To budou všechny DC filmy mít .... cut, aby se jim lidi nesmáli a nechytali se za hlavu? 

Ayer Cut mi nepřijde jako takovej nesmysl. V aktuální stávkové situaci by tak měli něco na stream (pokud je to natočený, nemám o tom moc přehled) a trochu by si tím udobřili ty Snyderverse přihoňovače. Samozřejmě by to zas dělalo bordel v kontinuitě, ale co už.

"Od teď jsou tři způsoby jak něco dělat. Dobře, špatně a Warner Brosovsky." - "Není to taky špatně?" - "Jo, ale rychlejš." *:D*

Přečetl jsem si nabídku studií scénáristům a já klidně půjdu psát za jejich staré tarify kdyby chtěli *:D* On top of wage increases, a 15% increase in minimum weekly rates for Article 14 writers in the first year of the agreement with further general wage increases in the second and third years of the agreement. [b]This would take a writer from:[/b] * [b]$9,888/week to $11,371/week for guarantees of up to 9 weeks[/b]; * $8,240/week to $9,476/week for guarantees of 10-19 weeks; and * $7,412/ week to $8,524/week for guarantees of 20-29 weeks (all are 15% increases) [b]High Budget SVOD Residual Increases [/b]Total worldwide (domestic and foreign) residuals [b]would increase [/b]from $72,067 to $87,546 per episode for 3 exhibition years. The AMPTP is committed to allowing the Showrunner to select at least two mid-level writers to be assigned to production who are each guaranteed at least 20 weeks of employment (unless the production period is shorter). [b]A new compensation structure for development rooms[/b] Writers will be guaranteed[b] a minimum of 10 weeks of employment [/b]and, for Article 14 writers (other than Story Editors or Executive Story Editors), the week-to-week rate of pay will [b]increase by 43.8% [/b]over the current rate, raising the rate from $9,888 per week to $14,214 per week.

The Digital Bits : So as not to lay all the grief at the feet of the Brothers Garner however, let’s move on to another major Hollywood studio. We’ll call this one Vault Bisney.Now… here’s a studio that’s [i]really[/i] spent the last several years convincing avid consumers of physical media that they make [i]inferior 4K UHD product![/i]Not only do they refuse to include Dolby Vision HDR on any of their discs—to the extent that [i]they actually had it removed[/i] on a later pressing of one their “Space Wars” titles—they intentionally squeeze every 4K title onto UHD-66 discs just to save a buck, when most of the films in question would [i]greatly[/i] benefit from UHD-100 discs instead. You know… so as to actually deliver a premium product. The result is 4K video that appears lifeless and over-compressed compared to similar titles from other studios.And not content to compromise its 4K video quality alone, this same studio also deliberately takes the Dolby Atmos mixes it includes on its discs and waters them down by weakening the bass and dynamic range to create milquetoast sonic experiences targeted to casual steaming customers watching on mobile devices, rather than the avid home theater fans who constitute the bulk of the 4K format’s customer base.

Já tedy DCEU rád nemám. Nelíbí se mi tam žádný film. Čekal jsem na restart, jestli se to změní, ale to co zatím předvádí je naprostá šílenost. Vzájemně se popírající tvrzení, rušení a nerušení návaznosti, nulový plán a jen a jen chaos.  Tohle se rozpadne ještě více a ještě rychleji než předtím.