tag:blogger.com,1999:blog-59357995423246321082024-03-16T21:35:56.862-07:00Comic and ScreenA blog focused on comic book reviews and comic book movies, with special attention paid to DC and Warner Brothers.ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.comBlogger376125tag:blogger.com,1999:blog-5935799542324632108.post-31458823952750029852024-03-10T07:23:00.000-07:002024-03-10T07:23:40.213-07:00Wonder Woman 1984 audio commentary<p> Sam and Rebecca talk through the whole movie -- <i>Wonder Woman 1984</i>, directed by Patty Jenkins.</p><p><br /></p>
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<p><a href="https://www.podomatic.com/podcasts/jluniverse/episodes/2024-03-02T07_01_32-08_00">https://www.podomatic.com/podcasts/jluniverse/episodes/2024-03-02T07_01_32-08_00</a> <br /></p>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com0tag:blogger.com,1999:blog-5935799542324632108.post-30606877320192634082021-08-05T07:43:00.004-07:002021-08-05T07:43:46.172-07:00JLU Scene-by-Scene: Zack Snyder's Justice League, Part 1 Episode 4<p>This episode of the <a href="http://jluniverse.podomatic.com">Justice League Universe podcast</a> focuses on Steppenwolf's arrival to Themyscira in Part 1 of <i>Zack Snyder's Justice League</i>.</p><p><br />
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</p><p><br /></p><ul style="text-align: left;"><li><span class="pre_wrap">Themyscira</span></li><li><span class="pre_wrap">The motherbox's timing</span></li><li><span class="pre_wrap">Steppenwolf's design</span></li><li><span class="pre_wrap">Battle in the temple</span></li><li><span class="pre_wrap">Hippolyta and her warriors</span></li><li><span class="pre_wrap">Horseback action</span></li><li><span class="pre_wrap">Hippolyta and Menalippe discuss the ancient warning fire</span></li></ul><p><span class="pre_wrap"> <Transcript below></span></p><p><span class="pre_wrap"><!--[if gte mso 9]><xml>
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</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";"><span></span></span></p><a name='more'></a>Welcome fans of <i>Zack Snyder’s Justice League</i>. This is the
Justice League Universe podcast where we analyze DC Films scene-by-scene. I’m
Carol Lomba and in this episode we are going to see how Steppenwolf acquires
the first of the three Motherboxes, in Part 1 of <i>Zack Snyder’s Justice
League</i>, available on HBO Max and on various streaming sites around the
world. And soon to be available on home media in the US starting September 7th.
Pre-order your copies today!<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The first thing you notice is as the scene transitions there is
that ancient lamentation to match the Amazonian setting as the shot pans over a
cliff, setting the stage for what’s to come in the battle ahead. Specifically
we will see the structure collapse into the waters below. Queen Hippolyta
arrives at the scene with her entourage to investigate the disturbance of the
Motherbox. They walk in formation through a hall we are introduced to that will
be a focus in just a few minutes. The Amazons in the temple are still diligent
and on guard for a potential threat from the Motherbox. Hippolyta asks for an
update and is told there has been no change, questioning why nothing has happened
yet. It seems they were in fact expecting some sort of threat as a result of
the Motherbox awakening. We are given a bit more context as they continue to
talk, mentioning that the box had been sleeping for thousands of years. Unlike
us who saw firsthand during the introduction, they are unaware of why the
Motherbox awoke now of all times. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">As they are talking, the Motherbox appears to power down, the
first change of any kind since it awoke. Philippus suggests perhaps it has gone
back to sleep. Hippolyta profoundly states that evil does not sleep, it waits.
Though we haven’t been introduced to Darkseid yet, this does tie into his
history and the origins of the Motherbox being on Earth. He has not given up on
his great prize, the anti-life, and has merely been patient until it is once
again found.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The Motherbox begins to whir again signaling activity and
foreshadowing Steppenwolf’s arrival. Menalippe says “Something is coming”
preparing us for the epic scene about to begin. Hippolyta calls out to prepare
for battle and the Amazons let out a unified grunt as they take a fighting
stance. They act in unison indicating their preparedness and teamwork. The
whirring of the motherbox becomes more intense as it shakes like the sound of
an accelerating engine, powering up to create a portal from which Steppenwolf
and his parademons will emerge. We see a cylinder of light with a hexagonal
pattern come down from above behind the motherbox. Though it's not stated, this
portal is called a boomtube in the comics. Like a vacuum or singularity pulling
from the opposite end, akin to the Phantom Zone singularity from Man of Steel
but on a smaller scale, the boomtube’s creation seems to propel outward a wave
of energy on this end which throws back the Amazons.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Some might consider the timing of this assault and Hippolyta’s
arrival coincidental. However we learn later in the film that the Motherboxes
are alive and sentient. Hippolyta is addressed as “My queen”, and we hear the
whirring of the Motherbox powering down just as Hippolyta finishes mentioning
the First Age. This suggests that the motherbox may be reacting to that
mention, recognizing Hippolyta from that first great war which left it stranded
on Earth. This opens the possibility that the time of the assault isn’t coincidental
as much as a response to Hippolyta being there. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">On to the actual assault, we see a beautiful shot of the boomtube
from a distance as reinforcements are already approaching. There is also a
reaction shot from some Amazons who see it during the course of their duties.
These shots preface the arrival of a whole Amazon army at the end of the scene.
Back inside the chamber, the Amazons are protecting their queen with their
shields when she emerges from behind them to see what is happening. Menalippe calls
the Amazons to be on their marks prompting them to aim their arrows at the
boomtube for the evil threat they await.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">A swarm of flying, demonic looking creatures emerge from the
boomtube. This harkens back to Lex’s comment in <i>BvS</i> about how devils
come from the sky. They don’t immediately attack, instead assembling before
Steppenwolf’s arrival as a preliminary guard giving Hippolyta and the Amazons a
chance to observe them.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Steppenwolf slams down in all his spiky glory as his features are
gradually revealed with choice framing leading to a grand reveal of his full
form. We normally see this landing associated with heroes, often referred to as
a heroic landing. So it is somewhat ironic to see the villain arrive in such
fashion. We get a very good look at Steppenwolf’s armor. Zack Snyder has
described the design as a space knight. In addition to the overall plated
appearance, he has somewhat of a mail skirt armor which contributes to that
imagery. The design is incredibly detailed, and the CG is god tier. You can see
the spikes move, which he uses in the film to intimidate, fend off attacks, cut
arrows, and even recoil as a sign of respect. So he appears to have some sort
of control over it as if it's actually a part of his biology. This is
interesting to consider as its metal characteristics circumvent our natural
assumptions about living organisms in general and add a further sense of alien
to his design. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">His large horns and feet evoke the imagery of a bull, which Alfred
later references. Bulls symbolize strength, an important image to convey when
conquering, and certainly congruent with Steppenwolf’s abilities as we will see
shortly. They are also linked to a season of rebirth which relates to how
conquered planets are reborn in Darkseid’s image through the Unity of the
Motherboxes. Bulls were often sacrificed during ancient rituals by people
hoping to secure the gods’ goodwill, so there is also some symbolism in the
killing of Steppenwolf and his head being put at the feet of Darkseid who is a
New God.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Steppenwolf also wields a monstrous axe which glows and, when
used, conducts yellow bolts of electricity. It’s worth noting that photons have
energies proportional to the frequency of light, so the more blue the light,
the more energy the individual photons have. As electrons jump energy levels,
the amount of energy they release is transmitted to the photons. Yellow
lightning tends to be cooler than blue lightning. Given Zack Snyder’s conscious
use of blue lightning for the Flash’s speed force, the purely fictional
implication of Steppenwolf’s Axe exuding yellow bolts is that they are weak
electrical charges. It’s also worth noting that given what we know about
Steppenwolf and the New Gods, the axe must be imbued with or harnessing the
forces of nature as opposed to having magical attributes which, in the comics,
are harmful to Superman.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Steppenwolf looks around at the Amazons as the parademons point
their guns at them. At this point he doesn’t know who they are, only that they
are armed and prepared to fight. He identifies them as defenders of this world
noting that defenders on one hundred thousand other worlds have all failed. We
don’t know if this is the number of worlds he himself has conquered, or the
number of worlds Apokalips has conquered, but Desaad’s later statement that
Steppenwolf still owes the great one 50,000 worlds suggests the number refers
to worlds for which he himself has overseen the conquering. What’s interesting
is that he adds “they always fail” not realizing he is on the one planet that
did not fail to defend itself from Darkseid’s invasion in the past.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Steppenwolf finally addresses the Amazons telling them he’s come
to enlighten them to the great darkness. His choice of words makes for an
interesting contrast of light and dark. For evil, darkness may be viewed as
light is to us. Darkness would typically suggest a lack of knowledge and
understanding. Of course the darkness here is a reference to Darkseid and his
empire. He adds that he will bathe in their fear which would very well be a
taunt to provoke fear, but it also indicates his sense of superiority and
malintent. And as the central villain of the movie, it’s also the antithesis of
what the central hero has historically been known to say. “Have no fear,
Superman is here.”</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Hippolyta steps up and rallies her soldiers’ morale. She
identifies them as “Daughters of Themyscira” for Steppenwolf which garners no
reaction from him further enforcing that he knows not who they are. She tells
them to show him their fear to which they respond in unison “We have no fear”.
Note that an absence of fear is not the same as courage. Courage is overcoming
fear or acting in the face of fear. The absence of fear suggests the Amazons do
not feel any sense of danger or alarm. This could mean a variety of things such
as having lived so long that they are ready to die or they are overconfident
and don’t recognize Steppenwolf as a danger. It could also just be a response
to taunt Steppenwolf back and synchronize their attack, especially since they
seemed to show fear in response to the Motherbox awakening. In any case, they
immediately begin to attack the enemy, shooting their arrows at the parademons
who begin to shoot back with the energy based rifles.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The battle ensues and we see a few losses on both sides as the
fighting rages. It’s an interesting contrast of old, medieval weaponry versus
advanced, alien guns creating a clear distinction between the Old Gods and the
New Gods. The slow motion effects throughout these scenes aren’t just for
artistic effect. They also help the audience to follow the action. The boomtube
dissipates amid the fray. Hippolyta calls on Menalippe to gather the legions
and tells another Amazon to go with her. Menalippe responds by telling
Hippolyta she must seal the cage where they are fighting. This is clearly an
established plan given the structure was built specifically to house the
Motherbox and was designed with several sealing walls. As if to emphasize the
urgency and her knowledge of what she must do as the queen, Hippolyta yells at
her to go. Menalippe then calls out to Philippus before running out presumably
relinquishing command to her. Another Amazon chases after Menalippe to
accompany her.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">We turn to Steppenwolf who slays a few Amazons easily with his axe
as he approaches the Motherbox. One Amazon leaps off another Amazon’s shield, a
move first introduced to us in 2017’s Wonder Woman film, and lands on his head
but is quickly thrown off. This prompts the Amazons to dogpile him as red
energy blasts from Parademons’ guns and yellow lightning from Steppenwolf’s axe
surround them. Steppenwolf reaches out to try and grab the Motherbox as the
Amazons do everything they can to hold him back. Even with their numbers, the
Amazons appear to be outmatched against Steppenwolf. Hippolyta uses her lasso
to snag the Motherbox out of Steppenwolf’s grasp which causes him to call out
“No!” She looks right at him in defiance and Steppenwolf stares back with fury.
We see his seven fingers as they wrap over the head of one of the Amazons.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">We get a glimpse of Steppenwolf from Hippolyta’s vantage but she
quickly turns to see a Parademon on the wall above her. So we see her make her
way to the side of the entrance where she’ll be running up to attack him, but
that’s quickly interrupted with Epione getting shot and screaming out in pain.
We then return to Hippolyta running up the wall viewed from a different angle.
Here we see the Parademon jump down off the wall because Hippolyta is coming up
after him. The Parademon tries to shoot her twice, but an Amazon calls out
“behind you” to warn Hippolyta and they miss, only to have her drop down on him
with her sword.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Epione looks down at her wound and Hippolyta calls out to her
before rushing to her side. Epione tells her to “honor us”, and “it’s right.”
This sounds as though she is accepting that their lives are forfeit, but that
it’s for a good reason. And that Hippolyta would be showing them respect by
allowing them to die for the sake of this cause. Almost like saying “a good
death is its own reward”, a line used by Faora, another female warrior, in Man
of Steel. Epione stresses this by urging Hippolyta to “Seal it” which would
leave them trapped inside with the enemy since Steppenwolf wouldn’t have the
Motherbox to create a boomtube out of there. Or at the very least it would
hopefully delay Steppenwolf long enough to hide the Motherbox once again.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Hippolyta understands and makes for the entrance without
hesitation calling for the Amazons in the tunnel to ready the hammers which
will be used to bring down the gates. Euboea, who appears to be Hippolyta’s
mentee or the like, follows her into the hallway and is struck by a Parademon.
She is thrown against the wall and falls to the ground. Before the Parademon
can strike her, it is hit by an arrow giving Hippolyta time to impale it while
it’s distracted. Euboea stands up and runs as Hippolyta calls out to “Seal it
now!” She is about to run out only to have her ankle grabbed by the same
Parademon she had stabbed, still clinging to life. The Hammers are swung,
destroying the wooden pillars holding up the solid gates. This adds some
suspense to the moment. They also highlight the fact that they don’t have
advanced technology, They are still using the “old ways”. The imagery and their
classical methods emphasize the muscular physique of the hammer wielding
Amazons to establish the great amount of effort required to smash the pillars.
Perhaps these Amazons specifically trained and built up their bodies for this
particular task. Some have criticized Zack Snyder for their appearance
suggesting he was objectifying women by having them wear revealing clothing.
However at least one of the actresses, Samantha Jo, has come out publicly stating
a sense of empowerment on the set of Justice League and a feeling of comfort
and confidence in what she wore and how she was being represented. And that is
one thing Zack Snyder really focuses on across a lot of his films: female
empowerment.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Moving on, Hippolyta slashes the parademon between the shots of
the hammer strikes to stress the urgency and timing of her escape from the
cage. She sprints for the exit, but seeing that Hippolyta won’t make it in
time, the last two Amazons hold up the falling wall so that she can make it out
with the Motherbox. The weight of the wall is too much for them to bear as it
brings them to their knees. Hippolyta slides underneath at the last second in
epic slow-motion fashion. Once outside she props herself up and looks back at
the rumbling structure, emotional over the Amazons left behind. All these women
made huge sacrifices, giving their lives for the sake of protecting the
Motherbox. They willingly trapped themselves, some likely expecting to starve
to death. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">With regal determination, Hippolyta sprints toward the horses,
just in time to avoid the collapsing ground behind her. The structure falls
into the ocean below which was established at the start of the scene.
Hippolyta, not yet seeing the state of the structure that has fallen, is quick
to react and pass the Motherbox along, ordering Venelia to guard it with her
life and keep it moving. She no doubt suspects the threat isn’t over, and
certainly wouldn’t want her people to have died in vain. The group of Amazons
ride off with the Motherbox while Hippolyta stays behind for a moment to mourn
accompanied by the ancient lamentation music which suits the mood. She takes
off her helmet, likely as both a sign of respect and to cool down from a heated
battle. Euboea runs over with the horses but pauses to give Hippolyta a moment
to herself.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">There is a grand show that pans over Hippolyta to reveal the
waters below as rocks and boulders continue to fall down the cliff. With her
eyes solemnly closed, Hippolyta senses something amiss and opens her eyes with
suspicion. In the moment that she opens her eyes, there is a deep sound that
perhaps causes her to suspect something is amiss. You can see her stare into
the water and then her eyes search a bit. Then suddenly a swarm of parademons
and Steppenwolf emerge from the water high into the air, surprising Hippolyta
and Euboea. Hippolyta is quick to react before we are shown Steppenwolf falling
from the sky and landing with a swing of his axe which hurls a group of Amazons
on horseback. This giant leap from out of the water to where the Amazons had
ridden their fast horses is our first glimpse at Steppenwolf’s godly power. The
imagery also evokes Lex Luthor’s painting from Batman v Superman which he
turned upside down to reflect his ideology that devil’s come from the sky.
Steppenwolf feels an arrow hit him from behind causing him to turn and slice
down an Amazon on horseback attacking with her sword. He then blocks an
incoming arrow with his axe and tackles another Amazon on horseback with his
shoulder, similar to what Superman does to Flash later in the film.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Steppenwolf looks in the direction of the Motherbox and takes
another small leap toward it, sliding on the ground to stop his momentum. One
Amazon attempts to stab him with a spear, but his armor stops it. He breaks the
spear and lunges the horse with one arm, showing little effort highlighting his
sheer strength. Meanwhile, Hippolyta and Euboea mount their horses and rush to
catch up to Steppenwolf and his flying parademons.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Steppenwolf finally reaches the head of the squadron that is
defending the Motherbox. He swings his axe at the Amazon carrying the device,
who dodges his attack. The two Amazons at her sides turn to shoot arrows at
Steppenwolf after passing him. They are practically standing on the horses
ready to maneuver or jump off while steadying themselves. The arrows impale him
and stick out of his body without him so much as flinching. There is an
interesting effect that occurs at the points of contact. It’s subtle, but it
resembles a distorted wave emanating outward akin to Superman’s death scream.
This could be a visual effect to accentuate and bring attention to the arrows
striking him, or it could potentially be his armor reacting to getting hit,
suggesting something of a forcefield.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Steppenwolf is surrounded by Amazons. They lasso his leg to hinder
his movement, and with all the arrows sticking out of him he looks like he may
finally be overwhelmed. His leg is pulled to prevent him from standing up and
regaining his balance while his left arm is lassoed and pulled by the other
Amazons in an attempt to subdue him. However he easily regains his footing,
kills a nearby Amazon, and cuts the ropes from his leg with his axe. We once
again see a display of his strength as he grabs the ropes and throws three
horses into the other cavalry, turning the tide of overwhelming odds in mere
seconds. He then grabs his axe once again and we see him use his body armor to
cut the arrows sticking out of him which looks really cool. The way he does it
kind of comes off as someone dusting off their shoulder to reflect they are
unbothered. He growls angrily, probably not expecting this level of resistance
when he first arrived.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The parademons race for the Motherbox and one actually manages to
grab it. However, Venelia, guarding the Motherbox with her life, does not let
go. The two rise into the air, Venelia struggling to hang on, as Parademons are
taken down with spears around them. This helps to give us an idea of how
vulnerable they actually are that they can be taken down with basic weapons.
Some nearby Amazons manage to throw their spears at the Parademon trying to
grab the Motherbox causing it to fall, tumbling to the ground, and its outer
casing to break apart, finally revealing its digital-like alien
characteristics. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Seeing the Motherbox on the ground, one Amazon throws her bow
ahead of her, past the Motherbox, and tumbles to the ground. She quickly turns
and lassos the Motherbox just before Steppenwolf lands and attempts to grab it.
It gets tossed ahead and she ties the other end of the lasso to an arrow taken
from her back. Then she grabs the bow she had earlier thrown off the ground
while another Amazon in the background attempts to delay Steppenwolf and gets
slaughtered. The first Amazon leaps and slides while shooting the arrow in
order to slingshot the Motherbox to one of the Amazons further ahead. Just as
she releases the string, the yellow electric bolts generated by Steppenwolf’s
axe travel through her. Before we can see Steppenwolf strike her with his axe,
the image changes to the arrow’s perspective flying toward Queen Hippolyta and
Euboea who catches the arrow jumping from her horse to Hippolyta’s. The main
Justice League theme plays during this heroic attempt to keep the Motherbox
away from Steppenwolf as Euboea pulls it toward her with the rope. Once she has
it in her grasp the music transitions to a dissonant chord at the same time as
Steppenwolf lands beside them and knocks them off the horse causing them to lose
their hold of the Motherbox which tumbles away from them on the ground. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Hippolyta is on the ground, injured, as she struggles to look up
at Steppenwolf who plants his axe into the ground. She hears Euboea groaning
and turns to see her trapped under the horse. Hippolyta quickly gets to her
feet and limps toward her with an injured leg. Once she reaches Euboea’s side,
Steppenwolf nonchalantly picks up the Motherbox, no more Amazons to interfere,
and addresses Hippolyta. He calls her noble Queen and asks her why they fight.
As we mentioned earlier in this episode, the Motherbox heard Hippolyta being
called Queen. Hippolyta is also dressed differently and has been barking orders
throughout the scene. It is therefore understandable for Steppenwolf to know or
assume that Hippolyta is their queen. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Hippolyta, fighting to the bitter end as Steppenwolf questions her
reasoning for doing so, grabs Euboea’s bow and aims an arrow at him as he tells
her she can’t save her or any of “them”. Them could refer to just the Amazons,
but in the context of their being this world’s defenders, the implication is
that it applies to the rest of the people of this world as well. With that
Hippolyta releases the arrow only to be caught by Steppenwolf inches from his
face. Hippolyta quickly reaches for another arrow as Steppenwolf continues to
lecture her. He tells her the great darkness begins as he snaps the arrow in
half with his hand to indicate resistance, especially with such archaic
weapons, is futile. The great darkness is a reference to Darkseid and his rule
over this world. This was also teased when the terrorist made reference to
going back to the Dark Ages. Essentially, Darkseid’s rule would be an end of
prosperity and independent thought bringing us into an age lacking both
spiritual and intellectual enlightenment, void of independent thought. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Menalippe shouts “Amazons!” drawing the attention of both
Steppenwolf and Hippolyta. They turn to see the legions of Amazon fighters
approaching on horseback. With this, Steppenwolf now knows that Hippolyta is
their queen, they are daughters of Themyscira, and that they call themselves
Amazons. Having acquired what he had come for, he has no reason to fight them.
The Motherbox opens a boomtube for Steppenwolf to escape through and
communicates with him using a language he understands. Steppenwolf responds to
the Motherbox saying, “Yes, we will find the others,” indicating this
communication with the Motherbox and giving us context as to what it said to
him. It wants Steppenwolf to find the other two Motherboxes in order to form
the unity seemingly so that it doesn’t need to be broken and alone as it has
been for thousands of years. As we’ll see in the final act with Victor, it
doesn’t understand the qualities of friendship and fortitude. As an inanimate
object, it only knows being at the whim of others.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Menalippe commands the legions to draw their bows and loose their
arrows on Steppenwolf. They unleash a barrage of arrows at Steppenwolf,
shooting one after the other. The arrows descend on Steppenwolf in an awesome
flying POV shot just as he disappears through the boomtube which closes behind
him. It unleashes a shockwave as it did when it formed in the cage at the
beginning of the scene throwing dust at the legions. Hippolyta, still aiming an
arrow at Steppenwolf, lowers her bow and turns her attention to the dying
Euboea who wheezes weakly and finally succumbs. Hippolyta is saddened by her
death, seemingly more so than any of the other Amazons who died. Euboea appears
to be younger, so that, in addition to what appears to be that mentor
relationship we mentioned earlier, would explain her emotional reaction. The
lingering, overhead shot adds to the emphasis placed on Euboea’s death.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The legions gather around Hippolyta with Menalippe dismounting and
approaching her as she takes off her helmet. She says Steppenwolf has gone back
to his universe. This sentence gives us a bit more insight into Steppenwolf’s
origins by indicating he is not from this universe while also introducing the
notion that other universes exist. It is the first time the existence of a
multiverse is mentioned, implied or otherwise. Although when Steppenwolf first
appears and mentions defenders on 50,000 worlds, those worlds most likely span
across multiple universes. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Hippolyta corrects Menalippe though, saying he has gone to the
lands of men to find the other two boxes, making clear Steppenwolf’s earlier
comment to the Motherbox about finding the others.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Hippolyta states they must light the ancient warning fire. This is
an interesting turn for Queen Hippolyta who didn’t seem to care much about the
world of man in Wonder Woman 2017. Here, however, the threat is so great that
it warrants a warning. Menalippe points out that the warning fire hasn’t burned
in 5,000 years and therefore men will have forgotten what it means during that
time. Fortunately, Diana is currently in the world of man and would have
learned the meaning of the warning fire during her time growing up on
Themyscira. Hence Hippolyta says that men won’t, but she will.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; mso-outline-level: 3;"><span style="color: #434343; font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">End of Episode</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">That wraps up Part 1 of <i>Zack Snyder’s Justice League</i>. In
our next episode we’ll be starting Part 2 and learning more about Steppenwolf,
his motivations, and how toxic is good. Coming up on August 5th there is a mega
trend event for David Ayer’s Suicide Squad. We encourage everyone to use the
hashtag Release the Ayer Cut and voice your interest in the film. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">For more content check out our patreon at Patreon.com/JLUPodcast.
Until next time, thanks for listening.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal"> </p>
ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com2tag:blogger.com,1999:blog-5935799542324632108.post-16381808857976292232021-06-11T08:40:00.008-07:002021-06-11T08:42:35.205-07:00JLU Scene-by-Scene: Zack Snyder's Justice League Part 1 Episode 3<p>This episode of the <a href="https://jluniverse.podomatic.com">Justice League Universe podcast</a> focuses on Wonder Woman's London rescue at the Old Bailey in Part 1 of <i>Zack Snyder's Justice League</i>.</p><p>
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/10053476?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
<br /></p><ul style="text-align: left;"><li>Terrorists on Tower Bridge</li><li>Diana and the Statute of Justice</li><li>The Lasso of Truth</li><li>Old Bailey Fight Scene</li><li>Explosion and Children's Rescue</li><li>"Anything you want to be"<br /></li></ul><p><b>Follow @JLUPodcast on Twitter</b></p>
<p><b>Support the show at <a _mce_href="https://www.patreon.com/JLUpodcast" href="https://www.patreon.com/JLUpodcast">https://www.patreon.com/JLUPodcast</a> </b></p><p><Transcript below></p><p>
</p><p class="MsoNormal"><span></span></p><a name='more'></a>Welcome fans of Zack Snyder’s Justice League. This is the
Justice League Universe podcast where we analyze DC Films scene-by-scene. Our
team currently consists of Sam Otten, Rebecca Johnson, Carolina Lomba, and
myself. I’m Alessandro and in this episode we are going to look at Diana’s
first scene and our first action sequence in Part 1 of Zack Snyder’s Justice
League, available on HBO Max and on various streaming sites around the world. <p></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">This sequence starts with the continuation of the song
“Distant Sky” as we see an establishing shot of London with a large, black
banner across Tower Bridge with Superman’s “S” logo in silver. This display by
a major world city in honoring Superman’s sacrifice and the overlap of the
music expands on the previous few scenes of mourning to include the rest of the
world reflecting the global impact while transitioning us to Diana’s character
and her response to Superman’s death. After walking away from the world of man
for 100 years, we see her donning her Wonder Woman costume once again to fill
the void left by Superman which has given rise to new reactionary threats. The
banner also foreshadows Superman’s new suit which has a similar color scheme.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We follow two white vans crossing Tower Bridge which is a
nice way to bring the audience along to the new location for the upcoming
scene. They drive through the streets of London allowing the change in music to
set the more dramatic tone for what’s to come. It also establishes what is
being threatened by the terrorists in this scene. Among the sites they pass on
their way to the Old Bailey is St. Paul’s Cathedral.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We see the terrorists approach the criminal courthouse from
a perched shot above the main entrance that includes the featured sculpture of
three allegorical figures called the Recording Angel, with Fortitude and Truth.
(http://www.speel.me.uk/sculptlondon/oldbaileyjustice.htm) We’re familiar with
the importance of truth to Diana from her origin film Wonder Woman (2017) in
which she is dismayed by Steve Trevor lying and from one of her staple
accessories, the Lasso of Truth. We’ve seen her fortitude as she faced Ares,
discovered the truths about Man, and suffered the loss of a loved one. And as
an ageless immortal, she witnesses history unfold recognizing the changing
landscape of the world. So this sculpture is a nice embodiment of Wonder
Woman’s character and a fitting image to open this next sequence. Another
interesting connection with this sculpture is that the three figures have
elements of the DC trinity. There is a cowled figure which evokes Batman, an
arresting figure with a heroic visage which evokes Superman, and a third figure
with a mirror and a snake representing truth and immortality which evokes
Wonder Woman.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">There is a closeup of the van’s license plate as it parks in
front of the building and a security guard at the entrance. The van’s Make is
Vauxhall which is a British car manufacturer based in Chalton, Bedfordshire,
England. Their logo is of a Griffin, a legendary creature with the body of a
lion and the head and wings of an eagle. They are featured prominently
throughout Greek Mythology which is a keystone to Diana’s background. And a fun
fact, voice actress Grey Griffin does the voice of Wonder Woman in many
animated iterations. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">A man wearing black leather gloves grabs a black attache
case from the passenger seat before exiting the van. We get an interesting
blurred effect as he exits which Zack Snyder makes lots of use of in Army of
the Dead. We see the man outside the van banging on its side to signal the
passengers. He is wearing a black fedora with a black coat, black suit, and
black tie sort of like some kind of 1920’s gangster. And in his ear is an
earwig to communicate with his cohorts. The man calmly passes by the guard and,
when distracted by the other men approaching with guns, he dishonorably shoots
him in the back with a silencer characterizing him as despicable. The men drag
the guard’s body off the street to avoid drawing attention and one of the gang
poses as the guard, taking his place to keep appearances.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The group enters and, once the metal detector rings to
signal the threat, they open fire to take out any opposition. The camera
follows the attache case placing significance on it’s contents. The people are
hysterical, gathered together by the terrorists, while the leader of the group
walks calmly with determination. Among the hostages we see a group of young
girls in school uniforms. The utterly detestable act of harming children is
emphasized when, in the next shot, the leader is on the phone threatening their
lives to the police should he see any movement by them. We are very clearly
made to hate this man and his group removing all possible remorse for when
Diana kills them. He says they’ll be making a statement shortly, but soon we’ll
see that statement is not a verbal one as he intends to blow up the building
and its four block area.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We see close up reactions of the children showing their fear
as if we are there next to them. The police have a clear shot of the leader
through their sniper scopes, but the officials confirm there are kids from St.
Brigids’s on a school trip. Their refusal to act in light of this reasonably
reflects a higher importance being placed on children’s lives than adults in
that situation. And it's even likely that these terrorists intentionally
planned their attack to coincide with the school trip to use the children as
leverage.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We finally get a look at Diana with a cool twisting shot
that moves from an overhead view of the situation to an elevated shot of Diana
atop the statue of Justice by F.W. Pomeroy, described as “almost an Amazon”
situated close to St. Paul’s Cathedral. This statue of Justice exemplifies Zack
Snyder’s version of Wonder Woman. For starters, she is not blind-folded.
Instead Lady Justice has a fierce expression with a grim mouth and frowning
brows meant to convey that justice is stern. Diana has her own belief system
outside the laws of man which she doesn’t always agree with. And she is
unrelenting in asserting her own justice on those that would cross it. Lady
Justice stands upon a globe because justice straddles the world. Diana steps up
to protect the world, not just a specific city like some heroes. We’ve seen her
heroics in Paris, London, and Gotham. Lady Justice carries the scales which
stand for balance. Diana’s love acts as a balance for man’s hate, because as
she says later, hate is useless. Lady Justice carries a sword to indicate
justice is swift and final. To that end Diana uses her sword to great effect,
especially in the final act. The image of Lady Justice is also a nice
connection to Diana joining the Justice League.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The music introduces us to a female vocal that will be
featured prominently throughout the film when Diana is on screen. It is an
ancient lamentation which echoes Diana’s inner pain at seeing injustice. And we
can see that pain in her face, as well as an inner struggle about rejoining the
world of Man again, as the camera closes in on her. She closes her mouth and
gulps indicating her conviction.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We finally see what is inside the briefcase when the leader
of the group opens it to reveal what can easily be identified as an explosive.
The screams and gasps from the hostages help to address the threat the
explosive poses. The focus on the children with their teacher also emphasizes
once again how atrocious the terrorist group’s intentions are. Their unstable
nature shows itself as one of the men snaps back at them to “shut up” with a
sweaty brow aiming a rifle at them. Meanwhile the leader takes out a key and
offers a sort of ceremonial monologue to himself to give us a bit of context
for their actions. He says “Down with the modern world, back to the Dark Ages”
and immediately inserts the key to arm the device which displays some numbers
counting down indicating it is a time bomb. So it is clear now that this isn’t
actually a hostage situation. It’s a suicide bombing. His choice of words are
interesting because it mirrors the overarching threat in the film. If
Steppenwolf were to succeed in creating the Unity, it would be the end of the
“modern world” and the beginning of an age ruled by Darkseid. His words also
seem to connect to an overall theme of moving forward rather than living in the
past. Each member of the Justice League is faced with a troubled past they must
overcome in order to move forward into the future. Superman is dead and must
resurrect to embrace a second chance. Bruce is trying to make amends for
mistakes he made against Superman. Diana still struggles with the loss of Steve
Trevor, but as she tells Cyborg, she’s working on opening herself up again.
Barry has been living his life around an event in his past that led his father
to be imprisoned. Victor is struggling with moving on from the night of his
accident that led to his mother’s death and his mutilation. And Arthur hasn’t
gotten over his mother abandoning him. And while the heroes are all learning to
move forward, the villain Darkseid still seeks to remedy his past failure by
returning to Earth for the anti-life equation. Here, the terrorist is not
moving forward like our heroes, and instead wants to go backwards and bring at
Europe with him.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Moving on, one of the men patrolling the building is taken
by surprise when Diana lassos him from above and pulls him up with ease showing
off her strength. She immediately asks “who are you?” And for those that might
not have seen the Wonder Woman movie, she offers some context about the lasso
verbalizing that it’s magical properties compel him to tell the truth. This
group is listed in the credits as the Black Clad. But the man elaborates,
telling her they are a small group of reactionary terrorists who want to turn
back the clock in Europe. This of course ties to the leader’s statement about bringing
the modern world back to the dark ages. Diana is quick to cut off his
pretentious rambling, calling it boring. She gets straight to what’s important
by asking why they have taken hostages. The man confirms the hostages are
inconsequential stating they have no demands and that they’re just using them
to stall the police. He refers to the countdown of the time bomb and mentions
four city blocks followed by mimicking an explosion sound with his mouth. This
helps us to understand the level of the threat by specifically mentioning a
blast radius. His laughter at the thought of the explosion adds to the mounting
evidence that these men are mentally unstable. Diana has a concerned look on
her face before we cut to the countdown on the time bomb which is now at thirty
seconds and counting.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Everyone is breathing heavily in the room as they anticipate
the coming explosion anxiously. It’s sort of the calm before the storm as Diana
fearlessly breaks through the doors in heroic fashion. </p>
<p class="MsoNormal">There is a slow-motion effect to make her entrance a bit
more epic, but it also acts as a means of showing how quickly Diana assesses
the room. It’s also implemented throughout the scene as a means of showcasing
her speed. For instance, when one of the men starts shooting at her, we see her
watch the bullet slowly whiz by her and then turn her eyes to the man. She then
moves her shoulder to dodge a second bullet. This scene also shows us how fast
Diana is by comparing her actions with the seconds counting down on the time
bomb. This, and her impressive show of strength help to elevate her abilities
in this film which is important to establish for her later encounter with
Superman and Steppenwolf.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Diana easily dispatches the first four terrorists closest to
the door, two of them with one fell swoop, and giving an angry protective
mother vibe as she scowls at them. She is clearly not holding back, no doubt
enraged by the lives being threatened. When one of the farther terrorists
starts shooting at her with an automatic rifle, she performs her iconic
deflection at super speed with the bracers on both of her wrists. This imagery
is a big deal in Wonder Woman mythology from the comics to the Wonder Woman
television series starring Lynda Carter. This won’t be the last time we see her
deflect bullets with her bracers in this scene, but its implementation in this
moment is beyond awesome. Diana proceeds to sweep kick the terrorist that shot
at her causing him to fly against the wall. She gets up, flipping her hair, and
once again we get that slow-motion shot to signify her assessing the room. It
also gives the audience a brief pause in the action to absorb everything since
it’s so fast-paced. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Diana grabs and throws the nearest of the remaining
terrorist, grabbing his gun in the process and throwing it as a projectile at
one of the farther terrorists to knock him out. She then kicks the terrorist
immediately in front of her into the one further behind him taking them both
out. Finally she performs a one armed deflection of the remaining terrorist’s
shots before lunging forward and hitting his side causing him to be thrown
toward the hostages. But she quickly leaps to him and throws him against the
wall. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Notably there is quite a bit of blood splatter on the walls
essentially confirming these men are dead. What we see in this scene is the
warrior amazon of Themyscira. But the context is very important for those who
would lament her use of force. These are evil men who only want death and
destruction and are willing to kill children. And in Diana’s own sense of
justice, these men don’t deserve the consideration of treading lightly,
especially at the risk of others’ lives.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">When she entered the room the time bomb’s countdown showed
twelve seconds. Once she’s dispatched all but the leader of the Black Clad, she
looks at the countdown to see seven seconds left. So it took her five seconds
to clear the room of terrorists, a feat which exhibited both how fast and powerful
she is.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">With six seconds left before the explosion, Diana grabs the
case and leaps right through the ceiling into the sky above. She then throws it
higher up to create more distance between the blast and the people below. The
slow-motion effect offers us two shots of Diana throwing the bomb, one from
above and one from the side, that mimic comic book stills while adding tension
to the scene. The side shot helps to give us a sense of how high she was able
to get the bomb from the streets below. The music is heart pounding with a
tinny synth sound and percussion to match the modern elements of the bomb and
the energetic belligerence of Diana. The explosion occurs from Diana’s
perspective and it blasts her back, down toward the courthouse below. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We transition from the bomb explosion to the sparks of the
hanging wire from the hole in the ceiling Diana created. Then we see the
reactions from the hostages and the terrorist leader. The terrorist leader
chuckles, likely from a combination of feeling inferior, feeling nervous, and</p>
<p class="MsoNormal">the unexpected twist that Diana saved everyone from the
explosion with her superpowers. The hostages grow more tense hearing his
laughter, not knowing how he will react next. He proves their fears valid when
he raises his gun at them. But the silhouette of the locked back pistol reveals
it is out of ammunition. So the terrorist grabs a rifle from one of the dead
terrorists’ bodies along with a cartridge to reload it with, which gives Diana
enough time to return just as he begins opening fire on the hostages. Before
shooting he says “Like lambs to the slaughter” which, in this context, seems to
refer to how lambs are taken quietly and unassumingly to their deaths, helpless
to protest their own slaughter. More broadly, the phrase relates to someone
doing something or going somewhere without knowing something bad is going to
happen and therefore act calmly. In that respect, these hostages came to the
courthouse without suspecting they would fall victim to a terrorist act. Given
the leader’s reference to the dark ages, and since his plan to bring down the
modern world has failed, we can consider the biblical implications to his words
as it relates to his reasoning for killing the hostages. He seems to view the
modern world as bad, or sinful, and believes it needs to return to a time which
is referred to as the “Age of Faith”. These hostages act as sacrificial lambs
for forgiveness and atonement. By killing them he no doubt believes their
message will be heard and echo outward like Superman’s death scream. And it is
for this very reason that Diana kills him in the way she does. But we’ll get to
that in a little bit.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">A close up shot of the rifle reveals it is set to
semi-automatic indicating it will shoot one bullet at a time. The single bullet
flies out of the barrel as Diana crashes down from the ceiling and blocks it.
The ancient lamentation plays with her entrance. The terrorist winces and we
see a close up of him switching the weapon to automatic fire. With a scowl of
his own he begins firing. We see the first bullet exit the rifle in slow motion
along with Diana’s reaction watching it travel toward the hostages. It helps us
to see the action in her perspective being able to react so quickly to the
shots being fired. We then see her speed across the group of hostages blocking
bullets and moving one person to avoid getting hit. It is reminiscent of Wonder
Woman’s third act when she angrily whizzes through the soldiers. After the last
bullet is blocked she stands. The terrorist leader looks in awe and, panting,
says “I don’t believe it.” For someone who seems to be motivated to return the
world to the “Age of Faith,” it's ironic for him to say he doesn’t believe,
especially as it relates to Diana who is a God in her own right. And as a God she
responds with “Believe it.” The religious undertones in this scene reflect
Chris Terrio’s continued storytelling through the lens of faith and belief,
especially in the aftermath of Superman’s death, which is a low point for our
heroes. Hope is all but dead and gone from the world.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The terrorist releases the ammunition cartridge from the
rifle and reloads it. Diana should arguably have had enough time to run up to
him, take the gun from him, and throw him against the wall like she did with
the other terrorists. However she instead chooses to unleash a shockwave from
her bracers to blast the side of the building out along with him. She
retaliates with an equal level of force which he had set out to inflict with
his bomb. Sort of an eye for an eye, although the hostages were not injured. So
if she could have easily disarmed and killed the man without needing to cause
so much damage, why did she? There appear to be two factors in her decision to
do so. The first is that while she was taking out the other terrorists they all
had their guns focused on her, but here the terrorist has his gun aimed at
innocent people. One misstep could result in someone dying. But the second, and
probably more important factor, is what we mentioned earlier about sending a
message that will echo outward and, in this case, reach the ears of any other
would be terrorists. By killing him as she did, she is making a statement that
won’t be overlooked or easily forgotten, that endangering lives, and
specifically children’s lives, will not be tolerated in the least and will be
met with quick and steadfast punishment.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The debris flies outward and the police are forced to take
cover to avoid getting hit. The chief of police looks up and sees the lead
terrorist’s hat float down and rest gently on the hood of his vehicle.
Symbolically it's equivalent to Diana handing the terrorist over on a silver
platter. He looks back up at the courthouse no doubt wondering what happened.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Now that the immediate threat is over, Diana’s empathy kicks
in and she asks if everyone is all right. She reassures them that it is over
and even helps them up off the ground. She asks several individuals if they are
okay providing that personal level of care. When she sees one girl remaining on
the ground she kneels down and asks “Are you okay, princess?” Even though she
is essentially a God, she humbly lowers herself down to the girl’s level. And
even though she herself is a princess, she calls the girl princess. It is
interesting that the girl they chose for this scene just happens to look a
little like Gal Gadot. It’s also important to the Wonder Woman character that
the group of students is made up of all girls with female teachers or
chaperones. Of course Diana would save anyone in need, but because of Diana’s
connection to the Amazons and their all-female society, the story makes it
special that she would save females.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The girl nods and asks if she can be like her some day. She
clearly looks up to and admires Diana’s fearlessness, strength, speed, and
determination that were on display. She is a hero. And in true heroic fashion,
she answers “You can be anything you want to be.” She doesn’t quibble about how
she is a demi-goddess who has extraordinary abilities a human wouldn’t be able
to wield. Instead, she encourages the young girl that she, a human with no
super powers, can be a hero just like her if she wants to be. She then gives
her a smile and encourages her along.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">End of Episode</p>
<p class="MsoNormal">That concludes our first big action scene of Zack Snyder’s
Justice League. Next we’ll get our first look at Steppenwolf and the threat he
poses as the Amazons suffer losses at his hands. </p>
<p class="MsoNormal">You can enjoy early access to some Man of Steel analysis at
Patreon.com/JLUPodcast. Until next time, thanks for listening.</p><p><!--[if gte mso 9]><xml>
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<![endif]--></p>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com3tag:blogger.com,1999:blog-5935799542324632108.post-36213196246923441452021-05-18T19:53:00.004-07:002021-05-18T19:55:28.882-07:00JLU Scene-by-Scene: Zack Snyder's Justice League Part 1 Episode 2<p>This episode of the <a href="https://jluniverse.podomatic.com">Justice League Universe podcast</a> focuses on Part 1 of <i>Zack Snyder's Justice League</i>, with Martha leaving the farm in Smallville, Bruce and Alfred reuniting on the airstrip, and Lois visiting Heroes Park with coffees in hand.</p><p><br />
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/10036118?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
</p><ul style="text-align: left;"><li>Martha at the cemetery</li><li>Some other Kent graves <br /></li><li>Bruce and Alfred between the helicopter and plane</li><li>Lois and her daily visit to Heroes Park</li></ul><p><b>Follow @JLUPodcast on Twitter</b></p>
<p><b>Support the show at <a _mce_href="https://www.patreon.com/JLUpodcast" href="https://www.patreon.com/JLUpodcast">https://www.patreon.com/JLUPodcast</a> </b></p><p><Transcript below></p><span><a name='more'></a></span><p>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Welcome fans of <i>Zack Snyder’s Justice League</i>. This is the
Justice League Universe podcast where we analyze DC Films scene-by-scene. Our
team currently consists of Sam Otten, Alessandro Maniscalco, Rebecca Johnson,
and myself. I’m Carol Lomba and in this episode we are going to take a look at
Martha, Bruce, and Lois as they deal with loss, in Part 1 of <i>Zack Snyder’s
Justice League</i>, available on HBO Max and on various streaming sites around
the world. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We continue to see the impact of Superman’s death, now on those
closest to him. The sounds of the Icelandic folksong echo into the new scene,
which reveals a sad-looking Martha who has recently lost her son. As we
mentioned in our previous episode, this folksong speaks of departure and
heartache. Like the music itself, these themes reverberate into the subsequent
scenes with Martha, Bruce, and Lois.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A singular headlight shines from behind Martha. It sort of looks
like a faux sun in the background which makes us think about how, just as the
Earth revolves around the sun, in a way Martha’s life revolved around Clark who
was the center of her universe. Clark, her sun. But in this opening shot, there
is still darkness around Martha, so the headlight is not truly an illuminating
sun. It’s a weak approximation. And then the scene reveals that it's Clark’s grave
that she’s looking at. So another interpretation is that the headlight
symbolizes him watching over her from beyond the grave as she mourns him. Zack
Snyder recently mentioned one possible title for <i>BvS</i> being “Son of Sun,
Knight of Night”, and that would be a connection to Clark who, as we discussed,
is symbolic of the Sun God which Lex references on the Helipad.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Martha closes her eyes and turns her head flinching as if feeling
the physical pain of loss. She then struggles to pull herself away heading to
the truck in the background. An overhead view of Martha walking away from the
grave further evokes a sense of the dead looking down on her from the heavens,
or perhaps God. This sort of symbolically parallels the world mourning the loss
of Superman with the New Gods looking down from the stars.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Once Martha gets into the vehicle we see that it is pulling a
U-Haul trailer, giving us our first indication that she is moving before we see
the Foreclosure sign. She is clearly distraught as she tells the dog, Dusty, to
move over. Dusty was adopted after their first dog, Hank, died. While Dusty is
part of the family, the only one Martha has left, perhaps he is a reminder of
loss for Martha. Martha exhales and pauses for a moment mustering the strength
to move forward. The headlights shine on Clark’s modest grave where his body is
buried. This shot not only confirms that Martha was visiting her son’s grave,
but it is somewhat of an establishing shot foreshadowing the return to this
site when the team will exhume Clark’s body to revive him. It also acts as a
contrast to the extravagant memorial set up for Superman, which Lois will visit
shortly.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This moment with Martha also serves as a contrast to the remote
and exotic locations that we visited just before this. As Superman’s death
rippled through the big city of Metropolis, and through Atlantis and
Themyscira, and then finally we visited a remote village in Iceland as we saw
how Superman’s death was pushing Bruce to recruit the league. That expansive
world touring is counterbalanced here by a very down-to-Earth,
middle-of-the-country moment with Martha Kent, in a location that we know well
from <i>Man of Steel </i>and <i>Batman v Superman</i>. We are also seeing a
more personal reaction rather than the larger machinations and foreshadowing of
an alien threat. Even the sound design reinforces this effect, with Martha’s
very human sigh and the creaks of an old pick-up truck and the engine being a
little bit rough when it turns over. This shows to us that the film is going to
attempt to balance a grand scope with these personal moments.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Before we leave the cemetery, we also want to point out that you
can see, underneath the Kent surname headstone, a couple’s joint grave
displaying the names Harold and Eliza. The birth and death dates for Harold
appear to be November 12, 1919 and November 17, 1972. And for Eliza they are
January 19, 1921 and April 5, 1986. Although there does not appear to be any
direct link with characters in the comic books, it seems that Zack chose the
name Harold as an easter egg referring to Harold Lloyd. He was an actor whose
first credited performance was in 1914. In 1917 Lloyd, with filmmaker Hal
Roach, debuted a character known as the “Glass” character also known as “The
Boy”. However, Roach eventually decided that Harold Lloyd was too good looking
making the character unappealing to audiences and the two came up with a
“disguise” having him wear plain clothing and horn-rimmed glasses. In 1988, the
50-year anniversary of Superman, Jerry Siegel and Joe Shuster cited the
character as inspiration for Clark Kent.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As for Eliza, the name seems to appear in many places in
association with Superman lore across different mediums. Eliza is the name of
Supergirl’s adopted mother, and Superman and Supergirl are supposed to be
cousins. So if Harold and Eliza are Clark’s human grandparents, it would be a
nice nod to that connection. The name Eliza is also attributed to an
ex-girlfriend of Jonathan Kent’s in the comics. It means “My God is an oath” or
“joyful” and is a diminutive of the name Elizabeth. In the bible, Elizabeth is
the mother of John the Baptist who the Gospels portray as the precursor or
forerunner of Jesus. So it would make sense for Eliza to be Jonathan Kent’s
mother since he sort of fills that role for Superman, foreseeing that he will
do great things.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Continuing in the scene, as Martha is pulling away in the truck
with the U-haul trailer, we see the Foreclosure sign in front of the familiar
Kent farmhouse which is very significant because not only has she lost her
husband, and now her son, but she has lost her home as well. There is also the
implication that Clark has essentially been supporting Martha by either sending
her money or helping to run the farm. And without Clark, she didn’t have the
means to afford the bills. So yes, for those that still doubt Zack’s portrayal,
even his version of Clark Kent does the equivalent of sending “a check each
week to his sweet, silver-haired old mother.” The Foreclosure sign says “Bank
Owned” and has the letters R-E-P-O in the phone number to help make it clear
that the property has been repossessed by the bank. The realtor is listed as
“Comanche Realty”. Comanche are a Native-American nation whose territory
includes southwestern Kansas. The name Comanche is derived from a Ute word
meaning “anyone who wants to fight me all the time.” And it does seem that
someone is looking to fight Superman all the time, whether it's General Zod,
Bruce, Doomsday, the US government, or Darkseid.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The scene transitions with the contrasting forms of transportation
-- Martha in the old pickup truck and now Bruce Wayne in a helicopter. This
juxtaposition of their material situations will come full circle at the end of
the movie when Bruce visits Smallville and helps Martha move back into her
house. As for the helicopter, it lands on a tarmac and Bruce hops off. We can’t
help but be reminded of the bat-copter, such as the one that Adam West flew as
Batman in the 1960s, but a more direct parallel is Bruce also jumping off a
helicopter near the start of <i>Batman v Superman</i>. He is clearly an
impatient man and a hermit with not so great social skills after hiding out in
a cave for so long. And by the way, given that the mayor of the Icelandic
village specifically mentioned that helicopters have been grounded for six
days, it suggests that they travel in and out of the village regularly so Bruce
likely waited out the storm and caught a helicopter out of the inlet.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The Helicopter reads “Kvikasilfur Leiguflug Island”. Kvikasilfur
in Icelandic means Mercury, and Leiguflug means Charter Flights. Mercury is the
Roman god of financial gain, commerce, messages, communication, travelers, and
luck, all which relate to Bruce Wayne who is a wealthy businessman
communicating to others the warnings of coming enemies and lucky to survive
against all sorts of odds. The reference to a Roman God also differentiates
him, a human, from the other members of the team who are metahumans and are
mostly associated with Greek Gods like Zeus, Poseidon, Hermes, Hephaestus and Apollo.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">So in the last episode we saw Bruce following through on his
promise, and in this scene we see him dealing with his failure to fulfill that
promise thus far. He acts dejected, dragging his feet like Martha in the last
scene. As Alfred approaches Bruce he immediately remarks about the cold while
Bruce comes out of the helicopter with his jacket casually open. Alfred has
acted as sort of a balancing weight for Bruce whether it's to hold up a mirror
to his wrongdoings or injecting some lightheartedness to his brooding nature.
