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Is this true? http://variety.com/2015/tv/news/the -cw-warne

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Thread replies: 83
Thread images: 20

File: Flash Arrow.jpg (612KB, 1376x1644px) Image search: [iqdb] [SauceNao] [Google]
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Is this true?
http://variety.com/2015/tv/news/the-cw-warner-bros-dc-the-flash-arrow-1201646970/
>>
Is what true?
>>
>>78297194

i guess, cool

I really enjoy the Flash, top tier capeshit, so if they're able to work with more characters in the future that's great

I'm hopeful for the cinematic universe as well

i guess some overlap may cause confusion for casuals? but I'm not really worried
>>
Not at all, they were still embargoing characters even after this supposedly looser regime began. It's just for PR.

>>78297208
>too dumb to google the URL and read the blub to avoid giving them pageviews but still to find out what OP is talking about
>>
>>78297326
>to avoid giving them pageviews

Keyboard Crusader hard at work, with his cries of "Clickbait!"
>>
>>78297363
Actually I don't care, but I figure he's one of those types or he would have just clicked it. Just telling him there's a way to remain informed without giving them what they want.
>>
>>78297194
There's still embargoes on characters, but they're playing "reframe the question" here, claiming is much less than it used to be. Which it might, we didn't have the insight into office politics we have today, and there's undoubtedly much more for Burlanti, Kreisman and crew to play with than ever before.
>>
will they do the same for iZombie?
>>
>>78297194
Not at all. This happened a couple years ago, and since then they have still gotten rid of deadshot, katana, and cap boomerang because of the will smith flick coming out.
>>
>>78298058
Also didn't click the link, but I'm just going by the comments from this thread, I'm guessing its about that jap guy who took over something at wb or something and he really likes the dc shows and said something along the lines of the embargo ending. It hasn't and I really don't think it ever will.
>>
>>78298058
>flick

It'll at least be a movie
>>
>>78297326
>>78297363
>>78297464
So much autism holy shit
>>
>>78297998
iZombie doesn't have any restrictions on it. Though I think they said they don't want to add in vampires because CW has other vampire shows.
>>
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>>78298117

Plus I can't imagine them having anything close to the Flash's budget, as they can only afford for Liv to go HAM every couple episodes, and even that's a relatively simple effect in The Flash. So ghosts, were-terriers, etc may not be feasible.
>>
The article reeks of PR as others have said.

Fact is, the Flash show is living on borrowed time and the general disdain and contempt for the INO Movie version (which will require killing the TV show) being planned has caused DC to realize they need to keep the nerds placated, with talk of "less restrictions and embargoing" of characters from the TV shows due to the movies.
>>
>>78298117
>>78298225
Pretty sure...
>>
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>>78298305

What's the joke, that iZombie is a self contained universe anyway? Not exactly funny.
>>
>>78298384
Yeah, https://www.youtube.com/watch?v=xECUrlnXCqk
Unless, anon is legitimately that dumb.
>>
Cant wait for Arrow next half season its been goat so far. Wtf is this title even trying to convey anyways?
>>
>>78298235
Soon after Kevin Tsujihara took over as Warner Bros. chairman-CEO, he made the decision to break with protocol from the previous regime — a change that would have a profound effect on the studio. At an early strategy session, senior execs recall him issuing a new edict: DC Entertainment is open for business across the lot.

Tsujihara made it clear that the vast archive of comic-book characters in the DC vault would no longer be under the tight control of Warner Bros.’ film division. WB’s television and interactive units would have new flexibility to develop projects derived from the properties, even if they were concurrently being eyed for movie projects.

He established the studio’s equivalent of the Justice League. Every two weeks, top execs including DC Entertainment’s Diane Nelson and Geoff Johns, Warner Bros. Pictures’ Sue Kroll and Greg Silverman and Warner Bros. TV’s Peter Roth gather with Tsujihara to talk about all things DC, and coordinate strategies.

