Peace 47

Wow. Wow wow wow wow. This show has always done music well, and that Klergy song playing as everyone, led by Amenadiel (love his tight bond with Lucifer so, so much!) took the knee, was very powerful. Amenadiel’s knowing smile as he kneeled was wonderful. I echo Chloe’s question of “How?” when Lucifer returned from Heaven. I did not think that Lucifer’s banishment still would exist since he had made amends with God, so I think his feeling “not well” when he got up there and his fiery explosion in Heaven was because he was being imbued with the power of God, not because he was subject to banishment and actually dying. But how did he get imbued? Selfless sacrifice? The angels and demons (and Eve!) were certainly nicely socially distanced on the stairs of the Coliseum! There is a Variety article with the showrunners that says they did originally plan for more people in the battle before they had to scale it back and the Coliseum would, in normal times, not be a filming location option for them. They were going to be at Mt. Wilson Observatory. (That article is long and I have not read the whole thing yet, but they do allude to some S6 points, so be advised of potential spoilers.) I say this with all the love in the world for the show and as someone who had a great time binging Season 5B, but the pacing for this episode, given what they wanted to cover, was a mess! I would have been so mad if this was the series finale because that article linked above says that the ending here with Lucifer-becoming-God was originally Act 5 of the story, and getting season 6 just meant that the “final wrap up” that they were going to do for the characters in Act 6 here is now spread out over an entire season 6. That is so rushed. I’m sure some will disagree, but Lucifer’s moment with Azrael needed just a few seconds more, and then Chloe dying, and Lucifer freaking out and going to Heaven, needed way, way more time in the episode. Lucifer and Chloe should have had a longer and deeper conversation in Heaven, at least. I really liked how Lucifer’s “room” in Heaven where he crash landed was desolate and gray (where Chloe’s was warm and sunny). There’s no peace for Lucifer in Heaven with Chloe being taken before her time, and him being separated from her.

For chunks of this episode, I just want to write a reaction of “lolol” because there were so many funny moments. So funny that at a table of God and Lucifer, the owner comes over and identifies the VIP as Penelope! And Dan being so okay with Lucifer becoming God! And DB Woodside has such great comedic timing. Even a little line to Maze, quizzically asking “So you’d rather be a puppy murderer?” made me giggle. But then I wanted to cry when Ella was at her therapy session pouring her heart out (I really wanted Linda to counsel Ella on dealing with intrusive thoughts and how that doesn’t make someone “bad”). I also wanted to cry when Ella was talking to God, and how God’s words to Ella could have been uttered directly to Lucifer. Very emotional. And of course wanting to cry turned into actual crying with Mum’s goodbye to Amenadiel and God’s goodbye to Lucifer. Definite tears there. I think that I was in the minority in taking issue in prior episodes that Lucifer was so “shout-y” in his reactions to God, but I thought this episode dialed it back very well, even before the final reconciliation. However, if this is how they planned to end the show, even before getting season 6, I have to say that the final reconciliation felt a little tiny bit rushed. No discussion of the rebellion (how God felt about it; Lucifer’s guilt over it), and I would have liked a little clarification on how it seemed God’s omniscience, omnipresence and omnipotence held him back from interacting with his family. Doesn’t bode well for Lucifer-as-God. I did not miss Michael while he was gone and wasn’t overjoyed to see him back again. How does God stand for Michael having tried to gaslight him? How is that gaslighting even possible when God is omniscient? My head hurts. Really engrossing episode though!

Okay, screw it, it’s a holiday weekend and I’m just going to binge, binge, binge. The scene with Linda and her daughter was so touching. That was a nice payoff from where this story had started. Eve is a delight and it was nice to see her again, but the Maze/ Eve ship felt pretty rushed. They reunited, professed love and broke up all in one episode! That’s nuts. When Amenadiel was insisting that he and Lucifer talk about God’s impending retirement at the beginning and they were both agreeing that Heaven needed a replacement ruler, it got me thinking about the first ep of this Season 5B. There, they all discussed at family dinner that Hell (maybe) did not need a warden after millennia of Lucifer and Amenadiel thinking otherwise. What if it is the same for Heaven? The end of Season 4 was about the question of “Does Lucifer need to rule Hell?” which was ultimately answered as “Yes; No, not really.” Maybe the rest of the show will be about the question of “Does Lucifer need to rule Heaven?” (Answered: Yes; No, not really.) Just a thought that I had since they keep suppressing the “what is the deal with Hell?” question this season. But on the other hand, that wouldn’t fit storytelling-wise with a woman of faith like Ella drawing so much strength from the presence of an actual “God” in her life, per her conversation with Amenadiel. I am struggling with Lucifer’s feelings of unworthiness and fear of rejection here and how exactly that squares with his not being able to say “I love you.” (It is just screaming “contrived Deckerstar drama” to me.) But I think I get where the show is going—that he won’t be able to say it to Chloe until he says it to his father and his father says it back. Fair enough. I just think you can have separate parental issues without it sabotaging your romantic partner relationship.

