It was a wonder the film ever got the green light.
“Wonder Woman” is widely considered a masterpiece of superhero cinema. However, the groundbreaking 2017 flick almost didn’t exist: Director Patty Jenkins has revealed that she warred with Warner Bros. executives over “mistrust” issues, reportedly going through multiple scripts before bringing her vision to life.
In a recent appearance on Marc Maron’s “WTF” podcast to promote the film’s new hit sequel “WW84,” Jenkins described how studio bigwigs were less interested in her ideas than in the optics of having a woman direct a female-centric superhero flick.
“Everybody in the industry wanted to hire me,” said the 49-year-old director, who also helmed the critically acclaimed “Monster,” which won Charlize Theron the Oscar for Best Actress in 2004. “But I felt like they wanted to hire me like a beard; they wanted me to walk around on set being a woman director — but it was their story and their vision.”
They didn’t even want to read her script, according to Jenkins. “There was such mistrust of a different way of doing things and a different point of view” she told Maron, 57.
The 2017 Time “Person Of The Year” runner-up continued, “Even when I first joined ‘Wonder Woman’ it was like, ‘Uhh, yeah, OK, but let’s do it this other way.’ But I was like, ‘Women don’t want to see that. Her being harsh and tough and cutting people’s heads off … I’m a ‘Wonder Woman’ fan, that’s not what we’re looking for.’ Still, I could feel that shaky nervousness [on their part] of my point of view.”
The top brass apparently worried that the project just “wasn’t viable” at the time. “They were all freaked out by all the female superhero films that had failed, the smaller ones that had failed,” lamented Jenkins, “and also Christopher Nolan was making the ‘Dark Knight‘ thing, so I think they were just trying to figure out what they were doing with DC at that time.”
“They came back to me a year later and said, ‘Do you want to do it your way?” the trailblazing auteur told Maron of shattering the cinematic glass ceiling. “And boom, I just went and made the movie.”
Warner Bros. first approached “The Killing” director about writing and directing “Wonder Woman” in 2007 — an offer Jenkins declined because she was pregnant at the time, Indie Wire reported.
The visionary came back on board in 2011, only to jump ship once again over creative differences, which resulted in the studio hiring “Breaking Bad” director Michelle MacLaren to fill the director’s chair. After the latter project died on the vine, studio execs ultimately decided to re-enlist Jenkins and gave her full creative control over “Wonder Woman.”
Even then, realizing her vision was no picnic. “During that period of time, there were so many scripts — because I could see the writing on the wall,” she said, noting that Warner Bros. went through around 30 scripts over the years. “There was an internal war on every level about what ‘Wonder Woman’ should be.”
Now, after directing both “Wonder Woman” and its sequel “WW84,” Jenkins is slated to helm a fast-tracked “Wonder Woman 3,” Deadline reported.
Caitlin Burles is a model and voice actress, best known for her role as the double on the big screen of the Israeli Hollywood star, Gal Gadot.
Just a few days ago, she was authorized to share photographs of her on her Instagram account, such as the one Wonder Woman, in Wonder Woman 1984. In the images the beautiful woman is shown in her superhero costume, with the typical colors, blue, red and gold.
The post, which has more than 19 thousand likes, has comments such as “they chose well”, “you are incredible” and “you are my real Wonder Woman”. The actress also confessed in her post that she made her first movie with Gadot six years ago.
In this film, Burles also participated as an athletic horsewoman. Well, you don’t want to be just someone else’s double forever in your career. Although the opportunity that he longs for so much has not yet arrived.
Films in which Caitlin Burles was Gal Gadot’s double
Caitlin Burles has been a voice actress for Gal Gadot in the films: Criminal (2016), Wonder Woman (2017), Justice League (2017) and Wonder Woman1984 (2020).
During the filming of the League of Justice, Gadot was pregnant so she had to be replaced in many scenes. In an interview, the actress revealed that she was suffering from a lot of nausea and Caitlin took her place.
