Hospitals? Meh. Wonder Woman doesn’t go to the hospital, she just drinks. True story.
“The early days of pandemic when you start drinking mimosas or sangria or whatever at 11 a.m., so I did that, and then I decided I’m gonna make a cabbage salad because that’s what one whats to do, so I started to chop the thing, and I chopped the top of my finger,” Gadot recalled to Jimy Kimmel Live. “Yaron went to the chopping board and he held the finger and he got so disgusted that he threw it into the garbage disposal.”
Gal Gadot cracks me up with this story. So she just decides to make cabbage salad and chops off the end of her finger? Ouch. Her husband freaks out and throws it in the garbage disposal? Why? But then they just decide to drink?
Regardless your feelings for Wonder Woman: 1984, Patty Jenkins and Gal Gadot are booked to return for a third film. Or at least, that is the plan after perhaps after Jenkins finishes Rogue Squadron for Disney.
Jenkins is saying Rogue Squadron — which has a scheduled release date of December 22, 2023 — is pretty far along in the treatment process and she’ll have to work on the third Wonder Woman at the same time. Multi-tasking alert. My guess is Wonder Woman 3 will be out in 2024 or 2025, assuming the creative process doesn’t hit some kind of snag or key people — IE. Jenkins, as she did previously pull out of Thor — pull out of the project. I don’t see Jenkins bailing on Wonder Woman 3, but it wouldn’t be totally shocking if she doesn’t feel like she can do the story she wants to do.
Early speculation on what the third film will be about have Jenkins saying it won’t be another period piece.
“I’m not pining to put it in the past again, because where are you going to go? I think it would be weird,” she said in a Hollywood Reporter interview last year. “You have to go forward. It’s definitely a contemporary story. That’s all I can say. And so where we put it and how that gets figured out, I haven’t totally nailed down.”
So, will Wonder Woman be battling something contempary like, er, a virus? That would be about as timely as anything could be in current times. There are rumors that Chris Pine might return as well, but nothing confirmed yet. I think Steve Trevor was largely wasted in WW1984, so if that’s how he’s coming back, maybe that should be cut. Another possibility is he might be flashbacks only, which is almost as bad. Time travel? Please, no.
Must admit that at this very early and much premature stage, I’m not that interested in seeing a third Wonder Woman movie. That could easily change once the story details and a teaser trailer emerge. After seeing a sequel that wasn’t great, it reduces our enthusiasm for another sequel.
It was somewhat inevitable that the trilogy would be made. And I am glad that Jenkins will get a chance to finish her vision of Wonder Woman. Maybe instead of Geoff Johns, she should spend more story writing time collaborating with Zack Snyder like was done in the first? My faith in Patty’s screenwriting skill is shaken after seeing her most recent effort.
Are you looking forward to a third Wonder Woman movie? Or are you feeling less excited, too, after seeing the current film? There were just too many delays, too many edits, too much fooling around with the film. I wonder how much that negatively impacted the finished product. We might never know.
Don’t get me started on how financially bankrupt it is paying any three movie stars $60+ million for a single movie. This isn’t a sexist thing, I don’t care if it’s man, woman, animal, alien, whatever.
If you can guarantee somehow your film will make over $1 billion at the box office .. maybe in some ultra rare moment this might make sense. If you’re trying to set a Guinness Book record for the most spent on actor salaries? Again, maybe.
But if you want your streaming film to make money, it’s crazy.
Dwayne Johnson might be the #1 bankable male film star, but how does he make more $$ for a streaming platform movie than they are already making from monthly subscriber revenue?
Definitely a cool move that Dwayne Johnson fought to get Gal Gadot the same salary as Ryan Reynolds, which is north of $20 million. Meanwhile, Johnson is bringing home “a little more” cheddar, whatever that means.
Suddenly Gal Gadot is suddenly making tens of millions being an actress in high profile, bloated budget films, with possibly none of them earning back what they cost. Good for her getting the money, but will this make her tainted actor goods if/when her “star power” becomes challenged as part of the reasons the films didn’t make money. I guess she takes the money and runs? Her accountant better tell her to save and not spend too freely.
