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I can’t answer that question. What does the website do, who is it marketed toward and what kind of interface will suit its target audience? These and many other questions should be asked first.React, Angular, using a CMS, using an RDMS or a no SQL db, using Ruby on Rails are all implementation details. Implementation is the *last* step, not the first step.Even for an agile project, do this homework.Define the basic users and typical user storiesDecide who the stakeholders are and what the project limitations areDescribe in one paragraph what the project does. If you can’t do it in a paragraph think some more.For my open source project I’m currently doing (very very slowly)Users: Temple officers and administrators. Typical users stories are managing the member database, exporting mailing lists and creating religious school rosters.Stakeholders: Me (it’s a one person project and I have no clients)What does it do: It manages people into groups for the purpose of managing the membership of a religious organization. It is specifically aimed at this problem as the predefined groups consist of medium to large groups like religious school grades, and each yearly board of directors as well as multiple small groups like member households and donors that might have only one member.I can tell you that I’ve decided that Angular 4 is too complicated for what I need (and difficult to use I found), and mongodb meets my db needs although an RDBMS would have worked ok. I’ll use twitter bootstrap on this as I have for most of the last four years’ worth of projects because it saves enormous effort.I’m using node.js because I anticipate that even were this to take off it would never be required to support a large user base.

There are now 22 movies on the studio’s roster, dating back to 2008’s Iron Man, and Vox has ranked them all from worst to best. To come to this completely scientific and definitive assessment, four Vox culture writers each assigned every film a point value from 1 to 22, with 22 being the best. Then we tallied the results for each film; the movie with the highest total won the top spot, the second-highest total came in second, and so on.To be clear, Marvel movies have a high floor and a pretty standard ceiling; even the most middle-of-the-road entries are good superhero movies. But the number of Marvel movies that truly knock your socks off is much lower.RelatedAvengers: Endgame is a Marvel miracleIf you disagree, you obviously have a different definition of the word “definitive” than they do. But that’s okay. We can all share this planet together.Here’s every Marvel movie, ranked from worst to best:22) The Incredible Hulk (2008)Prior to The Incredible Hulk, I was not sure it was within the realm of feasibility to make a boring movie about a giant green gamma ray-infused, radioactive superhero. But then I watched this movie, which spends large amounts of time zooming in on Edward Norton looking at his pre-FitBit to make sure his heart rate doesn’t spike (because otherwise the Hulk comes out). Mark Ruffalo replaced Norton as the Hulk prior to 2012’s The Avengers, and no more solo movies about the Hulk were ever made; that’s all you need to know about The Incredible Hulk. —Alex Abad-Santos21) Thor: The Dark World (2013)If the first Thor movie is a tepid origin story, this sequel is a messy return to Asgard that almost demanded that Marvel pump the brakes on Thor films (which it did, for a full four years). When The Dark World came out, The Avengers had very recently established that the god of lightning and his brother (and Tumblr fave) Loki can be a lot of fun. But The Dark World is marred by bloated, bad action filmmaking and an unexciting story that did everything possible to suggest otherwise. It’s not called The Dark World for nothing. (Thankfully, Thor got much more to do in the next Avengers movies — and The Dark World’s much improved 2017 follow-up, Thor: Ragnarok.) —Allegra Frank20) Iron Man 2 (2010)When Iron Man 2 came out in 2010, Marvel was still figuring out how to make its stage-setting movies for the Avengers, and to watch the film today is to be reminded of Marvel’s obvious ramp-up phase. Robert Downey Jr. remains fun to watch as Iron Man, but the movie is kind of a mess, trying to do too many things at once.But it also marks the first time we see a glimpse of Scarlett Johansson as Black Widow, and it’s got both Sam Rockwell and Mickey Rourke. So, for my money, not a total wash. —Alissa Wilkinson19) Doctor Strange (2016)The best thing about Doctor Strange actually has nothing to do with the title character. Rather, its greatest assets are: 1) Tilda Swinton’s charismatic, breezy performance as the Ancient One (though it’s important to note that the character’s ethnic background and Swinton’s casting has been criticized for being racist), and 2) the movie’s incredible visual effects, including city buildings folding, flipping, and spinning on top of one another. The seven-minute opening sequence, which features Swinton and those visual effects, is one of most stunning pieces of footage Marvel has ever created. —AASRelatedDoctor Strange is Marvel’s best-looking film. But it’s not Marvel’s best movie.18) Thor (2011)I love Thor; I do not love Thor. The film is a dull introduction to Asgard’s finest hero, who is saddled with a weird mix of director Kenneth Branagh’s theatrically dramatic urges and the requisite flashy superhero business. And for as fun as Chris Hemsworth and Tom Hiddleston are to watch — there’s a reason these two actors, and characters, broke so big! — the decision to drag us out of the heavens and down to Earth makes Thor the opposite of fun. It’s an almost unrecognizable portrait of one of the best characters in the Marvel Cinematic Universe, and it’s best left in the past. —AF17) Ant-Man (2015)I know Ant-Man will never be one of the most beloved of the MCU films, and that’s fine; if you’re more invested in the Avengers’ overall arc, the Ant-Man films feel a bit lightweight, diversions from the main attraction.But since what I personally want from the MCU is mostly is something fun to watch, I’ll still argue in Ant-Man’s favor. The movie gave us Paul Rudd getting very tiny and then VERY HUGE, which is, I think, inherently funny. And the movie benefits from the off-kilter and kooky sensibility of director Peyton Reed; to me, “the director of Bring It On makes an MCU film” is a can’t-lose proposition. Take your tragic arcs and your big battle scenes; give me my Ant-Man. —AWRelatedWhat’s good about Ant-Man is so good. What’s bad is so Marvel.16) Captain America: The First Avenger (2011)The intentionally corny charms of the first Captain America film are lost on more worldly types, who usually struggle to see the appeal of a movie that essentially becomes a World War II-era USO performance for much of its second act. And to be fair, the movie’s third act is a bit of a disaster, especially because it disappoints in the wake of a much better action sequence around the film’s midpoint.But if Iron Man established the MCU as a place where a cynical wink could win the day, First Avenger is its hyper-sincere, necessary counterbalance. This entire project wouldn’t work without Chris Evans as Steve Rogers — and it wouldn’t work without this puppy dog of a movie. —Todd VanDerWerff15) Ant-Man and the Wasp (2018)As I said above, I’m a vocal fan of both Ant-Man movies, which are delightfully weird and funny. I give Ant-Man and the Wasp a slight edge, for a few reasons: First, it has even more quantum physics than the first film, and I tend to favor the MCU entries that go more in a sci-fi direction (rather than fantasy or war movie or history epic or whatever). Second, I think Paul Rudd is just the greatest.But third — and most important — I adore its Michael Peña scene, which is possibly the greatest pure comedy moment in the whole MCU. —AWRelatedAnt-Man and the Wasp is a charming, nimble showcase for the Wasp14) Avengers: Infinity War (2018)Avengers: Infinity War is essentially the first half of a two-parter — or maybe it’s the first of two “volumes” — which is also basically its problem: It has to drag everyone from the MCU into one story, which means there’s a lot of jumping around from place to place, and it also has the whole Thanos