DC Reboot Pitch: Green Lantern

The Deal: this is the fifth in a series of pitches for the rebooted DC Movies. I’m using AI art to mock-up these pitches, which has proven to be more amusing than accurate.

The Pitch

Who knows what green lurks in the hearts of men? The Phantom knows. Wait…

We open on an experimental craft at an air show. The announcer tells us it’s Ferris’ newest innovation, flown by Coast City’s own Martin Jordan. His young son, Hal and his wife are there, saying goodbye and wishing him luck. She’s worried, and her fear is making Hal anxious, so Martin gives Hal his leather bomber jacket, then kisses his wife. He gives the audience a wave and then climbs into the plane.

The craft screams overhead. We’re making something of a play for that Top Gun audience, so we get some nifty flying shots before the engine blows. Jordan and Ferris communicate over the radio. Ferris wants him to bring the plane down safely, because of the investment it represents. Jordan tells him the plane’s coming down hard- and if he brings it down in front of the stands a lot of people are going to get hurt. We pan down, and see that he’s already tried to eject- and it’s malfunctioned- he’s made the decision to sacrifice himself to save other people.

We watch young Hal and Carol, transfixed, afraid, as they watch the craft descend. Carol grabs Hal’s hand tight, and we cut to the modern day.

Hal is a freelance astronaut, for all intents and purposes. He works for a Space-X competitor (technically sub-contracted through Ferris Air), run by Hector Hammond. Hammond is renowned (but also considered a kook) for his intensive personality testing in who he hires. That’s because his psionic abilities put him in touch, essentially subconsciously, with the emotional spectrum, and he can feel its power even if he hasn’t figured out how to use it.

That’s the reason in his employ Hammond has John Stewart working as an aeronautical engineer, Kyle Raynor working as a graphic designer, and even Guy Gardner as his chief of security, and William Hand as his chief technician, responsible for most of the builds. He puts the Ferris Air staff through the same process, which is why he works so closely with both Carol Ferris and Hal Jordan.

Gardner needs a little extra love just because his character usually… sucks. But he doesn’t have to. See, he was beaten by his alcoholic father as a kid, and as a result hated him, and hated booze. Seeking to help kids who were struggling through similar circumstances, he put himself through school, getting dual degrees in education and social work. And he was good at it. He was empathetic, and kind. But he was still angry. One kid reminded him too much of himself, and he was shaken; that might have been the end of it, but the kid’s father found out he was talking to the school’s counselor, and burst in. Guy didn’t see him there- he only saw his own father, only saw himself cowering, and beat the living hell out of him. He likely would have ended up in prison, except the ‘arresting’ officer was his brother. Guy had been an MP in the military; that paid for his schooling. His scores were off the chart, to the degree that police forces tried to recruit him when his time in the service was up. But he didn’t like that being an MP brought out his aggressive side, so he pursued education. His father, now a captain with the Boston Police Department, is able to broker a trade: Guy works with the Boston PD for a few years, they make the charges go away; this is viable because under questioning the father confesses to child abuse, and can’t remember whether he or Guy took the first swing. Guy is a pretty good cop, but it gives him the same opportunity for violence, also giving him a template for bravado covering up his pain. He’s recruited by Hammond, who gives him a dual role, working with his human resources in a hands-on capacity, but also running his security. In most instances, Guy is insulated from the day to day, but Hammond insists on Guy also being his personal security, too, often tasked with playing the heavy, bringing him directly into conflict with Hal, who has a history of belting authority figures.

Jordan and Stewart become fast friends. They’re both military men, ones who on balance enjoyed it. They become drinking bodies and confidantes. I’d model their relationship somewhat off of Tony and Rhodey.

They tolerate the dreamer who designs most of the graphics and handles the social media for Hammond, Kyle Raynor. He looks up to them; he’s kind of the Jimmy Olsen to Hal’s Superman.

