The state of the theatrical feature film release seems rosier than it has in a good long while following two of the strongest weekends of the pandemic era thanks to Godzilla Vs. Kong. The gross domestic box-office for that movie is now $69.5 million, an impressive total, especially given the film is also available on HBO Max. Adding to that success is that downloads of the HBO Max app hit an all-time high in advance of its release.
It’s a validation, at least for the time being, of WarnerMedia’s 2021 strategy of day-and-date distribution to both theaters and streaming. Things will go back to relative normal in 2022, when big releases will head to theaters exclusively for at least 45 days before becoming available to streaming subscribers.
WarnerMedia’s strategy was uber-controversial several months ago but now seems common, so much so that it wasn’t surprising when Disney announced Black Widow would do likewise on Disney+ but via its Premier Access payment tier.
Some studios aren’t feeling quite as sure about things, though. Just recently Paramount announced a handful of release date changes, notably moving Top Gun: Maverick out to November from July. That has been seen as a sign the studio can’t afford to have a Tom Cruise blockbuster be anything but just that. (Though the shifting of Snake Eyes from October back to July then would say the opposite, right?)
The difference in approaches – continuing to play the release date shuffle versus coming up with a streaming/theatrical hybrid model – indicates how good the respective studios are feeling about their streaming positioning.
Reading the tea leaves above, it would seem that:
Paramount doesn’t yet think the newly-rebranded and relaunched Paramount+ is a suitable outlet for new releases. That’s understandable given it doesn’t have the market penetration of some of the other players. Still, the studio announced in February that a number of upcoming films will be available there 45 days after theatrical release, so it’s getting there.
NBCUniversal doesn’t have a dog in this fight. Peacock is an entirely adequate streaming service, but if there’s a strategy it’s unclear what it might be. And it certainly doesn’t seem to be factoring into conversations about new releases or anything else.
Sony knows it hasn’t even anted up. That’s why it just signed a deal that replaced Starz with Netflix as the studio’s first post-theatrical streaming outlet.
Warner and Disney are out in front of this pack, pushing new models and doing what makes the most sense given all the craziness of the last year while also working to build something sustainable for the future. That confidence is borne, to likely a great extent, by the strength of their brand, something the other studios are still struggling with.
When Justice League arrived in 2017, the term “troubled production” was frequently used to describe it. The critical drubbing received by the preceding Batman v Superman: Dawn of Justice created tension between Warner Bros. and director Zack Snyder, including rewrites by then DC Entertainment Chief Creative Officer Geoff Johns to the script from David Goyer and Chris Terrio. Confusion was created when different interviews with Snyder, Johns and others seemed to alternate between there being one two-hour movie, two two-hour movies, one four-hour movie in two parts and so on.
Then, as the movie moved into post-production, Snyder stepped away, reportedly to deal with the recent death of his daughter. The narrative at the time was that writer/director Joss Whedon was being brought in to handle a small number of reshoots and other pickups because he had already done even more work on the script.
And then of course there’s the issue of Henry Cavill’s mustache.
Kicking off at San Diego Comic-Con 2016, the marketing campaign for Justice League was more or less what audiences expected given both BvS and Snyder’s earlier Man of Steel. It was dark and moody, but after Whedon took over there seemed to be a bit more humor. Throughout, though, you couldn’t help but notice the distinct lack of Superman, an omission informed largely by the movie’s story – he dies at the end of BvS – and not wanting to spoil his return here.
When the finished product finally hit theaters the reaction was “mixed,” to say the least. Critics called it a mess and the $229 million it grossed domestically was a disappointment compared both to Wonder Woman earlier that year and the Marvel Cinematic Universe, which at that point was nearing its eventual conclusion.
No…There Is Another…
Almost immediately, the most fervent adherents to Snyder’s nihilistic artistic view began to believe they’d been duped. Demands to #ReleaseTheSnyderCut were soon at full volume online, with those signing petitions and saying “Actually I have more of a comment than a question” at panels believing Warner Bros. had someone in its archives a version of the film free of Whedon’s influence. That version would more fully represent the intent of Snyder, who for years has been referred to in the marketing of his films as a “visionary director.”
WB continually denied such a version existed, pointing out that Snyder left an incomplete movie to Whedon’s stewardship. Snyder himself said much the same thing, that there was only a work print with unfinished effects and some scenes completely missing. There was no Snyder Cut.
That didn’t mean much to those whose very personal brands seemed to depend on the opposite being true. Over the course of the next three years the DCEU was hit or miss, with the same group of toxic fans howling in delight whenever something that wasn’t The Snyder Cut failed to live up to expectations. Not only that, but similar groups made concerted efforts to strangle movies like Captain Marvel and Star Wars: The Last Jedi in their cribs on the grounds that girls are icky and anything that doesn’t cater to the lowest common denominator of male mob mentality shouldn’t be allowed.
