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Wonder Woman 1984: Be Careful What You Wish For

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What’s your greatest wish?

Whether it’s world peace, romance or even just ‘more wishes’, everyone has something that they would ask for if given the chance. But what are you willing to sacrifice to get it? 

This is the primary question behind Wonder Woman 1984 (or WW84), the follow-up to Patty Jenkin’s 2017 blockbuster that revived a flagging DC cinematic universe. Once again directed and co-written by Jenkins, WW84 is bombastic blast of colour that never loses the character moments that gives this franchise its heart. While it isn’t as ground-breaking as its predecessor, WW84 is still a thoroughly enjoyable follow-up that continues the journey of the Amazonian princess and solidifies her as one of the great cinematic superheroes of the modern age.

Set amidst the vibrant and sleek 1980s, Wonder Woman 1984 finds Diana Prince (Gal Gadot) keeping a low profile amongst the mortals that she loves so dearly. Working as a museum curator, she only steps into the heroic limelight if she can do so without public acclaim. However, when an ancient artifact with magical abilities draws the attention of the smarmy businessman Maxwell Lord (Pedro Pascal), Diana must not only face off against a growing evil but her own battle with temptation as well.

Though this is a film that truly does deserve the big screen treatment, it is significant that WW84 followed through with its 2020 release date, even if it must be on demand instead of its planned theatrical rollout. (Honestly, who could’ve expected that this would be the only superhero epic that we got to see this year?) With its bright colours, infectious energy and positive messages, it’s fair to say that this may be the blockbuster that we have been waiting for in 2020. (No offense, Tenet.) While one would be hard pressed to say that this film were gritty or self-reflective in any way (again, read: Nolan, Christopher), WW84 still proves poignant as it emphasizes the importance of living in the truth of the moment as opposed to clinging to false dreams or ‘what-if’ scenarios.

For her second time leading the franchise, Jenkins’ work in WW84 continues to impress. As only her third feature (!!), she understands the sort of character development required to engage the audience without losing the impact of the action sequences. Given the setting, this is a film that leans heavily into nostalgia, even in its set pieces. (In fact, even an early fight scene in the mall feels like a campy throwback to the very earliest of superhero films like Superman: The Movie) Keeping the tone light throughout the film, Jenkins allows the fun to shine brightly yet still manages to give the drama some real emotional stakes. (Heck, she even manages to bring back the deceased Steve Trevor in a way that feels justified within the film.)

With every turn as the character, Gadot grows more confident and comfortable in the role of Diana Prince. What’s more, her onscreen chemistry with co-star Chris Pine continues to ground their characters, as they support and challenge one another in various moments. (In fact, in an interesting twist, WW84 actually flips the dynamic between the two characters from the first film, with Pine’s Trevor as the somewhat naïve soul learning from the more confident and self-aware Diana.) However, the real surprise of the film is Wiig who clearly relishes the opportunity to take on the role of villain. Known for her comedic work, Wiig’s performance feels familiar at the film’s outset as the awkward and self-conscious Barbara Minerva. However, as the film progresses, Wiig truly settles into the role, imbuing Barbara with a dark ambition that makes her a suitable foil for Gadot’s Diana.

Whereas the film’s ‘period setting’ admittedly felt gimmicky when details of the sequel were first announced, it’s extremely appropriate for the film. Set at the height of the ‘Me Generation’, WW84 makes good use of the psychology of self-improvement and selfishness that defined the 80s. Drenching the film in golden colours throughout much of the film, Jenkins leans into this notion of self-indulgence by creating a visual world of luxury that would make King Midas jealous. At a time of financial excess and an obsession with the ‘image’, this was an era that sought to teach us that who we were was never enough and to always reach for more. (“Life is good, but it could be better,” Lord repeats.) 