The group aims to be respectful of one another’s goals, and mindful of the danger of flooding the market with too much product. But TV, video games and consumer products no longer take a back seat to film. Prolific producer Greg Berlanti is approaching superhero status himself on the WB lot for his success in steering the DC-derived series — “The Flash” and “Arrow” (plus another on tap for midseason, “Legends of Tomorrow”) — that have turned around the fortunes of the CW, which Warner Bros. jointly owns with CBS Corp.
>>
>>78299743
“If there are any issues or sensitivities, we hash it out in the room,” says Nelson, president of DC Entertainment. “It no longer feels like a hierarchical situation where film will trump television.” Nelson is one of Tsujihara’s closest lieutenants, and she also serves as president of Warner Bros. Consumer Products and president and chief creative officer of Warner Bros. Interactive Entertainment. “It’s a basic example of communication,” she adds. “You have to have the CEO of the company actively involved to make it work effectively.”

The company-wide inclusiveness regarding DC reflects a broader shift in operations under Tsujihara, WB veterans say. Communication and collaboration among key divisions are not just encouraged, they’re mandated for senior management. Studio insiders say Tsujihara has stressed that the silo mentality of the past won’t do. The same tear-down-this-wall ethos has been applied to Warner Bros. and its Time Warner sibling units, HBO and Turner Broadcasting, as Time Warner CEO Jeff Bewkes has frequently emphasized to Wall Street.

“It’s a high priority for us,” Tsujihara says of cross-Time Warner collaboration efforts. “We are all facing different challenges, creating a real urgency for us to work together. … I think the cultures of each of the businesses are changing, and the culture of Time Warner is changing.”
>>
>>78299770
Tsujihara moved into his job in March 2013, a few months after Richard Plepler was elevated to chairman-CEO at HBO. Former Time Warner chief financial officer John Martin took over as CEO of Turner Broadcasting in January 2014. The leadership change at Time Warner’s three pillars also took effect as Bewkes completed the spinoff of publishing arm Time Inc. in June 2014. These were the final touches on his mission to streamline the conglomerate into a film, TV and digital content-focused enterprise. With newly installed CEOs running the profit centers of a smaller company overall, it was natural for Tsujihara, Plepler and Martin to put their heads together in tackling myriad issues.

The results have paid dividends both big and small. Twenty-five years after Warner Bros. TV and HBO were united under the Time Warner umbrella, WBTV last year produced its first series for the premium cabler — drama “The Leftovers,” now in its second season. Early next year, HBO will add a second show, the J.J. Abrams-Jonathan Nolan drama “Westworld,” based on the camp ’70s sci-fi movie. And Warner Bros. Animation is producing more series for Turner’s Cartoon Network than ever before, and collaborating on consumer products initiatives.

The studio has moved into other new arenas, such as producing original series for Netflix — an animated take on “Green Eggs and Ham” from Ellen DeGeneres’ WBTV-based production banner. It took some doing to sort out the business terms on that deal, but it’s seen as an investment in the future of premium content.

The mandate is to produce quality shows. If we do that, we will be able to monetize them,” says Peter Roth, president and chief content officer of Warner Bros. TV Group. “Our job is to be in business with the best creative talent, and deliver shows with the kind of quality that will have a long lifespan. It’s been exciting for our WBTV exec team and for our talent to move into new areas of the business”
>>
>>78299795
The sense of urgency at Warners to make a change in the way things had been done with DC is fueled by the runaway success Marvel is enjoying as part of Disney.

Warner Bros. has been the home of DC ever since Steve Ross’ Kinney Corp. took over the studio in 1969 (Kinney acquired what was then National Periodical Publications in 1967). But successful film and TV adaptations have come in fits and starts. Warners mined gold from DC Comics in the late 1970s and early ’80s with Christopher Reeve’s “Superman” series; in the 1980s and early 1990s with Michael Keaton’s “Batman” and its successors; and more recently with the long-running WB/CW series “Smallville” and Christopher Nolan’s “Dark Knight” film trilogy.

But Marvel’s run at the box office with franchises including “Spider-Man” (through Sony), “X-Men” (through Fox), and in-house properties like “Captain America,” “Iron Man” and most recently “The Avengers,” put the spotlight on how effectively comic-book properties can be managed on a timetable to provide steady — and predictable — returns.

