It made 720mill worldwide but even still the film was not good; and it continues the trend of all DC movies being mediocre...
Movies: Zack Snyder & Warner Bros having “lots of fights” over Justice League & the DCEU
- Thread starter playahaitian
- Start date
That would be like Disney letting go of Stars Wars or Sony completely giving over those Spiderman rights. While I've been praying that WB'S could go gtfoh, it ain't ever happening. Even in a shitty year the merchandise on Batman alone is probably enough to keep WB'S out of red.
"Creative Differences" seems to be the theme of all the shit. Maybe DC needs to sit the fuck back and let these directors make their films.
Or Warner whichever one is stirring up "creative differences" lol.
Yeah after 4 movies DC finally swallowed their pride and went the Marvel route and created DC Films similar to Marvel Studios.
One thing Marvel understands is no one (Director, Actor, etc...) is bigger than the Brand.
What Hath the Snyder Cut Released?
By Abraham Riesman@abrahamjoseph
In retrospect, Warner Bros.’ decision to rerelease Zach Snyder’s Justice League was inevitable. It’s also deeply consequential. Photo: DC Entertainment/Warner Bros/Shutterstock
In retrospect, it was inevitable. It’s like Brexit or Donald Trump’s clinching of the presidency: first, you hear that it happened; then, even if you wanted it to happen, you’re shocked. These people aren’t supposed to be calling the shots. They’re déclassé outsiders, drunk on atavistic rage and viciously abusive toward their foes — such people are destined to be at the fringe, not the hub of power. And yet, when you stop mumbling your disbelief, you’re stuck with the reality that it happened, that an ancient seal has been broken, and you start to see all the forces that broke it. Soon, you’re kicking yourself for not seeing this certainty sooner.
Jesus, you think. It really happened. They really released the Snyder Cut.
That’s right, folks: at some point next year, Warner Bros will unveil a new edition of its 2017 flop Justice League, one that promises to be guided creatively by the first of the two directors who sequentially helmed the flick, Zack Snyder. For someone who doesn’t spend an exorbitant amount of time on social media, this news means nothing. But ask anyone on Film Twitter or Geek Twitter about the Snyder Cut and they’ll know all too well of what you speak.
The short backstory: Snyder was hired by WB to make Justice League as a sequel to his DC superhero pictures Man of Steel and Batman v Superman: Dawn of Justice. He allegedly completed a rough skeleton of Justice League, featuring Batman and Superman and Wonder Woman and Aquaman and a host of other DC characters, but was taken off of the film, ostensibly to grieve after the death of his daughter. Joss Whedon was then brought on to finish Justice League, and the resulting movie landed with a thud at the box office. Outraged Snyder fans subsequently spent an astonishing two and a half years lobbying on social media for the release of Snyder’s aforementioned skeleton version, using the hashtag #ReleaseTheSnyderCut. The campaign advanced to massive ads at San Diego Comic-Con and a digital billboard in Times Square, among other venues, prompting Snyder and the film’s jilted stars to lend their vocal support to the initiative. Then, bada-bing, WB announces yesterday that the rabble-rousers had won. HBO Max will debut the film sometime in 2021.
And, just like that, something dangerous has been let loose in the world. Not the cut, itself, really — whatever product ends up on WarnerMedia’s HBO Max service under the subheading “The Snyder Cut” is secondary in importance to the idea of the Snyder Cut being released. Indeed, anyone who reads between the lines of Borys Kit’s cleverly restrained report on these new developments in The Hollywood Reporter will notice that there basically is no such thing as the Snyder Cut just yet; one will have to be glued together using a heap of broken images left on scattered hard drives. It might be broken up into a kind of epic miniseries for streaming digestibility, a la Olivier Assayas’s Carlos or that oft-retweeted amateur divvying of The Irishman. It’ll probably be terrible, but whatever; that’s not the point.
