Latest news with #comicbookmovies
New York Times
2 days ago
- Entertainment
- New York Times
A City's in Grave Danger. Why Would Superman Save a Squirrel?
'You'll believe a man could fly.' That was the tagline for the 1978 'Superman' movie, made when superhero films were so rare that simply watching someone soar through the sky felt magical. Today, though, comic-book movies are commonplace, with flight and other superpowers handed out so liberally that even Annette Bening has blasted energy beams from her hands. (That happened in 2019's 'Captain Marvel.' What, you don't remember?) James Gunn's new take on 'Superman,' in theaters now, has its fair share of flight scenes and they're all convincingly done. But the movie's mission statement has more to do with a pure spirit than a special effect: In the middle of one frenetic action sequence, after noticing a tiny squirrel is in danger of being crushed by debris, Superman leaps into action to rush the animal out of harm's way. Sure, you'll believe a man could fly. But would you believe that man would go to the trouble of saving a squirrel? 'The squirrel moment is probably one of the most debated,' Gunn told me recently. In early test screenings, some audiences were confused about why Superman (David Corenswet) would prioritize a tiny critter when all of Metropolis was in jeopardy. But to Gunn, that was exactly the point: His cleareyed, upbeat incarnation of Superman prizes saving every life, human or not. 'A lot of people were anti-squirrel. They thought it was too much,' he said. 'And I think it really comes down to, do you like squirrels or not?' Want all of The Times? Subscribe.
Geek Tyrant
16-07-2025
- Entertainment
- Geek Tyrant
Nathan Fillion Shares the Heartwarming Story Behind His DEADPOOL & WOLVERINE Role as Headpool — GeekTyrant
Nathan Fillion may have recently stolen the spotlight as Guy Gardner in Superman , but his ties to comic book movies run deep, and not just in the DCU. Over in the Marvel world, Fillion has already played multiple roles, with his biggest MCU moment coming in Deadpool & Wolverine as the fan-favorite floating head, Headpool. Speaking with Entertainment Weekly, Fillion revealed how his friendship with Ryan Reynolds led to the hilarious cameo, and why it was years in the making. Fillion said: "I was actually in the first Deadpool. My scene got cut out. You'll have to remember I was filming Castle at the time. It had to be a very small part, and I requested that I be unrecognizable. It's in a deleted scenes thing. I think you can get it if you buy the movie digitally." That original cameo saw Fillion briefly appear as a towel guy at the strip club where Morena Baccarin's Vanessa worked. Unfortunately, it never made it to the theatrical cut. Still, Reynolds tried to make it up to him. "He asked me to come in and audition for something in the second Deadpool, which was very generous of him. 'We're still in touch. He's a very generous man, and he's very interested in sharing the wealth, honestly. He's got so many incredible opportunities, and he likes to remember his friends and spread those opportunities around." By the time Deadpool & Wolverine rolled around, Reynolds was determined to get Fillion involved, this time for real. "Ryan would text me and say, 'Hey, would you do me a favor?' Like I'm doing him a favor. We recorded a bunch of different stuff. We started at one character, then we moved over to being Headpool, and then we were futzing the jokes." Fillion continued: "We did a lot of stuff that never made it to the movie, but then there came a day where they asked me to go down the street and record it in an official recording booth." That led to one of Fillion's favorite compliments of his career. "Shawn Levy, the director, called me just before I was about to leave the house and he said, 'We're all listening to your recordings that you sent us, and we don't really see any reason to rerecord these.' I considered it a real compliment that my recording booth was movie quality." Whether we'll see the Deadpool Corps again remains a mystery, though rumors suggest they could pop up in Avengers: Doomsday or Secret Wars . For now, Headpool might be a one-and-done for Fillion, but his comic book journey isn't slowing down. He's set to return as Guy Gardner in Peacemaker season 2 and HBO's upcoming Lanterns series.
