Modern pop culture is dominated by adaptations of superhero comics created 60-80 years ago. Static Shock was created in 1993.
We (hopefully) get a Static shock The film is produced by DC Films and Warner Bros. And Michael B. Jordan’s Outlier Society. This is the news from The Hollywood Reporter Yesterday, Jordan will be a lead producer alongside the currently attached Reginald Hoodlin (who is on the verge of relaunching Milestone Comics) in a move that makes Virgil Hawkins more likely to have his own movie. Assuming all of this is happening, and that Static shock Becoming a live theatrical feature, Static Shock, created in June of 1993, will make the latest DC or Marvel superhero to have his or her superhero movie or series.
The only possible exception is Harley Quinn. Dr. Quinzel appeared in Batman: The Animated Series In September 1992 and appeared in the comedy in August of 1993 in The Adventures of Batman Number 12. It will be entered into DC DC during the year-long “No Man’s Land” event (during which Gotham was cut off from the rest of the country in the aftermath of a massive earthquake) in 1999. And yes, Miles Morales, created by Brian Michael appeared Bindis and Sarah Pitchili in August 2011 and they got their own animated movie (Spider-Man: Into the Spider-Verse) in December 2018.
Even Steel appeared around the same time as Static Shock, with John Henry Irons appearing in the mega event “Death of Superman” one month before Milestone Comics (a company specializing in new comics from black writers and artists distributed through DC) arrives in the scene . And you can certainly argue about how faithful the source is Shaquille O’Neal Solid It came back when it bombed ($ 1.7 million) in August of 1997. Other than that, the various DC / Marvel superheroes who got their live-action movies are either superheroes of decades ago (Superman, Spider-Man, Iron Man, etc.) Or characters who appeared in the 1970s (Wolverine), 1980s (Venom) and early 1990s (Deadpool, Steele).
This was one of the issues with contemporary pop culture revolving around predominantly white men born before World War II or just before the Vietnam War. No, I don’t think grounding the MCU is in itself a glorification of fantasies of superhero power in abstraction. If it were just supernatural fiction as just a subspecies, Hellboy It wouldn’t have bombed last year, and Disney wouldn’t be sad about transforming Mulan into a superhero. Audiences flock to the MCU, relatively speaking, DC Films because they love the cinematic embodiment of those specific characters.
They love Chris Hemsworth’s Thor and Gal Gadot’s Wonder Woman. However, the market was still dominated by revamped and updated adaptations of characters from half a century ago. It’s not unlike the “We Have to Make James Bond and Tarzan wake up” schtick, which seems easier for Hollywood than adapting new characters who don’t have problematic contexts and historical legacies of previous generations. With the exception of these updated adaptations of characters created in the 1940’s, 1970’s, and 1980’s, it actually records blockbuster movies that now dominate popular culture and entertainment media, which you can’t say to Hercules, Peter Pan, King Arthur or Robin Hood.
Marvel and DC movies made / will make some demographic updates, such as selecting Pacific Islander character Jason Momoa as Aquaman, making Anthony Mackie post Steve Rogers’ Captain America and focus on the next ox Film about Jane Foster; Natalie Portman / Mighty Thor. This still takes the established white man heroes and makes them more varied by either unconventional cast or the use of updated comic arcs that offer more enlightened narratives. This is obviously a positive thing, but it is not much different from “Hey, we want an Indiana Jones lady!” She differs from the completely new characters who also happen to be “not a white man”.
As far as the “moment” screen heroes are concerned, we got a little bit of that in the ’90s after Tim Burton Batman. Whereas mainstream Hollywood offered mostly core mods that were not clicked commercially (Dick Tracy, rocketer, shadow, ghost), New Line Cinema is highly rated by comic book fictions in the present tense and moment based on both popular and new comics such as The mask ($ 350 million in 1994), Teenage Mutant Ninja Turtles ($ 200 million in 1990), and Spawn ($ 88 million in 1997). New Line’s 1998 adaptation of code (It was created in 1973 … so just, uh, the 25-year gap) opened the door to Tenth of the men And the Spider Man.
Meanwhile, Brandon Lee the crow It started in Paramount
Once the Marvel Cinematic Universe arrives with Iron Man In 2008, and after that man of Steel He announced the unofficial arrival of DC Films in 2013, and the priority was to build successful superhero universes / franchises. As such, especially for Marvel who was fair first, a premium has been placed on the prevailing traditional safe characters which means a group of white men save the world and get the girl. Genre customization will follow, but we must never forget DC’s mockery that is relatively stumbling from the portal with Batman and Superman only to rise with Wonder Woman, Aquaman, and R-rated Joker dramas and Action-lite.
Now, like Walt Disney
Heck, if it all worked, and that’s a big “if”, then we might see DC Films broken up into subsections, like the Shazam / Black Adam / Justice Society franchise, DC Films live continuity, and Milestone / Dakotaverse being Rocket, Icon, and Starlight, single shots (Joker Batman, Capital Superbits) And all that will happen from Zack Snyder’s first three movies after SnyderCut of Justice Squad It will debut next year on HBO Max. But this is rhetoric. For now, Michael B. Static shock Movie, and Virgil will make the latest (and yes, younger) Marvel or DC superhero to have their own live-action movie.