thing to set up.Its ending, though, is genuinely moving. I have thought about the images from this film quite a bit since I first saw it, which is more than I can say for a great many other films in the MCU. And it does, in retrospect, set the table for Endgame quite well, without also insisting that Endgame look and feel like Infinity War: Part 2. It’s a complete movie unto itself while also the start of a two-parter, and I admire it for that. —AWRelatedAvengers: Infinity War review: Marvel’s biggest, most bizarre movie13) Captain Marvel (2018)Few movies in the MCU have provoked as much debate as Brie Larson’s first outing as Carol Danvers. The film’s critics quite rightly point out that making Carol an amnesiac for its first half saps Larson of the charms of her usual onscreen presence, that the movie’s take on “feminism” is ultra-generic, and that its take on the ’90s is even more so.But if you can get past those (very real) surface-level problems, you’ll be treated to a grand cosmic adventure that largely stops being a Marvel movie and instead becomes a surprisingly thoughtful treatise on what it means to have your memories stolen from you, at least for a while there. Captain Marvel is the closest Marvel has come to making a straight-up indie film, while positioning that indie film to bring in $1 billion worldwide. —TVRelatedCaptain Marvel deserves a better movie12) Avengers: Age of Ultron (2015)Here’s my secret, readers. I love Avengers: Age of Ultron!Of all the Marvel movies that attempt to serve the needs of the individual film as well as the needs of the larger cinematic universe, Age of Ultron is the one that’s most split in two. Director Joss Whedon clearly wanted to tell a story about the limits of humanity, our dark possible future, and why we’re still worth fighting for as a species. Marvel Studios clearly wanted a movie that would presage everything to come in the next few years, heading into the final showdown with Thanos.The result is pretty ungainly in places. But when the movie settles down and just lets its characters hang out, it’s terrific. And its best scene, featuring two robots debating the future of humanity, is one of the few times a Marvel movie feels like it’s genuinely about something other than iconography. —TVRelatedAvengers: Age of Ultron is weird, sad — and the most thoughtful film Marvel’s ever made11) Captain America: Civil War (2016)Captain America: Civil War introduced Black Panther and Tom Holland’s Spider-Man into the MCU, added a bit more depth to Scarlet Witch, and opened up the seismic rift between Iron Man and Captain America. The movie plays with the idea of holding our heroes accountable for the damage they do, and digs into how difficult it is to square off against an enemy that isn’t a Chitauri alien or a Mad Titan, but a friend. Not all of it is solidly believable — Tony Stark is so relentlessly unlikable in this film, and there’s a battle sequence where Scarlet Witch could have wiped out an entire team — but there’s a lot of fun to be had watching Earth’s Mightiest Heroes go head to head. —AASRelatedCaptain America: Civil War will make you remember why we love superheroes10) Iron Man 3 (2013)The polarized critical reception to Iron Man 3 — for me, one of the top three films in the MCU — always puzzled me, until I realized that it’s not really a Marvel movie; it’s a Shane Black movie. If you’re already a fan of the writer-director, known for his quippy dialogue and twisty plots, then Iron Man 3 is a fascinating look at a filmmaker with a distinctive voice trying to put his stamp on the MCU. If you’re only here for the MCU itself, the convoluted plot must feel a little exhausting.That said, I think Iron Man 3 contains buckets of charm, even for viewers who aren’t super interested in Black. It’s the most engaged Robert Downey Jr. has been as Tony Stark, and the scenes where he’s just hanging out in small-town America, talking to a little kid, trying to get his mojo back, are some of Marvel’s most purely winning. —TV9) Guardians of the Galaxy Vol. 2 (2017)While I’m sharing my controversial Marvel opinions, I may as well share that I think Guardians of the Galaxy Vol. 2 is substantially better than Guardians of the Galaxy Vol 1. Where Vol. 1’s weak villain and lumpy plot ultimately undercut a sleek and funny space adventure, Vol. 2 is one of the most thematically cohesive movies in the entirety of the MCU.Writer-director James Gunn, having established his characters as a found family in the first film, now explores the limitations of the families they were born into (or, in the case of a few characters, the biological families they never even knew). It’s a sometimes dark movie about what it means to grow up in an abusive home and about how hard it can be to escape the influence of your parents. It isn’t everybody’s cup of tea — especially when combined with Gunn’s trademark snarky humor — but boy, is it mine. —TVRelatedGuardians of the Galaxy 2 is Marvel’s funniest film, and much braver than the original8) Spider-Man: Homecoming (2017)I find all of the individual Avengers interesting in their own ways, but while watching Avengers: Endgame, I realized the only one I actually cared about was Spidey, at least as played by Tom Holland. Something about the scrappy, wide-eyed kid who just wants to help save the world is so appealing to me.And what I loved about his first full movie was that it didn’t feel like another superhero film; it felt like a film about being a teenager, in high school, trying to figure things out, learning how to be a good person. Yes, that’s what Spider-Man’s stories have always been about, but Tom Holland’s performance in Homecoming feels so convincingly, sweetly young. I love this movie. —AWRelatedSpider-Man: Homecoming is a heartfelt coming-of-age teen movie dressed up as a superhero blockbuster7) Iron Man (2008)It is amazing that Iron Man works as well as it does. Just from watching it, you can tell Robert Downey Jr. improvised large sections of his dialogue. The story is about a jackass who grows a bare sliver of a heart, a template that Marvel would beat into the ground in the years to come but that was not yet established in 2008. And though Jeff Bridges is fun as villain Obadiah Stane, he’s an early example of what would become a consistent villain problem for Marvel, to say nothing of its third-act problem. The final showdown here is kind of a snooze.But Iron Man isn’t really about superheroics. It’s the story of a guy thinking he only needs himself and coming to realize that he just might need other people — and they might need him. When it came out in 2008, it was a radically different superhero idea than other superhero movies of the era, and it doubled as a riotous welcome back party for Downey, long one of Hollywood’s most electric actors but someone whose talents were nearly destroyed with addiction. Iron Man shouldn’t work, but its very unlikeliness is part of its charm. —TV6) Thor: Ragnarok (2017)I think of Thor: Ragnarok less as yet another Asgardian entry into the superhero genre and more as an ensemble comedy. The movie boasts an unrestrained Hulk (a game Mark Ruffalo), who looks ridiculous in alien gladiator armor; Tessa Thompson’s Valkyrie, who suffers no fools and cares not for men, which is relatable content for many; Tom Hiddleston and Jeff Goldblum as a suitably ridiculous pair of villains; and Chris Hemsworth at his hilarious best. (Not for nothing, Hemsworth is also fine as hell with that cropped hair.) And I haven’t even mentioned the real ace in the hole, Thor: Ragnarok’s true calling card: the Kronan monster Korg, voiced by director Taika Waititi as the most affable, mild-mannered New Zealander on this side of the universe.The movie doesn’t sacrifice glitzy action in the face of all the great character moments born from its wonderful cast, of course; it’s still a fun time to see Thor, sans hammer, take on impossible enemies (and the Hulk!). And it’s an apt showcase for Marvel’s smart, albeit slow, embrace what works best for the Thor series: humor, not just a lot of Norse mythology. —AFRelatedThor: Ragnarok finally makes Thor a hero worth rooting for5) Guardians of the Galaxy Vol. 1 (2014)It took me a long, long time to get on board with the whole MCU thing. For the first few years, I saw it as a transparent