The 10 most anticipated films of 2021
Martha Higareda, Gal Gadot’s Mexican double?
Burles may be Gal Gadot’s big-screen stunt double, but there are many who say that actress Martha Higareda is identical to Wonder Woman.
It all started with a photo that the Mexican uploaded to her Instagram account. In the photograph she appears in profile, with a high ponytail and the sun in the background.
Netizens filled the post with various opinions, but several agree that if Higareda came to personify Wonder Woman, no one would notice the difference.
According to them, actresses are alike in their eyebrows, lips and gestures. The only problem would be height, but with a good editing job, Hollywood can do it all.
And who do you think is more like the beautiful Gal Gadot?
Wonder Woman is in the eighties. At the time of the Cold War, from blow-drying hairstyles and Nena, the heroine gets to do with her former friend Barbara Minerva – who transforms into the villain and cheetah woman Cheetah.
The incomprehension of the directors and actors of the historic studio is total in front of the decision to release 17 films simultaneously in theaters and in streaming in 2021.
“They thought they worked for the biggest movie studio and woke up to find they worked for the worst streaming service.“Christopher Nolan is angry and with him”some of the industry’s greatest filmmakers and movie stars“. In a statement issued by Hollywood Reporter, the director is opposed to Warner who announced on December 3 the simultaneous release in theaters and on streaming platforms 17 of his big productions of the year 2021. Outraged, the director did not go dead hand. After 18 years of collaboration, he accuses Warner Bros. of dismantling “an incredible machine to bring out the work of a filmmaker everywhere, both in cinemas and in people’s homes», He confided to Hollywood Reporter.
Many players in the American film industry received the announcement very badly. An agent describes as “big mistake»Warner’s decision toHollywood Reporter. Another judge that if Warner was the “studio par excellence, favorable to talent and filmmakers ”, he was no longer “neither the first, nor the second nor even the third where you want to go“. For many, this decision amounts to sacrificing the huge profits generated in theaters through the versions of films in various formats.
Read also :Wonder Woman 1984 will celebrate Christmas in theaters and streaming on HBO
Warner collaborators do not budge. Denis Villeneuve, the director of Dune, considers essential a traditional theatrical release of his film. Chu, the director of Crazy Rich Asians would have refused a large offer from Netflix, in favor of Warner, out of attraction for the experience of the rooms … Faced with a fait accompli, the associates of Warner mainly blame a glaring lack of communication. The maneuver is deemed opportune for the studio, and the film industry fears that the public will get used to discovering the outings at home. The survival of the rooms is in everyone’s minds, after a year 2020, marked by their closure, due to the health crisis.
For its part, an American collective of independent cinemas, the Independent Cinema Alliance, underlined in a press release that “re-engagement in favor of exclusive content in theatersWas imperative. For theaters, the release of films only in theaters during a certain period is “which gives added value to this cultural establishment, not streaming».
Arguments that do not impact the vision of John Stankey, CEO of AT&T and parent company of Warner. “We knew we had to try something different, he replied. We think it’s a great way to enter the market fasterWith HBO Max. For the businessman, this new model is “win-win-winFor WarnerMedia, consumers and partners. “It’s to give customers the choice, explained John Stankey. And to allow the industry to have this moment of transition.“What du long term? “It is the customers who, in the end, will drive what happens in the market»Warns the CEO.
Get her out of Wonder Woman 1984 simultaneously in theaters and on HBO Max on December 25th led the studio to compensate Gal Gadot and the film’s key players to the tune of around ten million dollars. Will the partners of the 17 films concerned by this measure, for the year 2021, be treated in the same way? Agents close to Warner told Hollywood Reporter that this would not be the case. But by doing a separate treatment for the teams of Wonder Woman, Warner opens the door to negotiations.
