document_title: List of The Neverending Story characters

question_text: what is the dragons name in the never ending story

question_tokens: what is the dragons name in the never ending story

text: List of The Neverending Story characters

text: Bastian Balthazar Bux[edit]

text:
Bastian Balthazar Bux

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Barret Oliver (1st film)
Jonathan Brandis (2nd film)
Jason James Richter (3rd film)
Christopher Bell
Mark Rendall

Information

Species
Human

Gender
Male

text: Bastian Balthazar Bux is a shy and bookish boy around 12 years old who is neglected by his father, who is still mourning the sudden death of his wife (she died of an unspecified illness). He is a dreamer, who is shunned by other children due to his immense imagination. During a visit to an antique bookstore, he steals a curious-looking book titled The Neverending Story, and upon reading it he finds himself literally drawn into the story.

text: Halfway through the book, Bastian becomes a character in The Neverending Story, in a world called Fantastica ("Fantasia" in the films, which is closer to the German original "Phantásien"). He is bestowed the magical amulet AURYN, which allows his wishes to be granted. As the story progresses, Bastian slowly loses his memories of the real world as his wishes carry him throughout Fantastica and change him into a completely different person. Deluded by the witch Xayide, Bastian moves to the Ivory Tower and tries to have himself proclaimed Emperor. The ceremony is interrupted by Atreyu, who is nearly killed by Bastian.

text: Eventually, Bastian realizes that he is beginning to lose himself, and starts a desperate last-ditch quest for his one true desire. In the end he forgets even his name, but with the help of Falkor and Atreyu, who promise to finish the stories he started, he manages to return to the human world with the capability of loving, which was his deepest (and thereto unknown) desire, and bringing to his father the Water of Life, curing him of his melancholy. Bastian and Coreander exchange tales of their adventures in Fantastica, and Coreander reveals that a person can return to Fantastica as many times as they can think of new names for the benevolent Childlike Empress, and predicts Bastian will show others the way to Fantastica.

text: He has been portrayed by five different actors:

text:
1984: Barret Oliver in The NeverEnding Story.
1990: Jonathan Brandis in The NeverEnding Story II: The Next Chapter.(J. Michael Haney, Jr. as Young Bastian)
1994: Jason James Richter in The NeverEnding Story III.
1996: Christopher Bell provided the voice of the character in The Neverending Story animated series.
2001: Mark Rendall in Tales from the Neverending Story

tag: ul

text: Atreyu[edit]

text:
Atreyu

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Noah Hathaway (1st film)
Kenny Morrison (2nd film)
Dominic Zamprogna (Animated series)
Tyler Hynes (TV series)

Information

Species
Greenskin warrior

Gender
Male

text: Atreyu (German: Atréju) is the protagonist of the mysterious book that Bastian reads. To the readership, Atreyu is a metafictional character, existing fictionally and within the reality of the book itself. He is described as having green skin and blue hair.

text: He is a young warrior from the Grassy Plains (in German, "The Grassy Sea"). His parents were killed by a Purple Buffalo soon after he was born, and his entire village raised him; wherefore his name means "son of all" in his native language. He is summoned by the Childlike Empress to save the land of Fantasia by finding a cure for her illness, and given AURYN, an amulet that makes whoever wears it the Childlike Empress' herald. During the quest to find a cure, he meets Falkor the luckdragon, who becomes his steed after the death of his horse 'Artax'. Bastian, reading Atreyu's story in the real world, experiences everything Atreyu does; this proves Fantasia's solution and the Empress' cure, in bringing Bastian to Fantastica to give the Empress a new name.

text: Atreyu features largely in the second half of the novel, as Bastian travels Fantasia far and wide as its savior. They quickly become friends, but as Bastian continues to use AURYN, he becomes arrogant and gradually loses his memory. When Bastian has lost even his name, Atreyu and Falkor offer favorable testimony to the powers in AURYN, who allow Bastian's return to the human world. With their friendship restored, Atreyu promises to finish the stories Bastian has begun in Fantastica.

text: In the 1984 film version, the character of Atreyu is played by Noah Hathaway. His skin is not olive green as described in the book; though it was attempted to do this through makeup, it never made it to the final production.[1] As such, his people were called the 'Plains People' instead of Greenskins.

text: The character also makes a return appearance in The NeverEnding Story II: The Next Chapter, played by Kenny Morrison. In the 1995 animated show, Atreyu and his people are, as in the original novel, green-skinned; but this version of Atreyu has a younger sister named Saiya, and his outward appearance has been patterned after Noah Hathaway from the first movie.

text: In the 2001 Hallmark Channel mini-series, Tales from the Neverending Story, he is portrayed by Tyler Hynes and the character's people are called the Woodland People. He is shown to have a romantic relationship with a young aviatrix called "Fly Girl", and to be something of a village innocent.

text: Atreyu in popular culture[edit]

text:
The American metalcore band, Atreyu, took its name from this character from The Neverending Story.
Atreyu and Artax inspired Listener's song "Failing is Not Just for Failures".
In Comedy Central's Workaholics season 5 episode 10 (Trivia Pursuits), Adam and Blake argue over who gets to be Atreyu when deciding on their costumes for an upcoming 1980s trivia contest against three Asian men who are also street racers.

text: Carl Conrad Coreander[edit]

text:
Carl Conrad Coreander

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Thomas Hill
John Dunn-Hill
Freddie Jones

Information

Species
Human

Gender
Male

Occupation
Book shop owner

text: Carl Conrad Coreander (Karl Konrad Koreander in German) is a cantankerous bookseller, and the name of his bookstore makes for the first words in the novel, the heading of the prologue being "skooB dlO srednaeroC darnoC lraC", the store name when viewed through the window from the inside outwards. Bastian finds the Neverending Story in his store. While Coreander is distracted by a telephone call, Bastian steals it and takes it to school with him.

text: In the end, the novel makes it clear that Mr. Coreander is one of the few humans who has been to Fantastica and returned. He and Bastian come to a better understanding and share telling the stories of their adventures to one another. Both he and Bastian share the oddity of triple letter initials, an insight into their mutual connection to Fantastica.

text: Coreander is portrayed by Thomas Hill in the first film, and was the only actor who reprised his role in the second film; however, in the third film, he is played by Freddie Jones. In the television series, Tales from the Neverending Story, he functions in a double role as a wizard in Fantasia wherein he is called "the Curiosity".

text: The Childlike Empress[edit]

text:
Childlike Empress

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Tami Stronach
Alexandra Johnes
Julie Cox
Audrey Gardiner
Lisa Yamanaka

Information

Aliases
Moon Child, Golden-Eyed Commander of Wishes

Species
Fantastican

Gender
Female

Occupation
Goddess of Fantasy

text: The Childlike Empress (Die Kindliche Kaiserin in German) is the mysterious and benevolent monarch of Fantastica, who resides in the capital called Ivory Tower in the heart of the realm. Although she is nominally the ruler of Fantastica, she rarely interacts with the outside world. Should she die, Fantastica and all Fantasticans would cease to exist.

text: The amulet known as the 'AURYN' is her emblem, and those who wear it are her representatives. As explained by Morla the Aged One, her lifetime is not measured in years or in time ("she is much older than the oldest inhabitants of Fantastica, or rather, she is ageless"), but by names, which only the imagination of a human child can give her. When she begins to need a new name, she begins to fade away, causing the Nothing to appear in Fantastica. She sends Atreyu on the Great Quest, which brings Bastian Balthazar Bux to Fantastica, and Bastian gives her the name of 'Moon Child' (Mondenkind in German), which restores Fantastica and begins the second half of the novel.

text: Her description is that of an indescribably beautiful young girl, appearing no older than ten, yet much older than the oldest Fantasticans. Her hair is snow-white, as is her gown, and her eyes are the color of gold, earning her the title "Golden-Eyed Commander of Wishes" (Goldäugige Gebieterin der Wünsche in German).

text: The role was portrayed by Tami Stronach in Wolfgang Petersen's 1984 adaptation, by Alexandra Johnes in The NeverEnding Story II: The Next Chapter (1990) and by Julie Cox (apparently as an adolescent) in The NeverEnding Story III (1994). In the films, her hair is dark, rather than white, and in the first film, she is dressed like a bride.

text: In the 2001 television series Tales from the Neverending Story, the Empress, again depicted with dark hair, was played by Audrey Gardiner.

text: The Empress was also featured in an animated Neverending Story television series (episodes of which were edited into a film), in which she had golden hair and wore a green gown. Her voice was provided by Lisa Yamanaka.

text: Engywook and Urgl[edit]

text:
Engywook and Urgl

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Engywook:
Sydney Bromley (1st film)
Tony Robinson (3rd film)
Wayne Robson (cartoon)
Urgl:
Patricia Hayes (1st film)
Moya Brady (3rd film)
Barbara Byrne (cartoon)

Information

Species
Fantasian Gnomes

Occupation
Engywook: Researcher of the Southern Oracle
Urgl: Housewife

text: Engywook (Engywuck in German) and his wife Urgl, called in German the "Zweisiedler" (neologism from "Einsiedler" hermit; roughly "doublitarian") are a quarrelsome pair of gnomes who live close to the Southern Oracle. Engywook is a research scientist who has studied the Southern Oracle and her three gates for most of his life, but has never entered any. His wife Urgl often gets in his way while brewing potions in a large cauldron for healing wounded people. Engywook can observe the Riddle Gate, also known as the Sphinxes, from his telescope on a hilltop overlooking the first gate. In the book, Urgl removes poison from Atreyu and Engywook instructs him about the three gates that lead to the Southern Oracle. This scene is portrayed in the 1984 film. Engywook is played by Sydney Bromley and Urgl is played by Patricia Hayes.

