Character reboots are commonplace these days. In a pop culture spectrum so bankrupt of creativity that the only movies produced anymore are remakes, sequels, adaptations (often of old TV shows that weren’t so good to begin with), thinly-disguised ripoffs of other movies (the Fast & Furious franchise started with a Point Break knockoff set in a fantasy streetracing scene; Avatar was Dances With Wolves in outer space, etc.) or an attempted fusion of previous successful movies; and the bulk of TV programming is some sort of lame “reality show” because the industry lacks the imagination to conceive anything more interesting, re-forming an established character in one’s own image is lauded as some sort of seminal breakthrough. Seems like comic book characters (one of the ores constantly mined by Hollywood) are revamped, and their histories revised, every 3-5 years.
Wonder Woman is a character whose essence needs no revamping to fit the current Narrative being rammed down our throats incessantly. She fit that Narrative from her very debut in the 1940s. She was probably the very first Amazon Superninja to appear in American pop culture, and from the very beginning was intended to be a social conditioning propaganda tool. But despite all this, her inclusion in Dawn of Justice doesn’t bother me much.
Wonder Woman has been a member of DC’s superteam the Justice League going way back; and was a founding member of the “Justice Society of America” before that. She was good-to-go for the leftist pop-culture svengalis already, so they didn’t have to feminize an established male character or otherwise ruin the work of earlier creators.
Perhaps it is fitting that an exotic beauty was cast to play the Amazon. After all, she comes from “Paradise Island,” an all-female society closed off from the rest of the world since ancient times. So it’s appropriate that her accent sounds different from ours, and that she doesn’t look like a WASP. (However, it appears that DC/Hollywood also intends to ethnicize the Flash and Aquaman, which is getting annoying.)
At some point after I quit reading comics, I guess Wonder Woman took to carrying a Bronze Age sword and shield, in addition to her golden lasso. This only makes sense, if she’s going to be fighting gargantuan baddies like Doomsday. What doesn’t make sense is that her ancient bronze shield can withstand a Kryptonian’s heat vision without a scratch, when heat vision slices through every other form of matter except other Kryptonians. Because vagina, I guess.
Another development is that her red, white and blue colors have been replaced by some muddy red-brown metal flake scheme. This also makes sense. First of all, those colors represent oppression (college girls being forced to pay for their own birth control, for instance). Remember: WW was never an American in the first place. And all the big screen superheroes wear costumes with drab color schemes. Even Superman, who has never needed camouflage or to avoid attracting attention, wears a costume that looks like it’s gone a few months without being washed.
I don’t know if this ties in with comic book revisionism, or is original to this screenplay, but Wonder Woman is apparently a WWI veteran now. Bruce Wayne/Batman finds an old photograph from 1918 that shows her with an odd assortment of guerillas (in Belgium, if memory serves).
Maybe the most interesting thing about Wonder Woman in this movie is how Gal Gadot’s performance fits into a red pill socio-sexual understanding. Gadot is far more attractive as Diana Prince than as the Amazon heroine. Upon reflection, it’s obvious why: she is very feminine when incognito in the secret identity, as opposed to her super-identity as an extremely masculine brawler with tits.
Only fetishists, white knights and sexual deviants find such a gender-bent individual even remotely attractive; no matter how much skin she shows or how well she fills out a skimpy costume.