And then there’s Carol. Hal’s always had an eye for Carol… and she’s never given him the time of day. The reason is the Ferris family views Martin’s death as their fault; Carol can’t see Hal, even now, and not see that little boy her family destroyed. This led them to be protective of Hal. They hired him when no one else would- after he washed out of the Air Force after hitting his superior officer. Hal always had trouble with authority, and that’s continued with the Ferrises. Hammond is pursuing Carol, but she’s reluctant, since at this point her company is reliant on his for its survival, so a relationship would put her in an uncomfortable position.

We establish all these relationships early, because once the plot starts moving, it’s going to be pretty nonstop. But it’s during one of these nights at the bar that John finally levels with Hal. Hal sees Carol as a cold ball-buster, and it’s clear from their conversation that some of what he feels about her is residual resentment over her family’s culpability in his father’s death. John’s getting more annoyed the more Hal complains, before finally slamming down his beer. “She fought like hell for you.” At first Hal’s confused. “After you washed out, the reason no one would touch you is insuring a wash-out is expensive. You’re a literal liability. But she fought for you. Fought Hammond, fought the board- raised enough of a stink that I heard it all the way in engineering. And you know why? Because she knows there’s more to you than your record. She knows why you decked that general- why you gave her and her father so much shit. She knows your story- your real story- not the one in your file, but the man you are between those lines.”

Kyle looks up from his doodling long enough to confirm he heard about her advocating in the marketing department, too. John hammers him a little more, about not knowing what all happened between them, but that he knows she was a kid when Hal’s father died- she isn’t who he’s pissed at.And that her father pulled strings for him, too; Hal’s scores were passable but not transcendent, so part of the reason Hal got to be a pilot was because of Ferris’ intervention.

You’ve got the wrong Atrocitus. The one you want is much uglier.

We cut to Abin Sur. He has a prisoner in his ship, one taunting him for not trusting his ring, needing the ship, that his fear makes him weak, that his terror at the coming Blackest Night will be his downfall. To demonstrate this, Atrocitus uses his red power ring to tear his way out of Sur’s energy prison and attack him as he’s flying.

Hal is sitting in the cockpit of a new fighter. He has a picture of his father taped to the instruments, and while waiting for a clear runway, talks to it. “I think John’s right. I think… I think I put a lot of blame on a lot of people over the years, because I couldn’t understand why you left us- and I couldn’t be mad at you for being gone. I made things harder on people who didn’t deserve it. That’s not the kind of man I want to be, pop.” He gets told over the radio that the runway is clear, and they’re go for the test-flight.

Essentially, now that there’s a space force, there’s a need for a space fighter. Jordan gets it to break atmosphere, the purpose of the test, but then sees the alien craft hit the atmosphere at the wrong angle, taking heat damage as a result. He radios in that he’s in pursuit of a crashing craft. Hammond tells him to leave it- he’s completed his task, and every second more risks everything. Hal knows whoever is piloting that craft is going to need assistance, and their only hope is getting help there as soon as possible- requiring accurate coordinates of the crash site, though he’s largely unable to articulate this past his anti-authority knee jerk. Carol is in the room with Hammond, and tries to explain that’s who Hal is. Hammond dismisses her as having a soft spot for Jordan. She’s still in denial, but Hammond sees that Jordan stands in the way of the future he wants with Carol. He asks her to leave, to let him talk to Jordan alone.

Sur and Atrocitus fight but it’s clear that Sur has already lost, and isn’t even able to protect himself as the ship crashes. Atrocitus wonders if he’ll be able to take Sur’s ring once he’s dead; Sur whispers something to his ring, and it flies off his finger as they crash.

Hammond tries one last time to convince Hal to come back, telling him he’s risking the entire project. When Jordan refuses, he hits a button beneath his desk, and Jordan’s engine explodes, sabotaging his ejector and landing gear as well. Hammond taunts Jordan with the reality of the situation- he can let the plane fly level, and hit Coast City, or he can ditch in the desert like his father. Hal points the jet at the desert, before catching his father’s photo out of the corner of his eye, and realizing he’s about to die like him. “I get it. You didn’t hesitate to do the right thing.” Something green flies into the cockpit, and onto Hal’s finger. “Hal Jordan, you have the ability to overcome great fear,” the ring tells him, and a green energy sheath enfolds him as the ship hits the sand.