However, without giving away any spoilers, it’s worth noting that WW84 recognizes the damage of this greediness and its effect on others. For every wish that’s fulfilled, there comes a cost to be paid by the person who makes the request. The more one leans into their own selfishness, the greater the impact on those around them. As such, the film calls for global humility in order to survive and serves as a reminder that self-sacrifice is required by all in order to heal the world. (Again, a much-needed commentary during the current pandemic.)

Fun and enthusiastic, Wonder Woman 1984 sparkles with joy. Rather than use the sequel to create a ‘darker’ entry into the franchise, Jenkins continues to allows heart, love and reason to win the day. In essence, WW84 is a film about finding contentment in the moment despite our circumstances and working together to build a brighter future.

And, in 2020, what more could you want?

“Wonder Woman 1984” 4K UHD Combo Pack and Blu-ray includes special features “The Making of Wonder Woman 1984: Expanding the Wonder,” “Gal & Kristen: Friends Forever” and “Gal & Krissy Having Fun” about its two stars; “Small But Mighty,” two scene studies, “Meet the Amazons,” the “Black Gold” commercial; a gag reel; and the WW1984 retro remix.

7.15 Restoring the Universe in ZACK SNYDER’S JUSTICE LEAGUE

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After Joss Whedon’s Justice League failed to catch on with audiences, those committed to seeing Zack Snyder’s original vision brought to completion began the most extensive fan campaign that Hollywood has ever seen. Featuring hashtags, billboards and even renting a plane, #ReleaseTheSnyderCut seemed like a passionate but empty pursuit. However, after four years and an additional $100M, Warner Bros. has finally released the Snyder Cut onto HBOMax. Clocking in at over four hours long, Zack Snyder’s Justice League has new effects, new characters and a more fully-developed script… but does that truly make it any better? This week, Victor Stiff (host of YouTube’s Dope Black Movies) and Dave Voigt (podcaster and founder of InTheSeats.ca) stop by to debate the value of the Snyderverse, the nature of heroism and the differences between Marvel and DC.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.15 Zack Snyder’s Justice LeagueDownload

Zack Snyder’s Justice League: Reborn film finally does justice to the franchise

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You could forgive me if I doubted.

After years of hearing about the mythological ‘Snyder Cut’, there was simply no way that this film could meet expectations. After all, the original film was such a tepid piece of fodder that there was simply no way that a few tweaks or additional scenes could self-correct a franchise that had fallen so far off the rails. Now, with a refreshed budget and a new home on HBOMax, Zack Snyder’s Justice League has finally arrived. 

And I admit that I was stunned by the results.

The details of the Snyder Cut’s resurgence has been well-documented. Determined not to copy Marvel’s roadmap to success, DC chartered their own path that rushed the process. By the time that The Avengers came around, standalone films had charted a path that allowed audiences to connect with the characters before they attempted to work together. Falling behind in the box office, the release of Batman v. Superman: Dawn of Justice gave DC the chance to try and regain some traction in the pop culture world. In their attempt to speed up the process, they threw their characters into films without any proper introductions. Whether they were attempting to ‘catch up’ to Marvel or simply afraid of being accused of ‘copying’ Disney’s juggernaut franchise, the result was a middling mess of confusion that left no time to create something special. 

After Joss Whedon’s cut of the Justice League failed to catch on with audiences, WB may have thought they were free of the franchise with a chance to reboot things once again. However, they underestimated their fans. After an unprecedented fan campaign that lasted three years and a hashtag (#ReleaseTheSnyderCut) that simply wouldn’t die, WB found themselves portrayed as the villains of a fiendish plot to suppress a director’s vision. Even so, they held firm to their comment that any other version for the film simply did not exist.

All that changed with the creation of HBOMax. Even if Snyder had been able to complete the film initially, there’s simply no way that the WB would have allowed a 4-hour cut to be released in theatres, especially for a franchise that had been viewed as flailing. Although, with the move to streaming, Snyder suddenly had the opportunity to lean in to his longer take on the film. All of a sudden, he had the time (and freedom) to tell the story his way. Given more space in the world of digital media, Snyder’s League feels less like a theatrical release and more like the first chapter of a mega mini-series event. At a time when binge-watching has taken over the ‘theatrical experience’, Zack Snyder’s Justice League leans into our current obsession with long-form storytelling, complete with ‘chapters’ marking breaks within the film. 