Yahoo
15-07-2025
- Entertainment
- Yahoo
‘X-Men' at 25: How the game-changing franchise established Marvel movies — and was largely snubbed by the Oscars
Twenty-five years ago, the evolution of comic book movies leaped forward. On July 14, 2000, Marvel Comics' not-so-merry band of mutants, the X-Men, made their way from the comic pages to the big screen, changing the company's cinematic fortunes and making the box office safe for the team-based superhero movies that would follow years later. It should be noted off the top that Blade ice-skated uphill so that X-Men could run downhill to franchise-launching success. Wesley Snipes' 1998 vampire movie brought the comic-book movie genre back from the brink of extinction courtesy of the mega-bomb that was 1997's Batman & Robin. Blade was also the first Marvel Comics-derived film that didn't fall into direct-to-video hell like failed versions of Captain America and The Punisher, and Roger Corman's never-released take on the Fantastic Four. More from Gold Derby 'The Young and the Restless' leads Daytime Emmy predictions for Best Drama Series 'Adolescence,' 'The Penguin,' 'Disclaimer,' and more last-minute Emmy nominations predictions for Best Limited/Movie Directing Still, X-Men's existence was far from guaranteed even after Blade pointed a way forward for Marvel. Director Bryan Singer had been attached to the project since the mid-'90s, but 20th Century Fox executives were skeptical about the movie's commercial propsects — and nervous about the budget. Multiple drafts of the script were written and rewritten with the input of such big-name screenwriters as Christopher McQuarrie and Joss Whedon, as well as such comic legends as Chris Claremont. The tinkering continued as the film went into production, with several VFX-intensive sequences — including a set-piece set inside the Danger Room, a training ground for the titular team — scrapped to save on the bottom line. But the key to the movie's success proved to be the cast rather than the action. Singer secured Patrick Stewart and Ian McKellen as friends-turned-ideological enemies Professor Charles Xavier and Erik Lehnsherr, aka Magneto, respectively, and their gravity as performers lent the movie a dramatic weight. Meanwhile, a twist of fate gifted Singer with the actor who would come to define the X-Men franchise. Originally, Dougray Scott had been cast as Wolverine, the mysterious mutant from the Great White North whose skill set includes razor-sharp claws and a handy healing factor. But the Scottish actor had to complete his role as Tom Cruise's foil in Mission: Impossible 2 before making his way to X-Men's Vancouver set, and the John Woo-directed film ran into substantial delays that necessitated a replacement Wolverine. Enter Hugh Jackman, a musical theater actor from Australia with limited film experience — but a whole lot of snarl. Despite being the proverbial new kid on the block in an ensemble that included Halle Berry, James Marsden, Famke Janssen, and Oscar winner Anna Paquin, Jackman popped as X-Men's breakout star the moment he popped Wolverine's claws out between his knuckles. Even as the cast of mutants expanded with each successive entry, Wolverine remained the center of the franchise — and Jackman has yet to be replaced in the role even as other actors have taken on the mantle of his past and future teammates. Released with minimal fanfare in a blockbuster-heavy summer season, X-Men maxxed out its box-office potential as an inaugural adventure for untested comic book characters, banking over $150 million to become the sixth-highest grossing movie of 2000. More importantly, it convinced the studio to make a sequel — and spend more money on it this time. X2: X-Men United debuted three years later and earned over $200 million. That kicked off a franchise run that ultimately spanned 20 years and 15 features and spin-offs, most notably Ryan Reynolds' misadventures as that merc with a mouth, Deadpool. Along with the rest of 20th Century Fox's now-defunct Marvel series — think Fantastic Four and Daredevil — the series received a viking's funeral courtesy of 2024's Deadpool & Wolverine, which brought Jackman's alter ego back from the dead to close the door on that pocket universe. While the X-Men became seriously popular with moviegoers, this particular comic-book franchise was never a serious Oscar contender — unlike the Batman series or the mainline Marvel Cinematic Universe entries. The original film largely settled for awards recognition outside of the Academy Awards sphere. For example, Jackman was awarded Best Actor by the Academy of Science Fiction, Fantasy & Horror; Marsden and Rebecca Romijn won supporting actor statuettes from the Blockbuster Entertainment Awards; and the film itself scored a Best Movie nod at the MTV Movie and TV Awards. But some post-2000 installments did break through into the Oscar race. Here's a quick recap of the X-Men and X-Men adjacent films that voters put in contention. 20th Century Fox certainly didn't stint on the VFX for this massive team-up adventure that brought together the casts of the original X-Men trilogy, as well as the prequel series that launched with 2011's First Class. Singer returned behind the camera for the first time since X2 and Jackman heads up a super-sized ensemble that crosses universes and time periods. It's not as smoothly engineered a crossover as the first Avengers movie, but it's much more fun than Justice League. Other nominees: Captain America: The Winter Soldier, Dawn of the Planet of the Apes, Guardians of the Galaxy, Interstellar (winner) Jackman's solo Wolverine trilogy had a mixed track record, but the final installment is widely-regarded as one of the best superhero stories committed to the big screen. Jumping forward in time to a dystopian future where mutants are largely distant memories, Logan has to save the next generation of his kind even if it means he himself won't live to see a better tomorrow. Director James Mangold and co-screenwriters Scott Frank and Michael Green craft a narrative that's part Western, part Moses story and entirely gripping. Other nominees: Call Me by Your Name (winner), The Disaster Artist, Molly's Game, Mudbound Best of Gold Derby Everything to know about 'The Batman 2': Returning cast, script finalized Tom Cruise movies: 17 greatest films ranked worst to best 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') Click here to read the full article.
