I have seen all the previous Matrix movies many, many times:
I love them. I have them and the Animatrix on DVD on my shelf with the other old movies that I want to be able to rewatch again and again. There is little to say about this movie that won’t be a spoiler for the movie itself. I liked it. I felt like the ending of the original three films was a little too pat, the sacrifice of the two main characters at the end of the last movie a little too predictable.
That is what this movie is about. It’s great. Go see it. I’ll be buying this one as soon as it is available for purchase, to go alongside the other installments in the series.
I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past, I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.
If I was to risk my life to see a movie, this is possibly the only movie that I would cross that line for:
Check out the ‘thopters, man. Finally someone gives me real ‘thopters. That alone will get me to go watch the movie, even in a time of plague.
I just hope the movie has a story. A story that feels something like the story in the book. I’m not looking for the book as a movie, I’m looking to feel the same way about the story in the movie as I do about the story in the book. Fingers crossed.
The first movie of Denis Villeneuve’sDune ends immediately following Jamis’ Tahaddi challenge. Given the place in the first book where the movie ends, I would say that there are at least two more movies of material left to put on the screen. That is, if we are talking about the series of movies ending where the first book ends. If we go on to Dune Messiah and Children of Dune, then we have at least a nine-film epic.
I liked his handling of the story as far as it went. He departed from the text several times, and yet the story remains intact underneath the changes. The director deftly weaves a tale that was made for the screen out of the text that Frank Herbert wrote, and he does it better than all the others who have attempted to tell the story before.
Documents the first time someone tried to bring the book to the big screen. While the attempt was fatally flawed from the beginning, the collaborations that started with that endeavor went on to generate a dozen other works that would be sorely missed today had the attempt not been made. I’m glad the movie was never finished. There is no way the completed project could equal the grandeur of the vision that is presented in the pitches for the movie.
Unfortunately for us, David Lynch did complete his attempt to put Dune on the big screen. Luckily for us, David Lynch went on to make better movies. Don’t get me wrong, there are facets of the 1984 Dune that are grandiose almost beyond imagining unless you have seen the movie yourself. The guild steersman in the first act; in fact, all of the first third of the movie was excellent. All of the casting for the Harkonnen’s including Sting as Feyd-Rautha was excellent. Unfortunately the production couldn’t create ornithopters that looked like ornithopters. They also abandoned the Prana-Bindu training/fighting in favor of creating a gadget that they called a weirding module to make the fighters unbeatable.
The production suffered from many problems during the course of the movies’ creation and this shows in the finished product. There were long exposition sequences throughout the film, a shortcut to storytelling on film that is never a good idea. The Wife walked out of the movie back in 1984, midway through one of the sequences that featured a bloody battle scene while the voiceover track intones “…and Paul and Chani were in love.” The horror of it was too much to bear. She spent the remaining hour of the movie playing video games in the arcade attached to the theater.
I have watched the movie several times over the years. It never got better for me, which is its own condemnation of the effort in my eyes. When you know a story before seeing the movie made from it, the anxiety of what you are about to see enacted on something you know and love overshadows everything. This has proven to be true for me for every movie that I have watched after reading the book. The first viewing is almost painful to endure. If the movie is good though, the later viewings get better and more enjoyable because you already know how the movie treats the thing you are nostalgic for.
1984 Dune treated a novel that I had read more times than I had read anything else very poorly. It strayed from the meaning and intent of the story almost from the moment the characters touch down on Arrakis. I had read the first four novels seven times through before seeing the movie in 1984 and most books never get a second reading by me. Dune spoke to me in ways that other books did not. Frank Herbert understood realpolitik, and he wove his vaguely recognizable societal groups into a believable future framework that gives the reader insight on the world of power politics, and what can happen when an oppressed population is given a savior that they recognize instinctively. Almost none of this was present in the 1984 version of Dune.
This version was superior to Lynch’s version. It was more like the story it was trying to tell than 1984 Dune. True, they still didn’t get the ornithopters right, and they didn’t have Sting as Feyd-Rautha, but they made do with what they had and at least tried to tell the story that Frank Herbert wrote. I’ve never managed to catch this series since it first aired, so I have little recollection of it now. I just remember being glad to see the story treated more like I expected it to be treated, instead of being buried behind special effects sequences that could never replace real storytelling. They even went on to make:
An adaptation of the second two books of the series. I remember even less of this series than I do the first SyFy series, although I remember watching both. This one didn’t impress me with it’s ability to bring the story to the screen. In the end the small screen can’t compare to the big screen and these stories deserve to be on a big screen.
