What's Your Fantasy??? (Wonder Woman Edition)
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DC Nation Robert Valley Wonder Woman Shorts | The Mary Sue
Wonder Woman saving the day by catching her man-sel in distress and surfing down a gargantuan wave to slap a giant and ride off into the sunset? Yep, that's the most recent Wonder Woman short by Robert Valley for DC Nation. All three are now up online, so you can watch (and re-watch) an awesome...
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Adrianne Palicki reflects on living her 'dream' in NBC's Wonder Woman pilot
Thirty-five years after Lynda Carter's debut and five years before Gal Gadot, NBC lassoed Adrianne Palicki for its Wonder Woman pilot.
By Chancellor Agard
October 16, 2020 at 09:30 AM EDT
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To call Adrianne Palicki a “comic-book fan” would be an understatement. “I have a Supergirl tattoo,” says the 37-year-old Friday Night Lights alum. She fell in love with the Girl of Steel and Wonder Woman at a young age because she idolized her older brother, who wrote comic books. “Anything he did, I wanted to do. Of course, I gravitated toward these beautiful, strong women, wanting to be one eventually as this awkward child.” And she got her wish in 2011 when producer David E. Kelley (Big Little Lies, Ally McBeal) cast her as the titular DC Comics heroine in his Wonder Woman pilot.
“It was honestly the scariest thing ever and the best thing ever at the time. Getting to wear that outfit was just a huge dream,” says Palicki, who recalls being nervous when the producers asked her to read with costar Cary Elwes (The Princess Bride) during his audition. "I walk in one day and it’s Cary Elwes. And I’m like, 'I can’t read with him. He was Wesley. He was the love of my life at one point!' I was so nervous. Thankfully, he was a shoo-in and we got to work together and I got to hear all of the amazing stories about Princess Bride."
Developed with Warner Bros. Television, Kelley’s prospective series, which offered a new take on the 70-year-old icon by giving her an Iron Man/Tony Stark-like double identity, received a pilot order from NBC. In the story, the world knows Wonder Woman as both a Los Angeles-based superhero and as her alter ego Diana Themyscira, the leader of a large corporation that merchandises the Wonder Woman brand to fund her vigilante hustle. At the end of the day, though, she returns home to her secret identity, Diana Prince, a meek, bespectacled woman who owns a cat and enjoys romance movies.
“It was fun for me to get to play three different characters ultimately,” says Palicki. “I loved that David E. Kelley is really great at writing really strong women, and I found he did that beautifully in all of the different personas. What they all still had [in common] was this beautiful vulnerability of isolation.”
Despite her confidence in Kelley’s writing, Palicki still felt an immense amount of pressure. “The stans — being one as well — have very strong opinions, and it’s really important, especially in the comic-book community, to win them over. I was very nervous about that—[and] also very beautifully shocked and pleased that people were very supportive of me getting the role, obviously having not seen the show,” she says. “I was lucky enough to have a beautiful writer and my buddy [pilot director] Jeffrey Reiner, who I trust implicitly and is never gonna just settle on a scene if it isn’t perfect. That made me feel much more comfortable. I felt like we were all a team and it wasn’t just me pushing for this.”
Elizabeth Hurley as the villainous Veronica Cale. “[Hurley’s] work ethic is fantastic,” says Palicki. “What a trouper, because Diana gets to kick her ass in the pilot.”
BAUER-GRIFFIN/GC IMAGES
Rounding out the cast were Elwes as Diana’s attentive business partner Henry; Tracie Thoms (9-1-1) as her personal assistant Etta Candy; a pre–Wonder Woman 1984 Pedro Pascal as her LAPD liaison (à la Commissioner Gordon to Batman), albeit reluctantly; Justin Bruening (Grey’s Anatomy) as her ex-boyfriend Steve Trevor; and Elizabeth Hurley as Veronica Cale, Diana’s archnemesis who is flooding the streets with a dangerous drug.
“[The cast] made my life easy because the shooting of it was so hard, but the actors were just fantastic,” recalls Reiner, who worked with Palicki on the first three seasons of Friday Night Lights. “I think it was the biggest thing I’ve worked on.”