An operation in a vacuum that hinders
In addition to these questions, there are suspicions of influence peddling. The studio is accused of selling its films to HBO Max, its own streaming platform, whose launch was deemed unsuccessful despite its 8 million active subscribers. How much would Apple or Netflix have paid to acquire the rights to their films? Warner’s partners don’t know. Their lawyers would stand ready to sue the studio, according to Hollywood Reporter. Warner has reportedly already turned down a $ 225 million check from Netflix for the rights to Godzilla vs. Kong, whose release has been rescheduled for May 2021. Despite funding for the film up to 75%, the production company Legendary saw the sale blocked by Warner without being able to intervene. The announcement of the film’s release on HBO Max, in 2021, was then made without the company knowing what amount it would be offered. With an even heavier budget, Dune will likely experience the same treatment.
In mid-November there was still big news that “Wonder Woman 1984” was to be launched in the US for the first time in Hollywood history in the cinema and as a stream on the in-house platform HBO Max. Now Warner announces: All films that the studio is planning for 2021 will start according to this model – there is no longer a lead over the big screen.
It sounds like the apocalypse, the beginning of the end of a collective, very special experience that began in dark tents at fairs and was once called the cinema. You have to think about it for a moment: “Matrix 4”, “Dune”, “Godzilla vs. Kong”, “The Suicide Squad”, “Mortal Kombat”, “Tom & Jerry”, “Conjuring 3 – Under the Spell of the Devil “- the Americans (we still don’t know anything about the rest of the world) should all these hopefully visually stunning works on the big screen at the same time and Consume in front of the television at home. The power of the corona virus now seems to have finally destroyed the iron laws of cinema.
“This is the way to give the movie theater community what we can bring to them – a steady stream of new and fresh films that movie theater owners and viewers can count on,” said Warner Media Chief Executive Officer Jason Kilar. “The reason for this is of course the pandemic.” That sounds like a mockery at first. And it arouses the suspicion that the pandemic is primarily being used as a pretext and excuse to destroy a great tradition: the tried and tested model of the gradual evaluation of cinematic creativity.
In any case, the stock exchanges saw it like this: The Cinemark cinemas lost almost 22 percent of their value, AMC, the largest and financially hardest hit chain, lost 16 percent. Analysts speculate that other studios like Disney, where a strategy announcement is due next week, could follow suit. Where are the big media groups heading the film industry?
In search of an answer, it is worth taking a look at what has happened to movie theaters since March. No matter where you look in the world: Sometimes they are open, then the number of cases increases around them – and they close again very quickly. Above all, they are never open in sufficient numbers everywhere to start a very expensive blockbuster such as the new James Bond film “No Time to Die” with any prospect of success.
So it happened that advertising campaigns worth millions were started again and again – only to then fizzle out completely ineffectively when the next postponement was announced. Warner apparently assumes that this dilemma will continue through 2021. This assumption is plausible.
It would be premature to declare Warner the gravedigger of the cinema
But what if you want to do everything in this situation to finally bring stability back to the schedule and not to waste the advertising millions? If you want all cinemas that are currently open to be able to play exciting films – while in areas where they are closed, viewers have another, safe option to also see the lavishly advertised film? Then you end up pretty much exactly with the model that Warner has now announced.
From this point of view it would be premature to declare the studio the gravedigger of the cinema. “I absolutely believe in the cinema market,” said Warner CEO Jason Kilar when he explained his dramatic plans. “I am one of those people who tend to be more passionate about the movie theater experience.” His dealings with Warner in-house director Christopher Nolan, who of all directors is perhaps the most eloquent advocate of large screens (preferably in Imax dimension) and traditional film techniques, shows that this may not be mere lip service.
After the outbreak of the pandemic, Nolan was determined to be the filmmaker with his blockbuster “Tenet” who would bring the big screen spectacle back to the reopened cinemas. And Warner supported him on this path, lavishly brought the film to the cinema at the end of August, when all the other studios with their expensive spectacles were still hesitantly on hold. That this step was not a return to normal, but just a short breath before the next closings – everyone has to deal with this reality now.
