Better than Streaming: A look at V: The Final Battle Blu-ray (by Warner Archive)

By now, many of you should be aware about how much I loved watching V: The Original Miniseries and the best way to view it in high-definition is on Blu-ray. I was a kid when I first saw V: The Original Miniseries way back in the 1980s and it was a major hit not only in America but also around the world. Considering the way the 1983 miniseries ended and the success it achieved, a sequel was inevitable although it was not spearheaded by creator and genius Kenneth Johnson. 

That sequel is none other than V: The Final Battle which was another mini-series that played all over the United States in 1984. It was considerably longer than its predecessor as it had three episodes and combined for more than 270 minutes playtime. V: The Final Battle, which had the now iconic Michael Ironside as the most notable addition to the highly talented cast, was a TV ratings hit as well and eventually Warner Bros. proceeded with its plan to produce a regular TV series out of Kenneth Johnson’s creation. Oh yes, like the original mini-series of 1983, I saw both V: The Final Battle and the TV series locally back in the 1980s. My first bout of replaying V: The Final Battle digitally was on DVD format more than fifteen years ago.

Just two days ago, I received my Blu-ray copy of V: The Final Battle which I ordered online. 

The front cover of V: The Final Battle Blu-ray.

Released in April 2020 by Warner Archive, V: The Final Battle on Blu-ray comes with two discs (the first disc contained the first two episodes). Its technical specs goes as follows:

Video
Codec: MPEG-4 AVC
Resolution: 1080p
Aspect ratio: 1.33:1
Original aspect ratio: 1.33:1

Audio
English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)

Subtitles
English SDH

Discs
Blu-ray Disc
Two-disc set (1 BD-25, 1 BD-50)

Playback
2K Blu-ray: Region free

The people at Warner Bros. surely wanted to freak buyers out.

Having viewed the first episode the other night, the most telling difference I spotted right from the start was that V: The Final Battle’s footage did not fill the entire screen of our HDTV at home. In fact, what was presented was a more squarish image with black borders on both sides. This is because the sequel was formatted with an aspect ratio of 1.33:1. Having seen V: The Original Miniseries Blu-ray with its widescreen imagery (aspect ratio of 1.85:1), I found the sequel’s 1.33:1 Blu-ray look not only weird (note: I still remember that TV imagery in the 1980s were more squarish than widescreen) but somehow less immersive on our HDTV. Regardless, I still had fun and engagement replaying V: The Final Battle’s first episode. The picture quality, so far, looks good and the colors look more vibrant than ever. As for the extra stuff, there is really not much here to satisfy fans of the sequel as the Blu-ray comes only with network teasers. If you are looking for behind-scenes stuff or interviews with the cast, you will be disappointed. How is the overall quality and fun of V: The Final Battle as a whole? That will be revealed in a future review. 

If you are a long-time V fan, or if you are looking for gems of the science fiction genre, or if you are looking for the standout entertainment properties of the 1980s to add to your Blu-ray collection, be aware that you can order V: The Final Battle Blu-ray online by clicking here.

In ending this piece, watch this short clip of V: The Final Battle from the Warner Archive YouTube channel. It’s got Michael Ironside as Ham Tyler doing action and a glimpse of established V franchise hero Marc Singer as Mike Donovan!

For more entries of my Better than Streaming series of articles, check out my pieces on The Beastmaster 4K Blu-rayThe Transformers: The Movie 4K Blu-rayMortal Kombat 2021 4K Blu-raySpace Jam 4K Blu-ray and The Thing 4K Blu-ray.

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

Better than Streaming: Space Jam 4K Blu-ray combo now available!

Are you fond of 1990s Hollywood movies? Do you love Michael Jordan during his reign in the NBA? Have you ever seen the famous Bill Murray act with Jordan and Larry Bird? Have you always been a fan of Bugs Bunny, Daffy Duck and the rest of the Looney Tunes gang?

Here is the news that could be big to you in relation to the above questions – the 1996 hit live-action/animated comedy movie Space Jam is now available on 4K Blu-ray (with digital copy and Blu-ray disc included) and you can order it now at Amazon!

Space Jam 4K Blu-ray combo.

Here are the details on what comes with Space Jam 4K Blu-ray sourced from Blu-ray.com

Video
Codec: HEVC / H.265
Resolution: Native 4K (2160p)
HDR: HDR10
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1


Audio

English: Dolby Atmos
English: Dolby TrueHD 7.1
French: Dolby Digital 5.1
Spanish: Dolby Digital 5.1
German: Dolby Digital 5.1
Italian: Dolby Digital 5.1
Danish: Dolby Digital 5.1
Swedish: Dolby Digital 5.1
Norwegian: Dolby Digital 5.1
Finnish: Dolby Digital 5.1

Subtitles

English SDH, French, German, Italian, Spanish, Danish, Dutch, Finnish, Norwegian, Swedish


Discs
4K Ultra HD
Blu-ray Disc
Two-disc set (1 BD-100, 1 BD-50)

Extra stuffCommentary with Bugs Bunny, Daffy Duck and director Joe Pytka. Jammin’ with Bug Bunny and Michael Jordan featurette. Two music videos and the theatrical trailer.

For those who are not very aware about the legacy of Space Jam, it was a special project of Warner Bros.’ animation group and not only did it star Michael Jordan (who led the Chicago Bulls to its 4th NBA title in mid-1996), it involved big names like Ivan Reitman (Ghostbusters) as producer, comedy icon Bill Murray in a key supporting role and a whole lot of great voice talents such as Billy West (Bugs Bunny and Elmer Fudd), Dee Bradley Baker (Daffy Duck), and Frank Welker (best known for Transformers’ Megatron) to name a few.

Adding further zest to the cast lots of NBA personalities such as Hall of Famer Larry Bird, Mugsy Bogues, Charles Barkley, Shawn Bradley, Patrick Ewing and Larry Johnson, plus cameo appearances of Danny Ainge, Horace Grant, Steve Kerr and A.C. Green to name a few.

Personally, I never saw Space Jam in the movie theater but I got to watch it in the airplane going to the United States in April 1997. I was not able to focus fully on its story as watching it on a small screen behind the passenger seat in front of me was never a comfortable experience. Still, the movie caught my attention when I saw Larry Bird (my favorite basketball player of all-time) act with Jordan and with the iconic Bill Murray. Of course, the quality of animation done by Warner Bros.’ creative teams was pretty good for its time. I should state that Elmer Fudd scoring a basket in basketball uniform was fun to watch.

Going back to the above specs and details about Space Jam 4K Blu-ray, it’s really nice to know that the visuals have been confirmed to be native 4K. Personally, I am interested to see how the 1996 mixed live-action/animation film would look like on the screen of our 4K smart TV at home.

In the official Blu-ray.com review for Space Jam 4K Blu-ray, the visuals were partially described as: Advertised as a new HDR-enhanced 4K master, Space Jam arrives on the format with a mostly pleasing 2160p transfer that corrects a few of the 2011 Blu-ray’s visual shortcomings but back-pedals elsewhere. For starters, it’s worth noting that portions of this film have always looked soft and very light on grain, such as Jordan’s arrival and stay in WB world, including the climactic basketball game; this was a necessary style choice to ensure that live-action elements didn’t stick too far out against the more smoothly-rendered animation. Other built-in source “defects” (for lack of a better word) include a bit of aliasing on specific CG backgrounds, such as a few sharp angles and edges on Moron Mountain and the baseline and free-throw paint on animated basketball courts; it’s easily spotted on screenshot #4, but again hardly distracting in-motion.

