The Great DC Reset: Why Zaslav Must Examine DC Comics’ Editorial


As Karina at Bleeding Fool and Cosmic Book News reported last week, the current chief of Warner Bros. Discovery, David Zaslav, is leading a look into the SJW fiasco DC’s become for quite some time now:

 

As I have been reporting on for years, DC Comics has been in dire straits due to its SJW and woke agenda where the company doesn’t care about the fans, doesn’t care about the characters, doesn’t care about quality content, and doesn’t care about making money (much like Marvel Comics).

Well, with the new merger it’s all coming to a head for Jim Lee and Marie Javins as it is reported the accounting offices of Warner Bros. Discovery have been taking a hard look at the books of DC Comics, where things are so bad that only Batman sells, as last month saw over half of the comics published not making the Top 100 list of sales.

It’s also no coincidence that at Comic-Con and following that DC Comics has made big announcements, which includes Todd McFarlane and Greg Capullo on a Spawn/Batman crossover, Geoff Johns is involved with the “New Golden Age” of DC Comics and JSA (right in time for Dwayne Johnson’s Black Adam who I have been told wants to take over the DC films) and Stargirl.

 

Forget it. Johns revealed his political side fully a decade ago, and there’s no signs he has any regrets over injecting his own social justice propaganda into the Green Lantern titles through an Islamic adherent, in a story where ordinary white Americans are made to look bad, much like in many other, similar propaganda products that were coming out around that time. And what if it turns out Johns won’t reverse the LGBT status that’s been forced upon Alan Scott for a decade now, along with his son Obsidian? He’s been quite a knee-jerk leftist before, so we can’t expect that to change even now. Nor will any right-wing writers be allowed, let alone hired, to work on these products so long as DC/Marvel remain in corporate ownership.

And as for a crossover between McFarlane’s creation from the early Image days with the Masked Manhunter? No sale. All that does is perpetuate the dark vision much of the entertainment world’s been forcing down out throats for years on end.

 

YouTuber Thinking Critical reveals what is happening is that David Zaslav and Warner Bros. Discovery are getting to DC Comics a lot faster than most people thought they would, which explains why all the recent big announcements.

[…] It’s said the accounting division of Warner Bros. Discovery is questioning DC Comics on why they aren’t making money and they want to be told exactly what the state of DC Comics is, which is said to have already happened as Warner Bros. Discovery accounting requested management reports from Warner Bros. for all print DC Comics of all formats allocating total overhead for each book title to see which are winners and losers.

“Things are tanking across the board due to bad management, terrible editorial, and just some of the worst creative decisions we’ve seen in the history of DC Comics,” states the YouTuber.

Warner Bros. accounting is said to have told Warner Bros. Discovery accounting that they have over 30 years worth of data they can provide, so Discovery sent someone over within an hour to pick up the data, which has exposed all of DC’s failures as the company hasn’t been profitable.

It’s said the next day following receiving the reports, the Warner Bros. Discovery accounting offices started asking questions: Who have these management reports been sent to? Why are loser titles being kept on in print and extended? How can we double-check who authorized all these decisions? Do you know of any common sense reasons for purposely losing money on DC floppies, and so on.

 

Similar questions could be asked why Marvel did the same with their SJW-themed titles like the Muslim Ms. Marvel, and even the LGBT-retconned Iceman, and also the desecrated take on Carol Danvers, the real Ms. Marvel, making her look more masculine than feminine at one point in the past decade, yet they kept on with these projects, and in addition, they ghettoized them by farming them only to ideologues. It’s been this way at DC too, at least since the turn of the century, recalling when Judd Winick exploited Green Lantern for early LGBT propaganda. And GL was easily the first DC creation that fell to PC mentality at the end of the 1980s, as Katma Tui became a sacrificial lamb beginning a muddled path to nowhere. If this news signals a possible closure of DC’s comics division, it’ll be for the best. Obviously, it’ll be very sad that they have to end with such a whimper. But seeing how they’ve proven incapable of hiring more reliable people who aren’t far-left ideologues, that’s why closing the division would of great help for now.

With that told, there’s most interesting related news that’s come up via Business Insider, wondering what’ll happen when Superman/Batman enter public domain in the next decade:

 

DC is going through a reset.

The comics-and-entertainment company’s new corporate parent, Warner Bros. Discovery, recently announced a “10-year plan” for the DC brand on the big screen to better compete with Disney’s Marvel.

