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Marvel Comics is an American comic book publisher and the property of The Walt Disney Company since December 31, 2009, and a subsidiary of Disney Publishing Worldwide since March 2023. Marvel was founded in 1939 by Martin Goodman as Timely Comics,[3] and by 1951 had generally become known as Atlas Comics. The Marvel era began in August 1961 with the launch of The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and many others. The Marvel brand, which had been used over the years and decades, was solidified as the company's primary brand.
Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Wolverine, Captain America, Black Widow, Thor, Hulk, Daredevil, Doctor Strange, Black Panther, and Captain Marvel, as well as popular superhero teams such as the Avengers, X-Men, Fantastic Four, and Guardians of the Galaxy. Its staple of well-known supervillains includes the likes of Doctor Doom, Magneto, Green Goblin, Red Skull, Loki, Ultron, Thanos, Kang the Conqueror, Venom, and Galactus. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with most locations mirroring real-life places; many major characters are based in New York City, New York, United States.[4] Additionally, Marvel has published several licensed properties from other companies. This includes Star Wars comics twice from 1977 to 1986 and again since 2015.
Check out all of the Star Wars movies streaming online. The first Star Wars movie is a classic that starts in the middle of the saga or good vs. evil. All of the movie stream on Prime Video but you can also read the books about the movies to add more detail about the Star Wars universe.
While no other Timely character would achieve the success of these three characters, some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper",[12][13] as well as a line of children's talking animal comics featuring characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.
Goodman hired his wife's 16-year-old cousin,[14] Stanley Lieber, as a general office assistant in 1939.[15] When editor Simon left the company in late 1941,[16] Goodman made Lieber—by then writing pseudonymously as "Stan Lee"—interim editor of the comics line, a position Lee kept for decades except for three years during his military service in World War II. Lee wrote extensively for Timely, contributing to a number of different titles.
Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff.[3] One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.
DC Comics, Inc. (doing business as DC) is an American comic book publisher and the flagship unit of DC Entertainment,[6][7] a subsidiary of Warner Bros. Discovery.[8][9] DC is an initialism for "Detective Comics", an American comic book series first published in 1937.[10]
DC Comics is one of the largest and oldest American comic book companies, with their first comic under the DC banner being published in 1937.[11] The majority of its publications take place within the fictional DC Universe and feature numerous culturally iconic heroic characters, such as Superman, Batman, Wonder Woman, Green Lantern, the Flash, and Aquaman; as well as famous fictional teams including the Justice League, the Justice Society of America, the Teen Titans, and the Suicide Squad. The universe also features an assortment of well-known supervillains such as the Joker, Lex Luthor, Deathstroke, the Reverse-Flash, Brainiac, and Darkseid. The company has published non-DC Universe-related material, including Watchmen, V for Vendetta, Fables and many titles under their alternative imprint Vertigo and now DC Black Label.
Originally in Manhattan at 432 Fourth Avenue, the DC Comics offices have been located at 480 and later 575 Lexington Avenue; 909 Third Avenue; 75 Rockefeller Plaza; 666 Fifth Avenue; and 1325 Avenue of the Americas. DC had its headquarters at 1700 Broadway, Midtown Manhattan, New York City, but DC Entertainment relocated its headquarters to Burbank, California in April 2015.[12]
Penguin Random House Publisher Services distributes DC Comics' books to the bookstore market,[13] while Diamond Comic Distributors supplied the comics shop direct market[12][14] until June 2020, when Lunar Distribution and UCS Comic Distributors, who already dominated direct market distribution on account of the disruption to Diamond that resulted from the COVID-19 pandemic, replaced Diamond to distribute to that market.[4]
DC Comics and its longtime major competitor Marvel Comics (acquired in 2009 by The Walt Disney Company, Warner Bros. Discovery's main competitor) together shared approximately 70% of the American comic book market in 2017,[15] though this number may give a distorted view since graphic novels are excluded. With the sales of all books included, DC is the second biggest publisher, after Viz Media, and Marvel is third.😁😀
The post-war American comic market saw superheroes falling out of fashion.[18] Goodman's comic book line dropped them for the most part and expanded into a wider variety of genres than even Timely had published, featuring horror, Westerns, humor, talking animal, men's adventure-drama, giant monster, crime, and war comics, and later adding jungle books, romance titles, espionage, and even medieval adventure, Bible stories and sports.
Goodman began using the globe logo of the Atlas News Company, the newsstand-distribution company he owned,[19] on comics cover-dated November 1951 even though another company, Kable News, continued to distribute his comics through the August 1952 issues.[20] This globe branding united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications.[21]
Atlas, rather than innovate, took a proven route of following popular trends in television and films—Westerns and war dramas prevailing for a time, drive-in film monsters another time—and even other comic books, particularly the EC horror line.[22] Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (similar to Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.[23]
In 1957 Goodman switched distributors to the American News Company—which shortly afterward lost a Justice Department lawsuit and discontinued its business.[24] Atlas was left without distribution and was forced to turn to Independent News, the distribution arm of its biggest rival, National (DC) Comics, which imposed draconian restrictions on Goodman's company. As then-Atlas editor Stan Lee recalled in a 1988 interview, "[We had been] turning out 40, 50, 60 books a month, maybe more, and ... suddenly we went ... to either eight or 12 books a month, which was all Independent News Distributors would accept from us."
The first modern comic books under the Marvel Comics brand were the science-fiction anthology Journey into Mystery #69 and the teen-humor title Patsy Walker #95 (both cover dated June 1961), which each displayed an "MC" box on its cover.[26] Then, in the wake of DC Comics' success in reviving superheroes in the late 1950s and early 1960s, particularly with the Flash, Green Lantern, Batman, Superman, Wonder Woman, Green Arrow, and other members of the team the Justice League of America, Marvel followed suit.
In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to older readers than the predominantly child audiences of the medium, thus ushering what Marvel later called the Marvel Age of Comics.[27] Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961),[28] broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated.[29] This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something with which many readers could identify.
Stan Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age.[31] Eschewing such comic book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.
Marvel often presented flawed superheroes, freaks, and misfits—unlike the perfect, handsome, athletic heroes found in previous traditional comic books. Some Marvel heroes looked like villains and monsters such as the Hulk and the Thing. This naturalistic approach even extended into topical politics. Comics historian Mike Benton also noted:
All these elements struck a chord with the older readers, including college-aged adults. In 1965, Spider-Man and the Hulk were both featured in Esquire magazine's list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan.[35] In 2009, writer Geoff Boucher reflected that,
In addition to Spider-Man and the Fantastic Four, Marvel began publishing further superhero titles featuring such heroes and antiheroes as the Hulk, Thor, Ant-Man, Iron Man, the X-Men, Daredevil, the Inhumans, Black Panther, Doctor Strange, Captain Marvel and the Silver Surfer, and such memorable antagonists as Doctor Doom, Magneto, Galactus, Loki, the Green Goblin, and Doctor Octopus, all existing in a shared reality known as the Marvel Universe, with locations that mirror real-life cities such as New York, Los Angeles and Chicago.
