Muhammad Ali Was This Close to Portraying Superman in the 1978 Film

Boxer and honoree Muhammad Ali arrives at the 20th Annual ‘Midsummer Night’s Magic Awards Dinner’ on July 13, 2005 in Los Angeles, California.
Photo: Amanda Edwards (Getty Images)

Muhammad Ali floated like a butterfly and stung like a bee, but he almost flew like a DC Comics superhero.

According to the Hollywood Reporter, the heavyweight champion was on the shortlist to become Superman in the 1978 film of the same name, which ultimately starred Christopher Reeve.

“One of the conditions with DC Comics was I had to make a list of actors to play Superman that they had to approve,” said producer Ilya Salkind, in an interview to commemorate the film’s 40th anniversary. Superman originally debuted in theaters on Dec. 15, 1978.

“I had a made a list … that was absolutely hilarious because they had approved people like Cassius Clay then, they had approved Al Pacino, they had approved Dustin Hoffman,” he continued. “They had approved them, they could play Superman.”

Wow, imagine a Cassius Clay Clark Kent. Not even the white man’s racist saltiness could be his kryptonite.

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That same year, Muhammad Ali did end up appearing in a collector’s item comic book released by DC entitled, Superman vs. Muhammad Ali, which was a big fucking deal.

As writer Todd Steven Burroughs wrote for The Root in 2016:

Ali trains Superman at the Fortress of Solitude and then, in a massive arena packed with beings from different galaxies (and a universe-wide television audience), kicks the Man of Steel’s white, red and blue ass! Then the champ takes on the alien, who looks like a cross between, well, the Hulk and Hulk Hogan, and wins! Super black power, baby! Power to the people! The Earth was saved by the Greatest in the universe, in fact and fiction!

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I mean, Ali was already a superhero—cape or no cape—but that definitely would’ve been fire. Not only would we have had a black superman on the big screen, but the blackest superman.

And the Greatest.

From: https://thegrapevine.theroot.com/muhammad-ali-was-this-close-to-portraying-superman-in-t-1831150366

‘Aquaman’ is Warner Bros’ chance to turn the tide for its troubled DC superhero movies

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Aquaman

From Gotham City to Metropolis, it’s been a bumpy ride for Warner Bros’ series of interconnected films based on DC comic book characters. With next weekend’s release of “Aquaman,” the studio will turn to the underwater city of Atlantis for signs of a brighter future.

As a standalone movie, “Aquaman” is a sprawling, globe-trotting epic about a half-human, half-Atlantean hero who must foil his sea-dwelling brother’s campaign to wage war against the surface world.

But as the latest movie in Warner’s DC cinematic universe, it’s an opportunity to get audiences excited about a string of upcoming movies, after several of the studios’ superhero films failed to generate much enthusiasm.

It’s been a year since Warner released “Justice League,” it’s big-budget superhero team-up flick that disappointed both critically and commercially. Despite boasting a roster of heavyweights including Batman, Superman and Wonder Woman (not to mention Aquaman), the movie earned just $669 million worldwide.

For context, that fell short of the global receipts for any of Warner’s four previously interlinked DC movies. It was also less than half what any of Disney’s three “Avengers” movies have earned.

The failure prompted Warner Bros to shake up the team in charge of DC movies and galvanized an earlier decision to de-emphasize the interconnected nature of the films. The massive success of last year’s “Wonder Woman,” which was only loosely connected to other DC movies, also drove that decision.

Now, “Aquaman” can test whether Warner will score another hit with a solo superhero movie.

“I think ‘Aquaman’ is a really important movie for them, and if the China box office is any indication, they’ve got a mega-hit on their hands that could play well into 2019,” said Paul Dergarabedian, senior media analyst at Comscore.

“Aquaman” drummed up nearly $94 million in its opening weekend in China — making it Warner’s best Middle Kingdom debut to date. With a 74 percent “fresh” rating on Rotten Tomatoes, it is also the best-reviewed movie in the DC universe behind “Wonder Woman.”

Analysts say “Aquaman” is also getting a boost from DC’s choice to cast Jason Momoa in the lead role. The Hawaii-born actor is a fan favorite who had his breakout role as barbarian chieftain Khal Drogo in HBO’s hit fantasy series “Game of Thrones.”

“There’s no better brand ambassador for DC and ‘Aquaman’ than Jason Momoa,” Dergarabedian said. “He’s everywhere. He’s so excited. I think you can tell, and I think that’s infectious.”

Forecasting indicates that “Aquaman” will earn about $65 million at U.S. theaters over its opening weekend, and potentially hit $100 million during the full five days leading into Christmas, which falls on a Tuesday this year.

Holiday weekend openings make comparisons difficult, but that would be a very respectable premiere for a live-action superhero movie. “Wonder Woman,” Warner’s biggest DC hit at U.S. theaters to date, earned $103 million during its opening weekend.

Christmas releases also tend to have legs because many Americans see several movies during the holidays, says Shawn Robbins, chief analyst at BoxOffice.com.

