WandaVision (TV Program)

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      ‘WandaVision’ Fills In Gaps in Marvel History

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘WandaVision’ Fills In Gaps in Marvel HistoryThis week, the series drew from many other Marvel shows, movies and comics. Here’s a breakdown of some of the key references.Elizabeth Olsen, left, and Kathryn Hahn in “WandaVision.”Credit…Disney+Feb. 26, 2021, 5:52 p.m. ETGrief and personal loss fill in gaps in the Marvel Cinematic Universe in Friday’s episode of “WandaVision,” the eighth of the season and, at 48 minutes long, the longest to date. Titled “Previously On,” it is the installment that most clearly ties the show’s events to other Marvel movies and TV shows, like “Avengers: Age of Ultron” and “Agents of S.H.I.E.L.D.”At the same time, it is an origin story for the disorienting sitcom world that much of “WandaVision” has inhabited. Through a series of extended flashbacks, the tortured superheroine Wanda Maximoff (Elizabeth Olsen) relives the traumatizing events that led her to transform the contemporary New Jersey suburb of Westview into the Hex, a TV-addled neighborhood that she has surrounded with a mysterious energy dome and cut off from the outside world.More often than not, Wanda’s flashbacks suggest that she is consistently motivated by the death of her loved ones, especially the loss of her parents, Iryna and Olek Maximoff (Ilana Kohanchi and Daniyar) and her brother, Pietro (Evan Peters). “Previously On” also hints at what motivates Wanda’s witchy rival, Agatha Harkness (Kathryn Hahn), whose antagonistic behavior in “WandaVision” contrasts with her cryptic but benign personality from earlier Marvel comics.Here are some of the key comic book and movie references in this week’s “WandaVision” episode. Major spoilers follow.Agatha Harkness’s Salem Witch TrialsThe episode begins by flashing back to Salem, Mass., in 1693, when Agatha was confronted and almost burned at the stake by a coven of witches. Evanora (Kate Forbes), the group’s leader and Agatha’s mother, accuses Hahn’s villainess of betraying her fellow spellcasters. This flashback parallels the beginning of Vision and the Scarlet Witch No. 3, when the aggrieved members of Salem’s Seven, Agatha’s coven, successfully burn her alive. (She had previously revealed to the Fantastic Four the location of New Salem, a secretive witch community, in Fantastic Four Annual No. 14.)Beyond that association, Agatha Harkness is otherwise distinct from how she’s depicted in the comics: She casts a spell on and destroys her mother and her fellow witches, a jarring change from the comics’ general narrative that also immediately announces this week’s focus on revisionist history.Wanda’s Parents and the Unexploded BombWanda first revisits the death of her parents, Iryna and Olek, which happens when the American military destroys their Sokovia hometown, Novi Grad, with bombs manufactured by Stark Industries. Wanda’s parents were first mentioned in “Avengers: Age of Ultron,” and in that movie she and her brother, Pietro (played in that movie by Aaron Taylor-Johnson), blame the industrialist turned superhero Tony “Iron Man” Stark (Robert Downey Jr.) for their parents’ death, which leads them to ally with the megalomaniacal robot Ultron (James Spader).Olsen and Aaron Taylor-Johnson in “Avengers: Age of Ultron.”Credit…Jay Maidment/Walt Disney Studios Motion PicturesWanda also relives another moment that is mentioned, but not shown, in “Avengers: Age of Ultron”: During the bombing of Novi Grad, she and her brother were pinned under rubble for two days, waiting for one of Stark’s bombs to detonate. In “Previously On,” we learn that the bomb never exploded because Wanda defused it with her “chaos magic” powers. This unexploded bomb resembles the drone missile that was sent into the Hex by the superhero-regulating government agency S.W.O.R.D. (or, Sentient Weapon Observation and Response Department) in “On a Very Special Episode …,” the fifth episode of “WandaVision.”HYDRA, the Mind Stone and Loki’s ScepterAfter revisiting her childhood Novi Grad home, Wanda remembers when she, as an adult, volunteered to be a test subject for deadly experiments that were conducted by HYDRA, a Nazi-like terrorist organization that served as the main villains in most of Marvel’s recent movies as well as the “Agents of S.H.I.E.L.D.” TV series.Wanda recalls and expands on the post-credits scene from “Captain America: The