During production, they shut down all of Hollywood Boulevard to film a chase sequence in which Wonder Woman leaps over several cars in pursuit of a drug dealer. “It was one of the most surreal moments of my life,” says Palicki, who worked in a store along the star-studded L.A. strip many years ago. “I can’t believe I was managing a sunglass store there and now am part of the process of closing down Hollywood Boulevard wearing a Wonder Woman costume.”
Unfortunately, Palicki’s dream role was short-lived because NBC passed on the pilot. “It was devastating when it didn’t go. It was so big,” says Palicki. These days she wonders if it was just a matter of it being too early. The pilot was shot the same year Smallville ended its groundbreaking 10-season run, and a full year before The CW let Arrow fly with its green-leathered hero and Marvel’s Avengers cemented the superhero genre’s box office supremacy. “I feel like maybe if it had been [made] one or two more years [later], it would’ve been a shoo-in.”
But perhaps it’s for the best that it didn’t go through? “I would not have had a life between the stunt rehearsals, being in every scene. It would’ve been worth it, but it probably would’ve aged me massively in three years,” says Palicki. Nevertheless, she’ll always be grateful for this opportunity because it meant working with Elwes, one of her childhood crushes. “If anything, that alone was worth it. That and wearing the costume.”
Thirty-five years after Lynda Carter's debut and five years before Gal Gadot, NBC lassoed Adrianne Palicki for its Wonder Woman pilot.
By Chancellor Agard
October 16, 2020 at 09:30 AM EDT
ADVERTISEMENT
SaveFBTweetMore
SHUTTERSTOCK
To call Adrianne Palicki a “comic-book fan” would be an understatement. “I have a Supergirl tattoo,” says the 37-year-old Friday Night Lights alum. She fell in love with the Girl of Steel and Wonder Woman at a young age because she idolized her older brother, who wrote comic books. “Anything he did, I wanted to do. Of course, I gravitated toward these beautiful, strong women, wanting to be one eventually as this awkward child.” And she got her wish in 2011 when producer David E. Kelley (Big Little Lies, Ally McBeal) cast her as the titular DC Comics heroine in his Wonder Woman pilot.
“It was honestly the scariest thing ever and the best thing ever at the time. Getting to wear that outfit was just a huge dream,” says Palicki, who recalls being nervous when the producers asked her to read with costar Cary Elwes (The Princess Bride) during his audition. "I walk in one day and it’s Cary Elwes. And I’m like, 'I can’t read with him. He was Wesley. He was the love of my life at one point!' I was so nervous. Thankfully, he was a shoo-in and we got to work together and I got to hear all of the amazing stories about Princess Bride."
Developed with Warner Bros. Television, Kelley’s prospective series, which offered a new take on the 70-year-old icon by giving her an Iron Man/Tony Stark-like double identity, received a pilot order from NBC. In the story, the world knows Wonder Woman as both a Los Angeles-based superhero and as her alter ego Diana Themyscira, the leader of a large corporation that merchandises the Wonder Woman brand to fund her vigilante hustle. At the end of the day, though, she returns home to her secret identity, Diana Prince, a meek, bespectacled woman who owns a cat and enjoys romance movies.
“It was fun for me to get to play three different characters ultimately,” says Palicki. “I loved that David E. Kelley is really great at writing really strong women, and I found he did that beautifully in all of the different personas. What they all still had [in common] was this beautiful vulnerability of isolation.”
Despite her confidence in Kelley’s writing, Palicki still felt an immense amount of pressure. “The stans — being one as well — have very strong opinions, and it’s really important, especially in the comic-book community, to win them over. I was very nervous about that—[and] also very beautifully shocked and pleased that people were very supportive of me getting the role, obviously having not seen the show,” she says. “I was lucky enough to have a beautiful writer and my buddy [pilot director] Jeffrey Reiner, who I trust implicitly and is never gonna just settle on a scene if it isn’t perfect. That made me feel much more comfortable. I felt like we were all a team and it wasn’t just me pushing for this.”
Elizabeth Hurley as the villainous Veronica Cale. “[Hurley’s] work ethic is fantastic,” says Palicki. “What a trouper, because Diana gets to kick her ass in the pilot.”
BAUER-GRIFFIN/GC IMAGES
Rounding out the cast were Elwes as Diana’s attentive business partner Henry; Tracie Thoms (9-1-1) as her personal assistant Etta Candy; a pre–Wonder Woman 1984 Pedro Pascal as her LAPD liaison (à la Commissioner Gordon to Batman), albeit reluctantly; Justin Bruening (Grey’s Anatomy) as her ex-boyfriend Steve Trevor; and Elizabeth Hurley as Veronica Cale, Diana’s archnemesis who is flooding the streets with a dangerous drug.