I really, really liked the conversation with Trixie and Linda. Linda is such an MVP of managing the crises (big and small) of this little group. Agree that this was an A+ exchange. And now I’m going to say something to contradict myself. As was the case with the first episode of this back half, I’m not 100% on board with Lucifer’s constant petulant outbursts towards his dad in every. single. scene. Like, there are so, so many issues swirling around Lucifer: thinking his father doesn’t love him, thinking that his father is controlling or manipulative, thinking that he is broken as a result of God (who “loves all”) not being able to love him and how that makes him too broken to love and be loved by Chloe (which I am still raising an eyebrow at after everything they’ve been through, but that’s what we’re going with). And to see Lucifer dealing with all that heaviness by sputtering out all these annoyed exclamations (at both God and Amenadiel) in every scene they were in together (and Lucifer also expressing annoyance at Trixie and acting huffy about his dad when Chloe was trying to confide in him) was a bit ... much? It’s not that I’m disappointed, but more like I’m feeling that the show is missing its highest potential so far on this point of Lucifer having a final reckoning with his unresolved family issues. We’ll see, though.

Lucifer singing “Wicked Game” at the beginning was beautiful. But I also chuckled when they were overlaying pictures of Chloe brooding at her own home during that song, and she was looking at the picture that Trixie drew of Lucifer winking as he was holding Trixie’s hand (that she later picked up during Trixie’s song). Super cute prop. Dan’s conversation with Amenadiel at Lux was so, so funny. Amenadiel being cautious and offering to give Dan space, and Dan totally having bigger problems: “Yeah, you’re an angel. Whatever. It’s fine.” Lolol. Pretty big bombshell at the end there. No way that I am not moving on to the next ep now! When God said to Lucifer that he was so very sorry about how angry Lucifer was at him, I think that is close to what God Johnson told Lucifer in S2. And back then, Lucifer was so angry because he felt that it was something his real father would never to say to him. Guess you were wrong, Luci! I’m wondering about where this is going with respect to Lucifer’s regression about Chloe. God telling Lucifer that he couldn’t fix Lucifer and Lucifer feeling despairing of that doesn’t seem like the path that I thought they would go down. I thought Lucifer had already come to terms over many, many episodes (through life lessons and Linda sessions) with the fact that God wasn’t controlling and manipulating him: that he made his own choices, that even if God put Chloe in his path, he and Chloe could both choose to love each other through their own free will. But now he is putting it all on his dad again. Hmmm. His vulnerability is still missing. It went away when Dan shot Lucifer at the end of 5A and still hasn’t come back.

I had thought all week that I should really wait until tonight to start binging the new half season, but I woke up at 4:15 am this morning, and I told myself one little episode won’t hurt .... Dennis Haysbert makes for an excellent God Dad. I like his repeated noncommittal “hmmm” when someone would make some kind of assertion to him that we as the audience know is probably wrong. I thought that well conveyed someone who knows more than they feel at liberty to say. Chloe was very fast on the uptake in realizing that Lucifer’s disappearance from the evidence room wasn’t about her. Great detective-ing there. She also has the patience of a saint to keep putting up with Lucifer after his behavior in this ep., and I was feeling very bad for her that Lucifer wasn’t confiding anything in her at all. She shouldn’t have to stand for that. And that last scene was brutal. I did find Lucifer (and to a lesser extent, Maze), to be an insufferable ass in this episode. I know that there is storytelling basis for his emotional regression (by regression, I mean once again blaming God Dad for every bad thing in his life, even though Lucifer had his revelation about that previously) because God Dad’s physical appearance is the event bringing everything to a head and climax (and the journey Lucifer needs for healing), but that doesn’t mean that his petulant whining was pleasant to watch (again). Normally, Lucifer is the most enjoyable character on screen, but his rants were mostly a bit tedious. Like, I can sense there is a next level to Lucifer’s interactions with God that move beyond petulance into the raw emotional pain (like Lucifer’s pain in the last scene with Chloe), and I kind of felt ready to move there before the show seems ready. The case was once again ri-donk-ulous. The only thing I have to say about it is that I was wondering if John Glover is well, because he looked so gaunt and gray. Maybe it’s just age because I haven’t seen him much if it at all since “Smallville,” but I hope he’s okay.