“I think Aquaman is in that position to open at $60 [million] but still earn $200 to $250 domestically,” he said.

That would put “Aquaman” in a league with other solo superhero movie successes like Disney’s “Doctor Strange” and Twentieth Century Fox’s last Wolverine sequel “Logan.” But it would fall short of the total U.S. box office haul for breakout hits like “Wonder Woman” and “Deadpool.”

A survey of movie-goers by BoxOffice.com found that 83 percent of them that saw the “Aquaman” trailer are interested in seeing the movie. That compares to 88 percent for Sony’s “Venom,” which ultimately debuted to $80 million in October.

‘You definitely won’t be bored’

“Aquaman” does face a somewhat crowded release window. It opens one weekend after Sony’s critically acclaimed “Spider-Man: Into the Spiderverse,” and shares a release with Paramount’s Transformers spin-off “Bumblebee.” Disney’s “Mary Poppins Returns” debuts two days earlier.

However, analysts say “Aquaman” will benefit from the fact that Warner hasn’t released a DC movie in over a year.

Fans are looking forward to “Aquaman” as the first film since the end of the “Snyderverse,” said Alisha Grauso, editorial lead at Atom Tickets. That’s the grim and gritty universe crafted by Zack Snyder, who directed 2013’s “Man of Steel,” 2016’s “Batman V Superman: Dawn of Justice” and the ill-fated “Justice League.”

The world of “Aquaman” was instead envisioned by James Wan, the director behind the “Saw” horror franchise. According to Grauso, Wan manages to mix “Lovecraftian horror” and “Arthurian legend” into a coherent visual language that amounts to “bonkers world-building.”

“It’s honestly kind of insane to watch, but it’s such a good time from start to finish,” she said. “You will definitely not be bored.”

That could get movie-goers excited for what’s to come. Next year, Warner releases a comedic adaptation of “Shazam!”, the DC comic about a boy with the ability to transform into an adult superhero. The studio is also filming an origin story about The Joker, the iconic Batman villain, slated for a 2019 opening.

In 2020, Warner releases a Wonder Women sequel set during the Cold War, as well as the female anti-hero ensemble flick “Birds of Prey.” The latter features the return of fan-favorite character Harley Quinn after a well-received debut in 2016’s “Suicide Squad.”

Grauso thinks it’s wise for DC to gravitate towards more self-contained, director-driven movies at this particular point in cinematic history. It’s true that Disney and Marvel Studios have made billions on their unprecedented model of decade-long storytelling building up to this year’s mega-event “Avengers: Infinity War.” Yet recent superhero movie releases have shown that what fans ultimately crave are good stories that are true to the characters.

“You don’t have to do the Marvel model to work. Fox showed that with ‘Deadpool’ and ‘Logan,'” said Grauso. “You can have individual, standalone movies that are wildly different form one another and they can still work as long as they’re good.”

Tom DiChristopher CNBC

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From: https://www.cnbc.com/2018/12/14/aquaman-is-warner-bros-big-chance-to-turn-the-tide-for-dc-movies.html

‘Superman’: Muhammad Ali Was on Short List to Star in 1978 Film

Float like a butterfly, sting like a bee — and fly like a man of steel. 

Muhammad Ali was on the short list to play Superman in the 1978 film, producer Ilya Salkind discussed on the commentary track in the newest edition of the film recently released to coincide with Saturday’s 40th anniversary.

“One of the conditions with DC Comics was I had to make a list of actors to play Superman that they had to approve,” Salkind explained. 

“I had a made a list … that was absolutely hilarious because they had approved people like Cassius Clay then, they had approved Al Pacino, they had approved Dustin Hoffman,” he said. “They had approved them, they could play Superman.”

The Ali idea was not that far-fetched. The same year the film was released, the heavyweight boxing champion and Superman teamed up in the comics to defeat an alien invasion of Earth.

Salkind said the casting process was “complex” and confusing at times. DC had approval not just on casting, but also sets and costumes. 

“We met with Dustin at Cannes  … we had dinner with Dustin to play Lex Luthor, which would have been pretty exciting.” But it “didn’t work out,” he said without more of an explanation. 

Ultimately the role went to Gene Hackman. 

Salkind shared a story that after he was cast, Hackman still had a mustache that director Richard Donner did not believe fit the character. So, he had the make-up department make him a fake mustache and while wearing it, he told Hackman he would shave his off if Hackman did the same. The actor agreed. Only after Hackman was done did Donner reveal his was a fake, Salkind said.  

Superman opened on Dec. 15, 1978 and filmmakers such as The Dark Knight‘s Christopher Nolan and Wonder Woman‘s Patty Jenkins have cited it as inspiration. It earned $134 million globally (more than $1.1 billion in today’s dollars).

From: https://www.hollywoodreporter.com/heat-vision/superman-muhammad-ali-was-short-list-star-1978-film-1169417

‘Superman: The Movie’ turns 40

Röhnert/ullstein bild via Getty Images(NEW YORK) — Although the Man of Steel turned 80 this past spring, the original — and some say most comics-faithful — big-bow of Superman turns 40 years old Saturday.