“[The cast] made my life easy because the shooting of it was so hard, but the actors were just fantastic,” recalls Reiner, who worked with Palicki on the first three seasons of Friday Night Lights. “I think it was the biggest thing I’ve worked on.”
- ADRIANNE PALICKI ON WORKING WITH ELIZABETH HURLEY
During production, they shut down all of Hollywood Boulevard to film a chase sequence in which Wonder Woman leaps over several cars in pursuit of a drug dealer. “It was one of the most surreal moments of my life,” says Palicki, who worked in a store along the star-studded L.A. strip many years ago. “I can’t believe I was managing a sunglass store there and now am part of the process of closing down Hollywood Boulevard wearing a Wonder Woman costume.”
Unfortunately, Palicki’s dream role was short-lived because NBC passed on the pilot. “It was devastating when it didn’t go. It was so big,” says Palicki. These days she wonders if it was just a matter of it being too early. The pilot was shot the same year Smallville ended its groundbreaking 10-season run, and a full year before The CW let Arrow fly with its green-leathered hero and Marvel’s Avengers cemented the superhero genre’s box office supremacy. “I feel like maybe if it had been [made] one or two more years [later], it would’ve been a shoo-in.”
- ADRIANNE PALICKI ON GAL GADOT'S PORTRAYAL OF WONDER WOMAN ON THE BIG SCREEN
But perhaps it’s for the best that it didn’t go through? “I would not have had a life between the stunt rehearsals, being in every scene. It would’ve been worth it, but it probably would’ve aged me massively in three years,” says Palicki. Nevertheless, she’ll always be grateful for this opportunity because it meant working with Elwes, one of her childhood crushes. “If anything, that alone was worth it. That and wearing the costume.”
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Wonder Woman 1984 will be released on HBO Max the same day it’s in theaters for no extra cost
Wonder Woman 1984 is one of the biggest blockbusters to head to streaming platforms
www.theverge.com
Watch the opening scene of Wonder Woman 1984: Diana takes on Themyscira's Olympics
By Sydney Bucksbaum
December 15, 2020 at 05:14 PM EST
Christmas has come early for anyone dying to see Wonder Woman 1984 — or at least the first few minutes.
While the Wonder Woman sequel won't be out until Dec. 25, Warner Bros. is giving fans an early taste by releasing the opening scene, which you can watch below.
The footage takes Diana (Gal Gadot) back to her childhood in Themyscira, reminiscing on the "magical land" of her youth. We see her as a young kid as she races through green fields to participate in a sort of Amazonian Olympics. After watching all the warrior women perform athletic feats as the crowd goes wild, Diana steps up to the plate. General Antiope (Robin Wright), Diana's aunt, gives her a few words of advice as Queen Hippolyta (Connie Nielsen), her mother, watches from above.
The clip then transitions to scenes of an adult Diana fighting as Wonder Woman in the 1980s, intercut with young Diana running an obstacle course in Themyscira. We also see Diana meet Barbara Ann Minerva (Kristen Wiig), who will end up becoming the supervillain Cheetah.
The Empty Spectacle of Wonder Woman 1984
By Angelica Jade Bastién@angelicabastien
By Angelica Jade Bastién@angelicabastien
The disappointing sequel highlights not only the dire state of the live-action superhero genre, but the dire state of Hollywood filmmaking as a whole. Photo: Courtesy of Warner Bros.
Wonder Woman, also known as Diana Prince, is one of the most dynamic of DC’s mainstay comic characters, but you’d never know it watching Wonder Woman 1984.
This sequel had almost everything going for it. Its empathetic predecessor is likely the most beloved and critically successful of the slate of beleaguered DC Comics films. Its time-skipping story offered a way to expand the superhero genre’s usual plot beats — which was desperately needed — and arrived buoyed by an excellent cast. Perhaps its lopsided universe was not perfect; there were lackluster villains and a noticeable absence of racial diversity and sensuality, and the sequel had to contend with a significant jump from WWI-era Europe into early 1980s Washington, D.C. But these issues were surmountable. Sadly, all that glittered in the franchise’s first outing is gone in Wonder Woman 1984. The disappointing sequel highlights not only the dire state of the live-action superhero genre in film, but the dire state of Hollywood filmmaking as a whole.
