Plenty of the artists (or their estates) listed here own their publishing, and in many cases their masters.

This seems like an inverted version of the Joker. Both are insufferable.

I think you’re thinking of shitty gimmicky time jumps.  There are examples right in this article that don’t fit your take.

Alternatively, the quality has remained relatively consistent, but the mass audience finally succumbed to that thing that media writers had been trying to make happen since the turn of the millenium: “superhero fatigue.” Phase 4 wasn’t that different than Phase 1, which had its stinkers too, and most of the complaints…

The joke wasn’t that he was gay per se; just that his racist fearmongering was weirdly homoerotic and that his stupid accent is stupid. What’s funny isn’t him being gay, it’s him being a fucking incompetent dickhead with zero qualifications to do anything he’s ever done reinventing himself as yet another bigoted…

I’d rather the director make decisions like this for creative reasons, either way, than the studio doing so in the name of profits.

Interesting.  Nice name, by the way.

The movie briefly stops being awful whenever Roger Rees is onscreen.

It’s terrible. You can’t make a parody of a movie that doesn’t have any dignity. You just end up shoehorning random unrelated schtick.

It’s a good change, but a mealy-mouthed rationalization.

Sure it does, and that’s been a huge thing lately.

It strikes me as a producer answering journalists’ questions.

Yeah, that’s kind of true, but when you gotta go to like the third or fourth sense to get to neutral, it’s a pretty fucking terrible choice of word if you intend a neutral meaning.

The book was far from great, especially the whole like pissed-off Eminem analogue protagonist, but the whole “world-ruling Batman rogues gallery nostalgic for the days when they still had heroes to fight” angle had its charms. I do not understand the decision to adapt that book without all of that, but it’s hard to…

Yeah, there’s like no actual IP to speak of here, just a repackaging of aspects of better characters wrapped in a profoundly dated “cool” vibe.

At least like a book he owns. They did well cherry picking a few of his ideas for Avengers and CA: Civil War. It remains to be seen what Warners plan to do with the Authority (good chance that dies on the vine), but definitely Ellis and Morrison >>> Millar.

It really, really, really feels like the cultural moment for this property, both as a comic and a film, passed a long time ago. It’s a super weird choice. If he wanted to remake a film based on a Mark Millar comic, he could have taken on Wanted and make something remotely related to that book instead of the absolute…

I’m not sure if this explains it, since what we saw was the toned-down version.

That’s not what “enormity” means.

Oh, not even a little bit.