But Bruce can’t be bothered with Alfred’s complaints about the cold after
failing in his mission following a long trek of bearing far worse climate while
Alfred was likely comfortable aboard the cozy Wayne jet. Alfred cracks jokes
about going to find metas in warmer locations known to be vacation spots,
adding a bit of humor to an otherwise gloomy start to the film. Bruce ignores
the snark, and proceeds to tell Alfred that he found who he was looking for. He
tells Alfred that Arthur refused to join the team, and then Alfred responds
that the draft stands “naught for two,” indicating that both Arthur and Diana
have declined Bruce’s invitation as we saw at the end of <i>Batman v Superman</i>
when Diana walked away from him at Clark’s funeral after saying Man made a
world where standing together was impossible. Alfred then comments about
Bruce’s hermit nature by saying maybe a man who broods in a cave for a living
isn’t cut out to be a recruiter. This sort of comes off as another snarky comment
and again Bruce ignores it and boards the plane. Alfred pauses for a moment
pensively and then follows as the helicopter flies off.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In the next scene, the first shot is of a cup of coffee, a hot
beverage warming us up following the frigid setting of Iceland. We see some
latte art forming a Rosetta which is a fern that to the Japanese symbolizes
family and the hope for future generations. This is the first of several hints
about Lois’s pregnancy. The fern also means new beginnings, which relates
directly to the themes in the film of second chances, especially with regard to
Superman who’s memorial Lois is visiting in this scene. We will see Superman's
new beginning later in the film when he is reborn as well as hear him mention a
second chance which he doesn't want to waste.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As Lois leaves the coffee shop we see she is carrying two cups of
coffee. At first we don’t know who the second cup is for, but at that moment
it's as if she has a second coffee for Clark which is symbolic of her not
letting go of him. Through the shop window we see Zack Snyder’s cameo. It’s a
perfect type of cameo in that you could potentially miss it if you’re not
paying attention, and it's not overt like placing himself as a character in the
film like some directors have done. However for those who have followed the
history of this film, his presence in this scene, though filmed prior to his
family tragedy, provides an even deeper and more solemn air as Lois’ grief from
her loss is also Zack’s grief for his loss. On a meta level, the scene now
additionally plays out as sort of an in memoriam for Autumn. The song that is
playing is called “Distant Sky” by Nick Cave & the Bad Seeds. Notably, Nick
Cave also suffered the loss of a child as Zack did. The lyrics of this song
likewise have a double entendre. But let’s focus on how they relate to the
film.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">“Let us go now, my darling companion, set out for the distant
skies” are the first two lines. We can think of this as Clark being Lois’
darling companion who has now passed on to the distant skies of the heavens
above. The next two lines are “See the sun, see it rising, See it rising,
rising in your eyes.” Once again we can see Superman as the embodiment of the
sun and the sun god. When Lois looked in her companion’s eyes, she saw a new
and better day. The next few lines are, “They told us our gods would outlive
us, They told us our dreams would outlive us, They told us our gods would
outlive us, But they lied.” Clearly Superman has been referred to as a god
several times, especially by Lex Luthor. But Superman and the dream of a farmer
from Kansas have not outlived us and therein rests the lies referenced in the
lyric. And as we hear the line about dreams outliving us we see a shot of Lois’
engagement ring. But clearly that dream died with Clark. And likewise we see
the shattered remains of the Superman statue when the lyric plays about gods
outliving us. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Lois holds a black umbrella which, as we mentioned in our Themes
episode, is like a metaphorical shadow cast over her. And the rain represents
grief, acting as a cinematic metaphor for crying even though we don’t see Lois
physically cry in this scene. And in a way the rain also projects the feeling
she must have of dark rain clouds following overhead and the grief associated
with that.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We see a few references to the Daily Planet where Lois works,
helping to set the atmosphere of Metropolis and also connect Lois to her job
which we will later learn she hasn’t been showing up for. There’s a poster in
the background, the delivery truck that passes by, and the actual stack of
newspapers that get delivered. The truck has the slogan “Reporting on the
Planet Daily” which kind of strikes at the point of Lois not going to work
later, but we find out she has been visiting Heroes Park daily. The headline on
the newspaper reads “Security Bank of Manhattan Seeks New Architect”. It’s an
interesting choice here to use Manhattan rather than Metropolis, but it helps
to relate more with this world as being our own by offering a real-world
location. Furthermore, by referencing Manhattan, this headline is a clear
reference to The Fountainhead by Ayn (ine like “line”) Rand, a book which Zack
has talked about adapting into a film. And it’s also a story which Zack relates
with as he himself has faced similar adversity to the protagonist, Howard
Roark. Roark is a strong, visionary, and uncompromising architect hired to
design a new Security Bank in Manhattan. When he presents his design, his
employers ask him to make certain compromises and changes to the design,
essentially changing his work into something else that is much more mundane and
typical. But Roark refused to compromise his creative work. In the same way
Warner Brothers was looking to change Justice League, which reportedly was a
battle Zack was not willing to fight in the wake of his daughter’s death. In
the end he was able to release the Snyder Cut without the compromises that were
being imposed on him back in 2017, and the end product and its acclaim speaks
for itself.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Cortlandt later with Aquaman is also a reference to The
Fountainhead. But we should note that Zack Snyder has explained himself that
his connection to certain story elements should not be misconstrued as him
endorsing all of Ayn Rand’s political or philosophical beliefs.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">But moving on to another quick nod, the Daily Planet delivery
truck passes by a Leica shop which is Zack Snyder’s favorite brand of camera.
Jason Momoa gifted him a Leica Q2, so this could also be a subtle nod to that
and further thanks for Jason’s support.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The shot pans up from the word “POLICE” on the side of a patrol
car. This is perhaps a nod to the real-life heroes in our lives. Lois
approaches and, from inside the vehicle, we see her appear through the opening
window. The officer and Lois clearly know each other as they address each other
by name. Lois calls the officer Jerry which is of course the first name of one
of the Superman creators. The officer is played by Marc McClure who was Jimmy
Olsen in the Christopher Reeve Superman movies. We see that the second coffee
was in fact for Officer Jerry. He comments “You don’t miss a day, do you?”
informing us that this is a daily routine for Lois. She responds with “I like
it here.” This is perhaps because she sees the flowers and pictures others have
left at the memorial and it makes her feel less alone knowing there are others
sharing in her love and grief. As we mentioned in our Themes episode, visiting
the memorial gives Lois a chance to grieve about Clark’s death publicly without
compromising his secret identity. The close up of Lois’ ring further indicates
that she is not yet moving on with her life and that she is symbolically
accepting his proposal that he was never able to make.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">End of Episode</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">That’s our analysis of this solemn sequence of scenes of mourning
before our first action scene in <i>Zack Snyder’s Justice League</i>. We’d be
interested to hear your thoughts on the potential significance of the dates on
the Kent tombstone. Feel free to leave comments on the episode or email </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="mailto:JLUPodcast@gmail.com"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">JLUPodcast@gmail.com</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">. Next we will delve into our first bit of heroics with Diana in
London.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";"><br />
</span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">You can enjoy early access to some <i>Man of
Steel</i> analysis at Patreon.com/JLUPodcast. Thanks for listening.</span></p>
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<![endif]--></p>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-81062329173521415342021-05-01T05:11:00.004-07:002021-06-11T08:43:04.275-07:00JLU Scene-by-Scene: Zack Snyder's Justice Leage Part 1 Episode 1<p> This episode of the <a href="http://jluniverse.podomatic.com">Justice League Universe podcast</a> focuses on the end of the prologue and the first sequence in Part 1: Don't Count On It, Batman (Bruce's trip to Iceland, meeting Arthur Curry).</p><p>
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/10022822?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
</p><ul style="text-align: left;"><li>Superman's impact continues to spread</li><li>Bruce in the mountains</li><li>Icelandic village and symbols</li><li>Bruce and the mayor</li><li>Bruce and Arthur</li><li>"Strongest alone"</li><li>Poem by <span style="font-size: small;"><span _mce_style="font-size: x-small;"><a _mce_href="https://lyricstranslate.com/en/r%C3%B3sa-gu%C3%B0mundsd%C3%B3ttir-lyrics.html" _mce_style="text-decoration: none;" href="https://lyricstranslate.com/en/r%C3%B3sa-gu%C3%B0mundsd%C3%B3ttir-lyrics.html" id="docs-internal-guid-926386ca-7fff-f02c-7ac5-cb6fc35c1534" style="text-decoration: none;"><span _mce_style="font-family: Arial; color: #004693; background-color: #ffffff; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;" style="background-color: white; color: #004693; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Rósa Guðmundsdóttir</span></a></span></span></li></ul>
<p><b></b></p>
<p><b>Follow @JLUPodcast on Twitter</b></p>
<p><b>Support the show at <a _mce_href="https://www.patreon.com/JLUpodcast" href="https://www.patreon.com/JLUpodcast">https://www.patreon.com/JLUPodcast</a> </b></p><p><Transcript below></p><p>
</p><p class="MsoNormal"><span></span></p><a name='more'></a>Welcome fans of Zack Snyder’s Justice League. This is the
Justice League Universe podcast where we analyze DC Films scene-by-scene. Our
team currently consists of Sam, Rebecca, Carol and myself. I’m Alessandro and
in this episode we are going to take a look at the scenes concluding the
prologue and beginning Part 1 of Zack Snyder’s Justice League, available on HBO
Max and on various streaming sites around the world. <p></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">In the last episode we talked about the impact of Superman’s
death spreading out throughout the world, and the sweeping camera shots pull
the audience along in that motion. That same motion continues in this scene,
but now instead of the ripples of Superman’s death cry it is actually the
person of Bruce Wayne who is setting out across the world, inspired by
Superman’s example. And it’s a good thing that he has inspired Bruce in this
way because Bruce will set out to form the league as the answer to the threat
that comes from the awakened mother boxes.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">So in the last episode and in this episode, what we are
seeing is the effect of Superman making its way across the world. And in terms
of the scope and scenery of the prologue, we saw land, and a cityscape, and
water, and air, and a green island. Now we are seeing snowcapped mountains.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Our first shot of the scene focuses on a tea kettle. Without
Alfred with him, Bruce resorts to making his own tea. Given the frigid climate,
it is no doubt important for Bruce to keep himself warm. You can only cover
yourself with so many layers for warmth, so warming oneself from the inside is
the natural next measure. We see a beautiful far away shot of Bruce, who we
don’t know is Bruce yet, camped out at a fire trying to keep warm. There is
also a horse there. It kind of resembles a scene from a western, except instead
of a desert of sand this is a desert of snow. But similar to a cowboy, Bruce is
trying to do some “rounding up” of some warriors. His isolation amidst this sea
of ice also symbolizes this typical lone ranger personality Batman has been
known for which is a contrast to what we see him evolve into through this film
as a team player and part of a family of heroes working together.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The noise of snow on the screen is done really well and
really helps to emphasize the harsh environment and cold temperature that Bruce
is putting himself through to reach his goal. The icy environment also
correlates to the apparent seasonal theme of each film in the saga.<span style="mso-spacerun: yes;"> </span>As you may recall, the opening of Batman v
Superman: Dawn of Justice focused on the fall season. Here, in our darkest hour
with Superman deceased and the world at the precipice of a bleak future. It is
the Winter of our discontent so to speak as evil ambitions seek to conquer
Earth and the world is blanketed by sorrow as it mourns the death of their
guardian. But like King Richard in Shakespeare’s Richard III, by the end of the
film the winter is made glorious with the upturn of fortune with god’s return,
out of the ground and back up into the sky as Superman’s reign shines like the
sun.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The first time we see Batman he’s not wearing his suit, but
he’s wearing all black and you can’t really see his face living up to his “dark
knight” persona. So even though he’s not in his Bat suit, he is still garbed in
a fashion reminiscent of his costume down to the mask and goggles. He also
rides a horse like a knight does. The identity of this masked stranger is still
unknown as he extinguishes the flame and mounts the horse.<span style="mso-spacerun: yes;"> </span>The image of horses continues to be used.
Horses were seen and referenced throughout BvS from the riderless horse during
the Black Zero event, to Lex’s finger tapping referring to the red capes, to
Jonathan Kent’s story on the mountain top. As we discussed during our Batman v
Superman analysis, horses symbolize death and are often connected with the
horsemen of the apocalypse in this regard. This relates directly to Superman’s
death and the impending threat from Apokalips. Horses are also a universal
symbol of freedom which with respect to Bruce represents the shackles that have
been shed of his previously toiling burden to rid the world of Superman which
consumed him.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We see beautiful sprawling views of icy mountains indicating
a long distance and showing the desolate landscape which helps us to grasp the
large feat of Bruce traversing this terrain which even the Icelandic villagers
find incredulous. During these shots we see Bruce guiding the horse on foot
which can be viewed as having respect for the animal where another might push
the creature beyond its limits simply to avoid having to walk themselves. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Bruce’s trek over the mountains is like a spiritual
pilgrimage akin to the Inca Trail at Macchu Picchu or the Camino de Santiago.
He is attempting to open an exchange with the Icelandic village while following
a path to enlightenment that will lead him to a literal precipice and a
metaphorical one of faith in contrast to his previous methodical path. He looks
down at the beautiful sight where a small village resides. This view is
somewhat of a prize for Bruce after his long journey which, based on the
village leader’s “impossible” remark, is one that no one else in the world has
seen. But the view of the village is the actual prize he has sought in hopes to
encounter the Aquaman.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Once Bruce sees the village, he takes off his mask and hood
identifying himself to us as if shedding his cloaked “superhero” persona and
preparing to use Bruce Wayne to get the information he needs. This is a bit of
a throwback to BvS in which Bruce insisted on relying on his Batman persona using
extraordinary measures to try and gather information, whereas Alfred points out
to him that Bruce Wayne was able to get the information that Batman couldn’t.
This is a sign that Bruce has also shed his darker tendencies and has regained
his faculties of reason.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We see a Vegvisir, which is Icelandic for sign post or
wayfinder, hanging from an archway. It is an Icelandic magical stave intended
to help the bearer find their way through rough weather, even when the way is
not known. This relates directly to Bruce’s long journey through inclimate
weather to arrive at that very spot. Interestingly the Vegvisir appears to
contain shapes that resemble tridents which relates directly to Aquaman who
happens to be protecting that village.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The villagers appear to be standing in awe seeing a man who
is clearly an outsider and no doubt wondering how he got there and where he
came from. As Bruce walks he parts the crowd like the red sea as if he were a
prophet carrying a warning message in an attempt to deliver the world from
Apokalyptian slavery. So while Superman is the Christ figure, Bruce is sort of
the Moses figure in this story made more evident by his new found faith and his
role in organizing a community of heroes. He also spreads the word of Superman
so to speak. We also see him wandering the desert wasteland in the nightmare
future just as Moses did. Physically the beard he wears during this first scene
also helps to sort of convey the image of a Moses character. A beard can
represent a distinction of a believer from non-believers. In this respect both
Bruce and Arthur know about the world of metahumans whereas the shaven leader
of the village laughs and scoffs at Bruce’s warnings about coming enemies. Zack
Snyder has stated that this film takes place six weeks after BvS. This means
the events of Suicide Squad must have taken place over the two or three weeks
following, and Bruce must have spent the next several weeks traversing the
Icelandic mountains after receiving the metahuman files from Amanda Waller. This
would suggest his beard has grown for about a month’s time. In a way it
represents Bruce’s growth from his anti-Superman sentiment to somewhat of a
missionary in his newfound faith. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The prologue officially ends once Bruce arrives at the
archway with the Vegvisir. His arrival at the archway is equivalent to the
arrival at the sun gate at the end of the Incan Trail. Similar to how the Sun
Gate of Macchu Picchu once served as a control gate to keep undesirables out,
we see the villagers weary of Bruce as an outsider and reluctant for him to
enter their own remote village. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><b>PART 1: DON’T COUNT ON IT, BATMAN</b> appears as a title
card which is a line spoken by Arthur Curry to Bruce Wayne.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The sounds of wind blowing can be heard throughout this
scene likely as a result of the air bottlenecking through the valley between
the mountains. It adds an atmosphere of harshness to the village and the people
struggling. This scene appears to take place in a building that appears to be
something of a town hall.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">We see a black business card in someone’s hand with a large
W on it. The man says “Bruce Wayne” in a heavy accent as if struggling to read
the card. The background is blurred, but we can make out people and a
silhouette, not dissimilar to Batman’s, just beside the card. </p>
<p class="MsoNormal">We soon will see that man is Bruce Wayne. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The man holding the card is sitting before a standing crowd
which immediately conveys the sense that he is in a position of leadership,
perhaps the mayor of this town. He is appropriately wearing warm clothing for
that environment and appears to be older suggesting he possesses knowledge and
experience. We see a slightly less blurred background as he addresses someone
who we presume to be an interpreter or right-hand man. So things are starting
to become clearer. But we still only see a portion of the interpreter's face
hiding his identity for the moment.<span style="mso-spacerun: yes;"> </span>The
mayor questions where this Bruce Wayne character came from pointing out that there
hasn’t been aerial access to the village for at least six days. And in a moment
we’ll get confirmation that access by water has also been blocked as a result
of the icebergs in the harbor. When he is told the man climbed over the
mountain he says that is an impossible feat. This establishes early on that
Batman is capable of performing the impossible. And we will see him accomplish
things against all odds throughout the film. This also emphasizes the lengths
to which Bruce has gone in order to meet Arthur Curry.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The mayor is willing to hear what Bruce Wayne has to say,
perhaps curious of this stranger who claims to have done the impossible. He
says “talk” in Icelandic and his interpreter turns to reveal himself as none
other than the underwater being caught on camera in BvS whom Bruce is no doubt
seeking. Of course from a meta perspective, we know this is Jason Momoa’s
Aquaman. He looks at Bruce Wayne with his strange looking eyes and relays the
message to talk.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Bruce conveys his belief about a generous stranger who
brings food to the villagers on the King Tide when they are hungry. We can
gather that he is referring to the man standing before him, and Bruce knows
this, but he goes along with the facade for Arthur’s benefit in hopes of
gaining his favor. Bruce’s words also convey to us how he knew when and where
to find Arthur which he elaborates later, outside, when he refers to having
read the stories of his good deeds. King Tides only happen once or twice a year
in coastal areas. They are the highest tides of the year that occur when the
moon is at its closest distance from the Earth and the Earth is at its closest
distance from the sun during a full or new moon. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The villagers are attentive to his words, seemingly
concerned about the implications of what Bruce is saying. They know very well
this stranger is real, which we will learn when Aquaman later makes his
departure into the sea. They may be worried not only about Arthur being
discovered, but also how it may affect their village. This seems to be even
more evident in the mayor’s reaction when he refers to the stranger as a
“magical man from the sea” scoffing at the notion, no doubt in an attempt to
dismiss it and protect Arthur’s identity if not for Arthur, then for the sake
of his village which benefits from his good deeds.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Arthur relays what Bruce said to the mayor in Icelandic. In
our attempt to translate what Arthur says using Google Translate, we were only
able to translate the first word of this part which is the word “newcomer”.
It's worth noting that according to someone by the name Jon Sandys on
moviemistakes.com, Jason Momoa’s pronunciation of the Icelandic “was<span style="mso-spacerun: yes;"> </span>so atrocious that when shown in Iceland,
which normally subtitles English-language movies, the Icelandic also had to be
subtitled...into Icelandic, just so people could understand what he said.” This
may be why Google had such trouble understanding. But it’s evident in the film
that he is merely interpreting what Bruce is saying for the head of the
village. The shot when Arthur is translating and speaking Icelandic is taken
from outside a window looking in which helps to convey the essence of Bruce
being an outsider and how outsiders are not welcomed in their village and town
affairs. This also strikes at the heart of Arthur not liking anyone digging
into his business and getting into his life. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Arthur addresses Bruce’s suggestion that a stranger came
from the sea by commenting that icebergs have blocked ships from coming to the
town for the past four months. He says “You have eyes, so see” which seems to
imply Bruce is being blind to this fact. This is especially true for someone
who was clearly forced to come to this village from the outside through means
other than by ship. Although Arthur doesn’t know Bruce is Batman, Terrio’s choice
of words here relate to bats having eyes but being unable to “see”. It also
relates back to BvS in which Batman was willfully blind throughout his
narrow-minded goal to kill Superman. But in fact, Bruce is seeing more clearly
than ever now. And as he clarifies that this stranger doesn’t come by ship, he
looks right at Arthur with glaring eyes as if to convey “I’m using my eyes, and
I see you.”</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Arthur’s face expresses agitation as he says “He does not
come by ship” in Icelandic without breaking eye contact. Bruce continues, this
time talking directly to Arthur. As he does, a perilous sounding score begins
quietly. It is “A Hunter Gathers” by Tom Holkenborg aka JunkieXL. This title
relates both to the threat of Steppenwolf coming to gather the motherboxes, but
also to Bruce who tells Alfred in BvS that his family started off as hunters,
something Bruce was obsessed with throughout that movie as he set off to hunt
down Superman. Now he is carrying on directly from his promise at the end of
BvS which is an important shift for the character. And he is attempting to
gather warriors to form a team.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Bruce says there are enemies coming from far away. This
refers to the warning Lex gave to him at the end of BvS. And for us, this also
relates to the glimpse of Steppenwolf we had during the prologue and the
concerns the Amazons had. If this is Bruce’s only chance to talk to Arthur, he
uses it to indirectly try to recruit him by telling him he needs warriors like
this stranger, and others like him, for an alliance to defend themselves. The
“others like him” refers to metas, and specifically the ones Bruce saw in
Luthor’s video archives and Waller’s files on them which he received at the end
of Suicide Squad.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The considerate person that he is, Arthur uses this as an opportunity
to help the villagers by asking for money to pass along this message. As Bruce
later tells Barry, being rich is his superpower, so to incentivize Arthur to
speak with him in private right now he offers five times the amount Arthur asks
for. It appears this may have been the total amount he had brought with him as
he pulls out a single wad of cash when thrown against the wall.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Arthur says “25,000 afterward” in Icelandic which prompts
the mayor to laugh. This prompts the rest of the villagers to join in laughter.
Bruce of course is dead serious and doesn’t see the humor in his offer as he
looks around at the people laughing. The mayor then shows his cards and drops
his own facade by speaking in English. He calls Bruce a dog speaking to them
like children suggesting he doesn’t believe the offer of 25,000 dollars is a
real one and that Bruce is merely trying to bait them into revealing the
stranger. He appears to try to throw Bruce off by implying this “magical man
from the sea” is just some ridiculous flight of fancy and adds that they aren’t
stupid enough to fall for his attempt at exploiting their impoverishment. He
then forcefully tells Bruce to get out.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Bruce realizes the stakes and insists that he can’t leave.
He looks directly at Arthur and says he’ll leave once they’ve spoken. Arthur is
clearly trying to hide his identity, but Bruce knows full well that he is the
Aquaman. Having lost his patience with this intruder, Arthur comes directly
face to face with Bruce in a threatening way reiterating the mayor’s words to
get out. Bruce now one-ups the mayor by showing his own cards and dropping his
own facade by saying “I don’t think so” in Icelandic. He gives a smile as
indication that he too was underestimated.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Arthur becomes aggressive, perhaps seeing Bruce as a
potential threat to the village, but also because, as he will say outside, he
doesn’t like people digging in his business. Nevertheless he resorts to
violence because Bruce refuses to obey willfully. He easily lifts Bruce and
presses him up against the wall showcasing his super power of strength. Bruce
responds by taking out a wad of cash showcasing his super power of money. He
gives another smile as he not only proves his offer was genuine, but also as a
signal to Arthur as if asking “are you really gonna deny these people all this
money?” Arthur gives an annoyed look of concession and lowers Bruce
begrudgingly. Bruce appears to extend the money out to his side and a child
grabs it and gives it to the mayor before he has a chance to change his mind.
Bruce then calls Arthur by his name indicating to him he knows exactly who he
is and even adds his nom de plume. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The sounds of seagulls transitions us to the outdoor
setting, one featuring a nearby body of water. There are chunks of iceberg
floating in the water to emphasize how cold it is and to highlight Arthur’s
point about icebergs being in the harbor. We also see a fishing boat to help
characterize the village and its means of business and food.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Once outside, Bruce feels comfortable speaking openly with
Arthur about who he actually is. But right from the start Arthur is dismissive
of Bruce, criticizing his methods by mocking his bat suit. Arthur asking for
clarification to this unbelievable concept also informs us that he was not
familiar with the Batman. When Bruce defends his methods by stating they’ve
been successful in Gotham, Arthur is once again quick to dismiss him calling
Gotham a “shithole”. So he is familiar with Gotham, and its reputation appears
to be a bad one. And so in this respect it doesn’t help Bruce’s argument for
why Arthur should trust or join him.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Bruce proposes that they will need Arthur, perhaps hoping
that the need will compel Arthur given his willingness to help others in need.
But Arthur does not fall for this manipulative effort telling him not to count
on it. Admittedly he doesn’t exactly say no, which suggests perhaps he may be
open to helping should the need truly be serious enough. But it seems that if
he were to offer help, he wants it to be on his own terms. Because when asked
why not, his reasons have to do with Bruce seeking him out and intruding on his
life. And wanting to be left alone shows his desire for independence,
disassociated from any bonds or ties. This comes up again later when he talks
to Vulko and Mera.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Bruce perhaps fails to see his own characteristics in Arthur
and, rather than relate with him, becomes confrontational after facing
dejection. This strikes to what Alfred says later about a man brooding in a
cave for a living not being cut out to be a recruiter. So it is with the wisdom
of Athena that Diana charges herself with recruiting the troubled Victor Stone
instead of Bruce. With Arthur, Bruce throws his good deeds at him for reasons
why he should join him. He tells Arthur “Your good deeds, you think no one
sees” suggesting that Arthur can’t stay hidden from the world forever. Bruce
then solidifies his failure by insisting he’ll join them going to the very
point of why Arthur doesn’t want to join them. Arthur values his independence,
and someone telling him what he will do only pushes him away more. It is the
same approach Vulko takes with Arthur trying to compel him to take his rightful
place as king.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Arthur once again emphasizes his desire to be a loner by
quoting German philosopher Freidrich Schiller. As if presenting himself as the
strong man that stands alone, Arthur unceremoniously begins to disrobe showcasing
his muscular physique and resistance to the cold temperatures. In a way this is
Arthur’s costume change, shedding his human persona and transforming into The
Aquaman. He isn’t ashamed of what he is, but rather he holds resentment about
how he has been treated which strikes to the core of his detachment from
others. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">He reveals his body filled with tattoos which, at first
glance, give the impression of scales of a fish which fits with the aquatic
theme of Aquaman. But the tattoos themselves actually hold significance. Zack
Snyder embraced the diversity of the Justice League and chose to cast Jason
Momoa partially due to his Polynesian roots as he considered aspects of their
culture a perfect match for the character. Many of the Hawaiian gods are water gods,
and tattoos are important in Polynesian culture. Historically there was no
writing in Polynesian culture so they used tattoos to express their identity
and personality as well as status in their hierarchical society. Tattoos on the
upper arms and shoulders were associated with strength and bravery and were
used to relate a warrior or chief status. On Arthur these parts of his body are
covered with spearheads patterns which is a classic symbol that represents the
warrior nature and can also represent the sting of some animals. The other
notable element are the triangles on his upper torso. These appear to be a
sharktooth pattern which represent protection, guidance and strength as well as
ferocity. But they can also be a symbol of adaptability in many cultures which
is especially significant given Arthur’s ability to exist on both land and in
the sea, as well as his ability to adapt from being a loner to being part of a
team. Tattoos on the upper torso relate to generosity, sincerity, honour and
reconciliation. In the context of the sharktooth meaning, this fits well with
Arthur’s story as presented in the Aquaman film adapted from the comics.
However those patterns can also be found on the forearms which relate to
creativity, creation and making things. In this respect it symbolizes Arthur
creating his own path and finding his own strength rather than relying on
others or conforming to what’s expected of him.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Bruce attempts to counter Arthur’s idiom by mentioning
Superman who is viewed as a beacon the world over. His reasoning for mentioning
that Superman died fighting next to him is to show that even Superman, the
strongest being on the planet, joined with others over fighting alone. And it
was also intended to show that Superman put his trust in him and therefore so
should Arthur. But this backfires as Arthur points out that when the strong man
wasn’t alone was when he died.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Bruce then attempts to clarify by emphasizing Superman’s
belief in the film’s theme of stronger together. He attempts to project his own
feelings of obligation onto Arthur by suggesting they owed it to Superman to
unite and face the coming threat. Of course Superman did sacrifice himself for
everyone on the planet, which includes Arthur. So in that respect Bruce
probably feels that everyone in the world owes a debt to Superman. But we know
from Man of Steel and BvS that Superman did not act with any expectation. He
did so out of his own moral sense of obligation to use his powers to help
others. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">But Arthur refutes the notion that he owes anyone anything
as he has spent his life not relying on anyone but himself. It's not as if
Arthur asked Superman to sacrifice himself. And with the knowledge that we have
as outside viewers, one could even make a counterargument to Bruce’s, reasoning
that Superman sacrificed himself to save Lois and Martha more than for the
people of Earth. And probably from Arthur’s point of view Doomsday did not pose
a threat to the world beneath the ocean where he could easily live.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Arthur nonchalantly walks into the water like the “magical
man from the sea” he was described to be by the mayor since the cat is already
out of the bag. This is reminiscent of the scene from Man of Steel in which
Clark comes out of the water shirtless, his pants nearly torn to shreds, and
steals some clothes to put on from a couple of the townsfolk. This scene sort
of plays out in the opposite way with Arthur taking clothes off and going into
the water, and his sweater is taken by one of the villagers.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">He once again mocks Bruce’s methods of dressing like a bat
dismissing him as beneath him saying he is out of his mind. And perhaps this
idea that Bruce is crazy extends to this notion that enemies are coming from
far away. Ultimately Arthur is given several reasons to reject Bruce's plea to
join the team. A few of the villagers begin singing in anticipation of Arthur
departing into the sea, signaling to us that this is a recurring phenomenon.
This distracts Bruce allowing Arthur to disappear in a "magical"
fashion. When Bruce looks back all he sees are some ripples in the water. If
there was any doubt as to Arthur’s identity before, this solidifies that he is
The Aquaman. This is also a bit of Bruce getting a taste of his own medicine
being on the receiving end of a hero absconding before he could say anything
further, something we will see him and the other heroes do later to
Commissioner Gordon. Unfortunately for Bruce, his super power was able to
initiate a conversation with Arthur but it didn't help him to actually convince
him to join him. Bruce turns and walks away dejected, parting the people as he
leaves as he did when he arrived. He has failed his mission.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The way the villagers sing upon Arthur’s departure gives the
sense that they worship him like a god, similar to how some worshipped Superman
in BvS. It’s almost ceremonial. Aquaman calls Atlanteans a superstitious race
when he speaks to Vulko later on, but here we see the villagers themselves
appear to be somewhat superstitious. Although Arthur retorts that they aren’t
calling him their king, while this is technically true, here we see the
villagers elevate him in such a way which suggests that perhaps Arthur isn’t
aware of how some people on the surface view him.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Ray Porter who does the voice of Darkseid in the film was
kind enough to share a link on Twitter to the lyrics of the poem the women are
singing in this scene. Please excuse the pronunciation here, but the title <span face=""Arial",sans-serif" style="color: black;">is </span><a href="https://lyricstranslate.com/en/r%C3%B3sa-gu%C3%B0mundsd%C3%B3ttir-v%C3%ADsur-vatnsenda-r%C3%B3su-lyrics.html"><span face=""Arial",sans-serif" style="background: white none repeat scroll 0% 0%; color: #004693; font-size: 11.5pt; line-height: 107%;"><span style="-webkit-text-decoration-skip: none; text-decoration-skip-ink: none; white-space: pre-wrap;">Vísur Vatnsenda-Rósu</span></span></a><span face=""Arial",sans-serif" style="color: black;"><span style="white-space: pre-wrap;"> translated to “Verse by Rose Vatsendi” and it was written by
Icelandic poet named </span></span><a href="https://lyricstranslate.com/en/r%C3%B3sa-gu%C3%B0mundsd%C3%B3ttir-lyrics.html"><span face=""Arial",sans-serif" style="background: white none repeat scroll 0% 0%; color: #004693; font-size: 11.5pt; line-height: 107%; text-decoration: none; text-underline: none;"><span style="white-space: pre-wrap;">Rósa Guðmundsdóttir</span></span></a><span face=""Arial",sans-serif" style="color: black;"><span style="white-space: pre-wrap;">. The artist </span></span><a href="https://en.wikipedia.org/wiki/Bj%C3%B6rk"><span face=""Arial",sans-serif" style="background: white none repeat scroll 0% 0%; color: #0645ad; font-size: 10.5pt; line-height: 107%; text-decoration: none; text-underline: none;"><span style="white-space: pre-wrap;">Björk</span></span></a><span face=""Arial",sans-serif" style="background: white none repeat scroll 0% 0%; color: #202122; font-size: 10.5pt; line-height: 107%;"><span style="white-space: pre-wrap;"> actually
performed this song on the Hector Zazou album </span></span><a href="https://en.wikipedia.org/wiki/Chansons_des_mers_froides"><i><span face=""Arial",sans-serif" style="background: white none repeat scroll 0% 0%; color: #0645ad; font-size: 10.5pt; line-height: 107%; text-decoration: none; text-underline: none;"><span style="white-space: pre-wrap;">Chansons des mers froides</span></span></i></a><span face=""Arial",sans-serif" style="background: white none repeat scroll 0% 0%; color: #202122; font-size: 10.5pt; line-height: 107%;"><span style="white-space: pre-wrap;">.</span></span></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">The first verse is:</p>
<p class="MsoNormal">“My eyes and your eyes,</p>
<p class="MsoNormal">those precious gems.</p>
<p class="MsoNormal">What's mine is yours, and what's yours is mine,</p>
<p class="MsoNormal">you know what I mean.”</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">Here, what was Arthur’s sweater becomes the woman’s sweater.
And she appears to value Arthur like a precious gem.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">The second verse is:</p>
<p class="MsoNormal">“It has been long since I've seen him,</p>
<p class="MsoNormal">his beauty was true,</p>
<p class="MsoNormal">everything that can be good about one man,</p>
<p class="MsoNormal">most of all he had.”</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">Since King Tides only occur once or twice a year, it makes
sense that it would’ve been a long time since last they saw Arthur. While Jason
Momoa is certainly considered a very attractive human being, Arthur’s beauty
also comes from his generosity and goodwill to the villagers. So in this
respect he is viewed as having good qualities and inner beauty.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">The third and fourth verses go:</p>
<p class="MsoNormal">“I miss you the more then anything,</p>
<p class="MsoNormal">tired from the floods of tears,</p>
<p class="MsoNormal">I wish, we never had met,</p>
<p class="MsoNormal">my dear friend.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">I looked at nobody like him,</p>
<p class="MsoNormal">Alms move the heart,</p>
<p class="MsoNormal">God only knows I loved him,</p>
<p class="MsoNormal">with all of my heart.”</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">This goes to the heart of Arthur being worshipped like a
god. There is a certain obsession, certainly evident in the way the one woman
sniffs the sweater. And the way the villagers stand around for the duration of
the song shows their exaltation of Arthur.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">The next verse goes:</p>
<p class="MsoNormal">“Every heat cools down,</p>
<p class="MsoNormal">covers valleys and carries glaciers,</p>
<p class="MsoNormal">rocks and everything that is,</p>
<p class="MsoNormal">I shall never forget you.”</p>
<p class="MsoNormal">This sort of fits with the cold climate of their village. It
can almost be viewed as a rationalization for living in such a harsh
environment. Amidst the cold, Arthur stands out as a glimmer of hope and
inspiration.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">And just to wrap things up, the last three verses are:</p>
<p class="MsoNormal">“The eye is touched by clear tears,</p>
<p class="MsoNormal">loyalty breaks to pieces,</p>
<p class="MsoNormal">my heart is wounded,</p>
<p class="MsoNormal">betrayal is hard to take.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">I know your blossom,</p>
<p class="MsoNormal">your kindness inside.</p>
<p class="MsoNormal">Goodbye dear Eyjafjörður, [pronounced: Eyafjordur]</p>
<p class="MsoNormal">the fairest fjord of all.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">I remember when we first met,</p>
<p class="MsoNormal">long ago, and now love is gone.</p>
<p class="MsoNormal">Now, I'ts as if a dog meets another dog</p>
<p class="MsoNormal">in a fox nest.”</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">The song refers to the Eyjafjörður [pronounced: Eyafjordur]
which is one of the longest fjords in Iceland. It’s possible this village is
located in this long, narrow inlet, and the Goodbye refers to Arthur departing
from it. And although it is cold there as mentioned in the previous verse,
these villagers see its beauty. Their tears and wounded heart, along with their
loss of love seem to refer to Arthur’s departure, and the emptiness they feel
when he leaves them.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal">There could of course be a whole string of other meanings
for this song here, but this was just our initial impressions at finding
meaning in it within the context of the scene. Notably the song echoes into the
next scene of Martha leaving Clark’s grave, and really her farm and life in
Smallville as she’s known it. So there is certainly some significance the song
has in that context as well as it relates to departure and heartbreak.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">End of Episode</p>
<p class="MsoNormal">That’s our analysis of this sequence introducing us to
Arthur and starting us on Part 1 of Zack Snyder’s Justice League. Next we will
give our thoughts on some emotional scenes with Martha and Lois as we continue
our analysis. </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Congratulations to @tonygsnyder and @KillMeRamona who are
the winners of our two BvS 4K Edition giveaways.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">If you’d like to support this Podcast you can join our
Patreon which is Patreon.com/JLUPodcast where we share early access to our Man
of Steel episodes. Thanks for listening.</p>
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<![endif]--></p>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-40062333548446866442021-04-21T09:52:00.000-07:002021-04-21T09:52:02.528-07:00JLU Scene-by-Scene: Man of Steel Scene 15<p>This episode of the <a href="http://jluniverse.podomatic.com">Justice League Universe podcast</a> focuses on Scene 15 ("maybe") of <i>Man of Steel</i>, directed by Zack Snyder.</p><p><br />
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/10014387?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
</p><ul style="text-align: left;"><li>The Kent's Midwest Farm</li><li>Choice and Acts of God</li><li>Wanting to help but learning about complexities</li><li>Connections to Superman issue #1</li><li>"Maybe" and its controversies</li><li>Zack Snyder and the power of unconditional love</li></ul>
<p><b>Follow @JLUPodcast on Twitter</b></p><p>
<b>Support the show at <a href="https://www.patreon.com/JLUpodcast">https://www.patreon.com/JLUPodcast</a></b></p><p><b> </b></p><p><Transcript below></p><p><b><span></span></b></p><a name='more'></a><p><b></b></p><p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
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<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Welcome, fans of <i>Man of Steel</i>, to the Justice League
Universe Podcast where we analyze the DC Films produced by Warner Brothers
studios and, soon, by HBO Max. You can follow the show on twitter @JLUPodcast.
My name is Sam. In this episode we see the famous conversation between Jonathan
Kent and Clark in the aftermath of the school bus rescue.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And we are going to get into the controversy around this scene,
and people who reject Jonathan Kent’s style of parenting here, but we are going
to share our view on how this is a very deeply meaningful form of parenting
that also fits well with the themes of complexity and choice.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And choice has already been emphasized in relation to Clark’s
character. We’ve seen at the oil rig and with the school bus that he has a
natural desire to help when people are in need. You can think of that as an
inherent part of his character, but this movie is asking us to also realize
that each of those rescues is a choice. Clark has to decide to risk himself and
to expose his powers to help people. With the oil rig, when he makes the choice
to save the trapped workers, that means he’s going to have to move on yet again
and find a new job, possibly a new identity. He will help the people in danger
but that choice will keep himself uprooted and lacking a firm foundation in his
life. With the school bus, he not only had to make the choice to push the bus
out of the water, potentially exposing his supernatural abilities and igniting
a firestorm of responses, but he made a second important choice which was to
also go back into the water and save Pete Ross, as well.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As is shown throughout the movie, Clark often sees both the good
and the bad side of humanity on Earth. For every Lana Lang with an empathetic
look, there’s a Pete Ross with a domineering posture, and yet Clark chooses to
save both. This is part of his character that will follow him throughout his
life as we see in <i>Batman v Superman </i>when he even saves Lex Luthor.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Now in this scene at the Kent farmhouse, we will see some of the
repercussions of his choices. The scene starts with an establishing shot
outside the house, with young Clark sitting on a swing under a tree. This is a
nice transition because we just left the last scene where we were focused on
Clark, and so he is our touchstone going into this scene. But we hear voices
inside, and of course he can hear them very well, too. And then we cut to the
inside of the house, completing the transition and now focusing on the adults
as they discuss what happened with the school bus.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">With regard to the setting at the Kent farmhouse, I believe this
location was actually set up in Illinois, and I think the production team did a
really good job of capturing the Midwest feel. I live in Missouri, right
between Kansas and Illinois, and a bunch of my paternal relatives are from
Nebraska, just north of Kansas. I’ve spent lots of time on farms and in farm
houses. The look of the Kent house, the layout of the homeplace, and the large
hardwood trees next to the house, with open fields surrounding it, are all very
authentic. Homemade swings like this under the limb of a big tree are also very
common. My Dad even had a farm truck on the farm where I grew up that was very
similar to Jonathan Kent’s.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">It’s nice that they did such a good job with this set, because it
is a recurring location throughout this movie and also the sequels.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Getting into the dialogue now, Pete Ross’s mom is explaining in a
somewhat concerned voice that Pete was in the bus and saw what Clark did. She
is certainly relieved that her son is safe, but her tone of voice is fairly
intense, like she wants to get to the bottom of what happened, rather than
having a thankful tone of joy and relief. This concern is a small-scale
representation of what the world’s reaction might be to a superhero. It
wouldn’t necessarily be gratitude and wonder. Many people might be freaked out,
scared, and even violent toward this unknown alien. And this is underscored by
Clark, who is holding his head down, sort of in shame, perhaps because of Mrs.
Ross’s reaction but also because he knows that he disobeyed his parents. He is
not flying high having saved the day -- he is concerned about what might be the
consequences of his actions.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As we cut to a shot inside the house, we don’t see the adults
clearly yet, we start with a pot of coffee and a mug. Zack Snyder chose to have
several close-up shots like this of objects inside the house. There’s the
coffee pot being poured, and later Jonathan puts the coffee pot back, grabs his
coat, and there’s a close-up of the door shutting. My interpretation of these
deliberate close-ups is that Snyder is emphasizing the humble, down-to-earth
sort of environment that Clark is growing up in. And he is emphasizing those
everyday things at this particular moment in the film because it is juxtaposed
with the extraordinary abilities that Clark is starting to exhibit. That young
boy outside sitting on a typical tree swing is anything but typical, and if he
exposes himself, he may be ripped away from all of these comforts of home and
he won’t be able to stay in this down-to-earth setting any longer.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As he pours the coffee, Jonathan tries to downplay the incident
and plant some doubt in Pete’s story. Jonathan refers to what Pete <i>thought</i>
he saw, and Mrs. Ross jumps in to say that it was an act of god. It was providence.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This is one of the early allusions to Superman as god or as a son
of god. We’ll take up that idea as it becomes more explicit in later scenes.