Jordan opens his eyes a moment later, floating towards Sur’s wreckage. Sur is dying. Sur touches the ring, and calls to Sinestro to help capture his prisoner and stop the Blackest Night. A surge of energy engulfs Jordan as the signal is sent interstellar, and Jordan passes out. He wakes to find Sinestro there. Sinestro explains that the strain of that kind of communication can take a lot out of a Green Lantern- especially a fresh recruit. Sinestro offers to train him while they search for Atrocitus. Hal bristles at being under this new authority, but also kind of gets caught up in all of it, too.

Hal never believed his mother that if he kept making that face it would stay that way, until…

Atrocitus is mostly laying low. He knows the Earth is not without its own heroes, and hopes to locate his quarry without drawing attention, because while being the leader of a Corps., he hasn’t figured out how to recruit new members, so it’s just him, for now. It doesn’t take much; his ring is able to connect to the internet, and finds William Hand quickly.

Sinestro and Hal camp in the desert, where Sinestro preaches a parallel lesson, that to effectively combat an enemy, one must understand them. He gives Hal access to Atrocitus’ files in the Corps., usually blocked off without special permissions. Hal is horrified that the Guardians raised his sector, but Sinestro is cold about it- saying that they were a threat to all the sectors, and while the Manhunters were overzealous, hence their replacement by sentients- the war they fought was just.

The next day, Atrocitus attacks Hammond’s building; Hand’s employment there is public record, but his home address is not. That brings him into direct conflict with Guy Gardner. Atrocitus chews through the security staff, but his ring recognizes in Guy a potential recruit, and splits, one of the rings recruiting Guy. Guy, essentially in a fugue state of rage, leads Atrocitus directly to Hand, who was walking Carol and Hammond through a new innovation.

The battle between good and evil was always going to come down to rock paper scissors…

At that moment, Sinestro and Hal arrive. Hal wants to confront Hammond for trying to murder him, but goes to aid Sinestro, instead. Together they might be able to take Atrocitus, but the addition of Guy makes it too much. Hal peels off Guy, and then connects to all of his public records. We watch as pages flip past, as the ring scans information into Hal’s mind. “Wait,” Hal says to his ring. “It’s too much. It’s his whole life, but it’s also… the least important parts of his life. He isn’t… he’s more than that man on paper.”

To make it more dynamic for the audience we cut to a series of vignettes. We see Guy as a child with his father in a polceman’s uniform in his captain’s office. Guy has a black eye and a bleeding lip. “Rolly, you’re a great cop, but you got too much anger in you. You can’t take it home and take it out on your kids. This is the last time I look the other way. Understand?”

We cut to later, Guy, now an adult, a little ruffled, talking to a different cop. “Guy, you want to hit people, say the word; I can make this go away, and put you in a uniform. You’re my brother, and I love you, but a school counselor can’t go belting parents.”

“He was dad.”

“I know. I’ve seen the referrals to child protective services. He’s a real piece of work.”

“No. I didn’t see him. I saw dad. I was fighting back against our dad, the way we couldn’t when he’d hit us.”

“Christ. I know how he was, okay? And I know you took as many beatings for me as you could. But you gotta do something about this rage. Sometimes the only thing I can do is give it to the right people.”

“I don’t want to hurt anyone.”

“Look, I spoke to dad. He pulled strings. Charges dropped… but you got to come work with us.”

“Then lock me up.”

“Look. Dad still sucks. Still tries to make me think we made up all those times he beat on us. But this is it, your best bet. No school will touch you, now. But you do your time as a uniform, and maybe one will take you on as a resource officer, and you can go back to helping kids.”

Later, the both of them, a little older.

“I did my time,” Guy says angrily.

