Justice League: all the updates, trailers and commentary on DC’s superhero team-up film

After years of work, DC and Warner Bros. are finally bringing their stable of superheroes together. Man of Steel, Batman v Superman: Dawn of Justice, and Wonder Woman have all helped introduce DC’s cinematic universe, with Justice League bringing them together to fend off a new enemy that threatens Earth.

While we’ve already been introduced to Ben Affleck’s Batman, Gal Gadot’s Wonder Woman, and Henry Cavill’s Superman in the prior films, there are some newcomers: The Flash (Ezra Miller), Cyborg (Ray Fisher), and Aquaman (Jason Momoa), each of whom will get their own film down the road.

The film will be directed by Zack Snyder (with Joss Whedon handling the reshoots), and it finally does what Marvel did several years ago with The Avengers. Unlike Marvel, however, DC and Warner Bros. are aiming to scale back their cinematic universe after the success of Wonder Woman as a largely standalone film, and after their own missteps with the earlier entries in the franchise. We’ll find out how well it does it when the film hits theaters on November 17th.

From: https://www.theverge.com/2017/11/1/16498524/justice-league-updates-trailers-commentary-dc-comics

Supergirl accomplished in one episode what Batman V Superman couldn’t in three hours

Photo: Bettina Strauss/The CW

[Spoilers for last night’s episode of Supergirl follow.]

The idea that Kryptonians are basically gods among men is nothing new for Superman. The comics have returned time and again to the idea that someone who possesses the powers of a Superman or Supergirl would inevitably be worshipped as higher beings, the same way Jesus is for Christians—or L. Ron Hubbard is for morons. But when it comes to the onscreen, live-action iterations of those characters, there are markedly few examples of that theme playing out. And in terms of handling the subject deftly, it took Supergirl all of 45 minutes last night to one-up Batman V Superman: Dawn Of Justice.


The episode “The Faithful” goes back to the very beginning of the show, revisiting the accident that leads to Kara revealing her existence to the world—here from the point of view of the man she saved from certain doom. That man, Thomas Coville, saw Supergirl’s intervention as a divine act, proof that the world was being watched over by a higher power. He creates a religion around Kara, adapting the preexisting Kryptonian mythology of Rao and twisting it into a faith that vaunts Supergirl as the savior of all humanity. His followers are so devout, they begin deliberately putting themselves in life-threatening situations, blindly trusting that Kara Zor-El will show up to make it all okay.

He starts a cult, in other words, and part of what makes “The Faithful” so great is the ways it examines just how nebulous the line between “cult” and “religion” can be. As Caroline Siede notes in her review, Supergirl also managed to interrogate the notion of superheroes-as-gods in a manner that’s consistent with the comics (its better-written installments, anyway) by stressing the ambiguity of faith: “Though it can be used for corrupt purposes, faith itself isn’t inherently good or bad.” It’s an age-old philosophical theme, but one the show handles with depth and sensitivity.

Granted, Supergirl has struggled with its writing. It can be smart, but it’s rarely subtle; the show tends to approach things in stark black-and-white. But “The Faithful” is surprisingly nuanced, and it’s far and away the best exploration of those religious ideas posed by Superman/Supergirl that we’ve seen in a a live-action DC film or show. And it puts to shame their rather facile investigation in both Man Of Steel and Batman V Superman.

Batman V Superman: Dawn Of Justice

Like “The Faithful,” both of those films are ostensibly about the way the existence of a Superman alters humankind’s understanding of itself and its place in the universe. Man Of Steel, at least, implies a deeper understanding of the difficult existential questions raised by Kryptonians on Earth, with its fleeting discussions about the nature of power vs. belief and by showing the religious devotion inspired by someone more than human, with powers beyond mortal comprehension. But those brief moments of profundity are little more than window dressing, vague narrative feints that tease far more depth than they convey. Strip away the Jesus Christ poses Snyder lavishes on his iconography-obsessed film, and it’s really just another story about fathers and sons.


In Snyder’s Batman V Superman, the religious imagery and Christ allusions are even more blatant, and even more bluntly delivered. The brief shot of people reaching out for Superman like he’s a super-powered pope, or “False God” graffiti tagging his statue, are only symbols for a larger conversation the film never actually has. It’s why its many defenders in Reddit threads tend to have far more interesting takes on the movie’s philosophy than Batman V Superman itself. Sure, Snyder throws out plenty more religious iconography and a few rambling Lex Luthor monologues about it, but the theological conflict posed by Superman’s existence never gets the direct, thoughtful address the movie believes it’s presenting.

