Went to see the princess, the movie was terrible - typically, the American way of doing it, the mental imbalance of mind control and the fact that the world was rescued by the influence, and the ideology that was everywhere was annoying. Why are 80s-inspired movies not pleasing; modern people can't. Btw the villain is really like Trump... In this sense, those exaggerated madness can be understood a little (just a little), endless desire, stupidity. And the cliché of the ending is also here: because human beings are so stupid, because their desires are endless; where is it as simple as accepting oneself, no generation can save a generation.
Wondersteve's portrayal is still the most beautiful relationship I've seen in any superhero movie. It is completely connected with the previous episode, and the character growth does not deviate from the original narrative logic. In the first part, Steve takes Diana to witness the human world, and forty years later she turns around to show him hers. He returned to the world, innocent, novel, and childlike; he died young, and it was war that took away peace. They should have a life.
They are both young; they love. The core of Wondersteve is that both sides are respected, she's the stronger one but that doesn't make him any less of a man. Steve has his place; he's more mature, more realistic, but by no means less idealistic. In the first part, he fell in love with Diana because she was innocent, firm, and never backed down; in the face of this innocence, his first reaction was to protect her—because he himself had been disappointed. True heroism, the tenderness of looking back at growing up: to share the burden, hold the floodgates before handing it over to her. You save the world, I save today.
He's still the more mature one in this one, even if maturity means cruelty. Forty years, Diana has grown up and has been on her own, but she has kept a certain part and left it to Steve: the girl who just stepped out of the paradise island, soft, full of trust, not believing in disappointment. In the panic, he bid her farewell, just as in the smoke of gunpowder, she cried in his arms, how wronged, being a hero means you ask for nothing, just give; she gives, wholeheartedly, but only It is this little happiness, an extremely weak happiness, but it is still not possible, not possible. She knew that she was going to give up, she had to give up; however, this sentence had to be said by him, let him be the unfeeling one. So that she could save the world, without burdens, without moral and emotional concerns. And he didn't care if he lived or not.
They are complete with each other: that bit of selfishness is the cry of the man under the mask of the Son of God, and it is Antigone's lament before walking towards the grotto, and he fills the gap with his own life and selflessness. Love makes us weak, but only love can make us great again. Love carries us on flight - if the whole movie itself is a lie (albeit in good faith; out of the necessity of hope), only love is truth, and love is truth.
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