All of this is my way of saying that I look forward to seeing Jason Momoa returning in movie number four as the Goula Hayt. I’ll be along for the ride for at least that long. Here’s hoping that Denis Villeneuve gets the green light to continue with the second movies’ creation.
What Dune achieves – as Frank Herbert himself wrote – is an ambivalence and suspicion of “good wars.” The film’s allegiance is with the natives, and certainly with cultural humility toward the unfamiliar and the unknowable. Colonizing another is a brutal if not a fatal mission.
I always wondered why Frank Herbert’s world of Dune seemed so deeply human and real. It seems that he borrowed a lot of Arabic social norms and words to flesh out his world in a way that made it seem both real and foreign:
Setting aside the mistaken belief that because whole parts of the world were borrowed from them that then the story belongs to them (every reader thinks this about the stories they love and identify with) that episode of Throughline sheds some interesting light on the framing that Herbert crafted to tell his political epic in.
Going cashless shouldn’t bother anyone, but it will probably bother most people quite a bit. Most people seem to value those little green rectangles of paper, but paper notes have no real value. They are a liability since they can be easily stolen and the cost of maintaining and policing the physical currency is astronomical (both points are made in the SGU episode segment) Digital currency has all the benefits of physical currency, without the need to carry it around. It is a win-win.
I used to be a hardcore numismatist. I was all in on silver and gold currency, coin collecting, etcetera. Then I tried bartering for goods with silver as a test to see how well it would be received by businesses. Most businesses were not interested. They wanted to deposit their earnings in the bank at night and the bank only accepted federal money, “the coin of the realm.” The test was a failure, as was the silver currency that I was using as my test at the time.
To individuals, the physicality of the money is what makes it valuable. To volume businesses, the physicality is a liability. This is why credit cards took off and why businesses gladly gave four percent to the card issuers in exchange for not having to deal with cash. It makes their jobs easier and safer and the analog or digital nature of the money being traded on the card system makes no difference as long as it can’t easily be stolen or have to be stored.
The value is in the goods exchanged, the location maintained, not in the money that made the transaction possible. Money has no value because you can’t eat it, it won’t keep you safe, it doesn’t make you live longer. The things that do can be traded for money, so long as the person who has those things has them to trade.
The future’s cashless society will look almost exactly like the one we live in now. The government will have to maintain accounts for each and every one of us in order to make it work; otherwise the poor will be shut out of participation in the economy to the detriment of us all and to the eventual destruction of our societies. In the US they may even make us all banks so that the fed can just issue us money directly. You’ll be able to go to the Post Office (most likely) to conduct your federal banking business. The better off will move their funds to private banks, but the poor will have to rely on government issued cards to buy their necessities. Life will go on pretty much as before.
Black markets will still exist. They’ll go to the barter system and commodities like gold and silver. They’ll create bot nets of dummy accounts that will mask the crypto-currency transactions. The buyer will need to show up with the commodity the seller wants in exchange. Currency is irrelevant.
Bob talks about the briefcase full of cash and that magical moment of imagination towards the end of the segment as a reason for preserving the greenbacks. Remember the scene in Pulp Fiction? You never see what is in the briefcase. You only see the golden reflection on Pumpkin/Ringo’s face, but that’s enough to make you understand the immense value of what is in that case. The money in his wallet is irrelevant. The money in your wallet is irrelevant. The money in my wallet is irrelevant. The commodities. They have value.
I have apparently been nominated to be the Jesus of monetary policy. Not quite sure how to take that. Run and hide before the Pharisees send the Romans to crucify me, or stand and accept my fate? I’m thinking I should decline the nomination now that I’ve spelled the conditions out for myself.
This article was test-posted to Reddit in two places; here and here. In both places the upvotes did not equal the downvotes which proves my original assertion. Most people are afraid of the idea of going cashless. The commentary on the two different thread also proved out my suspicions that a good number of people don’t even understand what going cashless would entail.
I was relating the story of the Cleveland Indians trying to change their name to the Guardians to The Wife the other day. She didn’t believe that they could have been so stupid as to not determine that there was a team named Guardians in Cleveland before changing their name:
That’s shaping the two teams up for a fight. The Guardians roller derby team has filed a trademark application for the rights to the name. The MLB team did the same four days prior, but trademarks often go to the first entity to use the name, rather than the first to file for it.