In fact, insider Daniel Richtman is now claiming that Johnson fought for Gadot to get the same pay packet as the two male leads, which seems like exactly the sort of thing that somebody with his reputation would do. It was already reported that Reynolds and Gadot would pick up about $20 million each for their troubles, while The Rock would score a little bit extra seeing as he’s also producing through his Seven Bucks banner, but either way, the trio of megastars are walking away from Red Notice with their bank balances positively bulging.
Some readers might think I’ve got a problem with what people get paid. I don’t. Pay these actors whatever they can negotiate, more power to them and their agents. The problem is these paydays are limited and put too much pressure on a film to make upwards of a billion dollars to be profitable. There have been less than 50 movies in the entire history of cinema that have made that kind of money.
Instead, pay the actors points on financial performance. No single movie in today’s production landscape should be paying $60+ million in actor salaries. I mean, there are other people starring in the movie, so how much are they getting paid? My goodness, this one might be over $100 million in salaries, unless everybody else on the staff is getting minimum paydays.
What makes all of this worse is Red Notice is a Netflix movie. Is it going to have any other revenue for Netflix besides paid subscriber revenue? Are there licensing product dollars they can recoup somehow? This just sounds like a terrible financial move by Netflix, a company that continues to spend more than they make. That’s not a recipe for long term business survival.
Am I excited to see Red Notice? Sure. Do I care if it makes money? Yes. I mean, this is how Netflix justifies another monthly subscription increase. Look at big budget movies we’re brining on, we need more monthly revenue from you, dear subscriber (see: Will Netflix Price Itself Out Of The Streaming Market?). That’s you and I adding bricks to these actors extra mansions.
Will give it to Netflix that they are currently #1 in the streaming game, but things change in business. When and if theaters reopen, Netflix is not focused on theaters regaining any momentum, but I’d argue they will. In the meantime, however, they can keep spending money that they don’t have and guess who will be paying for this reckless corporate spending?
Look closely in the mirror, fellow Netflix subscribers.
Wonder Woman 1984 – PG-13 – 2 hr 31 min NO SPOILERS Movie Review Watched on HBO Max Friday December 25, 2020 HBO Max – Tacoma, Washington
A long-awaited Christmas 2020 present has arrived allowing HBO Max viewers, especially those of us who can’t see this in an open theater, to see this tentpole film.
Before getting to the plot, we would have both rather seen this in a theater, but didn’t want to wait. Is that what happened with you, too? Or are you waiting for theaters to open and plan to see it there?
Diana Prince (Gal Gadot) is working in the 80s as a geologist when she meets shy, goofy Barbara Minerva. They analyze this artifact that Diana decodes the wording as being a dream granter, thinking of what her wish would be, sort of like a superhero version of the monkey’s paw. Meanwhile, Maxwell Lord (Pedro Pascal) attempts to be an oil tycoon are failing, so he steals the artifact and wishes to become the artifact, so he can grant wishes to the world.
First, we need to talk about the excess runtime. My goodness, this movie wasn’t complex enough plot-wise to require over 2 1/2 hours. Apparently, director Patty Jenkins pared back some of the scenes, but I’d argue some scenes were completely unnecessary. The opening Amazonian sequence was cool, but not very necessary. Steve Trevor’s involvement and love story seemed to be living more off a dream sequence than reality.
Where were the 80s? Yes, I recognized the mall backdrop from Commando which has been in a lot of movies, but with a movie set in the 80s, it needed more 80s references and nostalgia. Then again, maybe Wonder Woman stories belong in a World War II setting. The Nazis make such great villains.
Strengths? Maxwell Lord was more than just a cardboard villain, which was appreciated. The scenes with Cheetah vs. Wonder Woman were excellent and those alone make this film worth watching. Beyond Cheetah and Wonder Woman’s awesome gold armor, the movie was a bit flat and even draggy in spots.
The scale of the movie is grand. It was clearly made to be seen on the biggest screen possible. The sound effects and score are good. Watching Wonder Woman fling that golden lasso around flying from here to there — riding the lightning as seen in the previews! — or roping antagonists is exciting and fulfilling. Viewers will look forward to seeing these parts.
As the credits rolled, we felt like the story wasn’t as rewarding as some of the individual scenes. Was this the amazing movie I’ve waited over a year to see? Sometimes yes, mostly no. Scenes with Wonder Woman and Cheetah are great, but the rest is just kind of there. Like we’re being forced to wait for the good parts. At one dramatic arc in the movie, I wasn’t engaged or interested, I wanted to get to a different part of the movie. Not a good sign.