But as DC charts a new path over the next decade, it could face even bigger issues at the end of the tunnel.

“Warner Bros. has a monopoly on making movies about Superman, Batman, and Wonder Woman, but the clock is ticking,” Larry Zerner, an entertainment attorney, told Insider.

 

Yes, and this has probably been the case since the early 1990s. Before that, there were a handful of DC adaptations that were filmed and/or distributed by different studios (Swamp Thing by MGM, and the botched Supergirl movie was credited to Tri-Star), but in the past 15 years or so, they’ve come almost entirely under WB oversight. Yet it hasn’t been for the better, and I think it’s a shame that all this superhero obsession’s marginalized simpler movie projects, to say nothing of destroying the “action hero” theme Sylvester Stallone and Arnold Schwartzenegger were once known for.

 

Beginning in 2034, DC’s most prominent characters, and some of the most well-recognized characters in the world, will enter the public domain — at which point they could be up for grabs for companies outside DC and its parent to use.

But Insider spoke to two legal experts that specialize in copyright-and-trademark law, who said that the matter is far more complicated than it appears, and that there’s little precedent for characters of this stature and popularity — that drive millions of dollars in merchandising sales and lead big-budget tentpole movies — entering the public domain. The closest recent example might be Mickey Mouse.

“The courts will have a big say in sorting this stuff out,” Robert Greener, a New York City-based attorney, said. “There’s no precedent I can think of … this will be a developing area of the law.”

 

Apparently, even after public domain shift, WB will continue to retain a bearhug on the creations, including, but not limited to, Superman/Batman/Wonder Woman:

 

These characters are the crown jewels of DC, and therefore extremely important to Warner Bros. Discovery. The company is likely to put up a fight, and anyone looking to take advantage of the them being in the public domain would face an uphill battle, Zerner and Greener told Insider.

For starters, Greener noted that there have been plenty of potentially “derivative” works of the characters. In other words, the copyright holder — DC — creates a second, separate work based on the original work.

“The Superman of 2022 is nothing like the Superman of 1938,” he said.

[…] “If someone was to do a Superman movie in 2034, and he didn’t fly, is that still violating the copyright?” Zerner said. “This issue will be litigated.”

 

If they continue to hang onto these creations via legal wrangling, they’ll only compound my decision, for one, to avoid any further association with their current products, which are pretentious enough as it is, and nobody else with common sense should put money into their pockets if this is how they’re going to react to copyright law expiring. Towards the end, the article also notes:

 

“Steamboat Willie,” the first iteration of Mickey Mouse, is set to enter the public domain in 2024. That version of the character is far different from the modern-day Mickey Mouse, which would likely still be protected. Some Republican lawmakers have vowed to stop Disney from attempting to extend the copyright protection on Steamboat, The Los Angeles Times reported in May.

Still, Zerner said that artists would have to make clear that their version isn’t associated with Disney.

 

Well of course it wouldn’t have to be associated with the works of a collapsing company. Not the modern works anyway. I wonder if they consider Steamboat Willie different simply because the art, animation movement and character designs are primitive compared to later iterations? It’s a strange way of thinking alright, but that seems to be their belief in how to look at the issues.

Of course, this all only has to pertain to the movie matters, and doesn’t have to affect the comics per se, if again, somebody with a better vision were to buy out the comics division, and could make an agreement wherein WB could hang onto the full rights to making movies based on the Trinity and other DC creations, along with any cartoon material and merchandise. And buying out the comics division, as I’ve argued before, is a valid idea that anybody with a good viewpoint could try to do with the right amount of money, although the division would still have to remain closed for a while in order to make it possible to do repair jobs and heal many disasters that occurred due to ideologues.

For now, if WB really does continue to hang onto DC creations till the bitter end, that’ll just be a sign why it’s better to boycott them. In fact, the whole studio, at this point, has left me disillusioned, and I’d rather avoid much of their future movie output now, both comics and non-comics related projects, because they don’t give me any reason to assume they’ll improve.

 

Originally published here


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Avi Green

Avi Green was born in Pennsylvania in 1974, and moved to Israel in 1983. He enjoyed reading comics when he was young, the first being Fantastic Four. He maintains a strong belief in the public's right to knowledge and accuracy of facts. He considers himself a conservative-style version of Clark Kent. Follow him on his blog at Four Color Media Monitor or on Twitter at @avigreen1

JUST KEEPING THE LIGHTS ON