Director, Producer, Trailblazer: Ida Lupino

In the 1940s and ’50s, in what is considered by many to be the “golden age” of the film industry, few women were working behind the scenes. They could be seen on screen, usually portraying polarized female stereotypes: the virgin and the whore, the good girl and the villain, the love interest and the mother. Behind-the-scenes positions for women virtually disappeared after WWII, coinciding with the societal shift to focus on the nuclear family and feminine ideals. Any role that did exist were always given to white women — women of colour, if they appeared on screen, were generally only given roles that either cast them as servants or fetishized them. That’s an issue that’s still being addressed today. When it comes to contemporary female directors, we are finally seeing support and recognition for their works, but we are only still at the very beginning.

It was the same in the 1940s as it is now: in order to see the stories they want to see, women needed to make the movies themselves.

Ida Lupino did just this. In the 1940s, she was a big ticket actress, working alongside high-profile actors like Humphrey Bogart. She was top-billed, talented, and beautiful, but she wasn’t finished. She wanted to make movies. While on the set, she would watch the directors and the camera operators and learn from them, probably one of the best education a young filmmaker could ever get. While she was always a student of film, Lupino didn’t get a chance to direct until she sat in for director Elmer Clifton for the 1949 film Not Wanted when Clifton fell ill. Lupino was not credited, but it was her first unofficial project.

Ida Lupino. Photo via TIFF on Twitter.

In 1950 she opened her own production company with her husband, Collier Young. There, she wrote, directed, and distributed a number of films without studio backing and without famous actors. These were films with strong female characters, complicated women, women on the outside of society. Her topics were controversial for the time — sexual assault, unplanned pregnancy, and mental health to name a few —, and even now, despite more open dialogues on these topics, the stories Lupino told and the films she created are still very relevant.

“She’s a humanist,” says Anne Morra, Associate Curator at the Museum of Modern Art in New York City. “She doesn’t pack her films with known movie stars, so the audience has a character without a story attached to them. Her films could be documentaries.”

In her official directional debut, Never Fear, the subjects are professional dancers and lovers with Carol and Guy at its center. Carol contracts polio and loses the ability to dance, causing feelings of worthlessness and inferiority. In Outrage, Lupino tackles sexual assault, depicting a violent attack on a young woman and the subsequent emotional fallout and police investigation.

A still from Outrage (1950). Source.

These are topics that big production companies would never touch since the box office payoff would have been minimal at best. Who would want to see such terrible and unromantic things? Generally, films at the time were much more formulaic, falling under romance or crime. Think of the noir thrillers from the 1940s and the romantic comedies of the 1950s. The main characters are cool, competent men and the women are seductive, soft speaking side pieces. Lupino’s realistic, female-driven narratives were hardly what audiences at the time were used to consuming.

“She’s quite avant-garde in her role,” says Morra. “She learned from other directors but it’s important not to compare her because her works are very unique.”

Despite not fitting in with her contemporaries, Lupino’s works have staying power. This month, TIFF is hosting Lupino’s first-ever retrospective, showing a restored selection of her works as a director and an actress. Morra, who has done extensive research on Lupino, introduced the screening of Never Fear last Wednesday at the Bell Lightbox. The retrospective celebrates Lupino as both a pioneer for women on screen and in independent filmmaking.

“I hope [viewers] take away the idea of Ida as a revolutionary filmmaker. She was a woman working without a blueprint,” says Morra. “I hope they’re able to rediscover her or discover her for the first time.”

As someone who wasn’t very familiar with Lupino, I discovered her for the first time through Outrage, a movie that tore me up emotionally but impressed me with how it handled a story of sexual assault, arguably better, despite some religious overtones, than some television shows aim to depict it now. I was surprised by it, shocked by it, and thrilled to have discovered such a strong point of view from a female director. We now have many more female perspectives. We have Ava DuVernay, Ana Lily Amirpour, Jennifer Kent, and Kathryn Bigelow, all talented filmmakers with distinct perspectives and styles. It doesn’t make sense to compare them with one another, just as it doesn’t make sense to compare them with Lupino, who worked in a very different time and industry. What cannot be denied is Lupino’s effect on cinema, her legacy of a phenomenal body of work and the ground she broke in her time.

As Morra put it, “She’s someone who deserves to be seen.”