No, the dangerous thing at work here is a multibillion-dollar corporation’s concession to its worst online critics. Under Snyder’s guidance, the DC movie universe (unofficially known, thanks to a 2015 joke by an Entertainment Weekly writer, as the DC Extended Universe) was initially envisioned as a tonal counterweight to the far-more-successful Marvel Cinematic Universe, one that would be weighty, philosophical, and dark — or at least dimly lit. The Snyder-helmed films that launched the effort were critically derided, both on aesthetic grounds (overabundant slo-mo, barely visible set pieces, even-less-comprehensible plots) and thematic ones (Superman, an 80-year-old beacon of humanity’s better angels, is portrayed as kind of a dick). Although the DC movie enterprise was probably doomed from the start — a flagrant attempt at making movies in service of building a commercially viable franchise — and although the general public had already received Man of Steel and Batman v Superman with shrugs, Snyder Cut partisans became convinced that their preferred auteur’s removal from Justice League is where the endeavor went wrong. The finished movie didn’t do justice to Superman’s terrifying grandeur, they say; it hewed too closely to the Marvel/Disney model of superhero movie-making and was thus filled with comedy bits so bad that they’re “an indictment on where we are as a society,” as it’s put on a Change.org petition for the Snyder Cut that drew an alleged 179,260 signatories.
The reason this conflagration has burned so bright is that it came at an inflection point in a massive culture war in geekdom. Throughout the early 2010s, nerdy products ranging from video games and comic books to, yes, movies, started to evince a greater degree of inclusion for marginalized identities both in the content and behind-the-scenes. These moves were, all told, tiny steps, but steps, nonetheless. The industry leader in this regard (though it is still woefully behind where it should be) was zippy, quippy, friendshippy Disney. What followed in the latter half of the decade was a violent reaction to that changing status quo, and #ReleaseTheSnyderCut was no insignificant part of it.
Its backers saw themselves not just as demanding access to a work they wanted to see, but as soldiers on the front lines of the battle against Disney-owned Marvel’s predominance and approach, as well as all the ideas those things entail. It’s difficult to prove anything about a decentralized movement in the ephemeral world of digital media, but geek writers can confidently report to you that many of the Snyder Cut advocates are the same sorts of people who call out entertainment firms for “forced diversity” and capitulating to the “social justice warriors.” There is probably more than a little overlap between those haranguing a female #ReleaseTheSnyderCut critic and those doing so to a female Star Wars actor. Just imagine how emboldened and vindicated that sort of troll will now feel in their efforts to, say, reduce the flow of queer, nonwhite, or female characters into their favorite franchises.
Which brings us to the other harsh truth here about where we are as a body politic: the ways Snyder Cut advocates have pushed for their version of choice are ultimately being rewarded. To put it bluntly, although they’re not quite as abusive and bloodthirsty as Gamergate, their campaign has led to a tremendous amount of online bullying of critics, executives, and average schmoes who don’t agree with them.
Just ask Diane Nelson. She used to be the president of DC Entertainment, the WB brand responsible for managing superhero content, and when she tweeted that last year’s DC/WB film Joker was “What DC should have been doing since Nolan” (referring to director Christopher Nolan’s Batman trilogy, which concluded in 2012, right before Snyder rebooted everything), she faced a torrent of written abuse that drove her to delete her Twitter account. Ask former DC chief creative officer and movie exec Geoff Johns, who has been held up as the scapegoat for the loss of Snyder’s vision and is regularly excoriated by conspiracy-minded YouTubers and bloggers. Ask any critic, big or small, who has dared to speak ill of Snyder and his work — they’ll likely tell you about all the angry tweets accusing them of being biased and receiving Marvel payola. If you want a larger accounting of all the ways in which these people can be shitty to other humans online, peruse this excellent roundup by J.M. Carter and you’ll get a sense of what we’re talking about.
All of that said, an online fight about the Snyder Cut typically isn’t going to lead to as much digital bloodshed as, say, one about Trump (or BTS). What’s at issue is the precedent that’s being set. WB and parent conglomerate WarnerMedia are, in essence, telling the world, “If you attack a multibillion-dollar corporation often enough and make it clear that you’ll harass anyone who stands in your way, that corporation will eventually give up and throw you what you want.” In fact, WB has, in its way, institutionalized this kind of behavior and dubbed it “enthusiasm” rather than “abuse,” whether they meant to or not. It’s hard to escape the feeling that WB has unleashed something beyond their control.
And yet, the more I ponder this grim situation, the more I find myself seeing it as foreordained. For one thing, there’s the COVID-19 factor: with production on hold across the film industry, WB and its ilk are panicking over their impending lack of new content to push. (Ergo Disney’s decision to release Hamilton direct to Disney+, although the failings of Hamilton fandom are another story entirely.) The Snyder Cut is the rare piece of content that can, in theory, be assembled and pushed as a major event without requiring new filming. With HBO Max on the way and in need of flashy initial offerings, such content is worth its weight in gold — even if the long-term price paid in the relationship between fans and creators is far more exorbitant. Then there’s the narrowcasting factor: in our fragmented media landscape, entertainment firms long ago realized that your best bet is to cater to your most devoted and vocal fans, who will show up no matter what, rather than try to satisfy a broad or ideal audience. Add in the support of WB tentpole-holders like Gal Gadot and the brew gets ever more heady.