But in this moment, we’ll just note that Jor-El’s earlier prediction that Kal
will be a god to the people of Earth is already coming true. As for this scene,
the main thing is the sigh of relief from Jonathan. He was probably very
worried about what the Ross’s might say to others and he may not have known how
he would explain away the school bus rescue, but if the Ross’s are interpreting
through a lens of miracles then the pressure is basically off Jonathan from
having to explain it at all. Their secret may be safe for a bit longer, and the
Ross’s will still think of Clark as just a regular kid, though perhaps one
through which god has worked his will.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This actually connects with the theme about choice. Mrs Ross, by
ascribing the event to the will of god, is actually removing Clark’s choice and
agency from the situation. It wasn’t really Clark, not directly --- it was an
act of god, and Clark was just the vessel through which providence was carried
out. Jonathan, however, knows that it was in fact Clark’s choice and Clark’s
action. And that’s why he and Clark will have to have their conversation, will
have to deal with the complexity and the choices together, because they know
that it is in their hands, not god’s.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">With Mrs. Ross no longer asking the right questions about Clark,
Jonathan is free to shift his attention to his son. He looks out the window, toward
what we know is Clark in the yard. Martha takes up the conversation with the
Rosses. Martha says that she is blowing things out of proportion, but Mrs. Ross
mentions that it’s not the first time Clark has done something like this, which
shows that the risks to their secrecy are growing and they’ll have to be more
careful if they want to make sure that their family isn’t torn apart. Jonathan,
as he is shifting over toward thinking about Clark, probably hears Mrs. Ross
say this, which likely spurs him to be more emphatic with Clark about keeping
his powers under wraps for the time being, perhaps contributing to his
recommendation that it might not always be best to save people.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The swing is now empty and we get those wholesome, down-to-earth
shots that we mentioned, as Jonathan heads out to talk to Clark. It’s a nice
wide shot to set the scene, with seven-foot corn stalks indicating an early
autumn season, and a couple silos in the background to the right. It almost
reminds us of <i>Field of Dreams</i> as Kevin Costner walks toward Clark
sitting on the tailgate of the pickup truck.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Clark senses Jonathan’s approach and, having heard the
conversation from inside the house and already talked about this issue before
with his dad, Clark starts right away by explaining he just wanted to help. “I
just wanted to help” shows that his intentions were good and that he’s sorry
about the negative repercussions and he didn’t want them to happen. This
complexity in the consequences for one’s actions are a recurring theme with
Clark’s heroic feats and an idea that is explored even further in <i>Batman v
Superman</i>. In the sequel, we see that Superman is “just a guy trying to do
the right thing,” but again, the consequences can often be beyond what Superman
intended. Having to deal with these consequences, and having to grow and learn
as a character, is part of the arc for this character and it’s interesting to
see the initial groundwork for that arc being laid here in <i>Man of Steel</i>.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">With him being a kid, though, it’s hard to blame him for doing
something that he thought was good and not really being ready for all the risks
and fallout that can come from it. We can be empathetic, and Jonathan starts
out by showing some empathy too. He responds first by saying, “I know you did.”
So Jonathan is acknowledging those good intentions. But more sophisticated
levels of morality, just like more sophisticated levels of storytelling, have
to go beyond that simplicity of black-and-white actions or of just judging
someone based on intentions.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Jonathan continues by saying that they talked about this before,
which helps the audience know that they’ve already had conversations and
Jonathan has tried to convey to Clark why it’s important to keep his powers a
secret. He quickly changes his tone to a sort of pleading, probably through a
sense of love and desperate concern that a slip up like the school bus could
result in his son being taken away. But by the next line, Jonathan has calmed
himself down again and he says that Clark has to keep this side of himself a
secret.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Some people have said that the Kents are supposed to be fully
supportive of Clark being a hero and using his powers to help people whenever
he can, but that is not typically how the characters have behaved when Clark is
still a kid. It’s very common that the Kents, just like in <i>Man of Steel</i>,
are very keen on having Clark hide his super powers. Even Superman issue #1 in
1939, by Siegel and Shuster themselves, has Pa Kent talking to an adolescent
Clark and saying, “Now listen to me, Clark! This great strength of yours --
you’ve got to hide it from people or they’ll be scared of you!” And that was
written with exclamation points.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We should be able to understand this sentiment, too, of
encouraging young Clark to hide his powers. Not only will people be afraid of
those supernatural abilities, but as Jonathan will mention later in this scene
and the next, the government would likely abduct him, and it would also impact
the world in terms of upending belief systems and notions of mankind’s
supremacy.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Now, in Superman #1, Ma Kent goes on to say that, “when the proper
time comes, you must use [your strength] to assist humanity.” And that matches
with the message in <i>Man of Steel</i>, even though many negative fans choose
to only take certain lines and then assume that those lines out of context
represent the full guidance of the Kents in the film. The film in its entirety
clearly shows that the Kents wanted Clark to be careful because he wasn’t ready
for the responsibility yet, but once the time came, they hoped he would stand
proud before mankind as his true self.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Of course, Jonathan Kent talking about hiding Clark’s powers is
not the most controversial part of this scene. What’s most controversial is the
next part. Young Clark, overwhelmed by emotion, showing that he is experiencing
all of those facets of humanity and not as a distant or disengaged alien, asks
his father what he should have done. WIthin this thematic framework or choice,
Clark references the other option -- “let ‘em die.” He says it as if it should
be obvious that that was not a viable choice.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There’s a long pause, as if the audience is supposed to also be
drawn into this dilemma -- what would we have done? What would we say if this
was our child in that moment?</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And after the pause comes the controversy. Jonathan looks down,
fidgets with the side of the truck bed, and then says, “Maybe.”</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This response has been a big point of contention among many
Superman fans and the general audience. The primary sentiment from the
detractors to <i>Man of Steel</i> are that Jonathan Kent is supposed to
establish a straight moral compass for Clark in his early years, and so they
reject the gray areas and an answer like this that allows for ambiguity or
uncertainty. They feel that it falls short of the unfaltering morality that
they associate with Superman.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Some detractors go even further. Some infer that Jonathan Kent
basically told Clark to kill those kids and to do anything at all to protect
his identity. But this is certainly a misconstrual -- Jonathan did not say
“Yes, you should have let them die.” He said, “Maybe.” As in, this is a very complex
situation and there are high stakes, the decisions can be difficult.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In other words, we think people mistake Jonathan’s “maybe” as
being somehow immoral. But the way we see it, and many other <i>Man of Steel</i>
fans see it, is that Jonathan’s response is a refreshing burst of honesty and
humility. When facing a difficult situation like this one, it’s a wise and
profound response to accept the uncertainty and for Jonathan to acknowledge
that he doesn’t have all the answers.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This complexity comes from the fact that, on one hand, an outside
observer might think that of course you have to save children in a school bus
if you are physically capable of doing it. But on the other hand, most people
would also recognize that a parent should and is certainly justified if their
primary concern is the safety of their children, and for Jonathan, that means
the safety of Clark, and so this would mean not saving the other kids because
it could reveal that he’s an alien and then he could be vilified, taken, and
who knows what else. As parents ourselves, Alessandro and I can relate to this
struggle where we would naturally want to advocate for the total protection of
our children. So if we were in Jonathan’s shoes, we might even say YES, you
don’t have to save them because you are allowed to worry about yourself and
your own safety. You aren’t obligated to risk yourself for others because you
are my son and I can’t imagine losing you--I don’t really want you near any
severe danger at all. Although a part of us recognizes that there might be a
nobility in rising above and saying NO, you shouldn’t let them die, even if it
risks yourself. In the abstract, that makes sense, but it’s hard when it’s
actually your own child at risk. And anyway, it is certainly a complicated
moral question.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">If we imagine being in Clark’s position, then it becomes a little
bit clearer that there is heroism in trying to save others, even at a risk to
yourself. Indeed, it’s not very heroic <i>unless</i> there is some risk to
yourself. But Jonathan is a father who doesn’t want Clark to feel obligated to
always have to save everyone who is in danger, because that is an impossible
task. We do see later, when Jonathan saves the dog, that he does have heroic
tendencies himself, but risking oneself is very different than one’s child.
That’s why here, and with the tornado later, he is protective of Clark’s safety
above even his own. And as we said before, Jonathan can not be blamed for
worrying primarily about his own son above others.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And all of that moral complexity just comes from the dynamics of a
parent and child. We haven’t even added on the extra layer which is that Clark
is also a secret alien. He not only risks himself physically -- because
remember the Kents at this point do not know the full extent of Clark’s
invulnerability, each time he takes a new risk they are unsure whether he will
come through it unscathed -- but Clark is also risking his exposure, which
means a huge revelation for humanity that could upend society, freak people out
in various ways, topple religious beliefs, and much more. That adds even more
weight to the side of protecting Clark’s secret.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">But even here, with lots of personal and societal reasons that
Clark should hide his powers and not risk his own safety, Jonathan still does
not say “NO” you shouldn’t have saved them. He says “Maybe.” He is coming down
to earth in this moment to join Clark in the struggle and the difficult
decisions, modeling for him how to think through these things while still communicating
his unconditional love and concern as a foundation for their relationship. This
fits perfectly with that theme of choice being one of the primary concepts that
Clark’s story is illustrating. By saying “maybe” and acknowledging that each of
these life-and-death moments involve weighing different possibilities, Jonathan
is, in effect, emphasizing Clark’s power of choice and him growing into his own
sense of morality that involves love and complexity rather than moral
certitudes. This is more meaningful than simply being told how to act or having
a father who repeats platitudes.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">It also emphasizes an aspect of Clark’s humanity because this is
the development of a different moral framework than the one we saw on Krypton
or the one that will come back again with Zod and Faora. And we think it’s
important to note, and worth repeating, that Superman in this story is part of
humanity -- he is NOT a God. Take it from the smartest man on the planet, Lex
Luthor, Superman is not all-powerful. And a young Clark without the full extent
of his powers is even less so. If Jonathan Kent and Zack Snyder can understand
that, why can't audiences? Clark can't save everyone, a point driven home in <i>Batman
v Superman</i>. This imaginary standard that no matter what Superman will find
a way is unrealistic and contrived. Expecting the story to work out so that
Superman can save everyone, and it should be no question that he <i>does </i>save
everyone, also in a sense weakens the character because that would mean the
audience expectations have essentially removed the power of choice from
Superman. But <i>Man of Steel</i> is setting us on a path where Superman has
been empowered with choice both in the story and meta-textually as a fictional
character.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Now, all of that was from one word. Maybe it’s time to move on
further into Jonathan’s dialogue. He says to Clark that they have to think not
just about themselves and the kids on the bus but also the world. So he brings
up those broader issues of humanity’s beliefs and its reaction to an alien with
powers, like we alluded to before. He is helping to provide a framework for Clark
to think through the complexities of the choices he makes. He doesn’t tell
Clark what to do, but he is modeling for Clark the ways that you have to think
about various factors and even consider things beyond yourself. This is a small
step toward helping Clark become the worldwide sort of hero that he will
become, but in a way that is grounded in the power of choice rather than moral
imperatives.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">So Jonathan is quickly explaining the grand scale of what’s at
stake to rationalize his response, a response that maybe Clark wasn’t
expecting. And by the way, these broader ramifications that Jonathan is talking
about, we see them later in this film and also even more so in <i>Batman v
Superman </i>as we get even more detail into the world’s reaction to Superman.
For example, Neil Degrasse Tyson echoes these sentiments when he says, “We’re
talking about a being whose very existence challenges our own sense of priority
in the universe.” Jonathan uses Mrs. Ross as an immediate, real-life example of
how people would react to discovering Clark’s secret. He says Mrs. Ross was
scared.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And there are interesting directing choices here as Jonathan gets
closer to Clark and sits next to him. This closer physical proximity tends to
bring people into more agreement on a topic, or increase the likelihood that
someone will comply with a request. So Jonathan is making an attempt to come
together with Clark and get on the same page in terms of what to do with his
powers and his secret. But moving closer also has a subconscious comforting
effect as Jonathan recognizes that Clark is still reeling from the stress of
the bus rescue and its aftermath, and he’s acutely aware of how he’s different
from other kids.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Clark responds to this closeness by getting more outwardly
emotional and asking why people are afraid. So Clark is moving into that
conversation with Jonathan, trying to understand the various facets of this
complex situation, and secure enough in his relationship with Jonathan that he
can open up rather than closing down the interaction. That openness but also
that vulnerability may be part of the setup in terms of why Jonathan chooses to
finally make the big reveal to Clark. But first, Jonathan answers with a famous
phrase, saying that people are afraid of what they don’t understand. We’ve
heard this in other movies and stories, and we can also see it very often in
the actual world, but here it is relevant not only to Mrs. Ross as a
representation of a typical person but there’s also the government and
military’s reaction to Superman in this film and then in <i>BvS</i> the world’s
reaction and specifically Bruce Wayne’s and Lex Luthor’s.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">But right now, Clark is desperate for an answer and explanation,
to why he is the way he is. He’s willing to grasp at any answer, even looking
to Mrs. Ross’ theory about God’s involvement as a possibility. He asks, “Did
God do this to me?” And we know from later in the film that Christianity was a
part of his upbringing as he goes to the church at a later point when he’s also
grasping for answers and having to make a difficult choice. In <i>BvS</i> we
also see a Christian funeral ceremony, so it makes sense that young Clark would
wonder about God and miracles as a possible explanation.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The phrasing here is also interesting with regard to the theme of
choice. Clark says, “Did God do this <i>to </i>me?” And earlier Mrs. Ross
wondered if it was providence, that is, the omniscient direction of worldly
affairs by a deity. So in both instances the idea is that maybe this is
something from God, something that is beyond human control. In other words, not
a matter of choice. Or beyond comprehension, as Christian tradition often says
of the works or intentions of God. But Clark will soon find out that there is
an explanation that does not depend on the supernatural. He simply is who he
is, and he does have choice in what he does with it.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Not that Clark chose to have his powers. His capabilities are the
result of his Kryptonian physiology and the fact that his parents sent him to
Earth, so yes, that was beyond Clark’s actual control, but it is not beyond a
natural explanation within the universe of this story. And there is no one
directing his actions or turning on his powers at these particular moments --
it’s just his own natural development and like Jonathan says later, it’s up to
him what kind of person he wants to be, and what he wants to do with the
powers.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">To close out this scene by the truck, we have an emotional and
vulnerable young Clark asking why he is this way, and clearly it is going to
lead to further challenges and future decision points beyond the school bus
rescue. That’s a lot for a kid to have to face, and he is seeking answers.
Jonathan has established his care and concern for his son, and he has also
communicated that there are going to be difficult choices to be made, but now
the time is also here to open up a bit and share some more truth with Clark.
And Jonathan probably feels that pressure that is very common for parents,
which is that you are expected to have the answers. It is also an important
moment to share that truth because Jonathan is essentially asking Clark to lie,
or to be deceptive in the sense of having Clark hide his powers. Before now,
Jonathan and Martha have withheld the full truth from Clark, but they had
reasons. As Jonathan shares the full story with Clark, it is at the same time
that he’s reiterating the importance of not yet revealing that story to the
public.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A final thought here on this first of many scenes in <i>Man of
Steel</i> that features the profound parental relationship -- Zack Snyder has
said that a big part of this movie is about communicating that a parent’s
unconditional love for their children is even stronger than super powers. And
this parental love definitely includes adoptive parents like the Kents, with
Zack Snyder and the writer David Goyer both being adoptive fathers. That
unconditional love is present here in this “maybe” scene because not only are
Martha and Jonathan concerned about the safety of their son, but Jonathan is
also showing Clark that even when Clark faces difficult decisions, regardless
of whether he does the right thing or the wrong thing, or even when there
really is no clear right or wrong thing, Jonathan will be there for him anyway.
He’ll love him through all of it. And this is not just in <i>Man of Steel</i>,
it’s in <i>Batman v Superman </i>too when Clark faces another impossible
situation and he leans on Martha and the memory of Jonathan. Scenes like this
one are crucial in building up the heart of the character and showing that the
Kents provide guidance that doesn’t shy away from complexity, and most
importantly, they show an unconditional love that can be a bedrock for what is
certain to be a challenging yet extraordinary life.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">End of Episode:</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Thanks for listening to this analysis of Scene 15 of <i>Man of
Steel</i>, a scene that is a big reason why we love this movie because it
wasn’t afraid of putting the quintessential hero into the gray areas of moral
complexity rather than keeping things in more straightforward black-and-white.
It is also a scene that helps set a tone for other difficult choices that Clark
will have to face later in the movie --- difficult choices that, by definition,
have outcomes that do not make everyone happy.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";"><br />
</span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In the next episode we’ll continue with Jonathan
and Clark as they move to the escape pod. We are trying to gear back up not
only with <i>Man of Steel</i> but also getting ready for some analysis of <i>Zack
Snyder’s Justice League</i>. So if you want to give us a boost of motivation
and help us with the podcast expenses, you can support the show and find bonus
content at patreon.com/JLUPodcast.</span></p>
ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com2tag:blogger.com,1999:blog-5935799542324632108.post-36642004039599249062021-04-14T08:21:00.001-07:002021-04-14T08:21:00.239-07:00JLU Scene-by-Scene: Zack Snyder's Justice League Prologue Ep 1<p>This episode of the <a href="https://jluniverse.podomatic.com/">Justice League Universe podcast</a> focuses on the opening sequence (death of Superman) in the prologue of <i>Zack Snyder's Justice League</i>.</p><div class="episode_inner">
<br />
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/10009136?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
<br />
<ul style="text-align: left;"><li>Company Logos</li><li>Lightning and connections to <i>BvS</i></li><li>Character's emotional reactions</li><li>Super vocals</li><li>The start of Victor Stone's character arc</li><li>Lex's communion and continuity questions</li><li>The death scream in Atlantis with Mera</li><li>The death scream in Themyscira with Philippus</li><li>Tom Holkenborg's music</li></ul>
<p><b>Follow @JLUPodcast on Twitter</b></p>
<p><b>Support the show at <a href="https://www.patreon.com/JLUpodcast">https://www.patreon.com/JLUpodcast</a></b></p>
<p><b>GoFundMe #RestoreTheSnyderVerse <a href="https://www.gofundme.com/f/restorethesnyderverse-mobile-billboard-afsp" target="_blank">https://www.gofundme.com/f/restorethesnyderverse-mobile-billboard-afsp</a> <br /></b></p>
<p><a href="https://dc.fandom.com/wiki/Sound_Manipulation" target="_blank">https://dc.fandom.com/wiki/Sound_Manipulation</a></p>
<p><a href="https://www.hollywoodreporter.com/amp/features/ray-fisher-opens-up-about-justice-league-joss-whedon-and-warners-i-dont-believe-some-of-these-people-are-fit-for-leadership?__twitter_impression=true" id="docs-internal-guid-f770347f-7fff-8420-679c-b251f929f8eb" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://www.hollywoodreporter.com/amp/features/ray-fisher-opens-up-about-justice-league-joss-whedon-and-warners-i-dont-believe-some-of-these-people-are-fit-for-leadership</span></a></p>
</div><p><br /></p><p><Transcript below></p><span><a name='more'></a></span><p>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Welcome fans of Zack Snyder’s <i>Justice League</i>. This is the
Justice League Universe podcast where we analyze DC Films scene-by-scene. I’m
Sam and in this episode, written with Alessandro, Rebecca, and Carol, we are
going to take a look at the first few scenes of <i>Zack Snyder’s Justice League</i>,
available on HBO Max and on various streaming sites around the world. In this
opening sequence of the prologue, we return to the death of Superman as first
shown in <i>Batman v Superman</i> and we will follow the effects of his death
cry as it emanates out through Gotham City, Metropolis, Atlantis, and
Themyscira.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">But first we have some logos. There’s HBO Max, which of course it
goes without saying -- thank you so much to HBO Max for bringing us this cut of
the movie. Then there’s an updated Warner Brothers Studios logo, still showing
the famous studio lot in Burbank, California, and the iconic water tower, but
in a cleaner shot than before where the lot sort of ripples on the side of the
rotating logo. I was lucky enough to visit the WB lot in 2019 before the
pandemic, and I left a few #ReleaseTheSnyderCut messages for them. And although
there is certainly a ton of stuff we could complain about and blame them for,
in the past and in the present, we do have to still admit that they produced <i>Man
of Steel</i> and <i>Batman v Superman</i> and that they supported the principal
photography of this 4-hour epic. Yes, it was terrible what happened in 2017,
and we do still hope for full accountability of all those actions and the
failures since then, especially with respect to marginalizing actors of color
and characters of color, but we wouldn’t have <i>Zack Snyder’s Justice League</i>
without Warner Brothers.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Next is Access Entertainment, which provided funding for the film.
Access has purchased a large stake in RatPac productions, so thankfully we no
longer have Brett Ratner associated with these DC films, but Access
Entertainment is rooted in the wealth of Len Blavatnik who is from the Soviet
Union originally and has many ties to Vladimir Putin and Russian oil. The
unfortunate reality with these hundred-million dollar Hollywood productions is
that a lot of big money gets involved. But mostly we’ll just try to focus on
the creative side and the story interpretations.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Then comes the DC animated sequence that started with <i>Wonder
Woman</i> in 2017 and has appeared at the start of most DCEU films since then
and also several of the tv shows. It wasn’t in <i>Shazam, </i>though, because
director David Sandberg said he forgot it and Warner Brothers never reminded
him. It also was not included in <i>Wonder Woman 1984</i> just a few months
before <i>Zack Snyder’s Justice League</i>. I personally like how this animated
intro reminds me of the Justice League animated series, and it’s nice to have a
quick acknowledgment of the comic book foundation of these movies as well as a
reminder of Green Lantern’s typical role in the Justice League.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The blue DC logo is briefly replaced by a DC logo that seems to be
situated within the opening scene, and an orange streak of lightning passes
behind the logo. As will become clear in a moment, this is the same color and
type of lightning that tended to swirl around Doomsday in <i>Batman v Superman:
Dawn of Justice</i>. For example, the screen fills up with this sort of
lightning when Doomsday has the boosh effects and when the bone spur emerges
from his arm. Beginning the film with lightning may also subconsciously cue us
into ideas of Zeus and gods, reflecting the fact that this film is going to
take the story and elevate it to the playing field of the gods. Whereas <i>Man
of Steel</i> started with an alien sort of texture, representing the sci-fi
tone of that first film, and <i>Batman v Superman</i> started with falling
leaves, representing the more down-to-earth story of the fall of men, we are
now heading into <i>Zack Snyder’s Justice League</i> where a new age of heroes
are going to arise in this story that involves ancient gods and new gods.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Speaking of the Dawn of Justice trilogy, it uses birth and death
as the bookends of the stories, setting the tone in terms of taking these
heroes seriously and putting us in a frame of mind where we can use these
stories to probe into deep aspects of our humanity -- it doesn’t get more
profound than birth and death, and that raises the question of how we should
live in between. In a sense the whole trilogy starts and ends with birth. <i>Man
of Steel </i>begins with the birth of baby Kal-El and then this film ends with
the birth of the justice league. In between that arc from baby Kal-El to the
formation of the league, we have quite a bit of death. <i>Man of Steel</i> ends
with the death of Zod. And <i>BvS</i> starts with the death of the Waynes and
the destruction of Metropolis and then the death of Superman at the end. Then <i>Zack
Snyder’s Justice League</i> begins with the death of Superman and will go
through the death of many Amazons and the death of the Stones and much more
before the new age of heroes can finally begin.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Getting into this first scene, the first thing we see is an object
that is sort of hard to comprehend at first and there is quite a bit of debris
seeming to float all around, which makes us think back to the debris from the
Black Zero Event shown near the beginning of <i>BvS</i> and also the debris
that often floats as part of Superman’s flight abilities, but in this case as
the camera shifts we see that the object is the bone spike that has impaled
Superman’s body. So we are immediately thrust right into the intensity of this
moment, and we are also brought back to that emotional climax from <i>Batman v
Superman</i>. And it’s not just Superman’s death, we also see the Kryptonite
spear, which reminds us of Batman’s dark turn and also of the fact that
Superman, even though he died, did manage to save the world yet again. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And for those of us who are <i>BvS</i> fans, this is a deep well
of meaning that they are tapping into right from the start. We get a chance to
reflect on what happened in <i>BvS</i>, we are viscerally reminded of
Superman’s sacrifice, and it sets us up to think about how those events will
impact the characters in this movie. We will see Bruce continue to try to make
good on his promise. We’ll see Diana help bring about a world where men can
stand together. We’ll see Lois and Martha in mourning, and we’ll see the league
come to the realization that they need Superman in order to successfully face
Steppenwolf.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Many people have talked about their appreciation of the structural
interlocking of the films in the Dawn of Justice trilogy, with <i>BvS</i> beginning
with a new perspective on the ending of <i>Man of Steel</i>, and now <i>Zack
Snyder’s Justice League</i> beginning with a new perspective on the ending of <i>BvS</i>.
We even talked about this in our last episode, but we want to be sure to point
out that this is not just a cool way to build continuity, it is also rich with
meaning in terms of the overarching ideas about the complexity of multiple
perspectives. <i>MoS</i> was largely from Clark and Lois’s perspective, as
Clark seeks his place in the world and Lois represents humanity coming to
recognize and trust who Superman is in his heart. But then <i>BvS</i> is about
competing perspectives and the biases that can come from failing to see from
someone else’s point of view. <i>BvS</i> explores what it might look like for
the world to see Superman -- not someone like Lois who has investigated his
past and knows him personally, but someone on the street level seeing the
effects of godlike Kryptonians raining fire on the world. And what does it mean
for the previously most powerful people on the planet to be kicked off the top
of the pecking order? How do they see Superman and how will they respond? <i>BvS</i>
starts off that story by bringing us back into the action from Bruce’s point of
view.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Now, with <i>Justice League</i>, we are going to see how Superman’s
example affects the other meta-humans. We are going to explore how Superman’s
sacrifice and example functions as an inspiration to others. We will seek his
monument by looking around him. And we will also explore the broader idea of
heroism and leadership, with a leader going beyond mere actions and direct
effects but a leader becoming truly powerful when you rally others to your
cause and inspire them to be better than they were. These indirect effects,
rippling and radiating outward, are the sign of true leadership and can make
profound differences in the world.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Although Superman will not get as much screen time as the other
Justice Leaguers, his impact is arguably the largest. The world changed when he
flew through the sky, and then it changed again when he didn’t. As we see in
this opening scene, his death impacts the entire world. It impacts men and
Atlanteans and the Amazons. And it also goes beyond Earth, signaling a new
vulnerability here. So villains will seek to take advantage of this vulnerability,
whether it’s terrorists in London or Steppenwolf of Apokolips. So these opening
scenes that return to the prior film from a different point of view not only
set up the themes of the film, they also build out the world and introduce new
characters, placing them in relation to what we’ve seen already.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Visually, the way Snyder and the effects present this new look on
an old scene puts us, the viewer, into the scene as an active participant, not
just as an onlooker or spectator. We are reliving it as if we were Lois or
Batman or Wonder Woman. We can go beyond our own reaction to this moment, as we
experienced when watching <i>BvS</i>, and now we can focus on the other
characters’ reactions. What did they think or feel when this happened? We see
the pain and agony in Superman’s face. We see the sorrow as Lois realizes that
he is dying, with her on the verge of sobs, which will set the tone for her
mental state in this film. We see Diana’s face as she’s realizing that Clark is
dying and has made the ultimate sacrifice for the world, giving her something
to think about as she considers her own role in the world of man going forward.
And then, as the beams of light go out, we see Batman and the clear sense of
loss and failure. Even though they have succeeded in stopping Doomsday, his lip
quivers and tears well up in his eyes because he now knows that he misjudged
Superman and Batman realizes he could’ve been much more help against the true
threat of Lex and Doomsday if he hadn’t been so tunnel-visioned by his rage and
powerlessness. At the same time, this will be a moment of inspiration and
rededication for Batman as he realizes that men are still good and he will have
his faith in humanity restored. So this moment of Batman clenching his teeth is
simultaneously this man fighting back tears but also resolving himself to use
his amazing powers of focus and dedication to seek out and cooperate with
heroes rather than hunting them down as a threat.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Getting back to the scream, a scream which sounds great, by the
way, just in terms of sound design. And although <i>BvS</i> did have a quick
echo of the death cry, mixing together what sounds like part of the scream from
Superman at the end of <i>Man of Steel</i> after he killed Zod, here in <i>Zack
Snyder’s Justice League</i> we really feel it and see a lot more of it than
before. After Superman screams, he and Doomsday both fall to the ground. This
is similar to how it happened in the comics, and of course we saw it from a slightly
different angle in <i>BvS</i>. But then in <i>BvS</i>, the focus was on
Superman and his personal story. This time we are going to ripple out into the
broader world and the broader story. We also get a better look at how
Doomsday's body covers the Kryptonite which may have helped in preventing it
from harming Superman further. This is perhaps relevant to Superman not fully
dying but being in kind of like a practically-dead state which very well could
be the case, especially given the rising dirt on the coffin and Snyder’s
comments in the past about how a Kryptonian’s cells are not going to degenerate
like a normal person’s.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In terms of the Superman scream itself, there are precedents in
comic books of a Super scream sending shockwaves around the world. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://dc.fandom.com/wiki/Kryptonians#Powers"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">The DC
Database</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> lists one of the
abilities of Kryptonians to be “Super Vocals”.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><a href="https://dc.fandom.com/wiki/Sound_Manipulation"><span style="color: #1155cc;">Super Vocals</span></a>: A kryptonian possesses
enhanced vocal/audio decibel abilities which they can access through
precise muscle control. Enabling their voices to carry over incredible
distances... or deliver a wave of amplified sound powerful enough to
shatter glass or concrete.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">You
can see some visual examples of these super vocals from Superman in
Batman/Superman #17 and from Supergirl in Supergirl (Volume 7) #4.</span></li></ul>
<p class="MsoNormal" style="background: rgb(222, 229, 235) none repeat scroll 0% 0%; line-height: normal; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 10.0pt; margin: 10pt 0in 0in;"><sup><span face=""Arial",sans-serif" style="border: 1pt none windowtext; color: #1155cc; font-size: 8.5pt; mso-border-alt: none windowtext 0in; mso-fareast-font-family: "Times New Roman"; mso-no-proof: yes; padding: 0in;"><img border="0" height="141" src="file:///C:/Users/ottensa/AppData/Local/Temp/msohtmlclip1/01/clip_image002.jpg" width="523" /></span></sup><span face=""Arial",sans-serif" style="border: 1pt none windowtext; color: black; mso-border-alt: none windowtext 0in; mso-fareast-font-family: "Times New Roman"; mso-no-proof: yes; padding: 0in;"><img border="0" height="150" src="file:///C:/Users/ottensa/AppData/Local/Temp/msohtmlclip1/01/clip_image004.jpg" width="501" /></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There is also a somewhat infamous vocal power from the Silver Age,
Superman’s super ventriloquism, which doesn’t show up in <i>Zack Snyder’s
Justice League</i>, as far as we can tell, but it does further attest to the
supernatural vocal abilities of Kryptonians on Earth.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We see the visual representation of the sounds waves from
Superman’s death scream travel outward, which is a very comic-book style of
manifestation, and as the camera pans toward the nearby parts of Gotham we get
a view of the extent of the destruction. Seeing the contrast between the
destruction near Doomsday and the intact skyline in the distance also shows us
how, thanks to Wonder Woman, Batman, Lois, and especially Superman, the
destruction was contained.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We follow the soundwaves into Gotham City and see an interior shot
of someone in a hood sitting at a table. We will learn that it’s Victor Stone
and he is holding his head in hands in sort of a sulking posture.
Interestingly, Victor has always been described as the heart of the film. And in
this first shot of Victor, he is paired with the official title card for the
film. Zack has described Victor as the heart of the movie before, and recently
it was confirmed by the sole writer of this screenplay, Chris Terrio. Terrio
said the following to Hollywood Reporter: "Zack and I always considered
Cyborg's story to be the heart of the movie.” "He has the most pronounced
character arc of any of the heroes," beginning from a place of despair and
ending with a feeling that "he is whole and that he is loved." </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.hollywoodreporter.com/amp/features/ray-fisher-opens-up-about-justice-league-joss-whedon-and-warners-i-dont-believe-some-of-these-people-are-fit-for-leadership?__twitter_impression=true"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">https://www.hollywoodreporter.com/amp/features/ray-fisher-opens-up-about-justice-league-joss-whedon-and-warners-i-dont-believe-some-of-these-people-are-fit-for-leadership?__twitter_impression=true</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We hear Superman’s scream reverberating to this apartment and it
concludes with a mechanical noise which we discover is a strange, alien-looking
box stored away in a closet. This suggests the box is responding to the sound
of the scream. But it soon returns to a dormant state, perhaps after detecting
the motherbox technology present in the nearby Cyborg. In that same closet we
see football trophies, suggesting the apartment’s resident is or was a star
athlete, but given they are stored away in a closet, there is perhaps some
disassociation or discarding of such accomplishments as unimportant or irrelevant.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Thinking further about this first shot of Victor, he could be
viewed as a normal human being when we see him from the back. And this sort of
gives a layman’s perspective as a small person at home during this epic battle.
And then he turns around and you see he’s actually not human, or at least not
completely. To Carol, this establishes the beginning of his character arc,
which is an internal conflict and a pervasive question of what is he. Is he the
human we see sitting there at first, or is he something else, a frankenstein
creation we perceive when he turns around? The contents of the closet mirror
this contrast where we see some normal, human items and then among them is this
alien element. These items hidden away in his closet also symbolize the idiom
of skeletons in one’s closet. The idiom evokes the idea of someone having had a
human corpse concealed in their home so long that all its flesh had decomposed
to the bone, similar to how Victor has been hidden away in the apartment and
his own humanity has been metaphorically stripped away bit by bit. To an
extent, the skeleton-in-a-closet notion also connects to what has happened to
Victor Stone’s body, having been torn apart, only to be reconstructed by the
motherbox, the item in the closet which in Victor’s mind is an undisclosed
element about himself which, if revealed, may further damage perceptions of
him.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">So this quick shot of Cyborg and the motherbox in Gotham City not
only establishes some visual themes for Cyborg’s character arc, but it is also
a plot point as Cyborg is intimately connected to the mother box, he’ll use it
to resurrect Superman, it will get taken by Steppenwolf, and it will eventually
become Cyborg’s task when helping the Justice League at the end of the story.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Continuing on, we see the sound waves of the death scream
reverberate further as they travel across the bay, passing Stryker’s Island
where Doomsday landed after falling from space, to Metropolis and to the
crashed Kryptonian Scout Ship where the fight between Superman and Doomsday
began. This is an awesome return to the settings of the prior films, very
rewarding for those of us who love this Dawn of Justice trilogy. In another
brief connection to <i>BvS</i>, a Daily Planet newspaper flies by and the
headline reads “Was Superman Involved?” which is a reminder that at this point
the public was still questioning Superman’s culpability for the Capitol
Building explosion while he was out sacrificing himself for the people.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We now see the Lex communion scene again, but in a slightly
different way. We see Lex Luthor turn abruptly as if surprised by Superman’s
scream. But he gives a slight nod as a sign of understanding, and the
completion of his goal from <i>BvS</i>. We’ve already seen one Motherbox
activate, even if for a brief moment, having recognized the death of the
kryptonian known as Kal-El. The scout ship, using its liquid metal holographic
technology from <i>Man of Steel</i>, displays an imposing alien figure along
with the three motherboxes before him. One of them vibrates and then rotates
steadily while shining a light, similar to how we later see a crack appear in
the Amazon motherbox which also shines a light from its opening. This seems to
indicate that that box has fully awakened and is reaching out to this figure
who we will learn is Steppenwolf. Orbs can be seen surrounding the figure,
which are more prominently seen in the <i>Batman v Superman</i> part of this
scene. This may indicate some sort of galactic positioning system showing where
Earth is located. This is our first hint in this film at the impending threat
arising from Superman’s death. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Whereas Sam has been fairly open to multiple interpretations of
this communion scene with Lex, the events here in <i>Zack Snyder’s Justice
League</i> reaffirm for Alessandro his interpretation of what is happening here
from his analysis in <i>BvS</i>. Lex probably uses the ship to find out what is
happening in the fight between Superman and Doomsday. Knowing Superman’s fate,
the sounds of Superman’s scream affirms what he knows, which is why he nods
when he hears it. Having identified the awakening of the Amazon motherbox, the
ship intercepts its signal to Steppenwolf and shows Lex the elements of this
Apokoliptian communication, which surprises and concerns him. Basically, for
Alessandro, Lex is getting a glimpse at a live communication between the
motherboxes and Steppenwolf -- Lex is not communicating actively with
Steppenwolf, nor is he simply accessing historical records.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Alessandro also thinks Lex’s epilogue scene in which he says he
has “too much to live for” is an important element to Lex’s character. He is
notably scared when facing Batman at the end of <i>BvS</i>. In Alessandro’s
interpretation, this is a Lex that hates and fears meta-human threats and
values his own existence. Seeing this new, greater threat that will inevitably
come to Earth has left him shaken. While it does appear as though Steppenwolf
turns his head toward Lex Luthor, that doesn’t necessarily mean he is seeing
Lex. He could very well be looking forward at something in his current location.
And although the storyline descriptions for Justice League 2 and 3 have been
abandoned, they too give insight as to Lex’s general motivations, especially
given that they were presumably still in play at the time that BvS and this
scene were created. Those storyboards enforce Lex as a selfish, conniving
villain. And another realistic possibility for why Lex is seeing Steppenwolf
before him with the motherboxes is because, thanks to the scout ship, he
discovered that the anti-life equation was on Earth and, asking the ship about
it, was told about the motherboxes and shown this communication between
Steppenwolf and the motherboxes.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Others, however, view Lex as smugly content with the impending
arrival of Steppenwolf because it will prove his thesis of demons coming from
the sky and his thought that mankind should be fearful and hateful toward
meta-humans. With his ego, he wants to be the top dog and he wants hatred for
anyone who may usurp him. He successfully tarred Superman’s reputation and then
showed his vulnerability, and he also unleashed a Doomsday and now
inadvertently called forth an alien invader, both of which exemplify the
monstrosities of his meta-human thesis.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">With regard to the liquid geo communion scene in particular, Carol
has another interpretation which is that the Kryptonian ship is forewarning Lex
Luthor that Steppenwolf is coming to get the boxes. To Carol it’s almost like
the scout ship serves as a precog and is showing the inevitable result of
Superman’s death, especially since later on we see the ship showing Cyborg the
future if they revive Superman. So in a way, in this scene, instead of the
future taking root in the present as a result of Superman being revived, it’s
the future taking root in the present by Superman being killed. Perhaps Lex is
absolutely surprised by what he is seeing but Lex in that moment understands
what this creature is planning from what the ship is showing him.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A minor continuity point: We know that, although all of the boxes
are somewhat awakened by Superman’s death, it is the Amazon’s motherbox and
only the Amazon’s motherbox that initially calls out to Steppenwolf. So in this
liquid geo representation of Steppenwolf and the motherboxes, our first thought
is that the one that seems to activate and that Steppenwolf turns toward is
presumably that Amazonian motherbox. But the way this scene is edited, and the
way the scream is shown traveling outward, it seems as though the Amazonian
motherbox has not yet been activated. Since the soundwave just reached
Metropolis, and we see Lex hearing the scream and then immediately the
motherbox on his right side activates, this happens in the scout ship before
the scream has actually reached Themyscira. If the scream is a soundwave moving
along the surface of the Earth, it would take approximately 6 hours to get to
Themyscira from Gotham City. Of course, we also see the scream going through
water, and it could presumably travel through the Earth itself, too, which
could significantly reduce its travel time --- but even going through the solid
matter of Earth, it would take something like 30 or 40 minutes to get to
Themyscira, meaning that Lex is definitely hearing it way before the Amazons.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There are some explanations for this. The easiest one may be that
the active motherbox in the liquid geo display is actually the Gotham City
motherbox, Cyborg’s motherbox, rather than the Amazonian motherbox. So the
light emanating from it just means it has been temporarily activated, not that
it is calling out to Steppenwolf. In this case, Steppenwolf is able to learn
that the motherboxes activate but maybe the Amazonian motherbox, later on, will
go even further and actually send Steppenwolf coordinates or will call for him
to come -- so the Gotham City motherbox is active, and Steppenwolf sees that
it’s active, but he doesn’t come until the Amazonian motherbox actually sends
him an even clearer and more definitive message.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Although this is the cleanest in terms of the continuity of
editing and the physics of sound travel, even super sound travel, it doesn’t
quite feel like a perfect explanation because the highlighted mother box in the
liquid geo just behaves so much like the Amazonian mother box. As we said
before, our initial hunch was that it represented the Amazonian motherbox
waking up and calling to him. So another explanation is that, like Carol said,
maybe the scout ship is actually projecting forward into the future just a
little bit and is actually showing what the Amazonian mother box <i>will</i> do
and what Steppenwolf will do an hour or so in the future.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Or maybe it’s just a minor continuity error, and it’s meant to be
a live look-in on Steppenwolf and the motherboxes but the timing doesn’t quite work
out correctly. The filmmakers wanted to have this moment of Lex seeing the
motherbox awaken, and to have it tied to this imposing Steppenwolf figure,
which will give a bit of insight into what the Amazons are concerned about, and
so the desire for that moment in the story outweighed the actual continuity and
physics of the sound wave. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Alessandor feels that, although this continuity error may very
well have just been an oversight, it could also have been a creative decision
of non-linear editing in order to convey the information to the audience in a
specific way while also maintaining an artistic flow to the visuals. Since the
Motherboxes are made from a science so advanced that it looks like sorcery, the
Amazon motherbox could have detected the scream at the moment it occurred,
before the actual soundwaves arrived, and the audio cues are merely symbolic
given Zack Snyder’s visual storytelling. In this way we see how the world is
affected by following the scream as it reverberates outward from its source but
receive the information not necessarily in order. This establishes the threat
of Steppenwolf for when we actually see the Amazons react to the activated
motherbox so that we have a bit of knowledge about what it is they are
concerned about when we see them react.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Anyway, next we see the shot pan away from Metropolis out toward
the ocean and then it submerges to see an Atlantean turn and react to hearing
Superman’s scream. This transition is done really nicely with droplets of water
appearing on the screen before total submersion. The sound waves reverberate
through the water to the structure that houses the Atlantean Motherbox. Around
that tower we can briefly see collapsed structures suggesting this was an old,
abandoned hub of some sort, which makes sense when we consider that the
motherbox has been secured here for thousands of years. We see some beautiful
gradients of blue, and what would have been our first look at the Atlantean
world under the ocean if this version of the film had been released in 2017. We
also see our first glimpse of Amber Heard as Mera, who has a sort of regal
costume, and she likewise responds to the sound of Superman’s scream. The
Atlantean motherbox shakes in response to the sound but fails to awaken. Though
we technically don’t know what these boxes are yet, this underwater being, who
we learn later is Mera, seems familiar with the box and is notably concerned by
the box’s reaction.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We then get a third panning shot over a body of water, and this
one is especially long and beautiful. The clouds are especially celestial and
it sort of gives us a sense that we’ve seen land and water and now air. This
time the camera moves toward an island which can immediately be recognized as
Themyscira for those who have seen the <i>Wonder Woman</i> film. Connie
Nielsen’s name is prominently featured in the credits at this moment. The
camera passes through an arc that kind of resembles one that Superman flew
through in the African-looking setting in <i>Man of Steel </i>during his first
flight. The camera then zooms in on a round building on a cliff at the edge of
the opposite side of the island and travels down into the opening on its roof
toward a third box. The camera tilts to reveal a band of Amazons guarding the
box like the Atlanteans were doing, although the Amazons seem to have even more
people dedicated to this purpose than the Atlanteans did. It implies to the
audience that there is some sort of very serious threat at play here.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A closer look at the box shows it reacting to the sound of Superman’s
scream, which also evokes a reaction by the Amazons who quickly draw their
weapons at the ready. We’ve seen criticism that it doesn’t make sense that
these Amazons are just standing around guarding this box and ready for battle
when it awakens, given that it’s been thousands of years and there are quite a
few Amazons dedicated to this effort. But it’s important to consider that of
the three races who have sworn to protect these boxes, the Amazons are the only
ones that were actually present during the invasion in which these motherboxes
were left behind. So they understand the threat that is posed by their
reawakening and likely have a rotation of warriors guarding the box.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The box shakes as one brave Amazon, Philippus portrayed by Ann
Ogbomo, draws near it to investigate. Philippus throws her shield aside to free
her hand in order to reach out to the box. She seems to throw the shield hard
and far so as not to obstruct her own path should she need to react quickly.
Before she can, though, the box cracks open and shines a light similar to the
box we saw in the liquid geo hologram inside the scout ship. Again, this is why
our instinct is to correlate the two. Philippus then tells the other Amazons to
alert the queen, officially informing the audience that there is reason to be
concerned.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">With regard to the music in this scene, we can say that we are
already very thankful to have Tom Holkenborg as the composer. First of all, Rebecca
keenly noticed that the music for the DC animation is a slowed-down version of
the Justice League theme, first released as “the crew at warpower.” The main
horn melody from that piece is softly and slowly played over the DC heroes. And
in the opening sequence itself, similar to how Hans Zimmer approached these
films, Holkenborg starts with a sort of soundscape that sets the mood, and then
it gradually becomes more dramatic as Superman’s face comes into focus. A
subtle hint of the Wonder Woman vocal plays over her reaction shot, and then
some minor seconds in the strings, familiar to us from <i>BvS</i>, play as we
see Batman and Superman’s final death fall. It crescendos and then falls away a
bit in Victor’s apartment, allowing the sound of the motherbox to take center
stage. And then the music becomes ominous as the scene turns toward Metropolis
with a choir entering for angelic effect when introducing Steppenwolf. The
music grows quiet like the bottom of the ocean when the scene goes underwater.