Space Jam 4K Blu-ray combo is now available and it should appeal to NBA fans, Looney Tunes fans and just about anyone who feels nostalgic about the 1990s. Take note that when Space Jam was released in cinemas in late 1996, Michael Jordan was on his way to a second three-peat of NBA championships and the movie was clearly part of the legacy of his basketball greatness which defined the NBA in the 1990s (note: Jordan and the Chicago Bulls won the NBA championship titles in 1991, 1992, 1993, 1996, 1997 and 1998). Space Jam was made at a time when Hollywood not yet dominated by the Satanic Left, those whiny socialists, the naked Communists and all those liberals who love to use movies as pieces to spread their poisonous propaganda. In short, Space Jam of 1996 was simply made to entertain without any political garbage.

For more entries of my Better than Streaming series of articles, check out my pieces on The Beastmaster 4K Blu-ray, The Transformers: The Movie 4K Blu-ray, Mortal Kombat 2021 4K Blu-ray, and V: The Original Miniseries Blu-ray disc of Warner Archive (read my retro review).  

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

Better than Streaming: A close look at V: The Original Miniseries Blu-ray (by Warner Archive)

Welcome back, my readers, fellow Blu-ray disc collectors and fellow pop culture enthusiasts! Last time around, I informed you about the approaching June 15, 2021 release of the respective 4K Blu-ray discs of Godzilla vs. Kong (2021) and In the Line of Fire (1993). If you missed that article (which contains lots of details and links), check it out now.

In this latest edition of Better than Streaming, I want you to join me in taking a close look at the Blu-ray disc of V: The Original Miniseries (1983) which was released on August 27, 2019 as part of the Warner Archive Collection. I bought this Blu-ray release only this year and I can confirm to you all that I had a great time replaying it from start to finish and in high-definition! Having seen V: The Original Miniseries on TV and video tapes in the 1980s and to its early digital form on DVD in 2001, the Blu-ray release is the best visual experience yet!

If you have not seen my retro review, head on to https://carlocarrasco.com/2021/05/08/a-look-back-at-v-the-original-miniseries-1983/

Going on with the Blu-ray release of V: The Original Miniseries, posted below is a new picture of my copy that I photographed for this article.

My Blu-ray copy of V: The Original Miniseries.

The cover really gives V: The Original Miniseries its own distinct look. A look that fans of V will instantly recognize and given the fact that it does not feature any pictures of the actors and only had images of the alien motherships (read: very huge saucer-like space ships that can carry thousands of people plus equipment) on the cover, I can imagine this Blu-ray release standing out when placed with many other Blu-ray discs on store shelves. The tag line on the top – Humankind’s Last Stand – adds punch to the cover.

When it comes to the technical specifications, it goes as follows…

1080p High Definition

16×9, 1.78:1

DTS-HD Master Audio 2.0

Subtitles: English

Single disc – Region free

To be clear, the above specs were written on the back of the Blu-ray box and they refer specifically to the main feature…the 2-episodes of the miniseries totaling 197 minutes (3 hours, 17 minutes).

Speaking of the main feature of V: The Original Miniseries contained in the Blu-ray disc, it is entirely presented in one single selection. The two episodes are not presented as separate selections. It means that once you are done with watching the first episode, you only need to wait for the end credits to finish and just let the video play on with the opening credits of the second episode to start and lead further to the story. However, if you saw the first episode and decide to watch the second episode at a later time, only then will you need the remote control of your Blu-ray player to go through chapter selection (skip the chapters of the first episode) to start the second episode.

As mentioned earlier, V: The Original Miniseries was presented in 1080p high-definition and for me it is the best-looking form to date! If you want specifics about the visual quality (as opposed to the high-definition look of the mini-series), I can say that its visual aesthetics from 1983 are still intact but with added benefits due to the higher resolution and digital format. To put things in perspective, the level of visual details, the color-grading, the textures seen on the actors’ faces and the natural look of their skin tone are all improved over the 2001 DVD.

As this is a 1980s production, the film grain also made it and even though it intensifies or weakens as the main feature plays, it never was annoying to watch. If there are any weak spots on the visuals, it’s the fact that the high-definition state made the matte lines in key special effect shots (note: specifically in the scenes of people on the street looking up at a mothership above them) look very obvious and fake. As for other visual effects, the laser blasts look even better and the perfect timing on simulating on-set explosions (specifically the spots that got hit by the laser blasts) add a lot of punch to the spectacle!  

The disc.

As for the extra stuff, I regret to say that V: The Original Miniseries Blu-ray only has the exact same stuff the 2001 DVD had…the feature-length commentary by Kenneth Johnson and a behind-the-scenes documentary. Nothing new at all and this easily reminds me of the words describing this release – Warner Archive Collection.

To be clear about the extra stuff, I really find it very disappointing that the 24-minute behind-the-scenes documentary was presented only in standard definition and had a sub-par quality visually which kinda ruins the fascinating stuff of the production (Johnson and crew filming scenes, Marc Singer and Faye Grant being interviewed, etc.) shown.

The real meat of the extra stuff is the feature-length commentary of Kenneth Johnson. All throughout the two episodes, Johnson provided a lot of insight on the filmmaking, the creative concepts, the symbolism connecting the mini-series with the rise of the 3rd Reich in Europe, etc. I replayed the mini-series entirely with Johnson’s commentary turn on and it was really engaging as a viewing experience!

Conclusion

While the lack of new extra stuff somewhat hampers it, I still had great enjoyment with my Blu-ray copy of V: The Original Miniseries (1983). Its main feature and the Kenneth Johnson commentary are the best things about it and therefore make it worth buying. I can only speculate that if more V fans (plus the many people out there who have yet to discover V of the 1980s for their home entertainment and sci-fi craving) bought a lot of copies of this Warner Archive Collection Blu-ray release, the executives at WB could be convinced to release another Blu-ray of the 1983 mini-series with all new stuff involving the participation of Johnson, the other production team members and the surviving actors (note: it would be great to come up with brand new interviews with Marc Singer, Faye Grant, Jane Badler, David Packer, Blaire Tefkin, Robert Englund and others). It would be great to see pop culture convention footage related to V compiled not to mention an all-new feature commentary with the actors participating.

Overall, the V: The Original Miniseries – Warner Archive Collection Blu-ray is highly recommended! Fans of V of the 1980s will love it and all others who have yet to discover it will find something new and compelling to watch at home with this. Add this to your shopping list and your Blu-ray disc collection!

In closing this Better than Streaming piece, posted below for your enjoyment is the 43-minute YouTube video of the 2019 San Diego Comic-Con panel that had Kenneth Johnson and Marc Singer as guests focused on V.

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back at V: The Original Miniseries (1983)

Disclaimer: This is my original work with details sourced from watching V: The Original Miniseries and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Way back in 1983, I was fortunate to watch the 2-episode sci-fi mini-series on television titled V: The Original Miniseries. Because there was no Netflix, no YouTube, no Internet access and no DVD at the time, getting to replay the said mini-series as well as its sequel V: The Final Battle was really hard. Replays of them on local TV rarely happened.

Then in 2001, V: The Original Miniseries was released on DVD format and I got to watch it all over again with a good amount of enjoyment. In recent times, I purchased the Blu-ray release and replayed the original miniseries in high-definition at last!

You must be wondering if the original mini-series aged well through the decades, and is it still good to watch by today’s standards? While I will comment about its overall quality below, what I can say is that its theme about people fighting to be free from fascism, oppression, terrorism and dictatorship remains relevant to this day.

For his part, star Marc Singer stated: “I think themes of what holds society together and what tears society apart, those themes are universal themes and I think they’re always going to be relevant. I think there’s going to be a necessity for things like V to be revisited in order that society remember what it is that’s cohesive and coherent about it and why is it that we should all stand together and treat each other well.”  

With those details laid down, here is a look back at V: The Original Miniseries, written and directed by Kenneth Johnson. The first episode was broadcast on television in the United States on May 1, 1983.