In Patty Jenkins’s candy-colored rendition of the ’80s, 1984’s Diana (Gal Gadot) finds herself lonely and isolated — both by choice and circumstance. As she begins to develop a friendship with a co-worker named Barbara Minerva (Kristen Wiig), Diana’s life as both a museum curator and undercover superhero is disrupted by the arrival of what is best described as a magic rock. At first, it unknowingly grants Diana her great desire: to see Steve Trevor (Chris Pine) returned to life (sort of). The easily frazzled and comically clumsy Barbara gets some fringe benefits, too — she wishes upon the rock to be like Diana, suddenly achieving a power and confidence beyond her wildest dreams. But things take a turn when wannabe oil tycoon Maxwell Lord (an over-the-top and preening Pedro Pascal) strolls into the story with a rank ego and daddy issues. Barbara — whose story as Cheetah is well told in Greg Rucka, Nicola Scott and Liam Sharp’s run on the character that kicked off in 2016 — transforms from nascent friend to villain all too quickly. Meanwhile, the magic rock ends up setting the stage for major global unrest (and a genuinely weird accounting of Middle East politics).
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GIVE NEW YORK
What has attracted me to this character over the years — the femininity of her mythos and how it emphasizes the maternal, how her strength is conveyed in both fight scenes and more emotional exchanges — feels poorly developed in this utter mess of a plot. Superhero films too often rely on mystical items to fuel their narratives, but a magic rock that grants wishes like a gleaming monkey’s paw? It’s hackneyed, as is the stilted dialogue that unravels the story to begin with, starting with Diana’s voiceover outlining a thinly drawn exploration of her Amazon race. It is so stilted that when Diana finally vaults into action against a darkened sky, using her glowing lasso to ride lightning bolts, I felt not an ounce of awe.
Sure, Gadot and Pine once again have a charming chemistry, but his character’s return from the dead — in which he, basically, takes over some poor guy’s body — sparks more questions about the gaps in logic. And then there’s their utter sexlessness, an especially damning reminder of the way this genre fails to take into account one of the most beautiful aspects of being human. Instead, in 1984, Diana’s non-erotic yearning for Steve has become the entirety of her identity. Why? She doesn’t miss her Amazon sisters, whom she can never see again, more? It’s been over a century and she still hasn’t moved on from Steve? There’s something deeply sad and predictable about a female superhero so tied to a single man she’s willing to lose her powers for him. Romance has the potential to be heartwarming and expansive in superhero stories, but here it just feels claustrophobic. (I won’t even expand on a turn at the end ripped from a Hallmark movie, Christmas visuals and all, that was so galling I’m still not sure it happened.)
Jenkins, who brought a fresh eye to the fight choreography and stylings in the original Wonder Woman, seems now almost disenchanted with the world she’s helped bring to life. It’s cheerfully lit, as the ’80s period demands, but it’s neither visually intriguing nor beautiful. Wonder Woman 1984 overwhelms the senses, confusing largess with wonder. The action is hobbled by poor blocking; a strange spatial dynamic makes it so that you’re never exactly sure where characters are in the space of the scene. Especially egregious is an underwater sequence involving Barbara and Diana, in which Cheetah — who should feel fearsome — is undercut by uneven practical effects and chintzy CGI. In close-ups throughout the movie, Cheetah’s face and body feel poorly thought out, conjuring not even a sliver of the feral prowess of the character. In medium and long shots, particularly during a closing fight between the women, there’s a profound weightlessness to the blows owing to how Cheetah’s body is framed. There are a few cool touches to Jenkins’s filmmaking aesthetic — an intriguing spin on the invisible jet, Diana’s increased reliance on her lasso, her new ability to fly — but, overall, the promise of action sequence thrills feels unfulfilled.