Tickets to Ida Lupino’s retrospective can be found here. The retrospective runs through September 2nd. Continue following our arts & culture coverage on FacebookTwitter, and Instagram.

A Conversation with Brad Deane of TIFF

Olivier Assayas

Though I’ve already written in these pages about the retrospective, ‘Something in the Air: The Cinema of Olivier Assayas,’ happening at TIFF this summer, I recently had the chance to speak with Brad Deane, the Senior Manager of TIFF Cinematheque, who is also a part of the programming team for the festival. It was readily apparent that he was a big fan of Assayas’s movies, and he spoke candidly about why the French director of the post May ’68 French tradition remains and will remain relevant in our conversations regarding film, modern culture, and life as we know it.

Hoon: How did you first come across Assayas’s films?

Brad Deane: I think it was at the festival when ‘Clean’ was playing at the Gala. I first heard of him when I was in university in Florida but back then I didn’t have much access to the films. I watched a few of them but it wasn’t until later on that I got to see more and more of his films. There are also a lot of earlier ones that were hard to see. Doing the retrospective is when I was first able to see them. Every time I watched the films I wanted to do a retrospective more and more as I saw these themes running through the works.

H: I’ve been always curious as to see what it’d be like to watch, virtually one after the other, a series of movies by a single director. Do you think a retrospective like this one brings certain elements of the movies to light?

B: Definitely. I think Olivier sees his works that way too. Stylistically they are very different. There’s ‘Demon Lover’ then ‘Clean’ and then he goes back to ‘Boarding Gate.’ But I still do see themes running through the whole body of works. And I know from talking to him that he sees them in that way, he sees them as parts of a larger project. He’s just approaching it from different angles.

Maggie Cheung in ‘Clean’ (2004)

H: Are there particular things you want the audiences to see in Assayas’s films?

B: I’m always reluctant to point out because you’re always going to come away with your own thing. The films are great because they are so rich and there are many different things to look at. But I do think that strong female performances throughout his body of works are really amazing. He’s been doing that since the beginning — it’s effortless, I don’t think he’s consciously trying to do it. Some of the themes about modern culture and how modernization and technology are affecting us are fascinating: As we move ahead, what are losing from the past and what are we gaining? And I don’t think he’s making any kind of moral judgments on these subjects either.

From ‘Something in the Air’ (2012)

H: And I think that’s what was so interesting about watching ‘Summer Hours’ and ‘Personal Shopper’ — he addresses these issues not in a moralistic way but as part and parcel of personal stories.

B: I think he’s someone who doesn’t like to make moral decisions. And the way he approaches things from a political perspective is really fascinating because he grew up in a post May ’68 culture. While maybe some of the views could be considered toward the left, he’s always aware and critical and trying to see what we are gaining and losing. In some ways, he’s so tricky to pin down: you can’t really say he’s this or that. I find that really interesting because it’s engaging — he keeps pulling you in and asking questions. He’s someone who’s very curious about every subject he wants to tackle. And you as an audience member feel that curiosity in the films.

H: Assayas is now recognized as an auteur, yet sometime it is difficult to pin down Assayas into a single genre or a style of film. How would you describe his movies to someone who’s never seen one?

B: It’s tricky. I think ‘Cold Water’ on, there’s definitely a certain visible style of movement on screen with him. The films take place at a brisk pace, almost at the pace of life. If you don’t catch something, you can miss it, though you don’t often do since he’s so strategic about how he lays everything out for the audience. But the films move at that pace and I think that’s how he deemphasizes any moral judgments or anything like that.

H: Do you have a personal favorite Assayas’s movie? 

B: If I have to narrow it down to a few — and this is difficult because I really love his films — ‘Cold Water’, an absolute masterpiece, ‘Summer Hours’, ‘Carlos’…It’s hard to say with the newer ones but I absolutely loved ‘Personal Shopper’. It moves me every time I see it. I remember seeing it at Cannes and walking out of the cinema and feeling completely lost and dazed.

H: Tell us more about what you think of Personal Shopper. 

B: For me it’s about the idea of loss. Why are we here and what’s beyond here. And at the emotional level, losing someone close to you and how you deal with that. It captures that in such a beautiful and complicated way.

H: What I found interesting in Personal Shopper is that it’s an amalgam of genres, some of which he’s explored in his previous films — thriller, murder mystery, etc. 