Winter Soldier,” when she and Pietro were imprisoned by the HYDRA leader, Baron Wolfgang von Strucker. (Strucker’s name might ring a bell with “WandaVision” fans: There’s an ad for Strücker brand wristwatches in the show’s second episode.)In the comic book tie-in “Avengers: Age of Ultron Prelude — This Scepter’d Isle,” Strucker and his men explain how, just before the “Captain America: The Winter Soldier” post-credits scene, they gave the Maximoff twins superpowers using a magical scepter that they swiped from the Norse trickster god Loki (played in the films by Tom Hiddleston).Loki’s staff also connects Wanda with her android husband, the Vision (Paul Bettany), since the scepter’s reality-altering powers come from the same Mind Stone that Ultron used to give life to the Vision in “Avengers: Age of Ultron.” This week, Agatha suggests that the Mind Stone significantly “amplified” Wanda’s psychic powers, which would have “otherwise died on the vine.”The Snap: S.W.O.R.D. HeadquartersWhen Wanda remembers retrieving the Vision’s body from S.W.O.R.D. headquarters, TV news tickers in the lobby announce “families reunite” and “[celebrations] for the returned.” This alludes to a cataclysmic event from “Avengers: Infinity War” known as “The Snap.” That was when the philosophically inclined alien warlord Thanos (Josh Brolin) halved the world’s population simply by donning his all-powerful Infinity Gauntlet and snapping his fingers.This means Wanda took the Vision’s body some time after “Avengers: Endgame,” which was when Wanda and her teammates undid the Snap’s effects.Paul Bettany as the Vision in “Avengers: Infinity War.”Credit…Marvel/DisneyThe Vision’s Vibranium BodyDuring Wanda’s visit to S.W.O.R.D. headquarters, the S.W.O.R.D. director, Tyler Hayward (Josh Stamberg), explains that the Vision’s body must be destroyed because he is “one of the most sophisticated sentient weapons ever made.” That’s because the Vision’s body is made of Vibranium, an alien element that crash-landed in the African nation Wakanda (the main setting of “Black Panther”) during a meteor shower and was subsequently developed into an indestructible metal — it is used in some of the Marvel world’s most sophisticated and highly sought after technology and weaponry, including Captain America’s shield. Ultron created the Vision’s body in “Avengers: Age of Ultron” using Vibranium stolen by the deranged and questionably accented South African arms dealer Ulysses Klaue (Andy Serkis).The Snap: LagosEagle-eyed viewers will also note that Thanos’s fateful snap is subtly referenced twice this week. The first time is on a Westview mural advertising something called “Snap,” which can be seen briefly after Wanda uses her superpowers to transform the town into a sitcom fantasy. That same mural also mentions the Nigerian city Lagos, a reference to a scene from “Captain America: Civil War” when Wanda accidentally destroyed a building full of Wakandan civilians while trying to disarm a bomb.The Vision’s New LookThe real Vision comes back to life during a mid-credits scene this week, but he doesn’t look the way he used to. He was destroyed twice in “Avengers: Infinity War”: first by Wanda, who was trying to stop Thanos from taking the Vision’s Mind Stone, and then by Thanos, who later used the Infinity Gauntlet to travel back in time and steal the stone.Outside of Westview, Hayward reanimates Vision’s body using the chaos magic that rubbed off on the drone missile back in Episode 5. Comics fans might recognize the Vision’s new off-white costume from West Coast Avengers No. 45, when an international team of spies deleted the android’s old personality and redesigned him after he, under the influence of the evil supercomputer I.S.A.A.C., tried to take over the world.AdvertisementContinue reading the main story More

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      11 Things Our Critics Are Looking Forward to in 2021