“You’re breaking dad’s heart.”

“I don’t believe he has one to break. And I’m done hurting people. I found a job that will let me connect, and not with my fist.” He grabs his brother’s shoulder. “Don’t be dad. Get out of this job while you still got enough of a soul to be something else.”

Back in the modern moment, Hal puts his hand on Guy’s shoulder. Guy punches him, and punches him between every line. “You don’t have to be your father. You don’t have to hurt people. You care- I get that now. You want to connect- and not with your fists.” Guy stops, and tears the red ring off his finger with a howl of unadulterated anger, sending it bouncing across the floor.

Sinestro is being beaten, badly, by Atrocitus, who is using the moment to preach to William Hand about his destiny, about his greatness, about the bleak havoc he will reek on a deserving universe (one he blames for allowing the Guardians to run rampant). Things change as Guy and Hal, now both wearing Green Lantern rings, burst in. The three Green Lanterns, even with two of them being relatively green (pun intended), make short work of Atrocitus, and recapture him.

50 Shades of Green: The 10-hour deleted scene where Kilowog teaches Sinestro the meaning of ‘submission.”

In the aftermath, Hal, now back in civilian clothes, finds Carol. Hammond has left, an extended sabbatical, leaving Carol in charge of his entire operation. Her head is swimming, and she’s freaked out by the increased responsibility. He puts his hand on her shoulder. “I don’t want to add to an already overfull plate, but… I know I’m not always the easiest man to know. So I wanted to thank you, and your family, for looking out for me. You didn’t have to. What happened with my dad, it was an accident; accidents happen, especially when you’re a test pilot on the bleeding edge. Dad loved being there, and he understood the risks, just like I do. And I know the risks you’ve taken with me, and I wanted to tell you I am so grateful for that, and so sorry for not being able to process all of this in a healthier way sooner, and for all the crap you took from me because of that. But there’s one last risk I’d love for you to take on me: would you let me take you to dinner?”

“No,” she says coldly. “But I’ll let you buy me coffee, and we’ll see how that goes.”

They don’t even realize Hector is lurking in the background. We follow him as he storms away, back to his room. He opens a safe, a lead-lined safe, and takes out a gleaming rock, and we see his head pulse.

We have two end-credits scenes. In the first, Hammond, still clutching his rock, visits Hand in his lab. He’s in possession of the Red Lantern ring Gardner removed- although he can no longer activate it. But during the fight his equipment got enough solid readings from them that he thinks he can reverse-engineer their power signature- he suspects his black ring can steal the energy of a Green Lantern ring and use it himself. Given enough time, he might even be able to figure out a way to power it himself. Hammond smiles.

In the second, Sinestro takes Hal to Oa, to speak with the Guardians. They tell him the first prophecy in the book of the Black has come true with the return of the first of the Five Inversions. They say they’re going to need to begin recruiting for the battles ahead, and Hal says he might know some good guys.

DC Reboot Pitch: Wonder Woman

This is the fourth in a series of pitches for the rebooted DC Movies.

Note: I got really excited at the prospect of using AI art to mock-up these pitches, cause real talk, a pitch with pictures is a thousand times more exciting than one with just words (I think that’s how the quote goes). And AI is largely not up to the task. But we can still have some weird fun as we roll with this punch.

I’m going to try not to duplicate myself, despite this not being my first Wonder Woman rodeo. Or my second, for that matter…

Pitch

Little known fact: Amazons fletched their arrows with plump worms, or their own torn-off fingers.

Wonder Woman begins with a hunt. The Amazons are tracking a sacred deer, hunted only once a year and slaughtered in honor of Artemis. We cut back and forth, to earlier in the day, where Hippolyta wants her daughter to participate in the hunt, to really participate, to compete. Diana doesn’t want to; she doesn’t want to use the advantage of her gifts over her sisters, and she doesn’t like killing. Hippolyta offers her what she’s wanted so desperately for over a century- permission to leave to intervene in Man’s world. If she wins. Diana leaves, angry at her mother’s attempts to control her.