In 2009, Warner Bros. restructured DC Comics to create DC Entertainment — in a comic-book-worthy twist of fate, the same week Disney announced its stealth $4 billion purchase of Marvel Entertainment. The goal was to turn DC, now led by Nelson, a respected studio marketing vet who made her mark shepherding the “Harry Potter” film franchise, into a “feeder” of source material for all WB divisions, while maintaining a big presence in comic-book publishing. In practice, however, because Nelson reported to then Warner Bros. Pictures chief Jeff Robinov, the focus remained highly film-centric.
>>
>>78299812
That pecking order had been set a decade earlier, in 1999, sources say, when the WB Network (now the CW) was hot on a “Batman” prequel script from writer Tim McCanlies that revolved around the youthful adventures of Bruce Wayne. The project was shut down before it got to the pilot production stage after WB Pictures execs got wind of it, and worried that it would muck up their plans to revive “Batman” on the big screen. The WB Network was allowed to pursue a similar concept for Superman, which yielded the 10-year success of “Smallville,” but the earlier sting lingered.

After Tsujihara became CEO, Nelson shifted to a dual reporting structure — to Tsujihara and Robinov — as she also took over home entertainment and video games. By the time Robinov left the studio in July that year, Tsujihara had laid down his DC manifesto, and Nelson has since reported directly to him. The two have worked closely together throughout their respective two decades-plus tenures at Warner Bros.

With DC’s vault opened wide, Nelson and Johns, DC Entertainment’s chief creative officer, are working with the film team to plot an ambitious schedule of 10 films to be released over the next five years. At the same time, the WBTV team has put numerous projects into development, including “The Flash” for the CW. That would never have happened in the past, because “Flash” is also on the docket for a feature film in 2018.

Inside of two years, Warner Bros. TV now has seven (and counting) primetime series derived from the comic-book imprints of DC and its subsidiary, Vertigo. Last year, the TV studio finally got its “Batman” prequel in the form of Fox’s “Gotham,” although the focus shifted from Bruce Wayne to Commissioner Gordon and Gotham City’s villains. Sources described that creative fillip as a sign of compromise between WB divisions as the film side tees up “Batman v Superman” next year.
>>
>>78299847
DC also has been the source of a short-form original series for TheWB.com digital channel, “Justice League: Gods and Monsters Chronicles.”

Comic-book IP is prized by the studio because the shows tend to travel well overseas, and are sought after in syndication by SVOD players. Netflix pounced on “Gotham” even before the series premiered on Fox, striking a precedent-setting deal for rerun rights to the tune of $1.75 million an episode.

Perhaps the biggest impact of the DC properties has been on the CW. “The Flash” and “Arrow” have become the backbone of a network that had been flagging and rudderless. CW also airs the femme-friendly “iZombie,” and has “DC’s Legends of Tomorrow” on tap for midseason. The appeal of these DC shows help CW maintain the SVOD output deals with Netflix and Hulu that have been crucial to its survival.

After “The Flash” premiered last fall to CW’s highest ratings in more than five years, Berlanti got a call at his WB office asking him to stop in to see Tsujihara in the executive office building. “That was the first time that ever happened to me,” Berlanti says. The producer made sure he brought along a few prototypes of “The Flash”-derived action figures that Consumer Products was about to unleash.

“He was excited about the character and Grant,” Berlanti says. And that enthusiasm has not waned. “You can tell that he really loves the show. He always talks to us about watching it with his kids. You get a sense that he’s really invested,” he says.

At Warner Bros. these days, success is all about sharing.

/end
>>
>>78297194
>DC realizes the Arrowverse is better than the DCEU
Well it's true.
>>
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>>78297363
>Clicking articles
>Giving lairs and gossipers money
Did GG teach you nothing? Shiggity.
>>
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>>78300031
>lairs
>>
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>>78300082
>>
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>>78300141
>spelling is grammar
>>
>>78297194
That's an ad.
>>
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>>78300155
>Giveing aye fuk abowt grammer or spelling on tha internaut
Nigga, u gay.
>>
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>>78300305
>trying to out mehmeh le me
>mfw cri for you
>>
half of you guys are fucking idiots
>Superhero TV Thrives After Warner Bros. Loosens Film’s Grip on DC Entertainment
Soon after Kevin Tsujihara took over as Warner Bros. chairman-CEO, he made the decision to break with protocol from the previous regime — a change that would have a profound effect on the studio. At an early strategy session, senior execs recall him issuing a new edict: DC Entertainment is open for business across the lot.

Tsujihara made it clear that the vast archive of comic-book characters in the DC vault would no longer be under the tight control of Warner Bros.’ film division. WB’s television and interactive units would have new flexibility to develop projects derived from the properties, even if they were concurrently being eyed for movie projects.