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story11 Things Our Critics Are Looking Forward to in 2021Nicolas Cage hosts the history of swearing. Lorde writes a book and Julie Mehretu takes over the Whitney. This new year has to be better, right?Credit…María MedemDec. 31, 2020, 9:00 a.m. ETAs a new year begins, our critics highlight the TV, movies, music, art and streaming dance and theater they anticipate before summer.Jason ZinomanSwearing With Nicolas CageNicolas Cage hosts “History of Swear Words,” a new Netflix series.Credit…NetflixSure, the new Netflix series “History of Swear Words,” which premieres Jan. 5, features a cast of comics like Sarah Silverman, Joel Kim Booster and Nikki Glaser working as talking heads, breaking down the meaning, impact and poetry of six major bad words, which mostly cannot be published here. An exception is “Damn,” which, you learn from this show, used to be much more taboo than it is today. And there are also some very smart academics who will explain such history, some of it hard fact sprinkled in with a few questionable legends. Etymology really can be riveting stuff. But let’s face it: The main reason to be excited about this show is the prospect of its host, Nicolas Cage, hammily shouting curses over and over again. I have seen the screeners and it lives up to expectations.Jon ParelesJulien Baker Scales UpHow does a songwriter hold on to honest vulnerability as her audience grows? It’s a question Julien Baker began to wrestle with when she released her first solo album, “Sprained Ankle.” She sang about trauma, addiction, self-doubt, self-invention and a quest for faith, with quietly riveting passion in bare-bones arrangements. And she quickly found listeners to hang on her every word. Through her second album, “Turn Out the Lights,” and her collaborative songs in the group boygenius (with Phoebe Bridgers and Lucy Dacus) she used better studios and drew on richer sounds but still projected intimacy. Her third album, “Little Oblivions,” is due Feb. 26. With it she scales her music up to larger spaces, backed by a full rock band with ringing guitars and forceful drums. But she doesn’t hide behind them; she’s still ruthless and unsparing, particularly about herself.Maya PhillipsThe Scarlet Witch Gets Her DueElizabeth Olsen, left, stars as Wanda Maximoff in the new Disney+ series “WandaVision,” which also features Paul Bettany as Vision.Credit…Disney PlusWhen I heard the Scarlet Witch, also known as Wanda Maximoff, was joining the Marvel Cinematic Universe, I was hyped. Sometimes known as a daughter of Magneto (yes, we’ve got an X-Men crossover here), the powerful mutant had the ability to alter reality. So imagine my disappointment when Wanda was elbowed off to the side, shown shooting red blasts from her hands but not much else. Wanda, they did you wrong.But I’m not just thrilled about “WandaVision” finally giving this female hero her due. The new series, which stars Elizabeth Olsen and arrives on Disney+ on Jan. 15, grants the Scarlet Witch her own universe to manipulate, and uses it as a way to toy with a fresh tone and aesthetic for the MCU. Offbeat and capricious, and a perversion of classic sitcom series, “WandaVision” seems like it will give its superheroine the space to power up and unravel in ways that she couldn’t in the overstuffed “Avengers” films. Olsen seems up to the task, and Kathryn Hahn, Paul Bettany and Randall Park are also there to provide extra comedy and pathos.Jason FaragoA Retrospective for Julie Mehretu“Retopistics: A Renegade Excavation,” a painting by Julie Mehretu, from 2001, which will appear in a midcareer retrospective at the Whitney Museum of American Art.Credit…Julie MehretuThis midcareer retrospective of Julie Mehretu and her grand, roiling abstractions drew raves when it opened last year at the Los Angeles County Museum of Art, and it belatedly arrives on March 25 in the artist’s hometown, at the Whitney Museum of American Art. Mehretu came to prominence 20 years ago with dense, mural-scaled paintings whose sweeping lines suggested flight paths or architectural renderings; later, she turned to freer, more fluid mark-making that places abstract painting in the realms of migration and war, capital and climate.Her most recent work, made during the first lockdown and seen in a thundering show at Marian Goodman Gallery, is less readily legible, more digitally conversant, and more confident than ever. To fully perceive her jostling layers of silk-screened grids, sprayed veils and calligraphic strokes of black and red requires all one’s concentration; come early, look hard.Jesse GreenBlack Royalty Negotiates PowerA scene from “Duchess! Duchess! Duchess!,” a filmed play starring Sydney Charles, left, and Celeste M. Cooper, presented by Steppenwolf Theater.Credit…Lowell ThomasEnough with “The Crown.” Television may have cornered the market on stories about the nobility, but it was theater that traditionally got into the heads of heads of state and tried to understand what they were thinking.That