marketing ploy. I gleefully resisted, boasting of my refusal to partake. But then The Avengers happened in 2012, and I realized that perhaps there was something more to these superhero movies everyone was spending their money on; perhaps they were actually ... not ... pointless?I was at least half right. Marvel movies can indeed be very silly. But that’s exactly what makes the first Guardians of the Galaxy so wonderful. It stars a remarkably silly central hero in Chris Pratt’s Peter Quill, a.k.a. Star-Lord (a fittingly bad alias), who’s necessarily flanked by a crew of varying levels of competence. Bradley Cooper as Rocket Raccoon is a treasure, as is Dave Bautista as Drax; the two function as opposite ends of the same schmuck-y coin. (One thinks he’s very smart but isn’t! One thinks he’s not that smart but is!)The entire Guardians crew plays off each other in ways moving and riotous, with jokes sprinkled in amid action and drama that leave lasting, affecting impacts. Guardians of the Galaxy is no mere superhero film; it’s a comedy that works as a mission statement. Superheroes need not be either dour or ridiculous anymore. Under Marvel’s thumb, they can be both. —AF4) Captain America: The Winter Soldier (2014)The most crucial element of The Winter Soldier is the chemistry between Chris Evans’s Steve Rogers and Scarlett Johansson’s Natasha Romanoff. Rogers is a good soldier and a good company man. Romanoff comes from the opposite end of the spectrum, a former spy whose job is to expect the worst in people. The two come together at S.H.I.E.L.D., that rare something they both believe in. And it’s devastating for both, in very different ways — his identity, her trust issues — when they find out that Hydra has infiltrated their organization.When Hydra unleashes its coup, including the reemergence of Bucky Barnes as the world’s most efficient killing machine, the two have to rely on one another despite their disparate worldviews and how they see the people within that world. And in turn, they bring out the best in each other. —AAS3) Avengers: Endgame (2019)Endgame’s climactic battle sequence is easily the most colossal superhero brawl ever created. It’s made of that Marvel magic that hits you with chills and throws your heart into your throat. The sequence alone is likely to cause spectacle tears — when your eyes water at the scale, size, and emotion of the entire thing. It’s proof that a well-executed battle scene can make the spirit soar.But beyond its big fight, Endgame offers thoughtful ruminations on grief, failure, and mourning. It shows us the humanity (or the devastating lack thereof) behind the original core Avengers — Tony Stark, Steve Rogers, Natasha Romanoff, Thor, Hulk, and Hawkeye — when they’re at their lowest points. The Avengers have never had to deal with the burden of letting people down, and the way Endgame explores that emotional turmoil makes us understand our heroes, and heroism, through a different but equally effective lens. —AASRelatedAvengers: Endgame is a Marvel miracle2) The Avengers (2012)Directed by Joss Whedon, The Avengers was the movie that, when it came out in 2012, represented the best that Marvel had to offer. And it’s still the standard that superhero movies will be compared to. The Avengers brought together Earth’s Mightiest Heroes and dropped them into the middle of a relentless alien invasion in New York City, helmed by Marvel’s beloved villain Loki. It marked the first time that Marvel’s strategy of interconnecting multiple movies finally had everyone come together for a team-up.The movie easily could have spun out of control, but in the hands of Whedon and a cast spearheaded by an invigorating Robert Downey Jr., it was streamlined, sleek, and almost clinical in how it showcased the soaring joy and pulpy fun that comic book movies are capable of tapping into. —AAS1) Black Panther (2018)More than any Marvel movie — more than most big, mainstream, expensive blockbusters, even — Black Panther feels important. It feels relevant. It feels both of our time and unstuck in it. Black Panther is a movie where black royalty becomes a superhero. It’s a movie where that superhero’s entourage is composed of dark-skinned black women who are fierce and strong and unbelievably smart. It’s a movie that’s championed as much for its inherent blackness as it is for how normalized that is.Black Panther isn’t a black superhero movie. It’s a Marvel movie, and a damn good one too; critics, audiences, and Oscar voters seemed to agree on that. There is a fine origin story unfurled here, brimming with powerful fight sequences, instantly memorable characters, and a villain so mesmerizing, we may even want to root for him too. There is also hope for many things, including that people who look like me, or like many of us, can save the world too.

Ok. Let’s for a moment pretend that I’m the answer of DC/Warner to Kevin Feige :p Bear with me for a moment. First thing I’m going to do is walk away from the current continuity. Let’s leave it at that for the moment. Then of course comes the part to choose the people who are talented and independent and yet willing to toe a certain line when it comes to cohesion and non-conflicting plot lines.The “Creative Team”:I’m gonna go with the following directors:1. Patty Jenkins - she’s already proven herself with one Wonder Woman movie and I’m pretty sure she has more up her proverbial sleeves.2. Matt Reeves - his take on Apes is simply amazing; Cloverfield and 28 Weeks Later are also stunning combinations of visuals and story-telling. Batman is in good hands with him.3. Russo Brothers - there’s no law that says I can’t use people who have worked with Marvel so, there you go. The Russo brothers know how to capture a hero’s dilemma while still retaining the essence of the character. I’d let them handle Superman and I’m confident they’ll do great work with the richness of the material.4. Darren Aronofsky - with Black Swan, we know Darren is perfect for a psycho-thriller/controversial/dark hero flick. I’m gonna go out on a limb here and put him on a project involving the Suicide Squad.5. Simon West - a bonafide “blockbuster action movie” veteran, Simon would be perfect directing an ole 90s bang-bang style Green Lantern movie.6. Sam Mendes - Road to Perdition (which is technically a comic book movie) and Skyfall are proof that this guy can tell a good story using camera frames and lighting; I’d put him in charge of Aquaman.7. Paul Greengrass - this guy revolutionized the “fight scene” with The Bourne Identity, which many movies now try to imitate. Paul would be amazing doing a Grayson movie.8. Wachowski Brothers - a controversial choice but I’d trust them enough to do a Flash movie.With those directors, I’d hire the following to collaborate as writers:1. Wonder Woman - Patty Jenkins would write in partnership with comic book veteran Greg Rucka -Greg, having written plenty of materials for the Wonder Woman comic books, could provide additional insight and complement Patty Jenkin’s already stellar handle on the character.2. Batman - although Matt Reeves would direct and have writing input for this, I’d give the main writing assignment to the team of Scott Snyder and Jeph Loeb.3. Superman - after the disappointment with Nolan and Zack Snyder, at this point the only person I’d trust to write a Superman story for the movies is Mark Waid. The Russo Brothers would have input of course, but Mark is the main pilot on this one.4. Suicide Squad - I believe Aronofsky should write this one, but with assists from Jeph Loeb, who knows a little something about villains.5. Green Lantern - this one should be co-written by James Mangold and Michael Green; I know some people would say Green had already tried once and failed with Green Lantern, but I’ll be willing to give him a second chance.6. Aquaman - I’d give this job to director Peter David, closely assisted by Paul Pelletier.7. Grayson - for this one I would hire Jeph Loeb and James Mangold.8. The Flash - I’d put Geoff Johns to personally write this one.9. Justice League Chapters 1, 2, 3, and beyond (?) – the team-up movies I will put under the writing chops of Jeph Loeb and Mark Waid, and as with Superman, the Russo Brothers will direct.Now that I’ve chosen the creative team, I’d also add the following to assist closely with the