Then what will become a familiar woman’s voice echoes as the scene approaches
Themyscira, and the music dies out completely allowing the tension to build
with the sounds of the motherbox whirring.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Overall, these first few minutes do a very nice job of setting a
serious tone and an epic scope, while also establishing that Superman is dead
and hinting at this alien threat that is connected somehow to the three boxes
and we can anticipate that it will threaten various societies across the globe,
probably starting with the Amazons.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">End of Episode</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">That’s our analysis of this first sequence in the prologue of <i>Zack
Snyder’s Justice League</i>. We will be continuing on with our thoughts on
Bruce’s trip to Iceland, and we are also going to be continuing our <i>Man of
Steel</i> analysis as well, working toward a complete breakdown of this Dawn of
Justice trilogy. Those <i>Man of Steel</i> episodes will drop first on our
Patreon page, which is Patreon.com/JLUPodcast.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="background: lime none repeat scroll 0% 0%; color: black; mso-fareast-font-family: "Times New Roman";">If you aren’t already aware, myself and Hamad
Al-Mansouri along with a few others, had created a GoFundMe to raise funds for
mobile billboard trucks in order to send the message to restore the Snyderverse
directly to WarnerMedia. Hamad and I have also contributed several thousand
dollars of our own money to amplify the efforts of so many generous donors by
doubling the number of mobile billboard trucks and adding a premium flyover
banner at AT&T headquarters. This will run on April 21st in New York,
Dallas, and Burbank. I encourage you all to spread the word.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.gofundme.com/f/restorethesnyderverse-mobile-billboard-afsp"><span face=""Arial",sans-serif" style="background: lime none repeat scroll 0% 0%; color: #1155cc; font-size: 11pt;">https://www.gofundme.com/f/restorethesnyderverse-mobile-billboard-afsp</span></a></span><span face=""Arial",sans-serif" style="background: lime none repeat scroll 0% 0%; color: black; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="background: lime none repeat scroll 0% 0%; color: black; mso-fareast-font-family: "Times New Roman";">Additionally, we at JLUPodcast want to celebrate
the release of the Snyder Cut and advocate efforts to restore the Snyderverse
by giving away 3 copies of the Batman v Superman: Dawn of Justice 4K UltraHD
Blu-ray. For the first giveaway, all you need to do to enter is quote tweet
JLUPodcast’s twitter post sharing this episode with your favorite scene from
Zack Snyder’s Justice League along with the hashtags #JLUPodcast,
#RestoretheSnyderverse and tag @hbomax. We will accept one entry per person up
until 5PM Eastern Time on April 16th. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
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<![endif]--></p>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-10151305275618651212021-03-26T04:48:00.001-07:002021-03-26T04:51:12.676-07:00Themes and Character Arcs in Zack Snyder's Justice League<p>In this episode of the <a href="http://jluniverse.podomatic.com">Justice League Universe podcast</a> we discuss our initial interpretations of the themes and character arcs in <i>Zack Snyder's Justice League</i> on <a href="https://play.hbomax.com" target="_blank">HBO Max</a>.</p><iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9993827?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe><p><br /></p><div class="episode_inner">
<ul style="text-align: left;"><li>Themes - stronger together, free will, second chances, and more (0:01:32)</li><li>Introduction to character analysis (0:28:30)</li><li>Bruce Wayne / Batman (0:29:13)</li><li>Diana Prince / Wonder Woman (0:33:00)</li><li>Victor Stone / Cyborg (0:38:16)</li><li>Steppenwolf and Darkseid (0:46:29)</li><li>Arthur Curry / Aquaman (0:50:38)</li><li>Barry Allen / The Flash (0:54:52)</li><li>Clark Kent / Superman (0:58:21)</li><li>Lois Lane and Martha Kent (1:08:02)</li><li>Comments on the Dawn of Justice Trilogy (1:11:30)</li><li>Ending Remarks (1:18:40)</li></ul>
<p><i>Written by Sam Otten, Alessandro Maniscalco, and Rebecca Johnson</i></p>
<p><b>Follow @JLUPodcast on Twitter</b></p>
<p><b>Support the show at <a href="https://www.patreon.com/jlupodcast">https://www.patreon.com/jlupodcast</a></b></p>
<p><a href="https://play.hbomax.com/" target="_blank">https://play.hbomax.com/</a></p>
<p><b></b></p>
<p><span style="font-size: x-small;">Ray Fisher second chances -<span id="docs-internal-guid-59d2163d-7fff-9172-f9e0-82eea9b3463d" style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><a href="https://twitter.com/ray8fisher/status/1373741233571500034?s=20" style="text-decoration: none;" target="_blank"><span style="background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://twitter.com/ray8fisher/status/1373741233571500034?s=20</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></span></p>
<p><span style="font-size: x-small;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Interview with Zack Snyder - <a href="https://geekvibesnation.com/interview-zack-deborah-snyder-talk-about-zack-snyders-justice-league-finally-coming-together/" target="_blank"><span style="text-decoration: none;"><span style="background-color: white; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://geekvibesnation.com/interview-zack-deborah-snyder-talk-about-zack-snyders-justice-league-finally-coming-together/</span></span></a> </span></span></p>
<p><span style="font-size: x-small;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">MarVeVi on Black representation - <a href="https://twitter.com/marvevi_/status/1372941329555197953?s=20" id="docs-internal-guid-43bd3663-7fff-6bea-bd3e-c64ee99d349b" style="text-decoration: none;" target="_blank"><span style="background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://twitter.com/marvevi_/status/1372941329555197953?s=20</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></span></span></p>
<p><span style="font-size: x-small;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Joe Morton - <a href="https://www.hollywoodreporter.com/heat-vision/why-justice-league-star-joe-morton-thinks-fans-should-have-more-of-a-say?utm_medium=social&utm_source=twitter" target="_blank"><span style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://www.hollywoodreporter.com/heat-vision/why-justice-league-star-joe-morton-thinks-fans-should-have-more-of-a-say</span></span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></span></span></span></p>
<p><span style="font-size: x-small;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">JLU Podcast on the Superman/Snyder parallels - <a href="https://twitter.com/JLUPodcast/status/1372988361816739840?s=20" target="_blank"><span style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://twitter.com/JLUPodcast/status/1372988361816739840?s=20</span></span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></span></span></span></span></p><p><span style="font-size: x-small;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><Transcript Below></span></span></span></span></span></p><p><span style="font-size: x-small;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span></span></span></span></span></span></span></p><a name='more'></a> <!--[if gte mso 9]><xml>
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<p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Welcome, passionate and patient fans of <i>Zack Snyder’s Justice
League</i>. The moment has arrived for us to begin discussing the actual work
of art that is the Snyder Cut of <i>Justice League</i>; the true sequel to <i>Batman
v Superman </i>and the rightful conclusion to the Dawn of Justice trilogy. This
is the Justice League Universe podcast, where we analyze select DC Films from
Warner Brothers studios and HBO Max.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In this episode, we share our top-level analysis of <i>Zack
Snyder’s Justice League</i>, focusing as we often do on the themes and the
character arcs of the film. There is a lot to process in this one, so we
reserve the right to revise our interpretations or add nuance later when we do
our scene-by-scene analysis, but for now, this is what spoke to us in terms of
the deeper messages and the character development in the movie. And at the end
of the episode, we will include a few quick thoughts about what it feels like
to have the intended conclusion to this Dawn of Justice trilogy, extending and
honoring what came before in <i>Man of Steel </i>and <i>Batman v Superman</i>.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We are not going to spend our time comparing and contrasting this
movie from the one that was released in theaters. Instead we are going to try
to focus on the substance of this film on its own terms. And as usual, we
aren’t going to focus on bashing other movies or trying to make direct
comparisons to other film universes, about which one does this better or which
one has a better whatever. As a podcast, we try to stay positive and we try to
focus on appreciating the works of art that are presented to us --- more of a
literary analysis rather than a fan war. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Themes</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">So let’s talk about a few of the overarching themes of <i>Zack
Snyder’s Justice League</i>. And you may have gotten different messages from
the movie, which is totally legitimate as art is open for interpretation, but
speaking for myself, Alessandro, and Rebecca, here are some of the themes that
cut across multiple characters and multiple plot points in the movie. We’ll
list them, and then talk a bit about how we saw each of them playing out in the
four-hour film.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></p>
<ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l5 level1 lfo1; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Probably
the central theme is that we are <b>stronger together</b> than we are in
isolation.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l5 level1 lfo1; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Our
relationships can help us deal with loss and also accept who we uniquely
are. And the bonds we have with one another can help us make it through
tragedies and show us that <b>none of us is broken or alone</b>.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l5 level1 lfo1; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Evil
does not sleep, it waits, and thus it is always necessary for a new <b>age
of heroes</b> to arise and fight for the good.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l5 level1 lfo1; tab-stops: list .5in; vertical-align: baseline;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Family
is a strength, not a weakness</span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">. And parents or parental
figures have a large influence on people finding their way in life,
especially parents who do not dictate a future for their children but
instead simply want their children to reach their potential and make the
most of the possibilities of life, whatever that may mean to the child
individually.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l5 level1 lfo1; tab-stops: list .5in; vertical-align: baseline;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Free
will is essential to our humanity</span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">, and sometimes that free will
means taking a leap of faith.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l5 level1 lfo1; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">The
film also explores the idea of <b>second chances</b> and that it is
important to cherish and make the most of those second chances.</span></li></ul>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Now we’ll take a look at how each of those themes show up in
various characters and plot points in the film.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">First, we are stronger together than we are in
isolation.</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This theme has actually also been a driving force of the
#ReleaseTheSnyderCut movement, so it’s fitting that collaboration and unity are
also central to the movie itself. Bruce states this theme explicitly near the
beginning when he tells Arthur that Superman thought we were “stronger
together.” Bruce spent the last movie sinking deeper and deeper into his rage,
putting up barriers between himself and others, especially Superman, but now in
the Snyder Cut he’s actively recruiting others to form alliances. This follows
on directly from the end of <i>BvS</i> and the promise that Bruce made to Superman.
And Alfred even comments that a person who has been stuck alone in a cave might
not be the best recruiter, but that just speaks even more to how brave Bruce is
to take on this big recruitment effort, opening himself up to others, sharing
his secret, and trying to build something bigger than himself.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This theme is not just about collaboration, it’s about the
strength that comes from emerging from your isolation. And it’s not just Bruce
coming out of isolation, with him being willing to form partnerships again
after the tragic loss of Robin. The other characters are also coming out of
isolation in one form or another.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></p>
<ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l4 level1 lfo2; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Diana
is separated from her sisters, and has largely isolated herself after
losing Steve a hundred years ago. But she was drawn forth by the threat of
Doomsday, and even at the end of <i>BvS</i> she wasn’t sure that she
wanted to fully join up with other heroes, but after the warning from
Themyscira and learning about this new threat, she is willing to help
bring people together. And as she tells Cyborg, she is still working on
building those relationships again -- it’s an ongoing struggle, but one
worth doing. This isolation-to-collaboration movement for Diana is
emphasized visually. For example, our first shot of Diana is her alone,
statue-esque above London, but she gets called down amongst the people to
help out. Later, she’s alone again when she learns about the threat of
Darkseid, but then she brings that information to Bruce and helps to
recruit others, eventually taking a place at the head of the team in some
of their key battles.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l4 level1 lfo2; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Arthur
is isolated as a roaming man, caught between two worlds but belonging to
neither. He explicitly marks this isolation by saying that “the strong man
is strongest alone.” But Aquaman is unable to stop Steppenwolf alone,
failing just as the Amazons failed. So although he was reluctant at first,
more or less, and although he might not wear his heart on his sleeve like
Barry, we do see that he needs and benefits from making friends amongst
the League.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l4 level1 lfo2; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Barry
is very clearly isolated at the beginning of the movie, and whereas Arthur
said he was strongest alone, Barry knew right away, “I need friends.” We
see that he’s physically separated from his father by the prison barrier,
and he has lost his mother, and he seems to be viewed as a bit of an
oddball by the regular folks he interacts with. But the other League
members accept him into the group, quirks and all, and he is able to make
unique contributions that no one else could do. And he not only gains some
colleagues, but also some friends, especially Cyborg.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l4 level1 lfo2; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Victor
begins the movie isolated in his father’s apartment. He’s not only
isolated from the rest of humanity, he even seems to be separate from his
own humanity, viewing himself as a monster. He goes from feeling isolated
and saying f*** the world to working very proactively to save the world,
and valuing his own life again.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l4 level1 lfo2; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Lois
is also isolated, choosing solitude as she deals with her grief and trying
to find her way forward without Clark. She eventually gets a bit of a
nudge from Marthan Manhunter as an invitation from isolation back to
connection with others, which ends up being crucial to the plot.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l4 level1 lfo2; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Superman
is also isolated -- first, isolated in death, and then isolated because he
doesn’t remember who he is and he doesn’t know how he fits in with the
people standing before him. It is through Lois and his mother, and their
scene where their love is strong together, that he is put back on the
positive path.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l4 level1 lfo2; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Interestingly,
it’s not just the heroes who come from a place of isolation. Steppenwolf
is also very isolated in this movie. He has been ostracized by Darkseid
because of a past misdeed, and Steppenwolf desperately wants to rejoin
with his lord and nephew. So with the villain, we also feel that pain of
separation. But whereas the heroes find one another and support each other
as they form a new collaboration, Steppenwolf gets no such support. Desaad
seems to taunt Steppenwolf with his past failure and undermines his
efforts to prove himself again, and Darkseid does not offer much in the
way of grace. He tells Steppenwolf he has to produce his great prize in
order to lift the punishment of isolation. And Darkseid literally crushes
him underfoot when he fails.<br />
<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></li></ul>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">So basically all the characters are dealing with some form of
isolation and they illustrate the theme of being stronger together, with the
heroes finding connections and collaborations while Steppenwolf suffers and
dies still feeling the desperate sting of his isolation. This theme is
explicitly highlighted in several visual moments and excerpts of dialogue. Here
is just a sampling:</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Bruce
alone on the mountaintop to Batman standing with the team at the top of
the tower.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Batman
saying “don’t worry about me” to the team coming to save Batman during the
batmobile chase.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Arthur
throwing Bruce up against the wall to Aquaman riding with Batman on the
batmobile.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Aquaman
doubting Cyborg’s allegiance to Cyborg catching Aquaman in midair and
saying “you’re welcome.”</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">The
Flash needing friends to the Flash fist bumping Cyborg at the end.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Bruce
saying that there are 6, not 5. There’s “no us without him.”</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Bruce
explicitly says that they haven’t “faced us, not us united.”</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Diana
says that “we do this together.” Not alone. And they aren’t quite
synchronized in their first battles, but they work much better as a team by
the end.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Cyborg
says that he is not alone.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Martian
Manhunter says that he and Bruce both have to recognize that they have a
stake in this world, and so they should unite to fight for it, which can
apply to all of us because we all have a stake in this world.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l0 level1 lfo3; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">And
there’s an AFSP billboard that says “You are not alone,” which is not only
a callback to <i>Man of Steel</i> but also a connection to this theme of
stronger together. And hopefully this movie can speak to people who do
feel alone or who feel isolated, and they can know that we care about them
and there are others who want to connect, such as at afsp.org.</span></li></ul>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Of course any discussion of unity and the notion of “stronger
together” must also address the fact that the villains have a unity as well.
The three mother boxes become even more powerful if they synchronize and form
the unity. So it’s not as simple as the heroes having unity, and the villains
having separation. The villains are also pursuing their own form of unity. In
the past, it was the cooperation of various civilizations, from Amazons to
Atlanteans to Europeans to Asians and Africans, that allowed them to repel the
mother boxes’ unity. And in this movie it’s the heroes from very different
backgrounds coming together that prevents the mother box unity again. So
overall, either side can gain an advantage through unity, but thankfully it’s
the Justice League who accomplish it most profoundly.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">So we have an overarching theme of uniting and being <b>stronger
together</b>. What must we unite against? There are several mentions of a
“great darkness.” And one can interpret this as mere comic book threat
development, but one can also interpret it as whatever “darkness” might mean in
their life. Whatever that darkness is that we feel settling on ourselves, that
is what we must unify against and find strong connections to combat.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Hippolyta also talks about the fact that “evil does not sleep, it
waits.” This makes me think about evil in the general sense of the threats to
our society, like hatred, division, scapegoating, selfishness, etc. They aren’t
new, they just resurface or come around again in new ways. And so each time the
evils return, we have to all unite and try to fight back. Each generation has
to do their part in pushing down the evils and trying to make a better world.
As Coretta Scott King said, “the struggle is a never-ending process. Freedom is
never really won. You earn it and win it in every generation. That is what we have
not taught young people, or older ones for that matter.” Hopefully this
film can do a small part in teaching that lesson to a new generation, a new age
of heroes. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">What must we unite against?</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Another place where connections are important is in dealing with
loss. <i>Justice League</i> shows various people dealing with loss in different
ways. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l2 level1 lfo4; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">We
can go back to <i>BvS</i> where Bruce was still struggling to cope with
the loss of his parents. He had also lost a Robin, and now he has lost
Superman. And he holds himself partly to blame for Superman’s death. The
way he was dealing with that new loss in <i>Justice League</i> is with a
vigorous commitment to trying to protect the world, build an alliance, and
defeat Steppenwolf. He is no longer dealing with loss by isolating himself
and lashing out in anger.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l2 level1 lfo4; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">The
theme of dealing with loss also continues from the <i>Wonder Woman</i>.
Diana lost her home and she lost Steve Trevor. Her way of dealing with
that was to isolate herself and withdraw from public heroics, at least
temporarily. But now we see her working on making new connections.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l2 level1 lfo4; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Lois
and Martha have lost Clark. Lois feels his absence every day and is not
going back to work yet. And Martha has let the farmhouse go.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l2 level1 lfo4; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Aquaman
lost his mother and dealt with it by harboring resentment against her. And
he refused to join with her civilization, the Atlanteans, even when Vulko
reaches out.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l2 level1 lfo4; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Barry
lost his mother when she was murdered, and then he lost his father to
prison when he was convicted for the crime. He is dealing with it by being
restless and aimless, and also trying to find a way to get his father
exonerated, but it doesn’t seem to be going anywhere. Henry fears that
it’s a fruitless endeavor, that Barry is just running in circles. It seems
like a fool’s errand, at the beginning of the movie. But by the end,
things change a bit.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l2 level1 lfo4; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">And
finally there’s Cyborg, who also lost his mom. She was killed in the same
accident that maimed him. He is still grieving over his mother and not sure
that he wants this new, monstrous life for himself, and then later he has
to deal with the tragic loss of his father, which makes it even more
important that he has the connections with the other league members.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l2 level1 lfo4; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Steppenwolf
is also dealing with loss, namely, the loss of his position and his status
relative to Darkseid.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l2 level1 lfo4; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">As
we’ll see as we go through the movie, the heroic characters all have
moments where they realize and reflect on the ways that they’re coping or
failing to cope with their loss. And they find ways to move forward in
healthier ways, often supported by their newfound friendships. But for
Steppenwolf, he provides the contrast, because he isn’t really
self-reflective at all and he doesn’t find a healthy way to deal with his
loss. Thus he suffers yet another loss, again failing to conquer Earth.</span></li></ul>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And it’s not just the loss of others, there is also the idea of
losing parts of yourself. Each member of the league has some sort of faults or
inner demons that they are dealing with. But by supporting one another they are
able to face those demons, improve themselves, and come to terms with their
unique qualities and their lot in life. Cyborg probably represents this idea in
the most compelling fashion, and he is also the one to capitulate the idea most
clearly --- “I’m not broken.” And an important part of what helped him to
realize that fact is that he is “not alone.” We are stronger together, and part
of that strength is in realizing that we are wholly valuable.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Zack Snyder has even talked to Kevin McCarthy about how the visual
aspect ratio of <i>Justice League</i> subconsciously reflects this idea of
overcoming adversity and rising up to achieve new heights. Across the Dawn of
Justice trilogy, the aspect ratio goes from 2.35:1 in <i>Man of Steel</i>, to a
mixed ratio in <i>BvS</i> where the iMax scenes are a bit taller, and now <i>Justice
League</i> is fully in the 4:3 ratio which is a bit more upright in stature, so
to speak.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Alright, now that we’ve seen how the movie sends the message that
you can overcome loss and overcome some of your inner demons by building
connections and being stronger together, we’ll go through a few of the other
themes more quickly.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><b><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">Family is a strength, not a weakness</span></b><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">.</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This is a continuation of <i>Man of Steel</i>, especially with its
focus on fathers, and then <i>Batman v Superman</i>, with its focus on mothers.
<i>Zack Snyder’s Justice League</i> has several references to family, and then
there is the new family that the league forms amongst themselves. And there is
definitely a particular emphasis on the role of parents and parental figures.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Family is especially prominent with Cyborg. He is sad about his
father being too busy at work, but he clearly has a close connection with his
mother. And when he loses his mother, he rejects his father and resents his
father’s ill-advised attempt to save him. He destroys the tape player rather
than hear anything from his father’s perspective. This is a family in distress,
but we start to see some repair as Vic begins to accept his new gifts and he
shows up to save Silas. Vic clearly still cares about him, and after that
rescue he calls him father. Silas also covers for Vic at STAR Labs, with a
meaningful nod between the two that speaks volumes. Vic’s new family, the
league, also show good compassion and concern for Vic, recognizing that he has
now lost both parents. But we can assume that Dr. and Dr. Stone would be proud
of where their son ends up in this movie, clearly putting his intellect, his
pure heart, and all his gifts to good use.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Barry also has to deal with some friction with his father, with
Barry wanting to stay connected and right that wrong, but his dad not wanting
to hold Barry back. Like Silas, Henry Allen wants his son to reach his full
potential. And we see that Barry does take the advice, as he steps out of his
comfort zone to join Bruce and then gradually learns more and more about how to
be a hero. The connection to his father is especially evident at the end during
the time sprint when he is clearly moved by the thought that he is
accomplishing something supremely important, one of the “best of the best.”</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Although we don’t see Bruce’s parents, they still play a role as
Bruce tries to make new efforts in this film to honor their memory and make the
world a better place, this time by gathering a team of heroes rather than just
hunting criminals. And Martian Manhunter at the end makes an explicit reference
to Bruce’s parents, saying that they would be proud of him.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Aquaman has some resentment toward his mother, but we can see that
he pauses a bit when Mera points out that his mother leaving him might have
been for his own good. Mera also appeals to Arthur’s mom when she tells Arthur
that it is his responsibility to follow Steppenwolf, so that’s an indirect way
in which Arthur too may be trying to live up to the expectations of his
parents, and he does leave in the Epilogue to go see his father.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In contrast to the leaguers, Steppenwolf says that family is a
“weakness.” He views those connections and relationships as something that may
hinder you from pursuing your selfish aims, and they are also a point of
leverage that he can use against you whether you’re a hostage or a foe on the
battlefield. This may come from his own experience with Darkseid who is his
family, which we get clues that it played a role in his own selfish
pursuits.This comes through very prominently when he faces Wonder Woman. He
tries to exploit Wonder Woman’s sisters and mother as a point of leverage over
her. “Why did you abandon your sisters?” He tries to use those emotions and
that love that she has for her family to distract her. He also tries to divide
the team, trying to make her feel guilty for siding with her new family over
her original Amazonian family.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">So Steppenwolf sees family as a weakness, and he also has clear
problems and a dysfunctional relationship with his own nephew, and he tries to
use family connections as a way to drive division. This puts the villain on the
opposite side of the actual messages of the movie, which is that family is a
strength and that those relationships make us stronger.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This is just scratching the surface of the family relationships at
play in the film, but we definitely noticed how those family relationships
really supported the Justice League members through their struggles. And the
parents also inspired the heroes by hoping for the best, supporting them in
reaching their full potential, especially both of Victor’s parents, Barry’s
father, the narrations from Superman’s fathers, and what we remember from
Hippolyta in the <i>Wonder Woman </i>solo movie. There’s even Commissioner
Gordon’s mom who thought that dentistry may also have been a viable career path
for him. It’s important to note, however, that for the heroes, it’s not that
the parents were trying to dictate exactly what they wanted their children to
become---they just wanted them to pursue their full capabilities and find
happiness and acceptance with who they are. In this way, the parental hopes
also align with our next theme, which is that...</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></p>
<ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l3 level1 lfo5; tab-stops: list .5in; vertical-align: baseline;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Free
will is essential to our humanity</span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">, and sometimes that free will
means taking a leap of faith.</span></li></ul>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A big part of this free will theme comes from all those quotes
alluded to above of the main characters making their own way. For example,
Silas in the tape recording tells Vic that things are up to his will, and that
he can choose who he wants to be. It harkens back to the advice Superman
received in <i>Man of Steel </i>from Jonathan and in <i>BvS</i> from Martha.
And of course Henry tells Barry he can be whatever he wants to be, that he
should make his own future. Diana also tells the girl in London that she can be
whatever she chooses to be. So choice is certainly an important element as each
of the heroes must decide for themselves whether to be the heroes, the angels
against the demons, or be none of it. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Steppenwolf and Darkseid, on the other hand, explicitly say that
they want to defeat our free will. They want to usher in an era of blind
devotion to a single lord and master. Even Steppenwolf himself is sort of
trapped in that absence of free will. He kneels before Darkseid and is consumed
by a desire to please him and win back his respect. Steppenwolf doesn’t have
that freedom like the heroes have because he chose to commit himself to
Darkseid.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Free will can also mean sometimes choosing to take a leap of faith
rather than being beholden to cold reasoning. This is most apparent with Bruce.
Alfred tells Bruce that his guilt has clouded his reason. But Bruce has
actually shifted from where he was before. He says, “For once, I’m operating
strictly on faith, not on reason.” And Batman repeats this reliance on faith on
the flying fox. Batman spent most of <i>BvS</i> relying on reason -- a
rage-induced form of reasoning, but reason nonetheless as he had his 1%
doctrine and he felt he had to act on it rather than trust that Superman would
stay good in this world. But in <i>Justice League</i> he has taken the leap of
faith, that recruiting the league will be worth it and that resurrecting
Superman will work out. And like the pastor in MoS said, the trust part can
come later, such as the trust among the league.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There are other connections to faith as well, and this faith can
be interpreted secularly, like faith in family or friends or faith that we are
stronger together. But it can also be taken as having a religious connotation.
Bruce having faith in the resurrection has a Christian parallel. And Lex does
refer to Superman again as a godlike figure, saying that god is back up in the
sky. And Bruce, the main character who talked about his shift from reason to
faith, said at the end when he’s returning to Wayne manor that there is room for
more, “God help us.”</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Alright, the last theme we want to mention is the idea of...</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">Second Chances.</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This one stood out to us right away because Silas explicitly tells
Victor to give himself a second chance, even if he won’t forgive Silas. And
Superman also says that he has a second chance and he’s not going to waste it.
This second chance also relates to Bruce, who is trying to right his previous
wrongs and make up for his mistakes in <i>BvS</i>, which is why all the scenes
related to the resurrection have moments where the camera keys in on Bruce’s
reaction.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There’s Aquaman who gets a second chance against Steppenwolf in
battle. And then there’s the Flash, who literally gets a second chance at the
end of the final battle. Taken together, these second chances show that we
don’t have to be perfect -- we make mistakes, even our heroes make mistakes,
but when you get another opportunity, you should strive to do even more or be
even better, to the best of your ability.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Going back to the idea of being stronger together, the leaguers in
many ways support one another through their second chances. This contrasts with
Desaad, who seems to be undermining Steppenwolf and basically rooting against
him as Steppenwolf seeks his second chance; his redemption in the eyes of
Darkseid. If there were to be a sequel to this film, we may also see Darkseid’s
second chance at an invasion of Earth.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There is also a second chance on a collective scale. There was an
age of heroes before, where they united across races to save the world, but now
that age of heroes has to happen again. We have to join together a second time.
It’s up to us, we have the free will to choose not to go “back to the Dark
Ages” like the London terrorists want, but to go back to that age of heroes
when we united across our differences.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And as it’s presented in the movie, that collective second chance
with the age of heroes is about literally saving the world. But at the same
time, the age of heroes is also shown on a very small, personal scale. Being a
hero is not just about an epic battle against evil, it’s also about showing
care and kindness to regular people. Being a hero is Lois bringing the coffee
and having a warm morning greeting with the police office. It’s Cyborg helping
a single mother when she needs it the most. It’s not just Barry reversing time
to stop the mother boxes, but it’s also Barry saving Iris West, a person he
just met. It’s Diana checking on the young girls after the trauma of the
terrorist attack. And it’s Arthur helping the Icelandic villagers or the guy
out in the storm. It’s also Silas, director of STAR Labs, showing respect to
the custodian, or Hippolyta showing deep care for each Amazon.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">So we see all these smaller acts of kindness, even while the
heroes are still separated from one another, and it indicates their good hearts
even before they are called upon to deal with the larger threat, which is
something they cannot do alone. It also shows that the idea of “stronger
together” encompasses everyone, even the so-called little people, not just the
superheroes. And it shows us how we can be part of an age of heroes, too.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Zack Snyder spoke in the virtual premiere about how he thinks
about heroes. He said that “these heroes are misfits. They [are] incredibly
relatable to just people. The best myth speaks to us in an archetypal way to
the struggles we all face in our lives. These heroes are us. ...If you look at
Cyborg's journey, he's the linchpin. ... In the end, there's a line, ‘I'm not
broken. And I'm not alone.’ In a lot of ways that has a beautiful meshing of
our message of mental health... We all are heroes to ourselves. We can all
stand up. We can all be strong. We can support each other.”</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And with that reference to suicide prevention and mental health,
Zack is bringing the message of the movie out into the real events surrounding
the movie. Ray Fisher also commented on twitter about how the movie itself sort
of connects to the saga that was the #ReleaseTheSnyderCut movement. Ray Fisher
tweeted: “Random Thought: Getting a second chance to bring a film to life while
playing [a] character that gets a second chance at life within that film is
kinda trippy...</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://twitter.com/hashtag/Cyborg?src=hashtag_click"><span face=""Arial",sans-serif" style="color: black; font-size: 11pt;"> </span><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">#Cyborg</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://twitter.com/hashtag/SnyderCut?src=hashtag_click"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">#SnyderCut”</span></a></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://twitter.com/ray8fisher/status/1373741233571500034?s=20"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">https://twitter.com/ray8fisher/status/1373741233571500034?s=20</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Now we are going to share some of our initial, top-level thoughts
about the main characters in <i>Zack Snyder’s Justice League</i>. There of
course could be an entire episode on each one of these characters as we see
them throughout this 4-hour film, so what we’re going to do right now is just comment
on the main elements of their characterization and how we viewed their arc
across the course of the movie.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">I wrote this together with Alessandro and Rebecca and so they’re
going to help present some of our character analyses, and we’ll try to be relatively
brief because we already mentioned some ideas about characters in relation to
the themes and we will also save many of the details for later scene-by-scene
analyses.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">But let’s start with the guy who is trying to pull together the
league...</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Bruce Wayne / Batman (REBECCA)</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Bruce’s arc is a direct continuation from <i>Batman v Superman</i>,
where at the end of that movie we saw him emerge from his shadowy descent and
come back into the light, pledging himself to a new cause, inspired by
Superman. Bruce is continuing his redemption arc and is now moving from
isolation and toward connection. As part of those connections to other people,
he has found faith and he has moved beyond that mentality of promises being
worth very little, and people not staying good in this world. <i>BvS</i> was a
battle between that pessimism and Superman’s optimism, and although Superman’s
optimism was tested and shaken, it didn’t crumble and in the end it won Batman
over into the place that we see him now in <i>Justice League</i>. Batman in
this film doesn’t necessarily have all the answers, nor does he know exactly
how things will turn out, but he has enough faith to try. And his faith does
work out well, at least in this film, as Superman does show up as Bruce said he
would.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">One can also think of Bruce through the lens of religious
allegory, which is often a part of the Dawn of Justice trilogy. We can think of
Bruce as a sinner who fell from grace -- think about the strong motif of the fall,
especially at the beginning of <i>BvS</i> -- but then he is redeemed through
the savior as represented by Superman. That savior then becomes an inspiration
for Bruce to rededicate himself in <i>Justice League</i>, where he gets to be a
part of resurrecting Superman. From this standpoint, the faith component in <i>Justice
League</i> makes sense. He is now a believer. He's been born again. He's that
Batman he once was before the rage and the feelings of powerlessness. And it's
that faith that leads him to encourage others to be their best selves, for
example, telling Cyborg that flight is in his nature.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Even for people who don’t see it through the religious lens, there
is clearly an arc going from isolation to collaboration. He goes from lashing
out at the alien Superman to accepting the help of Martian Manhunter. His
collaborative turn even extends into the Knightmare timeline. He brings Justice
League members together even in the worst possible circumstances, to try to
right another wrong that he may have had a hand in. And it’s interesting to
think about how far Batman’s newfound collaboration might go. In the knightmare
scenes, he even joins up with former adversaries, Deathstroke and the Joker.
That is a long way from the branding that he was doing in <i>BvS</i>.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Zack Snyder sums up all of this when he was interviewed on
GeekVibesNation. Snyder said, </span><span face=""Arial",sans-serif" style="background: white none repeat scroll 0% 0%; color: #202124; mso-fareast-font-family: "Times New Roman";">“I
like seeing Bruce starting to turn toward a less dark, calculated character,
one that’s inspired by faith that the world will turn correctly as opposed to a
character who believes the world will always turn toward the dark. That’s a big
move for Bruce in the movie.” - Zack Snyder</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://geekvibesnation.com/interview-zack-deborah-snyder-talk-about-zack-snyders-justice-league-finally-coming-together/"><span face=""Arial",sans-serif" style="background: white none repeat scroll 0% 0%; color: #1155cc; font-size: 11pt;">https://geekvibesnation.com/interview-zack-deborah-snyder-talk-about-zack-snyders-justice-league-finally-coming-together/</span></a></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We also want to mention Bruce’s most important relationship in
these films, and that is Alfred. At the end of <i>BvS</i>, as Batman was
emerging from his tunnel vision, he said to Alfred, “I don’t deserve you.” That
humility has continued and expanded in <i>Justice League</i>. He now has the
humility to know that he needs help from the other Leaguers, but he also says,
“Thank you, Alfred,” and “I work for him.” Bruce has detoxified his masculinity
a bit, but that hasn’t made him any weaker or more vulnerable, but instead it
has strengthened him by allowing him to have stronger relationships.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Diana Prince / Wonder Woman (SAM)</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Diana is the first one to join Bruce’s cause, having connected
with him in <i>BvS</i>, and in this film she gets quite a bit of focus in the
first parts of the film. Like Bruce, she is re-emerging in a sense. A hundred
years ago she walked from mankind and she has been trying to work her way back
--- it’s been a struggle and as she says, she’s “still working on it.” This
also gives her a connection to Victor, and she opens up about her own struggles
to him, which is just enough of a human connection that he is willing to come
around and join the team. She even says to him that she needs his help, so it’s
not about “fixing” Victor but is instead about a notion of mutual support. This
showed a keen insight and emotional awareness on Diana’s part, highlighting her
strengths as a recruiter with a different style than Bruce.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A unique thing about Diana is that she does have experience as
part of a team that had to face a world-level threat, with the Oddfellows
taking on Ares. The <i>Wonder Woman </i>film also presented the idea that
everyone is fighting their own battles and dealing with their own struggles,
and to be a true team, you have to see each other in that full light and you
have to build connections and trust. Wonder Woman is an important part of both
teams because she does have that empathy and compassion. As Gal Gadot described
it in a behind-the-scenes short, Wonder Woman is basically the glue of the team.
She loves everyone and accepts everyone for who they are, and she offers
encouragement so they can reach their full potential. She did that with the
Oddfellows and she does it again here with the Justice League. She even shows
that compassion and encouragement with the young girl in London -- it’s a
consistent part of the Wonder Woman character.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Some other quick connections to the <i>Wonder Woman </i>film are
the references to Steve Trevor, which is handled in a subtle and respectful
way, where we can still see that she carries the love and grief for him but it
doesn’t prevent her from going forward. The very brief little romantic moment
between Bruce and Diana was minor enough that it doesn’t encroach on her
feelings for Steve, but it hints at something possibly developing in the future
between Diana and Bruce. And there was also the parallel with the flying fox,
where we see that Bruce is actually a pilot, too, like Steve. It’s also kind of
nice that Diana bonds with Alfred just as much as she does with Bruce, and the
bit with the tea and her also teasing them about copying her gauntlets were
enjoyable moments.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The biggest connection to the <i>Wonder Woman</i> mythology is
that we see several scenes on Themyscira and we also have the Amazons centrally
involved in the history lesson. These are important for Diana’s
characterization in the film because, as she is working to save the world, she
is also dealing with guilt for having left Themyscira. Steppenwolf tries to
prey upon that guilt by taunting her with the death of the Amazons and their
failure to guard the mother box. But it is unwise to taunt a godkiller. And as
Zack Snyder said, he uses gods to kill gods.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In the <i>Wonder Woman</i> film, Diana uses the power of love to
defeat Ares, and in <i>Justice League</i> there’s a quick joke that Barry makes
about saving the world with love. It doesn’t seem disrespectful, though,
because it fits with Barry’s sort of nervous-energy characterization. And Diana
is an unapologetic belief in love. Love drives her character. Her knowledge of
love is how she can recognize that Clark is not necessarily all bad when he
resurrects and she understands that his love for Lois Lane was the key to his
memory returning. And Diana knows about the depth of that love because she was
there when Superman died and Lois grieved over his dead body. Diana was also
there to see Lois alone at Clark's grave.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Diana also says that “hate is useless.” This allows her to move
past the Amazons’ animosity toward Atlanteans, and so it’s through her
commitment to love and understanding that she is able to get past any
suspicions of Arthur and make connections with him that allow them to be a very
effective duo by the end of the movie.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In terms of how Diana was portrayed, we share the view of
@lombacarol which is that this film avoided depicting Diana as an objectified,
sexual figure. She is not there to titillate the male characters nor is she
lacking in intelligence, which unfortunately is often the case in
male-dominated media. In the Snyder Cut, she is very intelligent and her body
is shown in ways that emphasize her strength and skills. For the Amazons, too,
their bodies are often shown but it’s not salacious, it is emphasizing their strength
and abilities.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">One final thing we want to say about Diana is something that’s not
very deep but is just fun to notice --- there are two early foreshadowings of
her final beheading of Steppenwolf. First of all, Diana blasting away the lead
terrorist hints at the fact that she will not hesitate in killing a villain who
threatens innocent life. And second, Hippolyta in the early Amazon fight
sequence does the move where she steps up and then launches off the wall to
stab a parademon, which foreshadows the exact move that Diana will use to
decapitate Steppenwolf. She has a love for humanity, but she doesn’t hesitate
to do what is necessary.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Victor Stone / Cyborg (SAM)</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Like Diana, Victor is closed off and is working on opening up to
others, though for him it is a much more recent trauma and it involved a
drastic change to himself physically. But early in the movie, we see Victor
refusing to talk to his father and literally turning his back on him as a form
of withdrawal. And Cyborg says to Diana, “I don’t need anyone.” He feels like a
monster and is in a sense torn between two worlds -- who he was before and who
he is now, which was not something that he chose for himself. He also has his
human side and his Apokoliptian enhancements, so this combination of origins
lays the groundwork for a connection to Superman or Aquaman, although those
aren’t explored fully in this movie.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Cyborg has very strong arcs in <i>Justice League</i>. He goes from
viewing himself as a monster to taking his place as a hero on the league. “I’m
not broken.” And he goes from isolation to being basically the co-leader of the
group by the end. “I’m not alone.” And as we mentioned with the family theme
that cuts across many characters, Victor goes from losing his family to forging
connections with a new sort of family.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The relationship between Victor and Silas is one of the strongest
parts of the arc. In their opening scene, Victor totally refuses even a hint of
pleasantries with his father. The general audience may have wanted lots of
explicit dialogue between the two to explain exactly what they’d been through
and what they were feeling, but this movie tends to show rather than tell. And
Victor’s pain is so acute that he starts off not even giving his father a
chance to try to repair things; Victor is not ready for that yet. Vic’s
animosity is clear as he goes straight to, “You know a lot about monsters.
Especially how to make them.” And that’s all he says. It establishes at the
beginning that much of Vic and Silas’s communication is going to be nonverbal,
or it is through the recording that is not an actual conversation between them.
That recording becomes symbolic, representing Silas’s desperate attempt to open
up some sort of channel of communication with his son, and Silas’s attempt to
somehow offer guidance and encouragement to Vic. At first Victor crushes it,
representing his destruction and rejection of their relationship because of the
anger he feels about Silas not being there before the accident and then anger
at turning Victor into this alien monster. But later, the recording and the
relationship are symbolically restored, when Victor is finally willing to
listen to Silas as a father.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This relationship also arcs well because it has some meaningful
story beats in the middle. We eventually see more from Vic’s backstory, we see
Silas with pride and relief when Victor comes to STAR labs because it shows
that Vic is emerging from his isolation and they are starting to have the
possibility of reconnecting, even if communicated just through a nod. We also
see Cyborg’s genuine concern when Silas is taken, so there is still the love
from a son to a father underneath the prior anger. And this concern is shown
even more clearly when Cyborg saves him from Steppenwolf. There’s a key moment
after that rescue when Silas says he wasn’t sure Victor would come, but Victor
says, “You’re my father.” So he is acknowledging that relationship, which is a
step forward from crushing the audio recorder. At the same time that it’s a
step forward, there is still some implicit friction there. For Silas to say, I
wasn’t sure you’d come, this harkens back to a younger Victor who was not sure
that his father would show up, and indeed, we saw that Silas wasn’t there at
the football game and he often put his work ahead of his family. So in this sense,
Cyborg saying, You’re my father, could be interpreted as a subtle jab saying
that, <i>since</i> you’re my father, you should’ve also been there for me. This
uncertainty about whether they can count on one another is also a contrast to
Bruce in this movie, who is now trying to put faith in other people.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As for Victor and Silas, their relationship does end up at a
little bit of a better place in STAR Labs later, but they never get to fully
heal their relationship because Silas is killed when he marks the mother box.
This is especially tragic because Cyborg was starting to turn the corner, but
before that full repair can happen, he has to actually witness his father’s
death. What also makes that an especially potent moment is that Silas got a lot
of development in this film, and he was centrally involved in the plot. He not
only saved Vic’s life earlier, but he also ultimately saved the world because
Silas' sacrifice helps the Justice League find the Mother Box and where
Steppenwolf has set up his base of operations.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We’re just scratching the surface here, but Cyborg was an amazing
and deep character in <i>Zack Snyder’s Justice League</i>. From the character’s
creation in 1980 by Wolfman and Perez, it is now forty years later and we
finally get to see the origin of this character in cinematic form, and this is
his awesome introduction to the general audience where we see this star athlete
who is also extremely smart, kind, and emotionally vulnerable. We can’t speak
from personal experience what it is like to see this sort of representation of
a Black character in the film, but we do want to share a tweet from MarVeVi
who, from her profile picture, appears to be a Black woman. She shared the
following reaction to Cyborg’s portrayal in this movie: “I can’t explain the importance
of a portrayal of a young black man who is powerful, capable [of] showing pain,
insanely smart, and very respectful with a good heart. Ray Fisher is
extraordinary Thank you @ray8fisher and @ZackSnyder.” </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://twitter.com/marvevi_/status/1372941329555197953?s=20"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">https://twitter.com/marvevi_/status/1372941329555197953?s=20</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> Ray Fisher himself responded to this tweet. He added: “AND has
successful parents with genius level intellects.” </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://twitter.com/ray8fisher/status/1372945911404498956?s=20"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">https://twitter.com/ray8fisher/status/1372945911404498956?s=20</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A few more quick things about Cyborg, just because we can’t help
ourselves:</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l6 level1 lfo6; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Joe
Morton, the actor playing Silas Stone, said the following about Silas’s
sacrifice and how that relates to the theme of humanity. “I think that his
self-sacrifice was the ultimate human gesture, if you will. The same thing
was true in <i>Terminator 2</i>. When the Terminator actually sacrifices
himself at the end of the film, it’s because he understands the fullness
of humanity and what that means in terms of making it better for other
people. And I think that’s certainly what Silas is going through in that
moment.” <a href="https://www.hollywoodreporter.com/heat-vision/why-justice-league-star-joe-morton-thinks-fans-should-have-more-of-a-say?utm_medium=social&utm_source=twitter"><span style="color: #1155cc;">https://www.hollywoodreporter.com/heat-vision/why-justice-league-star-joe-morton-thinks-fans-should-have-more-of-a-say?utm_medium=social&utm_source=twitter</span></a> </span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l6 level1 lfo6; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">The
flashback scene to Vic in school is a good one. It shows Vic’s good heart,
as he uses his ability to try to help another student in need. That
foreshadows the way that he helps the single mother later, when he has his
digital powers. There may be questions about exactly how Vic carried out
these efforts, and whether in his youth changing grades was the best way
to support a student having a tough time, or maybe questions about where
the hundred thousand came from for the single mother. But beyond those
questions, there is a broader call to all of us. Just as Dr. Stone asked
the principal, we can ask ourselves, what have we done to help?</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l6 level1 lfo6; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Arthur
is initially a bit skeptical of Cyborg and his connection to the
motherbox, and we don’t really blame him for that. It also makes it more
meaningful when they come together later that there was some doubt to
overcome and some trust to build in the first place. There’s also that
leap of faith again, with the trust part coming later.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l6 level1 lfo6; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">It’s
awesome to see Cyborg eventually taking a leadership role in the league,
and the fact that he is willing to put his life on the line to enter the
motherboxes, and to do it so soon after suffering the tragedy of losing
his father, raises the stakes in that final battle. And he was not only the
most crucial league member at the end but he was also central to them
making it out of the gotham harbor battle.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l6 level1 lfo6; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">In
our scene-by-scene analysis we are going to dig more into the visual
motifs with Cyborg. One that we already noticed is the focus on either
side of his face, depending on the moment. You can tell that these were
purposeful choices right from the start when his father comes into the
apartment, and Vic starts with the right side, his human side, but then
when he accuses Silas of creating a monster, he shifts to his left side,
the Cyborg side. It’s meaningful in many later scenes, too, like when he
nods to his father when he’s entering STAR labs, he looks back and nods
with the camera focusing on his human side.</span></li></ul>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Steppenwolf and Darkseid (Alessandro)</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In this film, Steppenwolf and Darkseid are the opposite side of
the coin, sort of the yang to the yin, of Batman and Superman. Like Batman,
Steppenwolf is seeking redemption from Darkseid, his own Superman figure to
whom he feels beholden to. Instead of bringing a team of heroes together to
fend off an evil conquest, he is trying to bring together the Motherboxes to
fulfill one. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">If Superman is the Christ figure, Darkseid is the Anti-Christ
figure. Darkseid, like Superman, appears to have a second chance following a
previous fall when he was previously defeated by Earth’s defenders. Neither
Superman or Darkseid want to waste their second chance, with Darkseid saying he
will stop at nothing. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Steppenwolf makes clear that he wants to return home. He seems to
regret his past indiscretions, and he desires to return to Darkseid’s good
graces. His desperation to be valued once more by his blood relative appears to
be motivated by both a thirst for clout he once might have held sitting at the
dark one’s side, as noted by Desaad, and a fear of Darkseid’s wrath. He
might’ve succeeded too if not for The Flash’s ability to rewrite history. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Darkseid is not as well developed as Steppenwolf, but he is an
impressive looming force. He also has a clear motivation of ultimate glory and
wanting to redeem his loss from thousands of years ago. And of course he wants
to bend everyone to his will and so he’s sort of a classic conqueror villain,
with the added threat of the anti-life equation as a possibility in the future.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Having Steppenwolf be the villain in this movie, rather than
Darkseid himself, allows for some additional layering in terms of the villains
because we are seeing Steppenwolf as the destroyer of Earth but he himself is
also marginalized and oppressed by Darkseid, and yet Steppenwolf wants to
please Darkseid. He desperately wants Darkseid to see his worth again.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">These nuances from Steppenwolf come through in the voice acting by
Ciaran Hinds but also some surprisingly good CGI acting in his facial
expressions and body language. One really good moment of CGI acting was when he
announces the anti-life equation and Desaad steps away and then Darkseid
appears through the communication obelisk. Just watching Steppenwolf’s face
there is great. It was also a compelling visual choice that Steppenwolf mostly
uses his spiked armor to show his power when intimidating those he is
interrogating or in front of the parademons as well as to protect himself when
fighting, but when he bows to Darkseid, the spiked armor goes away and his
vulnerable skins shows.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">With regard to the theme of unity, Darkseid does actually provide
unity for the Apokoliptians. But it’s an oppressive sort of unity where they
are all united underneath him. Nevertheless, there is some strength that comes
from that absolute adherence to Darkseid. And the mother boxes also have
additional strength that comes from synchronizing. In contrast, Steppenwolf
describes Earth as divided, at war with one another, and too separate to be
one.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">But of course the heroes end up forming their own unity, and they
do it of their own free will and by supporting one another, flaws and all,
rather than through domination. And by the end of the movie, we see that it’s
the unity of free will that wins the day over the unity through domination or
subservience. Diana sums up this rejection of subservience well when she tells
Steppenwolf, “I belong to no one.”</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We also get a glimpse at the flaws that can emerge within a
dominating type of unity. Sometimes it’s only unity on the surface, but under
the surface people may be jockeying with one another and looking for
opportunities to backstab or throw someone under the bus. For example, at the
end of the movie, Desaad says to Darkseid, “I told you he would fail.” So they
did not have unity and collaboration. They were undermining one another or
trying to compete with one another for Darkseid’s good graces.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As for us, we really appreciate films like <i>Man of Steel</i> and
<i>Batman v Superman</i> where the villains also tie into some of the main
themes of the film, and they show the negative side of the theme.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Arthur Curry / Aquaman (REBECCA)</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Arthur Curry is a character who chooses isolation. He makes it
clear to Bruce Wayne that he wants to be left alone, which is the opposite of
Barry Allen’s desire for friends. This reluctant and closed-off attitude which
Arthur exudes can easily lead someone like Barry Allen to come to the
conclusion that Arthur doesn’t care about anyone else. Bruce, however, sees
through this tough exterior and knows about Arthur’s good deeds that Arthur
tries to hide. In an effort to break through to Arthur, Bruce references Superman
and says “He thought we were stronger together”, a lesson learned by Superman,
Batman, and Wonder Woman during the battle with Doomsday and which applies here
in the Snyder Cut as he recruits members for his team. Arthur hasn’t learned
this lesson yet. He hasn’t needed to. He’s been operating solo and doesn’t yet
recognize the value in working with others until Atlantis is attacked, a
situation requiring teamwork with Mera in order to survive.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Some interesting connections that come from Arthur’s loner phase
is that we see him doing some good deeds, kind of like Clark in <i>Man of Steel</i>.