V: The Original Miniseries

Early story

The story begins in El Salvador where camera operator Mike Donovan (Marc Singer) and his companion Tony risk their lives capturing footage of an armed conflict. As the two tried their best to move away from the heat of battle, a helicopter of the enemy tracks them and corners them. Just as hope seems lost for Mike Donovan, the helicopter suddenly flies away. He turns to the other direction and witnesses the presence of a huge, floating saucer-like space ship coming his way. He begins to record footage of it.

Soon enough, several other space ships arrive and float above many other cities around the world. In America, medical student Julie Parrish (Faye Grant) and her colleagues carefully watch the TV news coverage. In a nice neighborhood, several residents – including Robin Maxwell (Blaire Tefkin), Eleanor Dupres (Neva Patterson), Daniel Bernstein (David Packer) and his grandfather Abraham (Leonardo Cimino) to name a few – marvel at the sight of a space ship above them. At another location, the research of scientist Robert Maxwell (Michael Durrell) and his colleague got interrupted with the arrival of a space ship.

The Visitors formally begin their new relationship with the people of Earth.
Diana of the Visitors played by Jane Badler.

Some time later, the Visitors make verbal contact with the people around the world using varied languages of Earth. In a special arrangement held at the top of the United Nations (UN) building in New York closely viewed on TV by the general public, the Visitors reveal themselves represented by John (Richard Herd) who expresses their message of reaching out peacefully to the people of Earth, seek their help and, in return, share with them their advanced technologies that could help humanity a whole lot for future generations. The Visitors are human in appearance but speak with very distinct sounds.

As a result, the governments of Earth agree to the offer of the Visitors and establish ties with them. Symbolically, a large group of Visitors’ engineers led by Diana (Jane Badler) and security chief Steven (Andrew Pine) arrive at a refinery to formally begin collecting chemicals and minerals.

Then things start to turn bad…

Quality

I can clearly declare that the writing and directing done by Kenneth Johnson remains great, and for many reasons why. On storytelling, Johnson (who was inspired by the anti-fascist novel It Can’t Happen Here and made an adaptation of it before finally coming up with V) clearly took his time on establishing the core concept stage-by-stage, and he also found efficient ways of explaining details to viewers by using in-story news reports and videos and retrospective as effective tools of exposition (these helped cut down the reliance on expository dialogue).

As the story goes on, Johnson carefully introduced the many characters on-screen (including the use of quick introductions of some characters who are located away from others they are connected/related with), established who they are and, most notably, showed how the events that took place affected them.

The Visitors (and one member of their youth auxiliary movement wearing brown) posting propaganda material to condition people’s minds they are friendly and trustworthy. These posters are familiar to many Nazi propaganda materials used in Europe decades earlier. Prior to the release of the Original Miniseries, a real-life marketing campaign of putting up such posters happened in real life.

Johnson also used symbolism which reflects what happened decades ago in Europe with the rise of the Third Reich. The Visitors’ symbol resembles the Nazi Swastika while the persecution of scientists (as well as their families and associates) resembles the Nazi persecution of Jewish people, and the scene of Daniel Bernstein joining the Visitors through their “Friends of Visitors” movement recalls memories of the Hitler Youth. I should state that Earth citizens who chose to collaborate with the aliens from space (strongly symbolized through Eleanor Dupres), images of the armed Visitors watching several helpless Earth people being taken away from their homes and the dominance of propaganda over the free press also reflect what happened back in World War II when the Nazis occupied many parts of Europe. The fact that Johnson used alien humanoids as the Visitors make them a more universal antagonistic force that viewers can relate with.

When it comes to the cast members and their respective performances, there is a whole lot to enjoy here and I can confirm that the quality of dramatic performances is pretty good and adds a whole lot of believability to the story. The most notable performer here is none other than Faye Grant who believably portrayed Julie Parrish on her in-depth transformation from a promising medical student to a reluctant organizer of a movement of freedom-loving people called the Resistance. Faye Grant excellently portrayed emotions and even showed the fragile side of Julie as she struggles to strengthen herself to lead her fellow people who seek freedom and survival. Julie also is the most charismatic and likeable character in my view.

Marc Singer’s Mike Donovan is the closest thing this miniseries has to an action hero. Donovan is not a soldier, nor a policeman, nor a combat specialist. He is a hard-working media employee who has covered a lot of armed conflicts overseas and along the way he learned how to fight. As he is not a fighting machine, Donovan was portrayed to be vulnerable and really ends up struggling a lot. In a way, Donovan symbolizes people who take action once they realize what is wrong and what lies they have been fed with. It should be noted that before Bruce Willis wowed audiences as the vulnerable hero John McClane in Die Hard, Marc Singer’s Donovan was the vulnerable and struggling action performer realized ahead in time. On the dramatic side, Donovan’s talk with his mother Eleanor is a great scene to watch, and his contrast with Kristine Walsh (Jenny Sullivan) must be seen! If you ask me, Mike Donovan is Marc Singer at his best!

Faye Grant’s portrayal of Julie Parrish is highly believable complete with a good range of emotions. Her character development all throughout the Original Miniseries is very believable.
Marc Singer as Mike Donovan.

The other most notable role is none other than the Visitors’ commander Diana excellently played by Jane Badler. Diana was played to be charismatic, powerful, and sadistic at the same time. She is not a mere evil figure nor is she your typical pure evil antagonist. In fact, she is the powerful extension of an unseen high authority of the aliens and this alone makes her worth your attention. Also, through her interactions with her fellow aliens Steven and Brian (Peter Nelson), you will see very interesting traits of Diana’s personality. I should state that Jane Badler’s eyes and expressions really gave her character a very commanding presence on-screen. Even though her screen time is not dominant, Diana’s impact remains very strong.

As for the other cast members and their contributions in the film, I can state that Robert Maxwell was excellently portrayed by Michael Durrel to be the very caring father striving to protect his family even as society has been manipulated to demonize scientists like him. Daniel Bernstein is clearly the traitorous Earthling who has gotten so involved with the Visitors, and I am confident that David Packer will get on your nerves. Willie is the good-natured Visitor who tries to fit in with the people of Earth and his friendship with Harmony Moore (Diane Cary) is very symbolic. Given the reputation of Robert Englund as a horror icon, his performance as Willie is a must-see!

The most notable of all the supporting cast members here is none other than Leonardo Cimino’s Abraham Bernstein who is a Jewish man who went through the Holocaust and survived to establish the family in America only to see evil return in the form of the Visitors. His dramatic scene of protecting a certain family is a must-watch, and most likely it will stir your emotions.

This scene shows the contrast between Abraham Bernstein (Leonardo Cimino) in the background and his grandson Daniel (David Packer) in the foreground. Abraham is an old Jewish man who went through the Holocaust and lived on. Daniel, who is 17-years-old, willingly joined the Visitor’s youth auxiliary movement which parallels that Hitler Youth.

In addition to being successful with telling the story, spreading the details and getting solid performances from the cast, Kenneth Johnson also proved to be really crafty with the way the camera captured images and how the very important moments were presented to captivate viewers. Johnson’s work here is clearly a labor of love. As for the music, Joseph Harnell did a good job overall. His style gives V a distinct aesthetic on tunes and I noticed his music becomes more lively late in the 2nd episode. Harnell also knew how to add musical excitement when the narrative needed a boost of energy or speed.

People of Earth, including children, are helpless under the Visitors.

Last but not least, I want to talk about the action and visual effects here. The action is, for the most part, raw and believable to watch. The action performers dressed as the Visitors never looked like they were trained but at least their ways of positioning themselves to fire their laser weapons made up for it. The hard action has that raw aesthetic which I actually liked because the action performers – including Marc Singer himself – were convincing with the way they exerted efforts. In this modern age of wire works and digital effects, seeing raw action and real human effort combined with risk taking is refreshing to watch.