I don’t know why someone who hates watching sports as much as she and I do can sit down and repeatedly watch movies about the business of sports over and over again like she does. But she does, and this movie is just one among many that she has rewatched repeatedly over the years including movies likeDraft Day, Field of Dreams, Tin Cup, Jerry Maguire and several others. Major League is a film that I also like. I like it for the comedy and the comeback spirit that is the theme of the movie. What I was reminded of when I wandered through and watched a few scenes of the film with her, was the similarity of that movie’s theme to the theme of:
There is very little comedy in Moneyball. But that line from Brad Pitt “There are rich teams and there are poor teams. Then there’s fifty feet of crap, and then there is us.” It is the theme of Major League, but Moneyball is a movie about events that actually took place in baseball history and not a comedy spoof about underdogs who beat the system. The manager of the Oakland A’s at the time, Billy Beane, and a character named Peter Brand, an amalgamation of several people who worked with Beane to implement the Moneyball algorithms into the selection process for new players, changed the way baseball has been run ever since the season that is documented in the movie. It is truly a movie about the underdogs taking what has been given to them, and making something better out of it.
Major League is a funny, heartwarming movie. Moneyball is a down to brass tacks gritty-assed film about the choices that go into putting together a winning team. Both movies tell a similar story. Don’t blame me if I like the story of a real underdog succeeding over the fiction. It took me forever to even get the Wife to watch Moneyball. The fact that math was somehow involved in the movie was enough to leave her cold. After having watched it once, she’s now put that movie into rotation, too.
Here’s hoping the Cleveland Indians get to change their name. I doubt a name change will be enough to change their baseball future, but anything is possible. Any move away from using native Americans as sports mascots is a move in the right direction. Time to leave that past behind us.
Don’t forget that most men with nothing would rather protect the possibility of becoming rich than face the reality of being poor.
John Dickinson, 1776
Today I discovered to my horror that I have never written a proper review for my favorite Independence Day movie. Facebook reminded me that I sat down on July 4, 2013 and watched the Blu-ray version of:
But on that day eight years ago, I wrote a single line of text as a review for Facebook. I also quoted the movie twice, the quotes I include here, but all in all, not much of a review for a movie that I have seen no less than a score of times now. I searched the blog for a review; and while I have mentioned the movie many times here, I have never written an article just for the movie itself. I will rectify this lack of a proper review here and now.
1776 started life as a musical written by Peter Stone and the movie was written by Stone and directed by Peter H. Hunt. I have watched a variant of this film on the fourth of July every year since the Wife convinced me that musicals could be interesting by forcing me to sit down and watch A Funny Thing Happened on the Way to the Forum back at the beginning of our relationship. After that movie it was time to watch My Fair Lady and Victor/Victoria to name just two of my favorite musicals. On and on this introduction to the genre went, until I actually wanted to watch The Sound of Music for myself, and then I had to admit that there were some musicals that were okay. Somewhere in the middle of this educational series we sat down and watched a friend’s laserdisc copy of 1776.
The story of the existence of this version of the film is a tale all on its own. Peter Stone wrote his narrative on the creation of the Declaration of Independence back in 1969, and it was performed on Broadway 1,217 times. It was an unlikely success given its subject matter and the fact that the play went nearly thirty minutes between songs in the first act. It is a who-dun-it of a story about events that we know transpired successfully, and yet you wonder how it ever happened as you watch the actors on the screen. After the play left Broadway it was picked up to be made into a movie, the screenplay for which Peter Stone also wrote. He and the director struck up a good working relationship, and both were pleased with the resulting film when they put it to bed in preparation for its scheduled wide release.
Unbeknownst to them, the producer of the film, Jack Warner, had gotten a personal phone call from Tricky Dick Nixon, requesting that the musical not be released without at least being modified from the stage play. Specifically, he wanted this song removed from the film:
Jack Warner happily obliged, taking a handy pair of scissors to the film that he had told the director and the writer would not be altered from their approved cut. In the end he removed not only the offending song, but several other scenes and verses of songs so that the film flowed more to his personal liking.
After this radical revision it should have been no mystery why the movie went on to financial failure, being shoved into the historical waist bin along with the objectionable parts of the movie that Jack Warner removed. Except that the removed sections were not destroyed as Jack Warner directed. His secretary took the scenes out of the trash and preserved them so that they could be returned to the film’s director. This way he would know what had happened to the movie that he had so lovingly crafted over the preceding years, but had never been allowed to be seen by movie goers.