projects as producers/unit B directors/visual effects coordinators, etc.1. Zack Snyder - say what you will about this guy, but I still trust him to deliver a stunning-looking film. I won’t put him on the helm, but I’d like for him to contribute in the visuals/storyboard/concept/director of cinematography department.2. David S. Goyer - again, controversial choice given the current state of the DCEU, but Goyer would still make for a good producer.3. Jim Lee – I’ll take this guy to be creative consultant, co-producer, and “continuity doctor.”And to provide the over-all coordination and direction of the franchise, I’ll give the control to Geoff Johns. Johns is no stranger to cross-overs and mega-events and he has proven that he has the handle on DC’s most precious characters and story lines. Johns will be the ultimate anchor to hold down and stabilize the whole franchise; he’d set the over-all tone while still giving the individual teams the leeway to “go play” with their projects.You’ll notice two things with my line-up so far: 1. I’d hire top-tier directors who can make the material “alive”, and 2. I’d partner them with true comic book writers who know the essence of the characters. Reasons:1. I’ve always believed that the essential flaw of the current DCEU is that it’s got the wrong people doing the wrong job.1. Case in example: Chris Nolan - this guy “deconstructed” Batman and anchored him to reality. His style worked for 3 movies, yes, but WB made the fundamental mistake of thinking Nolan’s template will work for other materials as well. I’m not the only one to make this observation but I’ll say it anyway: Nolan laid the foundations of the failure of the current DCEU. He was brilliant, but his brilliance led WB and most especially Zack Snyder to a totally nonviable take on the DC heroes.2. Man of Steel - this is what I’m talking about; WB must have thought: “gee let’s adopt the Nolan tone for Superman and let’s get the guy who directed Watchmen to flesh it all out.” They totally missed the point. Superman will never fit into Nolan’s Batman mold, he’s Superman for heaven’s sake. There’s no traumatic experience to mar his childhood; there’s no struggle to rise above the past; there are no ghosts to confront. Ok, I’m getting way ahead of myself; I’ll get back to Superman in a moment.2. I’ve always believed that a superhero movie should have legitimate action scenes, complete with stunning visuals and sterling dialogue/lines, not just moments and sound bites.3. The directors I chose are all “proven” masters of their craft.4. And…the writers I chose are also “proven” masters of their respective materials.The time-line/tone/outline of the projects -both as individual movies and how they fit in the bigger picture.1. I would start with Wonder Woman - this is tricky but hear me out. The good thing about 2017’s Wonder Woman is that with a few cuts and re-edits (not reshoots!!), you can actually make it look like it’s got nothing to do with Justice League and the current DCEU, thus preserving Jenkin’s and Gadot’s already great work. I know this will be controversial, but prior to another WW movie, I’ll re-release 2017’s WW in theaters and home video to highlight that it’s an origin movie and that it now has nothing to do with the scrapped DCEU. 2017’s WW established two important things: the old gods are dead and Diana remains in the world of men looking for peace. The next WW will be a sequel of sorts but will take place in the 80s. The story will center around Diana trying to live up to Trevor’s memory by helping people through charity and volunteer work (she has long realized that the world of men will not be changed by arms and war, but by acts that set noble examples; we’ll also see that she became a nurse during WW2 to further embrace her new philosophy of “saving the world with acts of kindness”, but that she’d also performed superhuman feats when the need arose). But unknown to her, a secret CIA op called “Omega”, under its nominal leader Marshall Ducard, has its sights on her. Omega has figured out Diana’s secret past (including her mythical Amazonian heritage) and now seeks to add her to their roster of special individuals at whatever cost. The movie will feature Diana fighting off Omega’s agents and thwarting their plan to incite World War 3 by assassinating Russia’s leaders. At the end of the movie war is prevented, the US and Russian leaders come into amicable understanding, and both sides thank Diana (although not publicly). Omega is shut down by the US President (Ducard is seen to be arrested) and the Soviet Union dissolves thus ending the Cold War. This movie will provide a “closure” of sorts for Diana’s arc that began in World War 1. At the post credits (yes I’ll use them, so sue me!), we see Diana returning to Paradise Island, seemingly to retire, only to promise to return to the world of men because with the coming era of peace (the 90s), she feels the real work has only just begun. Another post-credits scene will reveal that Omega lives on under a new name, “Checkmate”; a teen Tigress will be shown sleeping/incubating in a water tank while a shadowy character called “Black Bishop” looks on, calling Tigress “a Queen of our own”. Black Bishop then orders a minion to order the death of Ducard, saying that much as Ducard would like to think of himself as a valuable piece, “he remains, after all, a pawn.” This movie will serve the purpose of reinforcing Jenkin’s vision for Diana as a powerhouse movie with a strong female character and a balanced, positive message.2. Batman - enough origins. The Batman movie I have in mind will be a good ole’ detective story set in the 2010s. Just as the criminals of Gotham have learned to fear the Batman and Gotham seem to be heading for days of peace and order, terror grips the city anew as a group calling itself ‘The Court of Owls’ starts undermining the Caped Crusader. Their terror acts include ambushing cops known to cooperate with Batman and displaying their mutilated victims in broad daylight; killing and mutilating victims in neighborhoods where Batman had been previously sighted; freeing criminals nabbed by Batman; and (almost) assassinating Gotham notables such as the Mayor, Commissioner Gordon, and various businessmen/women. This creates a bat-panic in Gotham as people start to think that maybe Batman is a bad idea after all. Batman must race against time to solve the mystery of what or who the Court really is. He “interrogates” perennial villains such as Penguin, Falcone, and Maroni to catch the Court’s trails but to no avail. Batman’s detective work leads him to cross paths with a highly skilled assassin, simply called “The Talon”; we see Batman here having a hard time with the Talon. Finally, the Court will reveal itself to Batman: a group of “high-society” types under the leadership of a Wayne Enterprise executive who aims to kill both Batman and Bruce Wayne and then take control of the idea of the Batman to impose their own version of order to Gotham and to America -a sort of Wall Street Illuminati. Batman exposes the Court but not before suffering numerous injuries from the Talon. He and the Talon inflict mutual “deathblows”, and the Talon seemingly die while Batman is rescued by Gordon (who refuse to peek under the mask). The leader of the Court commits suicide while the surviving Court members are arrested. At the post credits scene, we see a shadowy figure calling herself “White Queen” ordering the assassination of the arrested Court members to protect the identity of Batman, remarking that the whole purpose of the ‘Court of Owls gambit’ is not to expose Batman but to bury Checkmate deeper in order to pave the way for “a new kind of war”, and to test the mettle of the “Dark Knight” and that Batman will “serve Checkmate’s purpose yet”. Another post-credits scene will show Bruce recovering in the bat-cave and having a silent meal with Alfred. Suddenly a perky young man will remark: “Still having dinner in the cave? Dude…” Enter Dick Grayson, smiling. Bruce will beam up positively upon seeing an old friend and say “I even saved a seat for you…” Grayson will decline the offer, saying that he just wanted to check up on Bruce and to pick up “some old things of mine”.3. Grayson - again, enough origins. We simply get a short exposition/flashback scene