Seriously, that is my first, second, third and fourth reactions. That is the most random celeb factoid that I have heard this year.

On the first point, it made me think that the writers were like that one SNL sketch from a few years ago, where Kenan Thompson, playing a movie director, was asking the extras on a movie shoot if they had any sports background at all, and one of the extras was like, “I took a sports movement class at Juilliard.” On the second point, that is sad that Jordan is so dangerous to everyone but Clark and makes you think how difficult it was for Clark that he had no one to mentor him on the “powers” front (except that stone cold AI of his bio father that he eventually found). I know that they are realistically portraying a 14-year-old in emotional turmoil, but I did think Jordan nearly killing that bully might have been a little far if this kid is supposed be Superman Jr. It’s a fine line, though. I have only a passing familiarity with the other Arrowverse shows, and I know that posters here have mentioned that production staff have mentioned outside of the four corners of the show that it is supposed to be in the same continuity and that there was a Batwoman crossover that didn’t happen, etc., but I kind of wonder if they will eventually just decide to keep this show separate and in its own continuity, just based on where the show has developed so far and the positive critical response so far. I agree with everyone about Jonathan needing some wins. I don’t want all his goodness to be drained out of him by suffering defeat after defeat. It was nice that Lois had a moment with Jordan in the ep, but I think there is a lot of room for Jonathan and Lois to bond over being the non-powered family members. Lois is remarkable and could teach Jonathan to be a remarkable “normal” human.

With this drip, drip, drip of news coming out (all progressively more gross with each story), I had assumed that Melinda’s lawyers were leaking in an attempt to gain leverage to renegotiate any existing prenup (as in, Bill’s lawyers would want to reach terms ASAP that would include some kind of NDA going forward). First it was just that Melinda was uncomfortable with a 2013 Epstein meeting, then it was news about repeated Epstein hangouts, then it was a Microsoft Board investigation about his inappropriate relationship with an employee. It makes me wonder how much worse it’s going to get. That’s a good point. I’m actually a gigantic Mulaney fan (of everything from his SNL writing to his standup to his Broadway show with Nick Kroll, to his available-on-Netflix episode of “Documentary Now!” (if you like Sondheim musicals, you must watch), to his and Kroll’s hilarious pandemic podcast last year), so I’m not going to become a non-fan. But yeah, how he may have treated his wife, if true, is super trashy, and more worryingly, his major life changes post-rehab don’t sound like a good prescription for sobriety. I worry about him to the same degree I worry about Pete Davidson (to bring it back around). I just genuinely want them to be well, in or out of the spotlight. I think the reason that the Munn story generated so much press is that Mulaney is so, so popular among people with active pop culture social media presences. Memes based on his standup and his dog’s Instagram are all over Twitter and Tumblr. I see them almost daily.

Variety article on the potential WarnerMedia and Discovery combo I don’t know what to make of this. I guess it’s yet another sign that getting a streaming edge rules all else since the article references the focus on HBO Max and Discovery Plus.

Kermit introduced himself as “Kermit The Frog” at the beginning of the sketch. It was just a joke of the sketch that the security guy played by Keegan had absolutely no idea who he was and kept getting his name wrong. But yes, I agree with @theatremouse that those were not regulation Muppets. I didn’t love the Jordan sketch because although I watched “The Last Dance,” and Jordan is one of the most competitive professional athletes you will ever see, there is, if I recall correctly from my viewing last year, a specific section of the doc that talks about how close he was to his security chief guy, who gave off some fatherly vibes towards Michael in the footage (probably amplified by Michael’s dad’s death), and who ended up dying of cancer himself. Michael was very kind to the guy when he returned from a treatment stint, and that was a nice moment of the doc, so Michael taking this security guy for everything he had just didn’t feel like the right callback to the doc. Redd was a great Rodman, though.