Of course, the platform HBO-Max, whose launch in Europe and the rest of the world is being prepared, will benefit from exclusive access to the very latest Warner films – in the increasingly fierce competition with Netflix, Disney + and possibly soon other major players in the streaming market. A very plausible theory in the industry says that big blockbusters like Disney’s “Mulan”, which are launched as streaming events, fuel the growth of such platforms far less strongly than hit series, which mean closer and longer-term commitment to a service.
Warner’s announcement should therefore not be interpreted as a giant step towards a future without cinema, but as a very special response to the cinema year 2021. It will be pretty crazy, no matter what. Should the big game continue, the streaming option creates stability. But if the world is soon immune and life starts again with force, all of the films that have been held back for so long suddenly push onto the screens – from blockbusters to film art. In this slamming and stabbing for attention and viewers, there will be heavy losses – and expensive productions that cannot reap their money. In this case, having a streaming platform in hand – that is also part of Warner’s strategy.
With more than ten new releases and twenty feature films that had not finished their career when the cinemas closed at the end of October, viewers will be spoiled for choice. And, unlike the first confinement, the theaters will reopen with a Hollywood blockbuster.
Despite the decision of the American directors of Disney (experienced as a betrayal on the part of the French operators) who rocked Soul, the last Pixar on the Disney + platform, families should be particularly spoiled for the holiday season with no less twelve films to watch on the big screen. While operators rely heavily on The Wolf People, There will also be The Elfkins: Pastry operation, My grandfather and me, Lupin III : The First, Rotten dog – life in Paris!, Calamity, Trolls 2, Poly, Little vampire, The whale and the snail, The owl in a chef’s hat and 100% loup. Do not throw any more.
Read also :Under the stars of Paris, Boy Cloth, ADN… Movies to watch or avoid this week
Regulars at arthouse theaters too will be spoiled for choice between Drunk by Thomas Vinterberg, ADN by Maïwenn, Boy Cloth by Nicolas Maury, Mandibles by Quentin Dupieux and Goodbye idiots by Albert Dupontel. These operators had wanted to be able to reopen with a “white week” to understand, without any new developments. The idea was to thank the distributors, directors and actors whose films released in October had not finished their careers. ADN and Boy Cloth were for example only showing 48 hours since they were released on Wednesday, October 27, two days before the cinemas close again. When you know that they represent several years of work for their directors Maïwenn and Nicolas Maury, it’s hard. The idea was to give them maximum chance before the arrival of new products. The government did not hear them.
Multiplexes will focus primarily on American entertainment films, Wonder Woman 84 . As in September with Tenet of Christopher Nolan, Warner decided to symbolically help cinemas. The directors of the studio went so far as to agree to release this film in France, nine days before the United States. At a time when piracy is raging, this is not trivial. In doing so, Warner shows other majors (Universal, Fox, Sony, Disney …) that releasing a blockbuster right now is possible.
As long as it does not occupy too many screens, this superhero film should make young people want to come back and see other films made for them like the police comedy. 30 days Max de Tarek Boudali, Little Zombies by Makoto Nagahisa et Slalom by Charlène Favier.
The multiplexes will catch up with the February holidays with a series of French blockbusters. First Aline by Valérie Lemercier and The Tuches 4 by Olivier Barroux then OSS117 by Nicolas Bedos at Easter. The release date of Kaamelott by Alexandre Astier which is the next big French film ready, has still not been announced. Finally, the only period that risks leaving cinemas empty is January 2021.
The list of releases below will change depending on negotiations between distributors and exhibitors. It will be updated regularly.
Wonder Woman 84 .-The sequel to the adventures of Diana Prince, aka Wonder Woman. This time the action takes place in the 80s. Directed by Patty Jenkins, music by Hans Zimmer with Gal Gadot, Chris Pine, Kristen Wiig and Pedro Pascal.