And we also see that Arthur finds solace in some monuments from the past,
particularly the memorial to King Atlan, similar to how Lois finds her solace
in visiting the Heroes Park tribune to Superman.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Arthur is also a lot like Diana, being torn between two peoples.
Even though he is drawn towards the quiet of Atlantis in his visits to the
remnants of King Atlan’s throne, Arthur fights against his calling. He may not
want to be King at this point, but he still chooses to help others when they
are in need. Like Diana and Victor, Arthur’s “strongest man is strongest alone”
attitude reflects his attitude about not needing anyone. But he hasn’t given up
on others because we see him actively helping those in need. He struggles with
the bitterness of not wanting to embrace a part of himself, similar to Victor,
and in that respect, can relate to him in that way. He shows his ability to be
open and his understanding of Victor by showing empathy for his well-being
after he loses his father.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Arthur thinks that the surface doesn’t expect him to be king, but
what he doesn’t seem to see are the villagers left behind who display reverence
for his heroism through the singing of a folk song. Vulko (much like Bruce
Wayne, driven by promises) argues with Arthur, telling him, “You can’t turn
your back on the world forever”, and in time, Arthur makes the decision to step
forward and join as a leaguer, helping save both the surface world and the Atlanteans
against Steppenwolf. After rescuing a sailor from almost certain death, Arthur
suggests that he “Respect the storm.” This respect for stakes and consequences
is why he questions Victor about his history with the Mother Boxes, would be
concerned about fighting the Devil and his army in Hell, and how this future
King of Atlantis would be prepared for menacing threats like an Evil Superman
and a Darkseid, who, in the Knightmare, will skewer him (paralleling Aquaman’s
offensive strike against Steppenwolf) and end his life.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We also want to remark on the fact that Arthur Curry was a
character who brought some subtle, organic humor that was nevertheless
effective. The next character was clearly the main one providing comic relief,
but Arthur had his moments too, saying to Cyborg, “You talk to <i>machines</i>?”
which mirrors the way that Aquaman often gets called out for talking to fish.
We also got a chuckle out of the moment with Barry trying on hats when Arthur
says, “show me A again.” And there’s also a good moment when Aquaman glares at
The Flash after the Flash had crashed into him. These moments do not take away
from any seriousness of the film, they don’t interrupt any building tension,
and they fit well with the gruff characterization of Aquaman.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Barry Allen / The Flash (Alessandro)</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Zack Snyder’s Barry Allen has caught favor from many, but he is
notably different from the comics in that his personality is very similar to
Wally West’s at times with his silly, humorous remarks. As we mentioned, he
fills the role of comic relief on the team. There are even brief physical gags,
like the Flash pressing himself up against the wall during the Gotham tunnel
fight to avoid being shot, and some of his facial reactions during his slow
motion scenes. So in that respect Ezra Miller plays a bit of an amalgamation of
the different versions of Flash. But he is also integral in the major plot
points of the story. And he is shown to be confident and capable with his
abilities. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">For us, Ezra’s best scenes are those in which he captures the
essence of Barry Allen. From his emotion-filled rescue of Iris West to his
evocation of his father's words as he turns back time, it's his sincerity that
makes him like the Barry that most are familiar with.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Barry’s journey in many ways resembles Superman’s own journey in <i>Man
of Steel</i>, so it is very fitting that he should consider Superman his hero.
They both start off as loners taking on odd jobs and trying to find their place
in the world. And both had their mettle tested before saving the world from
destruction of alien origins and fulfilling their fathers’ dreams for them. For
Barry it’s about being the best of the best. And while he can’t quite tell his
father about how he saved the world, he can share that victory of getting a
real job and starting to find his direction as Barry Allen.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Similar to Clark, Barry has found that he doesn’t quite fit in,
evidenced by his need for friends. He appears to be socially awkward around
people, something on display while interviewing for a job as a dog walker. Like
Clark, Barry also exposed his abilities to a woman who would eventually be his
love interest. Admittedly we don’t see any character development for Iris West
in this film, but she does seem to have an interest in Barry, so it’s not just a
one-way infatuation. “Song to the Siren” by Tim Buckley and Larry Beckett is
the song that plays during the Iris rescue, a moment that is over in a flash
for Iris but, much like the tempo of the song, a much slower, longer-lasting
moment for Barry. It really strums at the heart strings despite the added
comedic element of the hot dogs.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Of course Barry and Victor both share a lot of the same
similarities with Clark, but Barry and Victor also have their own
uniquely-shared backgrounds. Both are struggling to find a steady relationship
with their fathers while they are also dealing with having lost their mothers.
They seem to relate most with each other for which their similar age likely is
a factor.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">An interesting element to Barry’s scenes in the film, given his
ability to time travel, is their foreshadowing. Almost like bookends, in the character’s
very first scene he is late for a job interview, and in his very last scene he
is late to jolting Cyborg into the unified Motherboxes. And the scene with his
father in prison also foreshadows his big third act moment when he tells Barry
to make his own future which he does by changing the past. Part of Flash
finding his path is creating his own future, as his father tells him to do. The
lesson is to create your own past and your own future in the present. Because
the present becomes the past and shapes the future. Unless you have time
altering super powers of course. Suffice it to say, it’s not wise for him to
create his own past or future in the past, which comic readers know results in
the dour Flashpoint timeline.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Clark Kent / Superman (Alessandro)</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Clark continues in a revitalized pursuit to find his reason for
being on Earth, as Jonathan Kent told him he needed to do. He explicitly says
to Martha, echoing Jonathan’s sentiments from Man of Steel, that he was brought
back <i>for a reason</i> and he needed to find out what that reason was. He
returns to his world, both Lois and planet Earth. And he is able to fulfill his
role as protector of Earth by going toe to toe with Steppenwolf. In a way,
Clark has to rediscover himself all over again after being brought back to
life. He starts out as an alien among humans, only to find love from Lois in
this instance, as opposed to Martha and Jonathan when he was a baby. He then
needs to find his humanity as he did as a child, only to then embrace his
Kryptonian origin to protect the people of Earth. It comes full circle for him
as he retreads his arc from <i>Man of Steel</i> to <i>BvS</i>.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Clark tells Lois that he has a second chance, a sentiment Silas
shared with Victor about his rebirth. Both Victor and Clark stood at death’s
door without actually crossing it. (And by the way, given that the scout ship
recognizes Clark when Barry rolls his body through its halls, we think that he
likely was in a deep coma similar to his presumed death in the comics.) Both
Clark and Victor use their second chance to do great things, to save the planet
and embrace their place in it. For both, what didn’t kill them made them
stronger. Victor has acquired a whole array of powers and abilities. Clark has
gained new appreciation and perspective for his world. He also seems to possess
new strength and abilities he has not shown before. Specifically he uses super
breath to freeze Steppenwolf’s axe. We don’t know if this is a newly-acquired
ability or if Zack’s previous films just never had the occasion to show it. One
possibility is that perhaps his body adapted or evolved a bit from his
encounter with Doomsday. Alternatively, the Motherbox might have resurrected
him with improvements. This is all of course speculation. It does lead to the
question of how Superman would know about this new ability unless it manifested
itself off screen during his second first flight after soaking in the sun’s
rays in his black costume.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Speaking of the black suit, the film doesn’t quite explain its
purpose, however it certainly plays an important role in Clark’s continued
theme of choice, especially in the context of his free will being taken from
him by Darkseid in the nightmarish future. It’s an important connection to
Superman’s origins in <i>Man of Steel</i>. He is born instead of bred like
other Kryptonians, and bestowed with free will by Jor-El to choose his own
path. Steppenwolf saying “their free will must be ripped from them” connects
directly back to this hugely important theme from <i>Man of Steel</i> and as it
relates to Superman specifically.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Back on the scout ship, Superman passes by several suits,
including his recognizable blue and red one, and settles on the black and
silver suit. Comic readers may be familiar with this suit as being helpful to
Clark in reenergizing himself. And a general knowledge of physics tells us that
the color black absorbs more light and releases the energy around it.
Theoretically it should naturally allow him to fully power up more quickly.
This is something Zack Snyder consciously considered in choosing the black
suit. He mentions the practicality of “needing a way for Superman to charge up
quickly and be stronger than he was.” He adds that there is also symbolism to
the black suit, referencing the book <i>The Red, White, and Black</i> by Robert
Bly in which white represents naivety, red anger, and black humanity.
Superman’s choice to keep the suit even after they defeat Steppenwolf is
another choice, one which we hope would be explained within the story in the
sequel. However, we can already gain some insight into the symbolism of the
suit color going forward where the black suit represents his connection to
humanity, and once his free will has been stripped of him following the death
of Lois, he returns to the red cape to represent anger.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Going back to the resurrection, it’s a bit of a callback to
Doomsday, who came from a re-animated Zod in the genesis chamber in <i>Batman v
Superman</i>. Before both of them are brought to life, the Scout Ship
specifically warns of such action. To Lex the ship says the action is forbidden
citing the Kryptonian counsel’s decree. To Victor it advises against
activation, stating the action is irreversible. Both actions lead to death and
destruction which ties directly back to the saying both Atlantians and the
Amazons have, “None are taken back from the darkness, not without giving one up
in return.” When Zod is taken back from the darkness, Superman is given up in
return. When Superman is taken back from the darkness, Lois is given up in
return as Victor’s vision shows us. Once activated the ship says that “the
future has taken root in the present,” a line borrowed from Merlin in the movie
<i>Excalibur.</i> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Both Doomsday and Superman then emerge from the ship and land at
Heroes Park. When Doomsday arrives, the Superman statue is still intact and
Doomsday throws Superman through it, foreshadowing his death. When Superman
arrives, the statue is in pieces, like his mind. And the phrase written on the
ground “If you seek his monument, look around you,” reflects both the crumbled
statue and the need for Superman to rediscover himself by finding his place in
the world again. Both Doomsday and Superman are confused with vague memories of
their previous lives as indicated by their subtle recognition of faces. But as
Barry brings up, the “power of love” is what returns Clark to his right mind,
as opposed to the heartless, objective-driven Zod. During that brief time that
Clark’s thoughts were clouded, he became the very thing he fought against in <i>Man
of Steel</i> and the thing that Bruce was afraid of in <i>BvS</i>: a menacing
Kryptonian threat to humanity. To emphasize this point, a variation of the song
“Arcade” from the Man of Steel soundtrack, which was Zod’s theme, plays when
Clark sees Batman for the first time. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Diana even makes mention to Arthur that hate is useless. This ties
to Batman’s own fall from grace in <i>BvS</i> when he became the very thing he
was fighting against, the killer that murdered his parents.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Once Clark’s clarity has returned, he has some beautiful moments
reuniting with the women in his life. This is especially heartfelt given Clark
hadn’t seen Martha since before she was kidnapped. And he talks about being
home, and both Lois and Martha represent home in different ways. Martha was the
mother who gave him that loving home after his world was destroyed. And Lois
connected with him in a way that allowed him to be both Clark and Superman in
the world, and they established their new home in Metropolis, which was on
track leading to an engagement and possibly even a child, depending on the
results of that pregnancy test in the bedside table. The clothing enhances this
feeling of home, as Lois specifically chooses the Clark-Kent style flannel
shirt. This familiar clothing, plus the familiar setting, all seem to help
bring back his memories and his sense of self. It’s a nice, subtle moment when
he remembers that not only did his mother love it in this farm house (making it
all the more sad that she was foreclosed on), but he also remembers that he
loved it here. And we get that great camera shot pulling back to the swingset
from <i>Man of Steel</i>. It’s also great to hear Zimmer’s piano theme for
Clark Kent. And the butterfly is another visual connection to <i>Man of Steel</i>,
and Clark’s gentleness with the butterfly shows that he has fully recovered
from his violent phase at Heroes Park. The butterfly can also be symbolic of
flight and the fact that Clark is as gentle as a butterfly in spirit, but that
he also has this great power to fly. It's an infusion of both of his
identities.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In all his scenes, Clark and his alter-ego Superman continue the
character trait of being fairly sparse with his words. He doesn’t talk at all
when he’s first resurrected, which is understandable given he is confused. But
once he reconnects with Lois and returns to his old self, each line with Lois
and then with Martha are delicate and meaningful. As is personifying the
historically attributed catchphrase of fighting for the American way, Superman
evokes leaders such as Theodore Roosevelt and Benjamin Franklin by speaking
softly, or little, and doing much, including showing strength.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Although we see little of Superman, and his arc seems slightly
rushed, we do get a sense that he has completed his original character arc
which began in <i>Man of Steel </i>and we definitely see direct continuations
from <i>BvS</i>, and thus by the end of the Snyder Cut he becomes the Superman
that audiences expected him to be right off the bat. Almost as if his fathers
are speaking to him from beyond the grave, a reference to when Superman was
killed in the comics and met Jonathan Kent in the afterlife, we hear the voices
of Jonathan and Jor-El speaking to Clark telling him how much they love him and
are proud of him, and to fly, it’s time. This sort of implies it wasn’t time
before, suggesting the world wasn’t ready. And as we learned from <i>Batman v
Superman</i>, there seems to have been some truth to that. Whereas the women in
his life helped him to reconnect with Clark, the men in his life help him
reconnect with Superman. He’s been through great ordeals, learned much, and has
a new perspective with his new lease on life. He also is widely accepted and
has friendships with commonalities. In that respect he too is no longer alone,
something that resonates with all the members of the Justice League and
connects back to the through line “You are not alone”.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Lois Lane and Martha Kent (Alessandro)</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Lois, as Superman’s world, has always been his connection with
humanity. She is also a representation of the people of the world and acts as a
lens into their state. Just as Lois is mourning, so too is the world.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">She is still deep in grief, so much so that she has not gone to
work in over a month. This just so happens to be relevant to the
#ReleasetheSnyderCut movement’s cause, American Foundation for Suicide
Prevention and Mental Health Awareness. It also brings Lois into the fold of
dealing with the loss of a loved one like the rest of the heroes.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Lois has shut herself off from the world which fits into the theme
of isolation. She goes alone every day to Heroes Park and mourns the death of
her fiance under the cover of mourning the death of a public hero. It’s a way
she can display her grief in public and be around or among others who miss him
too. Similar to Cyborg and Diana, it seems she too may be working on opening
back up again by visiting the memorial and seeing the flowers left by others
which probably makes her feel less alone and isolated in her grief. This
connects to the Lois/Martha scene when they talk about the public is mourning a
symbol but the public didn’t know the real Clark like they did. Lois knew both,
represented by the fact that she mourns with her personal picture with Clark
and she also mourns at the public memorial. Lois carries her black umbrella at
Heroes Park, like a metaphorical shadow cast over her. Her grief is also
symbolized by the rain which can act as a cinematic metaphor for crying.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Lois’ opening scene is especially emotional because we can see
Zack Snyder’s cameo and we know that he too ended up facing a devastating loss
in his family. So in a way Lois’s mourning here is also the Snyders mourning.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Lois and Clark’s arcs in this film go hand in hand and somewhat
mirror each other. Lois is lost without Clark, and Clark is lost without Lois.
Without Clark, Lois has shut herself off and is a sense dead to the world just
as Clark is literally. Without Lois, Clark is confused and missing his own
identity. They are both reborn at the same point in the film with the help of
some super friends. Lois is guided back to the world of the living, out from
the metaphorical grave she dug herself, by Martian Manhunter, and Clark is
revitalized by the league from his dormant state and out from an actual grave.
Both Lois and Clark reclaim their love and their second chances. And together
they once again are not alone.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In coming full circle, Lois’s arc leads her to fulfilling what she
set out to do in <i>Batman v Superman</i> when she hopped on a helicopter to
Gotham. Because in <i>BvS</i> she couldn’t have suspected that Batman had any
means of killing Superman, after Superman said he might have to kill Batman,
Lois went after him to stop him. She ended up arriving just in time to save
Superman from Batman. This time she arrives just in time to save Batman from
Superman. It’s also fun to think about how this is the second time Batman has
been saved from a blast of heat vision by a woman arriving just in time. So
Lois is not only the key here in the Snyder Cut, but she is also hinted as the
possible key in a possible future where Lois may be destined to die in the
Batcave, along with her unborn child.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">Summary / Conclusion / Comments on Trilogy</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There’s much more that could be said about this four-hour epic,
but those are our initial thoughts focusing on the messages we took from the
movie and the journey that the characters went on together. The overarching
idea of being stronger together may seem like a bit of an obvious theme for a
team-up movie, but we think that this movie went above and beyond the obvious
with all the nuance in how the different characters were previously isolated
and how they all benefitted in different ways from coming together and
supporting one another. And even if stronger together is a bit of an obvious
message to send, we nevertheless feel that it is an important message in this
moment because we live in a society where partisanship and division are still
big problems, and we need inspiration to come together as we face our own
collective challenges like the pandemic or climate change.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We also really like how <i>Zack Snyder’s Justice League</i> has a
sub-theme of second chances. That’s fitting for a movie that is literally a
second chance at telling this story, and it’s also a good reminder that to form
connections and truly be stronger together, that sometimes means offering
someone a second chance, or being willing to give yourself one.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Now to close this episode, we want to ask one final question:</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">What does it feel like to have the rightful conclusion to the Dawn
of Justice trilogy?</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">First of all, it was emotionally resonant to have the familiar
musical themes from the prior films. And as many people have pointed out, it is
great to have the structural parallels tying all three films together, such as <i>BvS</i>
starting with a return to the ending of <i>Man of Steel</i> but showing a new
angle on how those events impacted other people, and here in <i>Zack Snyder’s
Justice League </i>we have a parallel structure where we return to the death of
Superman but now we expand out to see some new aspects of how Superman’s death
impacted the motherboxes and the protectors of those motherboxes. Another
structural parallel is the use of dark, alternative visions -- first for Superman
from Zod, then Batman’s knightmare, and now the motherbox trying to tempt
Cyborg with the return of his family and his human form. Even beyond the
trilogy, <i>Suicide Squad</i> and <i>Wonder Woman</i> also featured these sorts
of manipulative visions.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As fans of <i>BvS</i>, it is also rewarding to see the direct
continuations of the Knightmare scene, the Flash time travel, the engagement
ring, and so much more. There was also a continuation of the overarching story.
There are many ways to look at the story across the trilogy, but from one
perspective we have...</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l1 level1 lfo7; tab-stops: list .5in; vertical-align: baseline;"><i><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Man
of Steel</span></i><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">, where Clark has the freedom of choice and has the
influence of two fathers. He chooses to side with Earth and strive for a
better future rather than returning to Kryptonian society.</span></li><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l1 level1 lfo7; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Then
in <i>Batman v Superman </i>Earth now has to choose whether they will
support and accept Superman. They do during the honeymoon phase, but then
the halo starts to fall. Lex and Bruce represent powerful men rejecting a
being more powerful than themselves. As Earth starts to have doubts and
prejudgments about Superman, will Superman still stand up for them?</span></li><ul style="margin-top: 0in;" type="circle"><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l1 level2 lfo7; tab-stops: list 1.0in; vertical-align: baseline;"><i><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">BvS</span></i><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">
is also a metaphorical battle between two futures -- the one represented
by Batman, which is a future dominated by fear, anger, resentment, and
the idea that a 1% chance of someone being your enemy has to be acted
upon. Versus the future represented by Superman, which is a future of
personal sacrifice and shrugging off the slings and arrows of public
ridicule. Superman also represents looking for the best in people and
trying to see the good in humanity --- Lex and Bruce really test this
idea, because they keep making things worse when Superman is trying to
turn a corner, but that’s when hope is most important -- when people are
disappointing you and showing you a darker side. But Superman does not
give up, he continually finds new inspiration, from Jonathan and from
Lois, and ultimately Superman wins the debate, wins the battle for the
future, even as he loses his life. Superman’s victory is most poignantly
represented by Batman’s turn at the end, re-dedicating himself to the
potential of mankind and following in Superman’s footsteps.</span></li></ul><li class="MsoNormal" style="color: black; line-height: normal; margin-bottom: 0in; mso-list: l1 level1 lfo7; tab-stops: list .5in; vertical-align: baseline;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">And
now we come to <i>Zack Snyder’s Justice League</i>. Because Superman chose
humanity, and after some tribulations, humanity chose Superman by the end
of <i>BvS</i>, that leads right into the Snyder Cut where Batman is
actually leaving his isolation and his solitary cave and is trying to
recruit others. Batman is no longer trying to kill meta-humans but is
recruiting them because, like Superman, he wants to focus on their
potential for good. Recruiting heroes, <i>this</i> is the thing he can do
that matters! And it’s not just Batman, several of the other Leaguers are
directly inspired by Superman too, just as we all can be the monument to
Superman’s example. As Jor-El said, embodied in that hope is the
fundamental belief of every person to be a force for good. That idea from <i>Man
of Steel</i> has now come to fruition. And we literally get to see others
joining Superman in the sun at the conclusion of this Dawn of Justice
trilogy.</span></li></ul>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Although this film continued many elements that we appreciated
about <i>Man of Steel</i> and <i>BvS</i>, it also expanded things and became
even more epic in scale. Those prior films already had worldwide threats, but
in the Snyder Cut the worldwide threat is truly universal in scope and it built
things out across multiple societies and also across time, to the past <i>and</i>
to the future. This makes it a big and satisfying conclusion to the trilogy,
even if that expansiveness also means that we are very eager to see more or to
see what might happen next.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Our final comment is that it’s interesting to think about how the
Dawn of Justice trilogy actually parallels some of the real-life events and
reactions to the movies. I’ve written before on my blog, comicandscreen.blogspot.com,
about how <i>Man of Steel</i> tries to give freedom of choice to the character
of Superman, and yet the backlash to the film is that some fans only wanted the
character to behave in a certain way. And with <i>Batman v Superman</i>, it
cautions against prejudgment and bandwagoning, emphasizing the importance of
considering multiple perspectives because you may actually be missing the full
story, and yet the backlash to that movie was largely a piling-on by people who
didn’t understand it or in many cases didn’t even see it. So with those movies,
the villains in the movie and the detractors of the movie were basically one
and the same.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Zack Snyder’s Justice League</span></i><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> also
reflects the real journey of the film because it required a diverse team of
people to come together, to face challenges and setbacks, but to persevere and
basically give a second chance to this movie. And as we posted on twitter in a
conversation with @theSNYDERVERSE, the trilogy has an arc for Superman that is
eerily similar to the journey that Zack Snyder had to take in making these
films. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://twitter.com/JLUPodcast/status/1372988361816739840?s=20"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">https://twitter.com/JLUPodcast/status/1372988361816739840?s=20</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">With <i>Man of Steel</i>, it involved difficult choices but they
ultimately continue with this world. With <i>Batman v Superman</i>, there is a
mob mentality that undercuts and attacks them but they give of themselves
anyway. And with <i>Zack Snyder’s Justice League</i>, people realize what
they’ve lost and a team of supporters unite to bring them back for a rousing
victory.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: .25in; margin: 0.25in 0in 6pt; mso-outline-level: 2;"><span face=""Arial",sans-serif" style="color: black; font-size: 16pt; mso-fareast-font-family: "Times New Roman";">End of Episode</span><b><span style="font-family: "Times New Roman",serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Thanks for listening to our initial thoughts on <i>Zack Snyder’s
Justice League</i> from HBO Max. We are looking forward to continuing our
analysis by going scene-by-scene through the film. But with kids and busy day-jobs,
we can’t necessarily promise a particular schedule. We’ll do our best. We’d
certainly love to hear from you at @JLUPodcast on twitter or via email at
jlupodcast@gmail.com. You can also help motivate us by supporting the show at
patreon.com/jlupodcast and we will also be continuing with our <i>Man of Steel</i>
analysis, which will post first at patreon.com/jlupodcast.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
</div>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com5tag:blogger.com,1999:blog-5935799542324632108.post-56198789845053755602021-03-11T08:17:00.003-08:002021-03-11T08:20:02.202-08:00JLU Scene-by-Scene: Man of Steel Scenes 13-14<p> In this episode of the <a href="http://jluniverse.podomatic.com">Justice League Universe podcast</a> we focus on Scenes 13 and 14 (Clark coming out of the water and the school bus flashback) of <i>Man of Steel</i>, directed by Zack Snyder.</p><p><br /><iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9982064?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe></p><ul style="text-align: left;"><li>"Seasons" by Chris Cornell</li><li>Clark stealing the clothes</li><li>Flashback to the school bus</li><li>Lana and Pete</li><li>Young Clark saving the bus and the bully</li><li>Listener Angelo Mugisa - Christian Connections</li></ul><p style="-webkit-text-stroke-width: 0px; background-color: white; color: #241e12; font-family: aktiv-grotesk, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; line-height: 1.5; margin: 10px 0px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-line; widows: 2; word-spacing: 0px;"><b style="font-weight: bold;">Follow @JLUPodcast on Twitter</b></p><p style="-webkit-text-stroke-width: 0px; background-color: white; color: #241e12; font-family: aktiv-grotesk, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; line-height: 1.5; margin: 10px 0px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-line; widows: 2; word-spacing: 0px;"><b style="font-weight: bold;">Bonus content at <a href="https://www.patreon.com/JLUpodcast">https://www.patreon.com/JLUpodcast </a> <br /></b></p><p style="-webkit-text-stroke-width: 0px; background-color: white; color: #241e12; font-family: aktiv-grotesk, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; line-height: 1.5; margin: 10px 0px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-line; widows: 2; word-spacing: 0px;"><b style="font-weight: bold;">Sam's children's book MISSING LETTERS: </b><a href="https://www.missinglettersbook.com/" rel="nofollow noopener" style="background-color: transparent; color: #0c0c0c; cursor: pointer; font-weight: 400; text-decoration: underline;" target="_blank"><b style="font-weight: bold;">https://www.MissingLettersBook.com</b></a> </p><p style="-webkit-text-stroke-width: 0px; background-color: white; color: #241e12; font-family: aktiv-grotesk, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; line-height: 1.5; margin: 10px 0px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-line; widows: 2; word-spacing: 0px;"><Transcript below></p><span><a name='more'></a></span><p style="-webkit-text-stroke-width: 0px; background-color: white; color: #241e12; font-family: aktiv-grotesk, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; line-height: 1.5; margin: 10px 0px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: pre-line; widows: 2; word-spacing: 0px;"><!--[if gte mso 9]><xml>
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<![endif]--></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Welcome, fans of <i>Man of Steel</i>, <span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">to the Justice League
Universe Podcast where we analyze the DC Films produced by Warner Brothers
studios. You can follow the show on twitter @JLUPodcast. My name is Alessandro.
In this episode we see Clark’s secret in danger of being exposed for the first
time.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">We start with the short scene where adult Clark comes out of the
water. The most notable element of this scene as it begins is the music. The
use of pop songs isn’t very typical of Zack Snyder, however this song helps to
evoke a middle class, working man tone to match the types of jobs and lifestyle
Clark is experiencing and learning about. The song is “Seasons” by Chris
Cornell and it’s worth exploring the lyrics and how they relate to Clark.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">“Summer nights and long warm days, are stolen as the old moon
falls” are the first two lines. The general sense of long days and heat apply
to working hard, specifically in blue collar jobs. This is something Clark is
no doubt familiar with working and being raised on a farm. And he continues to
be familiar with it in the various jobs he takes on, ones which require few
qualifications and where people can be hired without much of a background
check.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The idea of nights and days being stolen as an old moon falls
suggests that time is slipping by unnoticed. It gives us the impression that
Clark has been on this journey of exploring the world for some time. The
reference to something being stolen also precedes Clark stealing some clothing
from a car. We’ll talk a little about that in a moment. The sense of time
passing is also conveyed through the title, “Seasons”, and hook “seasons roll
on by.” On this journey of Clark’s he wanders aimlessly through the world
similar to someone being lost as in the first line of the hook “And I’m lost,
behind.” And it’s taken him to a new location, “another place to hide it all”,
hiding who he is, his name and his extraterrestrial origin. Clark discovers
this new location after emerging from the ocean which offers us a fun visual
connection to Aquaman. Whereas our first look at Clark has him starting in the
ocean and coming to land, our first scene with Aquaman in <i>Justice League</i>
has him starting on land and going into the ocean.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Referring back to Clark stealing, we all know stealing is wrong,
as we’re sure Clark knows as well. It’s something Jonathan and Martha would
have instilled in him and he would’ve picked up from his socialization and his
naturally good heart. Most people work hard for the money they use to buy
products. Stealing therefore is taking away their time and labor. Some Superman
fans have argued that this taking of clothing is an immoral act by Clark,
something he wouldn’t do. They say he could have approached the people as
someone in need and they probably would have helped him out with some clothes.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">However, to say that stealing is <i>always</i> wrong is a fairly
simplistic version of morality. There can be many situations where, when you
consider the broader context, stealing is justified or is the lesser of two
evils. In this particular situation in the film, Clark would have to explain
why his clothes are in tatters which would risk him being linked to the oil rig
and his identity being exposed, something that in the very next scene we will
learn was instilled in him to keep secret until the moment is right. We also
don’t know for sure that the people would be so generous or if they would be
scared of him and possibly call the authorities. There are too many risks for
Clark, which prompts him to clandestinely take the clothing. While stealing may
be wrong, the need outweighs the dishonesty and crime. Does this mean that
anyone who is in need around the world should steal? By no means are we
encouraging or condoning theft, nor is the film. It is merely highlighting that
we are compelled to go to extreme measures for survival, something that is in
the nature of all living things. For Clark, hiding his secret is a matter of
survival because he doesn’t know how the world will react to his existence.
This fear turns out to be warranted as we see events unfold in<i> Batman v Superman
</i>with both Batman and Lex setting out to kill Superman with Lex actually
succeeding. All that said, you would think we could forgive Clark for this
small transgression after having saved the lives of the workers on the oil rig
that led him to the predicament of needing clothes.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">In our last episode we mentioned how Clark is what’s wrong with
Kal-El because it’s not who he is. This gives context and relevance to the
lyric “And the mirror shows another face.” The face he sees in the mirror is
Clark because that's who he grew up as and the face he recognizes as Clark, but
it's not who he truly is but rather a human identity imposed on him. In that
respect it's a face other than his own. We mentioned that Clark is searching
for himself in an effort to find his place in the world, which also ties into
this notion of being someone else. Paradoxically the version of himself he is
searching for is also the version of himself he must hide from the world. As he
establishes himself in a new town and a new job, it’s “another place to hide it
all” as the song lyrics continue -- to hide his alien origin, his powers, and
now even his human identity as he must assume new names to avoid any means of
being linked to Martha Kent.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The hook ties everything together in meaning. Clark is lost in a
whole different world from which he was born, left behind, sole survivor of an
extinct race. And seasons roll on by with Clark not knowing who he is, where
he’s from, or where he’s going. The rest of the song’s lyrics also fit well
with the film and seem to be especially appropriate thematically for certain
scenes. But as the reverb kicks in, and the gain fades, we can gather that the
importance or relevance of the remaining lyrics are not the focus at this time.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Having put on the clothes he took from the back of the vehicle,
Clark sees a short school bus which acts as a reminder of his childhood, not
only having gone to school on such a bus, but because of an important moment in
his childhood involving a bus. He watches the bus pass by and then looks down,
which is an indication to us that he is thinking. All this segues us into
a flashback of that school bus incident as the next shot is an establishing one
that takes us to the farmlands of Kansas where we see another short school bus
driving down a long road. We then see a close up shot of young Clark who we met
in the previous scene, and Pete Ross, his early childhood bully, out of focus
in the background watching him. This is significant as it represents Clark,
even now as an adult, always having to look over his shoulder concerned with
who might be watching him even when he doesn’t know it, that might risk his
secrets being exposed. Those fears will soon be addressed in this scene. The
establishment of Clark being the target of bullying is timed importantly here
as it precedes a scene during the present in which he stands up to a bully.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">From the get-go we can conclude Pete Ross is a bully when he
addresses Clark as “asswipe” which isn’t very nice. Just before that we can see
Pete look to the side with a smirk and lean over as if signaling to his friend
“watch this”. Pete stands up to place himself in a position of power and
intimidation over Clark and asks him what he thought, if he had seen “the
game”. We can conclude that, given the geographical setting, use of the phrase
“the game”, archetype of Pete Ross, and for existing Superman fans his
backstory, Pete is referring to a football game, presumably played by the local
team. This early, subtle reference embeds a loose tie-in to the football game
in <i>Batman v Superman</i> and Cyborg’s backstory similar to how Clark’s
emergence from the water provided a subliminal connection to Aquaman.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Lana quickly stands up for Clark, telling Pete to leave him alone.
Here we see a girl showing strength and defending others by standing up to a
bully. This is a nice setup for when we return to the present and see Clark
defend a waitress against a bully. It shows that his experiences at an early
age instilled in him the will to stand up to bullies, and to do so without
needing to assert physical force against the person. It also helps to lay a
foundation for Clark’s eventual relationship with Lois who is a strong,
outspoken woman. It also makes sense that Lana would be the one to stick up for
Clark being as she is not only his friend, but also a girl whose brain tends to
mature sooner than boys’ in certain cognitive and emotional areas. Of course
Pete, the bully that he is, reacts to this by turning this gender difference
behavior for that age into a chauvinistic diminishment of her gender by
implying her value lies in her attachment to a male figure. Note that given the
context of this scene, the misogynistic behavior is shown as being wrong.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Pete proceeds to say that he wants to hear what Clark has to say.
It’s hard to argue with merely opening a dialogue (something that would have
benefitted both Batman and Superman in the sequel), so it doesn’t make sense
for Lana to push back further. And we all need the opportunity to learn for
ourselves. Pete urges Clark on with more name calling. Here was Clark’s
opportunity to speak up and defend himself. Unfortunately it seems to be a
trend in Clark’s life that he is interrupted by some disaster before he can do
so. Similar to the Capitol Building explosion in Batman v Superman, before
Clark can utter a word the tire of the bus blows out. However it is important
to note that an important lesson being conveyed to us, the audience, and which
Clark learns here and throughout his career as Superman going forward, is that
actions speak louder than words. Superman’s actions speak to his character and
motivations; in saving people, even those who don’t deserve it; in restraining
himself, even against those who would be easier to punch or even kill; and in
choosing Earth over Krypton, toward which he has no obligation. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The students are thrown in their seats and the driver loses
control of the bus just as they reach a bridge. The bus swerves to avoid
hitting a car which causes him to veer off the bridge into the water below.
This scene is a bit of an homage to <i>Superman: The Movie</i>’s school bus
rescue which also involved a school bus on a bridge, about to fall off into the
water below. We briefly get a shot of the stop sign opening up on the side of
the bus. This emphasizes the loss of control by the driver who must have
stumbled onto the button to open it. The obvious indication of the sign is that
the bus needed to stop or it would fall off the bridge, which it inevitably
does. But in relation to this scene, and Clark in particular, it reflects what
Clark must be feeling toward Pete, wanting him to stop. If we didn’t know
better we might think the blowout was a result of a new power manifesting
itself as a result of this stressful situation. At the very least it allows for
the consideration of how easily Clark could stray down a dark path without the
guidance of the Kents. The stop sign also portends the danger Clark faces
should he NOT stop himself from using his powers to save the bus and its
passengers.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">A man from one of the cars on the bridge runs to the edge and we
see from his perspective as he looks down at the bus sinking into the water.
This helps to make the scenario real for the audience while also establishing
potential witnesses to Clark’s rescue feats which could put him at risk.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">We are then brought inside the bus where the action happens. Clark
sees the water level rising and quickly stands up and walks to the emergency
exit door at the back of the bus. He turns to look at the other kids and
hesitates for a moment before turning back to open the door, no doubt pondering
possibly being exposed and also to check if any of the other kids are looking
his way. Given what we learn about Jonathan Kent’s warnings of being exposed,
and the context of present day Clark “hiding it all away”, we should at least
consider the possibility that Clark is thinking about escaping the bus and
leaving the other kids behind. This of course wouldn’t necessarily result in a
better outcome as being the sole survivor could raise just as many questions.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">We see the kids trapped in the bus, struggling to get out and
running out of air as they are completely submerged in water. I think it's some
great acting by the kids. I do find it interesting that none of the other
children think to go to the emergency door. But that simply speaks to the panic
they all experienced in contrast to the calm, clear mind Clark would have not
facing a life threatening situation. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">After a beat, we see the bus rising out of the water accompanied
by the Man of Steel theme’s identifiable note intervals conveying a sense of
heroism. The kids gasp for air, and as the bus rolls onto land, we see Clark’s
arm protruding from the water pushing the bus. Lana is the first to turn back
and see Clark at the back of the bus. Arguably he could have jumped on and
pretended to have been on the bus the whole time, which is one reason why it is
important to the scene that he had to save Pete. It’s when Clark turns and
jumps back into the water that Lana says “It was you” on her way to the back of
the bus along with the other kids. They watch on with anticipation until Clark
finally throws Pete onto the shallow part of the water. Pete looks at Clark,
catching his breath and a little freaked out.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Even after being bullied by Pete, Clark chose to save him. This is
paralleled in <i>Batman v Superman</i> when Superman saves Lex Luthor from
Doomsday’s fist after he nearly had his mother killed and spent the entire film
smearing his public perception. Of course we won’t delve into a discussion of
nature vs nurture here, but suffice it to say the point of this is to show
Clark’s inherently good heart. Though we can probably safely attribute this at
least partly to the Kents’ parenting which we get a glimpse of in the next
scene.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; mso-outline-level: 3;"><span style="color: #434343; font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">End of Episode:</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">This is Sam, and thanks for listening to this analysis of Scenes
13 & 14 of <i>Man of Steel</i>. In the next episode we’ll take a closer
look at the Kents’ parenting and the fallout of Clark’s good deed. If you like
what you hear you can support the show and find bonus content at patreon.com/JLUPodcast.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">I also want to share a bit of bonus content right here. One of the
things we most enjoy about doing this podcast is hearing from fellow fans about
all the insights and connections that they make to these films. One of our most
loyal fans is Angelo Mugisa and he has made several connections between the
Dawn of Justice trilogy of films and his Christian faith. Our contributor,
Rebecca Johnson, has also done some analysis of the Christian imagery in the
Dawn of Justice films, but it’s interesting to get further perspectives and so
I’m going to share some of Angelo’s ideas in his own words. What follows are
Angelo’s connections, which I’ve lightly edited for flow. And even for those of
us who aren’t christian, I think it’s worthwhile to see the meanings that
people are able to draw from these profound films and the connections they are
able to make across cultural touchstones like films and religious teachings.
Those connections are just metaphorical and something to promote thought, they are
not meant to be actual equivalencies.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">So with that, here are some thoughts from Angelo to close out our
episode:</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; text-align: justify;"><i><span style="color: black; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">Man of Steel</span></i><span style="color: black; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";"> definitely has Kal mirroring Moses being sent
down the river in a reed basket, to grow up in Egypt and then lead his people
out of slavery into the Promised Land. There is also somewhat of a parallel
between Kal and Jesus where Jesus was sent by God from heaven to earth to save
mankind and he was destined, or rather destined himself, to die for man and
before that he performed miracles and feats of wonder. Kal also performed feats
of wonder and then saved humanity in the Black Zero Event. Yet what happens
after that? In <i>BvS </i>he is persecuted by the media and killed by Doomsday.
It is interesting that Doomsday is Zod and Zod was initially from Krypton just
like Satan was from heaven. And we can view Lex creating doomsday as a shout
out to the real battle between good and evil and the Devil being the opposite
of God. Satan was cast out for trying to incite a war in heaven, just like Zod
tried a coup and was banished to the phantom zone. The phantom zone mirrors our
idea of hell. Zod came from hell and just as Satan knew who Jesus as God was
and tempted him to give him power and all dominion if Jesus would worship
Satan, so did Zod offer Kal-El a deal to create a new Krypton and live with his
people, while having all humans die. He was bitter because Kal chose the human
side, just as Satan and the fallen angels hate humanity because Jesus became
human, became weak and finite rather than spirit and majesty as they once were.
Jor-El takes the role of God when God rebukes Satan for clinging to some sort
of power he once had, Jor El even tells Zod he is a ghost and the Krypton he
clings to is gone, just as Satan is doomed trying to fight a futile war.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: justify;"><span style="color: black; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">Just like the powerful scribes and pharisees in
the Bible plotted for Jesus’ death, so do we have Lex working from the shadows
to do the same to Kal-El. Strangely the tragedy of Autumn is not only mirroring
Kal’s loss of his father, it also has a Biblical parallel because Jesus himself
lost his cousin John the Baptist. So even Jesus suffered tragedy in his life
before his own death, just like Kal did before his own death, and in fact just
like Zack did before leaving the <i>Justice League </i>project.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: justify;"><span style="color: black; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">There are also parallels in the backlash. All
the hate that Superman received in <i>BvS</i> from the media, even though all
he did was save and protect humanity, is mirrored in Saul who was a persecutor
of God’s people. But Saul eventually had an epiphany which is like Batman
initially fearing and targeting Superman but then embracing him and what he
stood for, especially after Superman died to save humanity. Then when Saul
converts to Jesus’ cause he becomes Paul, one of the foremost fervent defenders
of the faith who recruits others to work together toward the cause. There is
also a meta-textual level where we also have the growth of the movement for the
real Snyder Cut, those who knew it was out there but had to convince others to
take a bit of a leap of faith. Although the disciples believed Jesus to be in
heaven, they also heard him say, ’behold I am coming soon’.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: justify;"><span style="color: black; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">There is a passage in the Bible where Jesus say
something like ‘beware there are many false prophets that will come in my name,
claiming to be me’ and in another passage he said something like ‘I come in the
name of the one who sent me, and you do not accept me; there will come one who
comes in his own name and he you will accept.’ This idea of the antichrist is
one who comes before Jesus’ return and will pretend to be the Christ but won’t
be; in fact he will persecute the church and try to destroy Christians
worldwide. I am not trying to throw shade, but I see a bit of a mirror of this
in Joss Whedon’s Justice League which tried to have us believe that it was
Zack’s story and the completion of his vision, yet it turns out that it was
completely redone. The theatrical release was not the true sequel to Zack
Snyder’s <i>Man of Steel</i> and <i>BvS</i>.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: justify;"><span style="color: black; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">The parallelism continues further now, with the
movement started by the fans bringing Zack to the forefront. It mirrors Jesus’s
church telling people to prepare for the return of the Lord. So we are
anticipating the true return of Kal-El, where we can find out whether Zack
planned to have the codex play a role, whether the whole anti-life equation was
a set up to the big battle between ultimate evil Darkseid and Good Kal-El and
the league (like Christ and his angels). One cannot put it past Zack because of
how meticulously he seeded biblical references in his saga.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">There’s also the clear parallels with Superman’s death and the
death of Jesus, leading to the resurrections. 3 days later for Jesus, and in
the 3rd film for Superman. But I also think about Lazarus. We have Lazarus
resurrected after 4 days in the Bible, and we have the re-hiring of Zack to
finalize his film to release it 4 years after the theatrical release. So in a
way the Superman tale both resurrects the work of the director in the universe
he helped create and also resurrects the hero, mirroring Jesus resurrecting
Lazarus and then himself.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: justify;"><span style="color: black; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">As a believer, I definitely see a hand of God in
this whole saga. I think Zack channeling Christian beliefs in his saga pleased
God, and perhaps that is why the hate for BvS was bordering on demonic, at
least in my eyes. And despite all that, we will still be able to see the
glorious return of Superman after a fake ‘antichrist/anti-superman’ was shown
to us by Joss Whedon and Warner Brothers studios.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Thanks, Angelo, and thanks everyone for listening.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal"> </p>
ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-3814551382993947552021-02-22T19:06:00.004-08:002021-02-22T19:07:58.940-08:00JLU Scene-by-Scene: Man of Steel Scene 12<p> This episode of the <a href="http://jluniverse.podomatic.com">Justice League Universe podcast</a> focuses on Scene 12 (flashback to school) of <i>Man of Steel</i>, directed by Zack Snyder.</p><p>
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9967914?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
<br /></p><ul style="text-align: left;"><li>Clark adrift</li><li>Clark's powers begin to manifest</li><li>"Swim toward it" [the island]</li><li> What's wrong with Clark?</li></ul><p></p><p><b>Follow @JLUPodcast on Twitter</b></p>
<p><b>Bonus content at <a href="https://www.patreon.com/JLUpodcast">https://www.patreon.com/JLUpodcast</a> </b></p><p>
<b>Sam's children's book <a href="http://www.MissingLettersBook.com" target="_blank">http://www.MissingLettersBook.com</a></b></p><p><Transcript below></p><p><b><span></span></b></p><a name='more'></a><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Welcome, fans of <i>Man of Steel</i>, to the Justice League
Universe Podcast where we analyze the DC Films produced by Warner Brothers
studios. You can follow the show on twitter @JLUPodcast. My name is Alessandro.