Superman: The Movie featured a pitch-perfect performance from the late Christopher Reeve in the tights and cape of the Kryptonian hero, as well as the eyeglasses of his mild-mannered reporter alter-ego, Clark Kent.

Director Richard Donner called the shots on the acclaimed film, which also boasted performances from Oscar winner Marlon Brando as Superman’s dad, Jor-El; another Academy Award winner in Gene Hackman as Lex Luthor; and the late Margot Kidder as intrepid reporter Lois Lane.  And of course, its stirring soundtrack and theme were provided by Oscar-winning legend John Williams.

Mario Puzo of The Godfather fame wrote the screenplay, and Brando himself made upward of $20 million for just 12 days of work.

Made for $55 million — at the time, the most expensive movie ever made — Superman went on to make $300 million worldwide and spawned three sequels starring Reeve. The second, 1981’s Superman II — is still considered one of the genre’s finest, even in a day and age where superhero movies are commonplace.

Superman was nominated for three Academy Awards — Best Film Editing, Best Sound and Best Original Score — and won the Academy’s special achievement award for Visual Effects, for making people believe, as the movie’s poster claimed, “that a man can fly.” 

The Library of Congress recognized Superman in 2017 by inducting it into the National Film Registry.

Copyright © 2018, ABC Radio. All rights reserved.

From: https://www.ktsa.com/superman-the-movie-turns-40/

Forty years on from Superman: The Movie, I still believe a man can fly

The nuns got me into hot supermen in tight red pants. All Catholic schools in Britain of the early 1980s were fitted out with their own set of 1940s nuns. It was a less austere one who mentioned that Superman: The Movie was on television that Christmas. You’d think King of Kings would be a more Catholically apt recommendation? Maybe Sister Anne-Marie saw religious parallels in the man from Krypton’s story. Superman walks on water, is relatively chaste, his origin story is all but Moses in the reeds, and his dad (Marlon Brando) was played by an acting god trying to be God. When we were required to talk to the other deity via prayer at junior school, it was always Brando’s Jor-El I pictured: “Forgive me Father, for I have sinned … I quite enjoyed parts of Superman IV – The Quest for Peace, even though I know you weren’t in it.”

Forty years later, it is impossible to overestimate the cinematic superpowers of Richard Donner’s masterwork. The end result of many attempts to bring DC Comics’ icon onto the big screen, the 1978 classic is the template all superheroes overlook at their peril. A heady mix of Americana married to a crime-ridden east coast via screenwriter Tom Mankiewicz’s barbed wit, John Williams’ grand orchestral movements, Boy Scout heroism devoid of politics and a through line of humanity over spectacle, Superman is a Kryptonian crystal all superhero movie-makers must keep safe in their barn at all costs.

I don’t think Sister Anne-Marie had that in mind when she mentioned Superman: The Movie. Yet it was Christopher Reeve who gave me my first inkling of abs, thighs and everything in-between. His Clark got me well and truly spinning in my phone box, as Reeve pitched Kent like one of those cute Mormon boys who doesn’t know he is cute. Throw in Margot Kidder’s definitive Lois Lane and the end result is a comic-book, east coast echo of Mona and Mouse from Maupin’s Tales of the City (also 1978).

Superman: The Movie (Trailer)

Reeve was picturesque – an on-screen soul with dignity, diplomacy, and compassion. His benevolence cast a longer shadow than his cape. He was the poster boy for movie escapism at the end of a decade that saw the likes of Nixon and Vietnam leave America’s psyche in a precarious way. For years I thought New York was called Metropolis. Studebakers, high school cardigans, skyscrapers, press rooms, subways, hot dog stands, Marlboro billboards and yellow school buses – that is what the US first meant to me. Superman did that.

What I really wanted was to work with Clark and do that walk-and-talk lunch-break thing Lois and he had perfected. As it happened, that Jor-El god did look kindly down on me. In March 1984, I was walking down Guildford High Street when Christopher Reeve ambled into my path. Amid my Clark mania, this eight-year-old froze. No one else had clocked him. I wasn’t sure I had. And before I could wave for his attention like Lois Lane stuck in traffic, Reeve nodded at my stares and was gone – off to a matinee at a local theatre he was performing in. “You’ll believe a man can fly”, said the posters. Well, no one believed this kid once encountered the man of steel. They still don’t.



‘A film can be as key to the framing of an early childhood as a sibling or an inspiring teacher.’ Photograph: Mark O’Connell

Something very haunting remains about Superman’s motifs of growing up. When I moved on from my childhood home and the corn fields around it, Superman and composer John Williams’ best work soundtracked my hand soaring over the crops of my youth for one last time. A film can be as key to the framing of an early childhood as a sibling or an inspiring teacher.