The wolf people.-After the formidable Song of the sea Oscar nominated, here is the new fantasy adventure animated film from Tomm Moore and Ross Stewart. The exhibitors rely heavily on this poetic film which will appeal to adults and children alike.
Slalom.-Directed by Charlène Favier, this first film in the world of ski competitions tells about this special moment when everything can go wrong between a trainer and a young sportswoman. It was shot in Les Arcs and was selected for the last Cannes Film Festival. Its main actress Noée Abita is named as Revelations of Caesar 2021.
Mandibles.-Quentin Dupieux’s new intimate and quirky film with David Marsais, Grégoire Ludig and Adèle Exarchopoulos. Jean-Gab and Manu, simple-minded friends, find a giant fly stuck in the trunk of a car and set out to train it to earn money with it.
Little Zombies.-Japanese musical film by Makoto Nagahisa. Their parents are dead. They should be sad, yet they don’t cry. Instead, Hikari, Ikuko, Ishi, and Takemura put together an explosive rock band.
Without particular sign.Mexican film by Fernanda Valadez. Magdalena crosses Mexico in search of her son. During her trip, she meets a young man who has just been deported from the United States.
The flavor of quinces.Bulgarian film by Kristina Grozeva and Petar Valchanov. Vasil, a 70-year-old artist (Ivan Barnev) has just lost his wife. Convinced that she has been trying to get in touch with him from the afterlife, he enlists the help of a medium.
Violet Evergarden.- In the sequel to this Japanese manga directed by Taichi Ischidate, Violet is still unable to forget Gilbert, her former supervisor. One day, while receiving a request from a young client, she discovers a letter ….
The Elfkins: Pastry operation.- German animated film directed by Ute von Münchow-Pohl. Elfie, little Elfkins lives in the secret world of elves. She dreams of meeting humans. While going on an adventure, she comes across Théo, a grumpy pastry chef whose recipes no longer appeal to everyone.
143 Desert Street.- Directed by Hassen Ferhani, this Algerian film looks at Malika who writes her story in her house in the middle of the desert.
The return of films that had not finished their career
Drunk.-The critically acclaimed new film by Danish director Thomas Vinterberg starring Madds Mikkelsen is enjoying excellent word of mouth. Because of the second confinement, it was only on view for two weeks in October. A must see.
ADN.- Selected at Cannes, the new Maïwenn was only showing 48 hours before the cinemas closed at the end of October. Neige, divorced and mother of three, regularly visits her grandfather. Her death triggers a storm in the family and a deep identity crisis in her.
Rag Boy.-In the extended selection of Cannes, this first film by Nicolas Maury returns to the poster. Jeremy, in his thirties, struggles to get his acting career off the ground. His private life is damaged by his jealousy. He leaves Paris and tries to rebuild himself with his mother. With Nicolas Maury and Nathalie Baye.
Max 30 days – Police comedy by and with Tarek Boudali as well as Philippe Lacheau, Julien Arruti and Vanessa Guide. Rayane young cowardly cop mistakenly thinks that he has only thirty days to live. He turns into a hothead who takes all the risks to corner a drug kingpin.
Poly.- Very nice film for the children of Nicolas Vanier with François Cluzet and Julie Gayet.
Goodbye idiots.The new Albert Dupontel with Virginie Efira
Of them.- This film by Filippo Meneghetti released in February will finally represent France at the Oscars in 2021. Nina and Madeleine, two neighbors on the top floor of a building (Barbara Sukowa and Martine Chevallier) are deeply in love with each other and share their life together). No one really knows them, not even Madeleine’s caring daughter (Léa Drucker).
Miss.- After The golden cage, Ruben Alves returns with a film on tolerance. In the cast: Alexandre Wetter, Pascale Arbillot, Isabelle Nanty, Thibault de Montalembert and Stéfi Celma.