text: In the third film of the series, Engywook (played by Tony Robinson) and Urgl (played by Moya Brady) have moved to a forest and still argue continuously. The house is stepped on by Bastian during his return trip to Fantasia, although it is then completely destroyed by the Nasties. The two go with Bastian, Falkor, and Bark Troll to find the Empress for help, but are stranded on Earth and arrive in Alaska, where they mail themselves to the others and return home, their house rebuilt.

text: Falkor the Luckdragon[edit]

text:
Falkor

"Side view Falkor", an original prop used by Bavaria Film Studios

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Alan Oppenheimer (1st film)
Donald Arthur (2nd film)
William Hootkins (3rd film)
Howard Jerome (cartoon)

Information

Species
Luckdragon

Gender
Male

text: Falkor (Fuchur in German) is a companion of Atreyu and Bastian. He is the only luckdragon to appear, although five others are mentioned in passing. He helps Atreyu find a cure for the Empress after escaping the web of Ygramul the Many.

text: The original name "Fuchur" is derived from Japanese "Fukuryuu" (福竜 or 福龍, "lucky dragon").[citation needed] It was changed in the English translation because the pronunciation of the original name is similar to that of the agentive form of an English expletive. Personality wise, Falkor is optimistic, friendly, dignified, helpful and wise, trying to help Bastian remember to "never give up and good luck will find you."

text: Falkor has an elongated body with rudimentary paws and pink scales and hairs that appear white in dull light. His head is described less precisely, though his eyes are given the colour of rubies. In the illustrations of the German novel, he appears much like an oriental dragon or his appearance is of a dog (Goldendoodle); whereas a cover for the book by Dan Craig illustrated Falkor as lion-like; and in the 1984 film adaptation of the novel, as well as its sequels, Falkor has canine features upon a white furred body and is pleased by affectionate scratchings behind his ear. Luckdragons possess neither an immense physical strength, nor great magical talents, though they can exhale fire, which is blue, as when Falkor fights Ygramul. Their only distinctive ability that sets them apart is incredible luck in everything they do, as shown when Falkor locates and rescues his companion after being lost in a violent, blinding storm. When in flight, a luckdragon is in constant motion. Luckdragons never stop drawing air and heat through their scales, which makes eating unnecessary and makes submersion in water deadly to them. Luckdragons are capable of sleeping while flying, and prefer to occupy as much open space as possible.

text: In the first film, Falkor is voiced by Alan Oppenheimer. In the second film, Falkor is voiced by an uncredited Donald Arthur. In the third film, Falkor is performed by Gord Robertson and voiced by William Hootkins.

text: Bavaria Film Studios retains a "side view Falkor" which tourists can climb and ride. The prop is the last remaining version of Falkor from the original film and was used for blue-screen side angle shots.

text: Gmork[edit]

text:
Gmork

Gmork, as he appears in the 1984 motion picture.

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Alan Oppenheimer (uncredited)
Edward Yankie (TV)
Don Francks (cartoon)

Information

Species
Wolf

text: Gmork is one of the main villains of the story. He is the servant of the power behind the Nothing. His appearance in the book is that of a large, wolf-like creature with night-black fur and capable of human speech; but the film gives him blue-black fur and luminous green cat-like eyes, as well as more fangs than an ordinary wolf would have. In Latin Spanish dubbing, Gmork is alternatively (and erroneously) known as "La Nada", "The Nothing".

text: Gmork's primary mission in the Neverending Story is to kill the young warrior Atreyu. He, and other dual-natured creatures like him, are able to travel between worlds, changing into a Fantastican or a human depending upon the world, in appearance only. Atreyu finally meets Gmork in Spook City, where he is chained, and Atreyu employs the name 'Nobody' to hide his identity in shame of his failure to complete his quest. Gmork confesses that he has been hunting a boy sent on a quest by the Childlike Empress to find her a new name, but lost him early on. He then met the Princess of Darkness, Gaya, who upon hearing of his mission to help the Nothing, chained Gmork with an unbreakable chain (reminiscent of Fenrir in Nordic mythology) and leapt into the Nothing, leaving him to starve. Gmork explains to Atreyu the nature of the Nothing, and that a Fantastican who enters it, must become a 'lie' in the human world. Eventually, Gmork reveals the name of the boy he is pursuing, and Atreyu reveals his identity, which causes Gmork to laugh until he finally succumbs to starvation. As Atreyu approaches the dead wolf, the carcass grabs Atreyu in its jaws, which, ironically, prevents Atreyu from succumbing to the overpowering urge exerted by the Nothing to throw himself into it. He is freed from Gmork's grip by Falkor, who escapes with him to the Ivory Tower.

text: In the film, Gmork almost manages to kill Atreyu in the Swamps of Sadness, but Atreyu is saved by Falkor. Their meeting in Spook City occurs in the film as well, where Gmork attacks Atreyu, impaling himself on an improvised stone knife held by the young warrior.

text: Grograman[edit]

text:
Grograman

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Gary Crawford (cartoon)

Information

Aliases
The Many Colored Death

Species
Lion

Occupation
Guardian of the Desert of Colors

text: Grograman, known as The Many Colored Death (Graógramán, der Bunte Tod in German), is the guardian of Goab, the Desert of Colors, which exists in a symbiosis with Perilin the Night Forest. He appears in the form of a huge lion, who changes colors to suit the color of sand under his feet and changes all life around him into sand. Grograman turns into an obsidian statue at night to allow the growth of Perilin.

text: Grograman is the first creature Bastian meets upon his arrival in Fantastica (if the Childlike Empress is to be excluded). Bastian is protected from the effect of Grograman's death aura by AURYN and is thus the first living being ever to make friends with him. Grograman is the first one who teaches Bastian something of the nature of Fantastica and he gives Bastian his magic (and seemingly intelligent) sword Sikanda. One night, Bastian is called away. He promises to return, but is ultimately unable to keep his promise (the story states, however, that one day someone would fulfill the promise in Bastian's name).

text: In the animated series, Grograman burns down Perilin to protect Fantastica from being overrun by its roots and branches. He is later captured by Xayide and freed by Bastian.

text: Morla[edit]

text:
Morla

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Robert Jadah (film)
Pam Hyatt (cartoon)

Information

Aliases
The Ancient One

Species
Giant Turtle

text: Morla, known as The Ancient One (Die Uralte Morla in German), is a giant turtle who, because of their size, is mistaken for a mountain. They live in the Swamps of Sadness, which might be either the cause or the result of their melancholy mindset: as the oldest living Fantastican (after the Childlike Empress and the Old Man of Wandering Mountain, who are both ageless), they have grown indifferent to the fate of Fantastica and their own survival. Reluctantly, they inform Atreyu that the Empress needs a new name and they point Atreyu to the Southern Oracle. Morla speaks in the 'royal we' or nosism.

text: In the film, Morla has an allergy to youth (Atreyu) and sneezes violently in his presence. This version also knows nothing about the illness of the Empress, but sends Atreyu directly to the Southern Oracle.

text: The Old Man of Wandering Mountain[edit]

text:
The Old Man of Wandering Mountain

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Freddier Jones

Information

Occupation
Chronicler

text: The Old Man of Wandering Mountain (Der Alte vom Wandernden Berge in German) is an elderly chronicler whose chronicle contains all events in Fantastica. He lives alone in an egg-shaped home on top of the Wandering Mountain, which can be found only by chance or fate.

text: The Old Man appears in the story when the Childlike Empress is forced to use drastic measures to make Bastian fulfill his part in the story. As she approaches his mountain, the Old Man tries to dissuade her from entering to the point of insulting her. On her request, the Old Man reads from his chronicle (starting with Bastian entering the book shop). As he reads, all events happen again and as they happen again, he writes them down again beginning a vicious circle of eternal repetition which finally drives Bastian into calling out the Empress' new name.

text: The Old Man does not ultimately appear in the first film and his appearance in the third film differs drastically from the book. He possesses the Great Book which can seemingly write the future on its own accord. He dwells in a hidden crystal cave where he can see outside events using a "magic mirror". He is visited by the Childlike Empress and her guard Big Head, who remain with him until the end of the Nastie Crisis. In this film, he grovels before the Empress and sees it as an honor that the monarch would visit him.

text: Pyornkrachzark[edit]

text:
Pyornkrachzark

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Alan Oppenheimer (1st film, uncredited)
Gary Martin (3rd film)
Harvey Atkin (cartoon)

Information

Aliases
Rockbiter

Species
Rockbiter

Occupation
Messenger

text: Pyornkrachzark (Pjörnrachzarck) is a Rockbiter (in German Felsenbeisser) riding a stone vehicle. He is a large creature made completely of stone. The Rockbiter species are named due to their diet of rocks and earth-based materials. The Rockbiter seen in the film particularly has a liking for limestone.

text: In the novel, the Rockbiter only appears early in the novel among the messengers sent to see the Childlike Empress at the Ivory Tower during the "Nothing" crisis; whereas in the film he ultimately reappears, encountered by Atreyu. He has lost faith in himself after failing to save his travelling companions from the Nothing, and advises Atreyu to flee. During the end of the film, he and his two traveling companions wave at Bastian as he flies by on Falkor.

text: In the second and third films, Rock Biter's wife appears in the third film and his son appears in the second and third. Rock Biter Junior is the same size as a human, and is rather gluttonous and playful. He is sent to Earth during a wish overload caused by Bastian, Falkor, Bark Troll, Engywook, and Urgl; whereupon he is saved from falling to his death by Falkor and they are reunited with Bastian. Rock Biter and his wife nearly split due to the absence of their son and the further effects of the Nasties, who are in possession of the book and AURYN; but the family are reunited at the end of the film. Rock Biter also sings a rather corrupt version of Born To Be Wild by Steppenwolf.