Marvel even lampooned itself and other comics companies in a parody comic, Not Brand Echh (a play on Marvel's dubbing of other companies as "Brand Echh", à la the then-common phrase "Brand X").[37]
Originally, the company's publications were branded by a minuscule "Mc" on the upper right-hand corner of the covers. However, artist/writer Steve Ditko put a larger masthead picture of the title character of The Amazing Spider-Man on the upper left-hand corner on issue #2 that included the series' issue number and price. Lee appreciated the value of this visual motif and adapted it for the company's entire publishing line. This branding pattern, being typically either a full-body picture of the characters' solo titles or a collection of the main characters' faces in ensemble titles, would become standard for Marvel for decades
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Development of 2024 film "JOKER: FOLIE A DEUX
Joker (2019) was intended to be a standalone film with no sequels,[11] but due to earning $1.079 billion on a budget between $55-70 million, Warner Bros. intended for it to launch DC Black, a line of DC Comics-based films unrelated to the DC Extended Universe (DCEU) franchise with darker, more experimental material, similar to the DC Black Label comics publisher.[12][13][14] While director Todd Phillips said in August 2019 that he would be interested in making a sequel, depending on the film's performance and if Phoenix was interested,[15] he later clarified that "the movie's not set up to [have] a sequel. We always pitched it as one movie, and that's it."[16] In October 2019, Phoenix spoke to journalist and Rolling Stone film critic Peter Travers of possibly reprising the role of Arthur, centering on Travers' asking of Phoenix if he considers Joker to be his "dream role." Phoenix stated, "I can't stop thinking about it... if there's something else we can do with Joker that might be interesting,"[17] and concluded, "It's nothing that I really wanted to do prior to working on this movie. I don't know that there is [more to do] ... Because it seemed endless, the possibilities of where we can go with the character."[18] He was paid $20 million for his involvement.[19]
Harley Quinn (Dr. Harleen Frances Quinzel) is a character appearing in American comic books published by DC Comics. She was created by Paul Dini and Bruce Timm for Batman: The Animated Series as a henchwoman for the Joker, and debuted in its 22nd episode, "Joker's Favor", on September 11, 1992. While intended to appear in one episode, Quinn became a recurring character within the DC Animated Universe (DCAU) as the Joker's sidekick and love interest, and was adapted into DC Comics' canon seven years later, beginning with the one-shot Batman: Harley Quinn #1 (October 1999). Quinn's origin story features her as a former psychologist at Gotham City's Arkham Asylum who was manipulated by and fell in love with the Joker, her patient, eventually becoming his accomplice and lover. The character's alias is a play on the stock character Harlequin from the 16th-century Italian theater commedia dell'arte.
Following her introduction to the comics in 1999, Harley Quinn was depicted as the sidekick and lover of the Joker as well as the criminal associate and best friend of Poison Ivy. Later stories depicted Quinn as an independent supervillain who has left her abusive and codependent relationship with the Joker behind, beginning with the publication of her ongoing series, Harley Quinn. After years of scarce appearances in comics, Quinn returned in a leading role in 2009 with the Gotham City Sirens series, as part of an unstable alliance with Poison Ivy and Catwoman. In 2011, DC's line-wide reboot The New 52 reintroduced Quinn in the relaunched Suicide Squad title, which changed the character's personality, design, and origin, replacing her original jester costume with a revealing ensemble and depicting her to be darker than her earlier counterpart. The character took a lighthearted and humorous direction with her second ongoing series in 2013, written by Amanda Conner and Jimmy Palmiotti, which features the character moving to her hometown of Brooklyn and starting her own life in Coney Island. The character has since been depicted as an antihero independent of the Joker and a recurring core member of the Suicide Squad, with Poison Ivy becoming her primary romantic interest.[5] In 2021, DC's line-wide Infinite Frontier relaunch brought Quinn back to Gotham City and reestablished her as a superhero seeking redemption for her past actions.
Harley Quinn's abilities include expert gymnastic skills, proficiency in weapons and hand-to-hand combat, complete unpredictability, immunity to toxins, and enhanced strength, agility, and durability. Quinn often wields clown-themed gag weapons, with an oversized mallet being her signature weapon. Additionally, she has a pair of pet hyenas, Bud and Lou, who sometimes serve as her attack dogs.
Harley Quinn has become one of DC Comics' most popular and profitable characters and has been featured in many of DC's comic books and adapted in various other media and merchandise. DC Comics Publisher Jim Lee considers Harley Quinn the fourth pillar of DC Comics' publishing line, behind Superman, Batman, and Wonder Woman.
Originally voiced by Arleen Sorkin in the DC Animated Universe, she has since appeared in many other DC projects voiced by actresses such as Tara Strong, Hynden Walch, Laura Bailey, Jenny Slate, Melissa Rauch, Laura Post, and Kaley Cuoco; the latter provided the character's voice in the 2019 animated series Harley Quinn. Mia Sara portrayed the character in the 2002 television series Birds of Prey. Harley Quinn made her live-action cinematic debut in the DC Extended Universe (DCEU) film Suicide Squad (2016), where she was portrayed by Margot Robbie. Robbie reprised her role in Birds of Prey (2020) and The Suicide Squad (2021), with elements of her portrayal's design consequentially incorporated into comics. Lady Gaga will portray the character in Joker: Folie à Deux (2024).
After seeing Harley Quinn in the rough cut of "Joker's Favor", the producers of Batman: The Animated Series, which include Dini and Timm, were impressed with the result, with Dini wanting to bring the character back for more episodes.Timm and another producer, Alan Burnett, were initially reluctant of this and thought that giving Joker a girlfriend "played more towards his comedic side" and would "humanize him too much", which contrasted their vision for Joker as a character who is "as serious a threat as possible to Batman". Nevertheless, months after "Joker's Favor", Harley made a second appearance on the show in the episode "The Laughing Fish" and became the Joker's love interest. Harley Quinn gained popularity with fans of The Animated Series, with the character being featured more on the show and eventually starring in her own episodes, such as 1993's "Harley and Ivy", which introduced a friendship between her and fellow supervillain Poison Ivy, and 1994's "Harlequinade" and "Harley's Holiday", which explored her life without the Joker. Harley Quinn then became a recurring character in the DC Animated Universe, appearing in The Animated Series sequel The New Batman Adventures, the direct-to-video film Batman Beyond: Return of the Joker, and in non-Batman animation such as Superman: The Animated Series, Static Shock, and Justice League. In February 1994, she made her first appearance in a video game in The Adventures of Batman and Robin, an action platformer based on Batman: The Animated Series
Cast[
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- Joaquin Phoenix as Arthur Fleck / The Joker, a mentally ill, nihilistic criminal with a clown-inspired persona, formerly an impoverished party clown and aspiring stand-up comedian.
- Lady Gaga as Harleen Quinzel / Harley Quinn, a fellow asylum inmate with Arthur; her curiosity eventually turns to obsession and she forms a deadly romantic relationship with him.[4][5]
- Zazie Beetz as Sophie Dumond, a single mother and Arthur's former neighbor.[6]
Leigh Gill and Sharon Washington reprise their roles as Gary and Arthur's social worker, respectively. Brendan Gleeson, Catherine Keener, Jacob Lofland, Steve Coogan, Ken Leung and Harry Lawtey have been cast as in undetermined roles.