Michelangelo.- An Andrey Konhalovsky biopic on which arthouse theaters rely a lot.
Little Vampire.-Joann Sfar’s new animated film with the voices of Camille Cottin and Alex Lutz.
Peninsula.-For zombie lovers, the sequel to the South Korean triumph Last Train to Busan. Signed Sang-Ho Yeon, this film was also selected at Cannes. The obligation to be out of cinemas at 9 p.m. will not help this genre film, which is rather calibrated for evening sessions.
100% loup.- Animated film by Alexs Stadermann produced by Studio 100, a French company (The great adventure by Maya the Bee). Freddy and his family have been hiding a great secret for centuries. By day they are humans, by night they become werewolves.
Lupin III, The First.- Japanese animated film by Takashi Yamakazi. Between traps, aerial escapades and absurd escapes, Lupine and the members of his band compete in spirit and daring.
The Whale and the Snail.-Children’s film in which a female sea snail sets off on a journey across the oceans of the globe with a humpback whale.
And a merry Christmas to all. Tuesday, December 15, the signs of cinemas, closed since October 30, will come back on. Emmanuel Macron’s announcement was accompanied by an asterisk: “If the health objectives are achieved», In this case fixed around 5,000 contaminations per day and between 2,500 and 3,000 people in intensive care. The clause is not likely to weaken the relief of the excellent news celebrated by the profession after weeks of blind guesswork. “Where we are very happy is that culture, theaters and cinemas have been treated separately., rejoices Richard Patry, president of the National Federation of French Cinemas (FNCF), and that this closure will have lasted less than the first time, namely six weeks. Whether the conditions for the restart on December 15 are maintained will obviously depend on the evolution of the epidemic, but since the start, it’s like that. We are going to defend the films that were showing by re-exhibiting them massively.»
Before the president’s announcements, a dividing line more or less separated the independent cinemas, ready to reopen quickly, and the circuits, more dependent on guarantees of a reopening with strong films on display, as well as a 20-hour session that would not contravene a possible curfew. On this point, it’s won: cinema tickets and theater tickets will be taken as proof to allow spectators to return quietly after 9 p.m., in accordance with the request made by Roselyne Bachelot which had been rejected by Bruno Le Maire and Jean Castex at the time. of the first curfew. “I admit that everyone is in the excitement, rejoices Étienne Ollagnier, president of the Syndicate of Independent Distributors (SDI). Failing to be certain about the curves of the epidemic, we see them evolving in the right direction, and we have the means to reassure ourselves a little thanks to the strong support dynamic of the State and the CNC.»Also at the head of Jour2Fête, the distributor announces the release of the film Slalom from the Wednesday of the reopening, December 16. “We had announced this date a little by chance as early as October 28, thinking that we were going to pray for it to reopen before Christmas. It was a film normally dated November 4 for which work was more than started. The only thing that could hypothetically make us shift is the collective discussions with the union on the progress of the reopening.»
The SDI had initially pleaded for a reopening scheme on December 2 or 9: the idea was to provide a virtuous “white week” to films whose career had been cut short by the closure (some of which like ADN, Rag boy, A secret life, after only 3 days of operation), so as to re-release them without new titles taking the cover. The project has gone downhill, given the galloping arrival of the Christmas holidays accompanied by the economic challenges that we know, and the unexpected announcement of the global release (outside the United States) of Wonder Woman 1984 on December 16 by Warner, the first American heavyweight since Tenet in August. Conciliatory, Richard Patry assures that there will be room for everyone: “The offer will be less important than a classic December where fifteen films come out per week, we are far from the traffic jam and it is not Wonder Woman who will harm Rag boy and Goodbye idiots! We don’t want to build walls to protect films, they are strong enough for audiences to come back to see them.»