Where Supergirl gets it right is in actually letting Kara’s worshippers open their mouths. Thomas Coville and his flock express their beliefs and the reasoning behind why they do what they do—including putting other people’s lives in danger—and then others actually discuss the morality behind their actions. By exploring their fanatical devotion to Kara, and their belief that they’re doing the right thing by helping others turn their lives over to a higher power, it opens a larger debate about the nature of religion itself. It’s a nuanced discussion, one Supergirl handles with grace, and it does so in one-third the time.

Granted, not everything needs to be spelled out for every viewer. Some fans undoubtedly even prefer the purely symbolic approach. But Snyder’s Superman films clearly want to be about having those larger philosophical discussions, even though they spend most of their time just talking around it. Here’s hoping Superman’s future big-screen outings take a cue from his distaff TV cousin, and put as much work into their overarching philosophy as Supergirl did in a single episode.

From: https://www.avclub.com/supergirl-accomplished-in-one-episode-what-batman-v-sup-1820008499

‘Supergirl’: "The Faithful" Reflects ‘Superman: The Power Within’

(Photo: Warner Bros. TV/The CW)

While there are plenty of stories about Kryptonian religion and cults, none feels quite so familiar to fans watching tonight’s Supergirl than “The Power Within,” Roger Stern and Curt Swan’s story told in two-page increments for a year of Action Comics Weekly.

After nearly 50 years of being the lead feature in Action Comics, Superman took a back seat to a number of characters who did not have ongoing series. The Crisis on Infinite Earths was fairly fresh in the rear-view mirror and Superman, whose origins and power level had been changed significantly as a result of John Byrne having been given basically a good deal of creative leeway. Action had been reinvented as a team-up book, and when Byrne left the title, DC opted to lean into that and make the book a weekly anthology series.

The comic featured Green Lantern, Nightwing, Speed/Arsenal, Wild Dog, and various others during its run, with pre-Crisis Superman legend Swan drawing the Man of Steel’s stories. Roger Stern wrote stories untethered to then-current continuity, creating essentially a two-page, weekly Superman strip that felt timeless, with a contemporary feel as drawn by one of the artists with the longest Super-history.

Their story, which involved Superman grappling with a religious sect who believed him to be a god while he himself believed that his best quality was the humanity instilled in him by the Kents, made overt a subtext that the character had struggled with for years. The story was hardly a classic, but it was one of the earliest Superman stories by Stern, who would remain a key part of the Man of Steel’s creative makeup through the end of the ’90s.

Superman: The Power Within, which also includes the story arc “The Sinbad Contract” and some other odds and ends from that era, was released in collected edition for the first time ever in 2015. Here is the official description of the story:

When Superman saves an innocent man from being killed, he discovers two disturbing facts: 1) the man he saved is part of a cult that worships the Man of Steel, and 2) the man’s would-be killer is part of another faction dedicated to wiping them out! Even worse, both groups are gaining super-powers due to a mysterious, space-born source that Superman must discover before it is too late!

You can get the trade paperback physically or digitally if you are interested in taking a deeper dive.

Fans who jumped on the post-Crisis Superman bandwagon in 1992, when the Man of Steel died at the hands of Doomsday and became briefly the hottest thing in comics, might have missed “The Power Within,” but both encountered these cultists and confirmed that in spite of Swan’s presence the stories still too kplace in Byrne’s post-Crisis continuity.

The cult of Superman popped up following his death, with sects camping out near his grave to await his resurrection (proving that fictional cult members are smarter than some of the people who fueled the speculator market of the ’90s).

After four people arrived, each hoping to replace Superman, different sects of the cult were spotted squabbling with each other over whose Superman was the “real” one during The Reign of the Supermen!. Unfortunately, we never got to see how embarrassed the Cyborg Superman loyalists were by the whole Coast City thing.

Full Profile

by Russ Burlingame
| October 30, 2017

From: http://comicbook.com/dc/2017/10/31/supergirl-refers-back-to-superman-the-power-within/

‘Justice League’ Trailer Teases Mera’s Powers—And Everything Else We Know About the DC Superheroes

With the Justice League premiere just weeks away, fans are finally getting a closer look at just how the D.C. Comics’ superheroes will use their powers to (hopefully) destroy supervillain Steppenwolf.

A short clip released Wednesday, just 30-seconds long, shows Cyborg (Ray Fisher) teaming up with the Flash (Ezra Miller) to take down Steppenwolf’s (Ciarán Hinds) minions while Aquaman (Jason Momoa) uses his trident to strike up a killer wave of water. And, in a moment so brief you’d miss it if you blinked, Mera (Amber Heard), the future queen of Atlantis, is seen whipping up a wind storm with a clap of her hands. Batman (Ben Affleck) makes an appearance, assembling the team to reveal his master plan, and Wonder Woman (Gal Gadot) is spotted kicking butt on a battlefield.