In the end, the actors can’t save the story. Wiig really, really tries, too. She vamps it up with Pascal, each of them going for arch performances the script can’t match. The plot grows more tangled and confusing by the minute, as the film’s central relationships are overshadowed by unnecessary globetrotting, flashy role reversals, and poor world building (which mines the time setting for visual and sonic cues but little else. The story does nothing to explain exactly what Diana has been doing in the years since WWI or why she decided to ignore intervening global horrors she might have otherwise dismantled.) In the comics, Diana forms a curious bond with Barbara, whose work as an archaeologist and obsession with the Amazons adds an intriguing layer to their friendship. Little of that transfers to the film; the sequel continues the franchise’s earnest streak, but without a stronger narrative it feels unearned and, worse yet, calculated. Gal Gadot admittedly remains a warm presence in the franchise, and Chris Pine does his best with the story. It makes sense that Steve and Diana would become positioned against Barbara and Maxwell, with his murkily defined goals of domination. But why not lean into the best aspect of the preceding story: the Amazons? Why bring Robin Wright back if you’re not going to give her another juicy action scene? Blessedly, the movie is free of empty “girl power” slogans and mortifying needle drops, but is that enough? I want intrigue! I want grace! With the full might of the modern Hollywood apparatus and an ungodly amount of money, is this really the best we can get? The movie insults by offering scraps and making us pretend it’s a meal.
Wonder Woman 1984 is a turning point in the history of Hollywood’s business, what with Warner Bros. banking big on the hope that the film’s Christmas Day release will be the push its (admittedly good) streaming service, HBO Max, needs (in the U.S., at least). But the film is indicative of the larger pitfalls of an aging superhero genre. Watching Wonder Woman 1984, I couldn’t help but think of the utter hollowness of representation and how corporations have adopted the language and posture of political movements in order to sell back to us a vacant rendition of the change we actually want. In many ways, studios have trained audiences to view the bombast of their blockbusters as possessing inherent worth — especially when they place reflections of us on the big screen. This isn’t good filmmaking. And as more and more exciting directors get caught up in the gears of this mammoth genre, I can’t help but reflect on how their talents would be better utilized elsewhere. If only Hollywood gave them real control over stories, rather than treating their work as mere conduits for content the studio can replicate and sell.
Wonder Woman, also known as Diana Prince, is one of the most dynamic of DC’s mainstay comic characters, but you’d never know it watching Wonder Woman 1984.
This sequel had almost everything going for it. Its empathetic predecessor is likely the most beloved and critically successful of the slate of beleaguered DC Comics films. Its time-skipping story offered a way to expand the superhero genre’s usual plot beats — which was desperately needed — and arrived buoyed by an excellent cast. Perhaps its lopsided universe was not perfect; there were lackluster villains and a noticeable absence of racial diversity and sensuality, and the sequel had to contend with a significant jump from WWI-era Europe into early 1980s Washington, D.C. But these issues were surmountable. Sadly, all that glittered in the franchise’s first outing is gone in Wonder Woman 1984. The disappointing sequel highlights not only the dire state of the live-action superhero genre in film, but the dire state of Hollywood filmmaking as a whole.
In Patty Jenkins’s candy-colored rendition of the ’80s, 1984’s Diana (Gal Gadot) finds herself lonely and isolated — both by choice and circumstance. As she begins to develop a friendship with a co-worker named Barbara Minerva (Kristen Wiig), Diana’s life as both a museum curator and undercover superhero is disrupted by the arrival of what is best described as a magic rock. At first, it unknowingly grants Diana her great desire: to see Steve Trevor (Chris Pine) returned to life (sort of). The easily frazzled and comically clumsy Barbara gets some fringe benefits, too — she wishes upon the rock to be like Diana, suddenly achieving a power and confidence beyond her wildest dreams. But things take a turn when wannabe oil tycoon Maxwell Lord (an over-the-top and preening Pedro Pascal) strolls into the story with a rank ego and daddy issues. Barbara — whose story as Cheetah is well told in Greg Rucka, Nicola Scott and Liam Sharp’s run on the character that kicked off in 2016 — transforms from nascent friend to villain all too quickly. Meanwhile, the magic rock ends up setting the stage for major global unrest (and a genuinely weird accounting of Middle East politics).
60% Off Gift Subscriptions
GIVE NEW YORK
What has attracted me to this character over the years — the femininity of her mythos and how it emphasizes the maternal, how her strength is conveyed in both fight scenes and more emotional exchanges — feels poorly developed in this utter mess of a plot. Superhero films too often rely on mystical items to fuel their narratives, but a magic rock that grants wishes like a gleaming monkey’s paw? It’s hackneyed, as is the stilted dialogue that unravels the story to begin with, starting with Diana’s voiceover outlining a thinly drawn exploration of her Amazon race. It is so stilted that when Diana finally vaults into action against a darkened sky, using her glowing lasso to ride lightning bolts, I felt not an ounce of awe.