tradition gets a timely update in February, when Steppenwolf Theater presents “Duchess! Duchess! Duchess!” — a filmed play by Vivian J.O. Barnes, directed by Weyni Mengesha. Inspired and/or appalled by the experiences of Kate Middleton and Meghan Markle, Barnes imagines a dialogue in which a Black duchess helps acculturate a Black duchess-to-be to her new position. Together, they explore what it means to join an institution that acts as if they should feel honored to be admitted, even as it eats them alive.That the institution in question involves not just royalty but racism, if the two are different, broadens the story. How Black women negotiate power in traditionally white arenas, and at what cost, is something that resonates far beyond Balmoral.Mike HaleAn Alien Impersonates a DoctorThe title character of the Syfy series “Resident Alien,” which premieres on Jan. 27, does not have a green card, but he does have green skin, or at least a green-and-purple exoskeleton. He’s been sent to earth to exterminate us; there’s a delay, and in the meantime he has to impersonate a small-town Colorado doctor and learn, with exceeding awkwardness, how to act like a human being. This snowbound scary-monster comedy won’t make any Top 10 lists but it looks like a hoot, and it’s tailor-made for the eccentric comic talents of Alan Tudyk (“Doom Patrol,” “Arrested Development”), who never seems comfortable in whatever skin he’s in.Salamishah TilletDeath of a Black PantherDaniel Kaluuya, rear, and Lakeith Stanfield star in “Judas and the Black Messiah,” a film about a deadly raid on the Black Panther Party in Chicago.Credit…Glen Wilson/Warner Bros., via Associated PressOn Dec. 4, 1969, 14 Chicago police officers, with a search warrant for guns and explosives, raided an apartment where members of the Black Panther Party were staying. When they left, the party leaders Fred Hampton and Mark Clark were dead. Congressman Bobby Rush, who was then a deputy minister of the party, testified that Hampton, 21, was asleep in his bed when police officers shot him, a version of events investigated in “The Murder of Fred Hampton,” a 1971 documentary. Now there is a feature film about the raid. “Judas and the Black Messiah” tells the story of Hampton (Daniel Kaluuya), and William O’Neal (Lakeith Stanfield), an FBI informant who was part of Hampton’s security team, reuniting the two stars from “Get Out.” Directed by Shaka King (“Newlyweeds”), the movie is expected to be released in early 2021.Margaret LyonsA Drama Jumps Through Time“David Makes Man” is one of the most beautiful dramas of the last several years, and its structural daring added new facets to the coming-of-age genre. David (Akili McDowell) was in middle school in Season 1, but in the upcoming second season (currently slated for early summer on OWN) he’s in his 30s and facing adult challenges. That kind of time jump — and creative leap — would be intriguing on its own, but the way the show captured the warring thoughts within one’s adolescent psychology makes me even more excited to see how it depicts the turmoils of maturity.Gia KourlasDance and the Natural WorldMembers of the Martha Graham Dance Company in Graham’s “Dark Meadow Suite.”Credit…Brigid PierceSince the pandemic began, the robust digital programming at the Martha Graham Dance Company has stood out for its multifaceted approach of exploring the works of its groundbreaking modern choreographer. It helps, of course, to have Graham’s works to excavate in the first place. (And access to a healthy archive.)As most dance companies continue to maintain their distance from the stage, the Graham group — now in its 95th season — opens the year with digital programming organized by theme. The January spotlight is on nature and the elements, both in Graham’s dances and in recent works. How is the natural world used metaphorically?On Jan. 9, “Martha Matinee,” hosted by the artistic director, Janet Eilber, looks at Graham’s mysterious, ritualistic “Dark Meadow” (1946) with vintage footage of Graham herself along with the company’s recent “Dark Meadow Suite.” And on Jan. 19, the company unveils “New @ Graham,” featuring a closer look at “Canticle for Innocent Comedians” (1952), Graham’s unabashed celebration of nature, with an emphasis on the moon and the stars.Jason FaragoThe Frick’s Modernist Pop-UpA view of the former Met Breuer on Madison Avenue; the museum will be taken over by the Frick for a modernist pop-up called Frick Madison.Credit…Vincent