Most importantly though, what about the quality of the film itself? 

The truth is that it’s good. Very, very good. 

Shockingly good, really.

In the new cut, Zack Snyder’s Justice League picks up immediately following the events of Batman v. Superman: Dawn of Justice. After Superman’s (Henry Cavill) death, the world is left with a need for heroes. As such, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) begin building a team of super-humans who will stand together against an ancient evil that is preparing to return and exact revenge on humanity. 

Although I have never considered myself a ‘Snyder-apologist’, one can’t help but recognize the quality of his epic saga. The ‘director’s cut’ is far from a new concept in our culture. Even so, the extent of these re-edits usually amounts to a few additional scenes or some updated special effects. In the case of the new League, Snyder offers an almost entirely different story with new subplots and expanded character beats.

In fact, it’s not an exaggeration to suggest that it improves on the original theatrical cut in virtually every way.

While Whedon’s original film attempted to ‘lighten’ the tone with more quips and less exposition, that vision never truly fit with the world that Snyder had already created. Marked by rushed character arcs that never satisfy and a bland villain, the original film rarely works. Nevertheless, with the move to HBOMax, Snyder’s version has the proper time to explore the stories of new characters without betraying the larger superhero story. Though this saga would obviously have benefited from prior stand-alone films, Snyder’s League does its very best to compensate by giving meaningful backstories to its new additions, especially Ray Fisher’s Cyborg. Once a side character with little relevance, Cyborg has suddenly become the film’s emotional core with an arc that has a significant impact on the outcome of the story.

In addition, the most notable change comes through a more fully realized villain in Steppenwolf. Whereas Whedon trimmed the brute’s story down to almost nothing, Snyder’s new footage offers a meaningful role to the character. Instead of a standard ‘big bad’ who’s forgettable (at best), the new League highlights his motivation and relationship to the larger impending force of nature in Darkseid. As a result, not only does Steppenwolf become more interesting to the viewer but his actions simply make more sense. (What’s more, new special effects give the character a much more menacing look, a factor that was lacking in the original cut.) 

Of course, it’s also important to know that the film ends on an enormous cliff-hanger. Originally conceived to be the first of three films, League operates in grand strokes but never fully concludes. (For the record, Snyder has currently stated he has no intention of returning to the world.)

What’s more, despite its overall quality, this League will not likely win any new converts from those who struggle to connect with Snyder’s vision. Although it goes without saying that this a vastly improved version of the film, all the Snyder-isms that will cause derision remain front and centre. Off-putting to some for his showmanship, there’s little question that his visual polish drives his work. Featuring a litany of stylized effects, slow-motion action and dark, gritty story-telling, League is Snyder is at his free-wheeling best yet he will still likely alienate viewers who are looking for something more along the lines of Marvel’s lighter, more humorous tone.

However, these vast differences are all very intentional. Whereas Marvel has taken a much more scientific or ‘human-centred’ approach to their content, Snyder’s vision for the DC Universe has always included viewing these heroes as modern gods. Though Marvel seems to create heroes on par with mankind, Snyder views characters like Superman, Batman and Wonder Woman as super beings who have been sent as examples to inspire humanity to greatness. (One need not look further than the giant monument to Superman to see that this is true.) There’s a deep admiration for his characters within Snyder’s work that hints at the spiritual longings of a culture looking for heroes. As such, his vision for the League meets every superhuman act with a grand crescendo. Bursts of electricity, clangs of metal and a bombastic soundtrack give the film an epic scale that highlights his vision. To Snyder, the DC Universe is an example of our modern mythology and, as such, he is unapologetic in his reverence for the material.