that Dick Grayson was an orphan who was rescued from juvenile jail by Bruce Wayne in the early 2010s. Having served as Robin for 2 years, he left Batman to “find his own way” -we never see what really caused his departure, yet. The movie will pick up on the events of Batman. He reveals to Bruce that he found clues as to who killed his parents. Bruce tries to dissuade him from chasing his leads saying there are graver threats out there (we see hints that Batman is going to dig deeper into the ‘Court of Owls’ thing, sensing something more sinister underneath the organization) and that Batman would need Robin. Grayson responds by saying he needs to do this for himself, for closure. Bruce asks if Grayson is sure he’s not doing this for revenge. They get into an argument until finally Grayson walks out, taking his old weapons and tools and utility belt. The movie then takes us to a roller coaster, Jason Bourne-style ride of Grayson fighting thugs, following his leads that would take him directly into the path of Checkmate’s “White Rook”. White Rook’s henchman, the Talon (revealed to be a reanimated gene-spliced hybrid) knocks out Grayson and takes him into a Checkmate facility. White Rook (talking through a video avatar) then reveals that Checkmate knows all about Bruce Wayne and Batman and that Grayson’s parents’ assassination was part on an elaborate plot by Checkmate to make sure Grayson would end up gaining all the skills and knowledge from Batman thus making him a perfect candidate to become the next Talon. She further reveals that after becoming a Talon, Grayson will lose all memories of what has been revealed and that he and Batman both have their own roles in the “game board” - a pawn and a Dark Knight. Grayson asks her what Checkmate’s ultimate goal is, and White Rook responds: “A pawn is not supposed to know the whole plan”. Grayson is then taken to a lab where he undergoes the painful gene-splicing, alteration procedure, but halfway through the whole thing Batman arrives and rescues Grayson, trashing the place in the process. The Talon arrives and gives Batman another sound beating but Grayson, still groggy and unstable, helps Batman and together they kill the Talon. Batman carry a semi-conscious Grayson outside and as he prepares to put him in the bat-mobile, White Rook’s voice taunts them by saying they behaved exactly as Checkmate wanted them to. Batman looks into the source of the voice (a computer screen) and says: “After tonight, I’m coming for all of you.” White Rook answers: “No. You’ll come to us when we want you to”. Back at the bat-cave, Bruce apologizes to Grayson for not being a good friend. It is finally revealed that the two had a falling out because Batman refused to aid Robin in his quest to find his parents’ murderer, because he (Batman) is against the notion of revenge. Bruce contemplates that had he helped Grayson in the first place, none of this would have happened. Grayson responds by saying he barely remembers what just happened and that his mind doesn’t “feel right”, indicating that the Talon procedure was half-successful after all. In the post-credits, we see a short scene where White Rook is confronted by her colleagues for being “sloppy” and for losing her grip on “some essential pieces”; she responds by saying she “knows how to take care of my side of the board, I’ll thank you to worry about yours”; another post-credit scene will show Grayson sitting on a chair in the bat-cave trying hard to remember White Rook’s words only to fail and have a piercing headache. Bruce approaches him and says: “Maybe this can help”, holding out the Robin eye-mask.4. Superman - again, not an origin story, but with a twist. We see flashback scenes of Jonathan and Martha finding baby Kal-El (set in the 90s), taking him in, thinking he’s an experiment subject on a NASA test craft. We see how they kept Clark a secret while the government took the craft and surmised that it’s an advanced guard for an alien invasion and thus making preparations against it. The main story is set in the same point in time as Batman (2010s, but sometime after the events of Batman and Grayson) and we see Clark Kent living paycheck to paycheck in Metropolis, keeping his head down and trying his best to be ordinary. He’s heard of the Batman and the events of the Batman movie but because of internal turmoil, refused to take part in the action. The only clue he has to his past is his parents’ story of how they found him, and an odd object: a crystal stylus emblazoned with an “S”. Clark grapples with the idea that he is an alien -both figuratively and literally. (We learn that Jonathan Kent was killed in a store robbery -a nod to Jerry Siegel’s real life experience). He tries to enjoy the trappings of a human life but, knowing that he’s not human, fails. This will result in a Clark Kent that is clumsy, awkward, shy, and almost comedic (emphasis on almost). But when an occasional danger beckons (like a mugging, or a factory accident), Clark forgets his awkwardness and flies in to the rescue, albeit wearing a hooded jacket with a small Superman logo in the chest. A bigger threat soon arrives, in the form of General Zod (again, sue me!). Zod arrives with a single Kryptonian ship full of “immigrants” from the long-lost planet of Krypton. He talks to the UN and says he and his people needs shelter and asylum. The world is thrown into panic and confusion. Questions are asked: do we have what it takes to take in space immigrants? What are they running from? Are there others out there? What if they bring plague and stuff? As the UN Security Council votes against taking in the Kryptonians, Zod reveals that he’s not really for asylum, he is seeking a Kryptonian refugee and that he only tried to seek asylum to avoid an “annoying confrontation” with primitive earthlings. He then revealed that Kryptonians are super-powered on Earth and started eliminating the leaders of UN. Panic ensues as Zod and his “immigrants”, now revealed as warriors, destroy major cities. Clark, seeing the destruction, leaps into action thus revealing himself to Zod. Zod remarks that the crystal stylus houses the “Brainiac Protocol” needed to reconstruct Krypton on Earth, and that Jor-El sent Kal-El to be an advanced guard to the invasion. Shocked at this revelation, Clark lashes out and almost kills Zod, but he is overpowered by Faora and Non. Zod takes the crystal and leaves Clark for dead, saying “You’ve done your job, son; New Krypton will remember you.” Zod begins the lengthy process of activating the Brainiac Protocol -Kal-El’s pod (revealed to be in the possession of Checkmate) activates and flies off to rendezvous with Zod’s ship to provide the last pieces of tech needed to terra-form the Earth. World leaders are in crisis mode, and we finally see Checkmate’s leaders revealed, the “White Queen”: Amanda Waller, “Black Bishop”: retired US General Sam Lane, while “White Rook” remains anonymous. Checkmate offers to defend Earth with a special weapon devised by reverse-engineering Kal-El’s pod and using the mineral/metal sample from it; but there’s a catch, activating the (hitherto untested) weapon will potentially unleash large amounts of gamma radiation into the atmosphere. Meanwhile, Clark is “picked up” by a mysterious character who then takes him home to Smallville. There he spends a brief moment contemplating his purpose; he is devastated that all along he was “an agent of the enemy” and that he brought the invaders; hearing about the touted Earth assault against the invaders in the news, he contemplates suicide by getting in the middle of the cross-fire, sure that whatever secret weapons the humans have will be enough to kill him. He is then slapped out of this thinking by Martha, saying that she and Jonathan didn’t raise him to be a coward. She reminds Clark that his true character is not what others planned for him, but what he decides for himself. She goes on by telling Clark that no matter what happens, he will always be their son and that he will always be loved. Clark is encouraged by Martha’s words and decided to make a stand to protect Earth and prevent a disastrous war. Martha reveals a Superman suit that they kept hidden all these years; she says that it was the only thing they salvaged from the pod and that it’s always been their wish that