Sure, Gadot and Pine once again have a charming chemistry, but his character’s return from the dead — in which he, basically, takes over some poor guy’s body — sparks more questions about the gaps in logic. And then there’s their utter sexlessness, an especially damning reminder of the way this genre fails to take into account one of the most beautiful aspects of being human. Instead, in 1984, Diana’s non-erotic yearning for Steve has become the entirety of her identity. Why? She doesn’t miss her Amazon sisters, whom she can never see again, more? It’s been over a century and she still hasn’t moved on from Steve? There’s something deeply sad and predictable about a female superhero so tied to a single man she’s willing to lose her powers for him. Romance has the potential to be heartwarming and expansive in superhero stories, but here it just feels claustrophobic. (I won’t even expand on a turn at the end ripped from a Hallmark movie, Christmas visuals and all, that was so galling I’m still not sure it happened.)
Jenkins, who brought a fresh eye to the fight choreography and stylings in the original Wonder Woman, seems now almost disenchanted with the world she’s helped bring to life. It’s cheerfully lit, as the ’80s period demands, but it’s neither visually intriguing nor beautiful. Wonder Woman 1984 overwhelms the senses, confusing largess with wonder. The action is hobbled by poor blocking; a strange spatial dynamic makes it so that you’re never exactly sure where characters are in the space of the scene. Especially egregious is an underwater sequence involving Barbara and Diana, in which Cheetah — who should feel fearsome — is undercut by uneven practical effects and chintzy CGI. In close-ups throughout the movie, Cheetah’s face and body feel poorly thought out, conjuring not even a sliver of the feral prowess of the character. In medium and long shots, particularly during a closing fight between the women, there’s a profound weightlessness to the blows owing to how Cheetah’s body is framed. There are a few cool touches to Jenkins’s filmmaking aesthetic — an intriguing spin on the invisible jet, Diana’s increased reliance on her lasso, her new ability to fly — but, overall, the promise of action sequence thrills feels unfulfilled.
In the end, the actors can’t save the story. Wiig really, really tries, too. She vamps it up with Pascal, each of them going for arch performances the script can’t match. The plot grows more tangled and confusing by the minute, as the film’s central relationships are overshadowed by unnecessary globetrotting, flashy role reversals, and poor world building (which mines the time setting for visual and sonic cues but little else. The story does nothing to explain exactly what Diana has been doing in the years since WWI or why she decided to ignore intervening global horrors she might have otherwise dismantled.) In the comics, Diana forms a curious bond with Barbara, whose work as an archaeologist and obsession with the Amazons adds an intriguing layer to their friendship. Little of that transfers to the film; the sequel continues the franchise’s earnest streak, but without a stronger narrative it feels unearned and, worse yet, calculated. Gal Gadot admittedly remains a warm presence in the franchise, and Chris Pine does his best with the story. It makes sense that Steve and Diana would become positioned against Barbara and Maxwell, with his murkily defined goals of domination. But why not lean into the best aspect of the preceding story: the Amazons? Why bring Robin Wright back if you’re not going to give her another juicy action scene? Blessedly, the movie is free of empty “girl power” slogans and mortifying needle drops, but is that enough? I want intrigue! I want grace! With the full might of the modern Hollywood apparatus and an ungodly amount of money, is this really the best we can get? The movie insults by offering scraps and making us pretend it’s a meal.
Wonder Woman 1984 is a turning point in the history of Hollywood’s business, what with Warner Bros. banking big on the hope that the film’s Christmas Day release will be the push its (admittedly good) streaming service, HBO Max, needs (in the U.S., at least). But the film is indicative of the larger pitfalls of an aging superhero genre. Watching Wonder Woman 1984, I couldn’t help but think of the utter hollowness of representation and how corporations have adopted the language and posture of political movements in order to sell back to us a vacant rendition of the change we actually want. In many ways, studios have trained audiences to view the bombast of their blockbusters as possessing inherent worth — especially when they place reflections of us on the big screen. This isn’t good filmmaking. And as more and more exciting directors get caught up in the gears of this mammoth genre, I can’t help but reflect on how their talents would be better utilized elsewhere. If only Hollywood gave them real control over stories, rather than treating their work as mere conduits for content the studio can replicate and sell.