Denials from Warner Bros. were said to be the first and last word on the matter, right up until they weren’t.
Snyder’s tune began changing in early 2019 when he started posting pictures that seemed to confirm his cut of the film did exist in some manner. Members of the cast and others involved in the production made similar comments, with people like Gal Gadot and Ben Affleck, who play Wonder Woman and Batman respectively, getting in on the hashtagaction.
Finally, in late 2020, as part of WarnerMedia’s hype cycle for the then pending launch of HBO Max, it became official that the streaming service would be the release platform for the reworked movie.
Just as there was confusion in 2017 as to whether there would be one or two movies and how long they would be, reports have differed over the last several months as to what form this one would take. At one point it was said to be four one-hour installments. At another it was back to being two two-hour movies.
Despite Snyder’s rejection of any mention of “toxic fandom”, the director himself credits fans using every channel at their disposal, including sliding into the replies of Sesame Street’s Twitter account, with turning dreams into reality by consistently pressuring the studio into action.
It’s almost like a demagogic political figure saying he doesn’t want his supporters to be violent but then buying them all airline tickets to attend an event specifically intended to foment insurrection. And then at the end he tells them they’re very special and he loves them, but only after people have died and others have had their life put in danger.
But what do we expect from Hollywood’s leading objectivist? So many of the stories he’s been part of telling focus on heroes or other characters that can’t find anything in life worth living for until they act on the power they have. Possession of that power in and of itself gives them the right to use it in the manner of their choosing. So it’s no wonder Snyder would be on board with a group of individuals claiming whatever power they could in order to achieve whatever goals they wanted, especially if those goals happen to overlap with his own.
Let me pause here and make a few clarifications.
First, I’m painting with an overly broad brush here. Not all #ReleaseTheSnyderCut adherents are examples of the worst of toxic male fandom. There are some genuine movie fans who feel Snyder is a great filmmaker, so good for them. Like any other art form, people are allowed to like what they like. People might judge me based on my love of Rush or Kenny Rogers, but all art works differently for different people. That being said, this particular group in my experience over-indexes in terms of members likely to verbally assault a woman cosplaying as Power Girl at Comic-Con, labeling her a “fake fangirl” if she doesn’t know who pencilled a random 80’s comic issue she appears in.
Second, Snyder has harnessed this and adjacent groups for good, working with the American Foundation for Suicide Prevention to raise hundreds of thousands of dollars. That effort, clearly borne of the tragedy that befell his family years ago, is a good one, selling t-shirts and other swag to help worthy cause.
Crisis On Infinite Snyderverses
In the months leading up to and following WarnerMedia’s announcement that the movie would finally see the cold, desaturated light of day, the landscape has changed significantly, as has the narrative that framed the release of the theatrical cut of Justice League over three years ago.
Beginning in mid-2020, costar Ray Fisher, who plays Cyborg in the film, began making a series of accusations against Whedon and by extension Johns and others at Warner Bros., saying the pinch-director created a hostile work environment for him and others after Whedon took over on set. Fisher’s claims were enough for Warner Bros. to open an investigation, though then it turned into dueling statements over whether Fisher had or hadn’t cooperated with that investigation. Representatives for Whedon and Johns denied those accusations, but Fisher remained adamant and public. Ultimately Warner Bros.’ investigation recommended moderate remediative actions but was light on public details.
As time went on, Fisher received public displays of support from Momoa and other members of the cast and he discussed the talking points WB had given him and the rest regarding Whedon’s involvement, most of which matched up with how things were framed in 2017. All of that acted as prelude to actress Charisma Carpenter, who had worked with Whedon on “Buffy, The Vampire Slayer” and “Angel,” making similar comments, saying he had become hostile and offensive toward her and others. Those accusations, combined with Fisher’s made WB’s lack of overt action odd, especially since Whedon had over the last couple years, been removed from other Warner projects including a planned Batgirl movie and the HBO original series “The Nevers.” Someone, it seemed, knew something.
While Whedon’s reputation was being dismantled, Snyder’s was being enhanced/rehabilitated.
A major feature appeared in Vanity Fair that offered an official version of the events of the last few years. Quoted in the story are Snyder, his wife and producing partner Deborah and a handful of past and present Warner Bros. executives. According to them, the situation around Snyder’s exiting of the original film was much more complicated, including not only the death of his daughter but a new lack of support from studio heads in the wake of Batman v Superman’s critical drubbing. Whedon’s involvement then grew from script doctor to eventually reshooting as much as three-quarters of the film. Similar points were made in a later interview with Snyder.