Many Amazons loose their arrows, but it is eventually Diana who overtakes the beast. She lunges at it, deflecting her sisters’ arrows with her bracelets. She refuses to kill it, and lets it free. The other Amazons are in awe; most of them can’t hit it with an arrow, but Diana captured it by hand. We intercut with earlier; Antiope pulls Diana to the side, and says winning doesn’t have to involve killing- in fact, in winning she can make sure there isn’t any death. The Amazons stare in amazement at Diana. One murmurs about her being a hunter to rival the goddess Artemis herself.

We pull back, and Artemis, the goddess, slaps the reflecting pool she was watching the hunt through. Hera, her adoptive mother is there, and asks what troubles her. She’s angry, at the deer not being sacrificed to her, at the Amazons daring to compare Diana to a goddess. Hera asks if mercy, and forgoing its flesh, is not itself a sacrifice. Artemis angrily tells her that a hunt does not end in mercy, and storms off.

We flash back, to show Wonder Woman has been asking to intervene in the world of man since the first World War. Every time, her mother consulted Athena, and every time, the goddess of wisdom told the Amazons to stay hidden.

We cut to day. Steve Trevor and Barbara Minerva are in a dogfight in the skies near Paradise Island. Her tail has Cheetah stripes; she’s developed a reputation as a Cheetah, ripping scores from the jaws of meaner and hungrier predators. For that reason one of her prized possessions is a cheetah-skin wrap she was given after the completion of a successful job, and she’s rarely without it. He’s pursuing her, but they’re both gifted pilots. The fight lasts long enough to justify featuring in the trailer, so we can go after that Top Gun: Maverick money.

Minerva’s jet crashes into the island’s invisible bubble, which keeps the Amazons hidden, even from satellite, an instant before Steve’s does. Normally Barbara could take him hand to hand, but his landing was slightly softer, since he had a moment more to prepare for the crash, so Steve triumphs, and pockets a canister of microfiche she had.

The Amazons find him standing over a bloodied Minerva. Being naturally distrustful of men, they believe Barbara’s story that Steve is a spy she was hunting, and they hold him captive. She gets free reign of the island, and begins stealing artifacts and sizing up the Amazons defenses.

This Barbara Minerva’s stepfather abused her and her mother; he made her feel small, inconsequential, vulnerable, so she joined the military immediately after high school. She told everyone it was to pay for her degree in anthropology… but both were means to never having to feel like a bigger predator’s prey ever again. Since graduating she has been working as a mercenary in world conflicts to gain access to sacred sites to pillage them, occasionally passing intelligence between shady groups as a side hustle (because when in Rome). That’s why Steve was after her- she has information that could be vital to stopping a terror attack. It’s not a huge detail, but it’s being orchestrated by higher powers; it isn’t a coincidence she ended up on Paradise Island. Eventually she finds a shrine to Artemis. Sensing a kindred spirit, Artemis lures a cheetah to the shrine, and it attacks Minerva, shredding her fur. She kills it with her bare hands.

Clearly the Cheetah has broken her right arm so badly it’s facing the wrong direction.

Artemis blesses Barbara for her killer instinct with a boon, and turns her into her avatar on Earth- transforming her into the mystically powered Cheetah, in the hopes to use her new disciple to gain revenge for the snub during the hunt. She’s capable of transforming into a lethal cat woman and back at will- subterfuge being one of a hunter’s greatest strengths. She continues hunting for artifacts and intelligence, but also has new prey in her sights: Wonder Woman.

Diana wants desperately to leave the island. She knows with her gifts she could be doing so much good in the world, even if she’s naïve about what the world actually is. To that end, she splits her time between Barbara and Steve, trying to learn as much as she can, initially building a friendship with Barbara and a rivalry with Steve. But she personally knows the goddess of wisdom; eventually she starts to realize something isn’t right about Barbara, and that Steve maybe isn’t what her prejudices tell her.

Good God, what have they done to his hands? The monsters!

