as pop culture. Also weird is that none of the articles I can find show evidence of the toxic nature. The Vanity Fair article on this is a good example, they list the harassment on twitter (because just putting #ReleasetheSnyderCut on everything apparently is so mean), they also list that the writer for the new Suicide Squad, James Gunn (a man I would like you to remember was rightfully persona non grata just a few years ago because he was making pedophila jokes) was getting death threats…but as far as I can tell those threats are coming in from Marvel fans. Look I’m sure there are complete assholes who are harassing people in the Snyder fandom, because there are those jackasses in every one of the fandoms. And other than the fact that Fascist Pravda (otherwise known as Russia Times) is publishing pro-SnyderCut articles (it’s weird as the anti-tyranny and pro-immigration themes of Snyder’s work doesn’t fit with RT’s usual line…but the world is going crazy so it’s just the latest thing that makes no sense to anyone) I can’t think of any real source of toxicity coming from a movement that funded itself by splitting its proceeds with charities. But apparently not liking Whedon’s misogynistic “thirsty” jokes is now toxic. Who knew. “Haters gonna hate hate hate hate hate “is apparently the only way to understand the opposition to this great moment.

*Pretty Woman, and I’m can’t find out if the “director’s cut” was actually Marshall’s doing or if the studio just wanted people to buy the movie and put in all the scenes the director cut and called it a “director’s cut.”

**The only one that comes to mind is Lucky Number Slevin where the original was significantly darker and offer no redemption for the main character making the entire film devoid of meaning, and this single example I know of where the studio choice was the right one. I’m sure there is more, but in the aggregate I’m sure the studio is usually wrong.

***I’m not sure how Wonder Woman escaped the studio interference. Either there was interference I am not aware of or Patty Jenkins repeatedly beat the studio execs with her awards and nominations for her previous work…either way Wonder Woman came off, to my knowledge, away with little interference.

****The saddest irony here is that Whedon should have known better. His original script for Buffy the Vampire Slayer was taken by inept producers and turned into a hollow, meaningless version of itself. And so Whedon did the same thing that was done to him. Nietzsche isn’t always correct, but his warning “When fighting monsters be careful not to become a monster yourself” seems relevant here.

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