I think what he meant is that Joker is an abstraction in that he couldn’t imagine any real human actually doing the stuff that’s required to make it a Joker movie.

It reminds me of Dan Harmon’s story circle. You start with characters in a normal setting. At the end, they have passed through some challenge, and are changed. That’s what most movies are: you watch how characters change.

He’s now seeking “unspecific monetary damages,” including “damages for emotional distress.”

The batmobile had a button that shot out the front as a smaller batmobile.

Well, it was literally founded by Puritans. They’re like a red sock in the washer.

Of course, she disappears at the... EXACT point the plot starts. Can’t have no fuckin’ get in the way of all that killin’.

Nevertheless, as a human, you already know way more people who are, or have been in romantic or sexual relationships than you do who have been in fistfights with robots on trains. Asexuality is part of the sexual spectrum, and if Disney doesn’t want its heroes fucking, it’s also too cowardly to just make its heroes…

Superhero movies pointing to Deadpool as an example of sexual storytelling is like Donald Trump pointing to Kanye as an example of his black friend.

All movies are art. When people talk about capital-A Art, what they usually mean is, what is the movie trying to say? It is regurgitating something easy and common, or is it trying to say something new, daring, and complicated?

Not to mention, the HUGE majority of superhero comics were either concocted in the 30s and 40s, or under the heavy hand of the Comic Code for the 50s through the 80s. Sexual conservatism is pretty baked into the genre.

Then they kill him off. Can’t have no fuckin’ distract our lady from punchin’.

Superheroes don’t have sex because they’re, at the end of the day, children’s fare. Most of the creators of superhero movies keep that mindset, so when superheroes fuck, it almost always looks hammy and porny, like in Wonder Woman and Watchmen. Like how a child imagines sex.

Kind of weak? Good TV takes time, and I appreciate craft.

Pixar (and yeah, comparing Pixar to Dreamworks is a bit awkward, unless there are dragons involved) will animate entire scenes to fit in with the cultures of different countries. In Inside Out, the sports game the dad remembers is soccer, not hockey, outside of most of North America. In the French version of Ratatouill…

Where? I think I heard they had to hide the zippers on this suit under the belt, then up the side.

There are versions of this group of superheroes in all sorts of stories and tones and styles, all sorts of different approaches, and they are all valid.

“Hypocrite.” THIS again. You mean Lost Girls? League of Extraordinary Gentlemen?

And even within the story, he was experimenting with ideas that could ONLY work in comic format. Dr. Manhattan experiencing time all at once is more or less what a comic page looks like. You can see what just happened as easily as you can see what’s going to happen.

Still, it seems in bad taste to make it an adaptation of a property that was essentially stolen from the guy who dislikes unauthorized adaptations of his work on principle.

How does this look worse than Babe? Babe was made in 1995. How does a movie in 1995 by the director of Mad Max have better talking animal technology than a film from 2019 made by the world’s largest, wealthiest entertainment corporation?