text: Gluckuk[edit]

text: Gluckuk (Ückück in German) is a tiny man (Winzling) riding a racing snail. He was sent by his race to see the Childlike Empress at the Ivory Tower during the "Nothing" crisis.

text: In the film, he is ultimately called Teeny Weeny and portrayed by Deep Roy.

text: Whooshwoozool[edit]

text: Whooshwoozool (Wúschwusul) is a Nighthob (Nachtalb) who rides on a bat. He was sent by his race to see the Childlike Empress at the Ivory Tower during the "Nothing" crisis.

text: Blubb[edit]

text: Blubb is a will-o'-the-wisp. He was sent by his race to see the Childlike Empress at the Ivory Tower during the "Nothing" crisis.

text: Blubb is ultimately not in the film version.

text: The Southern Oracle[edit]

text:
Southern Oracle

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Ellen Ray Hennessy (cartoon)

Information

Aliases
Uyulala; The Voice of Still

Occupation
Oracle

text: The Southern Oracle, also named Uyulala (Uyulála in German), is a mysterious and all-knowing oracle guarded by three magical gates. She is depicted as a disembodied, continuous female voice who speaks in - and can only understand - rhymed speech and otherwise sings ceaselessly to maintain her existence.

text: The ancient, giant turtle Morla tells Atreyu that Uyulala is the only one who knows who can give the Childlike Empress a new name and prevent her from dying; and with the help of Ygramul's poison, Atreyu transports himself near the oracle instantly. There he learns from the gnome Engywook, that to speak with Uyulala he must pass through the three gates:

text:
The first gate is the Great Riddle Gate, which consists of two Sphinxes who face one another. Those caught between their gaze are frozen on the spot and doomed to remain until they solve every riddle in the world or until they die.
The second gate is the Magic Mirror Gate, which is a large, circular, moon-like mirror, which reflects the absolute truest nature of the observer. This often frightens people into retreat or hysteria; but the observer, to pass this gate, must walk through its reflection.
The third gate is the No-Key Gate, which is a keyless door and physically indestructible, but responsive to a person's will. Only by losing the desire to enter may one get it to open.

text: Once past, Atreyu learns the reason why the Childlike Empress is ill and what he must find in order to restore her health. Uyulala is then quiet and the Southern Oracle with its three gates is silently destroyed by the Nothing. Passing through the first two gates causes Atreyu to first lose all fear (the Great Riddle Gate), and then all memory of himself (the Magic Mirror Gate). This allows him to open the No-Key Gate, whereat Bastian's voice keeps the now empty-minded Atreyu from wandering.

text: The film version of the Southern Oracle shares the generalities; but the first gate judges whether the person attempting to pass through it "feels his own worth"; if the person is doubtful of its ability to pass through safely, the two Sphinxes incinerate the visitor. The second gate is a mirror much like the book's description, located in a snowy wilderness; and there is ultimately no third gate (which, as the third gate would have stood for the precise contrary of "felling one's own worth", somewhat turns the message to the contrary). The Oracle itself is ultimately two blue glowing Sphinxes exactly like the yellow sphinxes at the first gate, and also speaks in prose. As with the book, the Oracle crumbles and dies after revealing the cure for the Childlike Empress' condition.

text: In Tales from the Neverending Story, a hero must pass through the Riddle Gate, which tests his confidence in himself. He must then answer a riddle and pass through a mirror that displays the necessary thing he needs. In the case of Atreyu, he lands in a library owned by the wizard nicknamed "the Curiosity", who teaches him to read. Thereafter he passes through a glass door on which the name Uyulala is inscribed, to find the Oracle much as she is described in the book.

text: In The Neverending Story cartoon series, the Southern Oracle is depicted as two sphinxes facing each other and are voiced by Ellen Ray Hennessy.

text: Xayide[edit]

text:
Xayide

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Clarissa Burt (film)
Victoria Sanchez (TV series)
Janet Laine-Green (cartoon)

Information

Aliases
Mistress of Horok Castle

Species
Fantastican

Gender
Female

Occupation
Sorceress

text: Xayide (Xayíde in German) is one of the main villains of the story. She is an evil sorceress who appears later in the book after Bastian enters the world of Fantastica. Xayide lives in a castle shaped like a hand, called “Horok, the Seeing Hand”, because its multitude of windows appear like human eyes. Xayide's most striking physical feature are her heterochromatic red and green eyes. She has the ability to control anything empty, and thus she employs as guards empty suits of plate armour.

text: She presents to Bastian a warm and worshipping exterior, in hope to herself replace the Childlike Empress as ruler of Fantastica. Realizing she cannot defeat Bastian by force, she persuades him to invade the Ivory Tower. After losing Bastian, she is crushed to death by her iron minions who resist her waning magic. The book's chapters follow an alphabetical order pattern of the first word; thus her name serves well for the difficult "X" word in Chapter 24, where she meets her demise.

text: Xayide is portrayed by actress and model Clarissa Burt in The NeverEnding Story II: The Next Chapter, which is loosely based upon the second half of the novel. In the adaption, she is the personified avatar of an entity similar to the Nothing, called 'the Emptiness', which is born of the dying imagination of the collective human species. In both media she gives Bastian the belt Ghemmal, which turns its wearer invisible and was intended to spy on Atreyu. She meets her end in the film when Bastian uses his last wish to give her a sense of compassion, whereupon she destroys herself to amend the damage done by her.

text: In the miniseries Tales from the Neverending Story, Xayide is portrayed as the Childlike Empress' sister and the ruler of a 'Dark City'.

text: Ygramul[edit]

text:
Ygramul

First appearance
The Neverending Story

Created by
Michael Ende

Portrayed by
Marilyn Lightstone (cartoon)

Information

Aliases
The Many

Species
Insect Hive

text: Ygramul, or The Many (Ygramul, die Viele in German), is a creature that lives in the land of Dead Mountains.

text: Ygramul is portrayed as a shapeshifter, who often takes form of a giant spider and builds webs to catch its prey. The creature is actually composed of many little hornet-like insects who share a single hive mind. Ygramul's poison is deadly and kills within one hour, but grants the victim the ability to teleport to any location within the land of Fantastica before succumbing to its effects.

text: In the book, this poison is the means by which Atreyu travels to the home of Engywook and Urgl, near the Southern Oracle. At this point in the story Falkor the luckdragon is introduced; he is caught in Ygramul's web, and also uses the power of Ygramul's poison to follow Atreyu. The lingering effects of the poison are nursed out of the two by Urgl, while Engywook, a scholar of the Southern Oracle, instructs Atreyu on the challenges he is to encounter within the Oracle's demesne.

text: In The Neverending Story cartoon series, Ygramul is shown in her spider form. In "To Save Falkor," Bastian encountered Ygramul in the Dead Mountains while looking for a cure for Falkor's illness.

text: Other characters[edit]

text: Bastian's Dad[edit]

text: Bastian's Dad (portrayed by Gerald McRaney in the first film, John Wesley Shipp in the second film, Kevin McNulty in the third film) is described to have grown distant from his son after the death of his wife, although this changes when he and Bastian are reunited at the end of the book. In the second film, Bastian's father is given the first name Barney Bux and follows Bastian's journey by reading the book and reunited with his son at the conclusion of the film. In the third film, he appears to have no memories of reading the book. He marries a woman named Jane and thus gains a new family, along with a daughter named Nicole who plays a main role in the third film.

text: Bark Troll[edit]

text: Bark Troll is a supporting character and friend of Bastian who appears in The Neverending Story cartoon, and the third film which is based on the characters as they appeared in the animated series. He is loosely based on three characters of a species called bark trolls, that appeared briefly to advise Atreyu about the Nothing.

text: Cairon[edit]

text: Cairon (Caíron in German) is a herald of the Childlike Empress and in-between bearer of AURYN who passed it to Atreyu. In the book, he appears as a black elderly centaur with his lower half with the striped pattern of a zebra. In the first film, he ultimately appears as a humanoid Merman (performed by Moses Gunn). By his name and status of a centaur and physician, Cairon is an allusion to the mythological Greek Chiron.

text: Dame Eyola[edit]

text: Dame Eyola (Dame Aiuóla) is a plant taking the form of a motherly woman who lives in the House of Change, who cares for Bastian.

text: The Four Heroes[edit]

text: The Four Heroes are swordsmen who appear in the second half of the novel, said to be the bravest and strongest warriors in all of Fantastica, who participate in a tournament in the Silver City of Amarganth. One is identified as Hero Hynreck (or Huunreck), who is infatuated with Princess Oglamar; the other three, Hykrion, Hysbald and Hydorn, accompany Bastian on his journey and swear allegiance to him. They are often portrayed as cheerful beings, but when Bastian decides to make himself an emperor, they get drunk and become useless. They survive the battle against Atreyu's rebellion but lose track of Bastian, and go their separate ways to look for him.

text: The Four Heroes ultimately do not appear together in the film or television adaptations of the book. However, Hykrion and Hynreck appeared separately in episodes of the Tales from The Neverending Story television series; "Home Sweet Home" & "The Gift of the Name", and "The Luck Stops Here".

text: Although unconfirmed, there is a scene in the first film which serves as an indirect "reference" to the Four Swordsmen, namely an unnamed knight who (unsuccessfully) tries to pass through the ′′′Sphinx Gate′′′. Michael Ende and Wolfgang Peterson collaborated on the script for the first film, which incorporated new scenes by Ende to help reinforce the essence of the story on screen. Ende claimed that Peterson later secretly rewrote the screenplay, but it is possible that this is one of Ende's additions.

text: Ilwan[edit]

text: Ilwan (Illuán) is a blue genie with a bird's beak in place of his nose and mouth. Ilwan was only featured in the novel where he became one of Bastian's closest servants, but was killed during the battle for the Ivory Tower.