More on the action scenes, I should state that the concept of showing the humans using conventional guns against the laser-armed Visitors was done in a satisfying and believable manner on-screen. Such concepts could have turned out bad had Kenneth Johnson and his team lacked talent and precision. As for the visual effects, they resulted a mixed bag as far as quality and artistry are concerned. While the laser blasts still look very good (and their impact was felt thanks to excellent timing with the on-set explosions and fireworks), the huge motherships really look dated as they were matte images (not miniatures), and in a few shots the matte lines were clearly exposed in high-definition which broke the immersion for me. The smaller space crafts that were shown flying also had that similar, out-of-place look (note: they did not match the lighting of the live-action footage). Still, the practical effects used are good to see and the matte paintings used for two key shots in the 2nd episode were photo-realistic.  

Conclusion

The free and righteous praying to the Lord.

As it is clearly still great and engaging to watch, V: The Original Miniseries (1983) certainly aged well, it remains essential to watch even by today’s standards and most of all, its theme about the conflict of freedom and dictatorship makes it completely relevant to this day. It is a reminder about what your part in your society is, who you are, what your values are, and why you have freedom in your local society which can be destroyed by an alienating force once your fellow people refuse to resist it. As mentioned earlier, the cast is great and I am confident that you readers will find a character or two to relate with.

The focus of this miniseries on fascism invading the lives of the free people easily reminds me about how, in this modern age, sinister influences like Marxism, socialism, Communism, unrestrained political correctness and fascism poisoned the minds of millions of people through the academic system and turned them into social rebels, domestic terrorists, looters, rioters and new criminals who are so determined to go against their fellow people who do not share their beliefs. In modern-day America, the ongoing movements of Black Lives Matter, Antifa, SJWs, the anti-Semitic BDS movement, the rabid LGBTQ+ movement, the so-called democratic socialists and other agents of Satan have been harming patriotic Americans, attacking their values, taking the innocence of the youth and children away, destroying businesses and tearing down societies as we know it. The 1983 mini-series will remind you that from time to time, social order will be pushed hard by the invaders (be it people or be it influences so alien to the society) and the people who are righteous can choose to restore the said order as well as their respective lives.

Seriously, if you value your freedom, your culture, your values, your people and your faith in the Lord, you certainly would not want to submit yourselves to a foreign people who intend to destroy you.

No matter what happens, people should never lose faith in the Lord and they must look up to Him for deliverance. The Lord will punish the wicked and make ways happen to lift up the faithful. Clearly, V’s theme about the fight for freedom is truly universal.

Symbolism and socio-political relevance aside, V: The Original Miniseries (1983) also comes with a good amount of spectacle that make sense within the narrative. Do not expect to see extensive, over-the-top action scenes of modern-day cinema/television here but I assure you that the spectacle (note: even with the flawed matte imagery of the visual effects) in this production paid-off nicely in relation to the build-up of events throughout the story.

I strongly recommend you acquire V: The Original Miniseries on Blu-ray while it is still available. Watching it in high-definition is a great experience on my part.

Overall, V: The Original Miniseries (1983) is highly recommended! That being said, I strongly encourage you to buy it on Blu-ray disc format while it is still available and affordable. If you want more of Kenneth Johnson’s other work related to V, I suggest you to look for his book V: The Second Generation. Don’t forget to visit Johnson’s website at http://www.kennethjohnson.us/

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

For more V-related writings of mine, check out my retro comic book reviews of the V comic books (published by DC Comics) issues #1, #2, #3 and #4.

A Look Back at Wonder Woman #13 (1988)

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back, superhero enthusiasts, comic book collectors and fans of Wonder Woman! In case you missed the updates, the new movie Wonder Woman 1984 will eventually be released in 4K Blu-ray format although there is no release date announced yet nor a price. As the nearest cinemas remain closed, it looks like buying the movie in 4K Blu-ray is the best alternative for me and at the same time I am not a fan of streaming movies. Let me point out that what customers pay to stream Wonder Woman 1984 does NOT pay that movie’s producers, investors and creditors! You want to make a difference for the people behind Wonder Woman 1984? Buy movie tickets to watch it in the movie theaters (you will also help the theater operators and their employees) and for home viewing, buy the movie on Blu-ray and 4K Blu-ray in the near future.

Anyway, we are here to look back at the comic books of Wonder Woman as rebooted by the creative duo of George Perez and the late Len Wein. We are going to examine the Challenge of the Gods storyline (started in issue #10) which I personally find really intriguing and engaging to read. It is the struggle of Wonder Woman with a really strong fantasy and mythology flavor that made it stand out among superhero comic book stories in the late 1980s. Last time around, there were these great revelations about an untold chapter of the past of the Amazons as well as greater focus on Diana’s mother Queen Hippolyte who joined in the dangerous trek.

With those details laid down, here is a look back at Wonder Woman #13, published in 1988 by DC Comics with a story written George Perez and Len Wein. Perez drew the comic book with ink work done by Bruce D. Patterson. This is the 4th chapter of the Challenge of the Gods storyline!

The cover.

Early story

The story begins with the armored Queen Hippolyte staring at a huge, deformed man-like figure made of rock which she realizes is none other than Heracles, the same man who deceived and abused her long before the birth of Diana. She reflects on her personal hatred of him that lasted for centuries and remembers that her years in Themyscira taught her the folly of anger. She wonders what Heracles had committed to be condemned the way he is. Noticeably, anything that pierces the stony surface causes great pain and tears from Heracles.

Hippolyte moves on toe find a sleeping cyclops in a lair filled with skeletons. Behind him is a tunnel that she believes her daughter took. As she quietly sneaks, she looks back at Heracles and actually hears him mournfully moaning louder as if he was calling to her.

Among the skeletons in the cyclops’ lair is a horned human skull which Zeus and his fellow deities in Olympus believe belongs to Pan. They realize that the Pan who had spent a lot of time with them is an impostor and this causes division among them. Hera speaks out again Zeus pointing out his enormous pride and arrogance as sources of trouble. Hera believes that Gaea’s destiny will be fulfilled through the Amazons and she will not allow Zeus to abuse them.

Hera then sends Hermes to reach Wonder Woman who just joined the company of several superheroes in the California citadel of the Green Lantern Corps…

Quality

The tremendous impact of the challenge felt.

This is another high-quality creation by Perez-Wein and the stakes for not only Wonder Woman but also her mother has been raised even further. As if that was not enough, there are also some solid revelations (pertaining to the Amazons, their heritage and their destiny under the Olympus deities) and in-story surprises that made the story very engaging. As the challenge for Wonder Woman continued on, Queen Hippolyte’s involvement grew even bigger and this added and connected smoothly with her daughter’s struggles. In terms of characterization, the bond between Diana and her queen mother is dramatically deepened and their respective purpose in life got emphasized a lot more.

In terms of spectacle, this one is very loaded with action while still having a very strong fantasy element behind it all. Seeing Wonder Woman and her mother engage the minotaur and mythological creatures are sights to behold. George Perez expectedly visualized everything with high details and well-constructed panels that moved the action.

Conclusion

Wonder Woman and her mother in the heat of battle with the evil creatures.

No doubt about it! Wonder Woman #13 (1988) successfully kept the Challenge of the Gods storyline compelling and at the same time stay fresh by pulling off strong revelations that will make you think deeper about the Amazons, their heritage and their future. The portrayal of Wonder Woman here shows how pure she is as a purposeful protagonist who simply won’t give up in fulfilling the challenges, proving her true worth and making a major impact to all around her. Her role as a daughter is also very well defined.

If you are seriously planning to buy an existing hard copy of Wonder Woman #13 (1988), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $30 while the near-mint copy of the newsstand edition costs $60.