With the release of his ambitious superhero opus, Snyder truly does come out as the winner here. With grandiose storytelling and vastly improved character arcs, Zack Snyder’s Justice League shows what the director can do when given the time (and money) to bring his vision to life. As a result, this reborn League certainly feels like the unexpectedly epic conclusion that this chapter of the DCEU (and Snyder himself) needed.

That is, until #RestoreTheSnyderVerse takes effect.

Zack Snyder’s Justice League is available to stream on HBOMax on Thursday, March 18th, 2021..

7.10 The Truth about WONDER WOMAN 1984

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Widely regarded as one of WB’s greatest achievements, 2017’s Wonder Woman was a landmark film that broke records and was celebrated throughout Hollywood. Now, with the release of Wonder Woman 1984, the Amazonian princess returns with… less fanfare. Divisive from the moment of its release, WW84 sees Diana in the heart of the ‘Me Generation’ of the 1980s as she attempts to defeat the villainous Max Lord and Cheetah. This week, returnees Deb ‘Wonder’ Whalen and Gary Blaze stop by to talk about the film’s depiction of greed, its understanding of truth and why it has struggled to connect with audiences.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Joker & What It Says About Us

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your sunday drive podcast

Did you see Joker? What did you think of it?

In this episode of the Your Sunday Drive podcast, we take a close look at the movie Joker and the zeitgeist surrounding it. Topics and questions include: Why the film is controversial; does it glamorize an evil character? is it a good film?; related fears of mass shootings; “incels” and if Joker is about them; does art reflect life or vice versa?; what role does the media play?; do artists share responsibility for the effects of their messages?; freedom of speech and “cancel culture;” Joker as a “Christ figure” and the longing for redemption in art.

Come along for Your Sunday Drive – quick conversation about current events, politics, pop culture and more, from the perspective of a couple of guys trying to follow Jesus.

Hosts: Matt Hill and Nate Polzin. Presented by the Church in Drive of Saginaw, MI, as often as possible. Please visit churchindrive.com and facebook.com/thechurchindrive



6.02 Dancing with Danger in JOKER (100th Episode!)

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In a wild left turn for the DC film universe, director Todd Phillips’ latest film JOKER takes us back to Gotham City in order to witness the birth of the Clown Prince of Crime. When we first meet the titular villain, his name is Arthur Fleck, a failed comedian who has been isolated, bullied and disregarded by society. As things begin to unravel in his life (and his mind), Fleck begins a slow descent into madness as he transforms into the iconic DC villain known as the Joker.

This week, in our 100th episode, our SF team tells us what the site means to them, we announce a VERY special giveaway and Paul and Julie Levac stop by to talk about the dangers and brilliance of Todd Phillips’ foray into criminal madness.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

GIVEAWAY! In order to enter our giveaway for a $100 gift card for the movies, please do the following:

  1. Answer the following question in the comments section: Who is your favourite DC Villain?
  2. Like/Share this episode on Facebook, Twitter and Instagram
  3. For a bonus entry, rate/comment on us on iTunes.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

6.02 JokerDownload

Joker: Laughing on the Outside

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In Joker, failed comedian Arthur Fleck (Joaquin Phoenix) works as a clown to pay the bills and lives at home with his sickly mother. Beaten down by a society coming apart at the seams, Fleck struggles to maintain a positive outlook yet desperately wants to make people laugh. Struggling to find his way, Fleck soon begins to act out his frustrations in increasingly violent ways as he slowly transforms into the criminal mastermind known as the Joker.

Written and directed by Todd Phillips, Joker feels like an unexpected twist in his career trajectory. With films such as The Hangover trilogy and Old School leading his portfolio, an exploration of the dark underbelly of humour may seem like a vast departure from his previous work. In many ways, however, Joker also feels like a nature progression. Whereas many of his previous films have dealt with middle-aged men working out their emotional issues through the use of humour, Joker simply flips the switch by digging around in the psychology under the laughter instead of focusing on the gags themselves. While the film is bound to be divisive due to its dark themes and violence, Phillips has created a character arc so compelling that every scene feels like a vital piece to the most complicated of mental puzzles. 