Decades went by, and interests came and went. There was talk of a revival of the Broadway musical, and along with it the question of what happened to the movie version that had tanked so horribly when it was released? Enough interest was generated that Pioneer contacted Warner Brothers and Peter Hunt about creating a laserdisc version of the movie for interested collectors.
Peter Hunt decided to reassemble the original film for Pioneer’s laserdisc version. The movie is complete with Jack Warner’s scribbles at the edit points, and the dust and scratch marks on several of the removed scenes. One removed scene was only available in black and white, a test-run, a connective shot that explains why some characters are outside the hall when the crucial independence declaration arrived from Virginia. There is a secondary audio on the laserdisc that goes into more depth about the story that I’ve related here as well. If you have a laserdisc player, you really should own a copy of this movie on laserdisc. It, like the making of The Abyss on its laserdisc release, is unique. There is no place else to find the exact content that is on that disc.
Watching that version of the film is to travel back in time to the years when it was made, an interesting juxtaposition between the times that were being celebrated with song, and the times when America was burning with internecine conflicts at the hands of the most ruthless man then living, the sitting President of the United states. It is nice to have that perspective as we nurse ourselves back from the brink of destruction, yet again. It’s hard to know how to feel this July fourth.
The United States has survived the presidency of the despot, Donald Trump, and the pandemic that he allowed to rage unchecked across the country and the world while he worried about what this meant for his re-election chances. The sun still rises and sets without him in the White House today, and it is quietly reassuring to not be told what it is that pisses Joe Biden off every single day that we wake up. What a nice change from the last four years of hell that we have all endured.
The Blu-ray version of 1776 is different from the raw attempt at destruction that is on display in the laserdisc copy of the film. Gone are the jarring ink-marks and color changes that announce Jack Warner’s and Tricky Dick’s violent raping of the movie before it was allowed to be seen by American audiences. The scenes flow smoothly in and out of song, just the way the director left it. Just the way he intended it to be seen. It was a nice contrast to experience the film the way it should have been seen back in 1972. A nice change from the conflict that has consumed us all for the last few decades.
I find this depth of hindsight inspiring. The hand of destruction escaped at the last moment, leaving the people to reflect on what it was that we almost allowed to happen. Again. And again. And again. Let us recommit ourselves to the experiment that started in 1776. It would be a shame to let all the sacrifice be for nothing if we don’t. Watch the reconstructed version of the movie, or see if you can find that secondary audio track that I mention on the laserdisc. Be inspired, yourself.
Commitment, Abby, commitment! There are only two creatures of value on the face of this earth: those with a commitment, and those who require the commitment of others.
While listening to the Rachel Maddow show tonight, I noted that she casually referenced Earth 2 as the place where Donald Trump is still president. It was an amusing bit of Science Fiction trivia to bring back to the front of mind for a few minutes while contemplating the looming destruction of democracy as we know it at the hands of the Republican’s favorite tyrant. The idea of a mirror Earth is one of the tropes that you hear repeatedly over and over again wandering around in and out of fandom. Pramila Jayapal can be forgiven for not knowing the reference later in the show. I doubt very many people do know it, or they might even be confused as to which Scifi/fantasy experience is the one being referenced.
I mean, there are multiple references that will come up if you go looking for the phrase Earth Two on Google. There was a recent television show and even a 2011 movie that run along the same vein. I had to go looking for the title of the movie that I was pretty sure Rachel was referencing myself because I hadn’t seen it since I moved out of that garish Abilene apartment that I shared with a friend back in 1984.
My roommate had one of the first VCR’s on the market, and he had compiled a pretty impressive catalog of movies including an off-air copy of Journey to the Far Side of the Sun, the film by Gerry Anderson’s production company that was released in 1969. That is where the phrase Earth 2 comes from. The uneducated rube that I was at the time made fun of the cheezie effects in the film, even though I had been a serious fan of the Thunderbirds series produced by the same company back in 1966.
The movie was named Doppelgänger in Europe. Americans had to have a more explanatory title. Mystery isn’t a thing that the mundane American viewer can appreciate, I guess. here’s the trailer:
This is where the idea of a mirror Earth came from. While Star Trek’s Mirror, Mirror episode aired earlier than this movie it wasn’t in production before Doppelgänger was and doesn’t feature a mirror Earth suspended in space in the same universe as our own.