Here’s everything you need to know about the film: 

Premiere date: November 17, with a sequel slated for June 2019.

The plot: Steppenwolf arrives on Earth in search of three Mother Boxes—high-tech computers created by the alien New Gods. If he succeeds, humankind will cease to exist. Batman and his new ally, Wonder Woman, join forces to create a league of superheroes to defeat him. 

Missing League members: In the D.C. Comics universe, the Justice League is comprised of Superman, Aquaman, Flash, Green Lantern, Martian Manhunter, Batman and Wonder Woman. Years later, the universe grew to include Atom, Green Arrow, Green Lantern, Cyborg, Zatanna, Mera and Antiope, among others. There was no realistic way to include all those League members in the film, but one absence is noticeable: Green Lantern, who was played by Ryan Reynolds in a 2011 movie. There is speculation that he could be the mystery character at the end of the trailer—the one addressed by Alfred (Jeremy Irons): Batman “said you’d come.” 

New director: Joss Whedon (Avengers) replaced the original director, Zack Snyder (Man of Steel, Batman v Superman) during post-production, after a family tragedy forced Snyder to leave the movie.

Box office: Justice League is expected to gross $110 million to $120 million its opening weekend. Advanced tickets for the movie went on sale Wednesday.

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From: http://www.newsweek.com/justice-league-dc-comics-batman-wonder-woman-superman-693934

15 Huge Mistakes In The 90s That Still Haunt DC Today

The 1990s was a fascinating decade for DC Comics. Like the rest of the comic book industry, DC saw a huge sales boom in the first half of the decade. This was highlighted by their crossover event, “The Death of Superman,” which was one of the highest-selling comic book events of all-time. However, the success of that event led to a series of lesser events designed to evoke the same basic feel of “The Death of Superman” and, really, there are only a fixed amount of times that you can do something to the same scale as killing off Superman. Thus, there was very much a case of diminishing returns for some of these events.

RELATED: 15 Disastrous Mistakes DC Wants You To Forget

At the same time, however, DC was releasing some of the most acclaimed comic books of the decade, particularly through its Vertigo line of comic books, which were highlighted by Neil Gaiman’s Sandman, a comic book series that actually began in the 1980s, but most of the issues were released in the 1990s. Vertigo later launched Preacher and Transmetropolitan to follow Gaiman’s Sandman epic. So DC did a lot right in the 1990s, but it also made its fair share of mistakes. Some of these mistakes still haunt the publisher to this day. We’ll detail 15 of DC’s biggest mistakes from the 1990s that still affect comic books decades later.


Of all the DC Comics events designed to follow in the footsteps of “The Death of Superman,” none was quite as dramatic as “Emerald Twilight,” a story so daring that another storyline under the same name had already been solicited, but DC scrapped it because it wasn’t extreme enough. Rather than have Hal Jordan go rogue and force the Green Lantern Corps to pick a new Green Lantern of Earth.

This new version had Hal Jordan snap and kill a bunch of Green Lanterns on the way to absorbing the energy of the Green Lantern Corps to help fix things that had gone wrong. Eventually, this was excused as a matter of Hal being possessed by the fear entity known as Parallax, but the damage to his character has still been dramatic, as the guy was plainly a major villain in the DC Universe for years after this event.


When Keith Giffen and J.M. DeMatteis began their Justice League run in 1987, they wanted to have as many “big guns” as DC would allow. DC, though, reduced the amount of major characters available, so Giffen and DeMatteis instead decided to take a different approach with the lesser-named characters that they were given and did a sitcom approach to the Justice League. It was a major hit and was one of DC”s best-sellers.

When Giffen and DeMatteis left the series after five years, DC could have chosen to continue the humorous League, perhaps in a new spinoff series, or they could have chosen to keep the characters but have them no longer be funny and appeal to no one (not the fans who wanted the big names and not the fans who wanted the funny League). DC chose the latter and ruined one of their most popular series for good.


We certainly do not mean to suggest that the trend of female supporting characters being injured or killed in service of motivating the main male character was something that began in the 1990s. It had been around for many years before that. However, it was forever encapsulated in 1994, when new Green Lantern Kyle Rayner saw his girlfriend, Alexandra DeWitt, literally stuffed into a refrigerator as part of a message for Kyle from the sadistic Major Force.