text: Nimbly[edit]

text: Nimbly is a bird-like creature unique to the second film and does not exist as a character in the book. He is Xayide's spy, who encourages Bastian to use up his memories wishing, but later has a change of heart. In the book, there is a species called Nimblies, who are rabbit-like creatures with feathers instead of fur.

text: Querquobad[edit]

text: Querquobad, the Silver Sage (Quérquobad der Silbergreis) is the ruler of the silver ship city of Amarganth, which was built by the Acharis and swims on a lake made by their tears.

text: Shadow Goblin[edit]

text: Shadow Goblin is a character in the animated series who is the master thief of Fantasia. The Shadow Goblin wants nothing more than to become the richest creature in Fantasia.

text: Vermin[edit]

text: 'Vermin is a bat-winged rat who is the Shadow Goblin's henchman. Vermin's job is to spy all over Fantasia for something worth stealing and the Shadow Goblin is the one who steals it. While Shadow Goblin wants to become rich, Vermin mostly thinks about food.

text: Shexper[edit]

text: Shexper/Shakespeare is mentioned in Chapter XVIII (18) when Hykrion, Hysbald, and Hydorn sing a song ("When that I was a little tiny boy, With Hey, Ho, the wind and the rain..."). They mention that that song was sung by one called "Shexper", which is a mispronunciation of the name "Shakespeare", which alludes to the possibility that the real Shakespeare once visited Fantasia the same way Bastian did.

text: Smerg[edit]

text: Smerg is a dragon created by Bastian for Hynreck to slay and prove his worthiness to Princess Oglamar. He had the tail of a scorpion, back legs of a grasshopper, and the wings of a bat. Smerg had the heads of a male and female instead of eyes. He is briefly featured in the second film when Bastian wishes him into existence (as in the novel), but in the film, he was ultimately meant to be a new steed to carry Bastian.

text: Tri-Face[edit]

text: Tri-Face is a three-faced scientist who is Xayide's servant in the second film. Each face represents a part his personality and spin into place depending on his mood. This character is based on a figure from the novel named Four-Quarters Troll (Vier-Vierteltroll) or Temperamentling, who becomes a member of Bastian's entourage.

text: A similar character Threehead is a three-headed knight, and also Xayide's servant in the animated series. Each of Threehead's personalities is represented by a different head, and pop up depending on his mood. The blue-haired head is his happiness and loyalty, the red-haired head is his sadness and fear, while the green-haired head is his anger and pure evil.

text: Yikka[edit]

text: Yikka (Jicha) is a female mule who acts as Bastian's steed during the second half of the novel. She is quite faithful to him, but under Xayide's influence Bastian allows her to leave his side to start a family with an attractive male pegasus.

text: Yor[edit]

text: Yor is the picture miner of Yor's Minroud, a mine from which he excavates dream pictures (which make up the soil of Fantastica), who helps Bastian find his lost dream.

text: Fantasian creatures[edit]

text: This section needs expansion. You can help by adding to it. (May 2012)

text: The following are a list of creatures featured in the different media appearances of "The Neverending Story":

text: Acharis (Acharai) - The Acharis are a race of worm-like creatures so ashamed by their own ugliness that they hide underground and constantly cry. Their acidic tears eat away the soil around them, allowing them to mine Fantastican silver (the only element which is impervious to their tears), which they use to construct beautiful buildings. Bastian pities them and transforms them into the Shlamoofs (Schlamuffen): anarchist, clown-faced flying creatures who destroy all of the work they did as Acharis. They pursue Bastian and demand that he becomes their leader, but they are driven off by Atreyu and Falkor — unfortunately too late before their screaming destroys the fragile picture of his father that Bastian previously excavated from Yor's Minroud.

text: Four Winds Giants - Four giants who guard the winds of Fantastica. They constantly fight with each other, which causes the separation of Atreyu and Falkor in the novel. The four of them by name are: Lirr, the black North Wind, Sheerek (compare with sirocco), the sulfur-yellow South Wind, Baureo (compare with Boreas), the leaden-gray East Wind, and Mayestril (compare with mistral), the fiery-red West Wind. Uncharacteristically silenced by the power of the AURYN, it is through the Wind Giants that Atreyu learns that Fantastica has no boundary. In the film, they are ultimately replaced by the Nothing.

text: Greenskins (Grünhäute) - Also known as the Grass People (Grasleute), these are Atreyu's people, a folk of hunters and gatherers with a culture and lifestyle very similar to the North American Plains Indians. As their name implies, their skin is of an olive-green hue, and their hair is blueish-black. Their home is the Grassy Sea, a vast prairie in an undisclosed part of Fantastica bordered by the Silver Mountains range.

text: Iceheads (Eisbolde in German, a merging of the words "ice" and "kobold") - A race of creatures which reside in the Mountains of Fate, where the Childlike Empress encounters the Old Man of Wandering Mountain. They are described as giant humanoids covered in (or made of) ice who move so slowly that a single footstep takes years to complete. As a result, they are fairly isolated even from their own kind and more so from any other living creature in Fantastica.

text: Nighthobs (Nachtalb) - The Nighthobs are a race of nocturnal humanoids that live in the southern regions of Fantastica. They have sharp features, wild hair, and wear drab clothing. Nighthobs are known to employ large bats that they fly much like a hang glider. The most notable of the Nighthobs was Vooshvazool, who was sent on the mission to the Ivory Tower.

text: Rockbiters (Felsenbeißer) - The Rockbiters (or Rockchewers in the book) are large rock creatures that eat rocks and delight in different geological varieties. Rockbiters are often seen riding stone bicycles. Despite their gargantuan size and intimidating appearance, Rockbiters are generally kind and concerned with the well-being of Fantasticans smaller than themselves.

text: Sassafranians (Sassafranier) - A race of human-like people from the novel who are born elderly. Their physical age regresses as they advance in years, and they die when they reach infancy state.

text: Tinys (Winzlinge) - A race of tiny people that ride on racing snails. They are quite sophisticated, but due to their size they live in trees, erecting entire villages whose dwellings are connected by a huge number of ladders, slides and stairways.

text: Unlucky the Rabbit (Unlucky the Rabbit) - Large rabbits that are often victims of Rock Biter's bikes. These are original characters from the third film.

text: Yskálnari - A race of humanoid people living at the edge of a sea of mist, which can be navigated only by boats fashioned from special reeds, which are propelled by willpower (achieved by the Yskálnari through ritual singing). Commonly also called Mist Sailors, their name actually means The Conjoined Ones (Die Gemeinsamen). While Bastian joins them for a while during his quest for the Waters of Life, he discovers that the Yskálnari have no concept of individualism. In the animated series, the Yskálnari are depicted as identical-looking seal-like humanoids manning conventional wooden ships which can navigate the Mist Sea.

text: The following creatures appear in the first film in the Childlike Empress' throne room and are unnamed[2]:

text: Big-Headed Rock Creatures - A race of creatures made of rock that have big heads that are present when Cairon mentions the Childlike Empress' illness.

text: Bird Humans - A race of bird-headed humans that are present when Cairon mentions the Childlike Empress' illness.

text: Elephant-Headed Creature - A humanoid elephant that is present when Cairon mentions the Childlike Empress' illness.

text: Four-Faced People - A race of humans who have four faces. They are present when Cairon mentions the Childlike Empress' illness.

text: Monkey-Headed Creature - A creature with a monkey head that is present when Cairon mentions the Childlike Empress' illness.

text: Palm-Topped Creatures - A race of humanoids with palm tree-like growths on top of their heads that are present when Cairon mentions the Childlike Empress' illness.

text: Three-Headed Creature - A creature that has an unspecified head, a wolf head, and a goat head that is present when Cairon mentions the Childlike Empress' illness.

text: Two-Faced People - A race of humans with two faces that have two noses, two mouths, and three eyes. They are present when Cairon mentions the Childlike Empress' illness.


document_title: Wonder Woman (2017 film)

question_text: when did wonder woman come out in canada

root

text: Wonder Woman (2017 film)

text: Plot[edit]

text: In present-day Paris, Diana Prince receives a photographic plate of herself and four men taken during World War I, prompting her to recall her past. Daughter of Queen Hippolyta, Diana was raised on the hidden island of Themyscira, home to the Amazonian warrior women created by Zeus to protect mankind. Hippolyta shares the Amazonian history with Diana, including how Ares, Zeus's son, became jealous of humanity and orchestrated its destruction. When the other gods attempted to stop him, Ares killed all but Zeus, who wounded Ares and forced his retreat. Zeus left the Amazons a weapon, the "Godkiller", to prepare them for Ares' return.

tag: p

text: Initially forbidding Diana to train as a warrior, Hippolyta allows her sister Antiope to train Diana, but only if the training is more rigorous that any other warrior. In 1918, Diana, now a young woman, rescues American pilot Captain Steve Trevor when his plane crashes off the Themyscira coast. The island is soon invaded by a German cruiser pursuing Trevor. The Amazons kill the crew, but Antiope sacrifices herself to save Diana. Steve is interrogated with the Lasso of Hestia, where he reveals that a war is consuming the outside world, and that he is an Allied spy. He has stolen a notebook of the Spanish chief chemist Isabel Maru, who is attempting to engineer a deadlier form of mustard gas, under the orders of General Erich Ludendorff. Diana believes Ares is responsible for the war. She arms herself with the "Godkiller" sword, the lasso, and her armor before leaving Themyscira with Steve to find and destroy Ares.