Overall, Wonder Woman #13 (1988) is highly recommended!

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back at Wonder Woman #12 (1988)

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back, superhero enthusiasts, comic book collectors and fans of Wonder Woman and DC Comics! Happy New Year to you all as well! To start 2021, I have another Wonder Woman retro comic book review here.

Before getting to the review, I want to ask if you were able to watch Wonder Woman 1984? I have not seen it yet as the local cinemas in our part of Metro Manila still have not reopened. I have no intention to stream the new movie at all. Big movie productions like the one starring Gal Gadot and Chris Pine were clearly made for the big screens in the cinemas and I am patiently waiting for the golden opportunity to watch Wonder Woman 1984 in a theater. If the nearest local cinemas won’t reopen due to this ongoing pandemic, the next best option for me is to get the movie in its future 4K Blu-ray release.

Going back to the Wonder Woman comic series of the post-Crisis DC Comics era, I reviewed issue #11 recently which saw Princess Diana enter the forbidden zone of Themyscira as she struggles to fulfil the challenge of Olympus’ deities. Meanwhile, Queen Hippolyte decides to take action by following and search for her daughter. This naturally troubles the Amazons who themselves are uncertain about what the deities have in plan for them.

With those details laid down, here is a look back at Wonder Woman #12, published in 1988 by DC Comics with a story written George Perez and Len Wein. Perez illustrated the comic book with ink work done by Bruce D. Patterson.

The cover.

Early story

The story begins with the armored Queen Hippolyte making her way down into the forbidden zone, with a feathered companion flying just near her. Suddenly a horde of bats surround her compelling her to defend herself. She notices that the vulture made no effort to help her which convinces her that it is there to guide.

Over at Oklahoma, Steve Trevor sits by his very old father and apologizes to him for failing to be there sooner. Tearfully he remembers the demise of his mother and the times he spent with his father growing up. Downstairs, Etta Candy examines a framed photo of Steve’s mother.

Deep within the forbidden zone, Wonder Woman is struck with disbelief as she just encountered in the flesh the one mysterious warrior whom she was named after which Queen Hippolyte and the Amazons did not discuss with her…

The mysterious warrior tells Princess Diana: I’ve waited this day far longer than you could imagine—-but if there’s anything I’ve learned here, it’s that life on the mortal coil follows a grand design! We were faither to meet, child—from the day you were born!

Quality

This comic book showed more of Queen Hippolyte’s side of the story than the previous issue.

Once again, this is another high-quality work of art and literature done by the creative team led by the Perez-Wein duo and considering the way things were structured, this proves that they really planned this storyline early and this very comic book happens to be full of revelations relating to a notable event in the past of the Amazons.

In this particular chapter of the Challenge of the God’s storyline, Wonder Woman’s significance (in connection with events that took place before her birth) and her special bond with Steve Trevor (in relation to issues #2, #3, #4, #5 and #6) were deeply emphasized through the story of the mysterious warrior whose name is also Diana and also a native from man’s world. The mysterious warrior’s personal story and discovery of Themyscira were excellently dramatized by Perez-Wein, which is not surprising, and the narrative was carefully paced giving readers breathing space to learn the details.

Picking up from the previous issue, this comic book’s focus on Queen Hippolyte has grown larger effectively creating what is technically a solo adventure for her within the forbidden zone. Compared to her daughter, Queen Hippolyte has deeper knowledge of the history of the place and is naturally cautious with her search for Diana. I should state that the dialogue style written for the queen was very cleverly crafted. Meanwhile, the Olympus deity Pan was clearly portrayed to be the evil manipulator and clearly the Satan figure of the story.

Conclusion

Princess Diana meets the other Diana whose past is linked with the Amazons.

Wonder Woman #12 (1988) is another excellent work by the Perez-Wein creative team. It is more than just a Wonder Woman story and more than just a well-told fantasy of the DC Comics universe, it is filled with very profound revelations that further deepen the legacy of the Amazons and Wonder Woman’s significance. As for the influences behind the design and symbols on Wonder Woman’s costume, those have been revealed in this comic book as well.

If you are seriously planning to buy an existing hard copy of Wonder Woman #12 (1988), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $30 while the near-mint copy of the newsstand edition costs $60.

Overall, Wonder Woman #12 (1988) is highly recommended!

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

Wonder Woman 1984 opening in the Philippines TENTATIVELY set for January 8, 2021

I am a long-time Wonder Woman fan. I deeply love watching the 2017 movie that starred Gal Gadot. I saw that movie thrice in movie theaters here in the Philippines, the first screening of which was inside the local IMAX cinema.

Gal Gadot as the armored Wonder Woman.

Like anyone else, I am excited that the much-awaited sequel Wonder Woman 1984 has been scheduled for a Philippine release date of January 8, 2021 although I am cautious too. Why?

That’s because after experiencing the initial excitement of the international release dates published by Variety, I decided to verify with Warner Bros. Pictures directly via their official page on Facebook. In a November 26, 2020 FB post of theirs, I asked them directly (plus about IMAX) and they actually replied. Below is the screenshot.

As you can see above, Warner Bros. Pictures pointed to the Variety article (about the global release schedules) and with regards to the Philippines, the supposed launch of Wonder Woman 1984 in cinemas hangs in the balance because until now many cinemas – at least in the National Capital Region – remain closed even though restrictions (related to community quarantine) have been eased over the past several months as local authorities monitored the developments related to the current pandemic. This means that the Wonder Woman 1984 opening for the Philippines remains tentative at best. Warner Bros. did not say anything about IMAX.

For those who are based outside the Philippines, Metro Manila (with multiple cities and a high number of movie theaters combined) is under the General Community Quarantine (GCQ) status until December 31, 2020. Under GCQ, more people are allowed to report to work, more business are allowed to operate albeit less than 100% (depending on the business nature) and people are able to visit shopping malls but without minors (their children).

What the status for Metro Manila will be come January 1, 2021 remains unknown. Speaking of movie theaters, I have yet to find any signs or confirmation that local movie theater operators are lobbying/appealing to the authorities to allow them to resume operations.

Again, the Philippines opening date for Wonder Woman 1984 is tentative. Whether the Patty Jenkins-directed movie will open on January 8, 2021 or be delayed, I will make it a point to watch the movie on the big screen. I will not stream Wonder Woman 1984. As far as watching the movie at home later is concerned, I’d rather watch it on Blu-ray and 4K Blu-ray. Paying for streaming will help the service but NOT the people who made the newest Wonder Woman movie.

While waiting for solid updates about Wonder Woman 1984’s opening here in the Philippines, check out my review of the 2017 movie, my review of the literary classic Wonder Woman #1 (1987), my review of Wonder Woman #9 (1987) which is the essential read before watching the new movie, and my most recent review of Wonder Woman Gallery (1996).

In ending this, here are some Wonder Woman-related videos for your amusement.

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

My Observations: Christopher Nolan slams AT&T-controlled Warner Bros. over plan to release new movies in cinemas and HBO Max simultaneously

I am not a fan of director Christopher Nolan but I say he still deserves credit for the massive contributions he made in cinema, specifically with the Dark Knight trilogy (which strengthened the superhero film genre) and IMAX (Dunkirk and Interstellar come to mind.)

Director Christopher Nolan. (photo source – IMDB.com)

Very recently the acclaimed movie director and producer made tremendous buzz in the news as he slammed AT&T-controlled Warner Bros. over their plans to release their seventeen 2021 movies in both movie theaters and the streaming app HBO Max. As you already know, the much-awaited Wonder Woman 1984 is just the first of many WB films that will debut inside cinemas and via streaming on the same day. HBO Max is currently way behind rival streaming services Disney+ and Netflix in terms of subscribers, and this fact makes Warner Bros. look not only desperate but traitorous towards movie theatre operators (who lost money and have struggled to retain their employees).