The reason we have the monolithic Marvel films today is because of Superman. The reason we have Caped Crusader movies is because Donner’s box office hit encouraged Warner Bros to make Batman at Pinewood Studios in 1989 with Mankiewicz’s fingerprints on the script, a big score, a physical production and that comic-strip panel sense of America and adventure. Forty years later, I still believe a man can fly. This wannabe Daily Planet intern is not so sure we’ll say the same of Ant-Man, Iron Man or any Marvel man in the heroic wake of Christopher Reeve and Richard Donner’s granite ode to movie escapism.

Mark O’Connell is the author of Watching Skies – Star Wars, Spielberg and Us, published by The History Press.

From: https://www.theguardian.com/commentisfree/2018/dec/14/40-years-superman-movie-fly-christopher-reeve-1978-blockbuster

Why We Need Superman Now

When Bendis was 6 years old, he got up at the Passover table like a plump little Babe Ruth and called his shot: He was going to draw Spider-Man. 

Oddly, Bendis’ path parallels that of Superman co-creator Jerry Siegel. Bendis grew up in University Heights, where Siegel lived after moving out of Glenville. Bendis’ parents divorced when he was young; Siegel’s father died during a robbery in Siegel’s youth. His mother’s job in publishing meant they had little money, like Siegel. And, like Siegel and Shuster, Bendis was infatuated with the pulpiest literature available — comics.

“The draw is story,” Bendis says. ”When you’re young, your hero is the hero of the story itself. But as you get older, you start to realize your hero is the person who wrote it.” 

Bendis wanted what every kid wants: to be a hero. So he applied to the Cleveland Institute of Art. 

He got his start while still in school. Bendis’ earliest successes were crime comics for independent presses, many of them set on the streets of Cleveland. Bendis wrote what he saw riding his bicycle throughout the city and heard as he worked at Super City Comics in the Arcade. 

That’s where Michael Sangiacomo, a Plain Dealer reporter and writer of the Journey Into Comics column, first met Bendis. They became friends. 

“He was stealing as many comics as he could, slacking off most of the time, reading books and drawing,” says Sangiacomo. “He had the greatest job in the world. He’d just sit there, draw and take comics.” 

In the early days, Bendis used himself and his friends as models for his work, posing them for photographs in real-life settings that he then drew. A.K.A. Goldfish was about a con man, modeled on his librarian friend John Skrtic. Based on a gun-toting woman he met at a Cleveland coffee shop, Jinx told the story of a Cleveland bounty hunter named Jinx Alameda and featured Bendis’ stand-in as a no-good two-timer named Columbia. 

Cleveland factored into Bendis’ later work too, such as a fictionalized version of Eliot Ness chasing the torso murderer in a graphic novel called Torso. In United States of Murder Inc., a graphic novel about a young Mafioso, Bendis even named a crime family after Sangiacomo.

Inspired by the plays of David Mamet and the novels of Richard Price, Bendis gravitated toward rat-a-tat dialogue that often draws comparisons to Aaron Sorkin. He also illustrated some of his own work and wasn’t afraid to cleave with comics convention. 

In several spreads of Torso, which Bendis wrote and penciled, the panels tumble down the page like a falling stack of cards, forcing the reader to turn the book vertically to keep reading. In another, as Eliot Ness questions a suspect, the panels spiral inward. The reader must turn the book round and round, mirroring the experience of the interrogation.

“I took big swings, and I like that those things are what people remember,” Bendis says. “That’s what got me to Marvel.”

On the side, Bendis contributed illustrations to The Plain Dealer Sunday magazine and to Cleveland Magazine. With stories and work keeping Bendis busy into the nighttime hours, he had trouble dragging himself to an 8:30 a.m. art history class. A few electives short, he never finished the degree. 

“School seemed to be actually getting in the way,” Bendis says. “So I just stopped and started making my comics, continuing my education and journey on my own.”

Bendis’ break into the comics mainstream came in 2000, when he started writing Ultimate Spider-Man and Daredevil for Marvel Comics, which was clawing its way back from bankruptcy. His rise paralleled Marvel’s resurgence, as he took a turn writing what seems like every character in the Marvel universe: X-Men, Avengers, Guardians of the Galaxy, Iron Man. He created his own characters too, like the iconic Jessica Jones.

But his 2011 breakout was Miles Morales, the new kid behind Spider-Man’s mask. Half-black and half-Latino, Morales had to navigate not just the life of a young person with extraordinary powers, but the reality of doing so with dark skin. 

The character set off a media firestorm. Glenn Beck criticized the change on his radio show, which led to a Bendis appearance on Late Night with Seth Meyers. But most of the response Bendis received directly, he says, was positive.

Bendis had a similarly affirmational experience with Superman. DC Comics had already offered him the opportunity to write any marquee character when Bendis traveled to Cleveland for his brother Jared’s wedding last October. 

Skrtic, now the director of public services at the Cleveland Public Library, had been bugging Bendis about creating a living archive of his work at CPL, but also insisted he check out the library’s Superman: From Cleveland to Krypton exhibit. So Bendis stopped by.

Bendis posted a short video of his visit on YouTube. He wanders wordlessly among the comics in glass cases, checks out the excerpts from the Superman movies and weaves around the David Deming statue of Superman in flight. 