Lynda Carter's Wonder Woman series drops on HBO Max ahead of new movie premiere
PSA: You can now watch the original Wonder Woman series on HBO Max.
By Nick Romano
December 23, 2020 at 10:46 AM EST
Share:Warner Bros. to Release Every 2021 Movie on HBO Max at Same Time
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Direct Link
Wonder Woman
TYPE
The Wonder Woman series from the 1970s, starring Lynda Carter as Diana Prince, is now available to watch on HBO Max, which will soon play host to the new movie starting Christmas Day.
The show ran for three seasons from 1975-1979 and also featured actor Lyle Waggoner as Steve Trevor. The first season was originally dubbed The New, Original Wonder Woman, while the subsequent seasons were under the banner of The New Adventures of Wonder Woman. For the DVD and VHS release, the show was released simply as Wonder Woman.
In addition to the first live-action Wonder Woman movie, HBO Max also has the animated film from 2009, featuring The Americans' Keri Russell as Diana.
Carter has been a supporter of the new big-screen era of Wonder Woman by way of actress Gal Gadot. She previously said she tried for a cameo in the first movie but "couldn't make it work" with scheduling. Carter further teased a possible cameo in the sequel. "It really is up to Patty, and if it works in an organic way it’ll be great fun and it’ll be wonderful to do," she said.
Wonder Woman 1984 returns Gadot and Chris Pine (as Steve Trevor) opposite Kristen Wiig as Barbara Minerva (a.k.a. Cheetah) and Pedro Pascal as Maxwell Lord. The film will be released simultaneously on HBO Max and in theaters this Friday.
ew.com
PSA: You can now watch the original Wonder Woman series on HBO Max.
By Nick Romano
December 23, 2020 at 10:46 AM EST
Share:Warner Bros. to Release Every 2021 Movie on HBO Max at Same Time
×
Direct Link
Wonder Woman
TYPE
- Movie
The Wonder Woman series from the 1970s, starring Lynda Carter as Diana Prince, is now available to watch on HBO Max, which will soon play host to the new movie starting Christmas Day.
The show ran for three seasons from 1975-1979 and also featured actor Lyle Waggoner as Steve Trevor. The first season was originally dubbed The New, Original Wonder Woman, while the subsequent seasons were under the banner of The New Adventures of Wonder Woman. For the DVD and VHS release, the show was released simply as Wonder Woman.
In addition to the first live-action Wonder Woman movie, HBO Max also has the animated film from 2009, featuring The Americans' Keri Russell as Diana.
Carter has been a supporter of the new big-screen era of Wonder Woman by way of actress Gal Gadot. She previously said she tried for a cameo in the first movie but "couldn't make it work" with scheduling. Carter further teased a possible cameo in the sequel. "It really is up to Patty, and if it works in an organic way it’ll be great fun and it’ll be wonderful to do," she said.
Wonder Woman 1984 returns Gadot and Chris Pine (as Steve Trevor) opposite Kristen Wiig as Barbara Minerva (a.k.a. Cheetah) and Pedro Pascal as Maxwell Lord. The film will be released simultaneously on HBO Max and in theaters this Friday.
Lynda Carter's 'Wonder Woman' series drops on HBO Max ahead of new movie premiere
PSA: You can now watch the original 'Wonder Woman' series with Lynda Carter on HBO Max.
Zack Snyder Finally Shares Secret Wonder Woman Photo That Would've Changed The Character's History
You like this Wonder Woman more?
www.cinemablend.com
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Gal Gadot brings out her 'inner bat' and dons Ben Affleck's mask in celebration of Batman Day
Gal Gadot showed the world what it would look like if Wonder Woman became Batman for a day.
Gal Gadot brings out her 'inner bat' and dons Ben Affleck's mask in celebration of Batman Day
The Wonder Woman actress posted a video trying on Ben Affleck's Batman mask to honor the day dedicated to the DC comics superhero.
By Andrea Towers
September 20, 2021 at 02:59 PM EDT
Gal Gadot not only fights alongside Batman — she appreciates him, too. In honor of Batman Day, the Wonder Woman actress posted a video of herself trying on Ben Affleck's bat cowl during filming of 2017's Justice League.