This led to the term “women in refrigerators” being coined by Gail Simone to describe how poorly women have been treated in superhero comic books and it is an issue that affects comics today almost as much as it did in 1994 and the term has as much relevance today as it ever has in its history.


In this instance, the “mistake” actually occurred in the late 1980s, when first Paul Levitz finished out his long run on Legion of Super-Heroes by aging the characters and having them encounter more mature threats. Then, Levitz’s long-time collaborator, Keith Giffen, who had recently returned to the series, took over the book from Levitz and promptly skipped five years into the future, where the Legion were now all adults and trying to put the Legion back together after it fell apart over the years (through a series of wars).

While good, the series changed the set-up so much that for Zero Hour, DC just rebooted it. This led to a number of strong new stories, but it also led to future reboots every time someone felt like changing things. It made the Legion almost unrecognizable 20 years later.


Mark Waid once wrote about how so much of Hawkman’s continuity problems could have been avoided had his 1989 “Year One” style miniseries, Hawkworld, simply included three little words at the beginning of it. Those three words? “Ten years ago.” The series could have served as Hawkman’s new origin Post-Crisis on Infinite Earths, but by setting it during the present, it became a major conflict in DC continuity and led to many years of confusing Hawkman stories.

However, while the 1989 miniseries showed Hawkman’s origin, it was not actually until his 1990 Hawkworld ongoing series that it was confirmed these stories were taking place in the present and not the past, so the 1990 series was really where the trouble started for Hawkman and his ever-confusing continuity.


It is amazing how much a character can be defined by a trait that did not exist for the first 50 years or so of a character’s existence. That is precisely what happened to Green Arrow when he was kissed by Marianne, a young woman who had been living on the streets when Green Arrow got her a job at Dinah Lance’s flower shop. She became a bit obsessed with Oliver and during a New Year’s Eve masquerade party, she kissed him. Oliver Queen’s girlfriend, Dinah, though, saw them kiss and she broke up with Oliver.

This was the start of “Green Arrow is a hound dog who always cheats on his girlfriends” approach, which soon became just part of his character despite it never being there until the very early 1990s. Even there, she kissed him! He later slept with her, but that was after Dinah dumped him.


This is another case where you could argue that the real problem occurred earlier, when DC decided to eliminate their Multiverse in Crisis on Infinite Earths in the mid-1980s. However, whatever you felt about that decision, once they made it, they really should have either committed to the approach or just reversed the approach. Instead, with 1994’s Zero Hour, we saw a set-up that would become quite familiar to DC fans over the next 20 years – a half-reversal/half-recommitment that didn’t make anyone happy.

Dan Jurgens obviously would have done things differently had he had full control over the project, but instead, Zero Hour ended up being a hodge-podge that many DC events would emulate in the years since (like, say, “the whole DCU is rebooted… except Batman and Green Lantern”).


In 1993, DC released a crossover even throughout its annuals called “Bloodlines.” The concept (which was eerily similar to what Marvel did the same year) was to introduce brand-new superheroes and supervillains (mostly heroes), who would be introduced in the annuals for each of DC Comics’ regular titles that year. It was a fair enough concept, but the problem was that DC would be owning these characters entirely.

Thus, you got a bunch of mostly weak characters, as no one wanted to give DC their best ideas. When some of them, like Hitman, hit it big, it just highlighted the absurdity of surrendering the rights to your creations to a comic book company like DC Comics. This is why many top creators make sure to avoid creating characters for DC or Marvel any more.


In 1991, DC had another crossover event between its annuals called Armageddon 2001. This time, the framing sequence was that a time-traveler from the future came back from the year 2001. In that year, a former superhero became the villainous Monarch and took control of the world. Now, this time-traveler came back to 1991 to figure out which superhero would one day become Monarch. So each annual would see a possible future for the main character to see if they become Monarch (so just lots of interesting possible future one-shots).

However, someone found out that it was going to be Captain Atom and leaked it on to the nascent internet, so DC changed the reveal at the last minute to preserve the surprise factor and made it Hawk (of Hawk and Dove) instead. This would be the first of many instances of DC Comics fighting off the internet spoiling plotlines ahead of time.


At the end of the 1990s, DC decided to revamp its Superman line of comic books. The publisher had maintained a relatively stable roster of creators for the entirety of the decade and now wanted to mix things up. The line had four titles at the time (Superman, Action Comics, Adventures of Superman and Superman: The Man of Steel). One of the pitches editors received was from Grant Morrrison, Mark Waid, Mark Millar and Tom Peyer. DC ended up turning it down.