B: That’s something I love about his work. He’s interested in big Hollywood type of films — we could talk about James Bond movies —, but then he also loves arthouse movies like Bergman and Hou Hsiao-hsien. He loves the high culture, he loves art, he loves trash, Hollywood…to him it’s all the same. There’s no judgment on which one’s better than the other. They all satisfy different needs.

Something in the Air: The Cinema of Olivier Assayas’ runs through August 20th. You can catch a double feature of Assayas’s ‘Personal Shopper’, starring Kristen Stewart, followed by Michelangelo Antonioni’s 1966 classic, ‘Blow Up.’ On closing day, you can watch Assayas’s ‘HHH — Portrait de Hou Hsiao-hsien‘ followed by ‘A Time to Live and a Time to Die‘ by Hou Hsiao-hsien. You can  get more information and purchase tickets hereStay on the look out for more information on TIFF’s various retrospectives happening before the festival this year, including ‘Ida Lupino: Independent Woman,’ a close look at the actor, screenwriter, director, and producer in Hollywood in the ’50s. 

Bisexual Heroes in Movies and TV

While in recent years representation of LGBT people as a whole in media has been on the rise, this hasn’t been true for every letter of that acronym. In particular, bi and trans people have been mostly left out. Very few characters are actually referred to as bisexual even if they are shown to have relationships with people of different genders. They are often depicted as being promiscuous and having no interest in serious or monogamous relationships. Of course, there’s nothing wrong with either of those things, but obviously not every bisexual person wants the same thing. Bisexual women in relationships with other women are usually seen as going through a phase, being wild, or “turning into a lesbian.” Bisexual men on screen are almost non-existent. Even while coming up with this list, I found it hard to find characters who say in canon that they are bisexual and are shown in relationships with people of different genders. However, there are a few bright spots of positive representation. Here are some of the best bisexual heroes in TV, Movies, and Comics.

Dr. Remy “Thirteen” Hadley from House, MD: First introduced in season four and known only as “Thirteen”, this badass doctor (played by Olivia Wilde) was known for her secretive nature and sharp wit. While at first she was shown to be wild and promiscuous, this was later shown to be a result of having a terminal illness. When she later comes to terms with her diagnosis, she is shown to be perfectly capable of engaging in serious relationships with both men and women. Strong and confident, Thirteen refuses to let any one box her in and makes a point of identifying herself as bisexual, not as straight or gay.

Korra and Asami Sato from Avatar: The Legend of Korra: This show, like its predecessor Avatar: The Last Airbender was nothing short of groundbreaking during its run, particularly considering the fact that it was an animated series largely meant for kids. Dealing with heavy topics like discrimination, sexism, war, and trauma, both shows could always be counted on to tackle sensitive issues with nuance and grace, without ever losing their humor. In the last episode of The Legend of Korra, Korra and Asami were seen entering a spiritual dimension called the spirit world together while holding hands and looking fondly at each other. The scene was later interpreted by fans and confirmed by show co-creator Bryan Konietzko to mean that the two characters who had only been shown with male partners had fallen in love and were beginning a relationship.

Oberyn Martell from Game of Thrones and A Song of Ice and Fire: A prominent character for the fourth season of Game of Thrones and in the third book, A Storm of Swords, this bisexual badass (played by Pedro Pascal) was also known as the Viper and was explicitly shown to have interest in both men and women, and was in a committed polyamorous relationship with his lover Ellaria Sand (Indria Varma), who also happened to be bisexual. Swaggering and hell-bent on revenge for his family, Oberyn was (spoiler alert) taken from us in a particularly brutish death. RIP Oberyn, we hardly knew ye.

Rachel from Imagine Me and You: There are very few romantic comedies for queer people as media tends to either avoid queerness altogether or write depressing stories of death and discrimination. Luckily, Imagine Me and You avoids both these pitfalls and provides us with protagonist Rachel (played by Piper Perabo), who begins the film with her wedding to Hector (played by Matthew Goode) but falls in love with her florist, Luce (played by Lena Headey). Rachel’s love for Luce is never portrayed as a strange deviation nor is her love for Hector ever dismissed or diminished in this sweet, funny film.