The fascination with evil twins predates this film, true. That goes back to the beginning of recorded history; and if you wanted to, you could say that Earth 2 is a reference to the duality of existence that has been a part of philosophy for a very long time. I don’t know how that could be seen as anything other than a hasty generalization, though. Give credit where credit is due, Doppelgänger is where the idea of a mirror Earth comes from today, no matter how widely spread the fear of the evil twin is in the media we consume.
I can’t find the movie anywhere that I can watch it without paying for it at the moment. I’ll have to keep looking because I really would like to sit down and watch it all the way through at least once without mocking it again. It’s the least I can do.
I have a lot of nostalgia for those old marionette shows, and not just the Thunderbirds series. I doubt that I would still find them edge-of-the-seat suspenseful like I did as a six year old child. There have been multiple attempts to restart Thunderbirds with modern digital effects and new stories:
…and I have resisted the urge to watch any of it as an adult, even the old shows themselves. They were so cool back in the sixties when they came on right after school. I would run home just to watch them with Major Astro and they were probably why I wanted to watch Star Trek when it debuted. I can’t imagine how they could be anything other than embarrassing to watch as an adult. Like the Hardy Boys and Tom Swift, the adult experience can’t hold a candle to the memories of a child.
The featured image is a screenshot I took of a pivotal scene in the movie. I discovered a version of it streaming online and watched it through for completions’ sake. It was much better than I remembered it being, and yet just as flawed as I thought it would be on watching it again. It was both memorable and flawed in fundamental ways. If you can find it to watch somewhere, you should give it a chance and let me know what you think.
We only made it about 15 minutes into the movie before she says “I’m bored. Next film.” I know why she said it because she said as much when we watched the trailer. “I get a real Vanilla Sky feel from this one. I doubt I’ll like it.” So we stopped watching the movie and we turned instead to watching another movie we’d skipped over a dozen times or more by this point.
What that movie was really isn’t relevant to this article. This article is about the journey I went on when she got up and went to bed, and I turned back to Bliss in order to see if it really was anything like Vanilla Sky. When I finished the movie I was pretty sure that “like Vanilla Sky” wasn’t far off the mark as far as judgment calls go. But I had to be sure, and that started the real journey.
This article contains detailed spoilers. You have been warned.
I love that this documentary exists. I need to say that first. I love the fact that one of my favorite actors had such a prominent role in diversifying NASA. Nichelle Nichols was the daughter’s idol as a child. She has a version of every Uhura doll that has been released since they first started making Star Trek toys back in 1974. The vendor who sold her that doll cried when she ripped it out of the package and started playing with it right there in front of him back in 1996. She is a fan and the daughter of true fans of Star Trek, the only series.
Got that? Good. I love the fact that this documentary exists, but I won’t be subscribing to Paramount+ just to see it. This documentary should be available streaming everywhere. Why won’t I subscribe to Paramount+ just to see it?
I won’t subscribe because we are forgetting the very lesson that Nichelle Nichols is promoting in the documentary.
Where are my people?
They aren’t visible because they were denied information. They were not just denied access, but they were denied even the information that would allow them to do jobs at NASA. This was done as part of the pursuit of insuring that the majority of the benefits created by technology landed in white men’s hands. They weren’t told that this was something they could do, and so consequently there were few who even asked if they might do it.
You would never have seen this movie made by a Hollywood studio at any point prior to 2016. Barack Obama’s election made Hidden Figures possible, because the popularity of Obama made movie investors sit up and take notice, be willing to hazard real money on a movie about the black women who were the pioneers of diversity in American government.
These women had to overcome obstacles that the average person has no way to understand. Not only the fact that they were women and they were black in the United States of the 60’s, but that the information that they needed to be who they were was reserved for people who could pay to access that information.
Information is for everybody who wants it, everyone who needs it, not just the people who can afford it. Information is not just for the people who subscribe to the correct entertainment channels and pay the right amounts to the right people. Information is for everybody, and we are allowing profit motives to re-segregate us into smaller and smaller groups. We are allowing copyright to Trump the best interests of our nation and our world.
This has to stop. We have to stop allowing copyright holders to refuse access to their products unless you are willing to pay them for it. This is the basis for the creation of libraries, the understanding that information should be available to everyone. The library should be a thing that you can access by computer or cellphone. You shouldn’t have to get in a car and go find a building somewhere in your city in order to borrow something from your library.
