Snyder Cut of Justice League vs. the Whedon Cut of Justice League

So, it's actually possible to compare the Snyder Cut of Justice League vs. Whedon's version on HBO Max. (Unfortunately for Whedon - because I didn't remember Whedon's cut that well -- I saw it in 2018. I wouldn't remember it. Just vaguely. So I was a bit shocked when I re-watched parts of it. I didn't realize how offensive the racism and sexism is in these films - particularly the Whedon films. Also the comparison is NOT favorable or complimentary to Whedon at all. In fact, it completely changed my opinion regarding Whedon and Snyder.)

Folks, I was shocked by the differences. Shocked and appalled. They are that stark. That obvious. And the pattern that emerges? Appalling.
And all you need to do is just watch the first 15-30 minutes of both films to pick up on it and once you do...

Side by Side comparison of the two films.

It's baffling why Whedon and the executives cut the bits that they did. But even more troubling is there's an obvious pattern to Whedon's cuts, and additions. All the character moments cut - are female and minority characters. Their agency in the movie is removed in Whedon's version, along with their story arcs. Lois stops Superman in the Whedon version at Bruce's request - not her own, her story is gone. She's objectified in Whedon's film.

All the additions to Whedon's film - are either jokes at those characters expense, moments that undercut the drama, or dialogue that strengthens the perspective of white male characters, and their agency. There are bits in Whedon's cut that once seen in comparison to Snyders, are clearly sexual harassment, and unnecessary - such as the Flash falling on Diana's chest and appearing to hump her (a scene Gail Gadot refused to do, and a body double did instead), or various men flirting with her - everyone from Aquaman to Bruce Wayne, objectifying her. While Snyder doesn't objectify her at all - the only reference to that is Barry Allen's in character sheepish statement to Aquaman - "Do you think she'd be interested in a younger man?" and exclamation of "Holy Cow" upon seeing her, with Bruce rolling his eyes in apology to Diana. Aquaman: "Barry, she's 5000 years old, we're all younger men from her perspective." We also get in the Snyder version a very nice character moment with Arthur and Diana discussing their separation from their people, and how their people are enemies. But in Whedon's version, the only exchange is Arthur telling Diana, she's hot. (Which makes no sense, Arthur wouldn't say or think that.) As you can see? Whedon's cut in stark contrast is filled with rude come-on's about Diana, and even one with Lois (there's a horrible scene in Whedon's version between Martha and Lois that focuses on a thirsty co-worker who is sexually harassing Lois, but doing it in an seemingly innocuous geeky manner. It's supposed to be funny, it's not.)

I understand some of the cuts - such as truncating some of the long action sequences with Steppenwolf, removing some of the torture sequences, and doing away with all the nightmare stuff. It does make sense, for example, that Whedon and company cut all the Knightmare stuff (which is all foreshadowing and some of it self-indulgent on Snyder's part - about things to come, which of course never will). Also shortened some of the fight sequences, made them less bloody to obtain a PG-14 rating (Snyder's film is more graphically violent, and the heroes kill more people in it, while in Whedon's they don't really kill that many people). Snyder's film is also darker in tone. But the CGI is better in Snyder's version, as is the aspect ratio - which allows you to see more.

The Whedon version adds this weird and somewhat jarring bit about this White Russian family in the middle of the war zone, which is completely unnecessary to the film. It is a separate story, and the characters are distracted during the final battle working to save them. It makes no sense, and I don't know why Whedon et al added it. Particularly when they removed other far better rescue sequences which added depth to the characters and made it possible to care what was happening on screen. While the Russian family bit is not in the Snyder cut, but the character rescue moments are demonstrating how Superman is NOT the only person saving people. In Whedon's version too much emphasis is put on Superman saving folks alone. And it's put in there - in place of character moments for the minority and female superhero characters. He also removes all the nice character moments that add depth and make you care about the minority and female characters.

Lois Lane, Diana, Victor Stone, Aquaman, Silas Stone, and Barry (Ezra Miller) all have their stories truncated and agency removed, often with jokes added instead.