They had me when Keegan was first yelling at Statler and Waldorf, and he shouted that they needed to let the little “dragon and his friends” do their show. And then he kept calling Kermit “Kramer.” That was a great sketch. Agree with everyone about Weekend Update crushing it this week: I loved it beginning to end. I liked your Frasier joke, Andrew! And Kate’s impression of Cheney was extremely cutting.

New to the show via HBO Max and only caught up to this ep (though I would have probably already binged up to the current episode if I were not committed to watching the next two with family). The actress playing Lana Lang Cushing reminds me a lot of Talia Balsam (Mona Sterling of Mad Men, among other roles) in both voice and looks. I know that some comments upthread mentioned that it seems that her story is building towards making a pass at Clark eventually, and I agree, because based on her conversation with Sarah at the end, she sounds absolutely miserable in her life and definitely needs to get out from under her embittered husband (who is in dire need of professional mental health help himself), if nothing else. Husband guy seems to hate Lana. But I adore how rock solid Lois and Clark are portrayed in this show, and I would hope that Clark would accordingly gently shut Lana down without too much fuss. Speaking of Lois and Clark, to say that they are my OTP is an understatement. I have watched plenty of “bad-to-mediocre” Superman media for just a few scenes of them (looking at you, Batman v. Superman), only because I can never, ever get enough of their dynamic. I am super (ha!) enjoying seeing the “boring” married version of their relationship, with their little near-nightly wine parties and chats about improving Clark’s questionable parenting skills. I’m not sure how I feel about Lois working at the Smallville Gazette. I’ve enjoyed reading the thoughts of others on this topic. I get that it is establishing an anchor for her in the town, and having an editor gives her someone to bounce ideas off of for TV show purposes as she does her investigation (as opposed to going independent), but it’s freakin’ Lois Lane, and I kind of want her playing ball in the big leagues, not the paper at which Clark Kent got his journalism start (at least in the 90s TV show, Lois & Clark). But I also get that she’s at a different point in her life than we typically see her, so new focuses, new challenges, etc. I kind of feel the same way about Clark and how he’s just doing farming now when journalism has traditionally been something he loved, too, or if not loved, something that he was talented at and that brought him closer to ways he could help as Superman. I’m a little torn about Lois and Clark’s shrunken professional scope, is all I’m saying, but still feeling like what the writers are serving may be working. I know the super powered villain dude at the end was the one who almost certainly set the car bomb/ lobbed the Molotov cocktail, but Lana’s husband being a firefighter (knowing about fires and such) and so very hostile to Lois, especially after the town council meeting, made me question him a little bit. I guess I just really don’t like that guy!

I’m team J. Lo, but to be fair, I’m generally team “whoever is not Ben Affleck” in the relationship. I’m still hung up on the “John Mulaney getting a divorce” story. Is there any gossip about why he’s filing for divorce? Did he get involved with someone else? He’s always talked about his wife so glowingly in his act, and by her issued statement, she seemed somewhat blindsided by it. As much I adore his comedy, though, he definitely does seem to have a lot of issues, so I guess I shouldn’t be surprised.

I learned so much during the monologue. I didn’t know Carey Mulligan was British (I’ve only seen her in American-accented roles). I didn’t know she was married to Mumford. I didn’t know Mumford was British, despite Mumford & Sons’ Babel being far and away my most played album circa 2012-2014 (continuing my superpower of consuming the music of artists and never knowing a single thing about them). I think the highlights for me were tiny little flute, Bowen the Iceberg and Obama/Springsteen podcast. The rest didn’t aggravate me or anything, though.

It’s funny because Meat Ladies and Boat Guy are not concepts/ characters that I have loved in the past, but I really enjoyed both of them tonight. Don’t feel bad about eating the eggs because the hen created a toxic work environment? Lol. And Moffat was really firing off those jokes. Pretty great Update overall, except maybe the Heidi/ Mikey couple, which I didn’t find that funny.

It was like they were actively angry at the cast, although on the Kamala sketch, I can’t exactly blame them. Small moment, but I liked Colin’s incredulous delivery saying something like, “These characters are supposed to be white?” as a picture of the rainbow of Sesame Street characters was onscreen next to him.

Me, too: this one really hurts. Original recipe Arrested Development is one of the seminal comedies of my life (despite the male cast’s best efforts to extinguish my love for it a couple years ago with that dumpster fire interview). And Lucille Bluth was just the best character on the show, due to Jessica Walter’s cutting and ruthless comedic performance. ”Plate or Platter?” “I don’t understand the question, and I won’t respond.” Sniff.