Going back to Christopher Nolan, read closely below the excerpt from The Hollywood Reporter article.

For many in the movie business — producers, directors, stars and their representatives — Dec. 3, 2020 is a day that will live in infamy.

“Some of our industry’s biggest filmmakers and most important movie stars went to bed the night before thinking they were working for the greatest movie studio and woke up to find out they were working for the worst streaming service,” filmmaker Christopher Nolan, whose relationship with Warners dates back to Batman Begins in 2005, said in a statement to The Hollywood Reporter.

Nolan added: “Warner Bros. had an incredible machine for getting a filmmaker’s work out everywhere, both in theaters and in the home, and they are dismantling it as we speak. They don’t even understand what they’re losing. Their decision makes no economic sense and even the most casual Wall Street investor can see the difference between disruption and dysfunction.”

Personally, I agree with the Batman films director. Even with the ongoing pandemic, it still does not make sense economically to release brand new movies in both cinemas and online streaming simultaneously. I know that there are a lot of people who don’t want to leave their homes to watch a movie because of fear that they will get infected with COVID-19. I noticed a few people who posted on social media that the movie theatre is a death trap of COVID-19 and they disregarded the efforts movie theater operators made to have their facilities sanitized, cleaned and practiced social distancing. This contributes to them relying on streaming to watch brand new movies in their homes.

The WB plan to release new movies in both cinemas and HBO Max only made the tough situation of movie theater operators even worse. Cinemas have been struggling to survive and badly need customers to buy tickets, snacks and drinks, and most notably enjoy the grand experience of watch films on the big screen which streaming will never ever match nor replicate. It should be noted that the business model of standalone movies recovering the negative costs (production, marketing and others covered by movie producers and investors) by means of movie ticket sales (plus merchandising) followed MONTHS LATER by revenue from sales/rentals of DVD/Blu-ray/4K Blu-ray, cable TV, pay-per-view services, and public TV showing is still the best even though several theaters have been closed down due to the pandemic.

It should be noted that the fact that WB does not charge a dedicated upfront fee for viewing Wonder Woman 1984 on HBO Max only means that the said movie’s producers won’t be collecting proceeds from the payments of subscribers. If you are a dedicated fan of Wonder Woman, Gal Gadot, Chris Pine, Kristen Wiig and you want to see more Wonder Woman movies in the future, you are better off skipping streaming and instead pay for the movie by buying movie tickets, buying the movie’s eventual releases on DVD, Blu-ray and 4K Blu-ray, pay for the movie’s eventual pay-per-view release, pay for the future rental service of the movie, etc. Paying HBO Max only pays for the service, and not for Wonder Woman 1984. Streaming will NOT help Wonder Woman 1984’s producers, investors and filmmakers, and it also will NOT help movie theater operators.

As for me, I’ll make it a point to watch Wonder Woman 1984 in the local cinema (especially IMAX) a number of times and then anticipate its release on Blu-ray and 4K Blu-ray. I will not stream to watch it!

Going back to Christopher Nolan, he is not alone with his reaction towards WB’s plan. Major cinema chain AMC reacted negatively as well. Below is an excerpt from The Hollywood Reporter story.

“Clearly, Warner Media intends to sacrifice a considerable portion of the profitability of its movie studio division, and that of its production partners and filmmakers, to subsidize its HBO Max startup,” said Adam Aron, CEO and president of AMC Entertainment, in a statement to The Hollywood Reporter. “As for AMC, we will do all in our power to ensure that Warner does not do so at our expense. We will aggressively pursue economic terms that preserve our business.”

The move will see the studio’s 17-film slate hit HBO Max for a one-month window that starts the same day the titles will be available in theaters in the U.S. The move comes after the studio had already revealed plans to release Wonder Woman 1984 day-and-date on Christmas Day, a plan that AMC says it was notified about.

“These coronavirus-impacted times are uncharted waters for all of us, which is why AMC signed on to an HBO Max exception to customary practices for one film only, Wonder Woman 1984, being released by Warner Brothers at Christmas when the pandemic appears that it will be at its height,” read a statement from the exhibitor, which added, “However, Warner now hopes to do this for all their 2021 theatrical movies, despite the likelihood that with vaccines right around the corner the theatre business is expected to recover.”

CEO Aron added that the company has already started an “immediate and urgent dialogue” with the studio. AMC, which announced today that it would be selling 200 million shares in the hope of improving its liquidity, has seen its stock fall some 16 percent by Thursday afternoon.

You heard about the Independent Cinema Alliance? They too are disappointed with Warner Bros. They called for a return to theatrical exclusivity and expressed that releasing films solely in movie theaters for a period of time is “what drives that value – not streaming.” Below is the full statement of ICA from the Variety report.

“Unprecedented times call for unprecedented measures. The Independent Cinema Alliance, however, is disappointed in WarnerMedia’s questionable decision to release its entire 2021 film slate simultaneously in movie theaters and on HBO Max. WarnerMedia is correct that its content is extremely valuable, but it also must know that theatrical exclusivity is what drives that value—not streaming. Given that COVID-19 vaccines will begin distribution in the coming weeks, the ICA calls on our partners at Warner Bros. and other studios to help write the industry’s comeback story with a recommitment to exclusive theatrical content.

The ICA welcomes short-term, innovative film distribution models developed to bridge the coronavirus pandemic. It is important that our studio partners support independent exhibitors during this crisis with new theatrical releases backed by robust marketing campaigns. For our part, exhibitors will bring the magic of moviegoing to communities across America while implementing expert-backed, industry-specific health and safety protocols.

But let’s be very clear, it is essential to the success of the entire motion picture ecosystem that hybrid distribution models influenced by the pandemic properly reflect appropriate terms for movie theater owners. It is also imperative that these reactionary policies made in response to a public health crisis do not reflect long-term, formal shifts in distribution strategies for studio films. A theatrically driven business model is vital to the success of movie theater owners, studios, and the creative community. The ICA looks forward to collaborating with our partners in Hollywood on deliberate, innovative solutions that build a brighter future for this great industry.”

The hybrid film release model of WB is not only harming movie theater operators, it is also destroying the mutual trust movie theaters have with movie studios as we know it. As seen with Christopher Nolan, his long-time business relationship with Warner Bros. looks like it will crumble. Nolan might as well leave WB and find another Hollywood studio that agrees with him.

Not only that, Warner Bros. long-time business relationship with Legendary Pictures is in danger as well. Legendary Pictures co-financed WB’s upcoming films like Godzilla vs. Kong and Dune, and according to a Variety report, they may take legal action against the studio over its plan on launching movies in both cinemas and HBO Max. Here’s an excerpt from the said report.

It’s unclear what legal grounds Legendary would use to challenge the decision, though it would likely involve some breach of contract.

Legendary declined to comment, as did Warner Bros.

Part of Legendary’s frustration is that despite largely bankrolling “Dune” and “Godzilla vs. Kong,” the production company didn’t have much of a say in how its buzzy titles would be released. Moreover, the company felt that Warner Bros. wasn’t being transparent with its intentions. Months ago, Netflix had discussed a possible sale of “Godzilla vs. Kong” for a hefty $250 million but WarnerMedia, the parent company of Warner Bros., blocked that arrangement.

Denis Villeneuve, the director of “Dune,” is similarly disappointed with the HBO Max plan and would prefer a traditional theatrical release for his movie, according to insiders.

As if that was not enough, it has been reported that movie piracy has been rising as the studios skipped the struggling cinemas. Even Disney’s live-action Mulan was shared millions of times in the form of unlicensed copies! Below is an excerpt from the report by Bloomberg.