I was appalled when I realized it. I don't understand why they did that. Or who made the decision to do it. But it reflects poorly on Whedon.

Add to all this - Whedon's version does a lot of "telling" through dialogue and quick takes, not showing. It's as if he doesn't trust his actors to convey it without words, or for that matter the audience. He feels the need to thrust it at us repetitively.

Anyhow, Mother called in the middle of writing this post. She kept interrupting my geeky watching of the films. She also got confused.

Mother: I talked to your brother and he told me I was completely wrong about the Justice League films. He said the Whedon cut came out first and was the original, and the Zack Snyder is a director cut that came out recently.
Me: He's right. The Zack Snyder is a director's cut. Whedon reshot Zack's film and it was the one released.
Mother: He saw the Snyder version and didn't like it because it was four hours. He liked Whedon's better.
Me: He probably doesn't remember Whedon's. If he bothered to look at them both, I bet he'd change his mind.

I'm somewhat surprised by this. But not completely. Also, I'm wise enough not to discuss it with my brother. The boy likes weird shit. We rarely agree on films. I mean we're talking about someone whose favorite superhero film is Ang Lee's Incredible Hulk and one of his favorite movies is Titantic, and who adores 2001 (which frankly puts me to sleep).

ME: I'm going to avoid discussing the films with my brother, thanks for the warning.
Mother: I could be wrong, I got confused with what you said. I may have confused what he said as well.
Me: True, but I've learned not to argue with my brother about films, it's kind of head-ache inducing.

Also, I told mother that I'm a frustrated film major. She agreed, I've always been fascinated with the analysis and making of films.

Anyhow, watching these two films and comparing them?? Changed how I view Zack Snyder and Joss Whedon, and made me understand why the reshoot of Justice League in 2017 was such a toxic one, and so abusive. Also why Joss Whedon no longer has a career as a director, and his reputation as a progressive liberal director is shot to hell. I'm glad Whedon's version bombed and took down his career with it.

Day #4 ...of Year 2

Well, after my mother interrupted my compulsive viewing/comparison of the Whedon vs. Snyder versions of Justice League, which surprisingly or not surprisingly depending on one's perspective, were not complimentary of Whedon (see previous post), I took a much needed walk to clear the head.

It was a beautiful day for it. And hey, I found a few little flowers.



Spring is here. Or trying.

It was a lovely day. See?



Crystal blue sky. No cloud marring the horizon. I could actually see a crescent moon. But couldn't take a photo of it. My eyes are sometimes more effective than a camera.

I didn't bring along the binoculars - I forgot them to be honest.

In examining the movies next to each other - it kind of left a bad taste in my chest and heart. Someone changed a movie that was inclusive and showed stories and gave agency to women and minorities, to be exclusive. And I liked that person's work. And I didn't see it until today. It makes me realize how easy it is to white-wash things, so we don't see them. And make the white guy the hero, when he's in reality the villain. It also haunts me, because the two characters in the Snyder films that could flip in the wrong direction are both white men, Batman (the vigilante) and Superman (who is scary powerful if you think about it). It wouldn't take much for Superman to destroy the world - if he loses touch with his humanity. A theme that gets white-washed and removed from the Whedon version. Whedon's version questions Cyborg, while Snyder's questions Superman.

It's amazing how differently I see a film, when I get a different perspective on it. That's the magic of art and film - it changes as we interact with it. We all bring ourselves to it. Our baggage, our expectations, etc. Yet, the problem with art - is often when commercialized or optioned by a studio or backed by a conglomerate or publisher - the art is less important than the returns. The executives want a shorter film, or a funny one that appeals to young white boys. People like themselves. Or they want to change your story to be more sellable, more marketable. To hit a specific audience. Can you just change this one thing? Can you change this story and make it a murder mystery? Can you change this one bit - to make the construction cheaper? Rush it a bit - we want it in four months.

It's hard to like people sometimes.