So DC could have not only had some of the top creators of the next decade working on their Superman line, but also prevented Morrison and Millar going to Marvel in the next couple of years and helping to revolutionize Marvel’s X-Men and Ultimate Comics line. When you see the impact the Ultimate line had on the Marvel Cinematic Universe, this was a huge game-changer.


For a number of years after Crisis on Infinite Earths established that the Justice Society of America, rather than living on their own alternate Earth, were actually heroes in the past on the main DC Comics Earth, DC mostly kept away from using the older heroes until the early 1990s, when they brought them back from a magical limbo that they had been in for years (to explain their relatively youthful appearances). Then, after getting a critically acclaimed series, DC decided that it just didn’t want them around, so editors canceled the series.

Then, during Zero Hour, despite Dan Jurgens’ wishes to just let them get their own Earth to live on, DC instead decided to wipe them out. The JSA had a bit of a resurgence in the late 1990s with the few surviving members, but this really hurt the concept of the Justice Society for decades.


After initial complaints that Jason Todd was just a Dick Grayson knockoff, DC overcorrected in the 1980s and made Jason Todd into such a punk that fans literally voted to have him killed in the late 1980s. DC then had Marv Wolfman introduce a new Robin, Tim Drake, who was accepted by fans as being different from Dick, but not in a jerky way. However, DC quickly decided to give up one of the things that made Tim Drake stand out.

Tim was a normal kid with loving parents, making his decision to become a superhero stand out from other typical superheroes (who all lose their parents). So, of course, within a year or so of his debut, DC killed off his mother. His father was killed a decade later, forever taking Tim out of “normal family life” status.


By the time that Keith Giffen and J.M. DeMatteis finished their Justice League run, not only was the League popular as a whole, but the characters within the League were also popular, especially the pairings of Blue Beetle and Booster Gold and Fire and Ice, the latter being so popular that DC renamed Green Flame and Ice Maiden as Fire and Ice because they were such a popular duo together.

Then, when the League was continued in a more serious version, Ice remained a key member of the team (she was there when Superman died!) but when Mark Waid was put in charge of a Justice League crossover that would shake up the various League title, he thought whose death would have the biggest impact and he landed on Ice. He killed her off, later noting that it was one of the biggest mistakes of his comic book writing career.


During his famed run on Swamp Thing, Alan Moore would often come up with new approaches for other unused characters in the DC Universe. Sometimes, these new ideas would become beloved changes (like The Demon suddenly becoming a rhyming hellspawn) and sometimes, they would be more forgettable. One example of the latter was the revelation that the planet Rann only kept Adam Strange around because they were a sterilized species and needed Strange as a source of breeding.

The 1990 miniseries, Adam Strange, continued that plot point. It’s a well-done series (with great art by a young Andy Kubert) but, A.) it was such a bad idea, and B.) it was the first notable example of a comic going “grim and gritty” based off of an Alan Moore plot point, something that would be common in the years to come.


We won’t mislead you, Donna Troy never made sense, because she was a mistake to begin with, as “Wonder Girl” was actually just Wonder Woman when she was younger and the writer of the Teen Titans added her to the team not knowing that she wasn’t Wonder Woman’s sidekick. So in the 1970s, Marv Wolfman had to invent a backstory for Wonder Girl where she was saved by Wonder Woman as a little girl.

Then Crisis hit and Wonder Woman suddenly showed up on the scene now, meaning that Wonder Girl needed to have a new origin. After a few attempts at giving her one, during the 1990s she lost her powers, became a Darkstar, divorced her husband, saw her husband and two sons both murdered, had her life erased and then re-written based on Wally West’s memories… the 1990s were an extra-big mess for Donna Troy.

What do you think was the biggest mistake that DC Comics made in the 1990s? Let us know in the comments section!

From: https://www.cbr.com/huge-mistakes-dc-made-in-the-90s/

‘Justice League’ Tracking for $110M-Plus for US Launch

With three weeks left to go before its big-screen debut, DC Comics and Warner Bros.’ Justice League is tracking to open in the $110 million-$120 million range domestically, according to early surveys.

That would put it behind such DC titles as Batman v. Superman: Dawn of Justice ($166 million) and Suicide Squad ($133.7 million). Box-office observers note that Warners has yet to make its final marketing push. Also, rival superhero title Thor: Ragnarok, which debuts domestically on Nov. 3, could be obscuring tracking. Thor could debut as high as $125 million for Marvel Studios and Disney.

The all-star superhero tentpole — directed by Zack Snyder with additional input from filmmaker Joss Whedon — is a key moment for the DC Extended Universe, which hopes to emulate the success rival Marvel Studios has enjoyed with its Avengers franchise.