Added to the mix is Joaquin Phoenix who absolutely shines as the hopeful but hurting Fleck. Over the years, the character of the Joker has provided multiple actors opportunity to push themselves and, thankfully, Phoenix carves out his own unique place in the canon. In an Oscar-worthy performance, Phoenix is simply mesmerizing as the failed comedian, giving him a likeable quality amidst his brokenness that makes you want to root for him (until you simply can’t anymore). Without question, Joker is very much the hero of his solo film—but the nature of that heroism eventually gets called into question.

Whereas the Joker has been often presented as a mysterious ‘force of nature’, here he is very much a product of his culture. Living in the slum-like Narrows of Gotham city Fleck’s life is a comedy of errors. Bullied for his job as a clown and living with his mother, Fleck has dreams of making other people laugh as a stand-up comic. His mother waits faithfully for a severance check from the wealthy Thomas Wayne that will never come. He’s in love with the beautiful tenant across the hall who may or may not be interested in him. Like the rest of those in the Narrows, success for Fleck is something that is constantly in view but just out of reach. While he’s constantly laughing on the outside, there’s little joy within him. (Interestingly, in one of the more intriguing story points for his character, his constant laughter stems from a medical condition that causes him to do so regardless of what’s happening around him.) For Arthur Fleck, life is no joke as his desire to matter in the eyes of others is consistently spat upon by the world. 

What’s more, this perspective echoes the film’s portrayal of Gotham itself, choosing to look at life through the eyes of those who are struggling to get by each day. Set years away from the arrival of the Dark Knight, Gotham is at a tipping point as the rich become richer and the poor more helpless. Anger and frustration run deep within those living in the Narrows as they become viewed as ‘troublemakers’ and yes, ‘jokers’ instead of people in need. Even Thomas Wayne, who has been painted in previous visions as a saint who wanted to see the city thrive, is skewed here as an irrelevant billionaire who remains out of touch with the common people. 

In Joker, hope remains out of reach for much of the city. In a city that mirrors the broken spirit of American culture, the 99% have grown angry with their way of life and want desperately for their voices to be heard. Then, when an unknown attacker kills three businessmen on a subway, tensions within the city begin to bubble over as talk of revolution hits the streets. 

In light of this, the most terrifying aspect of the film stems from its realism. Instead of chemical transformations or superpowered villains, Joker shows what can happen when a city loses its grace for the downtrodden of humanity. Although Fleck’s actions become reprehensible, they stem from his inability to process the abuse of a culture that has turned its back on him. “I used to think my life was a tragedy,” he moans, “but now I know that it’s really a comedy.” Light becomes lost in a world that has succumbed to the shadows and Joker gleefully dances into the darkness. (Is it any wonder that the film has been referred to by Phillips as a ‘cautionary tale’?)

Despite its bleak outlook on the world, Joker truly is one of the years best and most creative films. Phoenix’ performance as the Clown Prince of Crime may take him to dark places but there remains a brokenness within him for much of the film which humanizes him. Pressure from all sides to succumb to a culture of despair, Arthur Fleck’s journey is less of a comic book film and more about what happens when a world fails to listen to those who need it most.

And the outcome of that is no laughing matter.

Joker laughs its way into theatres on Friday, October 4th, 2019. 

TIFF ’19: Joker

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In Joker, failed comedian Arthur Fleck (Joaquin Phoenix) works as a clown to pay the bills and lives at home with his sickly mother. Beaten down by a society coming apart at the seams, Fleck struggles to maintain a positive outlook yet desperately wants to make people laugh. Struggling to find his way, Fleck soon begins to act out his frustrations in increasingly violent ways as he slowly transforms into the criminal mastermind known as the Joker.