He established the studio’s equivalent of the Justice League. Every two weeks, top execs including DC Entertainment’s Diane Nelson and Geoff Johns, Warner Bros. Pictures’ Sue Kroll and Greg Silverman and Warner Bros. TV’s Peter Roth gather with Tsujihara to talk about all things DC, and coordinate strategies.

The group aims to be respectful of one another’s goals, and mindful of the danger of flooding the market with too much product. But TV, video games and consumer products no longer take a back seat to film. Prolific producer Greg Berlanti is approaching superhero status himself on the WB lot for his success in steering the DC-derived series — “The Flash” and “Arrow” (plus another on tap for midseason, “Legends of Tomorrow”) — that have turned around the fortunes of the CW, which Warner Bros. jointly owns with CBS Corp.
>>
“If there are any issues or sensitivities, we hash it out in the room,” says Nelson, president of DC Entertainment. “It no longer feels like a hierarchical situation where film will trump television.” Nelson is one of Tsujihara’s closest lieutenants, and she also serves as president of Warner Bros. Consumer Products and president and chief creative officer of Warner Bros. Interactive Entertainment. “It’s a basic example of communication,” she adds. “You have to have the CEO of the company actively involved to make it work effectively.”

The company-wide inclusiveness regarding DC reflects a broader shift in operations under Tsujihara, WB veterans say. Communication and collaboration among key divisions are not just encouraged, they’re mandated for senior management. Studio insiders say Tsujihara has stressed that the silo mentality of the past won’t do. The same tear-down-this-wall ethos has been applied to Warner Bros. and its Time Warner sibling units, HBO and Turner Broadcasting, as Time Warner CEO Jeff Bewkes has frequently emphasized to Wall Street.

“It’s a high priority for us,” Tsujihara says of cross-Time Warner collaboration efforts. “We are all facing different challenges, creating a real urgency for us to work together. … I think the cultures of each of the businesses are changing, and the culture of Time Warner is changing.”
>>
File: supergirl-cbs.jpg (146KB, 670x377px) Image search: [iqdb] [SauceNao] [Google]
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Tsujihara moved into his job in March 2013, a few months after Richard Plepler was elevated to chairman-CEO at HBO. Former Time Warner chief financial officer John Martin took over as CEO of Turner Broadcasting in January 2014. The leadership change at Time Warner’s three pillars also took effect as Bewkes completed the spinoff of publishing arm Time Inc. in June 2014. These were the final touches on his mission to streamline the conglomerate into a film, TV and digital content-focused enterprise. With newly installed CEOs running the profit centers of a smaller company overall, it was natural for Tsujihara, Plepler and Martin to put their heads together in tackling myriad issues.

The results have paid dividends both big and small. Twenty-five years after Warner Bros. TV and HBO were united under the Time Warner umbrella, WBTV last year produced its first series for the premium cabler — drama “The Leftovers,” now in its second season. Early next year, HBO will add a second show, the J.J. Abrams-Jonathan Nolan drama “Westworld,” based on the camp ’70s sci-fi movie. And Warner Bros. Animation is producing more series for Turner’s Cartoon Network than ever before, and collaborating on consumer products initiatives.

The studio has moved into other new arenas, such as producing original series for Netflix — an animated take on “Green Eggs and Ham” from Ellen DeGeneres’ WBTV-based production banner. It took some doing to sort out the business terms on that deal, but it’s seen as an investment in the future of premium content.

“The mandate is to produce quality shows. If we do that, we will be able to monetize them,” says Peter Roth, president and chief content officer of Warner Bros. TV Group. “Our job is to be in business with the best creative talent, and deliver shows with the kind of quality that will have a long lifespan. It’s been exciting for our (WBTV exec) team and for our talent to move into new areas of the business.”
>>
>>78297596

A big part of that is that Arrow and Flash both proved to be big moneymakers for the CW, so I think the higher-ups are just more comfortable letting the showrunners play around with more properties, and giving them more leniency in what they can use.
>>
The sense of urgency at Warners to make a change in the way things had been done with DC is fueled by the runaway success Marvel is enjoying as part of Disney.

Warner Bros. has been the home of DC ever since Steve Ross’ Kinney Corp. took over the studio in 1969 (Kinney acquired what was then National Periodical Publications in 1967). But successful film and TV adaptations have come in fits and starts. Warners mined gold from DC Comics in the late 1970s and early ’80s with Christopher Reeve’s “Superman” series; in the 1980s and early 1990s with Michael Keaton’s “Batman” and its successors; and more recently with the long-running WB/CW series “Smallville” and Christopher Nolan’s “Dark Knight” film trilogy.