Captain Jack Harkness from Doctor Who and Torchwood: played by John Barrowman, the good captain was first introduced as a sexy futuristic con man who was, to quote The Doctor (at the time, played by Christopher Eccelston), “a bit more flexible when it comes to dancing.” While Jack was shown to enjoy flirting with people of multiple genders in both shows, Jack eventually began a serious relationship in Torchwood with Ianto Jones, who was also shown to be bisexual. The two went from being more or less friends with benefits to eventually embarking on a full-fledged, loving, supportive relationship.

Kelly from Black Mirror: While pretty much every episode of this British anthology series is depressing, creepy, and generally pretty down on technology and humanity, the episode ‘San Junipero’ is the lovely, heartwarming exception. One of the main characters of this episode is Kelly (played by Gugu Mbatha-Raw), who enters a relationship with Yorkie (played by Mackenzie Davis). Kelly tells Yorkie that she is bisexual and used to be married to a man who later died. San Junipero is generally considered one of the most poignant and beautiful episodes of Black Mirror, and it’s not hard to see why.

Lorraine Broughton from Atomic Blonde: Honestly, Lorraine (played by Charlize Theron) being bisexual is probably the least exciting thing about her. She is badass, sneaky, and a damn good spy. The film makes a point of noting in the beginning that a deceased male agent was her former lover, and shows her engaging in a brief love affair with fellow secret agent Delphine Lasalle (Sofia Boutella). But like I said, the movie is so full of twists and turns and Lorraine beating up bad guys that you don’t have that much time to even revel in how easily the movie gives us a bi heroine.

Ilana from Broad City: Played by and based on a loose version of the show’s co-creator Ilana Glazer, Ilana is a fun-loving, hedonistic, pot-smoking young Jewish woman in her twenties roaming around New York with her best friend Abbi (played by series co-creator Abbi Jacobson). In season two, Ilana sees her doppelganger Adele (played by Alia Shawkat), and the two begin a sexual relationship where Ilana tells her, “I have sex with people different from me. Different colors, different shapes, different sizes. People who are hotter, people who are uglier. More smart; not more smart. Innies, outies. I don’t know, a Catholic person.”

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Costumes Galore! A definitive list of some of the greatest movie wardrobes ever made

Movies and costume design go hand in hand. They work with one another to create a fantasy world that neither could create alone. It’s a partnership built on understanding and trust. Like a carefully orchestrated waltz, movies and costume stand together making sure that the landscape that one lays out is mirrored in beauty by the fantasy the other brings to life. Many of the films on this list have actually won their costume designers Academy Awards for best costume design, showing the world that it doesn’t just take beautiful cinematography, a beautiful score, or a very well written script to make an award-winning movie. It takes effort from everyone, including the costume department, to create a cinematic masterpiece.

Marie Antoinette

No article related to costume design in films would be complete without Sofia Coppola‘s modern retelling of the infamous queen of France’s tragic short life. Costume designer Milena Canonero won the Oscar for best costume design for her brilliant work. What sets Marie Antoinette‘s costumes apart from other period dramas is the modernization of the costumes. Even though the gowns were created to look traditionally rococo in appearance, the costumes themselves were based on colour schemes one would find on a delicious dessert tray. Every pastel colour imaginable is spun into frothy gowns trimmed with ostrich feathers and luxurious furs. Even the men’s ensembles were given a glamorously sugary appearance throughout the film.

The Curse of the Golden Flower

Chinese cinema has a plethora of stunning cinematic costumes. Movies like Crouching Tiger, Hidden Dragon, House of Flying Daggers, Hero, and the Great Wall wall are all perfect examples of the lengths Chinese costume designers go to in order to create the perfect wardrobe for a cinematic epic. In The Curse of the Golden Flower, designer Yee Chung-Man took the opulence and over the top extravagance of the Tang Dynasty and weaved them into some of the most intricate and jaw-dropping costumes seen in a very long time. With the backdrop of Forbidden City and its brilliant jewel tone decor, the lavish gold gowns and costumes create the ultimate look of luxury for a movie hellbent on showing its viewers the beauty of colour in film.

Beauty and the Beast

Although this year’s theatrical release of Beauty and the Beast had everyone gawking at Emma Watson’s beautiful yellow gown, the real winner of the Beauty and the Beast costume battle has to be France’s 2014 venture into the iconic Disney fairytale. Designed by Pierre-Yves Gayraud, 2014’s Beauty and the Beast remake took the beauty of the surreal and fused it with traditional fairytales. Giving the movie its traditional fairytale period piece feel while injecting the movie with a fresh and modern ideas.