Unlike the first movie where Diana taking care of Steve while fighting evil kept viewers constantly engaged, this one just checked out at times. It’s still recommended, but the first movie, like all too many sequels, was significantly better. Not a lot of rewatch value here, except battle scenes which, again, were excellent.
Rating (out of 5 stars): ⭐️⭐️⭐️ (Todd) ⭐️⭐️⭐️ (Kara)
Let me start this by saying that I didn’t think any actress could ever replace Lynda Carter as Wonder Woman. I mean, she was Wonder Woman in the comics and in live action in the 70s.
Just like I doubted — and still do — that Bill Bixby as Dr. David Banner and Lou Ferigno can be replaced as Hulk. And, all due respect to Mark Ruffalo, Edward Norton, they have not done a better job than Bixby. Comparable? Sorry, no.
But Gal Gadot changed my mind with her portrayal as Wonder Woman. She could and did successfully fill the giant shoes of Lynda Carter as Wonder Woman and I can’t wait to see WW1984, hopefully on the big screen.
So, when I read that the Wonder Woman combo of director Patty Jenkins and actress Gal Gadot are teaming up to remake Cleopatra, my initial reaction was, “yeah, that fits. I could see her in that role.”
Casting-wise, isn’t this the criteria? I’ve never done casting for a movie, so am looking at this totally without any professional standing. Pure amateur viewpoint. But from an experienced moviegoer, if you will. Someone who wants to see movies with proper casting, of course.
Perhaps a simplification, but you also want to cast an actress that will draw interest to a film, so the more unknown actors/actresses you fill the roles in a film, the less likely it will be to garner initial moviegoer interest. That doesn’t mean a film with unknowns can’t be awesome, it simply means initial interest in the film can be affected negatively by not having a star attached. I think even newbies to the movie business understand this as a basic casting premise.
Gadot is a pretty big name right now for actresses and if you want your film to do well, and want a bigger budget for the film, an all star director and actress for this picture helps. Patty Jenkins might not have a huge portfolio of movies, but the ones she’s done to date have been outstanding. She’s a very skilled director and I look forward to her movies.
Am not sure I’m looking that forward to the actual movie in concept, however — I’m very jaded on remakes, the casting and director have nothing to do with it — yet will hold judgment once more on the story and perhaps a trailer are released. It could be something I’m very, very interested in seeing. Regardless, if it’s a wide release in a movie theater and I’m not somehow prevented from seeing (health, theaters closed, etc), I’ll be watching that movie someday in the future. It’s the movies I’m most interested in, the stories. All I ask of casting is that if it is based on a real person, does the person resemble the person, or could prosthetics make that person look similarly. This helps the suspension of disbelief.
I mean, Gadot goes from a DC superhero character of an Amazonian goddess to Cleopatra? Seems like a fitting role for the actress.
And yet there are detractors to the choice. Some who want the role to go to a black actress.
Even The National in the UAE critiqued the choice of Gadot. In an article about five actresses of Arab descent who could play Cleopatra, the author notes that she was actually of “Macedonia-Greek heritage.” The author notes “it also raises the theoretical question: If Gadot wasn’t in the frame, does the Arab world have stars of its own with sufficient stature to be considered for such an ambitious project?” The article admits that since Cleopatra was of Greek background, “the casting call could have been spread far and wide.”
This discussion seems out of bounds to me. Can you imagine a job interview in any other job except Hollywood where a person’s race would have anything whatsoever with getting the job? It is making me think of job discrimination in the hiring process.
Lest we forget that acting is a job. It might be at a higher level (not extras, not small supporting roles) a very specialized job with extremely great pay — in high profile cases like Gadot’s anyway (she was paid $10 million for her role in WW1984), but it’s still a job.
Casting decisions are not like hiring someone for long term employment, it’s for a project, but actors aren’t viewed as independent contractors.
They have to show up on set at set times and they have to follow the instructions in the script (yeah, there are exceptions) and the instructions of a director. It stands to reason that normal employment hiring laws should at least somewhat follow casting. I don’t know for certain that’s the case, but when I read “a black actress should be hired” it makes me feel the same as “a white actress should be hired.” Neither statement sounds like a viable or even legal hiring criteria.