But the most important thing to consider is the fact that, although this is a fateful decision that enshrines and extends the bullying-gets-results mindset, that mindset has been an integral part of the geek economy since the inception of the Superhero Boom with the release of Blade in 1998. Indeed, there’s an argument to be made that online bullying is what even made that boom possible.
After the critical and commercial failure of Joel Schumacher’s campy (and truly wonderful) Batman & Robin in 1997, critic Harry Knowles — back then, an icon among online nerds for his running of website Ain’t It Cool News — inaugurated a campaign of hatred and letter-writing against Schumacher. And, in due course, Schumacher was booted from the franchise — we’ll never know exactly how much that was due to the abuse of Knowles and company, but the industry certainly perceived them as the victors and a new force to be reckoned with. This notion was reinforced when Knowles told readers in his review of Blade that they had to buy as many tickets for the movie as they could if they wanted to see more quality comic-book movies. When the flick was a surprise smash, conventional wisdom held that online geekdom’s enthusiasm was the operative factor. As Lauren Shuler Donner, producer of 2000’s X-Men, once told me, “If we had gotten a bad review” on AICN, “it would have killed the whole franchise.”
As it turned out, Knowles showered praise on X-Men and the tidal wave of supermovies really started to grow. What allowed its success was corporations’ swift adjustment toward giving fans that they identify as lucrative what they demand while subtly nudging them toward demanding what the corporations want to give them. It’s a delicate dance, one executed best by Marvel Studios, and which has been taken up in non-superhero realms of nerdy filmmaking, as well. This evolution has led to lots of thrills, but has, overall, been deeply detrimental to the overall film industry, with such fan-servicing franchises crowding out virtually everything else in the pipeline and generally lowering our expectations of what movies can try to do. What seems to be happening with the Snyder Cut’s release is merely the next step for the food chain: online bullies can now see themselves not just as a powerful influence, but as the apex predator, even more potent than the C-suite executives who once derided them. God help us all.
The one cause for hope here is that maybe, just maybe, if the Snyder Cut succeeds next year, studios will start listening to other kinds of marginal-but-passionate fans. I can’t help but think back to another hashtag insurgency, #GiveCaptainAmericaABoyfriend. Launched in 2016 by fans of Marvel’s star-spangled Avenger, the campaign did what it said on the tin: it called for a canonization of the long-cherished fandom belief that Captain America is a queer man, prone to falling in love with companions like Tony Stark and Bucky. Among progressive nerds, Cap’s queerness is passionately argued for, and honestly, it would be a great leap forward for Marvel and pop culture in general if they were to, indeed, #GiveCaptainAmericaABoyfriend. Perhaps I’m biased (full disclosure: I, too, am a queer man), but that’s the kind of capitulation we should see more of. Maybe the next time a Twitter mob emerges, they’ll bully the bullies and get a concession from the higher-ups that expands the playing field and offers new visions of what geek fiction can be.
But who am I kidding? It’s far more likely that this will be an enormous step backward for the stuff of our public dreams. That’s because, in essence, the release of the Snyder Cut was also inevitable due to the fact that it reinforces the power structures that dominate and brutalize the world these days. Sure, #ReleaseTheSnyderCut has a lot of grassroots support, but so does the movement to end quarantine restrictions — and, in both cases, the proponents are ultimately just pushing for a return to the way things used to be and the validation of (if you’ll forgive my naked identity politics, and no offense to Snyder) a straight, cis, and white man. They’re both co-opting radicals’ methods in order to achieve reactionary aims. They’re both trying to drag us into the awful past at a time when we should be recklessly dreaming of a better future. Maybe our nightmarish society will finally collapse before the Snyder Cut can see the light of day. As another embittered male troll once said: ‘Tis a consummation devoutly to be wished
www.vulture.com
By Abraham Riesman@abrahamjoseph
In retrospect, Warner Bros.’ decision to rerelease Zach Snyder’s Justice League was inevitable. It’s also deeply consequential. Photo: DC Entertainment/Warner Bros/Shutterstock
In retrospect, it was inevitable. It’s like Brexit or Donald Trump’s clinching of the presidency: first, you hear that it happened; then, even if you wanted it to happen, you’re shocked. These people aren’t supposed to be calling the shots. They’re déclassé outsiders, drunk on atavistic rage and viciously abusive toward their foes — such people are destined to be at the fringe, not the hub of power. And yet, when you stop mumbling your disbelief, you’re stuck with the reality that it happened, that an ancient seal has been broken, and you start to see all the forces that broke it. Soon, you’re kicking yourself for not seeing this certainty sooner.
