Despite a couple of charmingly enthusiastic performances from Pedro Pascal and Kristen Wiig, Wonder Woman 1984 disappoints, betraying what the title character stands for. We discuss the gender dynamics and representations, the Eighties setting, the Trumpian themes of greed, lust for power and the use of mass media to con, the opening scene that offers a glimpse of what the film could have been, and more. Although we criticise the film throughout our conversation, there’s still enough in it that we liked to force us into a mixed conclusion. But what’s wrong with it is really, really wrong indeed.
DC’s search for a cinematic tone continues to lurch between monochrome gravity and Technicolor frivolity, James Wan’s Aquaman firmly occupying the latter end of the spectrum. Although Mike has long been amused at how feeble is the concept of a superhero whose power is fish telepathy, the film has a good sense of humour about itself (even if some of the specific jokes are a little clunky) and hugely enjoyable freedom in its design, the giant seahorses a particular charm.
We discuss what’s to like and dislike about the film’s visual design and action, its message that violence is the least good solution to any problem, the welcome wisdom and calmness brought by Willem Dafoe and Dolph Lundgren (yes, really), and its adaptation of Arthurian legend and how it fits into a recent spate of films and television programmes fascinated with monarchy, bloodlines, divine rights and so on.
Jose is overall more reserved than Mike but still announces that he enjoyed himself, and the golden rule holds true: the key to happiness is low expectations.
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