With that polishing of Snyder’s image, he’s been positioned by himself and the studio at the forefront of the marketing campaign for this new version of the movie, now officially titled Zack Snyder’s Justice League to emphasize his importance.
The Marketing of Zack Snyder’s Justice League
All of that now brings us to the release of Zack Snyder’s Justice League on HBO Max and the marketing of the movie, which Snyder has been at the bleeding edge of.
Darkseid and DC Fandome
That began in May of last year, when Snyder strongly hinted the movie was in the works during a Vero-hosted “watch party” for 2013’s Man of Steel, hints that were quickly confirmed when HBO Max released the first official announcement later that same month, leaving the official release date as a vague “2021” at the time.
That continued in June, when promotions for the virtual DC Fandome event began. With Snyder and many of the cast scheduled to appear there to answer fan questions and show off more of the upcoming movie, teasers began coming out. In one, Wonder Woman navigates a cave where she discovers ancient wall paintings showing Darkseid.
Cavill spoke briefly about the project in June, saying he was anxious to see the finished product but offering few details.
As a way to prime the pump for the new movie, HBO Max debuted Batman v Superman – Ultimate Edition in July, with this new version containing about a half hour of additional material.
In an interview in July, Snyder hinted that the reworked movie wouldn’t fit in nicely with how the DCEU has evolved – meaning he would not be obligated to acknowledge Shazam or Birds of Prey (both of which have higher Rotten Tomatoes scores than either of Snyder’s previous entries) but work instead as the culmination of the trilogy he began in Man of Steel and continued in Dawn of Justice.
Snyder appeared virtually during a fan convention, discussing his upcoming remade version and making it clear not a single frame of what Whedon had shot would be included. That interview also marked the first shot in the official change in the messaging around the theatrical version’s release, exposing some of the conflicts that emerged between Snyder and the studio and other details.
The full trailer, preceded by a short teaser, then debuted during Fandome in August. How well it and to what extent it delivered on expectations depends greatly on your feelings about the original, Snyder himself and other factors. Set to Leonard Cohen’s “Hallelujah” and sporting a Super 16 aspect ratio, the trailer features a mix of old and new footage. Added are more scenes featuring Barry Allen, including one where he saves Iris West, and Cyborg. The latter in particular is notable as this indicates more of his backstory would be fleshed out, something that’s been anticipated for a while. The scenes carried over from the theatrical edition feature revised color palettes, adhering closer to what was seen in the original trailers back in 2016. Most importantly, this gives fans their first look at Darkseid, who will be the main villain of the story instead of his henchman Steppenwolf.
Video from the DC Fandome panel was also released to the public.
Reshoots, Trailer Confusion and HBO Max’s Evolution
Much like there were different stories about what the theatrical cut would look like – two movies, one super-long movie etc – there was at this point the beginnings of some confusion about what the new version would be packaged as and what it would include. While Snyder said he wouldn’t use a single frame of Whedon’s footage it was unclear whether he was being permitted to shoot anything new himself. Budget estimates have ranged from $20 million – which would seem to just allow for post-production work on existing footage – to $70 million.
Finally, news came out WB had scheduled a short period of reshoots, though who was or wasn’t involved remained unclear. In October news broke that Leto would be reprising his Suicide Squad role of Joker in the film, something that would require new footage being shot.
In a very odd turn of events, that trailer had to be pulled from YouTube in early November, reportedly because Warner Bros. failed to clear the rights to “Hallelujah,” which is something you wouldn’t expect from a major motion picture studio. The trailer was re-released later that month but was once again pulled for unstated reasons, meaning that beat was almost completely lost from the campaign.
This is unquestionably a weird stage of the campaign, one with so many false starts, walkbacks and other problems you kind of can’t believe a major studio is involved. But this may be the result of allowing one person to lead the campaign, with the studio itself being a fast-follower more than a driving force.
It’s also a period where HBO Max started to carve out its own identity. Instead of being “the place where The Snyder Cut would eventually be available,” it gained some momentum thanks to series such as “Lovecraft Country,” “The Undoing,” “The Flight Attendant,” and other buzzed-about hits.
Not only that, but it was in mid-November that Warner Bros. announced Wonder Woman 1984 would debut on HBO Max on Christmas Day, the same day it was released to limited theaters due to the ongoing Covid-19 pandemic. That was just the first step, though, with WB revealing a month later it would do the same for its entire 2021 movie slate.