“Profound” is how Bendis describes the experience to me. Here was Superman, in the place he used to hang out when he first started making comics, right across the street from the Arcade where he used to work. It all seemed like a flashing cosmic sign. 

“I was like, ‘OK, God,’?” Bendis recalls. “I get it.”

* * *

Superman embodies truth, justice and the American way, but he loathes politics. When Americans start fighting over their ideals, Superman often steps into the background. 

“He represents the America that we want to be,” says Weldon. “Not necessarily the America we are.” 

But Superman was not always so circumspect. At his creation, in fact, Siegel and Shuster’s pre-war Superman was a New Dealer gone militant, a vigilante. 

In 1938’s genre-defining Action Comics No. 1, Superman breaks into the governor’s mansion to stop an unjust execution. He scares the wits out of a scummy domestic abuser, whose knife shatters on Superman’s unbreakable skin. He weenies out of rescuing Lois Lane from some gruff gangsters as Clark Kent, then swoops in as Superman to save her. Then he uses his ability to leap over a building in a single bound to terrify a lobbyist who has been corrupting politicians. 

“He was a progressive icon. He went after corporate fat cats, crooked government folks, people who sold slot machines in stores, reckless drivers,” says Weldon. “Basically, the title he got, long before ‘Man of Steel,’ long before ‘Man of Tomorrow,’ that is introduced in the very first issue, is ‘Champion of the Oppressed.’?”

But World War II, an existential threat to democracy, changed everything for Superman. Fighting in the war himself would have stretched his fiction to breaking. Instead, Superman reveled in symbolic gestures of support. He planted victory gardens, broke up spy rings and appeared on the cover of his comics with servicemen. Superman became a symbol of the system he once bucked. 

The best any modern Superman can hope for, then, is to demonstrate the enduring importance of the ideals for which he fights but refrain from defining them, or risk writing off decades of history. 

At times, that makes Superman a boring character, a hopeless square. He is a constant, so we take him for granted. But when the ideals Superman represents, and thus Superman himself, are under attack, he can roar. The question is how loud.

In 2000 and 2001, around the time of the George W. Bush vs. Al Gore campaign, Superman confronted the prescient oddity of archnemesis Lex Luthor winning the presidency. DC Comics reissued the story this year, featuring a cover portrait of Lex Luthor styled like Donald Trump on the The Art of the Deal. 

At Luthor’s inauguration, a super-villainous terrorist named Earthquake attacks. Superman swoops in to save President Luthor and defeat Earthquake, who burrows back into the ground, crying, “Fools! Fools!! I didn’t come to battle any of you! I came to destroy the man we all agree is evil!” 

But that would not be Superman’s way. 

Later, Superman and Batman team up to fight Luthor. “If I am guilty of one mistake, it was putting my faith in the American public not to vote for him. The world will never know how I struggled with the decision to stay out of the electoral process,” Superman muses. “Should I have gone on television and told the voters not to elect this man? And what then?” 

Telling Americans how to vote, how to define their ideals, would be antithetical to Superman’s code, even if he believes their choice was a mistake. This is Superman’s delicate balance: He must model good behavior, without making moral judgments.

Eventually, Superman and Batman use a kind of journalism to change public opinion: They broadcast Luthor’s my-evil-plan confession to televisions around the world during a very comic-y final battle. 

Turns out, Luthor had been conspiring with Darkseid all along. 

“I choose to fight for Truth, Justice and The American Way,” Superman thinks, as he punches Luthor into oblivion. “And for all its flaws, American democracy does work. That’s not just something I learned growing up on a farm in Kansas. That’s been my life.”

Batman and Superman effectively impeach Luthor with evidence of his misdeeds. But they intend to let the people decide the validity of Luthor’s presidency.

“The United States doesn’t need me to dictate, or worse, deprive her people of that most precious gift,” Superman thinks to himself. “The freedom of choice.”

As with every Superman writer, Bendis must wrestle with a character who lives such statements. Superman is not to be bent to anyone’s political ends. But, as Bendis writes him, Superman also won’t allow his ideals or his person to be abused. He is a reticent warrior, but a warrior nonetheless.

In Bendis’ Superman No. 1, Superman meets with the Martian Manhunter, J’Onn, for a conversation. J’Onn tells his Justice League teammate that it’s time he do more. Superman should step up as a world leader and speak a certain truth that the way the world works now, with wars and money and borders, is “garbage.” 

“Could it be that the only thing the world needs more than Superman is a Superman who is actively leading the world into its future?” J’Onn says. “A Superman who is ready to take this great civilization to the stars?”

Superman’s face softens into a half-smile: “Lead the world?”

“Take over all of it and set it toward a future in which hope isn’t just an ideal, but a—” says J’Onn.

Superman’s eyes narrow and flick suddenly to J’Onn’s face. His eyebrows furrow. He frowns angrily: “Take?”

Bendis has shown what would happen if Superman were to use his power to put his ideals into practice — corruption, dictatorship and, ultimately, fear. 

