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More than that, comic book content is created more frequently and more dynamically than a film, and it requires the navigation of fewer creative partnerships.
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They do not have any competing personal or professional demands. Most obviously, comic book characters exist as pure intellectual property - as drawings and concepts. Of course, shared universes are easier in comic books, for a number of reasons. However, few people really discuss it as a shared universe. It spans eight movies across four separate sub-franchises, has grossed $2.1 billion on a combined $179 million budget, and never required the sort of retooling and course correction that led to something like Joss Whedon’s Justice League.
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It is perhaps revealing that the second most successful shared universe of the 21st century has been the Conjuring universe - the series of interlinked horror movies and franchises overseen by James Wan. Those that stumbled into being were often modest successes at best: the LEGOverse, the Monsterverse, the Sony Pictures Universe of Marvel Characters. The decade would be decorated with the burnt-out remains of failed universes: the Dark Universe, the King Arthur universe, the Robin Hood universe. Neither slowly nor surely, they drew their plans. Theoretically, a shared universe is a rising tide that can lift all boats, leading to a situation where a joke character like Ant-Man (Paul Rudd) can headline a $519 million movie, outgrossing a Terminator sequel and a beloved Mad Max movie.Īs Marvel built the most successful film franchise in history, other studios regarded the shared universe with envious eyes. Hollywood has been obsessed with the prospect of “the shared universe” since the success of The Avengers in 2012 demonstrated that Marvel Studios could use continuity and fan loyalty to propel a bunch of then-B-list characters to the top of the annual box office. In some ways, it demonstrates the folly of the shared universe as a cinematic concept. This puts the company in a pretty bleak situation, effectively having to construct an elaborate and expensive blockbuster to serve the purpose of adjusting its larger shelf of intellectual property. to effectively keep what it likes and discard what it doesn’t. Recent reported leaks suggest that The Flash will serve as a reset button for the larger DCEU, allowing Warner Bros. The cast will include both Michael Keaton and Ben Affleck as two different versions of Batman, with Keaton recently confirmed to be carrying on into the Batgirl film, suggesting a continuity reset.
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The recently confirmed cast list includes actors Michael Shannon and Antje Traue from Man of Steel, suggesting that the Flash will travel to the events of the first movie in the series. There is some indication that the upcoming Flash movie will serve the same purpose for the tangled continuity of the DCEU. The comic ended with the character effectively resetting comic book continuity, leading to the launch of “ the New 52.” Put simply, Flashpoint was a 2011 comics event in which the title character abused his powers in such a way as to rewrite the internal continuity of the DC Universe. The project lost multiple directors along the way, including Seth Grahame-Smith, Rick Famuyiwa, and duo John Francis Daley and Jonathan Goldstein.Īlthough there have been multiple pitches suggested for the film, including one from star Ezra Miller and comic book writer Grant Morrison that was ultimately rejected, discussions keep circling back to Flashpoint. It was originally intended to be released before Justice League, with a target date of 2016.
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initially planned for The Flash to be one of the first wave of movies in its DC Extended Universe (DCEU). Following the release of Man of Steel, Warner Bros. The Flash has had a particularly storied production history. If the rumors that are currently circulating about the upcoming release of The Flash turn out to be true, maybe shared universes simply aren’t worth the hassle.