Tullo for The New York TimesIn this market you’re better off subletting! When the Frick Collection finally won approval to renovate and expand its Fifth Avenue mansion, it started hunting for temporary digs — and got a lucky break when the Metropolitan Museum of Art announced it would vacate its rental of Marcel Breuer’s Brutalist citadel three years early. Henry Clay Frick’s will bars loans from the core collection, so the Frick’s modernist pop-up, called Frick Madison, will offer the first, and probably only, new backdrop for Bellini’s mysterious “St. Francis in the Desert,” Rembrandt’s brisk “Polish Rider,” or Holbein’s dueling portraits of Thomas Cromwell and Thomas More (a must-see face-off for “Wolf Hall” fans).But the modern architecture is only part of the adaptation; the Frick is a house museum, and the Breuer sublet allows curators a unique chance to scramble and reconstitute the collection outside a residential framework. The real UFOs at Frick Madison, expected in the first quarter of 2021, may therefore be the decorative arts: all those gilded clocks, all that Meissen porcelain, relocated from plutocratic salons into cubes of concrete.Lindsay ZoladzLorde Writes About AntarcticaFew new years have arrived with such weighty expectations as 2021, so to prevent disappointment let us calibrate our hopes: What I know is that in 2021 the New Zealand pop-poet Lorde has promised to put out, at the very least, a book of photographs from her recent trip to Antarctica. Titled “Going South,” it features writing by Lorde (who describes her trip as “this great white palette cleanser, a sort of celestial foyer I had to move through in order to start making the next thing”) and photographs by Harriet Were, and net proceeds from its sale will go toward a climate research scholarship fund. Cool. I love it. Of course, my true object of anticipation is Lorde’s third album, the long-awaited follow-up to her spectacularly intimate 2017 release, “Melodrama,” but after a year like 2020, I’m not going to rush her. Actually, you know what? I am. Lorde, Ella, Ms. Yelich-O’Connor: Please release your epic concept album about glaciers and spiritual rebirth at the South Pole in 2021. After a year in the Antarctic climate of the soul that was 2020, this is what we all deserve.AdvertisementContinue reading the main story More

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      Managing Movie Superheroes Is About to Get a Lot More Complicated

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeHoliday TVBest Netflix DocumentariesDC Films, led by Walter Hamada, plans to release movies featuring DC Comics heroes like Wonder Woman, Superman and Batman at a much faster pace.  Credit…Elizabeth Weinberg for The New York TimesSkip to contentSkip to site indexManaging Movie Superheroes Is About to Get a Lot More ComplicatedWalter Hamada, who runs DC Films, is overseeing a dizzying number of projects, part of a swarm of comics-based stories coming from Hollywood.DC Films, led by Walter Hamada, plans to release movies featuring DC Comics heroes like Wonder Woman, Superman and Batman at a much faster pace.  Credit…Elizabeth Weinberg for The New York TimesSupported byContinue reading the main storyDec. 27, 2020, 5:05 p.m. ETLOS ANGELES — Walter Hamada is not a typical superhero wrangler.He doesn’t have a booming, fanboy-in-chief personality. His modest home office, at least as it appears on Zoom, is light on the usual cape-and-cowl collectibles. Hollywood was not even his first calling: He set out to be a mechanical engineer.As the president of DC Films, however, Mr. Hamada, 52, manages the movie careers of Wonder Woman, Batman, Cyborg, the Flash, Superman and every other DC Comics superhero. And the new course he has charted for them is dizzying.The most expensive DC movies (up to four a year, starting in 2022) are designed for release in theaters, Mr. Hamada said. Additional superhero films (two annually is the goal, perhaps focused on riskier characters like Batgirl and Static Shock) will arrive exclusively on HBO Max, the fledgling streaming service owned by WarnerMedia.In addition, DC Films, which is part of Warner Bros., will work with filmmakers to develop movie offshoots — TV series that will run on HBO Max and interconnect with their big-screen endeavors.