Superman '78 (2021)

[Silver Nemesis]

I always thought Nuclear Man had untapped potential.

Same here. Especially after discussing the subject in the Furie Cut thread. Nuclear Man's costume might be a bit lame, but Mark Pillow was a 6'4 beast with an imposing bodybuilder physique. Visually, he was ripped straight out of a comic.

The following video show how with a little FX work and sound editing he could have been a far more intimidating villain.

You and I already covered how Nuclear Man's storyline mixed elements from the Sand Superman saga that started in Superman Vol 1 #233 (January 1971) with John Byrne's Post-Crisis Bizarro storyline, way back in the Superman IV comic influences thread, so I won't bother recapping the specifics of those comparisons now. But it might be interesting to see the creators of Superman '78 lift some additional material from those older comics when reviving the Nuclear Man character for 2021. They could also take some visual cues from his recent appearance in Superman Vol 5 #2 (October, 2018).

Getting something from inside the Phantom Zone would set up Superman II nicely, and build up the resentment of the three prisoners. Although I'm not sure how the Donner version of the location exactly works. Richard referred to it as a "zone of silence", which if taken literally could mean discourse is impossible.

Yeah, the precise mechanics of the Phantom Zone were never clearly explained in the Donnerverse. In the first two movies it looks as though the Phantom Zone prisoners were physically trapped inside that square shaped mirror-like object. This creepy claustrophobic visualisation of the Phantom Zone was a departure from the comics of the time, but has since become the default portrayal in most later comics and TV shows. As a kid, I always found it quite disturbing.

However, in the Supergirl (1984) movie – which as far as I'm aware is still canonical to the Donnerverse – the villainess Selena sends Supergirl herself into the Phantom Zone. This was the most thorough depiction of the incarceration process in any Donnerverse movie. It shows that the square mirror-like object is merely a vessel for transporting the prisoner to their place of confinement, and that the Phantom Zone proper is actually a dark and desolate planet resembling the underworld from Greek mythology.This is actually pretty close to how the Phantom Zone is depicted in many of the Post-Crisis comics.

The Donner Cut of Superman II later showed that there was a shadowy netherworld inside the square object itself, suggesting that this device is merely a gateway or window into another dimension. This is also pretty close to the modern depiction in the comics.

The Superman '78 comic provides a good opportunity to reconcile these different portrayals and clarify exactly how the Phantom Zone functions.

[thecolorsblend]

Richard referred to it as a "zone of silence", which if taken literally could mean discourse is impossible.

Heard the same thing in those audio commentaries for STM and S2. But I put that down to him and Mankeywhatsis misspeaking.

[The Dark Knight]

"He knows when you are sleeping, he knows when you're awake. He knows when you've been bad or good but he also knows that good and evil are artificial constructs and he is beyond the primitive moralities of lesser beings."

The establishment, for example, are not necessarily left or right. They just are. They will go against anyone who threatens their power and control. HG Wells, as per The War of the Worlds, knew that an alien invasion would equal total dominance via superior technology. What I like about Brainiac is that he's an emotionless calculator of probability and logic. Problems can be solved if people are willing to cross the Rubicon, but many aren't willing to do it. Brainiac is. Superman is so much better when it embraces science fiction.

Richard referred to it as a "zone of silence", which if taken literally could mean discourse is impossible.

Heard the same thing in those audio commentaries for STM and S2. But I put that down to him and Mankeywhatsis misspeaking.

It does give the impression the prisoners become two dimensional figures when placed inside, but I'm thinking it's possible the technology is similar to a TARDIS: bigger on the inside. Zod and company could be screaming their lungs out close to the brim, but noise does not escape the glass, and even if it could, they're spinning through the dark void of space.

[Silver Nemesis]

It does give the impression the prisoners become two dimensional figures when placed inside, but I'm thinking it's possible the technology is similar to a TARDIS: bigger on the inside. Zod and company could be screaming their lungs out close to the brim, but noise does not escape the glass, and even if it could, they're spinning through the dark void of space.

Speaking of Doctor Who, the 20th anniversary special The Five Doctors (1983) features a device known as the Time Scoop that was clearly influenced by the Phantom Zone from Superman: The Movie. The villain uses it to kidnap the first five incarnations of the Doctor and transport them to the Death Zone on Gallifrey where they're pitted against a variety of monsters from the show's history. The Time Scoop effect in the original 1983 version looks like a spinning two-dimensional trapezium, clearly inspired by the spinning square from Superman. When the object traps its prey, his or her image appears in its surface like Zod's does in the movie. This effect was later replaced with a swirling CG cone in the 1995 special edition VHS release, but the original effect was clearly inspired by Superman.

The Time Scoop in Doctor Who was merely a means of transportation to the Death Zone, similar to the Supergirl version of the Phantom Zone. However, the idea of the glass square itself being a dimensionally-transcendental prison is far more disturbing.