Clark would make something good out of this. Martha then says something like: “This is a Kryptonian symbol and I know right now it means fear and destruction; but go make this symbol your own; make it stand for something else; make it stand for hope”. Clark then “becomes” Superman. He stops the war by destroying both the Checkmate weapon (injuring Waller and Lane while “White Rook” escapes) and the Kryptonian terra-forming vessel. His pod, amazingly, bonds to him and responds to his commands. He tells the pod to “go home” and it flies off, but not before shooting Superman with a beam of light that enables him to absorb the knowledge of Krypton. In a final battle, Zod is forced to confess that he lied about Jor-El’s purpose; he says that Jor-El was “a pacifist fool who thought we could live in peace with these apes”; we see Superman as we are supposed to see him: noble, god-like but benevolent, and kicking some ass! He defeats the Kryptonians single-handedly and using his new-found knowledge of Krypton tech, activates Zod’s ship’s Phantom Drive thus sending the invaders to the Phantom Zone. In the aftermath, Superman addresses the UN in an emergency session. He states that although he is of the same race as the invaders, he is not the threat humans fear him to be. He states that he loves Earth and its people and that this is his home and while many of them fears and distrusts him, he will “work night and day to earn your trust”. He then smiles and flies off while the world looks up in the sky. We then see a montage of Superman helping the rebuilding efforts, rescuing people, providing comfort to those injured and those who lost loved ones. Finally, we see Superman flying into the horizon while we hear a voice-over from the original Superman (the Marlon Brando monologue), the Russell Crowe monologue, and the Kevin Costner line from Man of Steel: “Live as one of them, Kal-El, to discover where your strength and your power are needed. But always hold in your heart the pride of your special heritage. They can be a great people, Kal-El, they wish to be. They only lack the light to show the way. For this reason above all, their capacity for good, I have sent them you... my only son…You will give the people of earth an ideal to strive towards. They will race behind you, they will stumble, they will fall. But in time, they will join you in the sun, Kal. In time, you will help them accomplish wonders…“One day, you’re gonna have to make a choice. You have decide what kind of man you want to grow up to be. … Whoever that man is, good character or bad, is gonna change the world.” Yes, I decided I would use those exact same audio and not have someone else read those iconic lines. I think this gesture will reconcile this version of the DCEU and Superman to the ones that went before it and finally bury all the ugliness that plagued Superman in these recent years. Ok. So post-credits scenes: First, we see Superman, still wearing the suit but also wearing glasses, seated on the front porch of their Smallville house, holding a picture frame of Jonathan, Martha is right beside him:Martha: how’s the suit son?Clark: I’ll get used to this. But seriously ma, glasses?Martha: what? They worked when your pa had to disguise himself to sneak into the town cinema <laughing>Clark: I miss him. And I already miss you.Martha: we’re always here Clark, your father and I. We’ll always watch over you, Superman. I wish I could just keep you and father here with me, but the world needs you, just as those folks at the general store needed your dad.Clark: Will the world ever accept me, do you think?Martha: Why not? We did.Clark: <standing to go into the house> By the way mom, you never did tell me who brought me here…Martha: <beaming> Oh, you never asked!Clark: So who was he?Martha: She! A very lovely she. She said her name is Diana.Clark: <looks puzzled, smiled, and went into the house>Second post-credits scene: we see “White Rook”, now revealed to be LexCorp’s CEO, Tess Mercer reporting to “Black King” and “White King” through “facetime”: White King sounds like a logical, deep voiced middle-aged man, while Black King is revealed to be an older-than-Jessie Eisenberg Lex Luthor. Both Kings seem unconcerned that the anti-Kryptonian weapon was destroyed, saying that it served its purpose and proved the potential of kryptonite. They are however, slightly vexed that Superman thwarted and exiled Zod and the invaders, saying “now all we have is one new piece”. Black King considers removing Waller (White Queen) and Lane (Black Bishop), but White King disagrees, saying they still serve a purpose. White Rook asks about their next move, now that Checkmate has been revealed to the government. White King answers: “I’ll leave that to you, Black King; Luthor answers: “The plan proceeds, then. Oh, the board just got a little bit more interesting.”5. Justice League Chapter 1: Trinity – this movie will cap off my Volume 1 of the DCEU and will pit Batman, Superman, and Wonder Woman against Checkmate. The story kick-off with Batman and Grayson (now Nightwing) hot on the heels of Checkmate, investigating through the mess left behind by Superman’s battle against Zod and the invaders. Through various contacts they now know that White Queen is Amanda Waller and Black Bishop is Sam Lane but they always seem to be one step ahead of the Dynamic Duo. While rethinking their strategy in the bat-cave, Nightwing remarks that maybe they should seek help from “the big guy over at Metropolis”. Batman responds that he has thought of that, but “something tells me we, the two of us and him, are all missing the bigger picture.” Meanwhile Superman acclimates to his new role as Metropolis’ resident hero. To keep his disguise, he’s been working as a part-time news stringer for The Daily Planet, where he’s already met and befriended Jim Olsen and a particularly stand-offish Lois Lane. After stopping a routine bank heist, Superman is introduced to Diana, who finally reveals her identity and her role in the previous Superman movie –after a brief respite on Paradise Island Diana, already suspecting that Omega might have survived in another form, went back to the world of men to investigate. For years her search turned up nothing, a testament to how good Checkmate has become. But during all those years Diana has been aware of and closely monitoring the developments in Gotham City and in Smallville/Metropolis. She tells Superman that she wanted to see what Batman and “the big red hood-man” are all about before revealing herself. She then expressed regret that she never found out about Checkmate until it was already too late and that had she linked efforts with Batman way earlier in his career then they might have uncovered Checkmate before the events of Superman. Superman concludes that the bigger fight is with Checkmate and that they can’t go on mulling over past mistakes and regrets. He offers to help Wonder Woman and the two decides to seek out the Batman to share what they already know about Checkmate. Meanwhile, Batman and Nightwing close in on a lead to White Rook (they still don’t know she’s Tess Mercer); they track and confront her with the coordinating efforts of Alfred (speaking through “ear-coms”). We find the Dynamic Duo para-jumping to intercept Mercer’s jetplane over the Pacific and fighting thugs; they face her personal bodyguard –a warrior called Katana who is more than a match for the Duo. Mercer orders Katana to escape the plane with some vital Checkmate data. Katana jumps off the plane and Nightwing jumps after her. The two fight it out while on free fall, while Batman confronts Mercer. Batman tells her “it’s over White Rook” but she merely laughs and shoots at Batman with a pistol. Katana, meanwhile, damages Nightwing’s parachute before going on an accelerated free fall and then opening her chute. Nightwing starts blacking out as he falls uncontrollably while fragment scenes of his experience with the Talon procedure flashes in his mind. Alfred relays Nightwing’s peril to Batman, who is momentarily distracted. The distraction gave Mercer the chance to push a secret button, opening a secret cabin and releasing “my best pawn, your Bane!” Bane overpowers Batman, giving Tess Mercer the chance to jump off the plane safely. Bane (portrayed here in much the same way as in the