All of a sudden it’s a very different ballgame. ZSJL now wouldn’t just be competing against catalog titles, a few exclusive series and a handful of original features but with titles like Godzilla Vs. Kong and other big-budget movies.
Finally, a Campaign
After so many twists and turns through the end of 2020, the campaign itself finally kicked into a higher, more substantive gear in January.
Snyder released a series of posters at the end of the month that finally announced the movie’s premiere date on HBO Max. Two of the three just showed the “JL” symbol in some form of disrepair due to battle damage, but one showed a film canister laying on the ground, as if this had finally been unearthed for the public to see.
Additional shared by Snyder on Twitter at the end of January hinted at the appearance of Martian Manhunter and Joker from Suicide Squad. A more complete look at Joker came out shortly after that.
Another trailer (21.5m views on YouTube), teased by Snyder ahead of its release, came out on Valentine’s Day. Though it largely contains footage we’ve seen before, it does have a few notable elements, including:
Actual footage of Joker, providing a live-action version of the “we live in a society” meme
Reinforcement that the movie will be shown in a 4:3 aspect ratio.
Unlike earlier trailers, this one still seems to be available online.
An interview with Lennix had him talking about finally taking on the role of Martian Manhunter, something that drastically changes how his character is seen in the previous movies and a development that’s completely unearned by those appearances.
Clips from the movie’s soundtrack were released by Water Tower Records shortly after that.
DC then announced a series of movie-themed variant covers for Justice League #59, scheduled to hit store shelves the day before the movie became available.
At the end of February IGN debuted a video showing the members of the Justice League as different sides to a Mother Box, with each character and his or her powers and attributes represented as a relief on the cube.
In a later interview Snyder called out Fisher’s Cyborg as the centerpiece of his version of the story, something that runs in marked contrast to the theatrical cut. He also teased what he had in mind for a potential sequel, though he’s also said on multiple occasions this movie ends his involvement with the DCEU.
The theatrical poster showing a black and white photo of the assembled heroes advancing toward the camera came out at the beginning of March.
One final trailer (6.7m views on YouTube) came out earlier this week. While it features a lot of footage seen in previous clips or trailers, there’s a lot more of Darkseid, showing how dangerous he is, or at least claims to be, and how the heroes are holding out hope their combined strength is enough to take him on.
A virtual watch party was scheduled for 3/18, with the movie’s red carpet premiere planned for 3/17. But before that, earlier this week, a screening that was planned that wound up erroring out for everyone involved, leaving them unable to watch the movie and feeling pretty sore about it. That came after a glitch that had this movie playing when HBO Max subscribers pulled up Tom & Jerry, something that caused no small amount of laughter and confusion.
Overall: For the Fans, Not The Literally Anyone Else
Well, let’s see what we have here.
Reviews of the revamp have been generally positive but mixed, citing improvements in some areas while problems either persist or have newly cropped up in others. Almost universally, it’s said to be much more Snyder-esque, right down to the Randian worldview and carry all the positives and negatives that implies.
The same can be said about the marketing itself. As stated earlier, Snyder is frequently referred to as “visionary” in the campaigns for his films, but that only really resonates in the small percentage of the audience that has fully bought into that vision. For the rest, it almost acts as a sort of warning that the film in question contains more nihilism is recommended over the course of an entire year.
What’s on display here is just that.
The theatrical cut of Justice League is an unquestionable mess, the cinematic equivalent of putting peas in your guacamole recipe. But there’s nothing in Snyder’s previous DCEU movies that would have indicated his original cut would have been any more coherent and there’s nothing in this campaign indicating this version will be so either.
Those feelings are compounded by the multiple instances over the course of the marketing where trailers disappeared for one reason or another and confusion reigned as to what the movie would ultimately look like and what it would include.
Also raising eyebrows is how power dynamics within Hollywood are on display here.
While Snyder has been brought back into the light with multiple profiles and interviews that have allowed him to tell his side and come out as the aggrieved party, Fisher in particular still seems to be sidelined. His complaints about how he was treated by Whedon, though vindicated in the court of public opinion, were still largely dismissed and denied by the studio and his involvement in future projects hasn’t been improved. Why might that be?
For the last three years, fans of the director have been clamoring for this movie, believing it to be the ultimate lost classic, pure bath salts in cinematic form. All art is compromise, though, and the idea that any version would ever be delivered free of influence from outside parties is naivete, and it’s likely the reaction to this when it’s finally available will represent that. If it’s not everything they’ve been dreaming of and speculating about, things will go poorly. More theories will emerge that this *still* isn’t the movie Snyder could have or wanted to make, and those grievances will be taken out the next time a studio casts a woman or person of color in the lead role of a franchise property.