Marriage
In spite of Peter and Mary Jane's mutual worry that they were marrying too early, Peter's concern for her safety, and her unwillingness to give up her "party girl" lifestyle, they marry.[26] She adds Peter's surname to her own, making her Mary Jane Watson-Parker. They were, at that moment, really in love. Spider-Man wears his black costume around this time, but after Mary Jane is frightened by a stalking Venom, she convinces him to change back to his old costume.[27]
Mary Jane continues to model after her marriage, but is stalked by her wealthy landlord, Jonathan Caesar. When she rejects his advances, he kidnaps her, but she manages to escape. While Caesar is briefly incarcerated, he uses his powerful business connections within the city and has her blacklisted as a model. She gets a role on the soap opera Secret Hospital, but is unhappy with her character's air-headed and mean personality. On top of that, Caesar, who has been released from prison and is still obsessed with Mary Jane, plots to kidnap her again—this time intending to whisk her away to a private island he owns in the Caribbean. After luring Mary Jane to an abandoned studio and threatening to kill her, Caesar is confronted by Officer Goldman, a policeman assigned to Mary Jane's original case against him. Goldman then shoots Caesar dead, saving Mary Jane's life. Although she successfully petitions her boss to adjust her character's personality, a deranged fan tries to kill Mary Jane out of hatred for the actions of her soap opera character. Mary Jane quits her job out of fear for her own safety and returns to modeling. This, along with Peter's role as Spider-Man, triggers a growing divide. She briefly flirts with actor Jason Jerome, who tries to tempt her into a secret affair. She resists out of faithfulness to Peter, but her weak rebuffs fail to convince Jerome, and she realizes she is enticed by him in spite of herself.[28] However, she eventually realizes that her craving for romance can be filled by her husband as easily as an extramarital affair, and she pointedly rejects Jerome's advances while rebuking his behavior.[29]
Due to this stress, and the seeming return of her husband's parents, Mary Jane begins smoking (a habit she had quit in high school), only increasing the tension between her and Peter. Peter ultimately convinces her to stop smoking when he tricks her into visiting Nick Katzenberg suffering heavily from lung cancer. When his parents are discovered to be fakes, Peter is unable to cope with the knowledge and disappears for a time. Mary Jane visits her sister Gayle and her father for the first time in years, and finally reconciles with them. Meanwhile, Peter overcomes his problems on his own. When she and Peter reunite, both are happier than they had been in a long time.
Pregnancy[edit]
During the 1994–96 "Clone Saga" storyline, Peter's clone, Ben Reilly, appears. Mary Jane discovers that she is pregnant. While she experiences some complications in her pregnancy, Reilly's scientist friend Seward Trainer helps her. Peter and Ben are told by Trainer that Ben is the real Peter Parker, and Peter is the clone. After conducting the tests themselves (tests which Seward rigged) they confirm Seward's story. A disbelieving Peter, while arguing with Ben, strikes Mary Jane. After this, he decides to quit as Spider-Man, because the stress of his double life is endangering his wife and unborn child. Peter, acting on hypnotic suggestion by the Jackal, attempts to kill Mary Jane, but is prevented by Ben Reilly (as the Scarlet Spider), his teammates the New Warriors, and Kaine. Later, Peter and Mary Jane leave New York and move to Portland, Oregon. They live there peacefully for several months, adapting happily to normal life after an accident causes subtle damage to Peter's genetic structure that disrupts his ability to use his powers. However, they miss New York City and their friends, and move back, a strange illness culminating in the restoration of Peter's powers. During the Onslaught crisis, Mary Jane is scanned by a Sentinel robot, who detects genetic abnormalities in her fetus.[30]
Soon afterward, when Mary Jane's baby is already past due, she is poisoned by Alison Mongrain, an agent of the Green Goblin. Mary Jane's baby is stillborn.[31] Combined with Ben's death in a battle with the reborn Norman Osborn and the revelation that the tests identifying Peter as the clone were actually rigged as part of Osborn's plan to break Peter's spirit, Peter returns to the role of Spider-Man.[32]
Marital problems
Mary Jane returns to college to major in psychology, but the stress of the ongoing manipulations of Norman Osborn take their toll. After the Gathering of Five incident and the return of Aunt May, Mary Jane begs Peter to quit being Spider-Man.
He is happy to do so for several months, but soon feels the tug of his great power and great responsibility to be a hero. Meanwhile, Mary Jane is offered a new modeling contract and reaches new heights of success. Peter becomes Spider-Man again behind Mary Jane's back, which puts strain on their marriage. At the same time, she begins receiving lewd and threatening phone calls from an anonymous stalker. Mary Jane is flying across America when her airplane explodes in midair in Amazing Spider-Man Vol. 2 #13 (January 2000). Peter is shocked and goes into deep denial over her death. Although he is set up with several other women, and his friends encourage him to move on, he believes she is still alive. Her mysterious stalker, an unnamed, telepathic mutant, has telepathically connected to Peter in some way, and wants to take over his life. He kidnapped Mary Jane as part of his plan and held her hostage for several months. The stalker kills himself after finally gleaning enough of Peter's personality and morality to discover that he had done terrible things. Peter and Mary Jane are reunited in Peter Parker: Spider-Man #29 (June 2001).
The stress of her captivity drives Mary Jane away. She moves to Los Angeles and immerses herself in acting — starring as the doomed love interest in the film Lobster-Man. Although missing Peter after he fails to meet her on a visit back to New York, she refuses to talk to him; Aunt May gets Peter to visit her in Los Angeles,[33] however the two remain separated. Peter's encounter with the supernatural Spider-Wasp Shathra eventually leads to the two of them flying to New York and Los Angeles to see each other. Despite missing each other at their respective homes, they meet in an airport in Denver, Colorado where they reconcile after a brief encounter with Doctor Doom and Latverian terrorists.[34]
Mary Jane Watson is mentioned in The Amazing Spider-Man #15 (August 1964), and is initially used as a running joke of the series, as Peter Parker's Aunt May repeatedly attempts to set her unwilling nephew up on a date with her. Parker (also known as Spider-Man) consistently worms his way out of meeting Mary Jane who, aside from a brief appearance in #25 (June 1965) with her face obscured, is never actually seen until The Amazing Spider-Man #42 (November 1966).[2] Peter David wrote in 2010 that artist John Romita Sr. "made the definitive statement of his arrival by pulling Mary Jane out from behind the oversized potted plant [that blocked the readers' view of her face in issue #25] and placing her on panel in what would instantly become an iconic moment".[3] Romita has stated that in designing Mary Jane, he "used Ann-Margret from the movie Bye Bye Birdie as a guide, using her coloring, the shape of her face, her red hair and her form-fitting short skirts".[4]
According to co-creator Stan Lee, he and Romita had intended for Gwen Stacy to be Spider-Man's one true love, and introduced Mary Jane "just for fun", but that "somehow, Mary Jane seemed to have all the personality, and much as we tried to make Gwen more attractive, we couldn't! We, ourselves, felt that Mary Jane ended up being not only more beautiful but more fun and more interesting, and we finally decided to let Peter end up with her, but it was... as though the characters had taken over!"