Also in the cast of the reopening, the new comedy by Quentin Dupieux Mandibles, will come out well “December 15 or 16, depending on what is possible“, Relishes Alexandre Mallet-Guy, the boss of Memento. “As the Tuches have shifted, we will be the comedy of the holidays! It is true that the clause of 5,000 cases is a sword of Damocles above our heads, but it is a risk that we have to take because we cannot date a film overnight.»
«The difference between reopening an ordinary store and that of a cinema is that it is not a question of removing the boxes of peas that were waiting on the shelf ”, confirms distributor Amel Lacombe, director of Eurozoom. Two of his films initially scheduled in November, Violet Evergarden and Little Zombies, are also candidates for an exit upon reopening, but “everything is not so simple». «The fine intentions expressed at the closing so that the canceled films find their place have apparently disappeared. When are we going to put these outings for which promotional measures have been taken? We are used as independents to squeeze in the holes, but there, Wonder Woman and last minute wild programming, we were made to understand that the hunt is on. And that we will have to make room for the cash drawer.“Between now and December 15, professional consultations will begin on Wednesday around the release schedule of the films that will baptize this deconfinement, second edition. No end of year celebrations without family reunions.
We can imagine the brainstorming between feverish agents stuck on Zoom: “What other ‘powerful woman’ could therefore embody Gal Gadot while keeping this empowerment mix, golden finery and miniskirt?” Cleopatra! Already done ? Not like that, swears the Israeli star, now one of Hollywood’s biggest cachets. “We are going to tell this story through the eyes of women, in front of and behind the camera”, enlisting Patty Jenkins, director of the two Wonder Woman of DC / Warner (the sequel saw its release pushed back by the pandemic) and screenwriter Laeta Kalogridis (behind theAlexandre d’Oliver Stone).
Ce pitch pseudo-woke (that is to say “progressive” according to the zeitgeist) will not have held a quarter of an hour on the ruthless social networks, triggering the most boring, even stinking controversy of the week, the grievances legitimate around the diversity on the screen finding itself quickly covered by antisemitic hints and endless debates on the color of the “real” Cleopatra, even more mysterious than the curve of her nasal ridge for archaeologists.
There are those who consider the Egyptian to be an Arab or African heroine, a historical figure again “whitened” by Hollywood. From Yul Brynner to Australian self-tanner Joel Edgerton in Ramses II at Ridley Scott’s, peplums, from the golden age to post-Gladiator, have always cast whites on thrones and minorities to hold the fan, while we now know the Roman Empire (of which Cleopatra’s Egypt was part) much more mixed than that.
The pro-Gadot troops, starting with the scribe Kalogridis, opened a counterfire by arguing that the descendant of the Ptolemies – even if several historians believe that the dynasty necessarily mingled with the natives by dint of orgies – was before all “Greco-Macedonian”.
Mediterranean therefore. Just like Gadot, his defenders advance. This is where the Israeli-Arab conflict takes place, far from the debate on the color chart. Israeli, Ashkenazi Jewish, the very smooth Gal Gadot remains for the majority of the Arab world an intruder in the Middle East (Wonder Woman was even censored in Lebanon), repeatedly referred to her military service in the ranks of the IDF and to her condemnations of Hamas during the 2014 war in Gaza. “After stealing the lands of the Arabs, you steal their roles”, launched on Twitter Sameera Khan, ex-Miss New Jersey who became a journalist at Russia Today.
More than yet another modern identity fight, the controversy is terribly vintage. In 1962, the choice of “Zionist” Liz Taylor to play the Queen of the Nile had ulcerated Nasser, Egyptian president and champion of pan-Arabism. The English actress had converted a few years earlier to Judaism and raised funds for Israel at charity galas, leading to the boycott of her films and the impossibility of filming in the land of the pharaohs. But in 1964, Cairo backed down. With 122 mentions of the word “Egypt”, Mankiewicz’s monumental kitchery was considered the best publicity possible for the country.