"It's not that bad," Gadot can be heard in the video after crew members help place the heavy mask on her head. "Or my head is not that big."
As Gadot models her new look, the crew joins in on the fun, with a makeup artist adding lipstick and mascara and someone joking that she looks like "Batman's sister."
Gal Gadot as Batman
| CREDIT: GAL GADOT/INSTAGRAM
"Bringing out my inner bat," Gadot captioned the video, which she shared on Instagram. "Happy Batman day! #BatmanDay #Batmanday2021."
This isn't the first time Gadot had donned her costar's famous cowl: In 2018, she posted a black and white still from a photoshoot for Halloween. Showing off how she looked in the famous costume (our verdict: pretty cool), she added the iconic words, "I'm Batman."
Gadot is currently on a break from her superhero life as she prepares to release the Netflix action comedy Red Notice, which arrives Nov. 12 and reunites the actress with her Fast & Furious costar Dwayne Johnson. And in her personal life, she's adjusting to a new iteration of a role she's been playing for the past few years. In June, she welcomed her third daughter Daniella, along with husband Jaron Varsano.
Wonder Woman roller coaster heads to Six Flags Magic Mountain
New Wonder Woman Flight of Courage roller coaster is heading to Six Flags Magic Mountain in California. See all the new ride details announced on DC Comics Wonder Woman Day here.
Six Flags Magic Mountain lassoes record-breaking Wonder Woman roller coaster
California theme park announces new Wonder Woman Flight of Courage roller coaster on DC Comics' official Wonder Woman Day in celebration of the superhero's 80th anniversary.
By Joey NolfiOctober 21, 2021 at 08:00 AM EDT
Six Flags Magic Mountain has lassoed a DC Comics icon for a new roller coaster joining its impressive lineup of thrill rides.
The California-based park announced Thursday it will open Wonder Woman Flight of Courage as the world's tallest, fastest single-rail roller coaster in the summer of 2022. Magic Mountain's 20th overall roller coaster, Flight of Courage will take riders up to 131 feet in the air over 3,300 feet of track, with riders experiencing three inversions at speeds approaching 60 miles per hour during the ride. Its entrance plaza will feature Greek architecture and tropical landscaping, and guests will be immersed in the story of Wonder Woman's life and the tale of how she obtained her super powers as they wait to board.
Made by the Idaho-based Rocky Mountain Construction — the company behind several wood-to-steel coaster re-tracking projects at Six Flags parks around the world — Wonder Woman Flight of Courage will be located in the DC Universe section of the park atop the site formerly occupied by a short-lived Green Lantern ride. The addition joins the park's already robust roster of DC-themed attractions, including Superman: Escape From Krypton, Riddler's Revenge, and Batman: The Ride. A new, innovative restaurant and bar experience and more retail locations with exclusive DC merchandise are also heading to the park alongside the new ride.
Wonder Woman Flight of Courage at Six Flags Magic Mountain
| CREDIT: SIX FLAGS MAGIC MOUNTAIN
News of Six Flags Magic Mountain's new coaster falls on DC Comics' official Wonder Woman Day, which celebrates the 80th anniversary of the superhero's debut.
Though it is the latest DC-based attraction joining the Six Flags family, Wonder Woman Flight of Courage is not the first to use Wonder Woman's likeness. Six Flags Fiesta Texas opened its single-rail, multi-inversion Wonder Woman Golden Lasso coaster in May 2018, while Six Flags Mexico debuted its free-spinning Wonder Woman ride the following month.
Two other Wonder Woman rides operate at park properties in the United States, both named Wonder Woman Lass of Truth: A 24-story extreme swing at Six Flags America in Maryland, and a giant pendulum-style attraction at Six Flags Great Adventure in New Jersey.
Wonder Woman Flight of Courage Six Flags Magic Mountain
| CREDIT: SIX FLAGS MAGIC MOUNTAIN
Since her 1942 debut, Wonder Woman has become one of the most popular characters in DC history, regularly appearing in comics, animated media projects, video games, and more. Director Patty Jenkins recently helmed two live-action feature films following the heroine: 2017's Wonder Woman and its 2020 sequel Wonder Woman 1984 — which collectively grossed nearly $1 billion at the worldwide box office.
See concept art and a preview video for the Wonder Woman Flight of Courage coaster heading to Six Flags Magic Mountain in 2022 above.
Rosa Acosta
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