Jesus, you think. It really happened. They really released the Snyder Cut.
That’s right, folks: at some point next year, Warner Bros will unveil a new edition of its 2017 flop Justice League, one that promises to be guided creatively by the first of the two directors who sequentially helmed the flick, Zack Snyder. For someone who doesn’t spend an exorbitant amount of time on social media, this news means nothing. But ask anyone on Film Twitter or Geek Twitter about the Snyder Cut and they’ll know all too well of what you speak.
The short backstory: Snyder was hired by WB to make Justice League as a sequel to his DC superhero pictures Man of Steel and Batman v Superman: Dawn of Justice. He allegedly completed a rough skeleton of Justice League, featuring Batman and Superman and Wonder Woman and Aquaman and a host of other DC characters, but was taken off of the film, ostensibly to grieve after the death of his daughter. Joss Whedon was then brought on to finish Justice League, and the resulting movie landed with a thud at the box office. Outraged Snyder fans subsequently spent an astonishing two and a half years lobbying on social media for the release of Snyder’s aforementioned skeleton version, using the hashtag #ReleaseTheSnyderCut. The campaign advanced to massive ads at San Diego Comic-Con and a digital billboard in Times Square, among other venues, prompting Snyder and the film’s jilted stars to lend their vocal support to the initiative. Then, bada-bing, WB announces yesterday that the rabble-rousers had won. HBO Max will debut the film sometime in 2021.
And, just like that, something dangerous has been let loose in the world. Not the cut, itself, really — whatever product ends up on WarnerMedia’s HBO Max service under the subheading “The Snyder Cut” is secondary in importance to the idea of the Snyder Cut being released. Indeed, anyone who reads between the lines of Borys Kit’s cleverly restrained report on these new developments in The Hollywood Reporter will notice that there basically is no such thing as the Snyder Cut just yet; one will have to be glued together using a heap of broken images left on scattered hard drives. It might be broken up into a kind of epic miniseries for streaming digestibility, a la Olivier Assayas’s Carlos or that oft-retweeted amateur divvying of The Irishman. It’ll probably be terrible, but whatever; that’s not the point.
No, the dangerous thing at work here is a multibillion-dollar corporation’s concession to its worst online critics. Under Snyder’s guidance, the DC movie universe (unofficially known, thanks to a 2015 joke by an Entertainment Weekly writer, as the DC Extended Universe) was initially envisioned as a tonal counterweight to the far-more-successful Marvel Cinematic Universe, one that would be weighty, philosophical, and dark — or at least dimly lit. The Snyder-helmed films that launched the effort were critically derided, both on aesthetic grounds (overabundant slo-mo, barely visible set pieces, even-less-comprehensible plots) and thematic ones (Superman, an 80-year-old beacon of humanity’s better angels, is portrayed as kind of a dick). Although the DC movie enterprise was probably doomed from the start — a flagrant attempt at making movies in service of building a commercially viable franchise — and although the general public had already received Man of Steel and Batman v Superman with shrugs, Snyder Cut partisans became convinced that their preferred auteur’s removal from Justice League is where the endeavor went wrong. The finished movie didn’t do justice to Superman’s terrifying grandeur, they say; it hewed too closely to the Marvel/Disney model of superhero movie-making and was thus filled with comedy bits so bad that they’re “an indictment on where we are as a society,” as it’s put on a Change.org petition for the Snyder Cut that drew an alleged 179,260 signatories.
The reason this conflagration has burned so bright is that it came at an inflection point in a massive culture war in geekdom. Throughout the early 2010s, nerdy products ranging from video games and comic books to, yes, movies, started to evince a greater degree of inclusion for marginalized identities both in the content and behind-the-scenes. These moves were, all told, tiny steps, but steps, nonetheless. The industry leader in this regard (though it is still woefully behind where it should be) was zippy, quippy, friendshippy Disney. What followed in the latter half of the decade was a violent reaction to that changing status quo, and #ReleaseTheSnyderCut was no insignificant part of it.