Written and directed by Todd Phillips, Joker feels like an unexpected twist in his career trajectory. While the film is bound to be divisive due to its dark themes and violence, Phillips has created a character arc so compelling that every scene feels like a vital piece to the most complicated of mental puzzles. Added to the mix is Joaquin Phoenix who absolutely shines as the hopeful but hurting Fleck. In an Oscar-worthy performance, Phoenix is simply mesmerizing as the failed comedian, giving him a likeable quality amidst his brokenness that makes you want to root for him (until you simply can’t anymore).

Despite its bleak outlook on the world, Joker truly is one of the years best and most creative films. Phoenix’ performance as the Clown Prince of Crime may take him to dark places but there remains a brokenness within him for much of the film which humanizes him. Pressure from all sides to succumb to a culture of despair, Arthur Fleck’s journey is less of a comic book film and more about what happens when a world fails to listen to those who need it most.

Joker had its North American premiere last week at the Toronto International Film Festival and laughs its way into theatres on Friday, October 4th, 2019. 

4.06 a JUSTICE LEAGUE of our own

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Grab your batarang and 5-pronged trident, because, in this episode, ScreenFish Radio wraps the lasso of truth around JUSTICE LEAGUE, the culminating film of DC cinematic universe. Back from his vacation, Steve is joined by super friends Arnaldo Reyes and Pastor James Harleman (Cinemagogue) to decide if the film leaps tall buildings in a single bound… or falls face first in the kryptonite.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

4.06 Justice League

A very special thanks to Arnaldo and James for joining us!

Wonder Woman: 2017’s Best Film?

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Wonder Woman is the film that we need. In fact, in the midst of a depressed box office (good films are harder and harder to find), Wonder Woman stands out as my favorite film of the year with only three months left to go.

Diana Prince (Gal Gadot) is raised by her mother, Queen of the Amazons Hippolyta (Connie Nielsen), in the cloaked, royal confines of Themyscira (or Paradise Island). Taught to fight by her aunt and the general of the Amazonian forces, General Antiope (Robin Wright), Diana longs to do battle in the ways her legendary mother did. Lured by the legends of the Greek gods, Diana wants to be a warrior, even while her mother tries to protect her from the “world of men” that exists outside. With these childhood stories, Diana learns about the long-ago defeat of the God of War, Ares, and the ancient battle between the gods that founded the Amazons as defenders of the world of men.

When Captain Steve Trevor (Chris Pine) crashes his plane in the waters of Paradise Island, Diana and the Amazons are drawn into the events of World War I as it is drawing toward a peaceful armistice. But in Europe, General Ludendorff (Danny Huston) and his henchwoman, Doctor Poison (Elena Anaya), are developing a poison that would swing the force of the war back into Germany’s favor. Dreading that Diana’s involvement in the affairs of men would attract the attention of Ares who she assumes is involved, Hippolyta forbids Diana from leaving; certain that her training has prepared her for a moment such as this, Diana leaves Themyscira, headed for London and beyond.

Directed by Patty Jenkins with cinematography by Matthew Jensen, the film is lavishly shot – in Italy for the first third of the film taking place on Themyscira and in London’s King’s Cross Station and Trafalgar Square for various scenes in the second and third segments. Painted beautifully in bright colors on Themyscira, the drab grays and greens of London and the battlefield stand in even harsher contrast to the peace the Amazons maintain. These visuals only serve to reinforce the Diana-in-the-world-of-men experience: she’s as much a fish out of water as Captain America post-deep freeze in the present.

By comparison, this is DC’s best superhero film in nearly a decade, with Batman Begins as its most recent DC counterpart, because Wonder Woman is the best superhero film, the best origin story, that DC has told since then. But Captain America: The First Avenger is its closest counterpart because of the tones in which WW and CA paint their heroes as stalwarts of virtue and principle in a world threatening to implode due to violence and hubris.