[The Joker]

Yeah, the precise mechanics of the Phantom Zone were never clearly explained in the Donnerverse. In the first two movies it looks as though the Phantom Zone prisoners were physically trapped inside that square shaped mirror-like object. This creepy claustrophobic visualisation of the Phantom Zone was a departure from the comics of the time, but has since become the default portrayal in most later comics and TV shows. As a kid, I always found it quite disturbing.

That's how I took it. There was also a Teen Titans "Infinite Crisis" tie-in comic which conveyed this as well. Although Superboy-Prime punched his way out of it. Naturally.

However, in the Supergirl (1984) movie – which as far as I'm aware is still canonical to the Donnerverse – the villainess Selena sends Supergirl herself into the Phantom Zone. This was the most thorough depiction of the incarceration process in any Donnerverse movie. It shows that the square mirror-like object is merely a vessel for transporting the prisoner to their place of confinement, and that the Phantom Zone proper is actually a dark and desolate planet resembling the underworld from Greek mythology.This is actually pretty close to how the Phantom Zone is depicted in many of the Post-Crisis comics.

The Donner Cut of Superman II later showed that there was a shadowy netherworld inside the square object itself, suggesting that this device is merely a gateway or window into another dimension. This is also pretty close to the modern depiction in the comics.

The Superman '78 comic provides a good opportunity to reconcile these different portrayals and clarify exactly how the Phantom Zone functions.

I always tend to forget about the Supergirl movie, but I think the Donner Cut of Superman II is a stronger argument in that is how the PZ is probably going to be depicted going forward. I've also noticed that the Donner Cut of Superman II appears to be the version the more recent editions/collections these days you'll find in stores of the Reeve films go with. Oftentimes omitting the Lester cut entirely.

[The Dark Knight]

This version of the character is all about trickery and confounding expectations. The wigs are the best example of that.

I gave a few Superman (1978) scenes a look on YouTube recently. Anyone who says Lex Luthor has not received adequate treatment in live action doesn't know what they're talking about. Hackman and Eisenberg may not be traditional businessmen ala STAS, but they're scene stealing and effective. Hackman's Lex is clearly a genius. Having him surrounded by doubting and dumb accomplices was a smart move as it allowed his anger, arrogance and wit to shine. Hackman is one of the best examples of a sociopath, tricking people into thinking he's a harmless uncle. Very well done. Here's hoping the comic does him justice.

[thecolorsblend]

I gave a few Superman (1978) scenes a look on YouTube recently. Anyone who says Lex Luthor has not received adequate treatment in live action doesn't know what they're talking about. Hackman and Eisenberg may not be traditional businessmen ala STAS, but they're scene stealing and effective. Hackman's Lex is clearly a genius. Having him surrounded by doubting and dumb accomplices was a smart move as it allowed his anger, arrogance and wit to shine. Hackman is one of the best examples of a sociopath, tricking people into thinking he's a harmless uncle. Very well done. Here's hoping the comic does him justice.

One thing that works for me about Hackman's Lex Luthor is his twist in bringing out the kryptonite against Superman. In that moment, the smiling, wisecracking ineffectual scoundrel we thought we'd been watching is totally gone. He's a dangerous killer now.

Thing is, the signs were always there. We watched him kill Harry the cop near the middle of the movie. But eh, all he did was push a button. Perry White says that someone (i.e., Lex) broke into a museum, killed two guards and stole a "worthless" piece of meteorite (i.e., kryptonite). But eh, we didn't actually see him do that. Superman asked earlier if that's how a warped brain like his gets its kicks; Lex almost growls "No; by causing the deaths of innocent people". But eh, he hadn't actually done that just yet.

But when that kryptonite comes out, no more games, no more jokes, no more traumatic anecdotes from his childhood. In that moment, he's a murderer without pity or remorse.

I like that Lex Luthor exploited Superman's confidence in that scene. Superman was new but still had a lot of confidence in himself and his powers. He didn't take Lex down immediately once it became clear that there was no gas pellet menacing the city. And that's because he didn't perceive any danger to himself or anybody else. He figured he could take his time and let Lex monologue his entire plan before shutting him down. And he was very wrong about that.

Great moment in that film. Nothing in S2 or S4 even comes close to Hackman's level of menace and malevolence in STM's kryptonite scene.

[Gotham Knight]

Pretty variant cover for #3. Has me missing them.

[The Dark Knight]

Great moment in that film. Nothing in S2 or S4 even comes close to Hackman's level of menace and malevolence in STM's kryptonite scene.

I have Lex tied with the Joker as the best comic villain of all time. Hackman knocked it out of the park in STM. But I don't think his appearance in the sequel can be dismissed. He's a mortal man with villainous intent having to carefully navigate killer invaders. Having a friendly vibe works best in this scenario. Check out the scene in the White House. He starts out with his back up against the wall trying to convince his worth to three physical betters, but at the end he's sitting in the President's chair smoking a cigar - with his feet on the desk, outlining what he wants. The power of leverage quickly elevates him over them, and he manages to maintain it. And survive.

[Gotham Knight]

full preview. Spoilers galore!!!

https://www.dccomics.com/blog/2021/07/29/step-onto-the-streets-of-metropolis-with-lois-clark-in-superman-78