Its backers saw themselves not just as demanding access to a work they wanted to see, but as soldiers on the front lines of the battle against Disney-owned Marvel’s predominance and approach, as well as all the ideas those things entail. It’s difficult to prove anything about a decentralized movement in the ephemeral world of digital media, but geek writers can confidently report to you that many of the Snyder Cut advocates are the same sorts of people who call out entertainment firms for “forced diversity” and capitulating to the “social justice warriors.” There is probably more than a little overlap between those haranguing a female #ReleaseTheSnyderCut critic and those doing so to a female Star Wars actor. Just imagine how emboldened and vindicated that sort of troll will now feel in their efforts to, say, reduce the flow of queer, nonwhite, or female characters into their favorite franchises.
Which brings us to the other harsh truth here about where we are as a body politic: the ways Snyder Cut advocates have pushed for their version of choice are ultimately being rewarded. To put it bluntly, although they’re not quite as abusive and bloodthirsty as Gamergate, their campaign has led to a tremendous amount of online bullying of critics, executives, and average schmoes who don’t agree with them.
Just ask Diane Nelson. She used to be the president of DC Entertainment, the WB brand responsible for managing superhero content, and when she tweeted that last year’s DC/WB film Joker was “What DC should have been doing since Nolan” (referring to director Christopher Nolan’s Batman trilogy, which concluded in 2012, right before Snyder rebooted everything), she faced a torrent of written abuse that drove her to delete her Twitter account. Ask former DC chief creative officer and movie exec Geoff Johns, who has been held up as the scapegoat for the loss of Snyder’s vision and is regularly excoriated by conspiracy-minded YouTubers and bloggers. Ask any critic, big or small, who has dared to speak ill of Snyder and his work — they’ll likely tell you about all the angry tweets accusing them of being biased and receiving Marvel payola. If you want a larger accounting of all the ways in which these people can be shitty to other humans online, peruse this excellent roundup by J.M. Carter and you’ll get a sense of what we’re talking about.
All of that said, an online fight about the Snyder Cut typically isn’t going to lead to as much digital bloodshed as, say, one about Trump (or BTS). What’s at issue is the precedent that’s being set. WB and parent conglomerate WarnerMedia are, in essence, telling the world, “If you attack a multibillion-dollar corporation often enough and make it clear that you’ll harass anyone who stands in your way, that corporation will eventually give up and throw you what you want.” In fact, WB has, in its way, institutionalized this kind of behavior and dubbed it “enthusiasm” rather than “abuse,” whether they meant to or not. It’s hard to escape the feeling that WB has unleashed something beyond their control.
And yet, the more I ponder this grim situation, the more I find myself seeing it as foreordained. For one thing, there’s the COVID-19 factor: with production on hold across the film industry, WB and its ilk are panicking over their impending lack of new content to push. (Ergo Disney’s decision to release Hamilton direct to Disney+, although the failings of Hamilton fandom are another story entirely.) The Snyder Cut is the rare piece of content that can, in theory, be assembled and pushed as a major event without requiring new filming. With HBO Max on the way and in need of flashy initial offerings, such content is worth its weight in gold — even if the long-term price paid in the relationship between fans and creators is far more exorbitant. Then there’s the narrowcasting factor: in our fragmented media landscape, entertainment firms long ago realized that your best bet is to cater to your most devoted and vocal fans, who will show up no matter what, rather than try to satisfy a broad or ideal audience. Add in the support of WB tentpole-holders like Gal Gadot and the brew gets ever more heady.
But the most important thing to consider is the fact that, although this is a fateful decision that enshrines and extends the bullying-gets-results mindset, that mindset has been an integral part of the geek economy since the inception of the Superhero Boom with the release of Blade in 1998. Indeed, there’s an argument to be made that online bullying is what even made that boom possible.
After the critical and commercial failure of Joel Schumacher’s campy (and truly wonderful) Batman & Robin in 1997, critic Harry Knowles — back then, an icon among online nerds for his running of website Ain’t It Cool News — inaugurated a campaign of hatred and letter-writing against Schumacher. And, in due course, Schumacher was booted from the franchise — we’ll never know exactly how much that was due to the abuse of Knowles and company, but the industry certainly perceived them as the victors and a new force to be reckoned with. This notion was reinforced when Knowles told readers in his review of Blade that they had to buy as many tickets for the movie as they could if they wanted to see more quality comic-book movies. When the flick was a surprise smash, conventional wisdom held that online geekdom’s enthusiasm was the operative factor. As Lauren Shuler Donner, producer of 2000’s X-Men, once told me, “If we had gotten a bad review” on AICN, “it would have killed the whole franchise.”