In this episode, we look back at Clark as a child in an important scene with Martha
Kent at Clark’s school.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The first shot we see is the tops of a group of pencils. The image
of pencils evokes the memory of school as that is the time when most of us use
pencils in our lives. Immediately after is the American flag which helps to establish
the setting of an American school. This also helps to emphasize Clark’s
heartland upbringing, which is important because starting a Superman origin
story out at sea is not typical and probably not what the general audience
would expect. But of course in this story we are joining Clark when he is
metaphorically “out at sea” and has not yet found his place in the world. But
through these flashbacks, we will get the typical connections to Kansas.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Both of these opening shots are further reinforced when we see the
writing on a chalkboard and hear a woman’s voice mentioning when Kansas became
a territory. We then return to a shot of Clark drifting below the ocean which
helps to make clear these are flashbacks of Clark’s memories. The reverb effect
in “Clark” that we hear the woman say is often used in media in relation to
dream states. Here it is also being used as an effect to highlight Clark’s
developing super hearing.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">We return to the classroom, this time from a low angle facing the
front of the class where the teacher resides. This shot emulates a student’s
perspective to place us in the scene and gives us the full context of an
elementary history class with dates and events written on the blackboard and
young children sitting at their desks. The teacher asks Clark if he is
listening, which is ironic because unbeknownst to her he is listening a little
too much. Clark turns his head and grasps the desk while acting jittery, as if
alarmed by something. Aside from the initial reverb, our first hints that
something is amiss are the sounds of a dog barking, which would be out of place
in a schoolroom setting, and the loud ticking of the second hand of a clock.
The teacher’s voice then becomes somewhat tinny as Clark’s powers slowly
emerge. We then get our first glimpse at Clark’s optical powers suddenly
manifesting. This is shown through oscillating shots of the body’s skeletal,
muscular, and cardiovascular systems from Clark’s perspective, which help to
indicate instability and lack of control. It’s a really cool visual, and this
whole moment with the powers emerging is achieved through a show-don’t-tell
approach in the filmmaking.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Clark begins to hyperventilate, unsure of what is happening and
overwhelmed by his senses. This doesn’t go unnoticed as the teacher asks him if
he is all right. We get a couple more quick zoomed shots to emphasize his
amplified auditory senses, even the sounds of a police radio, before he covers
his ears and runs out of the classroom. But as Clark runs through the hallway
it is clear he can’t escape his senses with new sights and sounds plaguing him
in every direction. In an attempt to escape his suffering, Clark jets into a
janitor’s closet and locks himself in.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">This is our first flashback in <i>Man of Steel</i>, and as we’ll
see, the flashbacks always have a direct link to the present. In this case,
Clark has just had a sensory overload with the oil rig explosion and collapse
and he now finds himself out at sea like an island. It reminds him of an
earlier stressful time with sensory overload and a lesson that he learned from
his mother which is appropriate given his current state of floating in the
ocean.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">For the audience, it’s also a connection between the first time we
see him use his powers -- on the oil rig -- and the first time some of his
powers started to emerge as a child. This display of Kryptonian powers
inundating Clark’s senses will also be important later on in giving us an idea
of what Zod will experience once he is exposed to our environment without the
benefit of his suit. While Clark’s powers seem to manifest over time, we see
Zod and his soldiers gain their powers fairly quickly on Earth. So it seems as
though Kryptonian children's cells may have a difficult time adjusting to the
excess energy, or perhaps like adolescence, certain functions of Kryptonian
bodies that begin after a certain age are what allow the powers to manifest.
It’s also possible that this extended exposure and adjustment from childhood
onward gives Kal-El an upper hand over other Kryptonians.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Back in the school, the teacher and the other students gather
around outside the closet which gives us a hint at the type of rural, small
town community it is….no pun intended. Even the janitor can be seen in the back
of the crowd. The teacher pounds on the door telling Clark to come out, which
is our clue that he has locked the door. Clark, of course, wants to be left
alone because he is dealing with something he can’t explain and the teacher is
only adding to his auditory overload. When she tells him she’s called his
mother, Clark’s emotions begin to turn toward frustration and anger which seems
to trigger the emergence of a new power, his heat vision. His mother is a bit
of a “hot topic” (once again no pun intended) for Clark as we will continue to
see in the future, such as when both Zod and Lex threaten to bring harm to her.
Here Clark’s eyes turn red, and for those unfamiliar with Superman’s powers, we
are given clues to his heat vision with the red glow of the door knob and the
teacher’s painful withdrawal of her hand from the outside.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">At this point Martha, played by Diane Lane, arrives who of course
knows of Clark’s extraterrestrial origin and, in addition to being his adopted
mother, is more equipped at calming and communicating with Clark. As soon as Clark
looks up we can see his powers are still out of control. And in addition to the
sensory overload, we hear through Clark the comments of the students, and with
them the emotional struggle Clark is also facing as some of the students call
him freak or weirdo. One student points out his parents won’t let him play with
other kids. This gives us our initial insight into Martha and Jonathan’s
concerns about Clark’s secret getting out and also informs us of the sheltered
upbringing Clark has been raised in thus far.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The derisive comments from the kids are more entries in what will
be a long list of human beings not being particularly friendly or accepting of
Clark. We already saw the men on the boat who gave him a tough time as
greenhorn, and now we have some classmates who are bothering him and being more
curious about his differences than actually being compassionate toward what
he’s going through. Throughout the rest of the movie, we’ll see many more
people reacting to Clark -- many of them negative -- and all of these
interactions weigh on Clark as he has to choose whether or not to reveal
himself, and ultimately whether or not he should choose to save humanity over
his birth culture of Krypton. Thankfully, there are also some very kind and
understanding people -- one of whom is his mother, who shows up importantly in
this scene. And others are Lois, Pete, and even General Swanwick and Colonel
Hardy. They give him enough of a connection to Earth that he decides it is
worth saving.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Through the closet door, Martha says to Clark, “How can I help you
if you won’t let me in?” This word choice offers a double meaning in reference
to Martha’s being locked outside of the janitor’s closet along with the rest of
the class as well as in the sense of letting someone in emotionally by opening
up to them and telling them your inner feelings. We will see further instances
of Clark letting people in and benefitting from their help throughout the
Snyderverse including Lois and Bruce. Clark responds with a powerful line and
response that reverberates into future scenes throughout the Snyderverse
including, we suspect, when Clark is revived in The Snyder Cut of Justice
League. He says “The world’s too big [Mom].” And Martha answers, “Then make it
small.” This is a way that Clark, a natural introvert, deals with many
situations through the series. One such way is how Superman makes Lois his
world and the embodiment of humanity for him in <i>Batman v Superman: Dawn of
Justice</i>. </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">The soft piano notes of the main theme enter to help add more
emotion to this scene. Martha then tells Clark to focus on her voice and
pretend it’s an island out in the ocean, which is essentially a form of
mindfulness meditation. Here we see the connection to the present we mentioned
earlier. In one respect the oil rig is somewhat of an island amidst the ocean
which Clark focused his attention and directed his powers toward in an effort
to save the workers. But more relevant to this metaphor is Clark focusing
inward as he floats in the ocean and reins in his powers. Just as he used this
technique in the closet to move forward, he will also eventually use it in
after the oil rig to gather himself again and continue on.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">When Martha asks Clark if he sees the island, Clark looks up and
in her direction before saying “I see it.” Martha then proceeds to tell him to
swim toward it. And immediately following that we see Clark open the door to
find his mother and they embrace each other. Symbolically, if not literally
what Clark envisions, Martha is Clark’s island that he swims toward and always
returns to. Later we see Clark return to Martha at the Kent Farm after his
global walkabout. Until Lois becomes Clark’s world, Martha is his compass.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Clark asks his mom what’s wrong with him, as any child would
assume their mom would have all the answers. She responds with “Clark” in a way
that suggests he is being silly and that there is nothing wrong with him. She
of course doesn’t know what Clark is experiencing with his emerging powers.
However the line also has a deeper significance that implies that “Clark” is
what’s wrong with him, because “Clark” is not who he is. In a sense, what’s
wrong is that he is pretending to be human, something he is not. And this
brings us back to the present where Clark is in the process of finding who he
really is and his place in the world. He witnesses a mother and baby whale swim
by, symbolizing and reminding him of his own relationship with Martha. But more
importantly the shot is juxtaposed immediately following the “Clark” to emphasize
the point that he and his mother are not the same creatures.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; mso-outline-level: 3;"><span style="color: #434343; font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">End of Episode:</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Thanks for listening to this analysis of Scene 12 of <i>Man of
Steel</i>. Next we’ll take a look at another important event in Clark’s
childhood, one that leads to another conversation with a parent that has
resulted in much controversy. If you like what you hear you can support the
show and find bonus content at patreon.com/JLUPodcast.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
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<![endif]-->ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com0tag:blogger.com,1999:blog-5935799542324632108.post-44613285745959339932021-02-21T08:57:00.002-08:002021-03-10T08:44:22.069-08:00DC and Marvel Comic Book Movies: Personal Ratings<p>Inspired by the <a href="http://www.theflitecast.com/podcast/2019/11/3/00001" target="_blank">Flitecast's full rundown of his opinions on the Marvel Cinematic Universe</a> (in short, he is a fan of nearly all the MCU movies, but he gets frustrated by the segments of Marvel fandom that are "sore winners," and I agree with him), and given that I finally watched <i>Avengers: Endgame</i> a couple months ago, I thought it was a good time to revisit my personal ratings of the Marvel and DC comic book films.</p><p>The <a href="http://comicandscreen.blogspot.com/2016/11/superhero-movies-personal-ratings.html">last time</a> I did this personal ratings rundown, I was attempting to show that, although I prefer DC, I still like most of the MCU films. I use a 10-point rating scale, and for me a 6+ means that I liked the film, and back in 2016 my MCU average was 6.6. So yes, I did at the time like the MCU in general. For DC, my average was 8.1 so my tastes clearly align with that brand more.</p><p>Here is my <b>updated graph of personal ratings</b>, from 2008 when the MCU started until 2021 with <i>Wonder Woman 1984</i>. I focus on the DCEU films but in order to even up the numbers a little bit I also included the DC Films from 2008-2012 which were <i>The Dark Knight</i>, <i>Jonah Hex</i>, <i>Green Lantern</i>, and <i>The Dark Knight Rises</i>. Note that I am not adding these films to pad my DC numbers; in fact, my average rating for those 4 films is 7.6, so it is actually pulling down my DC average.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH15VDTcgmwmf8bx9ZvnrArolkx_8Vw5KCtSC8RYyHY1R0tOp8FK1rkZCVPHMztsGY2-wQfnilX8JNzdRrq5codzmu28qifzWD1fEmYT2QdGhf2Q2nJ6-jUV7khFYg69JyayYmeLWvYizv/s1147/ComicRatings2021.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="486" data-original-width="1147" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH15VDTcgmwmf8bx9ZvnrArolkx_8Vw5KCtSC8RYyHY1R0tOp8FK1rkZCVPHMztsGY2-wQfnilX8JNzdRrq5codzmu28qifzWD1fEmYT2QdGhf2Q2nJ6-jUV7khFYg69JyayYmeLWvYizv/w400-h169/ComicRatings2021.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>My personal ratings on a 10-point scale of Marvel and DC movies from 2008-2021.</i><br /></td></tr></tbody></table><p><span></span></p><a name='more'></a>Even with the addition of 15 more films onto this graph since 2016, my personal averages have actually remained unchanged. I am still a 6.6 on the Marvel side (standard deviation = 1.05) and an 8.1 on the DC side (standard deviation = 1.08). The means and medians are equal in both cases, suggesting that my opinions are symmetrical around the means, and both sets having basically the same standard deviation of 1.1, which means that my rating scale is fairly appropriate.<p></p><p>There are only a few films on this list that I really didn't like. They all happen to be Marvel (e.g., <i>Thor 2</i>, <i>Guardians of the Galaxy 2</i>, <i>Ant-Man</i>). And there are only 4 films that I really love, and those all happen to be DC (with <i>BvS</i> at the very top).</p><p>So the story here is pretty clear --- I like most of the MCU films, but they are typically around a 6 or 7 on my scale. Whereas the DC films tend to sit at 7 or above, and the films that have really connected with me in the deepest ways are <i>MoS</i>, <i>BvS</i>, <i>The Dark Knight</i>, and <i>Wonder Woman</i>. Hopefully <i>Zack Snyder's Justice League</i> is another one of those films that really resonates with me, completing a magnificent <b>Dawn of Justice trilogy</b>.</p><h3 style="text-align: left;">What about the fan wars between the Snyderverse and the more recent DC Films?</h3><div style="text-align: left;">I basically try to avoid all the fan wars. While I do really appreciate the Snyder films in the DCEU thus far and I'm very much looking forward to <a href="https://www.youtube.com/watch?v=vM-Bja2Gy04" target="_blank"><i>Zack Snyder's Justice League</i></a>, I have not tried to take my love for Snyder's work and turn it into hate toward other people's work. I really enjoyed <i>Aquaman</i>, <i>Birds of Prey</i>, and especially <i>Shazam!</i>. For me, they are still above the vast majority of the MCU films. <i>WW84 </i>was a little bit of a miss on the action and some of the story beats, but I still liked the film.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Really the only problem I've had with the DC films are the severe instances of studio interference, namely, <i>Suicide Squad</i> and <i>Justice League</i>. In my view, the studio interference prevented those films from reaching even higher heights in my book. But I still think the casting and the characters are fairly good, and both films have enough of the directors' and creative teams' touch that I can still find parts to enjoy. So I don't hate them, and when I'm in the right frame of mind, I can enjoy both of them, but it's just a shame to think about how much better they could've been without the interference.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">The good news is that this will be largely rectified in a few weeks on <a href="https://play.hbomax.com/" target="_blank">HBO Max</a>. And who knows, maybe <i>Suicide Squad </i>will get a new life, too (and I don't just mean <i>The Suicide Squad</i>). If this happens, that will replace two of the lower scores on my personal DC ratings and will leave a very solid track record, in my book.<br /></div>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com0tag:blogger.com,1999:blog-5935799542324632108.post-75160593118890291902020-10-13T16:33:00.003-07:002020-10-13T16:33:45.282-07:00JLU Scene-by-Scene: Man of Steel Scene 11<p> This episode of the <a href="http://jluniverse.podomatic.com">Justice League Universe podcast</a> focuses on Scene 11 (oil rig rescue at seat) of <i>Man of Steel</i>, directed by Zack Snyder.</p><p>
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9862390?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
<br /></p><ul style="text-align: left;"><li>Deepwater Horizon</li><li>The Human Perspective of a Superhero</li><li>Clark's Screams</li><li>Helicopters/Helipads</li><li>Forging a Hero</li></ul>
<p><b>Follow @JLUPodcast on Twitter</b></p>
<p><b>Bonus content at <a href="https://www.patreon.com/JLUpodcast">https://www.patreon.com/JLUpodcast</a> </b></p><p>
<b>Sam's new children's book <a href="http://www.MissingLettersBook.com" target="_blank">http://www.MissingLettersBook.com</a></b></p><p><Transcript below></p><p></p><p><b><b><!--[if gte mso 9]><xml>
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Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
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</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"><span></span></span></p><a name='more'></a><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Welcome, fans of <i>Man of Steel</i>, to the Justice League
Universe Podcast where we analyze the DC Films produced by Warner Brothers
studios. You can follow the show on twitter @JLUPodcast. My name is Alessandro.
In this episode, we are taking a look at Clark’s heroics on the Oil Rig after
hearing about the distress call aboard the Debbie Sue fishing boat.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Zack seems to use real world events as a way to reach out to
audiences in his storytelling. In the opening scene of BvS we saw Zack use
visual cues reminiscent of the 9/11 tragedy to provide a frame of reference for
audiences to relate with on a human level. This Oil Rig scene in Man of Steel
may have been inspired by the Deepwater Horizon oil spill which was the largest
in history and lasted from April 2010 to September 2010, a month before Zack
was hired for Man of Steel.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As we saw at the very end of the previous scene, the Oil Rig is
still quite a distance away. But as this scene begins Clark is already
making his way up the Oil Rig. This is quite a swim for Clark to have
made in such a short time in addition to facing falling, fiery debris as he
climbs the rig, all before the real heroics even begin!</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The workers scramble for the last of the oxygen when Clark
crumbles the door easily to save the men trapped inside, filmed from the
interior view to show their perspective. This view is echoed later by James Wan
and Jason Momoa in the beginning of <i>Aquaman</i> inside the submarine. Seeing
Clark from the perspective of the people is important as it helps to reconcile
the proposition of Zack’s approach to these films which puts an emphasis on
what encountering a superpowered being in our real world would be like. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">When Clark appears before the survivors he is engulfed in flames.
Given his invulnerable Kryptonian skin would not act as fuel for the
combustion, the only logical conclusion is that he was sprayed with oil amidst
the explosions and debris. Showing Clark like this helps to emphasize the
danger these men faced outside of that room, and that they would surely have
died. The next shot of the US Coast Guard helicopter approaching the oil
rig completely on fire enforces this real danger by showing the delayed arrival
of the respondents.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We see a quick shot of Clark leading the workers through the rig,
able to scout ahead thanks to his invulnerability, and with some knowledge
about where the fire is concentrated having navigated the rig to find
them. He leads them to the helipad where the Coast Guard is able to spot
the survivors. But as they begin to board the helicopter, an explosion of
intense heat compromises the structure, melting the metal and causing it to
collapse.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">And just as in the previous scene when the fisherman stepped in to
protect Clark from the falling cage, Clark now places himself between the
survivors and the falling derrick to give them time to escape the inferno. The
Coast Guard, not having seen fire covering Clark earlier, assume him to be one
of the survivors needing rescuing. So when they see him run away and stand
before the falling structure, one of them yells, "Hey let's go, what are
you doing?" Here, once again, we see Clark from the human perspective,
this time from actual heroes which helps to elevate Clark further. Clark leaps
toward the tower for leverage and holds it in place to give the helicopter time
to fly away, which they quickly do, no doubt confused and shocked at his
remarkable feat. We get a close up of Clarks muscular body which reflects his
strength and struggle. We also see the strain in Clark’s expression and hear
his deep-throated scream indicating this isn’t easy for him which helps us
grasp the level of his strength in this rendition of the character. It sets the
bar for what to expect of Superman’s powers. This version of Superman isn’t
all-powerful as Lex notes in <i>BvS</i> or as some audiences expected.
However it is poetic that the film is called Man of Steel after Superman’s
epithet and we see the steel girders give at his feet but Clark doesn’t falter.
We love the show of strength here, and the realistic physics of it crumpling around
him. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Clark’s screams, now and after killing Zod, act as bookends for
the story of his heroic origins in this film and is very symbolic of his
difficult journey. And this scream coupled with his death scream in <i>BvS</i>
act as bookends to his life as a hero. This scream here marks the birth of
Clark as a hero. The scream following Zod’s death marks the culmination of his
origin, hence the birth of Superman . And we can even consider his death scream
at the hands of Doomsday as marking the birth of the Justice League as his
sacrifice inspired Bruce to play well with others again. So we can see the
significance placed on Clark’s screams throughout this story, especially when
we consider Zack’s recent comments during the <i>BvS</i> watch party that his
death scream awakened the Motherboxes to message Apokalips which birthed a new
threat. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Continuing on with this scene, the helicopter flies away without a
second to spare. Without Clark’s intervention, the workers, and possibly even
the Coast Guard officers, would have perished. Helicopters have always been
central to Superman, especially on film. In Christopher Reeves’ Superman, he
saves Lois who fell from a helicopter and returns her safely to the Helipad
atop the Daily Planet building. In Zack’s movies, this helipad is where we
first see Clark as a hero on Earth, and a helipad above Metropolis is where we
will also see him at his lowpoint with Lex Luthor in <i>BvS</i>. Helipads act
as a launch and landing point, so their symbolism is relevant to aspects of the
story and the character. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The fishermen aboard the Debbie Sue watch as the whole structure
collapses in the distance. And Clark is left adrift, a hero forged in fire and
quenched by the ocean water, like the blade of a sword, a symbol which embodies
protection, honor, and justice, all qualities synonymous with Superman. And as
we see in Zack Snyder’s “All the Gods” poster laying out the template for his
story arc, Superman’s symbol appears on the pommel of the sword at the center
of the story which may indicate he is the embodiment of protection, honor, and
justice throughout the story. However this sword seems to have more meaning
than just that.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">According to The Film Exiles of The Exiles Network, the sword on
the poster represents the Sword of Damocles. As they point out, The Sword of
Damocles is a reference come to be used to signify impending doom. But, the
tale from which the sword derives represents the idea that those in power
always labor under the specter of anxiety and death, and that “there can be no
happiness for one who is under constant apprehensions.”(</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.history.com/news/what-was-the-sword-of-damocles"><span face=""Arial",sans-serif" style="color: #1155cc; font-size: 11pt;">https://www.history.com/news/what-was-the-sword-of-damocles</span></a></span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">). This is certainly something we’ve seen in <i>BvS</i>. In the
story of Dionysius and Damocles, Dionysius is a supremely unhappy tyrannical
king who ruled with an iron fist and is tormented by fears of assassination
from his many enemies. Dissatisfied with the flattery from Damocles, he offers
him the pleasures of his rule but hangs a sword from a thin horse hair above
his head making it impossible for Damocles to savor the opulence and causes him
to forfeit such fortunes.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In that context we can consider the powerful and always laboring
Superman constantly under the specter of anxiety and surrounded by death as
Damocles was. In performing heroic feats like the one here, he is always
exposing himself to discovery, something we will see play a deep role in his
upbringing. As we see in <i>BvS</i>, regardless of how hard he tries, death
still surrounds him because he simply cannot save everyone. Like Dionysius and
Damocles, as a being in power he is a magnet for enemies and death. And his
looming demise reached its inevitable outcome when facing off against Doomsday.
However, given the juxtaposition of the sword over Bruce Wayne’s coffin, we can
also consider Superman the sword hanging over Bruce who is destined to die,
whether it’s at the point of Superman’s blade or at the hand of Darkseid
himself as a result of Superman’s existence.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">On the quillion or cross-guard of the sword is the Greek word
katafileo (“</span><b><span style="background: white none repeat scroll 0% 0%; color: black; font-family: "Times New Roman",serif; font-size: 9pt; mso-fareast-font-family: "Times New Roman";">ΚΑΤΑΦΙΛΕΩ</span></b><span style="background: white none repeat scroll 0% 0%; color: black; font-family: "Times New Roman",serif; font-size: 9pt; mso-fareast-font-family: "Times New Roman";">”)</span><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> in Greek letters which means “Kiss”. As The Film Exiles also
describe, this is with respect to the Kiss of Judas which represents a kiss of
betrayal. The significance of the sword of Superman being labeled with a kiss
of betrayal could be that Superman betrays the world, the other league members
of the round table, and finally Bruce Wayne, all which the sword punctures in
the diagram, as a result of succumbing to the anti-life equation. An additional
point of significance could be that it is a double-edged sword that swings both
ways, and that not only does Superman commit betrayal, but he himself is
betrayed which likely leads him to the path of his own betrayal. Zack Snyder
seemingly confirmed on Vero that the letter A on the world is a reference to
the scarlet letter which represents adultery. The implication is that Lois, who
is Clark’s ‘world’, would have been with Bruce akin to the story of Guinevere
and Lancelot in Excalibur. In that scenario, Bruce would have also been guilty
of betraying Clark. We’ve seen a nightmarish future in which Superman rules
with an iron fist like Dionysius. In that future Superman says to Bruce “she
was my world, and you took her from me.” The initial implication is that Batman
let Lois die through his own action or inaction, but it could also pertain to
the supposed adultery which in itself may have made Clark vulnerable to the
anti-life equation.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">With respect to the soundtrack in this scene, the minimalist
approach helps to give a sense of watching real events instead of engrossing
the audience into a blatant piece of art. The use of percussion provokes a
pulsing sensation to evoke the feeling of tension brought on by danger.
And the swelling Brass meshes well with metallic motif while providing the
sense of grandiosity pertinent to such real world destruction and phenomenal
feats of strength and heroism. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">End of Episode:</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Thanks for listening to this analysis of Scene
11 of <i>Man of Steel</i>. Next we’ll be looking back at Clark’s childhood in
the very significant school scene with Martha Kent. If you like what you hear
you can support the show and find bonus content at patreon.com/JLUPodcast.</span></p><p class="MsoNormal"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"> </span></p><p class="MsoNormal"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Sam's children's book: <i>Missing Letters An Alphabet Book</i></span></p><p class="MsoNormal"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";"><a href="http://www.MissingLettersBook.com">www.MissingLettersBook.com</a> <i> </i> <br /></span></p>
<p><b> </b></p>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com3tag:blogger.com,1999:blog-5935799542324632108.post-86662080864558605342020-10-12T18:04:00.002-07:002020-10-13T07:04:27.612-07:00JLU Scene-by-Scene: Man of Steel Scene 10<p>This episode of the <a href="http://jluniverse.podomatic.com">JLU Podcast</a> focuses on Scene 10 (Greenhorn on the Debbie Sue) of <i>Man of Steel</i>, directed by Zack Snyder.</p>
<br />
<iframe src="https://www.podomatic.com/embed/html5/episode/9844692?style=normal&autoplay=false" style="width: 504px; height: 208px;" allowfullscreen="true" allow="autoplay; fullscreen"></iframe>
<p></p><ul style="text-align: left;"><li>Snyder's commentary on the Krypton prologue</li><li>Escape pod into the Debbie Sue ship at sea</li><li>Greenhorn</li><li>Clark roaming like <i>Superman: Earth One</i></li><li>Can you push Superman down?</li><li>Clark's natural instinct to help</li></ul>
<p><b>Follow @JLUPodcast on Twitter</b></p><p>
<b><a href="https://www.patreon.com/JLUPodcast" target="_blank">https://www.patreon.com/JLUPodcast</a></b></p><p><Transcript below></p><p><b><span></span></b></p><a name='more'></a><b> </b>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Welcome, fans of <i>Man of Steel</i>, to the Justice League
Universe Podcast where we analyze the DC Films produced by Warner Brothers
studios. You can follow the show on twitter @JLUPodcast. My name is Alessandro.
In this episode, we are focusing on our first look at Clark on Earth, working
aboard the Debbie Sue as a fisherman after the quite lengthy 20-minute
prologue.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">In our last episode, we commented on the prologue overall. And
we’re hoping to see something similar to it in Zack Snyder’s <i>Justice League</i>,
perhaps as another history lesson involving Darkseid for the opening of the
film next year on HBO Max. But for <i>Man of Steel</i>’s prologue, one thing we
forgot to mention is just the fact that it sets the tone and audience
expectations for the movie. The prologue clearly lets us know that parents are
going to be important, and that the child is going to have important choices
ahead of him as an agent of free will---yes, he will have super powers, but his
most important power will be that power of choice. The prologue also indicates
to us that the creators are taking the mythology seriously and are showing
great care in rendering a rich world. They are leaning into melodrama and
pathos, and avoiding rapid-fire dialogue or cheap thrills, thus setting the
film apart from some of the other superhero fare. In this way, before we have
even seen Clark Kent or Superman, the creators have used the prologue to set
expectations and guidelines for how we should view the remainder of the film.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A few points we learned recently from Zack Snyder himself during
the Man of Steel Watch Party are that the original Doomsday was in fact
responsible for the destruction of Krypton’s moon, the council’s costumes were
partially inspired by the outfits from Planet of the Apes, and that initial
plans were to have the Kryptonians speaking Kryptonian with subtitles but they
felt it created too much of a disconnect with the audience right off the bat.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">But now let’s move into Scene 10 and the Debbie Sue. Sam and
others on the internet have a theory that perhaps the name of the vessel is a
nod to Deborah Snyder, who Zack has been married to since 2004. She has
produced all of his movies since <i>300</i>, plus she co-produced <i>300-Rise
of an Empire, Suicide Squad, Wonder Woman, Aquaman, </i>and <i>Wonder Woman
1984.</i> We haven’t been able to confirm that, however.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">This scene being set at sea, and some of the later moments with
the oil rig rescue and Clark drifting in the water present an interesting
connection to the eventual introduction to Aquaman, especially since we now
know Zack Snyder had an entire five-movie arc planned.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We come into this scene by tracing the journey of Kal-El’s escape
pod. The camera pans across a planet with rings, which could very likely be
Saturn as baby Kal-El was being sent to our solar system. A visual crack in
space begins to form and light shines through. It’s an interesting choice to
depict this sort of travel via wormholes, though slightly dissonant with the
other more scientific-based elements of this universe. It certainly draws your
eyes, and the wormhole leaves behind some sort of phantom residue as it closes
and dissipates. We quickly get a zoom shot of Kal-El’s pod, a camera effect
that is used several times during the film. It not only helps to give an
overall contextual view before zooming in on the focus of the shot, but in a
way it mimics what might be Superman’s telescopic vision. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">The pod flies across the screen to the right toward a yellow star,
our sun, and passes by the moon on its way toward Earth. We get a clear shot of
the front of the pod with the House of El symbol, acknowledging this is in fact
baby Kal-El’s pod while symbolically showing that Hope lives on from the now
destroyed Krypton, given that we learn later the symbol means hope. The music
helps to emphasize this symbolism with the powerful crescendo of the theme
culminating with the crash of the waves when the pod would have crashed onto
Earth.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There’s a match cut with the shot changing to the Debbie Sue, a
fishing boat off the coast of Alaska, on which Clark is working as a fisherman.
After establishing the scene with some shots of the labor, some rope falls to
the ground prompting Clark to go pick it up. A man wearing a traditional
looking yellow fisherman jacket sees Clark walk under a fishing cage about to
fall. As the cage loosens, the man rushes in and pushes Clark out of the way,
just avoiding being “squashed”. He then proceeds to call Clark a “dumbass,”
telling him to watch it and keep his eyes open. He rhetorically asks, “Where’d
they find you, Greenhorn” as he helps him up despite the harsh talking to.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">There’s a lot to draw from this short interaction. First, there’s
just the ironic humor that where they found him was actually from outer space,
but of course the guy doesn’t know that. Second, we already see, albeit in a
very minor way, that Clark has an inherent tendency to help out when he sees
something. At first, it’s just the instinct to help out when he sees something
to pick up. But in a moment, it will also be his instinct to help out as soon
as he hears about the men on the oil rig.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Third, there’s the importance of looking out for your fellow man
as well as a sense of comradery which will be relevant to a future Superman in
so far as he is looking out for all of humanity and will eventually work with a
team of heroes. But there’s more to the lesson than just that. The man of
course doesn’t know that Clark is super strong and would not be harmed, but he
does know that he himself is NOT super strong and would be harmed. So even
though there was the potential for harm himself, the man nevertheless raced
forward to help Clark. This teaches Clark a little something more about helping
others at the cost of your own well-being. Fast forward to <i>Batman v
Superman</i> and we see that lesson pay off during Superman’s sacrifice to stop
Doomsday.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">We also heard the man call Clark “Greenhorn”. It’s a word meaning
inexperienced originating from 17th century jewelers who would apply too much
heat to animal horns, due to their inexperience, which would turn the horns
green instead of the appropriate brown color. This line is actually quite
crucial in understanding Clark in the film. Zack Snyder set out to make this
film to show Clark becoming Superman, just as he did with Lex Luthor in <i>BvS</i>.
In fact, he has even said that was the purpose for calling the film <i>Man of
Steel </i>and not Superman. Because this isn’t a film about Superman as much as
it is a film about how he becomes Superman. So this line about him being a
Greenhorn in this first scene with Clark is meant to lay the foundation for
what this film is about. It is about an inexperienced Clark Kent on the path to
becoming Superman, and the trials and tribulations, as well as the difficult
decisions, that he faces which lead him to become Superman. It validates any
and all mistakes Clark makes throughout the film as he is learning how to be
this superhero among men.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Moreover, since Clark appears to be new to this fisherman job, we
can gather that he probably roams quite a bit, something we’ll see confirmed
later on. By traveling the world Clark is able to learn more about humanity,
the different experiences we all face, and about the different cultures and
societies around the world. This traveling and taking on different jobs to
learn more about Earth and its people is right out of<i> <u>Superman: Earth One</u></i><u>,</u>
as is quite a bit from this film in what appears to be a clear adaptation. We
will bring up more elements from the comic as we go along. Zack acknowledged in
his commentary that Clark is sort of roaming around trying to find himself and
his place in the world.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">As a side note, I think the connection to the color green is also
interesting in that Kryptonite is green and it makes Superman vulnerable like a
human as we see in BvS. From the fisherman’s perspective, Clark is just a
vulnerable human exposing himself to danger. And for Superman, being
vulnerable like a human is not something he has experience with. So when
he is exposed to green Kryptonite, in a way it is turning him into a
Greenhorn. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">One other clear benefit to this character development that comes
from him roaming and trying to find his way is that it connects to the idea
that he has to choose his path; it’s not all prescribed for him as it would’ve
been on Krypton. Thus, this element of Clark as a young nomad, which is taken
from <i>Superman: Earth One</i>, pairs really well with the Kryptonian culture
that Goyer and Snyder set up in this film. It also gives Clark some
perspective---he experiences first hand what it’s like to be an average Joe and
he sees various parts of the world and the human experience. Our collaborator,
Nick, also points out that it’s important that he’s not locked away in some
private school commuting between a mansion and a high-rise: he lives, eats,
works and sleeps with normal, everyday people. It says something very relatable
to millennials that the world’s most powerful man can’t seem to find a purpose
in life, a way to express himself, to use his powers. The best he seems to be
able to do is lie on job applications and skip town every time he makes a
mistake or does something that exposes himself. That may not be a familiar life
to everyone, but for some people, I think Clark’s life story is extremely
relevant and offers a bit of actual hope for the future.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">A final comment on the man pushing Clark aside---some people might
think that Clark would be immovable in a situation like this. He’s so strong
that no regular person would be able to tackle him to the side. But I think
this is a bit of a nitpick. Being super strong is not the same as being
incredibly heavy. Especially since Superman’s powers are indicated as being
like solar batteries in his cells, not from huge muscle mass, there’s nothing
technically contradictory about him being bulletproof and super strong but also
being able to stumble or be pushed to the side. There’s the matter of
footing and balance to consider. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Moving on in the scene, we hear about the distress call coming
from an oil rig due West. This is somewhat reminiscent of the Deepwater Horizon
oil spill in 2010, although that was of course down in the Gulf of Mexico. This
connection to a real-world tragedy in the opening sequences of <i>Man of Steel</i>
sort of parallels the fact that the opening sequence from Bruce Wayne’s
perspective in <i>Batman v Superman</i> is reminiscent of the September 11th
attack on New York City. Those are some of the ways that the films are striving
to bring the characters into modern day relevance.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">Clark, aka Greenhorn, hears about the distress call and also hears
them talking about the men left inside. One person says, “Forget ‘em, they’re
dead.” But of course Clark, which is heroic tendencies, cannot just forget
them. This is the first of many times when he can’t resist but help someone in
need. It especially reminds us of the Dias de la Muerta fire in <i>Batman v
Superman</i>. And here in <i>Man of Steel</i>, in his quiet, subtle way, Clark
has left the ship to go to the rescue.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 4.0pt; margin-left: 0in; margin-right: 0in; margin-top: 16.0pt; margin: 16pt 0in 4pt; mso-outline-level: 3;"><span face=""Arial",sans-serif" style="color: #434343; font-size: 14pt; mso-fareast-font-family: "Times New Roman";">End of Episode:</span><b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face=""Arial",sans-serif" style="color: black; mso-fareast-font-family: "Times New Roman";">That’s our analysis of Scene 10 of <i>Man of Steel</i>. Next we
have the oil rig rescue. Thank you for listening. You can find bonus content
and you can also support the show at patreon.com/JLUPodcast.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
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<![endif]-->ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com0tag:blogger.com,1999:blog-5935799542324632108.post-10976704276549776602020-08-29T13:04:00.005-07:002020-08-29T13:04:57.501-07:00Snyder Cut Round Tables - Episode 9 - RTSnyderCut<p>Back in June, right after the glorious announcement that <i>Zack Snyder's Justice League</i> would be coming to <a href="https://play.hbomax.com/" target="_blank">HBO Max</a>, Sam and Alessandro co-hosted a roundtable for the <a href="https://www.youtube.com/channel/UCdagePVcfUcDrrEQnqqCbxg" target="_blank">@RTSnyderCut YouTube channel</a>. They were joined by Omesh and Hamad to discuss the aspects of <i>Batman v Superman</i> that they think will be continued into the director's version of <i>Justice League</i>.</p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WVuZkcypcvg" width="320" youtube-src-id="WVuZkcypcvg"></iframe></div><br /><p></p><p><span class="style-scope yt-formatted-string" dir="auto">Sam:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" dir="auto" href="https://www.youtube.com/redirect?q=https%3A%2F%2Fjluniverse.podomatic.com&redir_token=QUFFLUhqbU1EN3BEVWhPVWtEOEFPQTU4S1lCSGw4ZHozd3xBQ3Jtc0tuWllOZ1Q2ODQzcjBpeWUzYW1vTkRzY3pCbmppMzNHN0dqdGkxaHl3MFhiZGU0Q01WcmEweW5IWkJ6aWFlOTVJWVc4cWROVDYtcEpWUFUtWTBoOTh5S2szT3hTZWlGd1hxTDVVbnE3NWlFSjdoOE1zZw%3D%3D&event=video_description&v=WVuZkcypcvg" rel="nofollow" spellcheck="false" target="_blank">https://jluniverse.podomatic.com</a><span class="style-scope yt-formatted-string" dir="auto">
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" dir="auto" href="https://www.youtube.com/redirect?q=https%3A%2F%2Ftwitter.com%2Fottensam&redir_token=QUFFLUhqbXowUVBrRHNpd2tsNDlaOXNmNmZxSmdFSC1pUXxBQ3Jtc0trZlZtQ0dYM3hPWVpKYW1kVmc3VDhPVWhxYnkwdE1qZ1lIaEVMOEdQczZ4TDRjQlVIMEFnTFlxdnlpdGhoTlNtMEJjTnN5UVNRTFk0SjZfcnA0WHZ0SnN3UVM2OXRUS3VFcW9VWWNoeEh1WGNOeFJqaw%3D%3D&event=video_description&v=WVuZkcypcvg" rel="nofollow" spellcheck="false" target="_blank">https://twitter.com/ottensam</a><span class="style-scope yt-formatted-string" dir="auto"> <br />Alessandro:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" dir="auto" href="https://www.youtube.com/redirect?q=https%3A%2F%2Ftwitter.com%2Fraveryn&redir_token=QUFFLUhqa2dFc3luaDZkRTBkS2MzdEFnRF9IZjlxVWxBUXxBQ3Jtc0tsdjZiYmppdExkdlV1cmVTYTBYSmFCcTBjeEJic2FsMFhfay1uRkRnMFVCeHF2c0dBclQ4Y0JlSVM0WlEwLU51T1NpLWRYdjhwQWZjZ0dUTm41ZmF0ZnpUMTRzRXN5VTUyMGMxRW9waFg0aE1uNXNfYw%3D%3D&event=video_description&v=WVuZkcypcvg" rel="nofollow" spellcheck="false" target="_blank">https://twitter.com/raveryn</a><span class="style-scope yt-formatted-string" dir="auto">
<br />Omesh:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" dir="auto" href="https://www.youtube.com/redirect?q=https%3A%2F%2Ftwitter.com%2FPrimeEarthMook&redir_token=QUFFLUhqbl92OGhUc3hrSGlNYklHUTF2QXR6UWpLOXYtd3xBQ3Jtc0tsOF9VcDIybHlTbG1HTWNiX0lrTjZ6WmY4b3RqX2dRRGJvN29HYUNwNVhDZi1rM2pZeDlzZUxtRlZ3amZNVnRlQUdLZ25kZ1lyMkwyS0l4ZTNCelV1QmhCdl83T3RMbmJqN2pFUHcydnRCbXRPZExsVQ%3D%3D&event=video_description&v=WVuZkcypcvg" rel="nofollow" spellcheck="false" target="_blank">https://twitter.com/PrimeEarthMook</a><span class="style-scope yt-formatted-string" dir="auto">
<br />Hamad:
</span><a class="yt-simple-endpoint style-scope yt-formatted-string" dir="auto" href="https://www.youtube.com/redirect?q=https%3A%2F%2Fvero.co%2Fhamadalmansouri&redir_token=QUFFLUhqbjE5X0J2Q1ctVmJUakNiR25FNzJCRHVNQXNkZ3xBQ3Jtc0ttQzBXMnE5ZldjNms1Yl9wVDluZ3VvZ1ZpbWNPME9YMm96LUVXZHVDQnJRVWlFUFAxYTgzeFB1U1F3aXgyamZPd3pjczhlSE1tNGlQUlhNV1Zva1o0ckp1YXBweTlpSmRha0phM0tVSTc1Nm9KVWVZbw%3D%3D&event=video_description&v=WVuZkcypcvg" rel="nofollow" spellcheck="false" target="_blank">https://vero.co/hamadalmansouri</a></p>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com0tag:blogger.com,1999:blog-5935799542324632108.post-884432277413554722020-08-23T07:24:00.002-07:002020-08-23T07:24:32.658-07:00Discussion of DC FanDome Trailer for JUSTICE LEAGUE: The Snyder Cut<p>In this episode of the <a href="http://jluniverse.podomatic.com">Justice League Universe podcast</a>, Sam and Alessandro discuss the amazing trailer that Zack Snyder premiered at DC FanDome.</p><p><br /><iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9822595?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe></p><p>They share their general reactions, the new connections to <i>Batman v Superman</i>,
the upgrade in villains, the emotional elements of the film, and
various other tidbits (including parallels to the Leonard Cohen lyrics).