Late to the party on this, but I was thinking that it would either be that, or Freddie has to live with Frasier for some reason (so that Frasier once again has to restructure his personal space around a family member or members, if Freddie has partner or kids in tow). I have to admit that I still wouldn’t sign up for yet another streaming service unless the reviews end up being rapturous, OR if Lilith were a series regular. Those are my terms, Paramount+.

In the comics, Clark was just missing, not dead with an open casket, and when Superman returned, he “found” Clark, who had been allegedly trapped somewhere (with food and water, haha). So sort of a thin story, even without a body. No idea how they would explain it here, and maybe they just were intending to ignore it. I also wondered in this movie how they dug Clark up in Kansas and returned to Metropolis the same night, but I wasn’t sure if this was a Smallville situation where Metropolis is a reasonable drive from Smallville, or if the Flash just pushed the truck quickly after they loaded Clark up like he pushed that Russian family in the theatrical release.

Lorenzo, of the Tom & Lorenzo podcast, said that “There’s something to be said for artistic vision,” in praising this movie while maintaining his position that he is not a particular fan of Snyder’s aesthetic, and I thought that was a succinct way to put it. I went to YouTube to rewatch some key scenes from Whedon’s version to compare to Snyder’s. Whedon’s comes across as so disjointed. His reshoot footage chops up the flow of scenes, and more often than not, it was to insert tonally dissonant jokes or to change some plot points (for the worse). It does reveal that a consistent vision is probably better. I could be wrong, but I got the impression that Barry couldn’t go faster than light to rewind time by any significant amount, probably just a few seconds. It was only because he was both far enough away from the blast to have that millisecond to slip into the Speed Force as it was coming to overtake him, and also because he only needed to rewind things a few seconds (to give Victor the charge) that he was able to save the day. But like you said, I think they were also setting up that there will be consequences to “breaking the rule,” because Barry broke the rule twice here (to resurrect Superman and to reverse the Unity explosion), and both times, Barry mentioned that this was a transgression, so it seemed intended to set something up. @JessePinkman, the more I think I about it, the more I agree with you that Flash’s time reversal is the best scene of the movie, and the more it is becoming one of my favorite scenes in a comic book movie ever (I’ve rewatched that scene about 3 times, lol). I might analogize it to the airplane rescue scene Superman Returns: an iconic scene that I could watch an infinite number of times, even if the movie overall has some issues. It is beautiful, and I love that long shot of how tiny Barry looks (with the flashes under his feet when running) as the street and buildings behind him roll back into existence. I didn’t understand all the anti-life equation stuff until you elaborated here, @Chicago Redshirt. Does that imply that the reason that Superman loses his mind in the Knightmare premonition is not solely because Lois died, but because Darkseid was using the anti-life equation on Clark at a vulnerable moment (like with Darkseid’s hand on his shoulder) to assert mind control over him? That would make those Knigtmare sequences sit better for me because I was really struggling with Clark turning into a crazed murderer after his beloved dies.

One of the high points of the movie for me was a Flash scene—the one at the end when he has to save the day after the Unity explodes and kills the rest of the Justice League. I don’t understand the pretend physics of what Barry did, but the CGI of the ground reforming under his feet as he ran, culminating in the entire landscape (and the League) being reconstituted as Barry approached Victor to give him the charge, and as Barry was earnestly giving himself a pep talk/ healing himself from what looked like a mortal injury, was quite affecting and an actual good use of slow motion. The CGI bombast right before that (with all the darkness and parademon destruction) was an assault on the eyes, but at this moment the CGI and Barry’s role were really affecting, I thought. I also liked the repetitive guitar riff that culminated in an orchestral swell as Barry was saving the day here so much, that I looked up the portion of the soundtrack that accompanied this action, and it is “At the Speed Force” from 1:30 forward. On the other side of the soundtrack spectrum, I strongly disliked what the closed captioning called something like “ancient lamentation music” whenever Wonder Woman or the Amazons were doing something. It was so intrusive.