Nolan movie) taunts Batman that much as it would excite him to see the new world Checkmate is creating, he’d be quite content to die knowing he’s taking Batman down with him. Suddenly the plane stops crashing and seem to float in mid-air before gently landing in the middle of the ocean. Puzzled, Bane peeks out the window only to be grabbed by Superman who then knocks him out with a tap on the forehead. Superman then introduces himself to Batman and the two share a brief awkward moment together. Later, Batman and Superman meets up with Wonder Woman (who is revealed to have rescued Nightwing from his free fall) and the three compare notes on Checkmate and whatever data they salvaged. They learn that Bane (safely frozen in suspended animation) is an international terrorist who was taken in by CIA agents back in the 80s. Diana says she always believed Bane was behind bars, if not already dead. Further analysis of Bane’s tissues reveals he underwent gene-splicing, modifications, and nano-tech infusion. After more discussions between the heroes, they come to the conclusion that Checkmate is a shadow organization underneath the US government (and possibly other countries too) that performs illegal experiments to create an army of super-powered terrorists to usher in a new world order, and that Omega and the ‘Court of Owls’ were just fronts or “practice” for Checkmate. Batman agrees with all of this, but opines that much as they have learned, he still feels they’re far from figuring out the whole picture. Meanwhile, Mercer regroups with Sam Lane (Black Bishop) and the latter chides her for this latest screw-up, saying that she’s now lost three pieces (Batman, Grayson, and now Bane). Mercer respond by saying she doesn’t answer to anyone but the Black King (Lex Luthor) and that Luthor is not displeased with her work. The two have a tense argument only to be brought back in line by Amanda Waller (White Queen). The three then proceeds to plan their next move to further Checkmate’s agenda: the release of the Kryptonian invaders from the Phantom Zone in order to co-opt them in Checkmate’s take-over. Using the data saved by Katana and Mercer, the three Checkmate leaders (Black Bishop, White Queen, and White Rook) trace Kal-El’s pod to the North Pole and proceed to retrieve it. The pod, however, refuses to respond to Checkmate’s probes and commands (having previously bonded with Superman) and instead sets off a distress call that only Superman can hear. Meanwhile, the Trinity, aided by Nightwing, assembles for a final showdown with Checkmate. In the third act battle, Sam Lane unleashes his “Queen” –a fully matured Cheetah, against Wonder Woman, while Mercer orders Katana to bring in Batman and Nightwing. Superman proceeds to help the heroes but is intercepted by Mercer, who shoots him with Kryptonite bullets. As Superman is rendered helpless, Mercer activates some more Luthor tech to force the pod to open the Phantom Zone. Wonder Woman and Cheetah are locked on an even battle while Batman and Nightwing gradually overpowers Katana. At a crucial moment in the fight, Nightwing is again rendered helpless by headache and flashes of his experience with the Talon procedure and he passes out completely. As the pod is forced to open the Phantom Zone, it unleashes uncontrollable amounts of energy and space-bending burst of waves. Wonder Woman, seeing an opening, kicks Cheetah into the Phantom Zone opening where hands quickly takes hold of her and pulls her into the Zone, screaming. Batman knocks Katana out and tries to shut down the pod and close the Zone opening. Silhouettes of Zod and other prisoners manifest through the opening, trying to pull Batman in. Zod actually makes it out of the Zone and immediately goes for the dying Superman. Superman, with a last supreme effort, fights Zod and pushes him back into the Zone. Then, realizing that the pod and the Luthor tech are emitting vast amounts of radiation, Superman hooked himself into the machinery and absorbed the energies emitted, thus powering down the pod and closing the Zone opening. Wonder Woman then delivers the final blow to destroy the Luthor tech. The pod completely shuts down but continues to emit a faint warm glow. Superman, spent by his efforts, falls, seemingly dead. As Batman and Wonder Woman approach him he shows faint signs of life and reaches out his hand towards the pod. Understanding, Batman and Wonder Woman takes Superman into the pod and lay him in its chamber bed. The pod then reactivates and declares: “Life signs detected. Activating healing mode. Heading for home. Thank you for your patience.” It then flies off, taking Superman with it. Batman is alarmed but Wonder Woman restrains him, saying she doesn’t think Superman is in danger anymore. In the aftermath, Mercer is apprehended by Wonder Woman and is sent to prison, while Lane and Waller have long escaped the scene. Katana is also apprehended and taken to cryo-freeze in the bat-cave with Bane. Checkmate seemingly suffers a deathblow as media and the world at large gets wind of its activities (thanks in part to Diana and Grayson releasing Checkmate files and making the topic trend on social media). Checkmate moles and operatives are arrested throughout the world. Checkmate facilities are raided by Diana’s CIA and FBI contacts. Wayne Enterprises is seen to be aggressively buying up Luthor companies left and right. Grayson opens up to Batman about his “episodes” and his fears that he might be turning into something like Bane or Katana –a Talon under the control of Checkmate. Bruce then confides that he feels that somehow, the fight has just begun. Bruce then assures Grayson that no matter what the future holds, he will always be there to stand between the people and those who mean harm, and that for the first time in a long time, he now feels he’s not alone. Grayson asks Batman what he means by “not alone”, Bruce smiles back saying “looks like you’re not the only boy wonder around”. We then see a montage of “hero scenes” cross-fading with on-screen info that the Trinity captured from Checkmate: info about Barry Allen crossfading with a speeding streak of red/yellow light stopping a mugging; info about an “Aquaman” crossfading with an obscure man rescuing a drowning fisherman; finally the scene fades back to Diana, still doing charity and volunteer work, but we catch a quick glimpse of her “Wonder Woman” costume underneath her drab Red Cross outfit. She looks up in the sky and the camera pans upward and then down into a remote site in the North Pole; from an aerial view, we can barely make out Kal-El’s pod sitting in the middle of the snow; it’s glowing warmly, and then suddenly a burst of bright light and Superman’s theme swells in the background and then transitions to the Justice League theme as the credits roll. Post-credits scenes number 1: We see Tess Mercer sitting on a lonely prison cell. She is visited by an obscure man. Mercer is visibly afraid; she tries to reason with the man, saying that she has accomplished the union of the Knights and the Black Queen and that she has greatly progressed Checkmate’s timetable. The man agrees with her but tells her that she has been weighed and that her blunders are greater than her accomplishments. Mercer resigns to her fate and asks how she would be eliminated. The man laughs softly and remarks “But you will not be taken off the game, my sweet, the Black King (Luthor) saw to that himself. No. You are simply stripped of your authority. You are no longer a rook, not even a pawn.” “What am I to be then?” asks Mercer. The man laughs again. “A spectator” he answers. Post-credits scene 2: A plush office. Luthor is seated on his executive chair, contemplating. On his table is a laptop and an assortment of files –pictures of the “red/yellow streak”, pictures of ancient carvings/wall paintings/pottery depicting people riding the waves of the sea, arcane artifacts, star charts, specs sheets of different gizmos/tech, a folder labelled ‘Green meteorite sightings and witness accounts’, and most ominously, a miniature model of what looks like a mother-box. The scene is shot in total silence (no ambient music, save for the sounds of the street below). Finally Luthor looks up into his laptop screen and smiles. On the screen we see that he’s “chatting” with someone. We read