As it turned out, Knowles showered praise on X-Men and the tidal wave of supermovies really started to grow. What allowed its success was corporations’ swift adjustment toward giving fans that they identify as lucrative what they demand while subtly nudging them toward demanding what the corporations want to give them. It’s a delicate dance, one executed best by Marvel Studios, and which has been taken up in non-superhero realms of nerdy filmmaking, as well. This evolution has led to lots of thrills, but has, overall, been deeply detrimental to the overall film industry, with such fan-servicing franchises crowding out virtually everything else in the pipeline and generally lowering our expectations of what movies can try to do. What seems to be happening with the Snyder Cut’s release is merely the next step for the food chain: online bullies can now see themselves not just as a powerful influence, but as the apex predator, even more potent than the C-suite executives who once derided them. God help us all.
The one cause for hope here is that maybe, just maybe, if the Snyder Cut succeeds next year, studios will start listening to other kinds of marginal-but-passionate fans. I can’t help but think back to another hashtag insurgency, #GiveCaptainAmericaABoyfriend. Launched in 2016 by fans of Marvel’s star-spangled Avenger, the campaign did what it said on the tin: it called for a canonization of the long-cherished fandom belief that Captain America is a queer man, prone to falling in love with companions like Tony Stark and Bucky. Among progressive nerds, Cap’s queerness is passionately argued for, and honestly, it would be a great leap forward for Marvel and pop culture in general if they were to, indeed, #GiveCaptainAmericaABoyfriend. Perhaps I’m biased (full disclosure: I, too, am a queer man), but that’s the kind of capitulation we should see more of. Maybe the next time a Twitter mob emerges, they’ll bully the bullies and get a concession from the higher-ups that expands the playing field and offers new visions of what geek fiction can be.
But who am I kidding? It’s far more likely that this will be an enormous step backward for the stuff of our public dreams. That’s because, in essence, the release of the Snyder Cut was also inevitable due to the fact that it reinforces the power structures that dominate and brutalize the world these days. Sure, #ReleaseTheSnyderCut has a lot of grassroots support, but so does the movement to end quarantine restrictions — and, in both cases, the proponents are ultimately just pushing for a return to the way things used to be and the validation of (if you’ll forgive my naked identity politics, and no offense to Snyder) a straight, cis, and white man. They’re both co-opting radicals’ methods in order to achieve reactionary aims. They’re both trying to drag us into the awful past at a time when we should be recklessly dreaming of a better future. Maybe our nightmarish society will finally collapse before the Snyder Cut can see the light of day. As another embittered male troll once said: ‘Tis a consummation devoutly to be wished
What Hath the Snyder Cut Released?
In retrospect, Warner Bros.’ decision to rerelease Zach Snyder’s Justice League was inevitable. It’s also consequential.
www.vulture.com
that doesn't make the fight scene better
Stepping Woof still looks ass. Not even as good as Ultron, and he was extra garbage. 
Neither looks good imo
@fonzerrillii @ViCiouS @largebillsonlyplease
Jared Leto Returning As Joker In Justice League Snyder Cut
Jared Leto's Joker is making his big return to the DCEU as the Justice League Snyder Cut is adding the iconic Batman villain into the DC film.
BY ANDY BEHBAKHT1 DAY AGO
Zack Snyder's Justice League is making a big addition to the HBO Max version of the film as Jared Leto's Joker is making a comeback. The DCEU has had an interesting year as the Snyder Cut will finally see the light of day. After the theatrical version of the film was retooled by Warner Bros. and Joss Whedon following Snyder's departure, the fandom launched a movement that took over three years of campaigning. But earlier this year, WarnerMedia granted their wish as the Justice League Snyder Cut is heading to HBO Max next year in a four-part format that will showcase Snyder's true vision for DC's iconic team.
Continue Scrolling To Keep ReadingClick the button below to start this article in quick view.
START NOW
One of the biggest characters that made an appearance earlier in the DCEU was The Joker, played by Leto, in 2016's Suicide Squad. But even that film was altered from David Ayer's original vision as his cut reportedly has a lot more of Leto's take on the iconic Clown Prince of Crime. While he has been referenced in films like Birds of Prey, Leto's Joker hasn't been seen since his DCEU debut. While Affleck's time as the Dark Knight looks to be continuing as he'll be in Ezra Miller's The Flash film, it's been a mystery if Leto was actually done as The Joker or not. But it appears that 2021 will give fans another glimpse at the character.