“With every movie that we’re looking at now, we are thinking, ‘What’s the potential Max spinoff?’” Mr. Hamada said.If you thought there was a glut of superheroes before, just wait.To make all the story lines work, DC Films will introduce movie audiences to a comics concept known as the multiverse: parallel worlds where different versions of the same character exist simultaneously. Coming up, for instance, Warner Bros. will have two different film sagas involving Batman — played by two different actors — running at the same time.The complicated plan involves a sharp increase in production. Last year, Warner Bros. made two live-action superhero movies, “Joker” and “Shazam!” In 2018, there was only “Aquaman.” All three were smash hits, underscoring the financial opportunity of making more.For various reasons, including creative misfires and management turnover at DC Films (Mr. Hamada took over in 2018), Warner Bros. has badly trailed Disney-owned Marvel at the box office. Over the last decade, Warner Bros. has generated $8 billion in worldwide superhero ticket sales, including $36 million from “Wonder Woman 1984” over the weekend; Marvel has taken in $20.6 billion.Gal Gadot and Chris Pine in “Wonder Woman 1984,” which arrived to $16.7 million in North American ticket sales over the weekend, the best result for any movie since the pandemic started.Credit…Warner BrosSuffice it to say, Warner Bros., which invented the big-budget superhero movie in 1978 with “Superman,” has been under pressure to get its act together.Disney has succeeded in part because its divisions collaborate in a way that siloed Warner Bros. never has. But that is changing. AT&T mandated greater cross-company synergy when it took over WarnerMedia in 2018.“In the past, we were so secretive,” Mr. Hamada said. “It was shocking to me, for example, how few people at the company were actually allowed to read scripts for the movies we are making.”More than ever, studios are leaning on pre-established characters and brands — especially if their corporate parents are building streaming services. HBO Max has 12.6 million subscriber activations. Netflix has 195 million. How do you delight Wall Street and quickly close the gap? You start by putting your superheroes to work.This month, Disney announced 100 new movies and shows for the next few years, most of them headed directly to its Disney+ streaming service, which has 87 million subscribers. Marvel is chipping in 11 films and 11 television shows, including “WandaVision,” which arrives on Jan. 15 and finds Elizabeth Olsen reprising her Scarlet Witch role from the “Avengers” franchise.Warner Bros. has at least as many comics-based movies in various stages of gestation, including a “Suicide Squad” sequel; “The Batman,” in which Robert Pattinson (“Twilight”) plays the Caped Crusader; and “Black Adam,” starring Dwayne Johnson as the villainous title character.Television spinoffs from “The Batman” and “The Suicide Squad” are headed to HBO Max. WarnerMedia’s traditional television division has roughly 25 additional live-action and animated superhero shows, including “Superman & Lois,” which arrives on the CW network in February.Robert Pattinson in “The Batman,” which is scheduled for release in theaters in 2022.Credit…Warner Bros. Entertainment, via Associated PressSony Pictures Entertainment has its own superhero slate, with at least two more “Spider-Man” movies in the works; “Morbius,” starring Jared Leto as a pseudo-vampire; and a sequel to “Venom,” which cost $100 million to make in 2018 and collected $856 million worldwide. Sony also has a suite of superhero TV shows headed for Amazon Prime Video.And don’t forget Valiant Entertainment, which is turning comics properties such as “Harbinger,” about superpowered teenagers, into movies with partners like Paramount Pictures.Superheroes have long been Hollywood’s most reliable moneymakers, especially when sales of related merchandise are included. (Wonder Woman tiara for cats, on sale for $59.50.) But how much speeding spandex and computer-generated visual effects can audiences take?More than you think, said David A. Gross, who runs Franchise Entertainment Research, a film consultancy. “If the stories are well written and the production values are strong,” he said, “then there will be little sign of fatigue.”Perhaps the biggest challenge facing Warner Bros. involves the recent prioritization of HBO Max. “The risk is, will watching these movies first on television degrade the entertainment experience, and later the value,” Mr. Gross said. “For an individual movie, there is no more profitable business model than a successful theatrical