The names "Mary Jane" and "MJ" are also common slang terms for marijuana. When asked about this, Stan Lee claimed it was purely coincidental, that he knew nothing about drugs and had never tried marijuana.[8]
Gerry Conway succeeded Stan Lee as writer of The Amazing Spider-Man in 1972. Conway pushed Mary Jane to the forefront of the cast, and made her a serious love interest for Peter Parker.[9] Like Lee, Conway found Mary Jane to be more compelling than Gwen: "[Mary Jane] hadn't lost the edge that made her an interesting character. Gwen didn't have an edge. She was just a nice person. I don't think she had a mean bone in her body, and wasn't likely to do something that was likely to screw things up for Peter, out of some misguided sense of self-aggrandizement, which Mary Jane was quite capable of doing—which makes her a much more interesting character".[10]
In 1987, the character was married to Spider-Man in The Amazing Spider-Man Annual #21. As a consequence, writer J. M. DeMatteis made Mary Jane and her marriage to Spider-Man one of the central themes of the critically acclaimed "Kraven's Last Hunt", published the same year as the wedding. DeMatteis commented that "'Kraven's Last Hunt' has a lot of darkness in it, but the story primarily is about Peter and his journey into the light and the power of simple human love. The reason Peter makes it out is because he has Mary Jane in his life, and that is his salvation".[11]
Marvel editor-in-chief Joe Quesada said that he feels the marriage ages the characters, making them less appealing to young readers, and lessens the dramatic, "soap opera" possibilities, but also stated that "divorcing or widowing, or annulling the marriage... would only be worse".[12] He has also pointed out that the marriage itself was editorially mandated; Stan Lee decided to marry the characters in his daily newspaper strip and, even though the two were not even dating at the time in the comic book series, it was decided to marry them in the regular Marvel Universe as well. In 2007, Quesada presided over the controversial "One More Day" storyline, which he also drew, in which Peter and Mary Jane's marriage is erased from history and everyone's memories by the devil Mephisto. Quesada states he is an avid fan of the Peter and MJ relationship, and in several interviews has claimed that the alternate MC2 universe, in which Peter and Mary Jane are happily married, is a "natural progression" of the characters.
The erasing of Peter and Mary Jane's marriage was initially adopted in the newspaper strip as well, but due to negative reader reaction Lee later revealed it to be a bad dream.[13] Mary Jane remains Spider-Man's wife in the newspaper strip continuity.
Although the marriage stayed erased, Mary Jane and Peter Parker became a couple again during Nick Spencer's run in Amazing Spider-Man. She got a spin-off comic later, The Amazing Mary Jane, by Leah Williams, Carlos Gomez and Carlos López.
Mary Jane is depicted as an extremely beautiful, green-eyed redhead and was the primary romantic interest of Peter Parker for the majority of the forty years between her first full appearance in 1966 and the One More Day story in 2007 (Peter and Mary Jane married in 1987). Initially, she competed with others for Peter's affection, most prominently with Gwen Stacy and the Black Cat. Mary Jane's relatively unknown early life was eventually explored in The Amazing Spider-Man #259.[15]
Early issues of The Amazing Spider-Man featured a running joke about Peter dodging his Aunt May's attempts to set him up with "that nice Watson girl next-door", whom Peter had not yet met and assumed would not be his type, since his aunt liked her (in the Parallel Lives graphic novel an identical scenario is shown between Mary Jane and her Aunt Anna). Mary Jane made her first actual appearance in The Amazing Spider-Man #25 (June 1965), although her face was obscured. However, she was seen by both Liz Allan and Betty Brant, who are both shocked by how attractive she is. It is not until The Amazing Spider-Man #42 (November 1966) that her face is actually seen. In that issue, on the last page, Peter finally meets her, and he is stunned by her beauty even as she speaks the now-famous line: "Face it, Tiger... you just hit the jackpot!"
Peter begins to date her, much to the annoyance of Gwen Stacy. However, they eventually become irritated with each other and Peter subsequently chooses to date Gwen. Mary Jane, who becomes Harry Osborn's former love interest and former girlfriend for about a year, remains a close friend to Peter and Gwen. Despite her enjoyment of life, her friendships, and dating, Mary Jane refuses to be tied down for too long. When her relationship with Harry Osborn comes to an end, it has significant impact on Harry, driving him to a drug overdose.[17] This in turn creates a boomerang effect, driving his father Norman Osborn to the brink of insanity, temporarily restoring his memories as the Green Goblin.[18]
After the Green Goblin murders Gwen in The Amazing Spider-Man #121, Mary Jane attempts to comfort Peter. Peter, who is distraught over the loss of Gwen Stacy, angrily confronts MJ about her seemingly flighty and carefree attitude. He questions her ability to ever care about people like him and Gwen, and states "You wouldn't be sorry if your own mother died," unaware that her mother had actually died. Mary Jane is hurt by Peter's comments. She attempts to leave, but hesitates as she approaches the door, and ultimately chooses to stay with him.[19] This served as a turning point in their relationship, and over the next couple of years, she and Peter become very close friends. Eventually, upon realizing the feelings that they share for one another, they decide to take their relationship to the next level, having sex in the process.[20] Their relationship has a few initial hurdles, such as MJ's hot temper and Peter's always dashing off to be Spider-Man. Following the events of the original clone saga, Peter realizes that Mary Jane is the girl he has always loved, and the two begin dating again.
Despite loving Peter, MJ does not wish to be tied down. Yet, she allows the relationship to progress and is left with a difficult decision when Peter proposes to her.[21] After taking a short time to consider, she turns him down.[22] Following a series of traumatic experiences involving Peter's absences and his costumed alter ego endangering his Aunt May, a spiritually exhausted MJ leaves New York for several months. Peter meanwhile dates other women, most notably Felicia Hardy.
MJ returns, her behavior showing a marked change with her abandonment of her false front. Following an attack on Peter by Puma, she breaks down and admits her knowledge of Peter's secret identity in The Amazing Spider-Man #257. After learning of her own family history in The Amazing Spider-Man #259, Peter finds a new respect for her and begins to truly understand her. MJ makes it clear to Peter that knowing his identity changes nothing about her feelings, and that she only loves him as a friend, her best friend.[23]
Despite the one-shot graphic novel Amazing Spider-Man: Parallel Lives and Untold Tales of Spider-Man #16 revealing that Mary Jane discovered Peter's secret when she noticed Spider-Man climbing out of Peter's bedroom window after his uncle's murder, many comics published before this revelation claimed that she had simply "figured it out", with the details of how and when left ambiguous to the reader.
Catwoman's origin—and, to an extent, her character—was revised in 1987 when writer Frank Miller and artist David Mazzucchelli published Batman: Year One, a revision of Batman's origin. She worked as a dominatrix for the pimp Stan to survive and also sheltered a child prostitute named Holly Robinson working for him. Selina got into a fight with a disguised Bruce after he grabbed Holly, who had stabbed him during a fight with Stan, but was knocked out.
As the story progresses, Selina decides to leave prostitution and takes Holly with her. She gets into burglary to make money and starts robbing the rich and powerful men of Gotham, donning a catsuit costume while committing her heists. While trying to rob Carmine Falcone, she gets rescued by Batman but is irked of being thought of as his sidekick by the media.
Catwoman is a character appearing in American comic books published by DC Comics. Created by Bill Finger and Bob Kane, she debuted as "the Cat" in Batman #1 (spring 1940). She has become one of the superhero Batman's most prominent enemies, belonging to the collective of adversaries that make up his rogues gallery, as well as Batman's best known and most enduring love interest, with many stories depicting their complex love–hate relationship.Since 1993, Catwoman has had her own ongoing series, Catwoman.
Catwoman is the alter ego of Selina Kyle, a burglar in Gotham City who usually wears a skintight bodysuit and uses a bullwhip for a weapon. She was originally characterized as a supervillain and adversary of Batman, but has been featured in an eponymous series since the 1990s that portrays her as an antiheroine, often with a utilitarian moral philosophy. The character thrived in her earliest appearances, but she took an extended hiatus from September 1954 to November 1966 due to the developing Comics Code Authority in 1954. These issues involved the rules regarding the development and portrayal of female characters that were in violation of the Comics Code, a code which is no longer in use. In the comics, Holly Robinson and Eiko Hasigawa have both adopted the Catwoman identity, apart from Selina Kyle.