Yet. Yet. The pandemic has become an interesting thing. It's ripped the veil away. The empire is revealed to have no clothes. The selfish assholes now have a light shined upon them. Because of the pandemic - we see the Snyder version of Justice League, and Ray Fisher gets his moment to shine. The pandemic also shines a light on other things. We see that the terrorism that plagues the US, resides in the US, and is not just abroad. We see that nationalism, and tribalism are more the enemies than we expected...and divide us from each other...and make pandemics more dangerous, and us far more vulnerable. That was my take away from Snyder's film, a love letter to his dead daughter, that divided we fall into darkness, united we rise above it. And the darkness is always there, always calling, always threatening to drag us down into the abyss.

There's hope though. We can rise above it. In all of it - I've seen that. My friends who get vaccine appointments for strangers, and volunteer to vaccinate them. Or the people in my community who came together to feed those in need with a pantry and fridge on a street open to all, and money given to those who apply. Or my church which continues to fight for those who can't fight for themselves, provides sanctuary, and hope. Today they asked what keeps you going, what silences the bag of negative voices in your head, what helps you stay the course.

Or the health care workers, essential workers, etc who stayed in the city - while the wealthy fled, and kept going. One day at a time.

And the fact that Biden won. The majority of Americans approve of him. The majority approve of the bills he's passed. And how he rises above the divisiveness.

And ...the media, the stories, they are changing. 2017 - the films, and stories airing...are not the same as the ones that air now. For the first time in forever - the oscars nominated two women directors, and one who is the first Asian female director. Chloe Zhao who did Nomadland. We also have two black women nominated for best actress, and more than one POC of color nominated in the best actor categories. The movies are more diversified.

The world is changing. The dice are no longer loaded in favor of the assholes.

And that gives me hope. It's what has kept me going. Seeing how things are changing for the better - that soon, we'll all come out of this dark night of the soul, better for it.

Also on a bright note? I've heard back from both Wales and cjl, who told me they were okay and thanked me for checking up on them. And AH continued our email correspondence.

Mother also called to inform me that she'd been convinced by various other people, including two of her friends in Hilton Head, her cousin, and my brother - to seek a second opinion on her hip. One friend was adamant about it - and told her that the Surgeon who she'd been seeing wasn't very good, and to get another one - her primary care could most likely get her a referral.

So hope. Hope keeps me going. Focusing on the positive things I have. I have finally gotten the vaccine - and it has been as if a pile of bricks have been lifted from my shoulders. I feel safe for the first time in months. The fear is slowly receding.

And even though I have nightmares, which I do and have - lately I'm fighting with people in my dreams, and last night two people were stabbed while I was sleeping in front of them in the dream, but weirdly they were okay, and I woke up. I can always wake up from them to a brighter day ahead.

(no subject)

1. New York Times does a really good analysis of the differences between the Snyder version of Justice League and Whedons

Apparently, I'm not the only film buff who got intrigued.

I was surprised John Scalzi didn't look into it - but I think he's avoiding the whole topic because of it's admitted toxicity in certain arenas of the pop culture fandom. I'm no where near those arenas, so not an issue.

Anyhow, excerpt:
( Read more... )

The difficulty with humor is everyone's sense of humor is different. I don't like a lot of situation comedy humor - because it's mean-spirited. Most of Whedon's jokes in Justice League are demeaning to women, or laughs at the expense of the characters. They aren't funny, just jarring. While Snyder's lines do have a sense of humor, while not laugh out loud funny, do resonate better.

2. AH (Ames) wants me to try the novel A Gentleman in Moscow by Amor Towles. The book mother informed me she couldn't get into. I don't know if I can, the synopsis sounds less than enthralling.

A Gentleman in Moscow immerses us in another elegantly drawn era with the story of Count Alexander Rostov. When, in 1922, he is deemed an unrepentant aristocrat by a Bolshevik tribunal, the count is sentenced to house arrest in the Metropol, a grand hotel across the street from the Kremlin. Rostov, an indomitable man of erudition and wit, has never worked a day in his life, and must now live in an attic room while some of the most tumultuous decades in Russian history are unfolding outside the hotel’s doors. Unexpectedly, his reduced circumstances provide him a doorway into a much larger world of emotional discovery.