release — creating the biggest pop culture event possible. It’s the locomotive that pulls the entire train: merchandise, theme park licensing, other income.”On Friday, Warner Bros. released “Wonder Woman 1984” in North America, where it collected $16.7 million. Citing the coronavirus pandemic (only 39 percent of cinemas in the United States are open), the studio simultaneously distributed the film in theaters and on HBO Max. Warner Bros. will release its entire 2021 slate in the same hybrid fashion.WarnerMedia provided only vague information about the sequel’s performance on HBO Max, saying in a news release that “millions” of subscribers watched it on Friday. Andy Forssell, WarnerMedia’s direct-to-consumer general manager, said the movie “exceeded our expectations across all of our key viewing and subscriber metrics.”So far, “Wonder Woman 1984” has collected $85 million worldwide, with $68.3 million coming from cinemas overseas, where HBO Max does not yet exist. The film, starring Gal Gadot and directed by Patty Jenkins, cost at least $200 million to make and an estimated $100 million to market worldwide. It received much weaker reviews than its series predecessor.Toby Emmerich, president of the Warner Bros. Pictures Group, said on Sunday that he had “fast-tracked” a third Wonder Woman movie. “Our real life Wonder Women — Gal and Patty — will return to conclude the long-planned theatrical trilogy,” Mr. Emmerich said.Mr. Hamada rose to power through New Line, a Warner Bros. division that mostly makes midbudget horror films and comedies. Among other achievements, he worked with the filmmaker James Wan and others to build “The Conjuring” (2013) into a six-film “world” with $1.8 billion in global ticket sales. (“The Conjuring: The Devil Made Me Do It” arrives in June.)“A lot of times in studio meetings, executives just repeat buzzwords, and it becomes a joke,” Mr. Wan said. “Walt always brings something constructive, useful and important to the table. He talks to me in a language that I understand.”Mr. Hamada and Jason Momoa, the star of “Aquaman,” which was the lone superhero movie from Warner Bros. in 2018.Credit…Kevin Winter/Getty ImagesWhen Mr. Hamada arrived at DC Films in 2018, the division was in urgent need of stability.Two terrifyingly expensive movies, “Batman v Superman: Dawn of Justice” (2016) and “Justice League” (2017), both directed by Zack Snyder, were deemed almost unwatchable by critics. Ben Affleck, who played Batman in the films, wanted to move on, complicating sequel plans. At the same time, filmmakers were developing other DC movies that had nothing to do with the existing story lines — and, in fact, contradicted some of them.Mr. Hamada and Mr. Emmerich had two options: Figure out how to make the various story lines and character incarnations coexist or start over.The answer is the multiverse. Boiled down, it means that some characters (Wonder Woman as portrayed by Ms. Gadot, for instance) will continue their adventures on Earth 1, while new incarnations (Mr. Pattinson as “The Batman”) will populate Earth 2.“The Flash,” a film set for release in theaters in 2022, will link the two universes and feature two Batmans, with Mr. Affleck returning as one and Michael Keaton returning as the other. Mr. Keaton played Batman in 1989 and 1992.To complicate matters further, HBO Max gave Mr. Snyder more than $70 million to recut his “Justice League” and expand it with new footage. Mr. Snyder and Warner Bros. had clashed over his original vision, which the studio deemed overly grim, resulting in reshoots handled by a different director, Joss Whedon. (That didn’t go well, either.) “Zack Snyder’s Justice League,” now four hours long, will arrive in segments on HBO Max in March.At least for now, Mr. Snyder is not part of the new DC Films blueprint, with studio executives describing his HBO Max project as a storytelling cul-de-sac — a street that leads nowhere.The multiverse concept has worked on television, but it is a risky strategy for big screens. These movies need to attract the widest audience possible to justify their cost, and too much of a comic nerd sensibility can be a turnoff. New actors can take over a character; James Bond is the best example. But multiple Gothams spinning in theaters?“I don’t think anyone else has ever attempted this,” Mr. Hamada said. “But audiences are sophisticated enough to understand it. If we make good movies, they will go with it.”AdvertisementContinue reading the main story More