Memoirs of a Geisha

Colleen Atwood is a costume design heavyweight in Hollywood. Like many of her contemporaries, Colleen’s career is sprinkled with work that has garnered her attention and awards from different cinematic agencies around the world. However, her work on Memoirs of a Geisha proved to be her most fruitful venture thus far, earning her a best costume design Oscar. It took Atwood and her team a total of five months to create the various stunning hand painted kimonos seen throughout the film. One of the most interesting aspects of the film’s costumes is how it shows the characters’ transitions through life. Going from simple and dark, to completely extravagant and stunning.


Belle tells the story of Dido Belle Lindsay, the daughter of a British admiral who is taken from her life of poverty and given the life that any child born of someone high ranking in England would have. Unlike other period dramas on the list, this one deals heavily with racial inequality in aristocratic England. Now, most period dramas are already expected to have stunning wardrobes, but what sets Belle apart from other costume dramas is the detail that goes into the wardrobe’s “personalities.” While watching Belle for the first time you may not notice the subtle changes in wardrobe colour, but on second viewing, one might notice that costume designer Anushia Nieradzik changes the colour of the female characters’ clothing as their characters become more complex and opinionated. Giving the film an extra yet subtle layer for all costume aficionados to feast their eyes one.

Gone With The Wind

What’s an article on costume design without the sweeping Southern period piece that became recognized as one of the greatest novels ever written? Nothing. With the help of Hollywood golden age designer Walter Plunkett, Gone With The Wind set the standard for a romantic Hollywood blockbuster. The sweeping narrative mixed with larger than life characters had to be brought to life through a visual feast of some of the greatest costume work to have ever graced the silver screen. Now, some films may have beautiful costumes, but not many films have the power to etch a scene into your memories with just an image and a dress, yet Scarlet O’Hara’s iconic staircase scene is easily one of the most memorable and recognizable scenes in movie history.

The Dressmaker

Starring Kate Winslet as a talented designer who’s designed in every fashion capital around the world, The Dressmaker tells the story of a woman who comes back home to find the answer to a burning question that would set her free from her past. Set in the glamour of the 1950’s, The Dressmaker sets itself apart from other movies based on the time period by placing stunning gowns among the harsh and bare Australian outback. Allowing designers Marion Boyce and Margot Wilson to create the illusion of placing life into a landscape that is stark and unwilling to change into anything other than what is is.


Anyone who’s ever referenced anything from the ’90s knows exactly the impact this movie had on future generations to come. Along with its cultural importance and trend making power, Clueless helped jumpstart the careers of Alicia Silverstone and Britney Murphy, making them household names overnight. But that isn’t the only reason why Clueless has become one of the most beloved and easily recognizable movies to date. It was also through designer Mona May’s astounding costuming for the movie that solidified its place in pop culture history. I mean, who could ever forget the iconic canary yellow skirt suit, the Calvin Klein mini dress, or the Alaia?

Moulin Rouge!

Easily heralded as one of the most visually stunning movies to have ever graced the silver screen, Moulin Rouge! was also a triumph for costume lovers around the world. Designers Catherine Martin and Angus Strathie took home the Academy Award for best costume design for their visually stunning work on Moulin Rouge! Mixing modern sexiness into old world Parisian cabaret, Moulin Rouge! presents a feast for the eyes in the form of costumes that pair perfectly with whatever musical number is playing on the screen at the time. Giving the film a heightened sense of pleasure and fantasy among an all too traditional and recognizable world.

Elizabeth: The Golden Age

Revered as the greatest triumph of modern day costume design, Elizabeth: The Golden Age’s is Alexandra Byrne’s an Oscar-winning cornucopia of opulence and excess. Everything about the grandiosity of Queen Elizabeth is presented beautifully through her vast wardrobe throughout the movie. Unlike other films on this list, Byrne’s costuming is so extensive and detailed that the clothing itself could stand alone and still command the attention of an entire room without question. Paired with Cate Blanchet’s extraordinary performance as England’s most legendary monarch fueled with a passion for her country and the tension brought on by an oncoming onslaught of Spanish warships. Elizabeth stands as the costume designer’s pearl draped and gold threaded magnum opus.

