Wonder is the first half of her sobriquet, and so far any foreseeable live action movie or TV season has left all interested parties of audiences in the lurch of her eponymous prefix.
Two independent points of interest spoke their own takes on the Wonder Woman lapse of production.
Collider cites Joss Whedon’s synoptic explanation on his own script that was given a wave off.
She was a little bit like Angelina Jolie [laughs]. She sort of traveled the world. She was very powerful and very naïve about people, and the fact that she was a goddess was how I eventually found my in to her humanity and vulnerability, because she would look at us and the way we kill each other and the way we let people starve and the way the world is run and she’d just be like, None of this makes sense to me. I can’t cope with it, I can’t understand, people are insane. And ultimately her romance with Steve was about him getting her to see what it’s like not to be a goddess, what it’s like when you are weak, when you do have all these forces controlling you and there’s nothing you can do about it. That was the sort of central concept of the thing. Him teaching her humanity and her saying, OK, great, but we can still do better.
In some ways, a Wonder Woman movie franchise appears to be a reachable Herculean project opposite an increase of escalating platforms for a Superman once and again. The Kryptonian’s story in almost invulnerable against a tiring redirection for his origins, but challenging the Man of Steel, which in turn would challenge our known ennui for the character, has always been a titanic undertaking.
Whedon’s comics-centric authenticity has been a long known, well-known self-proclamation that testifies certainty within the producer, writer and director’s in progress span of comic book devising.
Whedon’s script only seems to put a lens on the direct roles Trevor and the Amazon Princess play out through the general run of footprint tellings going back into comics, put forward with Lynda Carter and Lyle Waggoner on ’70s television and now one cornerstone as cornerstone as Lois and Clark.
Goddess may have been the doubtable support extinguishing prospects for the script, even if Diana’s naivete doesn’t sound much like an ingenue, just an alienating empathy towards how humanity is working the world over.
Former articles with the labeling D.C. Comic Books Examiner has been one outspoken proponent for incorporating some of TV’s famous Wonder Women trademarks and comic books evolution of her powers that the contemporary animated shows – “Justice League Unlimited”, “Wonder Woman” dvd movie – have acknowledged.
Buffy, Zoë and Echo in television’s syndication rearview, Whedon’s crystallizing a many aspects heroine into a relevant script isn’t that much of a gamble, and in the least a blindside ante.
Famous as it lasts, the difference between a live action Wonder Woman then and now is one that has a gleaning with a comics source of comphrehension in order to fully relay a topical Diana Prince. (See David Kelley’s disappointing internet sneak peek on the pilot).
Comics writing has Whedon’s name on it, “Astonishing X-Men” rather than Diana Prince. Present day names that have a stock of insight on Wonder Woman assigns what the relaunched Wonder Woman story delivers in the New 52 from DC Comics. Brian Azzarello and Cliff Chiang are the respective writer and artist working on the new hit title. The current team gave Hero Complex a key premise on what a WW TV series would need in order to land a primetime spot; which MTV’s Splashpage brought into a highlight focus, starting with Azzarello:
“You go to a Superman movie or a Batman movie and you know who they are,” he said. “What sold the first Superman movie was the fact that he could fly and the special effects were so great — ‘You’ll believe a man can fly,’ that was the tagline. They are kind of these clear niches where they work, Batman in Gotham City and has seriously creepy villains, Superman is in Metropolis and he fights with the smartest man on Earth. With Wonder Woman, I don’t think people know what they would get out of that right now. Lyle Waggoner as Steve Trevor?”
and, then Chiang;
“I think it would be great,” he said. “I think people’s ideas of what a woman can do and the way women heroes can be presented is much broader. You think back to the old TV show, it was pretty campy, but it was the ’70s. The thing is Lynda Carter never made fun of Wonder Woman, which was great and it’s one of the reasons the show really inspired a lot of people to fall in love with Wonder Woman. She did it with a straight face and one of the things we want to do is sort of present this no-nonsense woman warrior. That’s not to say she isn’t compassionate, she’s just ready to get down to business.”
Wonder Woman may just be the cornerstone to siphon a next live action pitch. The running time on the Dark Knight and the space of filming dates for the Man of Steel proposes an open and deserving stage for a Wonder Woman project.
Anyone else thinking:it needs doing before any Justice League rumors solidify?