"[A]ccording to Jenkins, every design decision she made for Themyscira came down to the same question: 'How would I want to live that's badass?'"
"It's total wish-fulfillment [...] I, as a woman, want Wonder Woman to be hot as hell, fight badass, and look great at the same time—the same way men want Superman to have huge pecs and an impractically big body. That makes them feel like the hero they want to be. And my hero, in my head, has really long legs."
His first words to her were in Blackfoot. Even better, he introduced himself as Napi, the Blackfoot demi-god who is known as a trickster and a storyteller.
Then he had to put on supersuit and act like a stero typical bad guy and get trounced.
IF STEREOTYPES ARE to be believed, women aren’t very good at math, but I’ll give this a shot. This weekend, Wonder Woman brought in another $80.3 million at the global box office. Not bad. You know what’s even better? Last weekend, the movie’s second in theaters, it brought in more cash than the latest Tom-Cruise-runs-from-things movie, The Mummy. Thanks to a lot of good will, the drop between its first weekend and second weekend box office totals was smaller than almost any other superhero movie before it. By the time you finish this sentence, it'll probably snag another million from somewhere, bringing its global haul to nearly $572 million. Again, I don’t have a head for numbers, but those look pretty good to me.
Wonder Woman’s opening weekend was the highest ever for a female director (Monster’s Patty Jenkins). That’s incredible by itself, but what’s more unreal is that she’s not alone. This past weekend, Rough Night, helmed by Broad City director Lucia Aniello, also brought in $8.1 million—not Wonder Woman money, but impressive considering “female comedy” was pretty much a non-starter before 2011's Bridesmaids. Add in Gabriela Cowperthwaite’s Iraq war drama Megan Leavey, and Eleanor Coppola’s Paris Can Wait and that’s four movies from female directors in the box office Top 20. (It would have been five movies, but Stella Meghie's Everything, Everything, which had been in the Top 10 for a month, got edged out.) Having more than one or two female directors in the top spots isn’t unheard of (there was a brief period in 2015 when Sam Taylor-Johnson’s Fifty Shades of Grey, Ava DuVernay’s Selma, and the Wachowski’s Jupiter Ascending were all there), but it’s exceptionally rare—especially in summer, and double-especially given the long tail Wonder Woman is displaying. In short, women are ruling the box office this summer.
This is, of course, not literally true. This week, as with every one before it, the vast majority of movies in theaters making money are made by—and made for, and starring—dudes. But it does seem as though the pendulum is swinging ever so slightly toward the center. Whether it will continue is impossible to say, but even this much change cannot be denied.
Wonder Woman has become one of the biggest superhero movies in history, earning $410 million in the US and another $405 million abroad. Its star, Gal Gadot, inspired major fan meltdowns at Comic-Con. And yet Warner Bros. waited months before figuring out who would direct the sequel. Now they've finally cut a deal with Patty Jenkins, who wrote and directed the first film. Jenkins will be getting $8 million, a bit of a raise from the $1 million she got last time.
Variety reports that she's already working on a script with DC film universe head Geoff Johns. Her contract reportedly involved her writing, directing, and producing the sequel, as well as "a substantial backend of box office grosses." Godot is returning to star, and the movie is slated for release December 13, 2019.
No word yet on the plot of the film, but it's likely to pick up where Batman v. Superman left off, in the present day.
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