killing goons branding people and straightup premeditating the cold blooded murder of

killing goons, branding people, and straight-up pre-meditating the cold blooded murder of

Wisecrack

The DC Extended Universe films seemed so right - but how did they end up so wrong? 
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We love Batman. We love Superman. Batman  + Superman = Trash?! We'll explain why in this Wisecrack Edition on the DCEU: What Went Wrong?

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The DC Extended Universe (DCEU): What Went Wrong? – Wisecrack Edition

Maybe this was an early form of branding letting everyone know who owned which animals

Maybe this was an early form of branding, letting everyone know who owned which animals.

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The Ancient Rock Paintings of Laas Geel

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Android's Answer to iMessage

the space of courses on branding i think 

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Intel Killed their OWN Product Lineup - Core i9 vs Xeon

It’s been years since the DC unveiled their expanded cinematic universe, but unfortunately,

these days, we can’t think of Batman or Superman without getting a little bit sad.

 So today we’re gonna face that sadness, together, and take a look at the big question

to end all big questions: what the hell went wrong with the DCEU?

Sure, you can point to standalone successes.

But unlike Marvel, which managed to make over 20 movies with only a few stinkers,

 DC’s grand ambitions seem to have crashed and burned.

How could a sure-thing turn out so disappointing?

The way we see it, the problems can be traced back to two comics from 1986, and the mismanaged

influence they have had on superhero culture at large.

Welcome to this Wisecrack Edition on The DCEU: What Went Wrong?

And of course, spoilers ahead for all of the films in the DCEU as well as slight spoilers

Now, of course, the DCEU isn’t “over” per se.

Parts of it are even getting rebooted with definite articles, such as THE Suicide Squad

Still, at a time when superhero franchises are the biggest movies in the world, characters

like Cyborg, Flash, and, most egregiously, Superman have seemingly disappeared.

To be fair, it’s not for lack of trying, but there were fundamental issues with their

To make sense of those issues, we first need to understand Superman and Batman, and what

they represent: Two different versions of pure wish-fulfillment.

Not only in terms of putting on a cape and fighting crime, which would be awesome, but

in terms of the way they make us think about human potential.

Superman, in all his godlike power, reflects what we wish we could be.

He is the fantasy of being freed from our physical limitations.

Batman, on the other hand, made himself who he is.

Through drive, will, persistence and a sizable inheritance, he pushed himself to the absolute

In other words, he’s what we know we could be if we applied ourselves and maybe had a

The two heroes also differ greatly in their psychology.

Batman is irrevocably flawed; no matter how hard he tries, or how many villains he punches,

he’ll never get over the tragic death of his parents, and that’s led him on a personal

He is constantly engaged in the struggle to do the right thing because, essentially, there’s

not much separating him from the villains he faces.

The key way that he does distinguish himself is in one clear, unbreakable rule; he will

not kill, lest he become like the mugger who murdered his parents.

Superman, for all his un-Earthly power, is a rural farmboy at heart.

He isn’t driven by trauma, he simply believes that he has a moral and ethical duty to use

He was raised to know that lying is wrong, that you shouldn’t harm other people, and

that honest work is more than good enough.

He doesn’t generally involve himself in geo-politics or governmental policy because

He never uses more force than is necessary.

At his core, he embodies everything good and noble about the human spirit.

Through this, he reinforces faith in our values and provides hope.

At least, these are your standard Batman and Superman.

Different artists have imagined Superman as a communist or Batman as a vampire.

But the way our two favorite superheroes manifested in the DCEU, as helmed by Zach Snyder, can

directly trace their influence back to two specific works that take a unique approach

to heroics: Alan Moore and Dave Gibbons’ “Watchmen”, and Frank Miller’s “The

Both of these comics were revolutionary when they debuted in 1986 because they subverted

and deconstructed so many superhero tropes, by placing them within a “real world”

Both Watchmen and The Dark Knight Returns pick apart the kind of society that would

necessitate superheroes and the kind of people that would be drawn towards the superhero

They critique the very concepts of superheroics and vigilantism, as well as the effects that

Watchmen took a wide view of the genre as a whole, using newly created characters to

represent the archetypes present in superhero fiction.

The Comedian, a stand in for flag wearing patriotic heroes like Captain America, gleefully

quells social unrest and commits atrocities in Vietnam, content to be a tool for the government.

The all powerful Dr. Manhattan mirrors all of the unimaginably powerful heroes like Superman,

But Manhattan’s ultimate power leads to an increasing disconnect from the human condition

thereby questioning the fundamental humanity of this type of superbeing, which tacitly

leads us to consider what connects characters like Superman to people like us.

And the kind of cold-logic and “greater good” mentality that characters like Batman

so often fall in to also comes into question, with Ozymandias’ Squid-based master plan

to unite the world under a common enemy by killing millions.

This brings the very notion of heroism itself into question, pushing us to examine our own

Gadget loving detectives, obsessive crusaders, the legacy hero: all these archetypes and

more are expertly folded into a handful of characters . However, as we’ve seen, Moore

still treats them as real people with complex psychology.

None of them are truly good, or truly bad.

Whereas Watchmen looks at the entire genre, The Dark Knight Returns hones in on a single

It imagines a much-older Caped Crusader who has aged in real-time, eschewing the then

unchallenged convention of un-aging comic book heroes.

We see the Batman/Robin dynamic in a new light too with Batman characterizing the series

of Robin’s that have served with him as “soldiers”.

In this telling, the death of the second Robin, Jason Todd, was the biggest factor in Batman’s

But when he fails to quell his crime-fighting urges and dons the cape and cowl again, he

is more than willing to take another impressionable child under his wing.

This directly addresses the inherent irresponsibility of Batman in regards to enlisting children

and teenagers into his hyper-violent war on crime.

Test your pronunciation!

“branding”