RELATED: Every DC & Justice League Character Teased By The Batman Set Photos
Leto is reportedly set to reprise the role of The Joker in the Justice League Snyder Cut as part of the ongoing reshoots. As revealed by THR, Leto is joining fellow actors like Ben Affleck, and Ray Fisher who are reprising their roles as Batman and Cyborg respectively. No specific details were revealed about The Joker's role in the film and whether it's a cameo or a bigger part. It remains to be seen if other DC characters will be added as part of Snyder's reshoots. With many mysteries still surrounding Snyder's full cut of the film, it wouldn't be too shocking if other DCEU actors board the project.
While they shared only a brief moment in Suicide Squad, Leto's addition may lead to Affleck's Batman sharing the screen with him once more. As Leto reprises the iconic DC villain, fans will get to see him in two major comic book films in 2021. As Leto seemed to be possibly done as the Joker, Sony ended up casting him as Morbius the Living Vampire for the upcoming solo film that was originally set to release this year. But due to COVID-19, Morbius, along with multiple films, has been rescheduled. It's possible that Morbius' current March 2021 date will be changed too as the global pandemic continues to affect the movie industry.
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Nevertheless, Leto getting to return to the DC role is a major move for the DCEU as this could potentially lead to him starring in other DC projects. Warner Bros. was initially trying to work on a Joker solo film for Leto as well as a shared movie with Margot Robbie's Harley Quinn. Despite the projects being scrapped as of last year, Leto's return could perhaps indicate that at least one of those films will happen. Depending on what happens in the Snyder Cut, it's possible that there's now revived interest from WarnerMedia's side to continue Leto's run as The Joker. But viewers will have to wait till 2021 to find out how Leto's Joker plays into Snyder's Justice League.
Jared Leto Returning As Joker In Justice League Snyder Cut
Jared Leto's Joker is making his big return to the DCEU as the Justice League Snyder Cut is adding the iconic Batman villain into the DC film.
BY ANDY BEHBAKHT1 DAY AGO
Zack Snyder's Justice League is making a big addition to the HBO Max version of the film as Jared Leto's Joker is making a comeback. The DCEU has had an interesting year as the Snyder Cut will finally see the light of day. After the theatrical version of the film was retooled by Warner Bros. and Joss Whedon following Snyder's departure, the fandom launched a movement that took over three years of campaigning. But earlier this year, WarnerMedia granted their wish as the Justice League Snyder Cut is heading to HBO Max next year in a four-part format that will showcase Snyder's true vision for DC's iconic team.
Continue Scrolling To Keep ReadingClick the button below to start this article in quick view.
START NOW
One of the biggest characters that made an appearance earlier in the DCEU was The Joker, played by Leto, in 2016's Suicide Squad. But even that film was altered from David Ayer's original vision as his cut reportedly has a lot more of Leto's take on the iconic Clown Prince of Crime. While he has been referenced in films like Birds of Prey, Leto's Joker hasn't been seen since his DCEU debut. While Affleck's time as the Dark Knight looks to be continuing as he'll be in Ezra Miller's The Flash film, it's been a mystery if Leto was actually done as The Joker or not. But it appears that 2021 will give fans another glimpse at the character.
RELATED: Every DC & Justice League Character Teased By The Batman Set Photos
Leto is reportedly set to reprise the role of The Joker in the Justice League Snyder Cut as part of the ongoing reshoots. As revealed by THR, Leto is joining fellow actors like Ben Affleck, and Ray Fisher who are reprising their roles as Batman and Cyborg respectively. No specific details were revealed about The Joker's role in the film and whether it's a cameo or a bigger part. It remains to be seen if other DC characters will be added as part of Snyder's reshoots. With many mysteries still surrounding Snyder's full cut of the film, it wouldn't be too shocking if other DCEU actors board the project.
While they shared only a brief moment in Suicide Squad, Leto's addition may lead to Affleck's Batman sharing the screen with him once more. As Leto reprises the iconic DC villain, fans will get to see him in two major comic book films in 2021. As Leto seemed to be possibly done as the Joker, Sony ended up casting him as Morbius the Living Vampire for the upcoming solo film that was originally set to release this year. But due to COVID-19, Morbius, along with multiple films, has been rescheduled. It's possible that Morbius' current March 2021 date will be changed too as the global pandemic continues to affect the movie industry.