This campaign, though, is meant solely for that group. There’s little to nothing here that might attract someone who isn’t already a charter member of the #ReleaseTheSnyderCut movement. Even someone who was simply disappointed by the theatrical version and wants to see if this might be an improvement will find no appeal to them has been made.
At least this time we don’t have to sit through the studio pretending like Superman isn’t in the movie.
A significant – and significantly delayed – milestone was marked last week when Tenet, initially released last September, finally opened in New York City theaters. Unlike when it played in a handful of theaters elsewhere in the country several months ago, this time the opening was not marked by director Christopher Nolan openly decrying Warner Bros. executives, but the larger narrative in the movie industry couldn’t have made him very pleased given his dislike of anything less than 100% theatrical distribution.
See over the last week or so several studio heads and others have weighed in with their own prognostications on the future of movie release patterns given we’re now a year past when most theaters shut down for most of the rest of 2020.
Exclaimed Gianopulos at Viacom’s Paramount+ Day today, “We believe in the power of theatrical releases and we have faith that after things get back to normal, audiences will enthusiastically return to theaters. At the same time, consumers have increasingly embraced streaming as another way to enjoy films,” said Gianopulos, “our strategy accounts for both.”
“I think the consumer is probably more impatient than they’ve ever been before,” said Chapek. “Particularly since now they’ve had the luxury of an entire year of getting titles at home pretty much when they want them. So I’m not sure there’s going back, but we certainly don’t want to do anything like cut the legs off a theatrical exhibition run.”
“If you look at the curve, the degradations on most film titles, they do very little business on post-Day 30 and certainly post-Day 45,” Bakish, who was the morning’s keynote speaker at the (virtual) 2021 Morgan Stanley’s Technology, Media and Telecommunications Conference, continued. “So moving to an in-house streaming window at that part we think works, certainly for us, but also for constituents, including consumers.”
Tenet finally coming to New York theaters happened at about the same time San Francisco announced bars, theaters and other public spaces could reopen, though still at reduced capacity. That’s also good news for the movie industry as it is another major market that, with vaccination rates rising due to increased supply and Covid-19 cases dropping, is allowing businesses to get back to business.
If things continue to improve, it should mean that Disney’s decision to keep Black Widow’s May release date makes sense. And we might even see titles like No Time To Die and others this year. Indeed studios are feeling positive, with Paramount recently announcing a Memorial Day release date for The Quiet Place Part II.
Of course there are still potential monsters lurking around a number of corners.
The CDC reported last week that areas where mask mandates and in-person dining restrictions were lifted wholesale have seen fresh increases in Covid-19 infections.
Over 745,000 Americans signed up for unemployment assistance last week and there are 10 million fewer jobs than there were a year ago. 10% of Americans are estimated to have given up on the job market completely, much more than the official 6.4% unemployment rate.
So not only are there still public health concerns that will impact people’s decisions whether or not to head to a movie theater (assuming one near them is open yet), but there is still the very real situation of tens of millions of people not working and therefore not having disposable income to spend on something as inessential as a movie ticket.
All that is on top of the year of being solidly in the habit of watching new releases via streaming or PVOD.
That’s why it’s likely most, if not all, the studios will adopt some form of hybrid or mix-and-match release strategy for their lineups.
It may not be as ad-hoc as Disney’s approach, where some films are held back entirely while others get full-on Disney+ releases while others are “Premier Access” titles requiring additional payments. Or as one-size-fits-all as WarnerMedia’s day-and-date theatrical/HBO Max releases.
Something fundamental has shifted, though, and it may not be possible to shift it back. While Kilar and others still see a place for theatrical releases, Paramount announcing major title will come to the newly-rebranded Paramount+ just 45 days after they hit theaters shows theaters are no longer the powerhouses they were just a few years ago. Even at the height of DVD sales in the 2000s, studios would never have dared anything less than at least a 90 day window, with 120+ being the tightest it ever really got.
Some theater chains are still trying to exercise some power, though, with Cinemark’s decision to not play Raya and the Last Dragon because of it’s Disney+ availability playing a large role in that movie’s lackluster box-office.
How the theatrical box-office continues to improve after losing essentially an entire 12 month period remains to be seen given how many states are still enacting stricter guidelines and we’re nowhere near “herd immunity” vaccination levels. Adding to the uncertainty is how studios have taken to just not reporting box-office results, afraid those numbers will be taken out of the context of a global pandemic.
That means it could be even longer before we see dollar amounts reflecting wide release patterns. And when those numbers are available, they may not look like what we would expect to see a few years ago because, quite frankly, the results don’t include the number of people who opted to stream it at home now or 45 days in the future.