Studios have tried to salvage some of their big-budget films this year by selling them through streaming services for $20 to $30. But that business model has made it easier for pirates to illegally copy and share new releases, with an estimated loss of millions of potential customers for the production companies.

Unlicensed downloads of Walt Disney Co.’s most-recent picture, “Mulan,” have outpaced those of other movies since its Sept. 4 U.S. debut on the Disney+ streaming service, according to TorrentFreak, a website that tracks pirating activity on public servers. Compared with “The Lion King,” which came out last year in theaters, “Mulan” saw about twice as many downloads in the days and weeks after its release.

When a traditional movie is released in theaters, thieves struggle to obtain high-quality recordings of it, often resorting to bootlegging with a hidden camcorder. With digital releases, pirates use technologies not available to most consumers to make perfect copies quickly.

On the other side of the spectrum, Warner Bros. Entertainment chairman and CEO Ann Sarnoff defended her company’s decision and specified that they have “many movies which are ready to go, and they’ve been sitting on shelves. So we thought this was the most creative and win-win situation to bring them not only to theaters but simultaneously for 31 days on HBO Max.”

The same CNBC report also states that Warner Bros. did not consult the actors, the directors, the agents with regards to the 2021 movies, and that they did not make distribution deals with the cinemas.

In ending this, here is an excerpt from The Hollywood Reporter’s report. Play close attention to the details.

The Warners move poses big, maybe even existential questions: How do theaters survive this supposedly one-time, excused-by-the-pandemic move? Genies are hard to put back in the bottle and no one believes Warners intended this to be temporary anyway. What damage will be done to exhibitors by training customers that if they sit on their sofas, the biggest movies will come? And will Warners face serious backlash from important producers, filmmakers, guilds and on-screen talent? “Warners was the quintessentially talent-friendly, filmmaker-friendly studio,” says one agent. “Now Warners isn’t the first place, second place or third place you want to go.”

Many in Hollywood think WarnerMedia jumped at this drastic move to play to streaming-infatuated Wall Street and re-do the botched launch of HBOMax, which netted a dismal 8.6 million subscribers. But one prominent agent notes that the top executives at WarnerMedia and its parent — AT&T CEO John Stankey, WarnerMedia CEO Jason Kilar and, of course, Sarnoff — “don’t understand the movie business and they don’t understand talent relations.”

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

My Observations: Wonder Woman 1984 is coming to BOTH movie theaters and HBO Max streaming service on Christmas Day

The news has spread like wildfire in such a short time and unsurprisingly hashtags like #WonderWoman and #WW84 got really active again on social media. It has officially been announced that the much-delayed Wonder Woman 1984 (starring Gal Gadot, Chris Pine and Kristen Wiig) will indeed open in movie theaters in America on Christmas Day PLUS debut also via Warner Bros. own streaming service HBO Max.

Watch the confirming video below…

Already cinema chain AMC is supportive of the movie’s scheduled theatrical release.

“We hope movie lovers enjoy ‘Wonder Woman 1984’ during the holidays this year at AMC,” AMC Entertainment CEO and President Adam Aron stated.

Personally, I am surprised that Warner Bros. decided to do the simultaneous theater-and-streaming approach because the move is pretty risky in terms of doing business as well as reaching out to the many millions of fans willing to pay to watch the movie. It is a fact that a lot of movie theaters in America remain closed and families are forced to stay at home especially in states where the state governments strictly implemented lockdowns due to the COVID-19 crisis.

It is also a fact that HBO Max is not exactly massively large with its subscribers. According to a Variety report, HBO Max users grew to 8.6 million at the end of the 3rd quarter of 2020. Also reported was 28.7 million customers described to be eligible to avail of the mentioned streaming service. Combined subscribers of standalone HBO and HBO Max in the United States reached 38 million as of the end of September. When it comes to the global scale, 57 million subscribers of both HBO and the streaming service were reported. The numbers look big but there is no guarantee that 100% of standalone HBO subscribers will actually avail of HBO Max for WW84. There is also the issue of generating a lot of funds to help Warner Bros. recover their investment in making and marketing Wonder Woman 1984.

As I stated before, the best way to watch Wonder Woman 1984 is still in the movie theater for it is a fact that it is such a very big production as a whole and it has certain sequences filmed with IMAX cameras (the highest quality visuals of which will not be captured perfectly via streaming). While it is a fact that way below 100% of movie theaters worldwide are open for business, it is now high time for Wonder Woman fans, superhero movie enthusiasts and geeks to contact their local cinema operators and find out once and for all if they will screen Wonder Woman 1984. Don’t just sit down waiting for something to come to you, take action by reaching out to the movie theaters online or by the phone if you really want to watch the movie!

If there is an AMC theater near you operating (or planning to open for the Christmas holiday), you are fortunate because WW84 will be screened. If there is an IMAX cinema near you that will really play the movie, go for the movie there for the best visual experience!

While I noticed online that there are a lot of self-described Wonder Woman fans who arrogantly disregard movie theater operators only because they selfishly want WW84 to be streamed directly to them, I myself will not avail of the movie via streaming because there is a better option for home viewing that has yet to be announced…Wonder Woman 1984 on Blu-ray and 4K Blu-ray. Personally, I don’t have anything against VOD streaming services but when it comes to enjoying movies at home with the HDTV, I prefer Blu-ray over streaming anytime! Blu-ray has undeniable advantages over streaming!

What I intend to do on watching Wonder Woman 1984 is quite simple: movie theater first followed by Blu-ray months later. Really, I’m not rushing to avail HBO Max this Christmas.

Going back to movie theaters, Wonder Woman 1984 director Patty Jenkins announced via social media a program is in development to allow moviegoers, fans and other people to be able to rent their own theaters out to screen the movie with group safety in mind.

“We will try to help to bring it to as many of you as we can and thank you all for your support,” Jenkins stated via Twitter.

For its part, AMC Entertainment made moves to not only screen Wonder Woman 1984 but also ensure safety and reducing health risks. Check out the full statement of AMC CEO and President Aron below:

Movie fans across the United States, Europe and the Middle East will be excited to learn that the release of Wonder Woman 1984 this holiday season is right around the corner, and that AMC will show this eagerly awaited movie on our big screens all across our global network.

For many months, AMC has been in active and deep dialogue with Warner Brothers to figure out how best this cinematic blockbuster could be seen at AMC Theatres in these unprecedented times. Given that atypical circumstances call for atypical economic relationships between studios and theatres, and atypical windows and releasing strategies, AMC is fully onboard for Warner Brothers’ announcement today.

AMC continues to believe that exclusive theatrical releases benefit consumers, filmmakers, studios and exhibitors. Even so, we also have clearly demonstrated this year that we are flexible and remain open to evolving long-standing business models, provided that we do so in ways that improve the industry ecosystem for all players. We have instituted novel approaches with other movie studios this year. We are doing so again, this time with Warner Brothers to facilitate the specific release of this important movie.  We hope movie lovers enjoy Wonder Woman 1984 during the holidays this year at AMC.

In showcasing Wonder Woman 1984, we especially note AMC’s commitment to the safety and health of our moviegoing guests and associates at our theatres. Our comprehensive and extensive AMC Safe & Clean protocols were unveiled this summer, having been designed in consultation with current and former faculty of Harvard University’s prestigious School of Public Health and in partnership with Clorox. Our commitment to AMC Safe & Clean already has allowed us to responsibly and safely welcome literally millions of moviegoers to enjoy seeing movies at AMC Theatres.

To put things in perspective, AMC has around one thousand movie theaters and over 10,000 screens worldwide. That being said, their support to screen Wonder Woman 1984 is crucial not only for Warner Bros. and the fans but for the movie industry as a whole. Also I am confident that other cinema operators (who are already struggling financially and have been trying to retain their employees) are observing and may decide soon to follow AMC’s move. The more movie screens for Wonder Woman 1984, the better!