text: In London, they deliver Maru's notebook to the Supreme War Council, where Sir Patrick Morgan is trying to negotiate an armistice with Germany. Diana translates Maru's notes and reveals that the Germans plan to release the deadly gas at the War Front. Although forbidden by his commanders to act, Steve, with secret funding from Sir Patrick, recruits spy Sameer, marksman Charlie, and smuggler Chief to help prevent the gas from being released. When the team reaches the Western Front in Belgium, they are halted by the enemy lines. Diana goes alone through No Man's Land and captures the enemy trench, allowing the Allied forces to help her liberate the village of Veld. The team briefly celebrates, while Diana and Steve grow closer romantically.

text: The team learns a gala will be held at the nearby German High Command. Steve and Diana each infiltrate the party, with Steve intending to locate the gas and destroy it while Diana intends to kill Ludendorff, believing that he is Ares and killing him will end the war. Steve stops her to avoid jeopardizing the mission, and Ludendorff unleashes the gas on Veld, killing its inhabitants. Outraged, and blaming Steve for intervening, Diana pursues Ludendorff to a base where the gas is being loaded into a bomber aircraft bound for London. Diana fights and kills Ludendorff but is confused when his death does not stop the war.

text: Sir Patrick appears and reveals himself as Ares. He tells Diana that although he has subtly given humans ideas and inspirations, as well using Ludendorff and Maru as pawns, it is ultimately their decision to cause violence as they are inherently corrupt. She attempts to kill Ares with the Godkiller sword but he destroys it. Ares reveals Diana to be the "Godkiller", as the daughter of Zeus and Queen Hippolyta, but he fails to persuade her to help him destroy humankind to restore paradise on Earth. While the two battle, the others on Steve's team destroy Maru's laboratory. Steve pilots the bomber carrying the gas to a safe altitude and detonates it, sacrificing himself in the process. Ares attempts to direct Diana's rage and grief at Steve's death by convincing her to kill Maru, but memories of her experience with Steve cause her to realize that mankind has good within it. She spares Maru and redirects Ares' lightning into him, killing him. Later, the team celebrates the end of the war. In the present day, Diana sends an email to Bruce Wayne thanking him for the photographic plate of her and Steve, and reaffirms her new mission to protect and give love to the world.

text: Cast[edit]

text: Gal Gadot as Diana:

text: Chris Pine as Steve Trevor:

text: Robin Wright as Antiope:

text: Danny Huston as General Erich Ludendorff:

text: David Thewlis as Ares:

text: Connie Nielsen as Hippolyta:

text: Elena Anaya as Isabel Maru / Doctor Poison:

text: Lucy Davis as Etta Candy:

text: Saïd Taghmaoui as Sameer:

text: Ewen Bremner as Charlie:

text: Eugene Brave Rock as Chief Napi:

text: Lisa Loven Kongsli as Menalippe:

text: Additionally, Mayling Ng, Florence Kasumba, Madeleine Vall Beijner, Hayley Jane Warnes and Ann Wolfe portray Orana, Acantha, Egeria, Aella and Artemis, respectively, all of whom are Amazons.[61][62][63][64] James Cosmo appears as Field Marshal Haig, Steffan Rhodri appears as Colonel Darnell, and Dutch model Doutzen Kroes portrays the Amazon Venelia.[63] Samantha Jo was cast as the Amazonian Euboea, and previously played the Kryptonina, Car-Vex, in Man of Steel.[65] Zack Snyder also makes a brief cameo appearance in the film as an unnamed soldier.[66]

text: Production[edit]

text: Background[edit]

text: Development for a live action Wonder Woman feature film began in 1996, with Ivan Reitman attached as producer and possible director.[67] In 1999 the project became attached to Jon Cohen, who adapted Wonder Woman for producer Joel Silver, with the hope that Sandra Bullock would star.[68] By 2001, Todd Alcott was hired to write the screenplay, with Silver Pictures backing the project.[69] At that time, performers such as Mariah Carey and Catherine Zeta-Jones were also rumored to be possible candidates for the role of Wonder Woman.[70] Leonard Goldberg, however, focused on Bullock[71] who said that she was approached for the role. In addition, wrestler Chyna also expressed interest. Lucy Lawless, the star of Xena: Warrior Princess, was also under consideration, though she stated that she would have been more interested if Wonder Woman was portrayed as a "flawed hero."[72] The screenplay went through various drafts written by Alcott, Cohen, Becky Johnston, and Philip Levens,[73] and by August 2003, Levens had been replaced by screenwriter Laeta Kalogridis.[74]

text: In March 2005, Warner Bros. and Silver Pictures announced that Joss Whedon would write and direct the film,[75] with a reported salary was of $2 to $3 million.[76] Since Whedon was directing Serenity at the time, and required time to research Wonder Woman's background, he did not begin the screenplay until late 2005.[77][78][79] Early drafts of his screenplay included Steve Trevor as the narrator, a fierce battle between Diana and her mother over Trevor's welfare, and after leaving Themyscira, his need to frequently rescue a Diana rendered helpless by the modern world.[80] Whedon was not able to complete a final version of his screenplay however, and left the project in 2007.[81][82]

text: Although Whedon stated in May 2005 that he would not cast the part of Wonder Woman until he finished the script,[83] actors such as Kate Beckinsale were linked to the part.[84] In 2010 however, Whedon admitted that he did have an actress in mind for the part, stating that "Wonder Woman was basically Angelina Jolie."[80][85] A few years later in May 2017, Indie Ground Films leaked a version of Whedon's script in-progress online.[86] Some reacted negatively to it on social media in June 2017, shortly after the release of Patty Jenkins version of the film.[87][88][89][90][91] When asked about this response to his script, Jenkins said in a June 2017 interview that she has not read it and that Whedon is "in the DC universe now, and I don't think there's any reason to go there […] It was what it was. I'm lucky that I'm the person who got to do it. But I don't see what would be beneficial about comparing what he would've done versus what I would have done."[92][93]

text: A day before Whedon's departure from Wonder Woman, Warner Bros. and Silver Pictures purchased a spec script for the film written by Matthew Jennison and Brent Strickland. Set during World War II, the script impressed executives at Silver Pictures.[82] However, Silver stated that he had purchased the script because he did not want the rights reverting; while stating the script had good ideas, Silver did not want the film to be a period piece.[94] By April 2008, Silver hired Jennison and Strickland to write a new script set in contemporary times that would not depict Wonder Woman's origin, but explore Paradise Island's history.[95] In November 2008, Beyoncé met with representatives from DC Comics and Warner Bros., to discuss her interest in portraying Wonder Woman.[96]

text: In 2010, Warner Bros. stated that a film was in development, along with films based on DC Comics superheroes the Flash and Aquaman.[97] Both Wonder Woman and Aquaman were still under consideration for solo film subjects as of June 2013.[98] DC Chief Diane Nelson said Wonder Woman "has been, since I started, one of the top three priorities for DC and for Warner Bros. We are still trying right now, but she's tricky."[99] On October 5, 2013, WB chairman Kevin Tsujihara said he wanted to get Wonder Woman in a film or on TV.[100] Shortly afterward, Paul Feig said he had pitched the studio an idea for Wonder Woman as an action-comedy film.[101][102] The studio then began to search for female directors to direct the film.[103] While Michelle MacLaren was the studio's initial choice to direct (and while she initially indicated interest),[104][105][106] she eventually left the project due to creative differences.[107]

text: Development[edit]

text: In 2015, Patty Jenkins accepted an offer to direct Wonder Woman,[108] based on a screenplay by Allan Heinberg and a story co-written by Heinberg, Zack Snyder, Geoff Johns and Jason Fuchs.[109] Of this version, Gadot stated that,

text: for a long time, people didn't know how to approach the story. When Patty and I had our creative conversations about the character, we realized that Diana can still be a normal woman, one with very high values, but still a woman. She can be sensitive. She is smart and independent and emotional. She can be confused. She can lose her confidence. She can have confidence. She is everything. She has a human heart.[5]

text: This version was conceived of as a prequel to the first live-action, theatrical appearance of Wonder Woman, in the 2016 film, Batman v Superman: Dawn of Justice,[110] placing Wonder Woman in the 1910s and World War I (a decision which differs from her comic book origins as a supporter of the Allies during World War II).[111] As for story development, Jenkins credits the stories by the character's creator William Moulton Marston in the 1940s and George Perez's seminal stories in the 1980s in which he modernized the character.[112] In addition, it follows some aspects of DC Comics' origin changes in The New 52 reboot, where Diana is the daughter of Zeus.[10][113] Jenkins cited Richard Donner's Superman as an inspiration.[114]

text: Casting[edit]

text:
"I remember when I read in the news that Wonder Woman had been cast and my heart sank […] I'm sure we wouldn't have made the same choice. And then I started paying attention to her, and watching her and looking at her and it was just unbelievable. Frankly, I think they did a better job than I could have because I don't know that I would have scoured the earth as hard to find her […] They were looking for all the same things I would have looked for—all the values that Wonder Woman stands for exuding from someone in an honest way, and boy did they find it […] She shares every quality with Wonder Woman and that's no joke. It's one of those rare things. You need someone who can appear to be Wonder Woman on screen […] Every once in a while, there's superhero casting that transcends, because that person is so authentic to the character that it becomes identified with them, like Lynda Carter or Christopher Reeve."