</p><p>See also Rebecca Johnson's analysis of the trailer: <a href="https://www.youtube.com/watch?v=QHOB8eUMwN4" target="_blank">https://www.youtube.com/watch?v=QHOB8eUMwN4</a></p>
<p>Discussion of additional DC Films at <a href="https://www.patreon.com/JLUpodcast" target="_blank">https://www.patreon.com/JLUpodcast</a></p>
<p><b>Follow @JLUPodcast on Twitter</b></p>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-88762997339437388482020-08-16T09:48:00.003-07:002020-08-16T09:58:17.845-07:00JLU Scene-by-Scene: Man of Steel Scene 9<p>This episode of the <a href="https://jluniverse.podomatic.com">Justice League Universe podcast</a> focuses on Scene 9 (Lara's goodbye) of <i>Man of Steel</i>, directed by Zack Snyder.</p><p><iframe src="https://www.podomatic.com/embed/html5/episode/9817531?style=normal&autoplay=false" style="width: 504px; height: 208px;" allowfullscreen="true" allow="autoplay; fullscreen"></iframe><br /></p><div class="sc-1sp3zau-0 dLMvlv sc-1di2uql-0 jZNDoX" data-tag="post-content"><ul style="text-align: left;"><li>Symbol of hope</li><li>Krypton's destruction and columns of fire</li><li>Lara's poise and call for a better world</li><li>Music and destruction juxtaposition</li><li>Armor</li></ul><p><b>Follow @JLUPodcast on twitter</b></p><p><b>Support the show and get bonus content at <a _mce_href="https://patreon.com/JLUPodcast" href="https://patreon.com/JLUPodcast">www.patreon.com/JLUPodcast</a></b></p><p><Transcript below></p><span><a name='more'></a></span><p></p><p dir="ltr" id="docs-internal-guid-8b524ad6-7fff-3683-6596-c1f892499084" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Welcome, fans of </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, to the Justice League Universe Podcast where we analyze the DC Films produced by Warner Brothers studios. You can follow the show on twitter @JLUPodcast. My name is Sam. In this episode, we are focusing on the destruction of Krypton and Lara’s goodbye, which is the final scene in the Kryptonian prologue of </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The scene begins with a closeup of the House of El emblem on Jor-El’s battle armor: a symbol of hope to contrast with the hopeless abyss of the Phantom Zone and the hopeless fate of Krypton. It’s a reminder that hope is most important and most meaningful in times of struggle and destruction, and hope can extend beyond one person’s fate. Although Lara’s situation is doomed, she still has the hope that travels onward with her son. Lara reaches out to the symbol, both in mourning for her husband and in hoping that the last son of the House of El, </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">her</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> son, will be safe. As the wardrobe closes and she walks away, we see the camera shake and debris fall from above, indicating to us the planet has already begun collapsing. And so this was also Lara spending her last moments being with the ones she loves in spirit, a vestige that Kryptonian society no longer seems to embrace.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">And by the way, although this is edited very closely together with Kal-El’s pod launching and the sentencing of Zod to the phantom zone, we don’t necessarily know exactly how much time passed between each of those events. But what was important for us was to see Kal-El and Zod’s crew all making it off the planet before its destruction, setting up two very different paths forward for how Krypton might survive.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Continuing in the scene, Lara walks toward the window with full view of Krypton’s destruction as pillars of fire shoot up from the ground. This visual may have been meant to have a parallel in a future film in the timeline when Darkseid takes over Earth and reshapes it into Apokolips whose most prominent feature are fiery pillars shooting out from the ground. As Lara walks toward the fire, Kelor asks Lara if she should seek refuge, acknowledging the local destruction but not knowledgeable about the scope of the destruction. Lara tells Kelor there is no refuge, that Jor-El was right--this is the end. The camera zooms in on the destruction from over Lara’s shoulder providing a great personalization of Krypton’s destruction through Lara’s perspective. Lesser fantasy or action films will often have big destructive moments but will lack that emotional punch that comes from having an emotive person in the scene. Here Lara amplifies that emotion and the impact on the audience; later it will be Perry and Jenny Jurwich in Metropolis; and in </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">BvS</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> it will be Jack and Bruce Wayne in Metropolis.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">As for Lara, rather than cowering or weeping over Jor-El’s death or her own, Lara remains stoic in the face of annihilation. She is shown to be a strong-willed woman as she bears witness to the end of her world without flinching. In this we see that Superman’s strength isn’t his father’s alone: he clearly inherited much from his mother as well. It’s a solemn moment, but she does not mourn. Her last thought is one of hope as she looks to the stars and speaks to her son about making a better world than theirs, which connects to the continuing debate that is represented through Zod and Jor-El about saving Krypton. For Zod, he wants to save Krypton by recreating it and continuing their same culture as Zod sees it. For Jor-El, he wants Krypton to evolve and bridge into new possibilities, which is an idea shared by Lara as she hopes not just for Kal-El to save Krypton but to make something new, something better.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">This all comes to a head in the third act of the film, where Lara’s last words are seen to be especially relevant. Kal-El ends up having to choose between Krypton’s and Earth’s fates. For Krypton to live on, Earth would have to die. But for Earth to survive, the legacy of Krypton must come to an end. In some ways, Superman is the hero of Earth while Zod is the hero of Krypton, which makes this film’s plot not a black-and-white battle of good versus evil, but a profound moral dilemma that actually lays the framework for Lex's attitude toward Superman in </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Batman v Superman</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> which we will discuss toward the end of the film.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">But right now we can think a bit further about Lara’s call to make a better world than ours. That’s a message that we can also try to translate into our own times. According to the film, what does it mean to make a better world? Well, at least a few answers are given. A better world would come from not depleting your planet’s natural resources; from embracing the natural over the artificial; allowing people to choose their own paths rather than being subservient to society’s forced expectations; and of course helping others when you have the opportunity. By starting with the destruction of Krypton, this film, like a lot of the Superman mythology and canon, is inviting us to think about our own world and how we can try to avoid those mistakes.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">We also want to comment on the music in this scene. It has already become clear that we are in for a real treat of a score in this film. Here, like Lara’s quiet dignity, Hans Zimmer brings in a beautiful theme rather than bombastic and destructive music. It’s an interesting juxtaposition in terms of the visuals and the sounds and it invites us to bring a more philosophical or literary perspective on what’s happening rather than a straight-action-movie mentality.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">From the close and personal explosion, we cut out to the wide shot in space to see the full destruction of Krypton and then, now that we’re out in space, we can transition to the interplanetary travels of the escape pod carrying Kal-El. This brings us to Earth and we see a silhouette of a farm that of course we know is in Kansas. The crashing escape pod leads to a match cut with the ship crashing into a wave, now moving us about 33 years forward in time and into the main events of the movie.</span></p><h3 dir="ltr" style="line-height: 1.38; margin-bottom: 4pt; margin-top: 16pt;"><span style="background-color: transparent; color: #434343; font-family: Arial; font-size: 14pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">End of Episode:</span></h3><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">That’s our analysis of Scene 9. And it marks the end of the prologue, which happens to be exactly 20 minutes. That’s 14% of the total runtime, so Snyder and the creative team wanted to make a substantial investment in the Kryptonian backstory and the mythology. The nice thing is that this prologue isn’t just for style or for historical purposes --- nearly every single moment and every line is directly relevant to the plot, the character development and motivations, and the broader themes that the film explores.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">As we’ll see throughout the rest of the movie and its sequels, armor is a recurring theme, with Jor-El, Zod, Faora, Colonel Hardy and General Swanwick all donning some form of plate armor at some point in this film. Later, we will see Batman, Aquaman, Wonder Wonder Woman and Flash all wearing heavy armor. Concept art of Cyborg wearing his own version of heavy armor has been made available to the public, as well. Perhaps Snyder wants us thinking about knights and especially King Arthur. Makes you wonder if Superman wasn’t supposed to appear in Kryptonian plate mail at some point in the future.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Nick really appreciates Lara’s role in this story, not just as a mother but as a scientist and partner to Jor-El. Ultimately, it is Lara who sends Kal to Earth, making her a key part of the character’s destiny and a guiding hand in humanity’s eventual salvation. In this scene, her expertise just might save humanity, and her competence under fire will save her son’s life. She’s as much of a hero as her boy.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Oh, and one final point about Krypton’s destruction -- the Krypton documents on the blu-ray release talks about Krypton collapsing into a neutron star, which is kind of poetic as it would leave a star as a sort of gravestone for the dead world that gave Superman to the universe.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Thanks for listening. You can find additional content and support the show at patreon.com/JLUPodcast.</span></p><p><b></b></p></div>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com0tag:blogger.com,1999:blog-5935799542324632108.post-12333571285655472172020-07-05T05:53:00.000-07:002020-08-16T09:48:29.810-07:00JLU Scene-by-Scene: Man of Steel Scene 8This episode of the <a href="https://jluniverse.podomatic.com/" target="_blank">Justice League Universe podcast</a> focuses on Scene 8 (the trial of General Zod) of <i>Man of Steel</i>, directed by Zack Snyder.<br />
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<div class="sc-1sp3zau-0 dLMvlv sc-1di2uql-0 jZNDoX" data-tag="post-content">
<ul>
<li>Light and sunset</li>
<li>Homage to <i>Superman: The Movie</i> and <i>Superman II</i></li>
<li>Zod's outburst and personal vendetta against the Els</li>
<li>Black Zero and the Phantom Zone</li>
</ul>
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<b>Support the show and get bonus content at <a href="https://www.patreon.com/JLUPodcast">https://www.patreon.com/JLUPodcast</a>. </b><br />
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<Transcript below><br />
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"></span></div>
<a name='more'></a>Welcome, fans of <span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, to the Justice League Universe Podcast where we analyze the DC Films produced by Warner Brothers studios. You can follow the show on twitter @JLUPodcast. My name is Alessandro.</span><br />
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">In this episode, we are focusing on Scene 8 which is the trial of General Zod following the launch of Kal-El’s escape pod into space toward Earth. The scene transitions from the blinding light shining on Zod to the bright glow of the giant sun in the background of an establishing shot. We see a quick shot of the Black Zero ship hovering directly above the council’s tower. It’s silhouette against the big sun of Krypton as it descends slowly over the city is a foreshadowing of the future fate of Metropolis. The sun setting in the background is also symbolic of Krypton having had its day, and now that day is coming to an end.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">We immediately know the focus of this scene as we hear a voice say General Zod’s name. It is the council member who had earlier asked Jor-El what he would have them do about their depleted resources and the coming crisis. In a reversal of fortune, it is now Zod being tried and punished accordingly by the council. The charges are murder and high treason. We don’t know how many other crimes Zod might have committed in pursuit of his mutiny, nor likely does the council, however we saw the crimes of murder and high teason ourselves a couple of scenes earlier when Zod stormed the council, shot one of its members, and proclaimed himself the new authority.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Just as the blinding light and the sun were a visual transition from Scene 7 to Scene 8, we also have a visual link in terms of the blocking of the characters. At the end of the scene at the citadel, Zod was standing in the foreground with Faora and the rest of his soldiers were spread out in a circle behind him. Now they are in a very similar position, with a key difference being that they have wrist restraints.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The overall scene is reminiscent of Zod’s trial from </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Superman: The Movie</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> and </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Superman 2</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">. But unlike those movies, in </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">we actually got to witness in this film the crimes that landed Zod in the Phantom Zone. He is sentenced to 300 cycles of somatic recondition. This is actually pretty interesting wording. We’ve come to understand that the Kryptonian race views genetics as somewhat of a be all, end all of who they are. There’s little in the way of spirituality or self realization. They assign jobs based on those genetics and are expected to adhere to specific traits according to their roles in society. They rely on the codex to essentially program babies before they are born. But we’ve also seen Kryptonians defy those roles, Jor-El in particular as well as Lara. Somatic reconditioning by its definition suggests a repairing of the body, in this case on a cellular level akin to each Kryptonian’s initial programming via the codex. However this not only ignores potentially psychological or spiritual origins of Zod’s deviance, but it also suggests that he is acting against his programming when in actuality it is his programming that led him down this path.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Speaking of Kryptonian culture, this entire trial is basically an indictment of their failed system. Jor-El had been trying to warn them about the imminent destruction of their planet, but the Kryptonian council members were still caught up in their traditions, their ornate garb and protocols, and, as Zod pointed out, their pointless debates. Even now, as they are even closer to their destruction, they are still going through the formalities of a trial and sentencing when in fact everyone on the planet is already sentenced to death. It will turn out that Zod and his crew were lucky to be sent to the phantom zone. They are doomed to survive a bit longer than the rest of the Kryptonians.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">But in the moment, Zod is not happy about it at all. He lunges forward and yells at the councilman, “You won’t kill us yourself. You won’t sully your hands, but you’ll damn us to a black hole for eternity.” The reference to a black hole is helpful to the general audience, so that people can follow along with the gist of what’s happening even if they’ve never heard of the phantom zone. Another nice thing about this line, in addition to showing Zod’s trademark fury, is that it foreshadows the conclusion of the movie when Superman actually does sully his own hands by killing Zod himself. In that way, Superman is showing an evolution beyond old Krypton. Not that execution is better than permanent banishment, but Zod at the end of the movie presents an immediate threat and Superman is willing to take the necessary, </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">direct</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> action. This contrasts with the Kryptonian council that takes indirect action with Zod and they don’t take any actions at all with respect to the threat to their world.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Zod continues, saying that Jor-El was right that the council is a pack of fools. So in this way, Zod and Jor-El actually see some of the same flaws in the Kryptonian system, even though they differ dramatically in how they want to fix those flaws. Zod then moves over toward Lara for a more personally dramatic moment. “You think your son is safe? I will find him. I will reclaim what you have taken from us.” So this line shows that Zod, per his programming, is still fixated on trying to save Krypton using the codex, and it previews the remainder of the main plot. But he also accentuates the personal dimension of that plot, with the unresolved battle between Zod and the House of El, with Zod yelling multiple times for effect, “I will find him!” Lara stands strong but this must be worrisome because the safety of her son out in space must be constantly on her mind. And you can see tears swell up in her eyes as she thinks about her vulnerable baby boy out there all alone. As for Zod, Sam especially likes the voice crack from Michael Shannon on the final line, making it more memorable and showing him to be a bit more unhinged.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Zod and his loyalists are engulfed in a black ooze-like substance encased in a crystalline shell that looks like ice. The icy look helps the audience to understand the concept of being frozen without needing to grasp the details, fictional or not, of being in stasis. They are then encapsulated in pods which look remarkably like male genitalia. Zack Snyder has jokingly commented that there are many reasons for their appearance. But we can glean from the rest of the film’s allusions that Superman is a child of two worlds, Krypton and Earth, and that Krypton is his symbolic father that has sent its seed to Mother Earth to nourish and birth Superman. Additionally, these pods are also the physical manifestation and representation of Kryptonian society’s machismo that has led to their demise. It could even be a social commentary on how men are leading our planet to its demise which would be ironic for those who accuse Zack of objectifying women, most recently with the Amazons’ costumes in Justice League.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The pods launch upwards into the ship’s cavity. Once securely inside the Black Zero, an elaborate launch is initiated which helps to convey the power of the ship. Given its formidable nature, Sam points out that it seems odd they would send the Black Zero into the Phantom Zone as well wondering if they couldn’t have sent a less valuable ship with the prisoners on board. While we don’t have enough information to really assess the reason for this, we can always speculate. It could be anything from respecting Zod’s position in the military guild given their adherence to customs and tradition, to requiring the shielding of such an advanced ship to protect the prisoners in the harshness of the Phantom Zone’s environment.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The Phantom Zone has been depicted in various ways over the years. The design used in Man of Steel, while different from the flat, 2D glass plane of the Donner films, still keeps that 2D geometric sensibility here, though now it’s the portal that is a 2D triangle, rather than them actually being stuck in a 2D shape. The prodding tentacles of the Phantom Zone projector embody an organic element which is ironic given the practically lifeless state the Zone’s prisoners are subjected to. But it is an interesting concept and one could presume that these tentacles are either imbuing or coating the ship with some kind of energy for it to exist in the zone, or more likely they detect the shape and size of the object entering the Zone in order to know how large of a portal to open to keep it stable. After all, as Zod offhandedly remarked, they are essentially being sent into a blackhole which is like an unstable vacuum. And we actually see such a singularity, as Emil Hamilton describes, later when the two phantom drives collide, sending Zod’s men into the Phantom Zone.</span></div>
<h3 dir="ltr" style="line-height: 1.38; margin-bottom: 4pt; margin-top: 16pt;">
<span style="background-color: transparent; color: #434343; font-family: "arial"; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">End of Episode:</span></h3>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">That’s our analysis of Scene 8 of </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">. Next we have the destruction of Krypton and the final scene of this extended prologue.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Thank you for listening. You can find bonus content on our patreon site and you can also support the show at patreon.com/JLUPodcast.</span></div>
<b> </b>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-63952049267548384852020-05-28T06:45:00.002-07:002020-08-16T09:48:35.552-07:00Birds of Prey CommentarySam and Rebecca provide audio commentary <i>Birds of Prey</i>, directed by Cathy Yan.<br />
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<b><a href="https://www.patreon.com/JLUPodcast" target="_blank">https://www.patreon.com/JLUPodcast</a> </b>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com2tag:blogger.com,1999:blog-5935799542324632108.post-66592060701753246142020-05-24T19:16:00.005-07:002020-05-24T19:25:14.795-07:00Zack Snyder's Haters are the Villains of his DC MoviesZack Snyder was the director of the first film in the Warner Brothers DC film universe, 2013's <i>Man of Steel</i>, and he followed that up with <i>Batman v Superman: Dawn of Justice </i>(2016) and the tumultuous production of <i>Justice League</i> (2017). One thing that has been very clear about all three films is that they have been incredibly divisive. There have been endless arguments over the Superman suit and Zod's snapped neck and so much more. There were massive splits between the critical reception and a passionate fanbase. It all culminated in a multi-year struggle over the creative direction of the trilogy's final installment.<br />
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The real-world battles that have constantly surrounded Zack Snyder's DC films are almost as dramatic as a movie script. Which makes it fitting that the real-world controversies were actually all presaged and built in to the movies themselves, and in each case Snyder's haters and critics have unwittingly sided with the movie's villains.<sup>1</sup><br />
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<a name='more'></a><h3>
MAN OF STEEL: Opposing the Freedom of Choice</h3>
<h4>
The Film</h4>
Krypton is a doomed planet due to the unsustainable harvesting of non-renewable energy. But Kryptonians are also presented as a doomed culture because of their artificial breeding program and, most importantly, their overly-prescriptive roles for citizens. On Krypton, people are made based on a plan and a pre-defined destiny for each individual.<br />
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The film, through the characters of Zod and Jor-El, sets up that thematic dilemma between predetermination and choice. Kal-El / Superman then becomes the character who has to navigate the dilemma. He has to face several difficult choices throughout <i>Man of Steel</i>, such as when to reveal himself, whether to save his human father or trust in his judgment, whether to surrender himself to humanity, whether to save his birth planet or his adopted one, and whether to kill General Zod or run the risk of him destroying the entire planet.<br />
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These are all tough choices, with no clear answers, and we see through Clark Kent that part of the burden of having a free will is that you can second-guess yourself and have to live with guilt because you aren't sure that you made the right choice. We also see how important it is to seek counsel, as Clark does from Martha Kent, Lois Lane, and Father Leone.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVKUrU8Jhyl4bSEDMlg9g1KrIQkkj5n7xiFu5Br8nouFBjUpgqjQX9IvhfmcNNFhq8d3Ki-8ownE1mxukWOuGxrCv2P0XTzuaPHP7VsS6qeaEmyBQf8r0YfCIrrdd7iXTfsPJh4zQwjxN6/s1600/Snyder_movie_villains_MoS.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVKUrU8Jhyl4bSEDMlg9g1KrIQkkj5n7xiFu5Br8nouFBjUpgqjQX9IvhfmcNNFhq8d3Ki-8ownE1mxukWOuGxrCv2P0XTzuaPHP7VsS6qeaEmyBQf8r0YfCIrrdd7iXTfsPJh4zQwjxN6/s400/Snyder_movie_villains_MoS.png" width="400" /></a></div>
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<i>Man of Steel</i> is an origin film about the importance of choice, and for a superhero like Superman, just as for all of us, we become who we are by navigating those choices and learning to live with the consequences, which can include the fallout of others disagreeing with our decisions.<br />
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<h4>
The Real-World </h4>
The loudest and most sustainable criticism of <i>Man of Steel</i> has been that it's "not my Superman." Many people rejected the serious tone that departed from the playful banter and gags from the Donner/Reeve Superman films of the 1970s and 1980s. <i>Man of Steel</i> was also a departure from the Reeves television show and the silver age of the comic books when a large part of the adventures was Superman's predilection for preserving his secret identity. In <i>Man of Steel</i>, Lois Lane uses her investigative skills to fairly quickly determine who Clark was, and then Clark was presented with the choice of whether to trust her or not. Other fans leveled more specific complaints about <i>Man of Steel</i> based on versions of the character in animation or other eras of the comic books (his specific power sets, his suit, the Kryptonian history, the reinterpretation of the Fortress of Solitude, etc.).<br />
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Many people also criticized specific choices that Superman made in <i>Man of Steel</i>. They said that he would never have let Jonathan Kent die in the tornado, or he would not have conducted the Metropolis fight in the way that he did, or he never would've killed General Zod at the end. They are missing the point that difficult choices, by definition, are going to lead to people disagreeing about what the correct course of action should have been.<br />
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What all of these criticisms have in common is that they are based in the idea that Superman should be a certain way. He should look a certain way and he should definitely behave a certain way.<sup>2</sup> Thus, these critics and haters of <i>Man of Steel</i> are attempting to prescribe a certain existence for the character, and because this is what they think "my Superman" should be, they reject any changes and they think that any future iterations or different interpretations of the character are illegitimate. By wanting to pre-define Superman as either the Christopher Reeve version or the Animated Series version or whichever it may be, these <i>Man of Steel</i> haters are essentially taking General Zod's side by removing the freedom of choice from Kal-El, or from the film's creators as it were.<br />
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<h3>
BATMAN V SUPERMAN: Joining a Prejudiced Public Narrative</h3>
<h4>
The Film</h4>
A contemporary version of Lex Luthor is the villain of <i>Batman v Superman: Dawn of Justice</i> and rather than having henchmen hired to do his bidding or a nefarious business deal going on in the background, a large part of his plot in the film involves manipulation. He manipulates the information that is provided to Clark Kent, he manipulates Bruce Wayne's emotions, and he orchestrates multiple large-scale manipulations of the public narrative around Superman in particular and meta-humans in general. Lex understands that once a crack forms in a popular persona, or a conspiracy theory starts to take hold, media and person-to-person sharing can take over and gain unstoppable momentum. And negative stories, such as an out-of-line former darling like Superman, are especially potent among the masses.<br />
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A strong theme of the film is that it is dangerous to pre-judge others without all of the information, and especially if one has never considered the other's point of view. Yet, it is a part of human nature to rush to judgment and to fail to consider multiple perspectives. It takes real effort to fight against those fear-based, prejudicial urges. But we must do so. As Senator Finch says in the film, "How do we determine what's good? In a democracy, good is a conversation, not a unilateral decision." <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi295XkzngJ5o13JM5X1ABVAAqR0GLobywU_r_0UMkI-aDXh84xOGMMHv1rV1-BE78m6uw4QTsVDFkIZmyA6Kd4jpBkHKiSdwmeqAz9DYhsoytYSTY2hfk0Sb39NM51YiK8Uwkq3mda_djf/s1600/Snyder_movie_villains_BvS.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi295XkzngJ5o13JM5X1ABVAAqR0GLobywU_r_0UMkI-aDXh84xOGMMHv1rV1-BE78m6uw4QTsVDFkIZmyA6Kd4jpBkHKiSdwmeqAz9DYhsoytYSTY2hfk0Sb39NM51YiK8Uwkq3mda_djf/s400/Snyder_movie_villains_BvS.png" width="400" /></a></div>
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Throughout the film, key characters illustrate this theme. Superman and Batman, for much of the film victims of tunnel-vision, eventually come to recognize the humanity and motivations of the other. Lois Lane sets an example for what it means to seek out complete information rather than rushing to judgment. Villains, on the other hand, do not learn these lessons. Lex Luthor stays stubbornly stuck in his ways, literally refusing to see things any other way but his own, pre-judged, misotheistic perspective. Wallace Keefe is a more tragic character but is also one who gets swallowed up in his negative perspective on Superman. Even Batman teeters on the edge of becoming a villain himself, precisely because he has pre-judged Superman, and is redeemed when he has his moment of realization that Superman has a humanity just like his own.<br />
<br />
<i>Batman v Superman: Dawn of Justice</i> makes the larger point that you can not only save yourself and improve your own experiences by considering others' perspectives, but by doing so you can also be part of efforts to save the world.<br />
<br />
<h4>
The Real-World </h4>
Several levels of pre-judgment occurred around the release of <i>BvS</i>. One segment of the population had already formed opinions about Zack Snyder's work based on prior films or a general reputation. People assumed <i>BvS</i> would be exclusively visual, overblown with action, and reeking of toxic masculinity. Nevermind that it was penned by a master of literature and an Oscar winner, with deep themes and connections to Snyder's knowledge of art history, and includes a commentary on the dangers of misguided masculinity.<br />
<br />
Others quickly based their judgment of the film on "critical consensus." Many critics were stuck in the perspective of superhero films having a certain tone and formula, and they marked down <i>BvS</i> for its serious subject matter and for it's <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwjDt5Xr8s3pAhVAl3IEHWxnDagQFjAAegQICBAB&url=https%3A%2F%2Fpulpklatura.tumblr.com%2Fpost%2F141843209469%2Fbatman-v-superman-the-modern-revenge-tragedy&usg=AOvVaw1argcrhfWOfPRaf5Ft6CQi" target="_blank">deviation from the three-act structure</a>. People also couldn't help but compare it to other cinematic universes and they judged it to be too soon for a team up, regardless of the <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwilkb-08s3pAhWdoHIEHefyCGUQFjAAegQIARAB&url=https%3A%2F%2Fwww.manofsteelanswers.com%2Fthe-dccu-is-not-being-rushed%2F&usg=AOvVaw3RogijGqbBYGQL_u5ct8BF" target="_blank">facts about the DC universe's development</a> and <a href="http://comicandscreen.blogspot.com/2017/03/jlu-scene-by-scene-batman-v-superman_10.html" target="_blank">goals</a>.<br />
<br />
There also was a certain amount of cultural judgment that was taken-as-shared. In 2016 and 2017, <i>BvS</i> became the butt of jokes such as the "Martha moment" (based on a surface-level reading of a <a href="http://comicandscreen.blogspot.com/2016/10/jlu-scene-by-scene-batman-v-superman_26.html" target="_blank">multi-layered scene</a>) or the idea that Batman and Superman were fighting for no reason (even though there were <a href="http://comicandscreen.blogspot.com/2016/10/jlu-scene-by-scene-batman-v-superman.html" target="_blank">practical and thematic reasons</a>). One of the most frustrating things that I experienced was multiple people in person and online who poked fun at the movie, but when I said that I actually really liked <i>BvS</i>, they admitted that they actually hadn't seen it but just had heard that it wasn't good.<br />
<br />
In these various ways, people pre-judged <i>Batman v Superman</i> or were unwilling to try to adopt a different perspective than they started with, failing to view the movie with the goal of receiving what the creators were putting forward. They also fell victim to a negative narrative that, once it took off, gained momentum through entertainment media, social media, and personal interactions. It's not that everyone, if they gave the film a chance, would necessarily love it. But if the don't give it a chance at all, then they're definitely not going to appreciate it. And for some of them, if they were willing to open themselves up to what the creators were trying to communicate, they may have found meaning and reward in the conversations that can follow.<sup>3</sup><br />
<br />
<h3>
JUSTICE LEAGUE: Exploiting a Tragedy to Tear Down What's Built</h3>
<h4>
The Film</h4>
In <i>Justice League</i>, the iconic hero, Superman, has fallen in tragedy and the world is in a dark place. A vast array of ills has plagued the globe; turmoil abounds and optimism wanes. The fear mongering and violence that accompanies this downward turn has led to a great deal of disunity amongst humanity.<br />
<br />
Recognizing the disunity as an opportunity, the invader, Steppenwolf of Apokolips, returns to Earth to try yet again to conquer it. He wishes to lay waste to everything that has been built on Earth and turn the planet into a hellscape like Apokolips, readying the terrain for his overlord, Darkseid.<br />
<br />
The film explores the <a href="http://comicandscreen.blogspot.com/2017/11/themes-and-characters-in-justice-league.html" target="_blank">theme of disunity and fear</a> leading to death and destruction, whereas collaboration and friendship can be a way to push forward and find rebirth even from a low point.<br />
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<h4>
The Real-World </h4>
Thankfully there is a <a href="https://www.podomatic.com/podcasts/jluniverse/episodes/2020-05-24T10_37_54-07_00" target="_blank">happy ending</a> to this real-world story, but in the case of <i>Justice League</i>, the enemies of the Snyder's film were various executives at Warner Brothers. They saw a personal tragedy in the Snyder family as an opportunity to push for changes in the movie. In response to the negative narratives discussed above and guided in part by fear of what was to come with a buy-out from AT&T, they initiated a substantial change in the film, changing it from what the original creative team intended to something that was more light-hearted, more formulaic, and fitting within a tight time constraint.<br />
<br />
Theses decisions to try to remake the film into something else entirely led to substantial disunity among the cast and crew, as well as disunity and despair among various fans. Even though the executives thought they were changing things for a more mass appeal, the loss of enthusiasm and the mixed visual results led to a disappointing box office performance.<br />
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However, the happy ending did come about, and it came from dedicated collaboration and positive efforts such as calls for creative integrity and support of <a href="https://afsp.org/" target="_blank">worthy causes</a>. In 2021, on <a href="https://www.hbomax.com/" target="_blank">HBO Max</a>, there will be a rebirth, even from tragedy. As in the film, unity can defeat the villain.<br />
<br />
<i>Sam Otten is the host of the <a href="http://jluniverse.podomatic.com/" target="_blank">Justice League Universe Podcast</a>, analyzing the DCEU films scene-by-scene. He previously spoke about the real-world connection to </i>Man of Steel<i> when he was a guest on the <a href="https://dccinematicminute.libsyn.com/man-of-steel-minute-48-the-embodiment-of-choice" target="_blank">DC Cinematic Minute podcast</a></i>.<br />
<br />
<span style="font-size: x-small;"><sup>1</sup> This phenomenon also applies to Snyder's film <i>Sucker Punch</i> (2011)<i> </i>as many detractors of the film failed to realize that they were presuming an objectification of women that was precisely what the film was critiquing. See, for example, the <a href="https://thebottomline.as.ucsb.edu/2011/04/%E2%80%98sucker-punch%E2%80%99-a-feminist-perspective" target="_blank">Bottom Line article</a>.
</span><br />
<span style="font-size: x-small;"><sup>2</sup> It wasn't just Superman. Critics of MoS also had things to say about the look and behavior of Lois Lane, the race of Perry White, and the behavior of Jonathan Kent.</span><br />
<span style="font-size: x-small;"><sup>3</sup> Indeed, several people did find redemption, so to speak, by giving the
film a second chance with the Ultimate Edition. And I am proud to say
that more than a few also found new appreciation for the film by taking a
new perspective via our <a href="http://comicandscreen.blogspot.com/p/scene-by-scene-analyis-of-batman-v.html" target="_blank">analysis on the JLU podcast</a>. </span>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-53749837389133235932020-05-21T06:04:00.003-07:002020-05-23T06:23:05.325-07:00JLU Scene-by-Scene: Man of Steel Scene 7This episode of the <a href="https://jluniverse.podomatic.com/">Justice League Universe podcast</a> focuses on Scene 7 (Zod confronting Jor-El on Krypton) of <i>Man of Steel</i>, directed by Zack Snyder.<br />
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<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9745493?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
<ul>
<li>Jor-El's Battle Armor</li>
<li>Visual framing of Jor-El and Zod</li>
<li>Zod and thematic "heresy"</li>
<li>Jor-El fights Zod</li>
<li>Lara rejects Zod's appeal</li>
</ul>
<br />
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<br />
<Transcript below><br />
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Welcome, fans of <i>Man of Steel</i>. My name is
Sam. In this podcast, myself, along with Alessandro Maniscalco, Rebecca
Johnson, and Nick Begovich, work together to analyze the DC Films produced by
Warner Brothers studios. You can follow the show on twitter @JLUPodcast.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">In this episode, we are focusing on Scene 7 of <i>Man
of Steel </i>which is the second meeting of Zod and Jor-El in the film, this
time in Jor-El and Lara’s Citadel, just before the escape pod is launched.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Like we mentioned in the last episode, the last
scene ends and this scene starts with Jor-El coming out of a downward stream of
energy and steam, foreshadowing a climactic scene that his son will play out
later in the movie. In both cases, the El men are making heroic efforts to save
their worlds. And in both cases they are depending on others, particularly
their women partners, to be helping in the background.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Jor-El is wearing gold-colored, medieval-looking
body armor designed to be worn over the standard Kryptonian wear. It also
features the house symbol on the chest, as a nice bit of world-building that
sets the stage for the iconic suit to show up later. As for the color gold,
it’s associated with illumination, love, compassion, courage, passion, and
wisdom: all traits exemplified by Jor-El, so it seems fitting that his armor
should be this color.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">We've already talked a little in episode 2 about
the Kryptonian garb, including mentioning Wilkinson's desire to incorporate
biomorphic lines and a worn, oily quality to the ceremonial armor. This is
especially evident in Jor-El’s battle armor. And of course Zod and his men have
an almost steampunk quality to their suits, reminiscent of the Fallout video
games. Keith Christensen, concept artist for the Kryptonian armor, said this in
an interview: "The hardest part was working out the Kryptonian 'look'. The
costume designer [Michael Wilkinson] kept pushing for something strange and
different, while referencing 16th century armor. He wanted a future/past blend
that felt both alien and historical. You needed to feel like there was a culture
behind the decadence… a real sense of history. After hearing that Art Nouveau
was influencing the art department, I introduced the costume designer to the
decorative motifs of Louis Sullivan, an early twentieth century architect that
was a contemporary of Frank Lloyd Wright."</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">In this first part of the scene, as Jor-El and
Zod approach each other for another confrontation following the earlier one in
the council chambers, we see that Zack Snyder has decided to frame Jor-El and
Zod very similarly. The characters are placed on the left third of the screen
and in the foreground, and both of them have others in the background on the
right. So this similar framing emphasizes that they are equal in stature, as a
leading scientific mind and a leading military mind on Krypton. And they are
continuing their showdown of ideas about how best to save Krypton. But the
visual presentation here also hints at a key difference in their leadership
style --- behind Zod he has his minions, standing still, subservient and
awaiting orders. Whereas behind Jor-El, we see his partner, Lara, who has
already been instrumental in choosing the world and preparing the flight, plus
of course giving birth to the child -- the boy child -- and Lara is working
even now, and she will be crucial in just a few moments when she makes her own
decision to launch the pod. She has agency and her own will, which connects to
an important theme of the movie and is also something that Jor-El respects, and
which is much different than Zod’s relationship with his lieutenants.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">As shown in Scene 4, Zod’s men saw Jor-El taking
the Codex. Zod here acknowledges this by saying that he knows Jor-El “stole”
the Codex. His choice of words is interesting because when Kel-Ex warned Jor-El
that breaching the genesis chamber is a punishable Class B crime, Jor-El
responded by saying no one cares anymore because the world is coming to an end,
and yet Zod does care and acknowledges Jor-El’s crime. Zod, to some extent, is
clinging to his rigid order and his rigid ideas rather than evolving with the
situation as Jor-El is doing. As we saw in the council chamber, Zod has
mutinied and claimed himself as would-be ruler, imposing his own militant laws
on Krypton now. He offers Jor-El his life in return for surrendering the Codex
to him, but that’s not something in his power to offer given the coming end of
life for them all.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Jor-El tells Zod that Krypton has a second
chance, and condemns Zod’s desire to play God by choosing which bloodlines have
the right to live. Of course, this becomes ironic later in <i>BvS</i> when Lex
argues that this is exactly what Superman does when he chooses who to save and
who not to save. But here in <i>Man of Steel</i>, we are seeing an emphasis
being built up on the importance of Kal-El as carrying the hopes of Jor-El and
indeed Krypton for a better future, an idea that his mother will also voice
right before she dies.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Zod replies to Jor-El, asking “What have you
done?” He can only guess that Jor-El has done something like putting the Codex,
the source DNA for Kryptonians, into baby Kal-El. <i>BvS</i> parallels this by
having Jor-El’s son, Kal-El, say to Lex Luthor, “What have you done?” after Lex
put his own DNA into Zod to create Doomsday.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Jor-El finally confesses to someone that he and
Lara have had a child through natural birth, which goes further to inform us,
the audience, that Kryptonians have been strictly bred artificially via the
genesis chambers. And it gives a bit more context to the opening scene of
Kal-El being born, and the pain Lara must have experienced on a planet
ill-prepared for the labor of natural childbirth.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">It’s also significant that Jor-El says his boy
child will be free. “He will be free, free to forge his own destiny.” With this
quote, Jor-El ties two important themes together. We have Kal-El, naturally
conceived as an embodiment of the theme of the natural versus the artificial --
a theme addressed in great depth by the Man of Steel Answers podcast -- and
there’s also the theme of freedom of choice. Kal-El won’t be assigned a role in
Kryptonian society as is their way, nor will he be under anyone’s authority on
Earth, due to his god-like abilities. Kal-El will have a chance to make choice
in determining his own path, and Jor-El places a great deal of hope into that
prospect. Had we seen Zack Snyder’s full Justice League story come to fruition,
it would have been interesting to see the thematic connection of Superman in
fact not being free, but under the control of Darkseid through the use of the
anti-life equation.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">But here in <i>Man of Steel</i>, upon hearing
these thematic ideas from Jor-El, Zod is having none of it. He is physically
angered by the mere thought of these things and calls it “heresy.” This is a
subtle nod to the religious overtones in this Superman arc and General Zod,
whose sole purpose is to preserve Kryptonian life and culture, see it as heresy
because they are counter to the ways in which Krypton has operated for so long.
Again, Zod is not able to adapt or evolve from the traditional order of things,
nor to accept a lack of control. He orders his men to destroy baby Kal-El’s
ship to put a stop to it and to claim the Codex for his own. Jor-El was
prepared for conflict and uses some kind of energy-based rifle to shoot Zod’s
soldiers. The weapon has a nice visual effect of particles lingering in the
projectile’s wake, suggesting the blast may leave behind a residue or affect
the particles around it as it passes through the air. Zod attacks Jor-El and
the two get into a scuffle which results in Jor-El’s weapon cutting a big gash
on Zod’s face that will leave a scar, creating a distinct look for the character
throughout the rest of the film and even into <i>BvS</i> with Doomsday. The
scar for Zod must also serve as a constant reminder of Jor-El’s heresy and of
Zod’s failure to, as he sees it, save Krypton.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">The fight between Jor-El and Zod continues and
intensifies. And this is a subtle way of revealing the flaws with their job
system of governing, as Jor-El, the scientist, completely out matches Zod, the
warrior, who only lands one sucker punch at the start of the brawl. It could be
viewed as undermining Zod’s threat level as a fighter, which of course matters
quite a bit later in the movie, but it is nevertheless plausible that Jor-El
could get the upper hand in a fight. As far as we know, many people on Krypton
might train in hand-to-hand combat, including Jor-El it would seem, and just
because Zod is a general and a leader does not mean that he is necessarily the
best solo fighter. His emphasis might be broader tactics and strategies.
Although it’s still fair to say that Zod’s military training puts him well
ahead of Superman’s formal fighting abilities later.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">A fun thing to note at the end of this fight is
that it results in Zod kneeling before Jor-El. And as Jor-El and Zod were
fighting, Lara had continued forward with the launch. Zod, having lost the physical
fight, now tries to appeal directly to Lara, telling her that the Codex is
Krypton’s future and orders her to abort the launch. Later on Zod will
similarly entreat Superman not to destroy the scout ship as it will doom
Krypton. Both mother and son make the same decision to oppose Zod and Krypton
because, as Superman puts it, Krypton had its chance. Lara acted to protect her
son while Superman acted to protect humanity. And Lara is siding with Jor-El’s
version of how to save Krypton, hoping for a “better world,” as she will put it
in her final scene.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Lara launches the ship, and as they look up to
watch it depart, Zod yells with rage before extending his blade and stabbing
Jor-El. This, of course, is echoed in <i>BvS </i>when a reanimated Zod/Doomsday
similarly stabs Kal-El, killing him. And I must say that this is one of the
many times where I really love Michael Shannon’s intensity. His yell of “Noooo”
plus the look on his face gave me an early indication that he was going to be a
great villain. Also, this yelling in agony on his knees at what he thinks is
the end of his species’ future, has an echo later when Superman yells in agony
at the end of the movie, having killed the person he presumes to be the last of
the Kryptonian species besides himself. Lots of great foreshadowing in this
prologue sequence.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">This moment with Zod also reveals that he’s
losing his grip. There was no longer any point in killing Jor-El in that
moment. The pod was already launched, so it was just an act of impulse and
anger, not a logical action. And it makes sense that he might lose it, because
his world and his belief system is literally crumbling all around him. It is
taking someone who maybe used to be a respectful if disagreeable person, and we
are now seeing him become that monster that Jor-El referred to.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">And by the way, I think that was a great stunt
with Jor-El falling back and hitting his head. I’ve always loved that moment --
it just really stood out to me from the start as something that makes me
shudder and almost makes the back of my head hurt. And after Jor-El falls to
the ground, Lara runs to his side just as Lois will with Superman in <i>BvS</i>.
Zod then asks Lara where she has sent her son. This is the first we hear of his
name as she responds that his name is Kal, son of El. She adds that he is
beyond your reach because she assumes Zod won’t be able to catch or find him in
the far reaches of space to where she has sent him. This is taken as a personal
challenge to Zod and of course a harbinger of the plot of the rest of the
movie. And even though Lara says he’s beyond Zod’s reach, as we will later see,
Zod <u>is</u> able to physically find him, but Kal will still be beyond Zod’s
reach in terms of being a better man and something greater than Zod could ever
hope to be.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">For fear that Lara is right, Zod acts quickly
ordering his men to bring the ship down before it gets away. One of the ships
climbs up into the air and locks onto baby Kal’s ship, giving us another
interesting look at how Kryptonian technology displays three-dimensional images
by showing a radar display. However, before they can shoot at Kal’s ship, the
military aircraft is shot down by the serendipitous arrival of Kryptonian
forces who surround Zod and his resistance, ordering them to lay down their
weapons. And by the way, I really appreciate how clearly they filmed that
explosion in the sky, making it obvious to the audience that it was Zod’s ship
that was destroyed and that the pod was still safe and made it’s jump out into space.
Action movies with less skillful directors can often muddle these moments
visually and audiences have to pick it up later or just try to infer what
happened.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">As the scene ends, we have a vengeful-looking
Zod glancing up at the ships with the shot showcasing the cut to the side of
his face. And the scene transitions with the blinding light shining at Zod from
the hovering vessel.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: #434343; font-family: "arial" , sans-serif; font-size: 14.0pt;">End of Episode</span><b><span style="font-family: "times new roman" , serif; font-size: 13.5pt;"></span></b></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">That’s our analysis of Scene 7 of <i>Man of
Steel</i>. It’s an important moment in the Superman mythos, with baby Kal-El
rocketing out to safety from the doomed planet Krypton. Superman, this child of
two worlds, has left Krypton the father -- a metaphorical seed released into
space, on its way to find mother Earth.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;"><br />
</span><span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Thank you so much for listening and for your
patience with us as we get back into this analysis. We will continue in <i>Man
of Steel</i> with the trial of General Zod. You can find bonus content on our
patreon site and you can also support the show and help kick us into gear by
donating at <a href="http://patreon.com/JLUPodcast">patreon.com/JLUPodcast</a>.</span></div>
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<![endif]-->ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com2tag:blogger.com,1999:blog-5935799542324632108.post-12955999557439055672020-04-21T07:01:00.002-07:002020-05-23T06:23:17.152-07:00JLU Scene-by-Scene: Man of Steel Scene 6This episode of the <a href="https://jluniverse.podomatic.com/">Justice League Universe podcast</a> focuses on Scene 6 (Zod attacks the citadel) of <i>Man of Steel</i>, directed by Zack Snyder.<br />
<br />
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9715854?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
<br />
<ul>
<li>Ships silhouetted against the Kryptonian sun
</li>
<li>Jor-El's battle armor</li>
<li>Lara and Kryptonian technology</li>
<li>Zod as General</li>
<li><i>Apocalypse Now</i></li>
<li>El's in beams of steam and light</li>
<li>Faora</li>
</ul>
<b></b><br />
<b>Follow @JLUPodcast on twitter</b><br />
<b>Support the <b>show at <a _mce_href="https://www.patreon.com/JLUPodcast" href="https://www.patreon.com/JLUPodcast">https://www.patreon.com/JLUPodcast</a></b></b><br />
<b>Special thanks to @PrimeEarthMook</b><br />
<br />
<Transcript below><br />
<div dir="ltr" id="docs-internal-guid-749b9c8c-7fff-2f63-b7e2-8ed3094eff28" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Welcome, fans of <i>Man of Steel</i>. My name is
Alessandro. In this podcast, myself, along with Sam Otten, Rebecca Johnson,
Sydney, and Nick Begovich, work together to analyze the DC Films produced by
Warner Brothers studios. You can find us on twitter @raveryn, @ottensam,
@derbykid, @wondersyd, and @JLUpodN. And you can follow the show @JLUPodcast.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">In this episode of our <i>Man of Steel</i>
Scene-by-Scene analysis we take a look at Zod’s attack on the Citadel as baby
Kal-El is getting ready to take off. We start with a beautiful shot of
silhouettes against the Kryptonian sun to establish the threat.<span style="mso-spacerun: yes;"> </span>At first they look like birds. And at
second glance they look like planes.<span style="mso-spacerun: yes;"> </span>But
they aren’t Superman.<span style="mso-spacerun: yes;"> </span>They are 5 attack
ships in formation coming for the Codex. </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">In response to the threat at present, we see
Jor-El suiting up in battle armor in a very cool way as he stands with arms
spread allowing the armor to cover him. The sound design is really cool
here, futuristic in nature, of the armor clasping and changing to wrap around
him.<span style="mso-spacerun: yes;"> </span>A light shines on Jor-El bodysuit
revealing its bluish hue and redish S shield. We get a very different
look on Jor-El here looking toward us, serious and ready for battle.<span style="mso-spacerun: yes;"> </span>He has a kind of bloodlust look in his eyes
which is understandable given Zod’s attack threatens the survival of their race
and, more importantly, his son.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">That Jor-El has armor at the ready suggests he
was either prepared for a potential siege on the Citadel, or it is normal for
Kryptonians to have a set of battle armor. While it would make sense for
Zod and Faora to have armor as part of the military guild, Jor-El theoretically
would have no need for armor.<span style="mso-spacerun: yes;"> </span>Yet he
puts on battle armor in preparation for Zod’s assault over his suit which
appears to be the base for Superman’s costume except with a black “S”
shield. It seems to be almost like a second skin for Kryptonians worn
under their attire.<span style="mso-spacerun: yes;"> </span>These close up shots
give us a great look at the glyphs representative of the House of El.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Lara hurriedly operates the computer in a very
interesting way. Rather than a keyboard like we use, there seem to be
grooves paralleling the lacerations on the planet where Kryptonians rub their
fingers in different places. Certainly more ergonomic than a QWERTY.<span style="mso-spacerun: yes;"> </span>Lara looks up and we follow her attention to
the pod which rotates and is aimed upward toward the sky.<span style="mso-spacerun: yes;"> </span>There are S shields along the wall meaning
this Citadel is most likely a property of the House of El as opposed to being
government run. It is clearly Jor-El and Lara’s home.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Kelex informs Lara that the Phantom Drives are
coming on line. This gives us additional insight into their
technology.<span style="mso-spacerun: yes;"> </span>In addition to insight about
their technology, we also get a bit of insight about their living
quarters. Rebecca points out that what appears to be Jor-El’s closet of
sorts has insect-like or larvae-like features which harkens back to the design
of the Kryptonian ships. For a cold race, they do borrow quite a bit from
nature.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">As the five ships approach the Citadel, their
blue lights serve as a nice color contrast to the brown and yellow tones of the
desolate Kryptonian landscape. Zod commands his men to concentrate fire
on the main door.<span style="mso-spacerun: yes;"> </span>We happen to like
seeing General Zod here acting as a General as he barks orders at his men.<span style="mso-spacerun: yes;"> </span>It helps sculpt the character’s personality
by instilling his military background. We get a better look at the
maneuverability of these ships as they practically stop on a dime and hover in
front of the main door before opening fire and blasting a hole in it.<span style="mso-spacerun: yes;"> </span>There are bursts of blue flame as the blasts
hit the door.<span style="mso-spacerun: yes;"> </span>This could either be a
result of the extreme temperature, or the color effect from the red sun.
Before the main door is a plateau with a large glyph.<span style="mso-spacerun: yes;"> </span>Presumably this is a landing pad and the
glyph may be a symbol for that, akin to the “H” we use on helipads.<span style="mso-spacerun: yes;"> </span>The door is destroyed very quickly, but
before it is we see a shot of it from the inside and it is covered with another
large glyph. @Rachelyoubish on twitter has been studying the Kryptonian
language developed by Christine Schreyer for this film and this is what she was
able to make out of this glyph on the door. <b>“</b></span><b><span style="color: #14171a; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">So upon further study I found out that the door has the same
script of the Man of Steel soundtrack cover so that clears up a lot of things,
and from this I got... d͡ʒæn nun nɛdɛv. tɛks guɹ. All I know from this is
guɹ = 'are' and as I said before d͡ʒæn = 'Light'.”<span style="mso-spacerun: yes;"> </span></span></b><span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">We mentioned in Scene 3
the symbolism of light and its connection to Jor-El. Here, Zod destroying
the door is symbolic of trying to destroy the light of Krypton, and the hope
found in Kal-El.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">SAM: Some additional symbolism that we want to
explicitly mention for this scene is the idea of Krypton as the father of superman,
the counterpart to mother Earth for the hero who is born and raised of two
worlds. The citadel as depicted in the exterior shot in this scene can be
interpreted as quite phallic, as are other objects in this Kryptonian prologue.