In ending this piece, here are some Wonder Woman-related videos for your enjoyment. Also check out my retro reviews of the George Perez-drawn Wonder Woman comic books such as issue #1 and issue #9 (required reading as it includes Cheetah). Check out also my review of the 2017 movie as well as my feature of the No Man’s Land scene.

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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. Also my fantasy book The World of Havenor is still available in paperback and e-book format. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

My Observations: Watching Wonder Woman 1984 on VOD streaming will NEVER match the theatrical experience

By now you should be aware that Warner Bros. postponed yet again the release of the much-awaited Wonder Woman 1984 and selected December 25, 2020 (Christmas Day) as the new opening day. This is because of the ongoing pandemic which depressed economies around the world and dragged down the movie theaters. Of course, as I personally observed on social networks, a lot of fans are upset with the daily and there are some of them who expressed that a theatrical release of Wonder Woman 1984 is no longer needed and it should instead be released via video-on-demand streaming services. And then there were a few who did not hide their Leftist, socialist beliefs and even condemned Warner Bros. for corporate greed only because it still insists on showing Wonder Woman 1984 in the cinemas first.

Wow! It’s as if doing business is an evil thing and being a socialist and a hater of business are good things. Talk about being delusional and impulsive as a result of being brainwashed with socialism and anti-capitalism views. The truth of the matter is that socialism sucks and will continue to suck. To understand the business side of things before talking more about Wonder Woman 1984, let’s examine the state of movie theaters.

As of this writing, the movie theater operators are slowly reopening their locations and already they have spent time and money on implementing a variety of measures such as sanitation, constant cleaning, practicing social distancing, requiring moviegoers to wear facemasks and the like. At the same time, seating capacity per screen has been reduced to minimize the risk of viral infection. The reopening of cinemas not only means the resumption of their business but also the retention of the employees they still have.

Even with less than 100% of movie theaters in operation, Warner Bros. took the big risk of releasing their $200 million production Tenet which went on to gross more than $20 million in its first four days in the United States and Canada. Elsewhere, the movie raked in more than $100,000,000 in ticket sales and it has surpassed the $150,000,000 mark globally. The more movie theaters open – including the drive-in locations –  the better it will be for Wonder Woman 1984 and this obviously requires time.

To have the theatrical opening of Wonder Woman 1984 moved all the way to Christmas Day is, in my honest opinion, a sensible move. Like other forms of businesses negatively affected by the pandemic, movie theaters are struggling to reshape themselves (and retain their employees somehow in order to avoid adding them to the unemployed) and get back to business. Movie studios on the other hand are struggling with what to do with their finished productions, especially the ones that cost $200,000,000+ to make (complete with the hard work of the technical crew, the creative team and the talents who worked).

Like anyone else, I love Wonder Woman (she is my favorite of all superheroes) and I also love 2017 Wonder Woman movie which I still replay on Blu-ray. Unlike other fans who lost patience, I myself am willing to wait for the new Wonder Woman movie to open in the local cinemas, especially in the IMAX cinema. I certainly do not agree with the idea that Warner Bros. should just skip all the movie theaters in favor of releasing Wonder Woman 1984 on VOD streaming services, and I have reasons.

Warner Bros. is right to delay Wonder Woman 1984 and keep it scheduled to open in movie theaters first!

Firstly, Wonder Woman 1984 was made with the movie theater viewing experience first and foremost. The creative team led by director Patty Jenkins even used IMAX cameras for some scenes. While the filming of scenes for IMAX is limited in total, it is clear that Wonder Woman 1984 will look and play its very best on the gigantic screen in the IMAX theater! It is also likely that the most spectacular (or the most important) scenes filmed with IMAX captured Gal Gadot as the cinematic Wonder Woman. That being said, the visual splendor and the magnificence of big screen viewing will NEVER be matched on VOD streaming nor on the HDTV at home. I should add that the enhanced visuals that come with scenes being filmed with IMAX cameras can only be seen on the large IMAX screen, and this cannot be achieved on HDTV or on the best smartphones via streaming.

Secondly, releasing Wonder Woman 1984 directly to VOD streaming services is harmful not just to the struggling theater operators and their employees but also the economy itself. I do understand that going outside the home during the pandemic has its risks but the fact remains is that businesses around you have suffered a lot and there is a need for commerce and industry to be revived, and you can help the local and the national economy move forward again. Be mindful that many people who lost their jobs and their income are also suffering, and there is a need for businesses to be supported so that new job opportunities can be made…jobs that the unemployed badly need! Let’s face it, you can enjoy watching movies on the VOD streaming service you subscribed to and binge watch at the comfort of your home all you want but still the best place to watch is in the cinema. I can never forget the very day in 2017 I went to the local IMAX cinema to watch Wonder Woman by buying a premium movie ticket, buying popcorn and a drink, sat comfortably and watched the movie in its full greatness. I paid a lot and got tremendous value in return for the premium cinematic experience with Wonder Woman. Right now, movie theaters are struggling to recover and they badly need you to buy their tickets, snacks and drinks and enjoy the movie. It is also clear that both Warner Bros. and the movie theaters need each other, and Wonder Woman 1984 is too expensive a production to be released only on VOD streaming services.

Thirdly, still on the business side, video-on-demand streaming services are not exactly effective in helping movie producers recover the massive amounts of money spent on producing and marketing their major projects. Wonder Woman 1984 is a more expensive production than its predecessor and it is still the movie theater business model that will help it recover all the negative cost and break even (if not profit). The following are my questions to the loudmouths who ranted that Wonder Woman 1984 should be released directly to VOD streaming services only because of their impatience and other reasons: Do you seriously believe that video-on-demand will help Wonder Woman 1984’s producers and investors recover their money? If you are willing to pay a premium rate for digitally availaing Wonder Woman 1984 at all, how much are you really willing to pay? Do you seriously believe that movie theater operators and their employees should suffer only because you are so self-centered with wanting the new Wonder Woman film only on video-on-demand streaming?

Finally, this one is aimed at those who got indoctrinated with socialism and Leftist beliefs …who do you think you are to condemn Warner Bros. for corporate greed only because the studio is focused on releasing Wonder Woman 1984 first in cinemas? We are Wonder Woman fans here, right? It is the movie studio, its investors and other capitalists who pooled the financial resources together to hire Patty Jenkins, Gal Gadot, Chris Pine, Kristen Wiig, Hans Zimmer and a whole lot of other people to make Wonder Woman 1984! They did that, not your socialist partners nor your socialist idols! The least we fans can do is be thankful to the filmmakers and their capitalism partners for making the movie. As for Warner Bros., we should keep in mind that the pandemic has made it very hard for them to decide when to release the movie we have been waiting for, and for sure their top executives and strategists have struggled in ways that you cannot imagine. You seriously believe that Warner Bros. and the other movie studios did not lose any money from the months-long shutdown of the cinemas during the pandemic? What is your basis for condemning Warner Bros. for corporate greed over Wonder Woman 1984?

Oh, one more thing, do you still go to a coffee shop, availed of their coffee and WiFi and used your branded smartphone to condemn capitalism and promote socialism? Capitalists made the things that you socialists enjoyed, not to mention all the other Wonder Woman-related products like comic books, toys, action figures, clothes, souvenirs, accessories and much more!

That being said, what we Wonder Woman fans can all do right now is wait for Wonder Woman 1984 to open in cinemas this Christmas Day. I believe that the delayed movie itself will turn out great and prove to be worth the long wait…and then prove that the movie theater is still the best place to watch it.

Who knows? Wonder Woman 1984 could spark a strong revival of the movie theater business around the world and we fans can be part of that!

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