But Marvel’s run at the box office with franchises including “Spider-Man” (through Sony), “X-Men” (through Fox), and in-house properties like “Captain America,” “Iron Man” and most recently “The Avengers,” put the spotlight on how effectively comic-book properties can be managed on a timetable to provide steady — and predictable — returns.

In 2009, Warner Bros. restructured DC Comics to create DC Entertainment — in a comic-book-worthy twist of fate, the same week Disney announced its stealth $4 billion purchase of Marvel Entertainment. The goal was to turn DC, now led by Nelson, a respected studio marketing vet who made her mark shepherding the “Harry Potter” film franchise, into a “feeder” of source material for all WB divisions, while maintaining a big presence in comic-book publishing. In practice, however, because Nelson reported to then Warner Bros. Pictures chief Jeff Robinov, the focus remained highly film-centric.
>>
>>78297194
>can't get the gist of the article in the url
mmnah
>>
>>78298235
>Fact is, the Flash show is living on borrowed tim

Buddy Supernatural is running into its ELEVENTH SEASON.

If anything we have more to worry about Flash long overstaying its welcome and turning into a zombie series.
>>
That pecking order had been set a decade earlier, in 1999, sources say, when the WB Network (now the CW) was hot on a “Batman” prequel script from writer Tim McCanlies that revolved around the youthful adventures of Bruce Wayne. The project was shut down before it got to the pilot production stage after WB Pictures execs got wind of it, and worried that it would muck up their plans to revive “Batman” on the big screen. The WB Network was allowed to pursue a similar concept for Superman, which yielded the 10-year success of “Smallville,” but the earlier sting lingered.

After Tsujihara became CEO, Nelson shifted to a dual reporting structure — to Tsujihara and Robinov — as she also took over home entertainment and video games. By the time Robinov left the studio in July that year, Tsujihara had laid down his DC manifesto, and Nelson has since reported directly to him. The two have worked closely together throughout their respective two decades-plus tenures at Warner Bros.

With DC’s vault opened wide, Nelson and Johns, DC Entertainment’s chief creative officer, are working with the film team to plot an ambitious schedule of 10 films to be released over the next five years. At the same time, the WBTV team has put numerous projects into development, including “The Flash” for the CW. That would never have happened in the past, because “Flash” is also on the docket for a feature film in 2018.

Inside of two years, Warner Bros. TV now has seven (and counting) primetime series derived from the comic-book imprints of DC and its subsidiary, Vertigo. Last year, the TV studio finally got its “Batman” prequel in the form of Fox’s “Gotham,” although the focus shifted from Bruce Wayne to Commissioner Gordon and Gotham City’s villains. Sources described that creative fillip as a sign of compromise between WB divisions as the film side tees up “Batman v Superman” next year.
>>
>>78300485
>>78300505
>>78300520

Cool story and everything, but the TV shows are still getting cucked

No Blue Beetle
No Supes, No Batman
No Green Lantern (any of them)
No more Suicide Squad
etc
>>
DC also has been the source of a short-form original series for TheWB.com digital channel, “Justice League: Gods and Monsters Chronicles.”

Comic-book IP is prized by the studio because the shows tend to travel well overseas, and are sought after in syndication by SVOD players. Netflix pounced on “Gotham” even before the series premiered on Fox, striking a precedent-setting deal for rerun rights to the tune of $1.75 million an episode.

Perhaps the biggest impact of the DC properties has been on the CW. “The Flash” and “Arrow” have become the backbone of a network that had been flagging and rudderless. CW also airs the femme-friendly “iZombie,” and has “DC’s Legends of Tomorrow” on tap for midseason. The appeal of these DC shows help CW maintain the SVOD output deals with Netflix and Hulu that have been crucial to its survival.

After “The Flash” premiered last fall to CW’s highest ratings in more than five years, Berlanti got a call at his WB office asking him to stop in to see Tsujihara in the executive office building. “That was the first time that ever happened to me,” Berlanti says. The producer made sure he brought along a few prototypes of “The Flash”-derived action figures that Consumer Products was about to unleash.

“He was excited about the character and Grant,” Berlanti says. And that enthusiasm has not waned. “You can tell that he really loves the show. He always talks to us about watching it with his kids. You get a sense that he’s really invested,” he says.