During the day, Trevor is interrogated brutally by Amazons. At night, Diana sneaks in, to question him about world conflicts she regrets them not intervening in, and the state of the world. He sees it as a technique; she’s keeping him from sleeping, while also playing good cop. Eventually he snaps and confronts her, and her naivete convinces him that she really is genuinely concerned about the damage their inaction makes them complicit in. He tells her he’s been through SERE school- Survive, Evade, Resist and Escape- that the first principle of interrogation is that all the prisoner has to do is hold out until his intelligence is no longer valuable. The problem is he’s on the other side of that equation- the intel he needs to get out to the world to stop harm is only useful for a very short, very set period of time. Minerva was the go-between, putting teams in place for a strike. She doesn’t know what it is, only that she needed a diverse team from certain groups, to make an assault look like a coordinated attack from the Axis of Evil, potentially touching off World War 3, but at a minimum hurting a lot of innocent people and sowing conflict.

Meanwhile, Hippolyta uses her tiara (which will eventually be part of Diana’s costume) to open a portal to Olympus. She asks Athena what they should do with Trevor. Athena tells the queen he must be executed- but not just any execution, it needs to be shown to the world, so that they know Amazonian sovereignty is not to be infringed on. Hippolyta is troubled by the demand, but has learned over the years not to question the Gods, and sets about making preparations.

Diana discusses with Trevor her reservations, finally resolving to confront her mother. But on the way she’s attacked by Minerva. She’s a fierce, formidable woman, now, even beyond her mercenary skills and training, and nearly kills Diana before Steve intervenes, having picked his restraints some time ago. After helping her chase off Cheetah, he willingly walks back into his cell and puts back on his chains. Diana tells him he should flee, that they plan to execute him. He says he knows- that she’s stayed because of him, but when she leaves she might be able to pass his intel to someone who can stop the attack- that the mission is more important than one man.

Diana goes to her mother. Hippolyta doesn’t take much convincing, and agrees to take Diana to speak with Athena, believing that a goddess of wisdom must see reason. Athena gives a speech, a sweeping one, about the old Gods not being respected, and the Amazons, as their chosen daughters, similarly not being respected, that the only way to place both in the esteem they deserve is with a sacrifice. Diana squares to Athena. “I was gifted wisdom by the goddess Athena, and he is no Athena,” her hand instinctively goes to her lasso, to telegraph that her next step is forcing the truth from him.

Ares laughs, ending his charade. “I overplayed, didn’t I? Ah, well, the deed is done. You’ve delayed Trevor’s mission long enough there is no stopping what comes next, and the nations of the world will still blame you.”

They leave, and Diana asks if they finished studying Steve and Minerva’s planes- it turns out the Amazons have been reverse-engineering them since the incursion. Hippolyta says yes. Diana tells her to feed the information into their invisible dome- a gift from the gods to keep them hidden- that if she can form it into a plane it might be able to get her there in time to stop Ares’ plan. Hippolyta objects, because that will leave their island exposed for all the world to see, and Diana says, “We are rejoining man’s world, mother; that decision has been taken from us by Ares. But we can still decide who we are when we do.” Hippolyta allows her to go.

Steve flies, since the plane is largely designed after his aircraft; as it takes off we see Minerva latch on to the underside, before all three of them and the plane disappear.

Steve gives Diana the microfiche, and she’s able to form one of the panels of the ship to make it readable. She studies it on the trip.

The attack is on Brussels, and the European Union seat. Three teams, one Baltic, one Middle Eastern, and one Asian, attack the EU. The perimeter guards aren’t up to fighting off this many trained infiltrators, who start setting bombs. Wonder Woman lands on one of the teams, and proceeds to systematically take the teams apart, knowing precisely where they’ll be and prepared for the fight thanks to Steve’s intel.

