In an interview with Variety, a Warner studio head named Ann Sarnoff goes much further than Zack Snyder did in blanket assaulting fandom with extreme prejudice. And the worst irony:
Instead, Sarnoff believes that the future of DC is more than just movies. She’s excited about a multi-platform future, one that sees Batman, Superman, the Flash, and other Justice League members popping up on streaming shows, video games, television spinoffs, and big screen outings. It’s a vision that echoes what Marvel has been doing with its Avengers characters, taking superheroes like the Vision, the Scarlet Witch, Hawkeye and Loki, who have previously appeared only in movies, and giving them streaming shows of their own. The WarnerMedia Studios chief is also excited about the diverse range of creators she’s been enlisting to tell some of these stories, which includes tapping “Between the World and Me” author Ta-Nehisi Coates to write a Superman film or developing “Blue Beetle,” which marks the company’s first Latinx superhero movie.
Are they aware of the dehumanizing remarks Coates made about rescue workers on 9-11 in that sick non-fiction book of his? Their shamelessness is stunning, right down to their use of a slang that’s unpopular among the Hispanic community. It gets no better with this:
But Sarnoff may have to deal with an unruly and emboldened fanbase, one that successfully pushed WarnerMedia to release a four-hour, R-rated version of “Justice League,” which was truer to Snyder’s darker vision for the characters. Sarnoff spoke to Variety on Sunday, five days after the Snyder Cut started streaming on HBO Max, about catering to DC’s fanbase, the future of DC, and actor Ray Fisher’s allegations of misconduct and racial bias during the shooting of “Justice League.”
Sounds strange they’re putting it that way, since, if it has an audience, she shouldn’t be dealing with anything but thanks to all who take the time to watch it. Putting aside whatever PC elements made their way into the script, as noted before, what, they didn’t want the movie released in its longer, noticeably R-rated format? But anyway, here’s where the interview reaches a point of contention:
There’s also been a toxic side to the fandom, with reports that critics and some of your executives have received threats for not endorsing the Snyder Cut or for being perceived as standing in the way of its release. What’s your reaction to that behavior?
We’re not tolerating any of that. That behavior is reprehensible no matter what franchise you’re talking about or what business you’re talking about. It’s completely unacceptable. I’m very disappointed in the fans that have chosen to go to that negative place with regard to DC, with regard to some of our executives. It’s just disappointing because we want this to be a safe place to be. We want DC to be a fandom that feels safe and inclusive. We want people to be able to speak up for the things they love, but we don’t want it to be a culture of cancelling things that any small faction isn’t happy with. We are not about that. We are about positivity and celebration.
If any threats were made, that’s obscene and counterproductive indeed. But it doesn’t excuse the hypocrisy on display when they hire an ideologue like Coates despite his repellent description of 9-11 rescue workers, which bordered on being racially charged. He’s brought up again by the interviewer soon after:
Looking at the DC slate, there seems to be an emphasis on creating opportunities for diverse creators and and characters. You’ve got a Latino superhero movie with “Blue Beetle,” Sasha Calle becoming the first Latinx actress to portray Supergirl, and Ta-Nehisi Coates writing a Superman movie. Is there a concerted effort to take the brand in a more inclusive direction?
It’s super important to me and it’s in line with what we want to do. We want to branch out and let creators interpret parts of the universe in unique and special ways. Ta-Nehisi working on Superman is incredibly exciting, I can’t wait to see what he comes up with, and [director] Andy Muschietti on “The Flash” or Patty Jenkins. Matt Reeves just finished filming “The Batman” against the odds of COVID. We’re so excited to finish that movie and have people see it, because Matt’s take on Batman is different than other takes. Even familiar characters have lots of possibilities.
Is it also super important to develop movies built off of politically motivated creations, produced as they were at the expense of the white protagonists who came before them? I’m afraid this just isn’t impressive either, and her gushy reference to Coates, after what he did, is despicable. I noticed she alluded to cancel culture, but I wonder if that means anybody who complains how they’re relying on the cheapest of SJW-themed creations who, again, came at the expense of the white protagonists, has no right to argue, and maybe not even to vote with their wallets? And on Coates again, Bounding Into Comics pointed out there’s more he’s written that’s reprehensible:
Coates is an extreme radical who has advocated for reparations in The Atlantic. He wrote in 2014, “An America that looks away is ignoring not just the sins of the past but the sins of the present and the certain sins of the future. More important than any single check cut to any African American, the payment of reparations would represent America’s maturation out of the childhood myth of its innocence into a wisdom worthy of its founders.”
And Coates makes it clear that reparations means charging all Americans with a crime. He writes, “the crime with which reparations activists charge the country implicates more than just a few towns or corporations. The crime indicts the American people themselves, at every level, and in nearly every configuration. A crime that implicates the entire American people deserves its hearing in the legislative body that represents them.”
Not only is Coates a radical activist, but in an article published in January of this year he described President Trump as a “white supremacist.”
The article featured an excerpt from his article titled The First White President. In the excerpt Coates wrote, “It is often said that Trump has no real ideology, which is not true—his ideology is white supremacy, in all its truculent and sanctimonious power.”
But Coates sure is dripping with ideology, and WB head honchos have the gall to ignore it till the bitter end. And he’s not the only one:
Coates isn’t the only radical that Sarnoff’s WarnerMedia has hired. In October they announced they inked a deal with Black Lives Matter founder Patrisse Cullors, a self-described “trained Marxist.”
The Black Lives Matter organization advocates “to dismantle cisgender privilege and uplift Black trans folks, especially Black trans women who continue to be disproportionately impacted by trans-antagonistic violence.”
The group also wants to “disrupt the Western-prescribed nuclear family structure requirement by supporting each other as extended families and “villages” that collectively care for one another, especially our children, to the degree that mothers, parents, and children are comfortable.”
Cullors also supports defunding the police. In June she stated, “The demand of defunding law enforcement becomes a central demand … And, with that demand, it’s not just about taking away money from the police, it’s about reinvesting those dollars into black communities.”
It sure seems like WarnerMedia is promoting the cancellation of police, families, and cisgender privilege, whatever that is. I thought Sarnoff said they were against that?
Well their ignorance sure is jaw-dropping. If you pointed out their hypocrisy at a press conference, they’d likely go the Orwellian “ignorance is strength” route, and come up with some pathetic excuse for refusing to answer your question unambiguously. I think a lot of people would really appreciate it if Warner execs abandoned their own ideological positions, but it’s clear they won’t. Apparently, these ideologues are the ones they consider worthy of “inclusiveness”.
Based on all these reprehensible business steps, what’s the use of paying to see the Justice League movie at all? At this point, we’ll only be financing their newfound political aspirations by watching it on any paid platform, along with various other new projects waiting in the wings. Besides, the dark angle Snyder relies on so heavily, surely at a sense of humor’s expense, is another reason why I’m discouraged. Rely so noticeably on darkness, and it only figures something will go wrong.
Originally published here.