Justice League takes place months after the events in Snyder’s Batman v. Superman. In the story, Batman (Ben Affleck) unites with Wonder Woman (Gal Gadot), Superman (Henry Cavill), Aquaman (Jason Momoa), The Flash (Ezra Miller) and Cyborg (Ray Fisher) to battle Steppenwolf (Ciaran Hinds). Amy Adams, J.K. Simmons, Diane Lane, Jeremy Irons and Connie Nielsen also star.

In May, Snyder handed the filmmaking baton to Whedon following the death of Snyder’s daughter, Autumn, in March. Whedon was tasked with postproduction duties, as well as shooting additional scenes, some of which he wrote.

Whedon was an obvious choice to take on the project, having directed The Avengers, which debuted to a record-breaking $207.4 million in summer of 2012. Whedon also helmed Avengers: Age of Ultron for Marvel and Disney.

DCEU’s biggest win to date is Wonder Woman, which was both a critical darling and a box-office hit. Directed by Patty Jenkins and starring Gadot, the superhero film shattered numerous records following its $103.2 million domestic debut in June. To date, Wonder Woman has earned $821.6 million globally, making it the top-grossing film of all time from a female helmer with solo directing duties.

It’s shaping up to be a busy November for superhero fare, with Justice League opening only two weeks after Thor: Ragnarok.

Box Office Updates
Justice League

From: http://www.hollywoodreporter.com/heat-vision/justice-league-tracking-110m-us-launch-1051990

MR. OZ’s Real Motivation Revealed In ACTION COMICS #990 – SPOILERS

Action Comics #990

Credit: DC Comics

Spoilers ahead for this week’s Action Comics #990.

In this week’s Action Comics #990, Superman learns the truth about Mr. Oz, and readers discover the character’s motivation for some of his actions.

But throughout the issue, one thing is made clear – the threat of Dr. Manhattan (or whomever Oz has been calling “him”) is huge, and it coming soon.

In the last few Action Comics issues, Superman was confronted by Mr. Oz and told that his actual identity was Jor-El. The character was supposedly imprisoned and forced to watch the worst moments in history, and as a result, he believes Superman and his family are too good for this violent and destructive Earth and must leave humanity to their deserved demise.

In this week’s Action Comics #990 writer/artist Dan Jurgens and penciller Viktor Bogdanovic, readers learn even more about Oz’s motivations and what he calls a “massive threat” that’s about to hit Earth.

Credit: DC Comics
Credit: DC Comics

Convincing Jonathan

Superman is off saving people and trying to make peace – and the entire Justice League seems to be helping out in various places on Earth – while Jor-El is trying to convince his son Jonathan to leave for the perfect planet.

It’s a place he calls Bliss, where everyone is equal and nobody has to hide behind a secret identity. In fact, Jor-El calls Superman’s secret ID “that silly Kent identity.”

Jor-El says it’s wonderful that “Clark Kent” has saved lives, but “over all his time here, have humans ever improved?” he asks Jon, then adds: “Even if they did, it wouldn’t matter. It’s too late.”


Well, here’s where we get to the interesting part. Jor-El (also known as “Mr. Oz”) says the threat that’s “out there” is very “deadly and unbeatable.”

“Earth has never seen a threat like this,” Jor-El says, presumedly describing Dr. Manhattan, who’s going to come up against Superman and other heroes in Doomsday Clock. Jor-El describes this threat as one that the world cannot survive – not even Superman and the Justice League.

“This entire plane of existence has no future,” Jor-El says.

That doesn’t sound so good…

Credit: DC Comics


Janet and the Oz-lings

Readers are also shown some of Oz’s soldiers again – the dudes in the black costumes who helped Oz find Doomsday in Action Comics #962.

Janet (who’s the Oz-follower from Oz’s earliest appearances in 2015) calls the soldiers “Mr. Oz’s anointed ones! Blessed to have been in his presence!”

Credit: DC Comics

So yeah – there’s some worshipping going on here.

The soldiers say that “Oz believes in openness and honestly, that the true nature of man must be revealed. He demands nothing – only gives us the means to act as we desire.” They call the residents of Metropolis “monsters” and talk about “Phase Two” being initiated.

The soldiers begin a process – as Janet watches – that will release toxic gas and “purge” Metropolis of life. The soldiers and Janet seem to believe that they’ll be saved from the gas by Oz.

Superman returns to Metropolis (responding to a call from Jimmy’s watch – actually by Lois, who’s worried about her missing son).