There’s a final fight with Cheetah, who ambushes her at an inopportune moment- say as a bomb is about to go off near a pair of wounded guards. Minerva baits her, believing she can force Wonder Woman to sacrifice herself to save the men- which would make her worse than prey- she’s a willing sacrifice for the men around her. Diana lets herself be knocked towards the bomb; an instant later it flies into the air, where it explodes relatively harmlessly. Diana catches Cheetah in the lasso, pulling her back for one last haymaker.

In retrospect, expecting it to paint me a were-cheetah might have been asking too much.

An EU security team descends on Diana, guns drawn. Steve arrives, shouting that he has an Interpol contact, that she’s with them, and they aren’t with the terrorists- they stopped them. They get confirmation quickly- Steve’s handler knew the attack was imminent and was waiting for his intel to try to stop the attack.

We pull back, and see that it’s Ares rewatching Diana through the watery portal. He’s smiling. “You’re in high spirits, considering you lost,” Artemis pouts.

“Did I?” he asks.

“Didn’t we both?” she sulks.

“I sowed chaos, forced the Amazons to reveal themselves, and their nature. You taught your most ardent believers not to take you for granted. We’re Gods. We don’t lose, we just evolve the game.”

Artemis is getting tired of him. “I think you are about to lose, some teeth, maybe an eye.” He doesn’t see what she does: Wonder Woman is behind him, and throws a punch that knocks his helm off, and sends its sliding across the floor.

“Where’s Athena?” she demands. Ares believes they can strike up a compromise, but Diana isn’t hearing it. “Produce her, or I’ll be the only one doing any striking.” Artemis is now actively amused, and taunts him that Athena is going to be very cross with him, idly wondering what happens when a God and Goddess of war go to war. Then Artemis, always on the hunt, goes for the kill, and taunts him that Athena is the goddess of wisdom- intelligent combat and strategy. He’s the god of drunken bar brawls and soccer riots. You can see how much it grinds Ares, because he knows she’s right.

We cut to Athena, Hippolyta and Diana later. Athena’s apologetic over Ares impersonating her, but also restrained- she knows what would come of a war with Ares. She also knows what Ares’ plots have cost them. Hippolyta is glad to have her wisdom back to guide the Amazons, especially now. Athena is more concerned; her wisdom tells her that the consequences of Ares’ plots are not yet complete- but recognizes that her absence has allowed one particular conflict to grow, and bids Hippolyta to tell her daughter the truth. Hippolyta tells Diana that she leaned on Athena not just for her wisdom, but because… “You raise a daughter, hoping to protect her from the world, knowing you will utterly fail. I couldn’t stand the thought of failing to protect you… which became a failure of a different kind.”

Diana puts a hand on her mother’s arm. “A mother’s task is not to protect her children, it’s to ensure they have the tools, strength, and courage to defend themselves, and the wisdom to know when to show mercy.” She pulls her mother close. “You’ve protected me long enough.” She lets her go. “Now it’s time for me to protect our sisters, our home, our world.”

“Our world,” Hippolyta says breathlessly. “I dreamed of a day the Amazons’ world would not be so small… now I worry it’s grown too wide and too wild.”

“Then it’s good I have so many sisters to help me keep her safe,” Diana says, throwing an arm around her mother.

Roll credits.

In an end-credits scene, Cheetah is being escorted away by Interpol in cuffs. They’re met by Amanda Waller, and a detachment from Task Force X to take her into custody. Minerva doesn’t look up at Waller, not until the very last word. “Dr. Minerva. You’re going to spend the rest of your natural life in prison- possibly an unnatural life- depending on what exactly Artemis did to you. There might be an alternative, though it’s not without risks. Some might even call it suicide.” Minerva fixes Waller with a glare; she’s practically feral, but we cut to black before she can snap her restraints.

END NOTE: Okay, so I feel I have to justify the image I shared this with. See, after attempts to get the AI to create a were-cheetah failed, I just had it create Wonder Woman fighting a werewolf. And for some reason, in one of them, the werewolf was wearing her costume. I don’t… know why. But it’s an amazing image. I couldn’t not use it (I don’t personally have that kind of restraint).