Superman uses his power sparingly, and only in service to the common good. He knows better than to use it to his own ends, even if he thinks them noble. Superman shows that truth, justice and the American way matter, but he would never try to reshape the world in their image. 

He sets a humble example. He waits for us to do it for him, if we so choose. 

Maybe that is brave. Maybe it is cowardly. But it is Superman’s way.

Writing that moment was special, Bendis says. “I got excited about it because it was one of the very first times where Superman himself was having the conversation for me,” Bendis says. “His morality was in the forefront of how I was reacting to the conversation, not mine.” 

Bendis arrived at a truth about Superman, the quiet radical. 

“Clark has a line in the sand,” Bendis says. “And that was it.”

From: https://clevelandmagazine.com/in-the-cle/the-read/articles/our-superman

Elseworlds Ending Explained: What Does it Mean for the Future of the Arrowverse?

This article contains Elseworlds spoilers.

Well, you certainly can’t say that Elseworlds was boring. Or safe. And you certainly can’t say that they didn’t give us one hell of a surprise in that ending. The Arrowverse is becoming the most intricate, risky live action superhero universe in history. Yes, it’s at least as big and crazy (perhaps even moreso in some ways) than the Marvel Cinematic Universe, and we had best enjoy this while we have it, because it’s unlikely we’ll ever see this much crazy DC Comics love on screen in one place at one time ever again.

So while it would seem that the Elseworlds ending was a happy and neat one (everything is back to normal! Superman and Lois Lane are gonna have a kid! Oliver is less of a dick than he was at the start of the crossover!), there’s a whole lot of stuff hiding between the lines that will pay off in a big way down the road. And by “pay off” I mean “probably piss a whole lot of people off, but it will still be really cool when it happens.” 

What follows is both an explainer for folks who might not have wasted as much of their lives on the minutiae of DC Comics continuity as I have, with a heaping helping of educated (but perhaps wild) speculation thrown in for good measure. 

What did Oliver Sacrifice?

Oliver made some kind of bargain with the Monitor in order to keep Barry and Kara from dying in their attempt to save the world from the effects of the Book of Destiny. When Superman looked into the Book of Destiny, he saw Kara and Barry’s deaths. It’s implied that they would have died in their efforts here, but there are implications that come from the comics as well.

Both Barry and Kara famously died during the Crisis on Infinite Earths comic book story. It’s possible that what Clark saw in the Book of Destiny wasn’t just their possible deaths here, but perhaps their more likely deaths in the future Crisis. But considering they were on the verge of disintegrating (which is pretty much exactly how Barry died in the Crisis comics), it’s safe to say that Superman saw what he saw, and Oliver’s bargain with the Monitor was to prevent that from coming to pass, whether now or in the future.

Oliver goes and confronts the Monitor to point out that if it takes the death of inspirational heroes like Barry Allen and Kara Danvers, then Monitor’s entire plan is flawed. Monitor asks Oliver what he would sacrifice to bring balance to destiny if they were to live. While it isn’t revealed on screen, based on Ollie’s now traditional crossover ending conversation over a beer with Barry, where he insists that people like Barry and Kara are better heroes than he is, and inspire him to do more, I’m willing to bet that Oliver offered his own life to the Monitor in exchange for Barry and Kara. Right now, based on the infamous future newspaper that has been hanging around The Flash  since episode one, we know that Barry Allen is destined to die (or at least disappear) in a Crisis of some kind, most likely the Crisis on Infinite Earths. And since these shows love being faithful to iconic moments from the comics, that means there’s a danger that Kara is probably going to croak, too. 

At least that’s what’s supposed to happen if we’re following the comics. But here on our world, Arrow is now in its seventh season, and while it has rebounded considerably over this year and season six, it’s still a long time for a superhero show to be on the air. The CW’s superhero TV schedule is looking increasingly crowded these days, with Supergirl, Legends of Tomorrow, The Flash, Black Lightning, and Arrow, not to mention the Batwoman series that will arrive in 2019. If Warner Bros. TV and the CW are looking for a graceful, heroic way to show Oliver Queen the door, without the awkwardness of canceling the show that started it all, having him sacrifice his life so that two other heroes can carry on would be the way to do it.

So that means Kara is safe, right? Well…

What’s Up With Superman?

Since Tyler Hoechlin’s introduction as the Man of Steel in the opening episodes of Supergirl season 2, fans have been clamoring for a CW Superman TV series. Executives have more or less dismissed it, but the introduction of Elizabeth Tulloch as Lois Lane (a brilliant Lois, by the way), the impending introduction of Lex Luthor over on Supergirl, and the fact that Hoechlin continues to prove that he has that certain indefinable quality that makes for a great Superman performance, you would think that this is something that the powers that be would be more willing to explore. But the revelation that Lois is pregnant and that Superman is looking to “hang up his cape” and go offworld for a while and leave the world in Kara’s care would seem to put an end to that, right?