– Director Patty Jenkins[115] in response to the interview questions: "Let's talk a bit about Gal. You inherited her from Zack Snyder. Was it difficult to not get to choose your own Wonder Woman?" and "What is it about Gal that makes her such a good fit?"

tag: div

text: In late 2013, Zack Snyder cast Gal Gadot in the role of Wonder Woman for the 2016 film, Batman v Superman: Dawn of Justice over Élodie Yung and Olga Kurylenko.[116][117][118][119] Some fans initially reacted to this choice by criticizing Gadot's appearance.[120] Snyder would later comment on his decision to cast Gadot, stating that he

text: tested a bunch of actresses, as you can imagine. But the thing with Gal is that she's strong, she's beautiful, and she's a kind person, which is interesting, but fierce at the same time. It's that combination of being fierce but kind at the same time that we were looking for.[121]

text: Gadot described Diana as having "the heart of a human so she can be emotional, she's curious, she's compassionate, she loves people. And then she has the powers of a goddess. She's all for good, she fights for good."[5] She also said that Diana has "many strengths and powers, but at the end of the day she's a woman with a lot of emotional intelligence".[122] As to how her character is different from her appearance in Batman v Superman: Dawn of Justice, Gadot said "We go back 100 years to when she's more naive", further explaining, "She's this young idealist. She's pure. Very different to the experienced, super-confident, grown-up woman you've seen".[123] Gadot underwent a diet and training regimen, practiced different martial arts and gained 17 pounds of muscle for the role.[124][125] Gadot was previously offered a different role (as a villain) in Man of Steel, which she declined because she was pregnant at the time; this allowed her to later be cast as Wonder Woman in the film's follow-up.[126] Gadot signed a three-picture deal.[118] She was only paid a base salary of $300,000 for the film itself.[127]

text: Chris Pine was cast as Steve Trevor,[19][128] a character he described as a "rogue-ish, cynical realist who's seen the awful brutish nature of modern civilization" and added that he is a "worldly guy, a charming guy".[129] He signed a multi-picture deal.[19] Lucy Davis' performance as Etta Candy is the first live-action cinematic portrayal of the character.[130] As well, Elena Anaya's performance as Doctor Poison is the cinematic debut of that character. Nicole Kidman was in negotiations for the role of Queen Hippolyta, but was forced to drop out due to scheduling conflicts with Big Little Lies.[131][132]

text: Filming[edit]

text: Production began on November 21, 2015,[133][134] under the working title Nightingale.[135][136] Among the film sets were Lower Halstow, Kent,[137] Australia House,[138] and the Sassi di Matera,[139] Castel del Monte[139] and Camerota[140] in Southern Italy. Matthew Jensen was the director of photography,[141] filming in the United Kingdom, France and Italy.[142] Production in London ended on March 13, 2016.[143] On March 20, 2016, filming was underway in Italy. In late April, filming took place at a museum in France, where a Wayne Enterprises truck was spotted alongside Gadot.[144] Production ended on May 9, 2016.[145] Patty Jenkins and director of photography Matt Jensen revealed that the film's look was inspired by painter John Singer Sargent.[146] Reshoots took place in November 2016, while Gadot was five months pregnant. A green cloth was placed over her stomach to edit out her pregnancy during post-production.[147]

text: To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Amalfi Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy.[148] It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".[149]

text: Post-production[edit]

text: Bill Westenhofer served as the visual effects supervisor for the film[150] and Martin Walsh served as editor.[141]

text: Music[edit]

text: On November 3, 2016, Rupert Gregson-Williams was hired to write and compose the film's music.[151] He was joined by Evan Jolly, Tom Howe,[152] Paul Mounsey,[153] and Andrew Kawczynski,[154] who provided additional music. The soundtrack was released on CD, digital, and vinyl the same day as the film.[155]

text: Australian musician Sia sang a song for the film, titled "To Be Human", featuring English musician Labrinth. Written by Florence Welch and Rick Nowels, the track is also featured on the soundtrack.[156]

text: Additional music featured in the film are: "Another Little Drink Wouldn't Do Us Any Harm" by Clifford Grey and Nat Ayer and performed by Edgar Trevor and Cecil Cooper; "Molly O'Morgan" written by Fred Godfrey and Will Letters and performed by Ella Retford; "It's a Long Way to Tipperary" written by Jack Judge and Harry Williams; "Sous les ponts de Paris" written by Jean Rodor and Vincent Scotto and performed by Lucienne Delyle; "I'll Walk Beside You" written by Edward Lockton and Alan Murray and performed by Ewen Bremner; "Green Grow the Rushes, O" written by Robert Burns and performed by Ewen Bremner; and "Schatzwalzer Op. 4" written by Johann Strauss II and performed by the Berlin String Quartet.[157] Also features samples from the movie's soundtrack "Is She with You" from Batman v Superman: Dawn of Justice composed by Hans Zimmer and Junkie XL.

text: Release[edit]

text: Wonder Woman had its world premiere on May 25, in Los Angeles.[158] The film's London premiere, which was scheduled to take place on May 31, 2017 at the Odeon Leicester Square, was cancelled due to the 2017 Manchester Arena bombing.[159] The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX,[160] on June 2, 2017, after originally being scheduled for June 23.[161][162] Belgium, Singapore and South Korea received the film first, with May 31 openings.[163][164][165] On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.[166]

text: Marketing[edit]

text: The success of the superhero television series Supergirl informed the marketing and promotion strategy used for Wonder Woman.[167] According to Time Warner chief marketing officer Kristen O'Hara, they wanted to approach the Wonder Woman marketing campaign in a light manner, similar to how they did with Supergirl. O'Hara elaborated that the modest campaign route they took for Supergirl aided in establishing a large central fanbase among women well in advance of the series, which reportedly generated 5 million female superhero fans in one week.[167] They were then able to model over time, and grow that audience leading up to the 15-months-later release of Wonder Woman.[167] Though neither the film nor the series are aimed exclusively at women, the latter's campaign gave them their first opportunity to begin collecting data about female superhero fans.[167] In May 2017, a promo for Wonder Woman was released during the season finale of Supergirl, featuring a remix of the song "These Boots Are Made for Walkin'" and Supergirl (Melissa Benoist) wearing Wonder Woman's boots.[168] The promo included an appearance by Lynda Carter, star of the 1970s Wonder Woman, who plays the American president on Supergirl.[168]

text: The costs for television advertisements for Wonder Woman are higher in comparison to that of previous DCEU film Suicide Squad. Warner Bros. has spent over $3 million on advertisements for Wonder Woman, whereas they spent $2.6 million on advertisements for Suicide Squad.[169]

text: Ticket selling site Fandango reported that Wonder Woman rounded the final leg of its marketing campaign as the most anticipated blockbuster of summer 2017, according to a poll conducted by 10,000 voters, the biggest survey in company history.[170] Separately, Fandango also found that 92% of people surveyed said that they are looking forward to seeing a film that features a standalone woman superhero, and 87% wished Hollywood would make more women-led superhero films.[171]

text: In May 2017, NASCAR driver Danica Patrick drove her No. 10 car with a Wonder Woman paint scheme at the Go Bowling 400 in Kansas and at the Monster Energy Open in Charlotte.[172]

text: Home media[edit]

text: The film was released on Digital HD on August 29, 2017 and on Blu-ray, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on September 19, 2017.[173]

text: Controversies[edit]

text: Bans[edit]

text: On May 31, Wonder Woman was banned in Lebanon after the Campaign to Boycott Supporters of Israel asked the Lebanese government's Ministry of Economy and Trade to block the film because its star, Gal Gadot, had served in the Israeli military.[174] The Lebanese government did not, however, ban Gadot's Fast & Furious films which did screen in Lebanon.[175][176] On June 7, Variety reported that a Tunisian court suspended the theatrical release of Wonder Woman after a lawsuit brought by the Al-Chaab party and the Tunisian Association of Young Lawyers to have the film blocked due to Gadot's Israeli citizenship, military service, and public comments in support of the Israeli military during the 2014 war in Gaza.[177] Jordan was reportedly also considering a ban of the film and suspended screenings pending a decision,[178] but on June 11, Al Bawaba reported that the government decided not to do so, as there was no legal precedent for it.[179]

text: Women-only screenings[edit]

text: Some men were unhappy with women-only screenings held at the Alamo Drafthouse Cinema in Austin, with some opponents of the gender-restricted screening stating on platforms such as Facebook that such screenings were discriminatory against men.[180][181][182]

text: A gay Albany Law School professor initiated a complaint with Austin's Equal Employment and Fair Housing Office claiming discrimination against male prospective customers and employees of the theater.[183] The chain responded with an online statement saying the event "may have created confusion—we want everybody to see this film" and announced a similar event at their Brooklyn location. Tickets sold out in less than an hour, prompting the chain to schedule additional screenings.[180] On July 18, Alamo Drafthouse proposed settlement offers of a Wonder Woman DVD to the complainants, stating "Respondent did not realize that advertising a 'women's only' screening was a violation of discrimination laws"[184]

text: Reception[edit]

text: Box office[edit]

text: As of October 8, 2017[update], Wonder Woman has grossed $412.4 million in the United States and Canada and $408.8 million in other territories for a worldwide total of $821.2 million, against a production budget of $149 million.[4] Estimates for the number the film needed to surpass internationally in order to cover its production and promotional costs and break even ranged from $300 million[185] to $460 million.[186]

text: North America[edit]

text: In May 2017, early tracking had Wonder Woman opening with $65–75 million, and possibly as high as $105 million.[187][188][189][190][185] The film opened Friday, June 2, 2017, across 4,165 theaters and made $38.7 million on its opening day, including $3.7 million in IMAX. It was the biggest single-day gross for a woman-directed film, ahead of the $35.9 million opening Friday of Catherine Hardwicke's Twilight in 2008 and the biggest opening day for a woman-led comic book superhero film, ahead of Ghost in the Shell ($7 million).[191] This included $11 million it made from Thursday previews, also the best start for a film directed by a woman, surpassing Fifty Shades of Grey's $8.6 million which was directed by Sam Taylor-Johnson, and the third-biggest of the year, behind Beauty and the Beast and Guardians of the Galaxy Vol. 2. Of that, $1.5 million came from IMAX screenings.[192][193]