Batman #62 (December 1950) reveals that Catwoman was an amnesiac flight attendant who turned to crime after suffering a prior blow to the head during a plane crash she survived. She reveals this in the Batcave after being hit on the head by a piece of rubble while saving Batman while he was chasing her. However, in The Brave and the Bold #197 (April 1983), she later admits that she made up the amnesia story because she wanted a way out of her past life of crime. She reforms for several years, helping out Batman in Batman #65 (June 1951) and 69 (February 1952), until she decides to return to a life of crime in Detective Comics #203 (January 1954), after a newspaper publishes stories of Batman's past adventures and some crooks mock her about it. However, Catwoman prevents her thugs from murdering Batman once he is later found knocked out, but quickly claims she wants him as a hostage. Catwoman appears again as a criminal in Batman #84 (June 1954) and Detective Comics #211 (September 1954), which were her two final appearances until 1966. This was mostly due to her possible violation of the developing Comics Code Authority's rules for portrayal of female characters that started in 1954.
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Superman is an upcoming American superhero film based on DC Comics featuring the character of the same name. Produced by DC Studios and to be distributed by Warner Bros. Pictures, it will be the first film in the DC Universe (DCU) and a reboot of the Superman film series. The film is written and directed by James Gunn and stars David Corenswet as Clark Kent / Superman, alongside Rachel Brosnahan, Isabela Merced, Edi Gathegi, Nathan Fillion, Anthony Carrigan, María Gabriela de Faría, Sara Sampaio, Skyler Gisondo, Nicholas Hoult, Terence Rosemore, Wendell Pierce, Pruitt Taylor Vince, and Neva Howell. In the film, Superman's journey to reconcile his alien heritage with his human family is explored.
Development on a sequel to the first DC Extended Universe (DCEU) film, Man of Steel (2013), began by October 2014, with Henry Cavill expected to reprise his role as Superman. Plans changed after the troubled production of Justice League (2017) and the Man of Steel sequel was no longer moving forward by May 2020. Gunn began work on a potential new Superman film around August 2022. In October, he became co-CEO of DC Studios with producer Peter Safran and they began work on a new DC Universe. Gunn was publicly revealed to be writing the new Superman film in December. The title Superman: Legacy was announced in January 2023, Gunn was confirmed to be directing in March, and Corenswet and Brosnahan were cast in June. The subtitle was dropped by the end of February 2024, when filming began in Norway; it is set to last until August at Trilith Studios in Atlanta and Macon, Georgia, as well as in Ohio. The film takes specific inspiration from the comic book All-Star Superman (2005–2008) by Grant Morrison and Frank Quitely, among others.
Superman will be released theatrically in the United States on July 11, 2025. It will be part of the DCU's Chapter One: Gods and Monsters.
Premise[edit]
The film explores Clark Kent / Superman's journey to reconcile his Kryptonian heritage with his adoptive human family in Smallville, Kansas.[1]
Cast[edit]
- David Corenswet as Clark Kent / Superman:
A Kryptonian survivor and a young journalist for the Daily Planet in Metropolis.[2][3] Director James Gunn said the film's version of Superman would be around 25 years old, making him more established than Tom Welling's version from the series Smallville (2001–2011) but younger than Henry Cavill's DC Extended Universe (DCEU) version.[4] Producer Peter Safran described the film's version of Superman as "the embodiment of truth, justice and the American way; he's kindness in a world that thinks of kindness as old fashioned".[5] - Rachel Brosnahan as Lois Lane: A reporter for the Daily Planet and a close colleague of Clark Kent.[6][3] Brosnahan described Lane as "fiercely intelligent" and feisty.[7]
- Isabela Merced as Hawkgirl:
A superhero with wings and various melee weapons. Merced's short 5 feet 1 inch (1.55 m) height differentiates her from other DCU heroes.[8] Merced felt that her role as Anya Corazon / Araña in the Sony's Spider-Man Universe (SSU) film Madame Web (2024) helped prepare her to play Hawkgirl, though she did not tell the Superman filmmakers about that role in case they did not want her to play both.[9] - Edi Gathegi as Michael Holt / Mister Terrific: A superhero and inventor[8]
- Nathan Fillion as Guy Gardner / Green Lantern:
An abrasive galactic peacekeeper in the Green Lantern Corps. The film retains the character's "iconic bowl cut haircut" from the comics. Fillion previously portrayed Cory Pitzner / T.D.K. (The Detachable Kid) in Gunn's DCEU film The Suicide Squad (2021).[8] - Anthony Carrigan as Rex Mason / Metamorpho:
An archaeologist and superhero who can "transmute elements in his body into various forms".[10] Carrigan said it was refreshing to play a superhero after previously portraying the Batman villain Victor Zsasz in the television series Gotham (2014–2019). He felt that he could bring some "authenticity and truth" to the role by comparing Metamorpho's concerns about his abilities to Carrigan's own alopecia.[11] - María Gabriela de Faría as Angela Spica / The Engineer: A member of the Authority whose abilities come from nanotechnology built in her body[12]
- Sara Sampaio as Eve Teschmacher: Lex Luthor's assistant and love interest[13]
- Skyler Gisondo as Jimmy Olsen: A boyish young photographer for the Daily Planet and a colleague of Clark Kent[14]
- Nicholas Hoult as Lex Luthor:
A businessman and the arch-nemesis of Superman.[15][16] Hoult was inspired by Michael Rosenbaum's portrayal of Lex Luthor in the series Smallville, and chose to work out for the role based on the depiction of Luthor in the comic book All-Star Superman (2005–2008).[17] - Terence Rosemore as Otis: Lex Luthor's henchman[18]
- Wendell Pierce as Perry White: The editor-in-chief of the Daily Planet.[19] Pierce asked his friends for information on the character because he did not read comic books growing up.[20]
- Pruitt Taylor Vince as Jonathan Kent: Clark's adoptive human father[21]
- Neva Howell as Martha Kent: Clark's adoptive human mother[22]
Additionally, Gunn's brother Sean Gunn is expected to appear as the businessman Maxwell Lord,[23][24] as is Milly Alcock as Superman's cousin Kara Zor-El / Supergirl.[25][26]
Production[edit]
Background[edit]
Warner Bros. Pictures was planning in 2012 for the film Man of Steel (2013), based on the DC Comics character Superman, to start a shared universe,[27] which became known as the "DC Extended Universe" (DCEU).[28][29] They announced a full slate of DC films in October 2014,[30] prioritizing Batman v Superman: Dawn of Justice (2016) as the second DCEU film after Man of Steel failed to meet the studio's financial expectations.[31] Despite this, they said an undated sequel to Man of Steel was in development with Henry Cavill set to reprise his role as Clark Kent / Superman.[30] Man of Steel director Zack Snyder said they had been considering the imprisoned Kryptonians from the first film and the character Brainiac as antagonists for the sequel before work began on Batman v Superman.[31] A Man of Steel sequel was in active development as a top priority for the studio in August 2016,[32] which Cavill's manager Dany Garcia confirmed the following month.[33] Amy Adams, who portrayed Lois Lane in Man of Steel, said in November that the studio was working on the screenplay.[34] Matthew Vaughn was Warner Bros.' top choice to direct the film and had preliminary conversations about it by March 2017.[35] Vaughn and comic book writer Mark Millar had previously pitched a new Superman trilogy prior to the development of Man of Steel, in which the destruction of the planet Krypton would not occur until after Superman had already grown-up on the planet.[36] After the troubled production of the DCEU film Justice League (2017), Warner Bros. re-thought its approach to DC projects.[37] By the end of 2017, a Man of Steel sequel was not coming "anytime soon, if at all". Justice League producer Charles Roven said story ideas had been discussed but there was no script.[38]