Just as Superman starts to wonder if Jor-El’s appearance is connected to all the turmoil in the world, he discovers Janet and the soldiers’ plot to kill the people of the city he loves.

As he forcefully stops their plans to release the gas, he notices that Oz’s soldiers are “dressed like the men who tried to capture Doomsday.”

“So there it is,” a thought box reveals Superman thinking. “No matter if Oz really is my father or not, he is involved in all this madness.”

Credit: DC Comics


Credit: DC Comics

Three-Generation Battle

As Superman rushes to Lois at The Daily Planet building, Jor-El shows up with Jonathan and continues talking about how awful humans really are. He claims that he didn’t force any of the tragedies to happen – he merely “allowed” the people to prove how “ghastly they really are.”

When Superman yells at Dad for taking Jon, the boy says he went willingly. And he starts to defend old granddad, pointing out that Jor-El/Oz helped him “back when we were fighting Zod in the Fortress” (in Action Comics #984).

Credit: DC Comics

So with Jon defending him, Oz starts to also defend himself – and we get an explanation for some of those prisoners that Oz brought to his fortress.

Why did he take possession of Doomsday, and lock Mxyzptlk up, and “end the threat” of Metallo? Because his son’s survival is “everything” to him.

Jor-El then tells Superman about the “massive threat” that’s coming to the world. “You have no chance of surviving,” Jor-El says.

“I saved you once and will do so again,” he says, referring to how he sent his son away from planet Krypton. “You and your family, you must leave now or you will die.”

Superman says he doesn’t know if Oz is really Jor-El, but even if he is, he’s not the hero his son thought he was.

Superman’s about to start a big ol’ Kryptonian-versus-Kryptonian fight with the old man when Jon grabs his fist. “No! You gotta listen to Grandad!” Jon says. “If we don’t go, we’re all gonna die!”

Credit: DC Comics

The story is scheduled to continue in November 8’s Action Comics #991.

From: https://www.newsarama.com/37101-mr-oz-s-real-motivation-revealed-in-action-comics-960-spoilers.html

DC Comics Rebirth & Legacy Spoilers: Batman #800 Joins …

DC Comics Rebirth and Legacy Spoilers follow.

We revealed earlier that Tony Daniel was drawing “Legacy” variant covers for DC Comics Comics Rebirth ongoing series hitting milestones.

As such, Superman #34 is Superman #800 (on sale November 1, 2017) and…

…Wonder Woman #34 which is Wonder Woman #700 (on sale November 8, 2017).

DC Comics has also now released the black and white version of Batman #34 which is Batman #800 (on sale November 1, 2017).

The cover for Flash #39’s Flash #700 (on sale January 24, 2018) covers has not yet to be released.

Action Comics #1000 (late March 2018) also hits stands soon too. Unlike the rest of the line it and Detective Comics have reverted to the legacy numbering for their runs with the advent of Rebirth. No word on whether Tony Daniel is working on any variant covers for those books as their milestones come up.

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From: http://insidepulse.com/2017/10/24/dc-comics-rebirth-legacy-spoilers-batman-800-joins-superman-800-wonder-woman-700-covered-flash-700-action-comics-1000-pending/

Superman looms large

The Warner Bros. PR machine has been on a marketing overdrive in an attempt to convince fans that their favourite Man of Steel plays no part in its big ticket release Justice League.

It released a new poster that not only addresses the elephant in the room, but also hints at how it might happen. It incorporates emblems of all of DC Comics’ big guns, but the one that stands out is that of Superman.

Reddit threads went into collective meltdown following his apparent death at the hands of Doomsday in last year’s Batman v Superman: Dawn of Justice with many putting on tinfoil hats to debate the story arcs that DC-Warner could use to bring the last son of Krypton back from the dead. While the latest trailer did give a glimpse of Clark Kent, albeit in a flashback/dream sequence, the poster more or less confirms his return, despite he studio pretending otherwise.

An e-commerce site specialising in comic merchandise recently put on sale a black cap with Superman’s insignia as part of an exclusive line. The cap harks back to the Superman: Doomsday story arc, which sees Superman use a black suit during his time in the “regeneration matrix� following a brutal assault by Doomsday.

Henry Cavill, who plays Superman, has himself teased a monochromatic suit on his Instagram account, sending fans into a tizzy.

He might be conspicuous by his absence in the posters, but there is no Justice League without Superman and Warner Bros. knows that. And with the amount of money on the line, they surely will not risk going down that road.