text: Earning a total of $103.3 million on its opening weekend, the film recorded a number of records: the biggest domestic opening of all time for a female director (surpassing previous record holder Fifty Shades of Grey by Sam Taylor-Johnson), the biggest DC Comics release without Batman or Superman (ahead of Constantine), the sixth-biggest non-sequel comic book superhero debut ever, as well as the sixth-biggest June debut weekend.[194] Its three-day opening alone made it the highest-grossing woman-led comic book superhero film ever (surpassing Ghost in the Shell).[195] It was also the 16th superhero film to cross $100 million in its domestic box office launch.[196] About 9% ($9 million) of the opening weekend came from IMAX screenings from 343 theaters.[197] In its second week the film grossed $58.5 million, again topping the box office. It marked a 43.3% drop for its second weekend at the box office, better than the average 50–60% decline superhero films tend to see, and was a better second weekend than Batman v Superman: Dawn of Justice ($51.3 million) and Suicide Squad ($43.5 million).[198] In its third weekend it grossed $40.8 million, finishing second behind newcomer Cars 3 ($53.5 million). It was the second-best third weekend ever for Warner Bros. and was nearly double what Batman v Superman ($23.3 million), Suicide Squad ($20.9 million) and Man of Steel ($20.7 million) made in their third weekends. It earned $24.9 million and $15.7 million in its fourth and fifth weekends, respectively, dropping just 39% and 36% despite facing rough competition from opening films Transformers: The Last Knight and Despicable Me 3.[199] It eventually became the highest-grossing film directed by a woman, surpassing the previous records of Jennifer Yuh Nelson's Kung Fu Panda 2 and Phyllida Lloyd's Mamma Mia!.[8] By August 8, the film had garnered $400 million in ticket sales, becoming the second female-fueled film (after Disney's Beauty and the Beast), Warner Bros.' third-biggest movie (after Christopher Nolan's The Dark Knight and The Dark Knight Rises), holding the record of the highest origin superhero film; supplanting the previous record held by Spider-Man (2002) and also becoming the highest-earning film with a female director in terms of domestic earnings, surpassing Frozen (2013).[200][201]

text: International[edit]

text: Internationally, the film was released day-and-date with its North American debut in 55 markets (72% of its total release), and was projected to debut with anywhere between $92–118 million.[185] It ended up opening to $125 million, including $38 million in China, $8.5 million in Korea, $8.4 million in Mexico, $8.3 million in Brazil and $7.5 million in the UK.[202] In its second week of release, the film brought in another $60 million, including holding the top spot on France, the UK, Australia and Brazil.[203] As of June 25, 2017, the biggest markets of Wonder Woman outside North America are China (US$90 million) followed by Brazil (US$34 million), UK (US$28 million) and Australia (US$24 million). In the Philippines, it broke 2017 box office record for highest-earning non-holiday opening day—earning $4.7 million and becoming the 6th-most successful commercial film of all time as well overtaking the record set by Batman v Superman: Dawn of Justice.[204][205][206] The film opened in its last market, Japan, on August 25 and debuted to $3.4 million, helping the international gross cross the $400 million mark.[207]

text: Critical response[edit]

text: Wonder Woman received largely positive reviews, with some critics calling it the best film in the DC Extended Universe, and praising Jenkins' direction, performances, chemistry of Gadot and Pine and musical score.[7][211] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 92% based on 346 reviews, with an average rating of 7.6/10. The site's critical consensus reads, "Thrilling, earnest, and buoyed by Gal Gadot's charismatic performance, Wonder Woman succeeds in spectacular fashion."[212] It is the highest-rated superhero film on the site.[213][note 1] On Metacritic, which assigns a normalized rating, the film has a score of 76 out of 100, based on 50 critics, indicating "generally favorable reviews".[214] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[215]

text: Critics commented favorably on Gadot's performance and Chris Pine's Steve Trevor.[216][217][210] Andrew Barker of Variety found the film to be more lighthearted than recent DC Comics films: "Never prone to stewing in solitude, and taking more notes from Richard Donner than from Christopher Nolan, Patty Jenkins' Wonder Woman provides a welcome respite from DC's house style of grim darkness—boisterous, earnest, sometimes sloppy, yet consistently entertaining—with star Gal Gadot proving an inspired choice for this avatar of truth, justice, and the Amazonian way."[218] Vox stated "Trevor is the superhero girlfriend comic book movies need".[219] The San Francisco Chronicle's Mick LaSalle lauded the performances of Gadot, Pine, Huston, and Thewlis while commending the film's "different perspective" and humor.[220] Richard Roeper of Chicago Sun-Times described Gadot's performance as inspirational, heroic, heartfelt and endearing and the most "real" Wonder Woman portrayal.[221]

text: A. O. Scott of The New York Times wrote that it "briskly shakes off blockbuster branding imperatives and allows itself to be something relatively rare in the modern superhero cosmos. It feels less like yet another installment in an endless sequence of apocalyptic merchandising opportunities than like … what's the word I'm looking for? A movie. A pretty good one, too."[222] Michael Phillips of Chicago Tribune compared the film to Captain America: The First Avenger, noting that as with "the first Captain America movie over in the Marvel Comics universe, DC's Wonder Woman offers the pleasures of period re-creation for a popular audience. Jenkins and her design team make 1918-era London; war-torn Belgium; the Ottoman Empire; and other locales look freshly realized, with a strong point of view. There are scenes here of dispossessed war refugees, witnessed by an astonished and heartbroken Diana, that carry unusual gravity for a comic book adaptation."[223] Katie Erbland of IndieWire commended its thematic depth, explaining that "Wonder Woman is a war movie. Patty Jenkins' first—and we hope not last—entry into the DC Expanded Universe is primarily set during World War I, but while the feature doesn't balk at war-time violence, it's the internal battles of its compelling heroine that are most vital."[224] Alonso Duralde of TheWrap similarly felt that, "Diana's scenes of action are thrilling precisely because they're meant to stop war, not to foment it; the idea of a demi-god using love to fight war might sound goofy in the abstract, but Jenkins makes the concept work."[225] Ann Hornaday of The Washington Post praised Gadot and Pine's performances as well the film's detailed plot and narrative while comparing of some slow-motion action sequences to The Matrix.[226] Stephanie Zacharek of Time magazine hailed the film as a "cut above nearly all the superhero movies that have been trotted out over the past few summers" while praising Gadot's performance as "charming" and "marvelous" and commending Jenkins' direction of the film as a step forward for women directors in directing big-budget blockbuster films in Hollywood.[227]

text: Elise Jost of Moviepilot observed that "Gadot's take on Wonder Woman is one of those unique cases of an actor merging with their story, similar to Robert Downey Jr.'s Tony Stark. Gal Gadot is Wonder Woman, and Wonder Woman is Gal Gadot."[210] Jost praised Gadot's interpretation of Wonder Woman as the one in which Gadot "absolutely nails the character's unwaveringly positive outlook on life. She's a force of nature who believes in the greater good; her conviction that she's meant to save the world is stronger than her bullet-deflecting shield. She's genuine, she's fun, she's the warm source of energy at the heart of the movie."[210] The Federalist suggests that Wonder Woman is "a story of Jesus". "The movie is wrapped up in faux Greek mythology, true, but there's no mistaking the Christology here."[228] "Perhaps Christ in the form of a beautiful and kick-ass Amazon is all that our contemporary society can handle right now", stated M. Hudson, a Christian feminist.[228] On HuffPost cultural critic, G. Roger Denson, who regards the superhero genre as a source of contemporary "Mainstream Mythopoetics" ("the making of new yet vitally meaningful, if not symbolic, stories filled with imagery reflecting, yet also shaping and advancing, the political, legal, moral and social practices of today"), wrote that the "No Man's Land" scene "that people are crying over in theaters and raving about afterward happens to be among the most powerfully mythopoetic scenes ever filmed at the same time it is one of the oldest myths to have been utilized by artists and writers after it had been invented by early military strategists and leaders." Specifically "used by director Patty Jenkins", the scene raises "the esteem for powerful yet compassionate women as heroes and leaders to a level equal with that of men for having won over a huge and adoring popular audience around the world".[229]

text: Steve Rose in The Guardian criticized the film for failing to explore the material's potential for "patriarchy-upending subversion".[230] Peter Travers of Rolling Stone criticized the film's over-reliance on exposition: "Wonder Woman is hobbled by a slogging origin story and action that only comes in fits and starts. Just when Gadot and director Patty Jenkins…are ready to kick ass, we get backstory."[231]

text: "Gas was intended to win the war. On that much Wonder Woman is absolutely right." said David Hambling in Popular Mechanics.[232] Rachel Becker of The Verge stated that despite the scientific liberties of using a "hydrogen-based" chemical weapon as a plot device, the film succeeds in evoking real and horrifying history. "First off, mustard gas is such a horrible, terrifying weapon, it doesn't need to be made more potent. But if you were a chemist bent on raining destruction on the Allied forces, you wouldn't do it by replacing the sulfur atom in mustard gas with a hydrogen atom. You'd know that sulfur is the linchpin holding together this poisonous molecule."[233]

text: Feminist debate[edit]

text: Wonder Woman has been the subject of a discussion regarding the appearance and representation of female power in general, and of female action heroes in particular[234] since her initial 1941 appearance in Sensation Comics,[234] as she was created to document "the growth in the power of women", while wearing "a golden tiara, a red bustier, blue underpants and knee-high, red leather boots."[235] She was blacklisted a year later in 1942 in the "Publications Disapproved for Youth" because, the group behind the list argued, she was "not sufficiently dressed".[235][236]