I look forward to seeing Woman in Motion and Hidden Figures played to children in schools, to adults who don’t think women and blacks should be allowed to do the same things as white men. They are the people who need this experience, and it should be made available to them, not just to the people willing to pay Paramount or Disney or any other copyright holder directly for their jealously hoarded intellectual property.
I was blindsided at about six in the morning with a reference to the Snyder Cut on some Reddit thread somewhere, and I had to go look up what the fuck a Snyder cut was so I could understand what it was people were arguing about. Ah. the Justice League movie that a bunch of digital people seem to think would have been better the way Zack Snyder shot it. Before Joss Whedon got his accused sexual harasser fingers all over it. That movie came out when?
2017? Why are we still talking about this? Oh, right. The Wonder Woman movie I didn’t see this year. I’ll watch it when it gets to a streaming service I already pay for. The first one was good, we’ll see what that one is like eventually. When I see it. As far as Justice League goes, I’d be willing to bet that either version will end up feeling about the same in the end, and Snyder’s version would have been far too long to be successful in theaters.
I wandered over to Facebook this afternoon, and they are bitching about Justice League there too. Now I’m thinking what the actual fuck is going on? Because this smacks of some serious evidence that we have too much time on our hands these days. It’s either than or an orchestrated campaign to get people to talk up the Snyder cut of Justice League right before the revised version of the movie drops.
You like a film you like a film…you don’t you don’t. Seriously, so what? Life is a lot less stressful saying ”so what?”
I think we have forgotten how to say “I don’t know” which is far more important than just ignoring the things that piss us off. You don’t have to say “so what” to just keep scrolling on.
For most people it is safe to say “Don’t like it? Don’t watch it and don’t dwell on it.” I myself will frequently queue a movie I like when some other movie I’ve just watched for the first time leaves a bad taste in my mouth. Bad images behind my eyes. But if you aspire to be a storyteller yourself, it is important to understand how the story doesn’t work and how it might be fixed. There is also a use for criticism when you are trying to describe to others what the film was about and why it did or didn’t work for you.
Criticism is at the same time all too easy and way harder than most people give it credit for being. How to talk about a thing without spoiling it? How to offer pointers that are constructive for the next person to pick up that script? I mean, if all you have to say is “it sucked” you probably shouldn’t bother to say anything. Scroll on. If you have more to say than that, then sharpen your pencils and get to work on it. Don’t expect to be thanked for your efforts, though.
As far as Justice League goes, I didn’t talk about it on the blog when it aired and I watched it, and I didn’t talk about it because it made no real impression on me. I’d rate the movie with a solid three stars. It was popcorn and it was enjoyable while it was on. I was never emotionally moved by DC characters in comic books, although Batman was a comic I would occasionally read. His movies have been hit and miss over the years, more misses than hits.
I never cared for Superman because there is no real story to be told when you have an invulnerable protagonist, which is why the writers had to invent so much Kryptonite to affect him that there is enough kryptonite in the DC universe to make a neutron star out of the stuff. Maybe that explains his strength? I watched his movies because they were on, and I liked the first two largely because I had a thing for Christopher Reeve whether I cared for the character of Superman or not. I’ve seen the later movies as well, and as someone who was not emotionally invested in the character, I have to say I liked the extended version of Batman vs. Superman. It had just the right amount of grim reality to it to make the story interesting to me. Aside from which, the ending sets us all up for the beginning of the Justice League movie. If you haven’t seen the extended version of Batman vs. Superman you won’t understand why there is no Superman at the beginning of Justice League, and that is going to throw anyone off the story right from the start.
Why are people bitching about Justice League anway? They should try watching Super Friends like I did with my sibs back in the 70’s. That show will stop anyone from ever taking those characters too seriously. I’ll happily watch the Snyder cut if it ever shows up somewhere I can watch it without having to expend too much effort, but I’m not so interested in seeing it that I’d start talking about it on social media everywhere, all the time. That smacks of obsession. If you are the one doing that, turn the screen off and go outside to breath for a few hours. Try some meditation. Come back when you’ve found your equilibrium again.
Each minute bursts in the burning room, The great globe reels in the solar fire, Spinning the trivial and unique away. (How all things flash! How all things flare!) What am I now that I was then? May memory restore again and again The smallest color of the smallest day: Time is the school in which we learn, Time is the fire in which we burn.