I also chuckled when Batman brought everyone to the Batcave to meet Alfred (“This is Alfred. I work for him.”), and Arthur walks by and says “It’s badass, Alfred.” I don’t remember the theatrical version that well, so I don’t remember if that scene was in it, but I liked it here. Also, Flash taking out Arthur by accident when they are fighting Superman, Aquaman pointing angrily to Flash as they are on the ground, and Flash just saying, “I am so sorry.” Flash was 1000 times more likable in this version. Even though, as I said in my prior post, I struggled with how Superman came back amnesic and cruel, and I still might have liked to see him more confused and alarmed than furious (and defending himself in a confused manner rather than being such an aggressive attacker), I can appreciate how as his memory returned, so did his kindness. Lois was the first thing that he remembered (his love), and he then flew on instinct to the first place he remembered fondly (the farmhouse), where his powers of speech and his memories finally returned. His humanity made him whole. And then Snyder lastly showed him in the cornfield with a butterfly gently flitting through his hands, demonstrating that when Clark has all his faculties, this most powerful being on Earth is actually a gentle person. That was a nice contrast and insertion for this version. I think the “nightmare” or “knightmare” premonitions of Bruce’s entirely undermine that motif (Clark’s humanity ends up breaking him and turning him cruel), but that’s the frustrating thing about a Snyder movie, I guess. And I do get that this is a theme that properties like Injustice like to explore—losing Lois warps Superman somehow—but I just didn’t warm to it here.

Your comment is very funny, although I have to admit that the 4:3 aspect ratio did not really bother me in practice. I will concede that I had this movie on in the background out of impatient curiosity while I had to finish some administrative work for my job last night, so I actually have to go back and watch it properly, because I missed whole chunks of the visuals of this thing. (But I have no impulse control and wanted to see the scenes that I cared about, which were basically the Superman ones.) That said, my eyes couldn’t have rolled any harder than at the very beginning when that text appeared onscreen saying that it was in 4:3 aspect ratio to “preserve Zach Snyder’s creative vision.” The pretentiousness! I guess they had to say something, though, so that people wouldn’t think that there was a bug with the app. Continuing in the tradition of my relationship with all Snyderverse movies, I felt that there were parts of this that I really hated, and parts that did flash inspiration. The latter portions were a genuine improvement on the original. I was really torn on the Epilogue. On the one hand, I was sitting there fuming that it was incredibly self-indulgent to set up all these plot points for future movies which may (probably will) never be made. It’s like, why leave Legion of Doom, Batman’s apocalyptic future vision/ Joker, etc., all hanging as teasers when you’ve got a bloated movie to begin with? Hack that epilogue up and you could save 20 minutes right there. On the other hand, Snyder was paid to deliver his original vision (regardless of what transpired since 2017), so I guess this properly should have been included as part of that (question mark ???). After the discussion of the Snyder storyboards for future films in this thread, I can’t tell you how mad that pregnancy test in Lois’s drawer made me. Few people who are not familiar with the storyboard discussion will probably actually clock that blink-and-you’ll miss it shot, but rage on my part, I tell you, rage! (And to be clear, I don’t care if she sexed it up with Bruce, but just the implications of where Snyder meant to go with that!) Also, I was really looking forward to the engagement scene, but there was not much more to it than what was in the trailers. I kind of wanted Lois and Clark to talk a little bit more (give me that instead of coffee with Martian Manhunter), but they didn’t say much. It was still a profoundly less stupid scene than the original theatrical cut, though. I thought the editing and soundtrack immediately prior to Superman’s resurrection was a marked improvement, but I still didn’t click with how Superman came back both (1) with amnesia and (2) deeply cruel until he saw Lois. I know it wasn’t much of a change from the original, but he was really frying Batman with that laser vision, and I didn’t remember that from the original. The idea that Lois is the slim thread keeping Clark tethered to this world doesn’t sit right with me. They are my OTP of all OTPs, but the Kents (well, maybe not this “let them die” version of his parents), what Clark learned from Jor-El AI, Clark’s own experiences out in the world, all make him more than someone who will snap without Lois. Superman coming in to help the League in the CGI finale was great, though. Dismissively saying “Not impressed” before freezing the axe and going to town on Steppenwolf was awesome. Also, another cool action scene was Wonder Woman deflecting the bullets with her bracelets to protect those kids. The scene looked great.

Chris Judd and Ojani Noa were the other two besides Marc. Everybody is saying that they are not surprised about her breakup this time, but I was. Jennifer has looked the other way on Alex’s supposed cheating for so long (as someone said, the rumors have been around for as long as they have been together), I was surprised that the breaking point was now. I just plain like J. Lo for some reason, and she deserves better than for her fiancé to be trolling reality stars’ social media for hookups, so good for her.