Moreover, the escape pod that is cradling baby Kal can be viewed as sperm,
eventually planting that life on mother Earth. As we’ve mentioned before, this
full thematic development was covered on YouTube in the video called a thesis
on <i>Man of Steel</i>, by Reel Analysis.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">And while we’re drawing in ideas from other
admirers of the film, we have two things from our good friend Omesh, aka
@PrimeEarthMook on twitter. He noticed at the very beginning of this scene that
Zod’s attack fleet, silhouetted against the big reddish sun, is likely an
homage to the classic poster for <i>Apocalypse Now</i>, directed by Francis
Ford Coppola. There is the striking visual parallels, and there are also some
possible thematic parallels as Coppola tried to explore the ultimate madness
and destruction that is the eventual extension of wars and Snyder shows with
this Kryptonian allegory the madness and destruction that ultimately results
from a civilization assuming it can exert total dominance over its environment.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="border: none 1.0pt; color: black; font-family: "arial" , sans-serif; padding: 0in;"><img alt="https://lh4.googleusercontent.com/G9JVMKdg5k-bVvkIryF4WSUjoDlH9v3t2nzFmJmoIBL0HA7hWwwVtN23kB2ms1PRjAXRmoBw6MRPo8gQDaI42VAUcas9aGlaN9pBuSuoJLU2EZ0B87f97kJbutgjlLW5XxN6DqEU" height="237" src="file:///C:/Users/ottensa/AppData/Local/Temp/msohtmlclip1/01/clip_image002.jpg" width="228" /></span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">About the sun shot, I will also just add that I
think the large relative size of the sun is very striking and nicely highlights
that this is a different planet than Earth, although it has some similarities.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Another thing that @PrimeEarthMook noticed in
this scene is at the very end. As Zod enters the Citadel, we see Jor-El
directly underneath a cascading column of light and steam. This is visually
echoed later in the film when Kal-El is directly under the beam of light and
gravitational force of the world engine. In both cases, it is a Kryptonian
technology producing the powerful force and in both cases an El is standing
underneath. For Jor-El, he is stepping forward to do what has to be done to
save the Kryptonian race and his son. For Kal-El, he is pushing his arm upward
into the blast to do what needs to be done to actually seal the fate of the
Kryptonians, but also to save humanity and his adopted world. Thanks, Omesh,
for noticing those visual parallels and giving us more to think about.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="border: none 1.0pt; color: black; font-family: "arial" , sans-serif; padding: 0in;"><img alt="https://lh4.googleusercontent.com/jU23FJcwjSp9Cnb371AE0s0qTznfr7v4VFf6_tKegrnjjcTOzqyEVIW1-jeUp3Qbl6AjsRoc81evxe0UljQVGha-xk9T7-oHidx9zQJQ-BUHBU8WCKMBeE1SjfBDShLLeHTsXGne" height="326" src="file:///C:/Users/ottensa/AppData/Local/Temp/msohtmlclip1/01/clip_image004.jpg" width="384" /></span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">The final thing that I think is worth mentioning
in this scene is that not only did we see Zod acting like a general, as
Alessandro mentioned earlier, but we also got a quick preview of the bad guys
that will of course be involved in fight scenes later. And most importantly we
got a quick moment that featured Faora. She stepped forward, setting herself
apart from the background soldiers, and she also had a speaking line. This
prologue is really not about her -- the focus is primarily on Jor-El and Zod
and also Lara, but it was still great that they could fit her in naturally,
giving us a hint that we’ll get to see more from her later on in the movie.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: #434343; font-family: "arial" , sans-serif; font-size: 14.0pt;">End of Episode</span><b><span style="font-family: "times new roman" , serif; font-size: 13.5pt;"></span></b></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">That’s our analysis of Scene 6 of <i>Man of
Steel</i>. Thank you so much for your listening and for your support of the
podcast. Coming up we’ll see General Zod and Jor-El come face to
face.<span style="mso-spacerun: yes;"> </span>As always we love to hear your own
thoughts and interpretations. Reach out to us either on twitter
@JLUPodcast or on the comment board below this episode.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman";">Thanks again for listening.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<b> </b>ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-39475928513545567242020-04-04T06:49:00.002-07:002020-05-23T06:23:27.835-07:00JLU Scene-by-Scene: Man of Steel Scene 5This episode of the <a href="https://jluniverse.podomatic.com/">Justice League Universe podcast</a> focuses on Scene 5 (Jor-El and Lara ready the escape pod) of <i>Man of Steel</i>, directed by Zack Snyder.<br />
<br />
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9698002?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
<br />
<div _mce_style="position: relative;" style="position: relative;">
<div _mce_style="height: auto;" style="height: auto;">
<div class="sc-1di2uql-0 Pjwq sc-1sp3zau-0 kvIAEs">
<ul>
<li>Capes and voice-overs in prior scenes</li>
<li>Artificial and organic</li>
<li>Selecting a destination</li>
<li>Setting the stage for Superman's powers (<a _mce_href="https://www.youtube.com/watch?v=nFJPdFWrJPE" href="https://www.youtube.com/watch?v=nFJPdFWrJPE" rel="nofollow noopener" target="_blank"><span _mce_style="text-decoration: underline;" style="text-decoration: underline;">https://www.youtube.com/watch?v=nFJPdFWrJPE</span></a>)</li>
<li>Lara's maternal instincts and correct predictions</li>
<li>"God" and Moses</li>
<li>The codex and the command key</li>
<li>Kal's first flight and Hans' musical humanity (<a _mce_href="https://youtu.be/mjKhLRphKTY" href="https://youtu.be/mjKhLRphKTY" rel="nofollow noopener" target="_blank"><span _mce_style="text-decoration: underline;" style="text-decoration: underline;">https://youtu.be/mjKhLRphKTY</span></a>)</li>
</ul>
<b>Follow @JLUPodcast on Twitter</b><br />
<b>Support the show at <a _mce_href="https://www.patreon.com/JLUPodcast" href="https://www.patreon.com/JLUPodcast">https://www.patreon.com/JLUPodcast</a></b><br />
<br />
<Transcript below><br />
<br />
<a name='more'></a><b> </b><br />
<div class="MsoNormal">
Welcome, fans of Man of Steel. My name is Sam. In this
podcast, myself, along with Alessandro Maniscalco, Rebecca Johnson, Sydney, and
Nick Begovich, work together to analyze the DC Films produced by Warner
Brothers studios. You can find us on twitter and you can follow the show
@JLUPodcast.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In this episode, we are focusing on Scene 5 which is the
last few moments that Jor-El and Lara will have with one another as they
prepare the escape pod for their son and before General Zod attacks the
Citadel.</div>
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<br /></div>
<div class="MsoNormal">
Prior to getting into Scene 5, we also wanted to mention a
couple quick tidbits about prior scenes. First of all, back in Scene 3 we
forgot to talk about Jor-El’s cape, which is a dark red and which swung around
nicely during his fight scene in the corridor. Building the capes into the
culture of Krypton is a nice way to explain its existence later as part of
Superman’s costume. With regard to Superman’s cape, it is absolutely iconic and
of course it has worked well for more than 80 years to help accentuate
Superman’s flight and his action sequences in the comic books, but it also has
its detractors such as the movie The Incredibles or people who say capes are
impractical. In Man of Steel, however, it is set up well with these design
decisions in the early scenes on Krypton and it will all come together nicely
when we get to that point in the film.</div>
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<br /></div>
<div class="MsoNormal">
The other thing we wanted to mention is about Scene 4 in the
genesis chamber. We had never noticed this before, but apparently when Jor-El
was retrieving the codex, the voice coming from the defense ship was none other
than Henry Cavill, using his natural British accent through a mechanical
amplification processor. Thanks to @splungekik on twitter for noticing that
little easter egg.</div>
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<br /></div>
<div class="MsoNormal">
But now let’s get into Scene 5, and this is a scene where
Lara Lor-Van really shines, portrayed with great emotion by Ayelet Zurer.
Having retrieved the codex, Jor-El now comes back to his family and we can see
again the contrast between what Jor-El and Lara are trying to do versus what
Krypton’s society is doing. Instead of the artificial genesis chamber, we have
the natural birth of Kal and the true biological mother there, and indeed in
this scene she will show the love and compassion of a mother. This artificial
versus organic also echoes the contrast we saw in the last scene of the
warships versus Jor-El and H’Raka. So as Jor-El eventually talks about the hope
of Krypton, we can infer that he not only means the literal person of his son
but also the hope that can come from the philosophical idea of the organic and
the natural over the artificial. And as we’ll see, that natural perspective
also includes the element of choice, as opposed to the rigid structure of the
artificial.</div>
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<br /></div>
<div class="MsoNormal">
Jor-El takes the codex---the encapsulation of Kryptonian
genetic information---and he places it into a levitational state in the center
of a machine. The codex once again emanates light as we saw in the Genesis
Chamber, suggesting that it is transmitting its Kryptonian biodata into the
machine. He asks Lara, “Did you find the world?”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s clear that Jor-El and Lara had talked previously,
perhaps extensively, about the type of world that they were looking for as a
destination for the escape pod. We don’t know exactly how specific their plans
were -- perhaps Jor-El and Lara discussed some general parameters, or perhaps
Jor-El had a very specific planet in mind and he had asked Lara to confirm its
location. He did, for example, predict that there would be a planet like Earth
orbiting a yellow star. But in any case, we see that Lara played a crucial role
in finalizing the plan for the launch to Earth.</div>
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<br /></div>
<div class="MsoNormal">
And we will also find out later that the Kryptonians did
have prior knowledge about Earth, at least from the time of the scout ships
thousands of years ago. The Kryptonians stopped space travel, but they probably
still stored the information they had and Jor-El or Lara may have accessed that
information. The Kryptonians also might have kept gathering information from
space even when they were no longer traveling and establishing new outposts, or
maybe Jor-El had his own means of gathering information from distant systems.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The prequel comic book also sheds some light on what Krypton
may have known or not known about Earth, but we’ll talk more about this when we
actually get to the scout ship.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here in Scene 5, what’s most important is that Jor-El and
Lara are clearly partners in this endeavor. And this is different than many
Superman origin stories. Usually Jor-El is solely responsible for Kal-El’s
escape, and Lara is just there to be at Jor’s side as they die with the planet.
But Man of Steel gives her a more active role, and that agency for Lara will
continue in the next scene, as well. And the idea of strong women together with
the strong men of El also continues later with a Lois Lane who discovers
Clark’s identity and joining him as a full partner both emotionally and in
saving the planet. Martha Kent, too, is an equal partner with Jonathan and she
plays a huge role in raising Clark, especially as we look forward to Batman v
Superman. So it’s nice that Man of Steel made this a partnership between Jor-El
and Lara and gave her some agency in this prologue, an upgrade with respect to
some past versions of this origin story, but we should note that the animated
series did at least have her initiate the launch preparations.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When Jor-El asks if Lara found the planet, Lara responds,
“We have,” with the “we” probably referring to her and the House of El service
robots, Kelex and Kelor. And this inclusion of the robots is nice because it
shows that the service robots aren't just loyal to Jor. They answer to her as
well. She has an authority in their house and she is able to work with the
Kryptonian technology. It is also good that they could work together promptly
because Zod’s attack on the council seems to have moved up their timeline for
escape.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We also get a little exposition here about Earth’s
characteristics and how those will relate to a Kryptonian like Kal-El. Kelex
comments that Earth -- well, it doesn’t say Earth, but we recognize our own
solar system -- and it says the planet is orbiting a “main sequence yellow
star” just like Jor-El predicted. The yellow sun of our solar system is a young
star compared to Krypton’s red dwarf star, which is the most common in the universe.
Therefore, our yellow sun produces more energy and as Jor-El states, Kal-El’s
cells will drink the radiation thereby making him a “god” to them.<span style="mso-spacerun: yes;"> </span>This was well thought out by Jor-El to ensure
the safety of his son. Presumably this absorption of radiation is exclusive to
Kryptonians within the universe, otherwise there would likely be many more
Supermen flying around the cosmos. It’s even a bit odd that there aren’t other
Kryptonian Supermen flying around because, given Krypton’s prior space
exploration efforts, they could’ve migrated to worlds orbiting a yellow star.
As a side note, blue stars produce more energy than yellow stars. So why not
send Kal-El to a planet orbiting a blue star? It could perhaps be explained
away by saying that the type of energy from a blue star is not as good a fit
for Kal-El as that from a yellow star, but it’s still curious that we haven’t
seen any comic book stories exploiting this idea by having Superman travel to a
blue-star solar system.</div>
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<br /></div>
<div class="MsoNormal">
When Jor-El comments about Kal’s cells drinking the
radiation, this is also a good moment to remind ourselves that, even though
we’ve known about Superman in popular culture for decades, this is his first
introduction in the cinematic universe, and Man of Steel is undoubtedly the
first introduction to Superman for some of the audience members. And of course
Zack Snyder and David Goyer took this responsibility of establishing the
mythology very seriously. So this is a nice way to slip in one of the facets
about the source of Superman’s powers. In the past, there was the idea that
Kryptonians were just more evolved than humans, and then there was also the
idea of Earth’s gravity being weaker than Krypton’s. The former does not really
apply in Man of Steel with regard to Superman’s powers, but the idea of
evolution will come up explicitly, for example, in the Smallville fight with
Faora. The gravity is a minor factor that will be mentioned later in the film,
but it’s not the main source of Superman’s power. It’s not a reduction in
gravity that gives him laser vision or bulletproof skin, for example. Really,
in Man of Steel, the radiation that is somehow absorbed by Superman’s cells
will be the most crucial aspect of his powers, and Doc from Man of Steel
Answers even produced a video where he shows that the movie very consistently
treats Kryptonians as basically solar batteries. Even the parts about the
atmospheres of Earth versus Krypton make sense with regard to solar batteries.</div>
<div class="MsoNormal">
<a href="https://www.youtube.com/watch?v=nFJPdFWrJPE">https://www.youtube.com/watch?v=nFJPdFWrJPE</a>
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In looking at the choice of Earth as a target for baby Kal,
and with the liquid-geo showing a human skeleton and a human cranium and brain,
probably because humans are at the top of the food chain on the planet and also
because they are the closest to Kryptonians in terms of physical traits, Jor-El
comments that Earth’s population is “seemingly intelligent”. He doesn’t say
that they are definitely intelligent, but he alludes to appearances and this
implicitly acknowledges that appearances can be deceiving, something that comes
into play quite a bit in Golden Age of the DCEU. And as we discover, Earth’s
population is easily deceived, by Zod and then by Lex. But Jor-El’s basis seems
mostly to rely on human biology. And speaking of that human figure, it’s homo
sapien, not an earlier hominid, and it’s possible that these data on the homo
sapiens could be from the scout ship, because the scout ship arrived about
10,000 years ago and homo sapiens were widespread across the globe around
40,000 years ago.</div>
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<br /></div>
<div class="MsoNormal">
In thinking about their son’s future home, Lara’s maternal
instinct becomes evident as she expresses her worries about several dangers and
challenges that Kal might face on Earth. She starts by thinking about his
social and emotional well being. She predicts that he’ll be an “outcast, a
freak.” Then she extends this to his physical safety, as she says that they’ll
kill him -- inferring that even a seemingly intelligent society is likely to
hate or destroy that which is different than them. She shows some intuition
here about human nature, or perhaps it is a universal truth about advanced
societies.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Having identified these potential dangers, we can think for
a moment about the parents sending their child off alone instead of going with
Kal. Some subtext of Lara’s comments might be that she wishes she or Jor-El or
both could go with Kal to Earth, to protect him and obviously to be with their
son. But for some reason, unknown at this time in the film, they cannot go with
him and will have to just trust that Earth’s population receives him and looks
after him, or they have to hope for the best at least. Later on, Jor-El will
say that he and Lara were doomed to the fate of Krypton just like everyone else
there, but we’ll talk later about whether he meant this literally or
metaphorically. But right now, Jor’s answer is that the humans won’t physically
be able to kill Kal -- he’ll be like a god to them.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The use of the word “god” explicitly gives us an early clue
about the symbology and mythology that will play a pretty central role in this
film. Using the word “god” brings to mind several different aspects of the
concept, not only omnipotence and invulnerability, but also the idea of a
guiding light or a paragon of virtue. Both of these aspects will get explored
later with the Superman character as a sort of modern mythology.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And by the way, this sort of exchange between Jor and Lara
is not new, and not even new to cinematic Superman. In Superman: The Movie,
Lara also worried about Kal being “odd” or “different” or “isolated,” and
Jor-El talked about him being fast and virtually invulnerable. In both films, Lara
is worrying about emotional well-being and how he’ll be treated by others,
whereas Jor-El, the scientist, is thinking primarily about powers and physical
abilities.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One thing that’s really nice about this quick exchange and
Man of Steel in particular is that this really is some solid foreshadowing. We
do see Kal-El on Earth getting ostracized by children and by parents, and we
see him as an outcast or at least a self-imposed loner. We also see him<span style="mso-spacerun: yes;"> </span>gaining the powers that Jor-El predicted and
him actually becoming a godlike symbol to some people on Earth, but ultimately,
he does get killed by Earth’s hatred, as Lara predicted.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After Jor-El’s comment about a god, Lara clutches her infant
and turns away from Jor-El. This scene blocking nicely follows the ebb and flow
of the dialogue, and with the escape pod back in frame, Lara points out the
risks even before Kal gets to Earth. She says, “what if the ship doesn’t make
it? He’ll die out there, alone.” So again she emphasizes his isolation, and
again we feel that she doesn’t want to part with her child. She says, “I can’t
do it.” Now that it’s coming down to the wire, she’s not sure she can actually
send off her newborn into the unknown future across the galaxy. This continues
the true heart and the parental emotions that are so strong in this prologue.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Jor-El, walking back over toward Lara, to try to close the
gap between their perspectives, says that Krypton is doomed and escaping is his
only chance. Jor-El is using his pragmatic mind and his tendency toward reason
to point out that even if flying through space is a risk, and even if Earth may
hold unknown dangers, it is still a better option than staying on Krypton with
its certain destruction.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lara regrets not being able to see him learn to walk, which
is a bit of dramatic irony because as the audience we know that he will not
only walk but will learn to fly. Jor-El again says that Kal-El, by leaving the
planet, will live, even if they don’t get to share that life with him. And
Jor-El also has nice line where he says that Kal-El will live “among the
stars.” This mention of the stars contrasts with General Zod later, who will
say that he crossed “an ocean of stars” to reach Kal, and so the vengeance from
Krypton will still follow him even out among the stars. Looking ahead even
further, we have Lex Luthor in BvS who also refers to the stars, ringing his
bell after Superman’s death.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But here in Scene 5 of Man of Steel, there’s not only the
personal, familial moment, but Jor-El also points out that Kal is traveling not
just for himself but he also represents the final hope for the people of
Krypton. Just as the word “god” set the stage for some symbolism later in the
film, this word “hope” also sets a marker as a key theme in the film. Hope is
defined not just by blind optimism or by a sunny disposition, but hope is what
you have when you see some potential, some positive possibility even amidst
danger and pain. So when Krypton is about to be destroyed, and when there is a
violent coup going on outside, this is precisely when hope is needed. And
later, on Earth, we don’t need a beacon of hope when everything is happy and
slapsticky and rainbows, we need hope when danger is looming and when things
are crumbling around us. So in Man of Steel, hope will not be just a hollow
idea but the story will be built so that hope really means something, and
Superman and his symbol representing hope will ring true.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Moving on in the scene, Jor-El says that he’ll upload the
codex, Lara kisses her baby and then nods to Jor-El.<span style="mso-spacerun: yes;"> </span>Jor-El takes baby Kal and places him in the
cradle of the pod and rays of light merge and shoot down into baby Kal-El as
the skull disintegrates. This is our first indication that the codex, or at
least its data, is being transferred into Kal-El, though there’s a slight bit
of misdirection here as a command key is also forged simultaneously, so some
audience members may think that the data is in the key rather than the baby,
and this red herring comes up a little bit when Zod is searching for the codex
later. But it’s actually fairly important that the genetic information is fused
with Kal-El himself. Jor-El is using his son to give Kryptonian life a chance
to survive, not only via Kal’s own continued existence, but by sending the code
that makes Kryptonians unique along with him. This could even be part of why
Kal-El is able to be revived in Justice League using the scout ship’s Genesis
Chamber.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Going back to the command key, its formation also gives us
more insight into how Kryptonian technology works. It is a sort of liquid alloy
which can not only form itself into shapes, but also harden instantly and store
data. Presumably it is also magnetic, as it attracts itself to the keyhole on
the side of the bassinet and later the command console. This magnetic action is
not only visually interesting, but is also a setup for a key part of Act 3
later. The command key, with its liquid geo design, is also a creative new take
on the crystals that were created in the Donnerverse and also used in
Smallville.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The music here gives us an early sample of the Flight theme,
which is fitting as baby Kal is being prepared for what is truly his first
flight. At the end of the scene here, there’s also a subtle hint of a woman’s
voice, humming and vocalizing along with the orchestral score. We can interpret
this as a musical reflection of Lara's maternal feelings, and a similar tone
will occur when Lara dies, but in that case, the theme will be played by the
solo violin. And by the way, this use of the human voice is somewhat of a Hans
Zimmer trademark during sad or tragic scenes. He does something similar in
Batman Begins after the Wayne murder, in The Dark Knight Rises after Batman
quote-unquote “dies” to save Gotham City, and he also uses a vocalist for the
opening scene of Batman v Superman and a choir during Superman’s death. It’s a
very effective musical technique because the human voice does cut to our
emotions in a special way.</div>
<div class="MsoNormal">
<a href="https://youtu.be/mjKhLRphKTY">https://youtu.be/mjKhLRphKTY</a>
</div>
<div class="MsoNormal">
<a href="https://youtu.be/ohQY7kpOc50">https://youtu.be/ohQY7kpOc50</a>
</div>
<div class="MsoNormal">
<a href="https://youtu.be/Rdc6QjBNOOU">https://youtu.be/Rdc6QjBNOOU</a>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So the scene ends with another emotional moment as both
parents lay their hands on their baby. Jor-El repeats the idea of hopes and
dreams traveling with him, and they then back away as the bassinet levitates up
to the ship and we see the crest of the house of El, etched into the bottom of
the ship. This bassinet and escape pod ties into the traditional connection
between Superman and Moses who, according to Judeo-Christian traditions, was
placed in a basket on the Nile River to protect him from the pharoah. Here Lara
and Jor-El are placing Kal-El in a sci-fi sort of basket to protect him from
the destruction of their planet, and from Zod. Later on in the stories, both
Superman and Moses will rise to prominence as heroes.</div>
<div class="MsoNormal">
End of Episode</div>
<div class="MsoNormal">
That’s our analysis of Scene 5. There was some important
exposition about Earth, Kal-El’s future powers, and the codex, but for us the
most profound thing here was seeing Lara as Kal’s mother. The maternal side
comes through in a powerful way, and in the next scene that will be complemented
by her continuing to be a proactive partner to Jor-El.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next up is Scene 6, when General Zod arrives at the Citadel
and tries to recover the codex. Thanks so much for listening and thanks
especially to our patrons for their support.</div>
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ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-79478380037978207752020-03-22T20:24:00.000-07:002020-05-23T06:23:36.984-07:00JLU Scene-by-Scene: Man of Steel Scene 4This episode of the <a href="https://jluniverse.podomatic.com/">Justice League Universe podcast</a> focuses Scene 4 (Jor-El retrieving the codex) of <i>Man of Steel</i>, directed by Zack Snyder.<br />
<br />
<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9684542?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
<br />
<ul>
<li>An active Genesis Chamber</li>
<li>Color and Music</li>
<li>Kryptonian Codex</li>
<li>Jor-El Climbing, Falling, and Flying</li>
<li>Chase Scene and Damaged Moon</li>
</ul>
<b></b><br />
<b>Follow @JLUPodcast on Twitter</b><br />
<b><b>Support the show at <a href="https://www.patreon.com/JLUPodcast">https://www.patreon.com/JLUPodcast</a> </b></b><br />
<br />
<Transcript Below><br />
<b><b></b></b><br />
<a name='more'></a><br />
<div dir="ltr" id="docs-internal-guid-acd843f5-7fff-c2e8-05d6-52d4b72bba18" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Welcome, fans of </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">. My name is Alessandro. In this podcast, myself, along with Sam Otten, Rebecca Johnson, Sydney, and Nick Begovich, work together to analyze the DC Films produced by Warner Brothers studios. You can find us on twitter @raveryn, @ottensam, @derbykid, @wondersyd, and @JLUpodN. And you can follow the show @JLUPodcast.</span></div>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">In this episode of our </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> Scene-by-Scene analysis we are figuratively diving into the Genesis Chamber on Krypton, just as Jor-El is doing literally. This is an active Genesis Chamber in contrast to the one that will be found on the scout ship and is later used to create Doomsday in </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Batman v Superman</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> and revive Superman in the </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Justice League </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">movie. That one we will see be destroyed when Kal-El attacks Zod who is flying the ship.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The Genesis Chambers can be equated to the Birthing Matrix originally introduced in John Byrnes’ Man of Steel comic book series. And as we see in </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Justice League</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, it also acts as a stand-in for the Regeneration Matrix used to revive Superman in the Reign of the Supermen run of comics.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">So here in Scene 4, Jor-El swims through a dark tunnel to reach the full chamber. In a way it is representative of a fallopian tube leading to the large chamber housing the “eggs” like an ovary. There appear to be machines monitoring and processing each orb. Incidentally this large array of pods and the doting machines is actually reminiscent of the film </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The Matrix</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">. One such machine takes away an orb as Jor-El swims upward. This quick glimpse of the artificial process for procreation on Krypton will become more meaningful later when the AI Jor-El provides additional information about the Kryptonian societal structure.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">This scene involves a great use of color starting with the wide shot showing the full Genesis Chamber. The orange hue in the fetal pods contrasts really well with the blues and greens in the background. We all agree that for a film criticized for not having color, we’ve already seen quite a lot of it so far, especially in this sequence. We also hear a new musical cue which uses the Krypton notes and does a great job at painting the scene with what sounds like a combination of 80’s deep-sea and space sci-fi undertones. This E, C, A, F musical cue is also used later when Clark is in the water following the oil-rig explosion, but it's far more subtle then. It’s still a great set up and connection between these scenes with Jor-El swimming toward the island enclosure holding the Codex and Kal-El remembering his mother telling him to swim toward the island representing her voice. The Codex and Martha are both maternal symbols lending their voices, guiding father and son to salvation.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Jor-El makes his way to the central hub of the Genesis Chamber which holds a pocket of air in which the Codex is transmitting DNA data to the developing, unborn babies. Scene 2 gave us the first mention of the Codex, but we see it here for the first time. In a </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">Yahoo Movies Q&A</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> with Amy Adams and Kevin Smith, Zack Snyder shared some background information about their choice with the Codex.</span></div>
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<ul style="margin-bottom: 0; margin-top: 0;">
<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11.5pt; font-style: normal; font-variant: normal; font-weight: 400; list-style-type: disc; margin-left: 23pt; text-decoration: none; vertical-align: baseline; white-space: pre;"><div dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11.5pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">First, the skull was from the earliest Kryptonian specimen that they could identify in their evolution, the Kryptonian version of homo sapien. They traced their lineage back and found that skull. It’s the first physical incarnation of what an ideal Kryptonian would be. The skull serves as raw material for their DNA. </span></div>
</li>
<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11.5pt; font-style: normal; font-variant: normal; font-weight: 400; list-style-type: disc; margin-left: 23pt; text-decoration: none; vertical-align: baseline; white-space: pre;"><div dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11.5pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Second, the streams that are coming out of that skull could represent the warriors or the scientists. There are subtle differences in how they come out of the skull.</span></div>
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<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11.5pt; font-style: normal; font-variant: normal; font-weight: 400; list-style-type: disc; margin-left: 23pt; text-decoration: none; vertical-align: baseline; white-space: pre;"><div dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11.5pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Third, the skull had been fought over by different religious or scientific factions and Snyder envisioned a “culty monk group” to have engraved Kryptonian sayings into the skull.</span></div>
</li>
<li dir="ltr" style="background-color: transparent; color: black; font-family: Arial; font-size: 11.5pt; font-style: normal; font-variant: normal; font-weight: 400; list-style-type: disc; margin-left: 23pt; text-decoration: none; vertical-align: baseline; white-space: pre;"><div dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 28pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11.5pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">And fourth, when the Genesis Chamber was constructed, the skull was placed there. In other Genesis Chambers across Krypton, there might be a femur or other parts of the first Kryptonian, like saints and relics within early Christianity.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">These ideas are not necessarily explicit canon in the </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> film universe, but hearing them from the director himself gives them quite a bit of credence.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Going forward in the scene, Jor-El grabs the skull and as he looks at it in his hand, the glowing light emanating from it goes out and we hear a sound like a machine powering down which immediately turns into an alarm.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Rebecca poses the question of why the glowing light on the Codex goes out after Jor-El plucks it from its resting place. We know that the information is still there once it’s removed because Zod and his crew want to take it out of Kal-El later. It is likely that the device the Codex was connected to is what caused it to glow. Perhaps it was converting the genetic information into some kind of photon data. We see glowing particles emanating from the Codex to the tentacle like stems around it which look plant-like in nature. It would make sense if they are converting the light energy into data through some kind of photosynthesis.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Reacting to the alarm, Jor-El dives down and then emerges from the pool. When he comes out of the water, we first see a rocky ground and then his hand comes into frame. This type of camera shot will be echoed later when Kal-El is learning to fly and he has to lift himself back up after falling on the mountain. So this is yet another one of the parallels between father and son, reinforced visually.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">As Jor-El emerges from the water, he is quickly met with one of Zod’s soldiers in an aircraft, guns at the ready, demanding he surrender the codex. The lighting is amazing in this shot, with sun rays coming through the lacerations above forming an orange hue and reflecting off the water. And the blue lights from the aircraft glimmer as if to convey an authoritative police presence. Jor-El finds himself between a rock and a hard place as he looks over the edge of the cliff with seemingly no escape. This glance shows us more fighting below as another aircraft is shot at by Zod’s men.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">A warning shot is fired off near Jor-El’s feet prompting him to use the moment to escape. He jumps off the cliff to the depths below. This reminds me of a metaphor presented in the book </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">Ishamael</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> by Daniel Quinn of humans driving themselves off a cliff with their advancements in technology. In a way that is exactly what the Kryptonians have done. And here, Jor-El falls off that cliff. But just as Jor-El is swept up and saved by H’raka, the Kryptonian race in a way is also saved when Kal-El is swept away from Krypton in his pod. Speaking of H’raka showing up to save Jor-El, it seems that Kelex once again saves Jor-El by calling on H’raka. We see him on H’raka’s back throughout the next part of this scene, and he also may be serving as a shield for Jor-El at various points.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">By the way, the visual emphasis on Jor-El’s fall is a brilliant moment for at least two reasons. First, because we, the audience, are watching this knowing full well that he is Superman’s father, and we know that Superman’s primary feature is the ability of flight, this is a great setup to see his father falling under the full weight of gravity, with the payoff later being Superman’s flight scene. The fact that Jor-El and the Kryptonians </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">can’t</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> fly on Krypton also communicates to the general audience member that Superman’s powers are only exhibited on Earth, not on Krypton. Second, Jor-El’s desperation to escape Zod’s soldiers causes him to jump and it’s sort of his version of “</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 10.5pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Sometimes, you have to take a leap of faith first. The trust part comes later.” Jor-El’s leap of faith is rewarded when H’Raka comes to the rescue. One could think of this as the relationships, like the one between Jor-El and H’Raka, that will come back around and be there when you need them. Sadly, H’Raka doesn’t seems to make it out of this sequence alive, but this loyal creature needs to be partially credited for saving Kal and the Kryptonian race, along with Kelex, of course.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Next, Zod’s soldiers pursue Jor-El, and we get some really nice zoom shots during this aerial chase creating depth and perspective while adding to the feel of being there atop of flying creature. This Jor-El chase scene reminded Sam of the opening episode of </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Superman: The Animated Series, </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">where the creators of that show were the first to decide that Superman’s Dad should actually get his own action sequence to kick things off, though in their version the chase scene involved vehicles more akin to hover bikes. Here in </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, the organic aspect of H’Raka and Jor-El’s relationship with the animal is a fitting touch for this story, and the music -- a sped up version of Superman’s theme -- is also a unique touch here.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Two large ships crash into each other ahead of Jor-El. He uses that to escape the two ships chasing him. Unfortunately an explosion hits H’raka as they pass by. We get another nice snap zoom shot, this time on H’raka injury as he grunts. Jor-El recognizes and emphasizes with his friend’s pain and attempts to ease him. They approach the Citadel where Jor-El plans to launch Kal-El into space.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">In the background is a destroyed moon which is a nice Easter Egg for comic book fans. In the </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">World of Krypton</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> comics, Jax-Ur launched a missile into space which deflects off a ship and hits the moon, Wegthor, shattering it. This prompts a ban on space travel, which is also banned or at least abandoned on this version of Krypton.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">With one less wing to flap with, H’raka has a rough landing in front of the rising sun suggesting he barely makes it. And as the sun rises into the sky, so will Jor-El’s son.</span></div>
<h3 dir="ltr" style="line-height: 1.38; margin-bottom: 4pt; margin-top: 16pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">End of Episode</span></h3>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">That’s our analysis of Scene 4 of </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">. It was quite informative and action-packed. Always a great way to start a film. Thank you so much for listening and for your support of the podcast. We’d love to hear what you thought of this scene, and of Krypton’s civilization in general. Feel free to reach out to us on twitter @JLUPodcast or in the comments section below this episode.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Thanks again for listening. In the next episode we’ll learn more about what baby Kal-El’s future holds.</span></div>
ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com0tag:blogger.com,1999:blog-5935799542324632108.post-31916204245273850022020-01-18T05:21:00.001-08:002020-01-18T05:21:08.427-08:00JLU Scene-by-Scene: Justice League Scenes 24-25In this episode of the <a href="https://jluniverse.podomatic.com/">Justice League Universe podcast</a>, Sam and Nick discuss Scene 24 (Silas Stone abduction) and Scene 25 (Gotham City PD) of <i>Justice League</i>.<br />
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<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9630081?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
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<ul>
<li>Straight-down camera angle</li>
<li>Stone's messy apartment</li>
<li>Creepy parademon moment</li>
<li>Match cut into Gotham PD</li>
<li>Kidnappings and a world gone crazy</li>
<li>Gordon and Crispus</li>
</ul>
<b>Follow @JLUPodcast, @ottensam, @bego205 on Twitter</b><br />
<a href="https://www.patreon.com/JLUPodcast">https://www.patreon.com/JLUPodcast</a><br />
<a href="https://screenrant.com/justice-league-zack-snyder-cut-hbo-max-release-perfect/">https://screenrant.com/justice-league-zack-snyder-cut-hbo-max-release-perfect/</a>
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<br />ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com1tag:blogger.com,1999:blog-5935799542324632108.post-81581540100229386632019-11-30T06:14:00.001-08:002020-05-23T06:23:47.105-07:00JLU Scene-by-Scene: Man of Steel Scene 3This episode of the <a href="https://jluniverse.podomatic.com/">Justice League Universe podcast</a> focuses on Scene 3 (Jor-El's escape) of <i>Man of Steel</i>, directed by Zack Snyder.<br />
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<iframe allow="autoplay; fullscreen" allowfullscreen="true" src="https://www.podomatic.com/embed/html5/episode/9594580?style=normal&autoplay=false" style="height: 208px; width: 504px;"></iframe>
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<div class="sc-1di2uql-0 Pjwq sc-1sp3zau-0 kvIAEs">
<ul>
<li>Scene 2 - "look to the stars" connection</li>
<li>Lens flares and light</li>
<li>Jor-El's fighting ability</li>
<li>Lara's active role</li>
<li>Zack Snyder's panning destructive shot (<a _mce_href="https://twitter.com/ItsDavery/status/1014616181917937664" href="https://twitter.com/ItsDavery/status/1014616181917937664" rel="nofollow noopener" target="_blank"><span _mce_style="text-decoration: underline;" style="text-decoration: underline;">https://twitter.com/ItsDavery/status/1014616181917937664</span></a>)</li>
<li>H'Raka and flying</li>
<li>Crimes in desperate times</li>
</ul>
<b></b><br />
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<b><b>Support the show at <a _mce_href="https://www.patreon.com/JLUPodcast" href="https://www.patreon.com/JLUPodcast">https://www.patreon.com/JLUPodcast</a> </b></b><br />
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<Transcript Below><br />
<b><b></b></b><br />
<a name='more'></a><br />
Welcome, fans of
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span>. My name is Sam. In this podcast, myself, along with Alessandro Maniscalco, Rebecca Johnson, Sydney, and Nick Begovich, work together to analyze the DC Films produced by Warner Brothers studios. You can find us on twitter @ottensam, @raveryn, @derbykid, @wondersyd, and @JLUpodN, and you can follow the show @JLUPodcast.
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In this episode, we are going to share our thoughts on Scene 3 of <span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span>, directed by Zack Snyder. This is the scene where Jor-El breaks free from Zod’s henchmen and makes his way toward the Kryptonian codex.
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Before we get into this scene, I did want to mention one more thing about Scene 2 -- something we forgot to mention in the last episode. In that scene at the Kryptonian council, Jor-El pleads to the leaders to “look to the stars” like their ancestors did, because perhaps in the stars would be salvation for the people of Krypton. This idea of looking to the stars for hope contrasts nicely with Snyder’s follow-up film, where Lex Luthor, very much an antithesis character to Jor-El, also talked about looking to the stars. In BvS, Lex also talked about looking out there, among the stars, but for Lex, this is where he had called forth the devils from Apokolips, which is a destructive force from the stars rather than the hopeful possibilities that Jor-El saw.
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Alright, with that, let’s continue into Scene 3. Zod has just disbanded the council and Jor-El is being led away by a few of Zod’s loyal soldiers. We see a bit more of the Kryptonian production design, which was largely based on insects and which avoids straight lines. Because straight lines are so ubiquitous in our Earthly culture, it helps to give us an implicit feeling of another planet by not having straight lines. The corridors and flyings ships that we see here will also have some implicit connections to the scout ship that we will see later in the film -- even though the scout ship was designed thousands of Earth years earlier, it still shows that it was from the same culture as these other Kryptonian designs.
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There are quite a few lens flares in this scene, and this technique of hitting the camera with a bright light can be kind of annoying, but there is at least some sense to it here. This is a very tumultuous moment as Krypton is not only on the brink of destruction but is also literally in the middle of a military coup, so it makes sense to hit the audience with flashes to disorient us and to represent the violence and explosions that are happening outside.
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Light also has symbolic value. We mentioned before that Scene 2 opens with a very dark hallway on the tribunal. So Jor-El is now moving from that darkness toward the light, and in the next scene he will move from the darkness of the birthing chamber and back into the light again, and then even move beyond the battle and to the relative calm of his citadel. Jor-El is a man of the light in the symbolic sense of life-giving power and enlightenment.
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The physical blocking here of Jor-El being escorted through the hallway will be echoed later by the U.S. military ushering Superman through a hallway when he turns himself in. We will explore the underlying connections there when we get to that scene.
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Kelex, one of the El service robots, arrives and we get to see the liquid geo technology again, as it’s basically the interface for the robot. Kelex asks Jor-El if everything is alright. This is probably a pre-programmed way for the robot to check for danger, and with Jor-El failing to respond positively, and then giving a slight nod to Kelex, Jor-El closes his eyes as he knows what will happen next. The fact that Kelex recognizes to perform this protective sub-routine gives us an early glimpse of how advanced Kryptonian Artificial Intelligence is. This helps us to understand the behavior of some later Kryptonian AI activity in this film and in Batman v Superman. The burst of light from Kelex stuns Zod’s men -- again, a nice little bit of poetic justice if you buy the symbolism of light as enlightenment -- and this gives Jor-El an opening in which to fight his way free. And by the way, Alessandro points out that all this and all that follows is thanks to Kelex, and if not for that AI, Jor-El would have never been able to send Kal-El off. So in a way, Kelex is the true hero of this story.
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About the quick fight scene here with Jor-El, which is very well choreographed by the way. There are a couple ways to think about Jor-El’s performance here. First of all, we might assume that Jor-El, as a scientist in a society where people have basically predetermined roles and breeding, was not trained for high-level physical combat. If he wasn’t actually trained for this, it’s highly impressive what he’s able to do to fight his way free. He is acting beyond the scope of his role as scientist. This is fitting with the story because he is forced to change and adapt by breaking the mold of his breeding in order to save his son and the Kryptonians’ genetic code. This also helps us think about how Kal-El later is able to hold his own against Zod -- skills and training don’t necessarily trump determination and the impetus of what you’re fighting for. And of course, in Kal-El’s case, he is also more familiar with his powers on Earth than Zod is, especially in their first encounters.
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A second way to think about Jor-El’s fighting ability is that maybe he actually was trained in hand-to-hand combat. This was the view of Doc on the MoSAIC podcast, that Kryptonian society was fairly fascistic and militaristic, given their choice of garb and combat-readiness, and even their scientists must be capable of defending themselves. Thinking of Krypton in this way, it would mean that they were breeding themselves and training themselves in efforts to avoid all kinds of harm -- they were trying to engineer their society so that it would be self sustaining, and they were training themselves for all sort of physical threats, so as a people maybe they are sort of fixated on combat and survival, and yet the irony is that they bring about their own destruction because of their blind spot related to their depletion of their planet’s energy source. And then we have to ask ourselves if this predicament sounds familiar. Here on Earth, and especially in the United States, we also cling to old-fashioned social structures that some of us are unwilling to recognize as artificially created, and we try to fool ourselves into thinking that it won’t really matter that we’ve burned over 500 Billion barrels of petroleum into the atmosphere -- sure, it took hundreds of thousands of years for all of that organic matter to accumulate into oil, but let’s just burn it all within a hundred years or so, what could go wrong? -- we also spend $600 Billion per year on national defense, assuming that that is actually a good way to protect ourselves. On this point, there are actually interesting case studies of Germany and Japan after World War 2. From the 1960s into the 2000s, Germany and Japan both showed incredible economic growth and prosperity. What did these two countries have in common that might explain their success in the second half of the 20th Century? Well, they lost World War 2 and so, as part of their surrender, they were forced to cut huge amounts of their military spending. So instead they spent that money on rebuilding their national infrastructures and on the education and healthcare of their citizens. And now, for example, Germany has the strongest economy in Europe.
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So anyway, they point here is that on Earth, as on Krypton, it can sometimes happen that an overzealous or misguided attempt to protect one’s society can actually contribute to that society’s downfall. In later parts of the movie, we can also talk about this more poetically as a planet’s soul, because it’s not just about resources and culture, it’s also about Krypton taking away the element of choice, which may be central to a notion of soul. And in all of these environment or political or poetic messages, however you interpret them, we can just say that we really appreciate that they are embedded here in the film, ready for interpretation and debate.
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Continuing on in Scene 3, after Jor-El dispatches the soldiers, he communicates with Lara on Kelex’s liquid geo display. Lara helps Jor-El by pointing out danger behind him, and this is sort of echoed later when Jor-El’s AI will help Lois on the Kryptonian escape pod, telling her to move her head to the side. By the way, the fact that Lara can see something dynamic in the background means that she is seeing greater depth and detail on her end than Jor-El is seeing on his end.
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After shooting the two soldiers behind him, Jor-El tells Lara that she must ready the launch. Lara’s head turns and looks down to reflect her disappointment in what she deciphers is the Tribunal’s resistance. She can’t know about Zod’s actions yet, but she may know that something is going on because in just a few moments we will see a war happening outside. Most likely she has already noticed this conflict.
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Just as was conveyed in Scene 1 during Kal-El’s birth, Jor-El and Lara are a team. Having Lara start the launch continues to show that teamwork. It also suggests that Lara is just as educated and competent as Jor-El when it comes to aeronautics. And it shows great strength by Lara who just finished giving birth not long ago, probably days at most, and without the luxury of trained medical professionals. Furthermore, Lara readying the launch not only shows knowledge and physical strength on Lara’s part, it also shows emotional strength as she is ready to help to do what is necessary to save her son. This strength will also be seen later in a big way during the actual launch scene, when Lara has to take the heartbreaking step of sending off her son, just as Superman at the end of the movie must take the heartbreaking step of killing Zod. We see later that Lara is also central to choosing the planet and ultimately deciding to go through with the plan. So from the birth, to this brief moment here, to the launch at the end, Lara plays an active, not passive, role.
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One brief distinction to point out is that Lara calls Jor-El “Jor” while Zod called him “El”. It seems to be like calling someone by their first or last name. For Zod, who is a soldier, it fits with the military protocol of using last names. While Lara has a more personal relationship with Jor-El and would of course refer to him as Jor.
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Jor-El now runs outside and we get the famous wide shot of all the violence occuring because of Zod’s military coup. And of course most of these explosions and impacts are from what is basically a short-term Kryptonian civil war, but they also represent a planet more deeply troubled and they foreshadow the eventual destruction of the entire planet itself. As Jor-El looks out at the state of his homeworld, and the camera pans across with an amazing depth of field and a flurry of activities, this camera shot is actually a calling-card of Zack Snyder’s. @ItsDavery on Twitter, for example, pulled together these types of shots from <span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel, Dawn of the Dead</span>, and <span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">BvS</span>, and a key is not only the pan and the destruction but also having a character in the foreground so we are sort of taking it all in along with that character.
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<a href="https://twitter.com/ItsDavery/status/1014616181917937664" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre;">https://twitter.com/ItsDavery/status/1014616181917937664</span></a><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></div>
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So as Zod’s forces are in the midst of an all-out assault on the government, the music is very epic to match the grand, panoramic battle. And the drum choir that Hans Zimmer arranged also fits well with the violence and impact on screen. Here and as Jor-El flies on H’Raka in a moment, the music is based around General Zod’s theme because even though Zod isn’t visually present, all of this is Zod’s doing and of course later Zod is a direct threat to what Jor-El is trying to achieve with the codex in terms of preserving the Kryptonian race. During this wide shot, Alessandro also notices some more blues and reds as a foreshadowing of Superman’s suit.
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Jor-El yells out for H’Raka, a four-winged female creature known as a war kite. The fact that Jor-El has this relationship with animals, contrasting with all the ships and technology raining destruction around him, connects with the theme of organic being better than artificial, just as we will see with the natural birth in contrast to the artificial birthing chamber. H’Raka flies over to Jor-El, which suggests that the creature might have some kind of super hearing. This reminds us of how the original Superman’s powers were explained by comparing them to actual creatures such as an ant which can lift 100 times its weight. Perhaps Superman’s super hearing in this universe is an extension of some of the abilities of the creatures found on Krypton.
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Anyway, the fact that H’Raka seems to have a longstanding relationship with Jor-El will make the later moments even more devastating. But right now, Jor-El gets astride H’Raka and they fly through the destruction. Even though Jor-El can’t personally fly, this scene is a parallel between father and son.
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During the flying shots, the snap zooms from the camera give us a documentary-feel, placing us viscerally in the action, allowing us to follow Jor-El as the main character, but also allowing us to effectively take in the action. There are several more wide shots of the Kryptonian environment and everything that’s happening, and we see more detail of the scarring and self-inflicted wounds on the planet’s surface, which are now being exacerbated by the self-inflicted war. It is painfully obvious that this military coup and civil war is counter-productive in terms of actually saving the planet, even though Zod is correct that the government as it was functioning was going to be ineffective in saving it as well.
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By the way, we really appreciate that in this telling of Superman’s origin, it is the failure of Krypton’s own civilization and their misguided choices that have led to the planet’s doom. In past versions of the story, it is sometimes a physical and unavoidable event that leads to Krypton’s destruction, but if it were a physical force that is outside their control, then it wouldn’t connect very well to the main theme of choice in this movie. This decision to make things about choice rather than unavoidable fates will also come into play later with the tornado scene.
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So Jor-El flies into and under the lacerations where the ground seems to have been excavated. He arrives at a pool and asks Kelex if she sees the codex. Kelex informs him it is just beneath the Central Hub. It appears to be below the building which Jor-El was in, so it would seem the Tribunal was in the same structure where they presumably create new Kryptonian babies.
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Kelex warns Jor-El that “Breaching the Genesis Chamber is a Class B crime” to which Jor-El responds “Nobody cares anymore, Kelex. The world is about to come to an end.” So a few things about this interaction -- first, note that Kelex concedes to Jor-El’s point. This is important as it establishes certain rules for the AI that we eventually encounter in <span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Batman v Superman</span> when Lex Luthor is warned by the Scout Ship’s AI that action to create Doomsday is forbidden. Lex Luthor tells the AI to proceed after it acknowledges the Council of Krypton is destroyed, and it obeys.
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Second, saying that the world is coming to an end is a nice way to prepare the audience for where all of this is leading -- the planet will be destroyed, if people didn’t realize that already. And third, this brief interaction lays out the notion that perhaps rules and laws must be treated differently in existential crises. Of course sometimes people in power try to manufacture or rely on false existential crises as an excuse for exerting special powers, but sometimes there are legitimate existential crises. In <span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span> itself, humanity will face an existential crisis from General Zod, so we should follow the lead here and grant Superman some leeway later when he kills Zod to protect Earth from destruction. The world would’ve come to an end if Zod was allowed to continue, so desperate times can call for desperate measures.
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Jor-El then dives into the water, heading to the genesis chamber, and if you’re trying to track as many parallels between father and son as possible, then you might connect this to the end of <span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Batman v Superman</span> when Superman dove in to retrieve the Kryptonian spear, a life-saving device that could stop Doomsday, just as here Jor-El is diving in to retrieve the codex, which is a life-saving device with regard to the Kryptonian species.
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<h3 dir="ltr" style="line-height: 1.38; margin-bottom: 4pt; margin-top: 16pt;">
<span style="background-color: transparent; color: #434343; font-family: "arial"; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">End of Episode</span></h3>
That’s our analysis of Scene 3 of <span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Man of Steel</span>. Thank you so much for listening and for your support of the podcast. If you have any thoughts or interpretations to share, we’d love to hear from your either on twitter @JLUPodcast or on the comment board below this episode.
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Thanks again for listening and next up we will see the codex.
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ottensamhttp://www.blogger.com/profile/09653631895217229875noreply@blogger.com2