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Wonder Woman Lives Up to Hype

In the last few years, DC has tried and failed to match up to the Marvel Cinematic Universe with their own series of related films, most of which have been massively hyped but ended up being disappointments. Man of Steel was so-so, Batman v Superman: Dawn of Justice was an epic failure, and Suicide Squad, which had promising trailers, turned out to be such a dumpster fire that countless blogs and videos attempting to unpack exactly what the heck happened (depending on who you ask, there was either too little or too much Joker — I think the movie would have been better if it was just Margot Robbie, but that’s just me.) In any case, Wonder Woman was similarly burdened with high expectations. However, unlike its predecessors, it lived up to the hype.

There was so much to love about Wonder WomanGal Gadot’s earnest performance as the titular role and her romantic/comedic chemistry with Chris Pine as Steve Trevor; Patty Jenkins’ marvelous direction; and the movie’s ability to stick to its comic book origins without losing focus on its themes or feeling too silly.

Chris Pine as Steve Trevor and Gal Gadot as Diana Prince/Wonder Woman

Part of the issue with previous DC-Universe films was that Suicide Squad and Batman v Superman (and Man of Steel, in a way) were both attempting to live up not only to high expectations, but also to their predecessors. Jared Leto was trying to match up to Heath Ledger’s brilliant turn as the Joker (but failed to do so), Batman v Superman was facing the Dark Knight trilogy, and Man of Steel is one of many, many depictions of Superman on film. It gets old after a while.

Man of Steel and Batman v Superman were meant to have a gritty, more serious feel than most superhero movies, and Suicide Squad was meant to be dark comedy. None of that really worked. In order to drive gritty movies, you need some actual conflict, some moral ambiguity, and better character writing. And dark comedy needs to be, you know, funny.

In Batman v Superman, what is meant to feel like a conflict between two superheroes with opposing values, feels more like a boring rich guy fighting a boring powerful guy, both ultimately wanting to be good people. As characters, Batman and Superman come rife with interesting questions. Superman is all-powerful and all good, but what happens when his god-persona comes into conflict with his own wants? Batman is just a privileged rich guy with fancy gadgets, so why does he get to act as the moral judge of Gotham? Sadly, Batman v Superman doesn’t really know how to deal with any of these questions, and in the end the movie doesn’t have anything to say.

If Batman v Superman had troubles with its expectations, Suicide Squad was destroyed by them. After the release of what was admittedly a great trailer, Warner Brothers actually hired the same people responsible for making the trailer to reshoot and re-edit the movie, to the point where there ended up being two Suicide Squad movies with two different tones, one funny and one more serious. In the end the versions were merged into the bizarre and sub-par version that wound up in theaters. Also, somewhere along the way most of the Joker’s scenes were cut. This was a strange choice, considering how much the trailers focused on him, and how hyped Jared Leto acted about his acting decisions and his disturbing on-set behavior. Of course, if I oversaw the editing, I would have cut him out altogether, but that’s not the point.

So how does Wonder Woman match up to the other DC-Universe movies? It’s a vast, vast improvement, containing the kinds of interesting moral questions that Batman v. Superman tried and failed to ask (in this case, asking if humans are intrinsically bad or good), and the humor and fun that Suicide Squad tried desperately to provide.

Also, unlike almost all superhero movies, Wonder Woman is definitively a feminist one. It’s the first major superhero movie featuring a female lead directed by a woman. Where other movies have women in near-constant states of needing rescuing and reassurance, Wonder Woman gives us Diana Prince kicking ass, saving Steve’s life, and trying to help those around her. Sure, the movie may remind us a little too much of how beautiful Diana is and how her wearing a skimpy costume is a bit distracting for the men around her. But the camera never ogles her, nor does it stop her from being strong and athletic. And yes, her armor may be revealing, but at least it’s armor and not just a metal bra or a glorified corset. And when Diana is confronted with the sexism of the 1910s, her confusion and annoyance is meant to remind the audience that our assumptions of gender roles are invented, not inherent. And seeing an island full of badass warrior women ready to battle is also very cool.

Still from Wonder Woman showing Themyscira, the mystical all-female warrior island

Right now, Warner Brothers has a long list of future movies for the DC Extended Universe, featuring characters like Aquaman, Shazam, The Flash, Cyborg, Nightwing, and Batgirl, along with more sequels and team pieces, like the upcoming Justice League. If Wonder Woman is any indication that DC has finally figured out how to make a quality superhero movie, then I’m quite excited to see what’s next. If not, there’s always Marvel.

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