At Warner Bros. these days, success is all about sharing.
>>
here are the highlights:
>“If there are any issues or sensitivities, we hash it out in the room. It’s a basic example of communication; you have to have the CEO of the company actively involved to make it work effectively.”
Diane Nelson, DC Entertainment

The DC Docket
Warner Bros. has an aggressive five-year plan for superhero pics.
>Batman v Superman: Dawn of Justicedirected by Zack Snyder (March 2016)
Suicide Squaddirected by David Ayer (August 2016)
Wonder Womanstarring Gal Gadot (June 2017)
Justice League Part 1directed by Zack Snyder, with Ben Affleck and Henry Cavill (November 2017)
The Flashstarring Ezra Miller (March 2018)
Aquamanstarring Jason Momoa (July 2018)
Shazamstarring Dwayne Johnson (April 2019)
Justice League Part 2directed by Zack Snyder (June 2019)
Cyborgstarring Ray Fisher (April 2020)
Green Lantern(June 2020)

>>78300561
>>78300561
>No Blue Beetle
fair
>No Supes, No Batman
who wants them even? i haven't seen supergirl
>No Green Lantern (any of them)
isn't it a budget thing?
>No more Suicide Squad
you got me there
>>
>>78300578
>isn't it a budget thing?

On The Flash, I doubt it

as long as you don't have him using powers for the entirety of the episode, they can pull it off
>>
>>78300561

Yes, they should go back in time and change those things.
>>
>>78300578
>isn't it a budget thing?

And the fact that, since the movie bombed so hard, the character is still considered pretty toxic for live-action adaptations. Same reason we likely aren't getting Jonah Hex for the Wild West parts of Legends of Tomorrow.
>>
>>78300578
BLACK ADAM HAS COME BACK.... HOME
>>
>>78300864
heh
>>
>>78300561
>No Blue Beetle
Isn't that because they've had plans for a Blue and Gold series in the works for ages?
>>
Does this mean we can expect to see characters in both movies and tv now?
>>
>>78301027
>Isn't that because they've had plans for a Blue and Gold series in the works for ages?

I'm not sure they ever revealed exactly WHAT kind of project it would be (TV or film), but regardless, if this "everything is available" story had any truth to it, it wouldn't matter and presumably they would allow the character to be used in both instances. Clearly, they told Arrow "no".
>>
>>78300578
Wonder how much the time table will change after BvS and SS are out. Batfleck is rumoured to be getting a solo movie and if Harley's popular enough I wouldn't be surprised if she got her own movie too, maybe with Ivy along for the ride.
>>
>>78300651
>LoT does an old west episode
>No Jonah Hex
Anon, if this is true, I will personally ride a horse all the way to your house and pump you full of lead.
>>
>>78300578

I would assume that this is more recent hense loosining the reigns. Aka Squad episodes were popular and the producers wanted more so now its possible even though it wasn't months ago. Or how Katana's actress is upset she can't return because of the movie. I'm on my phone though so I didn't look at the date but Supergirl. I think most of the embargos were from casuals whining that its confusing for then because they want re quite clear during Arrow season 2 that WB had no plans to restrict them despite the movies. Beetle was held back and turned into Ray because they were still planning on the Booster Gold show set in the Arrowverse.
>>
>>78301117

The Arrow staff was working on a Booster show for Syfy and it didn't get picked up but WB was still hopeful they could get it off the ground so they shot Ted down
>>
>>78301117
There was talk of a Booster Gold tv series and a Blue and Gold movie, that one as recently as September. It's hard to say why they said no with how often projects are started and cancelled with out the public hearing of their existence though
>>
>>78301027

The second wave of show case shorts would have featured a buddy short featuring the two. It's a shame only Catwoman got made. I really wanted a Gotham By Gaslight long short too.
>>
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>>78301130

I don't have a source to give you, this is just rumor

...please don't hurt me, I want to see him too.
>>
>>78301211

It was stated somewhere it was because they were still pushing for the Booster show and Ted was meant to be a main character so they didn't want him on Arrow until it was sorted out. It made more sense than "But Katana is a minor character in our movie stop using her."
>>
>>78298225
they did do a shoutout to the wereterrier thing in season 1 though, but it was a joke, so it's probably not going to actually happen any time soon
>>
>>78300301
my god, he really can spot them!
>>
>>78301211
The TV show rights expired a while ago. There was a short window between that and the movie stuff where Johns said there were no rights issues with Booster Gold at all and that they could use him.