Before the release of Mission: Impossible – Fallout in July 2018, director Christopher McQuarrie and co-star Cavill pitched their take on a new Superman film, but Warner Bros. did not pursue the idea.[39] Later in 2018, the studio asked James Gunn to write and direct a Superman film, but he was uncertain if he wanted to take on the character.[40][41] He did not have a clear vision for such a film, especially since Superman was a well-known character unlike the Guardians of the Galaxy who he had adapted for Marvel Studios in the film Guardians of the Galaxy (2014).[42] Gunn chose to make The Suicide Squad (2021) instead.[40][41] In September, negotiations for Cavill to reprise his role for a cameo appearance in Shazam! (2019) ended due to contract issues,[43] as well as a scheduling conflict with Cavill's Fallout commitments.[43][44] The actor was reported to be parting ways with the studio, with no plans for him to reprise his role in future projects,[43] but Cavill said in November 2019 that he had not given up on the character and still wanted to do the role justice.[44] At that time, Warner Bros. was unsure which direction to take the character and was talking to "high-profile talent" about the property, including J. J. Abrams—whose company Bad Robot signed an overall deal with Warner Bros.' parent company WarnerMedia—and Michael B. Jordan, who pitched himself as a Black version of the character.[45] By May 2020, Warner Bros. was no longer developing a Man of Steel sequel, but Cavill was in talks to appear in a different future DC film.[46][47] In February 2021, Ta-Nehisi Coates was revealed to be writing a new Superman film that Abrams was producing.[48] The film was expected to feature a Black actor portraying Superman, with the potential for Jordan to take on the role.[49]
Development[edit]
In April 2022, Discovery, Inc. and WarnerMedia merged to become Warner Bros. Discovery (WBD), led by president and CEO David Zaslav. The new company was expected to restructure DC Entertainment and Zaslav began searching for an equivalent to Marvel Studios president Kevin Feige to lead the new subsidiary. Zaslav and WBD felt DC lacked a "coherent creative and brand strategy" and were underusing Superman.[50] James Gunn was hired around late August to work on a Superman film that was not a sequel to Man of Steel and would be standalone from the DCEU.[51][52] Zaslav spent time with Gunn while he was writing the script.[53] In October, Cavill made a cameo appearance in the post-credits scene of the DCEU film Black Adam (2022) and Warner Bros. was reportedly pursuing a Cavill-led Man of Steel sequel once again. Roven was producing and the studio was searching for writers. They wanted McQuarrie to direct, but he was unlikely to be available due to his commitments to Mission: Impossible – Dead Reckoning Part One (2023) and an untitled eighth Mission: Impossible film (2025). Abrams's and Coates's film was still in development. Cavill's role in Black Adam was approved by Warner Bros. film chiefs Michael De Luca and Pamela Abdy when they were approached directly by Black Adam star Dwayne Johnson. Johnson began promoting the idea of a Black Adam vs. Superman film co-starring Cavill.[54] The latter had signed a one-off deal for Black Adam and only received a verbal agreement that he would continue playing the character in the DCEU.[55][56] Cavill publicly announced that he would return as Superman for future projects,[56][57] and said his Black Adam cameo was a "very small taste" of future plans.[57] He said Superman would be "enormously joyful" moving forward.[58] Steven Knight wrote a script treatment for the sequel around that time,[59] which reportedly included Brainiac as the antagonist,[56] but Warner Bros. executives were not thrilled with his take.
James Gunn and The Suicide Squad producer Peter Safran were announced as the co-chairs and co-CEOs of the newly formed DC Studios at the end of October 2022.[60] A week after starting their new roles, the pair had begun developing an eight-to-ten-year plan for a new DC Universe (DCU) that would be a "soft reboot" of the DCEU.[61][62][63] In mid-November, Gunn was publicly revealed to be writing a new DC film.[64] Andy Muschietti, director of the DCEU film The Flash (2023), expressed interest in directing a Superman project with a similar tone to Richard Donner's Superman (1978).[65] In early November, Cavill expressed interest in a future project that explored Superman's "capacity to give and to love" the people of Earth and to inspire others,[66] and said he was looking forward to meeting with Gunn to discuss future opportunities.[67] Work on the Man of Steel sequel stalled later that month while Gunn and Safran were developing their plans.[68]
In December 2022, Gunn said Superman was a big priority, if not the biggest, for DC Studios,[69] before publicly announcing that he was writing a new Superman film that would focus on a younger version of the character and would therefore not star Cavill. There was potential for Gunn to also direct the film.[2] It would not be an origin story for Superman,[70] and would focus on him as a young reporter interacting with key characters, such as Lois Lane.[6] Gunn and Safran met with Cavill to explain their decision and discuss potentially working with him for a different role in the future.[2][6] On January 31, 2023, Gunn and Safran unveiled the first projects from their DCU slate, which begins with Chapter One: Gods and Monsters. Their Superman film was the first film in that chapter and was officially titled Superman: Legacy. It was given a release date of July 11, 2025. Safran wanted Gunn to direct the film.[71] Gunn said the film would take specific inspiration from the comic book All-Star Superman (2005–2008) by Grant Morrison and Frank Quitely,[4] and the next day that comic appeared on Amazon's list of best-selling comic books.[72] The film was also inspired by the animated Superman short films from Fleischer Studios (1941–1943),[73] and by these comic books: the Superman: Birthright (2003–04) limited series by Mark Waid, Leinil Francis Yu, and Gerry Alanguilan; the 2008 "Brainiac" story arc from Action Comics by Geoff Johns and Gary Frank; the crossover event Superman: Ending Battle (2002) by Johns, Joe Casey, Joe Kelly, and Mark Schultz;[74] the Superman for All Seasons (1998) limited series by Jeph Loeb and Tim Sale;[75] the Elseworlds limited series Kingdom Come (1996) by Waid and Alex Ross; Morrison's Action Comics run; and the story "Whatever Happened to the Man of Tomorrow?" (1986) by Alan Moore and Dave Gibbons.[73]
Tom King, a comic book writer working on the DCU, stated in March that Gunn was also directing the film,[76] which Gunn confirmed later that month.[77] At that time, Safran was confirmed to be producing the film.[1] Gunn was hesitant to direct the film, despite encouragement from Safran and others, until he realized how focusing on Superman's heritage with his aristocratic Kryptonian parents and adoptive farmer parents from Smallville, Kansas, would inform the characterization. Gunn felt emotionally connected to this aspect of the film because of his late father, whose birthday was shared with the film's intended release date.[1] Gunn said in April that the film's tone would differ from his Guardians of the Galaxy films,[78] and he suggested that Superman's dog Krypto could appear.[78][79][80]
Pre-production[edit]
Production design, costume design, and the casting process began in April 2023.[81][42] Beth Mickle and Judianna Makovsky returned in their respective roles as production designer and costume designer from The Suicide Squad and Gunn's Guardians of the Galaxy Vol. 3 (2023).[82][83] Filming was set to begin in January 2024.[42] Gunn was looking for an actor to play Superman who possessed the character's humanity, kindness, and compassion, and was "somebody who you want to give a hug".[84] He said the character Jimmy Olsen would appear,[85] and that he was not looking to make the film a comedy. He hoped Legacy would be different from previous Superman films while still respecting what came before.[42] Gunn turned in the first draft of the script at the end of April and the production was not expected to be impacted by the 2023 Writers Guild of America strike when it began in early May.[86]
Batman is a 1989 superhero film based on the DC Comics character of the same name, created by Bob Kane and Bill Finger. Directed by Tim Burton, it is the first installment of Warner Bros.' initial Batman film series. The film was produced by Jon Peters and Peter Guber and stars Jack Nicholson, Michael Keaton, Kim Basinger, Robert Wuhl, Pat Hingle, Billy Dee Williams, Michael Gough, and Jack Palance. The film takes place early in the title character's war on crime and depicts his conflict with his archenemy The Joker.