the words “Board clear. Permission to proceed?” Final post-credits scene: A dark room. We see a faint silhouette of a man seated. The man is talking; whether he is monologue-ing or talking to someone is anyone’s guess. The voice is faint, but we recognize that it belongs to the White King –we hear scraps of words like “control”, “according to plan”, “Omega”, “not entirely useless”, and “yes...yes, of course”. The camera closes in on the White King and he slowly looks up; the light is too dim for us to see his face fully but as his head levels with the camera, we see his eyes are mechanical red and on his forehead, three circles linked together in a triangular pattern.So this movie ends my DCEU Volume 1. I know not all of you Quorans will agree with my take; some might even say that this is way worse than the current DCEU. But hey, a guy can dream, right?6. Volume 2 will kick off with a darker, humorless, possibly R-18 Suicide Squad movie that will pit Waller against Sam Lane set after the events of Justice League, while Lois Lane is caught in the middle while playing the part of an investigative reporter out to dig deeper into the Checkmate hole. At the end of this movie, one will be revealed a villain and one will be revealed as the (anti-) hero. This movie will serve as a launching pad for what happens to Checkmate now that the Trinity has put a monkey wrench on their plans. I think this should also be the last movie appearance of Sam Lane, so Lois (not Superman though) is in this movie to give a human dimension to General Lane’s demise. The theme of the movie will be double-cross, deception, and doing whatever it takes to achieve a goal one perceives to be just. The post-credits scene will show Clark Kent returning just in time to comfort Lois after her ordeal.7. After Suicide Squad, I’ll start rolling off origin movies for Aquaman, Green Lantern, and a non-origin movie for the Flash (but with references to how he got his powers). The movies will have cameos from the Batman, Wonder Woman, and of course, our dear surviving Checkmate villains. The movies will provide a strong base for these title characters and hopefully will reignite interest in seeing a massive DC heroes’ team-up movie.8. Before setting off another Justice League, I’ll release a Superman sequel where the machinations of Luthor and how it all fits with the Checkmate agenda are further revealed. The main villain of this movie shall be Metallo –a “Talon” candidate sequestered by Luthor and transformed into something deadlier. The pod will be revealed to have “grown” into a full-fledged Fortress in the Artic wastes, well-hidden from prying eyes. Batman will also have a friendly cameo.9. Wonder Woman 3 will have Diana dealing with her Olympian heritage as it is revealed that a child with the god-spark has been born. The Amazons hope the child will grow up and reignite the life-force of the Greek gods, but in the wrong hands, the child can spell the doom of all. Diana must protect the child and his mother from mysterious threats even as she figures out the best course of action to take. The main villain is a character called “the First-born” and the origins of the Greek gods and the Amazons will be revisited. Green Lantern will have a cameo in this movie. Diana will have to make a very difficult choice at the end of the movie.10. Batman 2 will set off the events that will lead to a final confrontation with Luthor (Black King). The fate of Nightwing will be settled (and a possible Grayson 2 hinted at), and Batman will take on a new Robin as he continues his battle against crime.11. Justice League Chapter 2: Doom for All – in this movie, which will cap off Volume 2 of my DCEU, Luthor’s plan will all be laid bare. We get an exciting thrill-ride as Superman and Wonder Woman act as recruiters to bring in new members like the Flash, Aquaman, and Green Lantern, while Batman uncovers just exactly how deep the Checkmate hole really goes. The heroes must unite against Luthor’s final gambit as Checkmate’s Black King: an army of Metallo-like drones run by a sinister AI, Brainiac (yes! The same AI that courses through Superman’s Fortress) led by a gene-spliced, Kryptonite enhanced, hybrid super armor-wearing general: Luthor himself! As the fate of the world hangs in a balance, Luthor will reveal the true purpose of Checkmate: to unite the world under one rule and to force the next step of human evolution in order to create a warrior race fully capable of facing an invasion. The Justice League, along with their allies from all over the world (ARGUS, UN, and even Waller’s rogue Checkmate off-shoot, Task Force X), fights an epic all-out battle against Luthor. In the aftermath, we see our heroes extending a helping hand to the leaders of the world, vowing that no matter what comes next, the Justice League will stand as Earth’s protectors. At the post-credits scene, we see all Luthor assets seized by Wayne Enterprises as Checkmate dissolves and Luthor is taken to a max security, solitary prison. Alone in his cell, Luthor breaks out laughing hysterically and then burst into tears. His last words are “Well played, White King. Woe unto the Earth.” Another post-credit scene will take us to an unknown spaceship parked in an unknown region of space. We see the White King (now obviously Brainiac) monitoring several hundreds of screens at the same time. We catch glimpses of Green Lantern members (what’s he doing, spying on Oa?), Justice League members, different planets and life-forms in their natural habitat. Finally Brainiac speaks: “Do your best Darkseid. I have found the perfect defenders for my collection.”At this point, either my vision for the DCEU is ultra-successful and I’ve been put on a lifetime retainer salary by Warner and DC, or everything is a total disaster and I’m out in the streets looking for work. Assuming it’s the former rather than the latter, I’ll move on with my Volume 3...that is, if I haven’t ran out of ideas yet :pThe stellar cast. Finally, to cap off (I’ve never actually written an answer this long before) this answer, a list of who I’d pick for my vision of the DCEU.1. Superman – no more Henry Cavill (sorry Henry, I’m still a fan of your work though). Henry’s great and all but I’d want someone who has a wider range of acting (Henry is actually a great actor, but he’s kinda stiff as Superman TBH). I think I’ll probably go with Armie Hammer, with Sam Claflin as a close second choice.2. Wonder Woman – Gal Gadot. Shame on you for thinking I would replace her.3. Batman – people would tell me Jon Hamm, but if I could, I’d retain Ben Affleck. Failing that, it’d be a close call between Kyle Chandler and Wes Bentley.4. The Flash – Dave Franco seem like a shoo-in for this one.5. Green Lantern – my choice/s would run the gamut from Idris Elba, Michael B. Jordan, Tyler Posey, and Zac Efron (don’t laugh this one off, he might just have what it takes).6. Aquaman – Jason Momoa is out (aaawww...but hear me out). In his place, a ripped and rugged, but not overly bearded Alexander Skarsgard.7. Grayson – I have only one choice for this bad boy. Jake Gyllenhaal.8. Amanda Waller – I think I’ll have no problem recalling Viola Davis for this role.9. Sam Lane – this role could go David Strathairn or Jon Voight.10. Voice and Silhouette of Brainiac – I can only think of Colin Firth’s sinister, silky, upper-class voice.11. Tess Mercer – Bryce Dallas Howard is my pick to play this cold, calculating CEO.12. Lex Luthor – Mark Strong is the obvious choice to play the Black King. Think him acting opposite Colin Firth’s Brainiac.13. Martha Kent – automatically goes to Diane Lane. Come on guys, the “Martha line” is not her fault!14. Alfred Pennyworth – I could give the role to Gabriel Byrne.15. Lois Lane – Jenna Coleman would be perfect to play this feisty, inventive, and smart reporter who would later be the love of Superman’s life. Plus, imagine Jenna playing Jon Voight’s daughter.Final thoughts:I’d totally not hire Hans Zimmer again. Why? Because, reportedly, he bad-mouthed DCEU and Ben Affleck when he announced he will quit scoring superhero movies. Then later, he is reported to confirm doing the score for X-Men. That makes him a pariah in my book. My movies will be scored by James Horner, Howard Shore, Pharell Williams, James Newton Howard, and Michael Giacchino.