Into this world rides the naive Diana, bent on fulfilling her people’s obligation to defend the world of men, and Trevor, deeply affected by the evil and violence he has seen as a spy. Together, apparently at first as an aside, Jenkins moves them in closer and closer concentric circles as their love and admiration for each other grows, even as they develop a romance that crosses cultural categories. In the main frame, Trevor recruits the diverse ‘crew’ of Sameer (Said Taghmaoui), Charlie (Ewen Bremner), and Chief (Eugene Brave Rock), to assist Diana in her quest to track down the heart of World War I. [She’s sure that Ares is masquerading as a man, namely Ludendorff.]

Together, this “crack” team of misfits and warriors will stand against the German war machine. It’s incredibly telling in its perspective of mission, justice, peace, and virtue – in a way that too many superhero films have gone away from. Rather than ‘muddying up’ Diana’s virtue, her principles become inspirational – and powerful – because she is true to who she is. In that way, Wonder Woman is the first superhero movie film that truly inspires, because Diana/Wonder Woman is the hero of old, and probably the one that we need. She’s the embodiment of “good” and the bridge between gods and the world of men. It’s what makes Wonder Woman a must-see film, with power and responsibility to inspire.

Wonder Woman is an epic film, building mythos and theology, full of spirit and heart, with lessons for today about heroism, sacrifice, belief, and responsibility. Finally, DC has delivered its first win in a decade, while pushing a woman to the front of the pantheon and crowning her queen.

****For more …. read below the break… but be aware SPOILERS ENSUE!****

Wonder Woman presents a Greek mythology, tinted by the Judeo-Christian worldview. While she grows up believing she is an “Adam,” shaped by Hippolyta out of clay, she is in fact incarnational – god among people. In that twist, from ‘old school’ comics to New 52 stuff, Diana’s purpose, responsibility, and connection to the divine/greater universe, broadens with that knowledge, instantaneously. In the process, she’s wrestling with Trevor, a man who wants to know he can be redeemed but who wonders if he’s lied, killed, and stolen his way into judgment. Diana becomes the physical embodiment of grace – because of who she is and because of what she does.

The innate goodness Diana possesses – leaving the island because it’s her duty to concern herself with the lives of men, tackling a trench worth of German snipers to save a village, refusing to bow to the presence and lures of Ares – permeates and inspires Trevor in his final mission. But his love, sacrifice, and desire for redemption proves the love that ultimately serves as the thesis for the film. The two of them ultimately end up believing in each other. In the final articulated argument between Ares and Diana, Diana “chooses love,” believing in the innate goodness of people to choose justice and sacrifice, when she is tempted to use her powers to obliterate men for their inclination to war.

The gods’ argument over the souls of man proves to be a conversation about TULIP and creation in the image of God discussion worthy of contemporary-ish theologians Johns Calvin and Wesley. Is man truly evil, destined by the fall to be fully corrupted? Or is man created good and perfect in the image of God the father, corrupted by original sin, and waiting to be redeemed? Ares wants one to be true, while Diana believes the other; her belief stems from her experience of one such man, Steve Trevor, who proves both saved and savior in his own way.

While Ares is “Satan” to Zeus’ Father God, proposing that people are twisted and evil, Diana comes as the Christ figure who is willing to set aside her place at the god table in Themyscira and serve the very humans who should worship her. By her example, she proves worthy to be worshipped – in the praise of those below the church steeple after she disarms the sniper in the village and again at the end, as the soldiers from both sides praise her – and one even takes a knee.

On the Blu-ray Combo Pack, Warner Bros.’ special features include the extra scene, “Epilogue – Etta’s Mission,” commentary by director Patty Jenkins, extended scenes, and a blooper reel.  The mission to take Wonder Woman back to the screen, the big screen for the first time, gets a look in “Crafting the Wonder” while Jenkins also shows her view of the material in the series of featurettes on Themyscira, the battle between the Amazons and the Nazis on the beach, and more.  There’s also a look at the Amazon army in “Warriors of Wonder Woman” and the stature of Diana next to Superman and Batman in “The Trinity.” There’s also a celebration of the decades of Wonder Woman’s character through the eyes of notable public figures in “Finding the Wonder Woman Within.”