After Burton was hired as director in 1986, Steve Englehart and Julie Hickson wrote film treatments before Sam Hamm wrote the first screenplay. Batman was not greenlit until after the success of Burton's Beetlejuice (1988). The tone and themes of the film were partly influenced by Alan Moore and Brian Bolland's The Killing Joke and Frank Miller's The Dark Knight Returns. The film primarily adapts and then diverges from the "Red Hood" origin story for the Joker, having Batman inadvertently cause gangster Jack Napier to fall into Axis Chemical acid, triggering his transformation into the psychotic Joker. Additionally, Batman co-creator Bob Kane worked as a consultant for the film.
Numerous leading men were considered for the role of Batman before Keaton was cast. Keaton's casting was controversial since, by 1988, he had become typecast as a comedic actor and many observers doubted, he could portray a serious role.[7] Nicholson accepted the role of the Joker under strict conditions that dictated top billing, a portion of the film's earnings (including associated merchandise), and his own shooting schedule.
Filming took place at Pinewood Studios from October 1988 to January 1989. The budget escalated from $30 million to $48 million, while the 1988 Writers Guild of America strike forced Hamm to drop out. Warren Skaaren did rewrites, with additional uncredited drafts done by Charles McKeown and Jonathan Gems.
Batman was both critically and financially successful, earning over $400 million in box office totals. Critics and audiences particularly praised Nicholson and Keaton's performances, Burton's direction, the production design, and Elfman's score. It was the fifth-highest-grossing film in history at the time of its release. The film received several Saturn Award nominations and a Golden Globe nomination for Nicholson's performance, and won the Academy Award for Best Art Direction. It also led to the development of the equally successful Batman: The Animated Series (1992–1995), which in turn began the DC Animated Universe of spin-off media, and has influenced Hollywood's modern marketing and development techniques of the superhero film genre. The film was followed by three sequels: Batman Returns (1992), with both Burton and Keaton returning; Batman Forever (1995), which featured Val Kilmer in the lead role; and Batman & Robin (1997), which featured George Clooney in the role.
Plot
Reporter Alexander Knox and photojournalist Vicki Vale investigate sightings of the "Batman", a masked vigilante targeting Gotham City's criminals. Both attend a fundraiser hosted by billionaire Bruce Wayne, who is secretly Batman, having chosen this path after witnessing a mugger murder his parents when he was a child. During the event, Wayne becomes infatuated with Vale.
Meanwhile, mob boss Carl Grissom sends his sociopathic second-in-command Jack Napier to raid Axis Chemicals and retrieve incriminating evidence. However, this is secretly a ploy to have Napier murdered for sleeping with Grissom's mistress Alicia Hunt. Corrupt lieutenant Max Eckhardt arranges the hit on Napier by conducting an unauthorized police operation. However, Commissioner James Gordon arrives, takes command, and orders the officers to capture Napier alive. Batman also appears, while Napier kills Eckhardt as revenge for the double-crossing. During a scuffle with Batman, Napier topples off a catwalk and falls into a vat of chemicals. Although presumed dead, Napier survives with various disfigurements including chalk white skin and emerald-green hair and nails. He undergoes surgery to repair the damage, but ends up with a rictus grin. Driven insane by his new appearance, Napier, now calling himself "the Joker", kills Grissom, massacres Grissom's associates, and takes over his operations.
He then starts terrorizing Gotham by lacing hygiene products with "Smylex" – a deadly chemical that causes victims to die laughing. The Joker soon becomes obsessed with Vicki and lures her to the Flugelheim Museum, which his henchmen start vandalizing. Batman rescues Vicki, takes her to the Batcave, and provides her with all of his research on Smylex, which will allow Gotham's residents to escape the toxin. Conflicted with his love for her, Wayne visits her apartment intending to reveal his secret identity, only for the Joker to interrupt the meeting. Joker asks Wayne, "Have you ever danced with the devil in the pale moonlight?", which Wayne recognizes as the catchphrase used by the mugger who killed his parents, realizing the killer to have been Joker (as Napier) all along. He shoots Wayne, who survives thanks to a serving tray hidden underneath his shirt.
Vicki is taken to the Batcave by Wayne's butler, Alfred Pennyworth, who had been coaxing the relationship between the pair. After exposing his secret to Vicki, Wayne reveals he cannot focus on their relationship with Joker on the loose. He then departs to destroy the Axis plant used to create Smylex. Meanwhile, Joker lures Gotham's citizens to a parade honoring Gotham's bicentennial with the promise of free money. This turns out to be a trap designed to dose them with Smylex gas held within giant parade balloons. Batman foils his plan by using his Batwing to remove the balloons, but Joker shoots him down. The Batwing crashes in front of a cathedral, which Joker uses to take Vicki hostage. Batman pursues the Joker, and in the ensuing fight, he explains that Napier killed his parents and thus, indirectly created Batman. This leads Joker to realize Batman is Bruce Wayne. Joker eventually pulls Batman and Vicki over the cathedral's roof, leaving them hanging while he calls in a helicopter. The helicopter is piloted by his goons, who throw down a ladder for him to climb. Batman uses a grappling hook to attach Joker's leg to a crumbling gargoyle that eventually falls off the roof. Unable to bear the statue's immense weight, Joker falls to his death while Batman and Vicki make it to safety.