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Nevertheless, Leto getting to return to the DC role is a major move for the DCEU as this could potentially lead to him starring in other DC projects. Warner Bros. was initially trying to work on a Joker solo film for Leto as well as a shared movie with Margot Robbie's Harley Quinn. Despite the projects being scrapped as of last year, Leto's return could perhaps indicate that at least one of those films will happen. Depending on what happens in the Snyder Cut, it's possible that there's now revived interest from WarnerMedia's side to continue Leto's run as The Joker. But viewers will have to wait till 2021 to find out how Leto's Joker plays into Snyder's Justice League.
Zack Snyder Answers Where He Stands Politically in Q&A From Fans and Collaborators
Director Zack Snyder took the time to answer questions from fans and previous collaborators. One of the most interesting questions from actress Sarah Polley.
www.themarysue.com
Zack Snyder Answers Where He Stands Politically in Q&A From Fans and Collaborators
By Princess WeekesMay 20th, 2021, 3:32 pm
70 comments
Director Zack Snyder recently took the time to answer questions from fans and previous collaborators ranging from author Max Brooks to actor Ciaran Hinds. One of the most interesting questions came from actress Sarah Polley, who worked with Snyder on Dawn of the Dead.
“A lot of people see a rightwing political undercurrent in some of your films,” Polley began. “Where do you stand politically and has that changed over the years? (Bonus hint: Don’t evade the question. Love you!)”
“I vote Democrat! I’m a true lover of individual rights,” Snyder answered.
“I’ve always been a super-strong advocate of women’s rights and a woman’s right to choose, and I’ve always been surrounded by powerful women,” he continued. “And, of course, I’m a huge advocate for the rights of all ethnicities and every walk of life. I would say I’m a pretty liberal guy. I want to make sure everyone’s heard and everyone feels included. I don’t have a rightwing political agenda. People see what they want to see. For me, that was not certainly the point.”
Snyder is a figure who will remain polarizing for many reasons, many of which don’t necessarily reflect his actions as a human, but his particular storytelling and fanbase. Some of that is genuinely unfair, since Snyder has made sure to denounce any hate that could be associated with his name, and he is one of the few cishet men in Hollywood who hasn’t had a whiff of scandal around him.
Even going back to 300, his most problematic film racially, the root of a lot of that is in the comic itself. I personally think his biggest problem as a storyteller is sticking the landing with his messages, but he is hardly the only one with that issue.
No, the biggest issue is the fandom of Snyder fans who took his name and vision and weaponized it against many people, including women and especially women of color who were critical of the choices Snyder has made as a director—to the point where it is even hard to give him valid praise without having some fans take your words out of context and try to pull hate from it.
Politically, Snyder seems to understand the climate. He has the rights to The Fountainhead by Ayn Rand but has decided not to make it. He told the Times, “I don’t know how that movie gets made, at least not right away. We need a less divided country and a little more liberal government to make that movie, so people don’t react to it in a certain way.”
I’m not champing at the bit for Rand content, but since it has a right to be made (no accounting for taste), at least Snyder can see that our individualistic society right now might need to have their worst selves validated on a Hollywood budget.
As ever, Snyder seems like a good dude, even if you don’t enjoy your comic book movies. So maybe honor the man by not doing the absolute most.
Zack Snyder Considered Having Joseph Gordon-Levitt's Batman Appear In Man of Steel
Director Zack Snyder revealed that he considered placing Man of Steel in Christopher Nolan's Dark Knight universe with Joseph Gordon-Levitt's Batman.
thedirect.com
Zack Snyder’s Stone Quarry Productions Signs First-Look Film Deal With Netflix (Exclusive)
The banner, which Snyder runs with partner and wife Deborah and executive Wesley Coller, wants to make "big projects and big movies."
www.hollywoodreporter.com
Zack Snyder Unveils Conclusion to Superman's Journey in His DCEU Vision
Zack Snyder recently unveiled his concept for the epic culmination of the DCEU, drawing comparisons to the finale of the MCU's Infinity Saga.
gamerant.com
Zack Snyder Unveils Conclusion to Superman's Journey in His DCEU Vision
Zack Snyder recently unveiled his concept for the epic culmination of the DCEU, drawing comparisons to the finale of the MCU's Infinity Saga.
Interesting..... definitely sounds like it was similar to End Game..... however I would still want to see Snyders vision come to light