Well…not so fast. Throughout Elseworlds, these characters have been talking to fans pretty directly. Oliver’s “this is why nobody talks about Gotham” in “Elseworlds Part 2” was more than just a piece of Batman-explaining worldbuilding to set up the Batwoman TV show, it was a direct answer to fan theories and questions, as was his indignant “I’m the first vigilante” comment. Clark telling Kara that “the world doesn’t need a Superman as long as Supergirl is around” is basically, “chill, one Kryptonian on TV is enough,” right? Right. So it’s settled.

EXCEPT…

If we’re going by comic book lore, then Supergirl is supposed to die in Crisis on Infinite Earths. The “Book of Destiny” can be seen as a metaphor for fan expectations based on what we know from the comics, and that brings us back to Oliver’s bargain with the Monitor. Does one Oliver Queen really equal two other superheroes to bring balance to Destiny? That math doesn’t line up. It still means one hero has to die.

further reading: Every DC Comics Easter Egg in Elseworlds

If it’s Kara, that opens the door for that Superman TV series. Now, before you all try and kill me, as badly as I want this Tyler Hoechlin/Elizabeth Tulloch show to happen, I don’t think it should come at the expense of Kara’s life. Anyway, this is the part of my theory that I am far less confident about. However, if I were a betting man, I’d feel pretty good about Oliver being the one to croak during Crisis on Infinite Earths.

UNLESS…

Maybe this quote from Clark wasn’t meant to open the door to a Superman TV series. Maybe it really does close it. If anyone else would be willing to sacrifice themselves so other heroes can live, it’s Superman (not that Kara would allow it if she could help it). Don’t be surprised if Clark steps in to sacrifice himself so Kara can go on, or if he and Oliver already planned the two heroes for two heroes swap in a scene we didn’t see.

WHO WAS JOHN DEEGAN TALKING TO?

But then there’s the actual ending, with a rather annoyed Batwoman calling up Oliver to let him know about what’s going on at Arkham Asylum. Dr. Destiny has made friends with his neighbor, Roger Hayden, Psycho-Pirate. That gold mask he’s so fond of his called a Medusa Mask, and it allows him to manipulate the emotions of others. Psycho-Pirate is a minor DC villain who nevertheless played a major role in the events of Crisis on Infinite Earths. His dialogue here, “worlds will live, worlds will die, and nothing will ever be the same” was the actual tagline that DC Comics used to advertise Crisis on Infinite Earths in the lead up to its launch in 1985.

What’s interesting is that after the DC Multiverse was merged into one Earth at the end of Crisis, Hayden was the only character who remembered the existence of the Multiverse as it was pre-Crisis. Here, Hayden appeared to be displaying a knowledge of what was coming. Does he know what’s coming? Or has he already lived it before? Is he a refugee from another Earth already and that’s what drove him mad? I hope we get to spend a little time exploring this before they go all in on the Crisis next year, because it could be fascinating.

WHAT IS CRISIS ON INFINITE EARTHS?

That’s way too big a question to answer in this article. Allow me to direct you to this one instead.

Mike Cecchini is the Editor in Chief of Den of Geek. You can read more of his work here. Follow him on Twitter @wayoutstuff.

From: https://www.denofgeek.com/us/tv/dc-entertainment/278127/elseworlds-ending-arrowverse-crossover-crisis-on-infinite-earths

Putin takes on Superman in bizarre DC Comics series as Russia and US go to war | Daily Star

The same series also features a child refugee whose family was gassed by Syrian President Bashar al-Assad.

Superman visits a fictional Middle-Eastern nation ruled by supervillain Black Adam.

Black Adam introduces the caped crusader to a child from Douma in Syria, saying: “His younger sister was gassed by Assad, the Russians’ puppet.”

By the end of the issue, the US and Russia are in a full-fledged war.

From: https://www.dailystar.co.uk/news/weird-news/746940/putin-superman-dc-comics-russia-us-war-world-war-3

"Elseworlds": Is Superman Setting Up One of His Biggest Stories From the Comics?

The first chapter of the Arrowverse’s “Elseworlds” crossover debuted tonight, and there’s a chance that it spelled out something major for Superman in the process.

Spoilers for tonight’s episode of The Flash, “Elseworlds Part 1”, below!

The episode saw Barry Allen (Grant Gustin) and Oliver Queen (Stephen Amell) traveling to Earth-38, in hopes that Kara Danvers (Melissa Benoist) would recognize that their identities had been swapped. The pair arrived as Kara was hanging out on the Kent Farm with Clark Kent (Tyler Hoechlin) and Lois Lane (Elizabeth Tulloch), and having a heart-to-heart with her cousin. As the pair talked about the importance of love and romantic relationships, Clark began to try to tell Kara something, only to be interrupted by Barry and Oliver’s entrance.

Kara and Clark then agreed to help Barry and Oliver, which led them back to Earth-1 to fight Amazo. Once that fight was all said and done, Clark decided to return back to Earth-38, announcing his exit by saying that “speaking of hands,” he’d better get back to Lois.