Sometime later, Gordon announces that the police have arrested all of Joker's men, effectively dismantled of what remained of Carl Grissom's mafia organizations, and unveils the Bat-Signal. Batman leaves the police a note, promising to defend Gotham should crime strike again, and asking them to use the Bat-Signal to summon him in times of need. Alfred take
In the late 1970s, Batman's popularity was waning.[9] CBS was interested in producing a Batman in Outer Space film. Producers Benjamin Melniker and Michael E. Uslan purchased the film rights of Batman from DC Comics on October 3, 1979. It was Uslan's wish "to make the definitive, dark, serious version of Batman, the way Bob Kane and Bill Finger had envisioned him in 1939. A creature of the night; stalking criminals in the shadows."[9] Richard Maibaum was approached to write a script with Guy Hamilton to direct, but the two turned down the offer. Uslan was unsuccessful with pitching Batman to various movie studios because they wanted the film to be similar to the campy 1960s television series. Columbia Pictures and United Artists were among those to turn down the film.[10]
A disappointed Uslan then wrote a script titled Return of the Batman to give the film industry a better idea of his vision for the film. Uslan later compared its dark tone to that of the successful four-part comic book The Dark Knight Returns, which his script predated by six years.[9] In November 1979, producers Jon Peters and Peter Guber joined the project.[5] Melniker and Uslan became executive producers. The four felt it was best to pattern the film's development after that of Superman (1978).[11] Uslan, Melniker and Guber pitched Batman to Universal Pictures, but the studio turned it down.[12] Though no movie studios were yet involved, the project was publicly announced with a budget of $15 million in July 1980 at the Comic Art Convention in New York. Warner Bros., the studio behind the successful Superman film franchise, decided to also accept and produce Batman.[13]
Tom Mankiewicz completed a script titled The Batman in June 1983, focusing on Batman and Dick Grayson's origins, with the Joker and Rupert Thorne as villains and Silver St. Cloud as the romantic interest.[14] Mankiewicz took inspiration from the limited series Batman: Strange Apparitions, written by Steve Englehart.[15] Comic book artist Marshall Rogers, who worked with Englehart on Strange Apparitions, was hired for concept art.[12] The Batman was then announced in late 1983 for a mid-1985 release date on a budget of $20 million. Originally, Mankiewicz had wanted an unknown actor for Batman, William Holden for James Gordon, David Niven as Alfred Pennyworth, and Peter O'Toole as the Penguin, whom Mankiewicz wanted to portray as a mobster with low body temperature.[13] Holden died in 1981 and Niven in 1983, so this would never come to pass. A number of filmmakers were attached to Mankiewicz' script, including Ivan Reitman and Joe Dante. Reitman wanted to cast Bill Murray as Batman and Eddie Murphy as Robin.[7] Nine rewrites were performed by nine separate writers. Most of them were based on Strange Apparitions. However, it was Mankiewicz's script that was still being used to guide the project.[16] Due to the work they did together with the film Swamp Thing (1982), Wes Craven was among the directors that Melniker and Uslan considered while looking for a director.[17]
After the financial success of Pee-wee's Big Adventure (1985), Warner Bros. hired Tim Burton to direct Batman. Burton had then-girlfriend Julie Hickson write a new 30-page film treatment, feeling the previous script by Mankiewicz was campy. The success of The Dark Knight Returns and the graphic novel Batman: The Killing Joke rekindled Warner Bros.' interest in a film adaptation. Burton was initially not a comic book fan, but he was impressed by the dark and serious tone found in both The Dark Knight Returns and The Killing Joke.[7] Warner Bros. enlisted the aid of Englehart to write a new treatment in March 1986.[18] Like Mankiewicz's script, it was based on his own Strange Apparitions and included Silver St. Cloud, Dick Grayson, the Joker, and Rupert Thorne, as well as a cameo appearance by the Penguin. Warner Bros. was impressed, but Englehart felt there were too many characters. He removed the Penguin and Dick Grayson in his second treatment, finishing in May 1986.[18]
Burton approached Sam Hamm, a comic book fan, to write the screenplay.[13] Hamm decided not to use an origin story, feeling that flashbacks would be more suitable and that "unlocking the mystery" would become part of the storyline.[15] He reasoned, "You totally destroy your credibility if you show the literal process by which Bruce Wayne becomes Batman."[19] Hamm replaced Silver St. Cloud with Vicki Vale and Rupert Thorne with his own creation, Carl Grissom. He completed his script in October 1986, which demoted Dick Grayson to a cameo rather than a supporting character.[20] One scene in Hamm's script had a young James Gordon on duty the night of the murder of Bruce Wayne's parents. When Hamm's script was rewritten, the scene was deleted, reducing it to a photo in the Gotham Globe newspaper seen in the film.[21]
Warner Bros. was less willing to move forward on development, despite their enthusiasm for Hamm's script, which Kane greeted with positive feedback.[7] Hamm's script was then bootlegged at various comic book stores in the United States.[15] Batman was finally given the greenlight to commence pre-production in April 1988, after the success of Burton's Beetlejuice the same year.[7] When comic book fans found out about Burton directing the film with Michael Keaton starring in the lead role, controversy arose over the tone and direction Batman was going in.[22] Hamm explained, "They hear Tim Burton's name and they think of Pee-wee's Big Adventure. They hear Keaton's name, and they think of any number of Michael Keaton comedies. You think of the 1960s version of Batman, and it was the complete opposite of our film. We tried to market it with a typical dark and serious tone, but the fans didn't believe us."[15] To combat negative reports on the film's production, Kane was hired as creative consultant.[11] Batman's co-creator, Bill Finger, was uncredited at the time of the film's release and his name was not added to any Batman-related media until 2016.
Legacy
Anton Furst and Peter Young won the Academy Award for Best Art Direction,[103] while Nicholson was nominated for the Golden Globe Award for Best Actor (Musical or Comedy).[104] The British Academy of Film and Television Arts nominated Batman in six categories (Production Design, Visual Effects, Costume Design, Makeup, Sound and Actor in a Supporting Role for Nicholson), but it won none of the categories.[105] Nicholson, Basinger, the makeup department, and costume designer Bob Ringwood all received nominations at the Saturn Awards. The film was also nominated for the Saturn Award for Best Fantasy Film[106] and the Hugo Award for Best Dramatic Presentation.[107]
The success of Batman prompted Warner Bros. Animation to create the acclaimed Batman: The Animated Series, as a result beginning the long-running DC Animated Universe[108] and helped establish the modern day superhero film genre. Series co-creator Bruce Timm stated the television show's Art Deco design was inspired from the film. Timm commented, "our show would never have gotten made if it hadn't been for that first Batman movie."[109] Burton joked, "ever since I did Batman, it was like the first dark comic book movie. Now everyone wants to do a dark and serious superhero movie. I guess I'm the one responsible for that trend."[110]
Batman initiated the original Batman film series and spawned three sequels: Batman Returns (1992), Batman Forever (1995), and Batman & Robin (1997), the latter two of which were directed by Joel Schumacher instead of Burton and replaced Keaton as Batman with Val Kilmer and George Clooney, respectively.
Executive producers Benjamin Melniker and Michael E. Uslan filed a breach of contract lawsuit in Los Angeles County Superior Court on March 26, 1992. Melniker and Uslan claimed to be "the victims of a sinister campaign of fraud and coercion that has cheated them out of continuing involvement in the production of Batman and its sequels. We were denied proper credits, and deprived of any financial rewards for our indispensable creative contribution to the success of Batman."[5] A superior court judge rejected the lawsuit. Total revenues of Batman have topped $2 billion, with Uslan claiming to have "not seen a penny more than that since our net profit participation has proved worthless."[5] Warner Bros. offered the pair an out-of-court settlement, a sum described by Melniker and Uslan's attorney as "two popcorns and two Cokes".[111]
Reflecting on the twentieth anniversary of its release in a retrospective article on Salon.com, film commentator Scott Mendelson noted the continuing impact that Batman has had on the motion film industry, including the increasing importance of opening weekend box office receipts; the narrowing window between a film's debut and its video release that caused the demise of second-run movie theaters; the accelerated acquisition of pre-existing, pre-sold properties for film adaptations that can be readily leveraged for merchandizing tie-ins; the primacy of the MPAA PG-13 as the target rating for film producers; and more off-beat, non-traditional casting opportunities for genre films.[112] The film was responsible fo
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