>>78301286
The only time I saw that rumor was an anon in another thread who admitted he was making shit up right after
>>
>>78301312
>It was stated somewhere it was because they were still pushing for the Booster show and Ted was meant to be a main character so they didn't want him on Arrow until it was sorted out. It made more sense than "But Katana is a minor character in our movie stop using her."

It isn't any different. They could have used him in both shows, whether they used the same version of the character or not. Nothing is fair game, they've still gotta get permission for everything.
>>
>>78300565
why is iZombie "femme friendly"? because it stars a woman? does that make the Flash a "boy show"? damn it, tv shows don't need to be gendered, we're not in fucking kindergarten.
>>
>>78301418
>The only time I saw that rumor was an anon in another thread who admitted he was making shit up right after

Ah okay, that makes me feel a lot better.

I hope we get Batlash or Cinnamon and Nighthawk (especially the last two since we've got the Hawks already).
>>
>>78301451

Technically all the CW shows are geared towards women with the emphasis on character relationships and romantic tension.

Generally women are more interested in plotlines related to interpersonal conflict and development I know because I am a woman. If I don't give a fuck about the people involved in the fights and flash action scenes, I don't give a fuck about the action scenes period.
>>
>>78301451
>why is iZombie "femme friendly"? because it stars a woman?

I haven't seen it myself, but I get the impression that the tone of iZombie is more akin to a romantic comedy than a superhero show
>>
>>78301504

Well the general conflict and powers of the main character doesn't lend itself to the big action setpieces like Arrow and Flash. But it's a good show because the character relationship shenanigans are written much better than you find in Arrow and Flash.
>>
>>78301504
there's actually not much romance in it. it's more of an action/comedy procedural show than anything else, ala Chuck
>>
>>78301487
I'm a woman too, and I find well choreographed fight scenes fun as fuck. that was my point, that women aren't some huge conglomerate that all like the same thing the second you make it pink
>>
>>78301604

Ah, right. Good point.
>>
>>78300561
Actually, Batman WILL appear on Legends of Tomorrow at some point. Just not Bruce Wayne. They've already sounded out Steve McQueen III to play Terry McGuinnis, since he had expressed such interest Dick Grayson. Terry is a better fit for the actor. He just won't be a high school student like on the cartoon.
>>
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>>78301623
>>78301604
>>78301487

n-now kiss
>>
>>78301663
Source?
>>
>>78301703

I hope next time they do promo stuff she hangs out with Tenaya-7.
>>
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>>78302719
>>
>>78301663
Your lies stink anon, they stink of death
>>
reminder of based darhk
>>
>>78298117
Can I still get ghosts and wereterriers?
>>
>>78301121
can't they just release those on the side?
if WB is doing the DCCU as a "genre" flick thing, there is way more space for more movies in a year, compared to marvel.

Not sure what a Harley solo would look like, I'd love a Joker/Harley film as a villain protag thing, but that doesn't seem to work well in hollywood these days
>>78301156
>Beetle was held back and turned into Ray because they were still planning on the Booster Gold show set in the Arrowverse.
I DIDN"T know this, but it makes sense.
I would think Beetle becoming Roy would fuck that up though.
I'd really prefer they just did an anthology show with a rotating lead cast.
Arrow; Flash, Legends of tomorrow/Brave and the Bold/ the "team up" show, and then a 4th show, either a female led show (looking at Vixen or Zatanna, preferably Vixen) or an episodic Anthology show, maybe each lead character gets a 2-5 episode arc, with a big plot team up at the end.
It could even run through the summer.
>>78301487
SAME, but i like fight scenes too.
I just want them to have some interpersonal tension.
Its the reason Classic Spider-Man was so great.
>>78301522
i think thats because in Arrow and Flash the romance/relationship stuff is "secondary" in intention, even though it's often at the forefront of the episodes.
Its really obvious when you compare season 1 or 2, to season 3 or 4.
season 2 had the conflict between Ollie and slade really driving things, and it worked great.
>>
>>78308269
i haven't been watching season 4 but clearly i need to, goddamn
>>
>>78298058
They did not get rid of Boomerang. He had only made one appearance.

Not sure about Katana.
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