While it’s unclear exactly what Clark could be hinting at in this episode, we couldn’t help but wonder — could he be about to propose to Lois?

As DC fans certainly know, Clark and Lois’ relationship has served as a major storyline over decades and decades of comics, with fans having to wait nearly sixty years for the pair to get married. The pair were initially planned to get married in 1993’s Superman Vol. 2 #75, but the event was put on hold so as not to conflict with the events of the Lois Clark: The New Adventures of Superman TV show.

Clark was then killed off and brought back to life in the comics, and tried to rekindle his relationship with Lois while she served as an overseas reporter. Lois ultimately agreed to marry Clark, an event that was given a major focus in 1996’s Superman: The Wedding Album.

Granted, there’s no telling if Clark and Lois will eventually make this leap before “Elseworlds” is over, especially considering just how much the crossover still has in store. But still, the notion of the iconic pair getting engaged or married in the crossover would be a major thing for DC Comics fans.

“For us, since Supergirl, I think regardless it was amazing to have Clark and Lois together on our show.” Supergirl EP Robert Rovner told reporters at a recent “Elseworlds” press screening. “We’ve dreamed of having Lois Lane be on Supergirl. We’ve talked about her since the beginning. That was great. When I first saw them together, what felt like we were kind of entering the canon in a new, fresh way seeing them reunite for the first time in our universe and that was thrilling.”

“It was thrilling really to read their first scenes in Flash, and to kind of feel Lois Lane. It’s amazing.” Rovner continued. “And Bitsie Tulloch is great, embodying kind of everything that is iconic about Lois. And we just love them together.”

3comments

Do you want to see Lois and Clark get engaged on “Elseworlds”? Share your thoughts with us in the comments below.

“Elseworlds” will continue with Arrow on December 10th at 8/7c, and Supergirl on December 11th at 8/7c.

From: https://comicbook.com/dc/2018/12/10/elseworlds-arrowverse-crossover-2018-clark-kent-lois-lane-proposal-wedding/

"Elseworlds": Is Superman Setting Up One of His Biggest Stories From the Comics?

The first chapter of the Arrowverse’s “Elseworlds” crossover debuted tonight, and there’s a chance that it spelled out something major for Superman in the process.

Spoilers for tonight’s episode of The Flash, “Elseworlds Part 1”, below!

The episode saw Barry Allen (Grant Gustin) and Oliver Queen (Stephen Amell) traveling to Earth-38, in hopes that Kara Danvers (Melissa Benoist) would recognize that their identities had been swapped. The pair arrived as Kara was hanging out on the Kent Farm with Clark Kent (Tyler Hoechlin) and Lois Lane (Elizabeth Tulloch), and having a heart-to-heart with her cousin. As the pair talked about the importance of love and romantic relationships, Clark began to try to tell Kara something, only to be interrupted by Barry and Oliver’s entrance.

Kara and Clark then agreed to help Barry and Oliver, which led them back to Earth-1 to fight Amazo. Once that fight was all said and done, Clark decided to return back to Earth-38, announcing his exit by saying that “speaking of hands,” he’d better get back to Lois.

While it’s unclear exactly what Clark could be hinting at in this episode, we couldn’t help but wonder — could he be about to propose to Lois?

As DC fans certainly know, Clark and Lois’ relationship has served as a major storyline over decades and decades of comics, with fans having to wait nearly sixty years for the pair to get married. The pair were initially planned to get married in 1993’s Superman Vol. 2 #75, but the event was put on hold so as not to conflict with the events of the Lois Clark: The New Adventures of Superman TV show.

Clark was then killed off and brought back to life in the comics, and tried to rekindle his relationship with Lois while she served as an overseas reporter. Lois ultimately agreed to marry Clark, an event that was given a major focus in 1996’s Superman: The Wedding Album.

Granted, there’s no telling if Clark and Lois will eventually make this leap before “Elseworlds” is over, especially considering just how much the crossover still has in store. But still, the notion of the iconic pair getting engaged or married in the crossover would be a major thing for DC Comics fans.

“For us, since Supergirl, I think regardless it was amazing to have Clark and Lois together on our show.” Supergirl EP Robert Rovner told reporters at a recent “Elseworlds” press screening. “We’ve dreamed of having Lois Lane be on Supergirl. We’ve talked about her since the beginning. That was great. When I first saw them together, what felt like we were kind of entering the canon in a new, fresh way seeing them reunite for the first time in our universe and that was thrilling.”

“It was thrilling really to read their first scenes in Flash, and to kind of feel Lois Lane. It’s amazing.” Rovner continued. “And Bitsie Tulloch is great, embodying kind of everything that is iconic about Lois. And we just love them together.”

3comments

Do you want to see Lois and Clark get engaged on “Elseworlds”? Share your thoughts with us in the comments below.

“Elseworlds” will continue with Arrow on December 10th at 8/7c, and Supergirl on December 11th at 8/7c.

From: https://comicbook.com/dc/2018/12/10/elseworlds-arrowverse-crossover-2018-clark-kent-lois-lane-proposal-wedding/

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