text: A few decades later, Second-wave feminist Gloria Steinem's[237] Ms. Magazine debuted in 1972 with an image of Wonder Woman on the cover. Historian Tim Hanley suggested that this move shifted "the focus away from female superiority to sisterhood and equality, essentially making her a mascot of the women's movement".[234][238][239] This perception shifted over the years, however, as demonstrated in December 2016 when the United Nations decided to drop the title of "honorary ambassador for the empowerment of women and girls" which it had given to Wonder Woman a few months before in a ceremony that included Lynda Carter and Gal Gadot (and had referenced the DCEU films that included the character).[240] The title was dropped in response to claims that Wonder Woman undermines female empowerment due to "an overtly sexualised image at a time when the headline news in United States and the world is the objectification of women and girls".[241][242][238] Wonder Woman director Patty Jenkins responded to the U.N.'s decision by stating that she thinks "it's sexist to say you can't have both".[243]

text: The debate continued with the release of Jenkins' 2017 film, Wonder Woman, which according to the BBC had "some thinking it's too feminist and others thinking it's not feminist enough".[244][245][246][247][248] Kyle Killian found an inherent contradiction in the construction of Wonder Woman as "a warrior" whom, she states, is also highly sexualized. Killian thus suggests that these elements "should not be the focus of a kickass heroine—her beauty, bone structure, and sexiness—if she is to be a feminist icon".[249] Theresa Harold concurred, comparing Wonder Woman to Katniss Everdeen (of The Hunger Games), who "didn't have to wear a teenager's wet dream of a costume to fight in".[250] Christina Cauterucci also felt that Wonder Woman's ability to be considered a "feminist antidote" was undermined by her "sex appeal".[251]

text: Jenkins disagrees with this line of critique, however. She has stated that she was raised by a Second wave "feminist mother",[252][253] who taught her to be "both super aware that there had been sexism but also: 'Congratulations – thank you, now I get to do whatever I want, Mom!'"[252] Jenkins thus notes that it is this upbringing which has led her to question a feminist critique of Wonder Woman’s costume.[254] When she was working on her own version of Wonder Woman's "Gladiator" re-design of the outfit (in the 2016 film Batman v Superman: Dawn of Justice)[255] Jenkins decided that Wonder Woman (as well as the other Amazons) "shouldn't be dressed in armor like men [...] It should be different [...] I, as a woman, want Wonder Woman to be hot as hell, fight badass, and look great at the same time – the same way men want Superman to have huge pecs and an impractically big body."[15] Jenkins also notes that she is "frustrated" by the critique of Wonder Woman's appearance, stating "when people get super critical about her outfit, who's the one getting crazy about what a woman wears? That's who she is; that's Wonder Woman."[253]

text: Critics such as Valerie Estelle Frankel support Jenkins' vision. Frankel argues that the film subverts the male gaze,[254] stating that the construction of Wonder Woman tends to shift every few decades as it reflects the state of feminism during different time periods, including Third-wave feminism (which reflects Jenkins' approach).[254][256][257] Zoe Williams offers a similar argument stating that while Wonder Woman "is sort of naked a lot of the time" it isn't, at the same time, "objectification so much as a cultural reset: having thighs, actual thighs you can kick things with, not thighs that look like arms, is a feminist act".[258] Williams then juxtaposes Wonder Woman to past female action heroes such as Sarah Connor, Ellen Ripley, and Lara Croft, whom she suggests were all constructed for the male gaze, in which a "female warrior becomes a sex object", (a point which she argues that Jenkins directly references in the film).[258] Gloria Steinem thought that the film "was very good" as it made Wonder Woman's "Amazon origin story clear; she was stopping war, not perpetuating it." Steinem also noted that she knew "some women were disappointed by all the makeup, but I may be desperate—I was just happy that the Amazons had wild hair!" Her only complaint lay in the choice to eliminate the World War II setting as the Wonder Woman comic book developed in response to existing comics that were "so sadistic and racist that there was a congressional hearing on the subject".[259] Gal Gadot concurs with Jenkins, arguing that the character "is a feminist"[260] as "feminism is about equality and choice and freedom. And the writers, Patty and myself all figured that the best way to show that is to show Diana as having no awareness of social roles. She has no gender boundaries. To her, everyone is equal."[261] In contrast, other critics refer to Jenkins' vision of Wonder Woman as "an implausible post-feminist hero".[236][262]

text: American director James Cameron continued this debate through his critique of the representation of female power in Jenkins' film. In an August 2017 interview with The Guardian, Cameron qualifies Jenkins' vision of Wonder Woman as "an objectified icon" and called the film "a step backwards". In contrast, he states, his character Sarah Connor (from his Terminator films) "was not a beauty icon. She was strong, she was troubled, she was a terrible mother, and she earned the respect of the audience through pure grit."[263] Jenkins stated in response that Cameron's "inability to understand what 'Wonder Woman' is, or stands for, to women all over the world is unsurprising as, though he is a great filmmaker, he is not a woman". She further argued "there is no right and wrong kind of powerful woman" because "if women have to always be hard, tough and troubled to be strong, and we aren't free to be multidimensional or celebrate an icon of women everywhere because she is attractive and loving, then we haven't come very far have we."[264] Reaction to this debate was mixed. Julie Miller sided with Cameron whom she states refers to himself as "a pretty hardcore feminist" and who told Vulture that "I have no problem writing a script in which the males become subservient to the females, which is what happens in Aliens [...] It's up to Ripley to win the day." In contrast, Miller argues that Jenkins and Gadot envisioned Wonder Woman as "a woman who exuded both femininity and strength, along with genuine confusion as to why men would treat women differently than they do other men".[265] Susannah Breslin also agreed with Cameron, describing Jenkins' Wonder Woman as "a Playmate with a lasso" and "female power with no balls".[266] Others were more critical of Cameron's critique.[267] An article in Newsweek suggested that Cameron's films include "lot of objectification", and included quotes from Hollywood celebrities such as Jesse McLaren who commented that "James Cameron's just confused there's a female hero whose motivations aren't centered around motherhood."[268] Noah Berlatsky found areas of agreement between both Cameron and Jenkins, stating that while Cameron's objection is "an old point that's been made over and over for decades", Jenkins film isn't "solely focused on objectifying Gal Gadot for a male audience".[269]

text: A few weeks later in September, Cameron reiterated his criticism in an interview with the Hollywood Reporter. He compared Gal Gadot's representation of the character to Raquel Welch's films in the 1960s,[270] and reinforced a comparison with Linda Hamilton's portrayal of Sarah Connor. He argued that Connor was "if not ahead of its time, at least a breakthrough in its time" because though she "looked great", she "wasn't treated as a sex object".[270] He also stated that he while he "applaud[s] Patty directing the film and Hollywood, uh, 'letting' a woman direct a major action franchise, I didn't think there was anything groundbreaking in Wonder Woman. I thought it was a good film. Period."[270] Former Wonder Woman actress Lynda Carter responded to Cameron's Hollywood Reporter interview by asking him to "Stop dissing WW." Like Jenkins, she suggests that while Cameron does "not understand the character" she does. She also refers to Cameron's critiques as "thuggish jabs at a brilliant director" that "are ill advised" as the "movie was spot on". Carter also states that she has the authority to make these observations because she has "embodied this character for more than 40 years".[271][272][273] A month later, Jenkins responded to Cameron's comments once again in an interview with Variety, stating that she "was not upset at all" as "everybody is entitled to their own opinion. But if you're going to debate something in a public way, I have to reply that I think it's incorrect."[274] Tricia Ennis was also critical of Cameron's statements, stating that "while he may consider himself a feminist and an ally to women, [he] is not very good at it" as being an ally means using his position of privilege "without silencing the voices of those you're trying to help". She also states that it "is not enough to simply call yourself a feminist. It's not even enough to create a strong female character [...] You have to bring women to the table. You have to let them speak. You cannot speak for them. But speaking for women is exactly what Cameron is doing through his comments [...] Cameron is using his position of power as a respected producer and director to silence women."[275]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

IndieWire Critic's Poll
December 19, 2016
Most Anticipated of 2017
Wonder Woman
Nominated
[276]

Golden Trailer Awards
June 6, 2017
Best of Show
Won
[277]
[278]

Best Fantasy / Adventure

Best Summer 2017 Blockbuster Poster

Teen Choice Awards
August 13, 2017
Choice Action Movie
[279]
[280]
[281]

Choice Action Movie Actor
Chris Pine

Choice Action Movie Actress
Gal Gadot

Choice Movie Ship
Gal Gadot & Chris Pine
Nominated

Choice Liplock
Chris Pine & Gal Gadot

Choice Summer Movie
Wonder Woman

Choice Summer Movie Actor
Chris Pine

Choice Summer Movie Actress
Gal Gadot

Dragon Awards
September 3, 2017
Best Science Fiction or Fantasy Movie
Wonder Woman
Won
[282]

tag: table

text: Sequel[edit]

text: Originally signed for three feature films, with Wonder Woman and Justice League being her second and third films, Gadot signed an extension to her contract for additional films.[283] Jenkins initially signed for only one film,[284] but in an interview with Variety, Geoff Johns revealed that he and Jenkins are writing the treatment for a Wonder Woman sequel and that he has a "cool idea for the second one". At the 2017 San Diego Comic Con, Warner Bros. officially announced a sequel would be released on December 13, 2019, and would be titled Wonder Woman 2.[9][285][286] Later, Jenkins was officially signed to return as director, with confirmation that Gadot will be returning as the titular role.[287] On August 19, 2017, actress Geena Davis stated that she would like very much to play a role in Wonder Woman 2 and that she is in talks with Jenkins about that matter.[288] Days later, the studio hired Dave Callaham to co-write the film's script with Jenkins and Johns.[289]

text: Notes[edit]

text: Jump up ^ This is by an adjusted Tomatometer with at least 20 reviews each that, uses a weighted Bayesian based formula to account for the differences in ratings.

tag: ol