There is also a shift in the tone with the studio literally lightening up the characters. The new poster is brighter and more vibrant than previous ones that have bordered on the monochromatic. Aquaman’s traditional gold and green costume and the bluest Batman in years highlight a marked directional change after the box office dud that Batman v Superman: Dawn of Justice was.

Man of Steel and Batman v Superman: Dawn of Justice had alienated many fans with their sombre theme, forcing Warner Bros. to rope in screenwriter Joss Whedon, the man who gave the Marvel Cinematic Universe its outlandish success, to steady the film.

Whedon’s screenplays have set the cash registers ringing at Marvel and he was given a clear run at re-shoots and post-production to weave the same kind of magic — as being seen in the poster. The studio will be hoping Whedon’s magic touch, coupled with the almost obvious return of Superman and the debuts of a host of DC Comics’ big
guns will finally get its extended superhero universe off the ground.

Justice League, directed by Zack Snyder, releases in the US on November 17.

From: https://www.telegraphindia.com/entertainment/superman-looms-large-180655

Why Superman Is Definitely a Democrat

For the most part, superheroes tend to exempt themselves from partisan politics. Except in rare cases — like 2008’s super-weird DC Universe: Decisions special that literally broke down the political positions of several DC heroes — we’re left to imagine whether Bruce Wayne “felt the Bern” or if Hal Jordan voted to Make America Great Again. However, it’s fun to examine the philosophies of particular heroes and imagine where they’d fall on the political spectrum. Or, in the case of the two-party system in U.S. politics, whether they’re a Democrat or a Republican.

RELATED: Of Course Superman Saved Immigrant Workers – It’s What He Does

For the purposes of this article — and to get a good discussion rolling — let’s look at Superman, and go over the many reasons why he would likely vote for a Democratic candidate in a U.S. presidential election. For many of us, it’s obvious that Superman is a Democrat, but for those who might be interpreting Jerry Siegel and Joe Shuster’s message in a different way, let’s run down why he leans left.

Economic Justice

The first-ever glimpse of Superman, on the cover of 1938’s Action Comics #1, was an image of him flipping a car and scaring the hell out of a capitalist “suit,” evoking a powerful anti-economic inequality message. As discussed at length in Grant Morrison’s Supergods manifesto, the image signifies a rejection of greed, and defiance against the wealthy.

Superman would have no problem paying taxes — something Republicans take issue with, to say the least. The principle behind taxes, at least in their modern form, is to offer one’s fair share for the betterment of a community. While Clark Kent undoubtedly pays taxes as a reporter for The Daily Planet, Superman’s contributions come in the form of civil service. As evident time and time again, the Man of Steel wholeheartedly believes in something usually associated with Spider-Man: With great power comes great responsibility.

Superman feels an inherent responsibility to offer his “wealth” (in his case, superpowers) rather than viewing his good fortune as something deserved and kept for himself. Superman’s prerogative to use his fortunate position to help others would, no doubt, make him side with a single-payer healthcare option. Rather than believing healthcare — or the right to maintaining a healthy life — is something completely under the responsibility of an individual, Superman would view paying taxes for the sake of healthcare for all as a no-brainer. In short, Superman would be willing to forfeit choice, or liberty, in favor of life.

Nationalism vs. Globalism

While nationalism isn’t something inherently Republican, it’s often championed by the party as part of an economic message, especially in recent years. Like how Democrats are generally left to advocate for social justice, Republicans are there to preserve national identity. While Superman is often associated with “Truth, Justice and the American Way,” he’s proved time and again that he is not for American exceptionalism, as discussed at length in editor Mark D. White’s Superman and Philosophy: What Would the Man of Steel Do?

Superman wasn’t always championing “the American Way.” That addition to the character’s motto was popularized for the 1950s serials starring the late, great George Reeves, but was first added in the 1940s as a means to stir patriotism as the United States entered World War II. “The American Way” was represented as the “good” in a fight of “good vs. evil,” not necessarily as an American exceptionalist message.

Furthermore, in DC Comics’ controversial 2010-2011 storyline “Grounded,” Superman renounces his American citizenship. Sending a message that he disagrees with the (then-) current political climate, Superman set out to reconnect with the grassroots of America and champion a more globalist, internationally inclusive message. This shows how Superman is prepared to ditch “the American Way” part in favor of Truth and Justice.

While Superman is more than willing to be a “Boy Scout” for President Reagan in Frank Miller’s The Dark Knight Returns, it’s indicated in the story that Superman (at least with that wink upon the big reveal at the story’s end) is more for what’s right in general, rather than for what’s right for the American cause.

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From: http://www.cbr.com/superman-democrat-us-election/


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