Do you like Gal Gadot being cast as Cleopatra? Why? Why not?
Others wondered why the deep-pocketed diva couldn’t just send cash to help those suffering from the COVID-19 crisis, which has prompted nationwide business closures, and thousands of restaurant worker layoffs in New York City alone.
For those who don’t know the story behind the song by famous Beatles singer, John Lennon, it’s usually used in cases to inspire unity, which now would be an appropriate time most certainly. The sad irony is Lennon, a man who fiercely believed in worldwide peace, was gunned down by a disturbed fan.
I like hearing John Lennon sing the song, rather than imitators. RIP John.
Trying to keep a more optimistic view of the world at large right now, rather than join in the snarkiness over what others should and shouldn’t be doing.
Today’s the lucky day that we got to see the first official trailer for Wonder Woman 1984 dropping as part of CCXP 2019 in Brazil in the global twitter livestream.
There was a teaser trailer released yesterday to what our appetites:
Before the trailer was shown, director Patty Jenkins came out on the stage and shared a little bit about the film. She wouldn’t disclose HOW Steve Trevor makes it into 1984 with Wonder Woman, but she promised that it was “not a gimmick” and was “integral to the plot.”
Then Gal Gadot came out on stage:
Congratulations to Gal Gadot, for the $10 million payday, who starred as Diana Prince / Wonder Woman in DC Comics film adoption. I doubted that she would be as good as the Wonder Woman TV show, but she was great.
And while Gal Gadot may have been paid a pittance to originate the role of Wonder Woman in 2016’s “Batman v Superman: Dawn of Justice,” she’ll get a heroic $10 million to don her character’s signature cuffs in “Wonder Woman 1984.” These movies turned Gadot into a major star, and she’s finally being paid accordingly.
Here it is … the first official Wonder Woman 1984 trailer:
Great trailer! I’m sooooo looking forward to seeing this movie. Even moreso now. This trailer does what all trailers should do. Tease us. She’s swinging around on lightning, which is badass to the extreme.
“Nothing good is born from lies,” – Wonder Woman
The scene in the trailer with Steve’s watch? I think that watch might have something to do with how/why he returns.
I’ve been hearing some stuff about time travel being involved in the new film. That might be one of the few logical ways to reunite Diana Prince and Steve, but there are others, I mean we’re talking about comic book fantasy.
Ok, here are my other than time travel ideas for Wonder Woman to reunite with her love:
Follows the comic book and it isn’t Steve Trevor senior, it’s really Steve’s son.
Wonder Woman enters a parallel timeline for 1984 where Steve is waiting.
Retell/reboot the end of Wonder Woman (yes, this might be lame)
Restart the series from 1984, ignoring what happened in the original film (this also could be controversial)
Wonder Woman 1984 opens wide in theaters June 5, 2020.
Update 12/9 – Others Commenting on the Trailer
Beyond The Stage: “Costumes aside, we also love the nostalgic tunes. The trailer reaches into the cultural memory of 80s music with an instrumental remix of New Order’s “Blue Monday.” The bass and moody chord progressions set the tone for a rad (yeah, we went there) setting, with scenes depicting Diana fighting in a shopping mall (an 80s hallmark); walking into a gala; reuniting with Steve Trevor, and dodging bullets in a new suit.”
Latoya Fondren: “The most surprising reveal, her previous love interest, Steve Trevor, played by Chris Pine, appears in the new trailer, showing no sign of aging.”
The Nerdling: “The 80’s setting is great. All of the colors seem to be turned to 11, especially on the look of Diana herself. The tease of her new suite was exciting. The mystery of Steve Trevor’s return seems like it will be an interesting plot device and not just a ham-fisted way of bringing back a popular actor.”
Paige’s Picks: “The two best moments of the trailer come at the end, as we see Diana using her lasso to ride a bolt of lightning, as well as the reveal of her new head-to-toe gold armor suit, complete with a helmet and wings.”
Shane Wilson: “…there are beautiful action set pieces, including a decade-appropriate and beautifully choreographed mall scene.”
Stylecaster: “Since the release of the Wonder Woman: 1984 trailer over the weekend, fans have had one question: How is Steve Trevor alive?”