Digital Trends
14-07-2025
- Entertainment
- Digital Trends
X-Men 25th Anniversary: How it changed superhero movies for me and the world
On July 12, 2000, Marvel and 20th Century Fox held the worldwide premiere of X-Men on Ellis Island. This marked the beginning of a billion-dollar film franchise that would revolutionize superhero cinema as a whole. Set in a world where superpowered 'mutants' are common and discriminated against, X-Men saw Wolverine (Hugh Jackman) joining Professor X's (Patrick Stewart) titular team as they clash with the evil Magneto (Ian McKellen) and his Brotherhood of Mutants. The behind-the-scenes drama caused by X-Men's disgraced director Bryan Singer has somewhat tarnished the film's reputation. Nevertheless, X-Men helped define an entire generation of comic book movie fans, and its extraordinary impact can still be felt in superhero cinema today. Hugh Jackman just played Wolverine once again in Deadpool & Wolverine, and the upcoming crossover blockbuster, Avengers: Doomsday, will feature multiple actors from X-Men reprising their roles. Overall, X-Men set the stage for comic book movies to dominate theaters throughout the 21st century, launching a successful franchise with its thrilling story, compelling characters, talented cast, and thought-provoking themes. It helped make comic book movies more serious Instead of setting its story in Metropolis or Gotham City, X-Men presented its version of the 'real-world' America and explored the darker aspects of real human history and society. This storytelling approach added plenty of realism to the film, making its social commentary about prejudice and discrimination more impactful. The movie even opened with a young Magneto awakening his powers in a heartbreaking scene in Nazi-occupied Poland, setting the stage for a heavier comic book movie than what moviegoers were used to at the time. Also, the way the mutant characters in X-Men struggle to find acceptance in a fearful society made for a story that countless audiences can still find relatable. Recommended Videos However, as X-Men tried to present a realistic story, the film didn't quite show as much reverence to the comic book source material when adapting it for the big screen. In fact, the filmmakers seemed embarrassed by the X-Men's roots, as the film scoffed at the team's colorful costumes from the comics, exchanging them for matching black leather uniforms. The director had reportedly banned the cast from reading X-Men comics during production, forcing associate producer and future Marvel Studios President Kevin Feige to sneak some comics to them to help them better prepare for their roles. To be fair, X-Men came at a time when people were still learning to take comic books and their film adaptations seriously. Ultimately, things turned around as comic book movies became more popular and successful after X-Men, with Marvel fully embracing their comic book origins and finally giving Wolverine his iconic yellow outfit in Deadpool & Wolverine over 20 years later. It was the first superhero team-up film Long before the Avengers and the Justice League received movies, X-Men showed filmmakers how superhero teams could succeed on the big screen. The movie presented gripping emotional drama surrounding a group of dysfunctional characters who, despite their flaws, come together to fight for the greater good. The film arguably spent too much time on Wolverine and didn't give characters like Cyclops, Jean, and Storm enough depth and development. Nevertheless, X-Men became a prototype of comic book team-up films that succeeded it. It popularized the X-Men The X-Men were already well-known to comic book readers and fans of their animated series from the '90s. However, the X-Men reached a new level of mainstream popularity with the release of their 2000 film. The film introduced more people outside of comic book fandom to iconic characters like Wolverine, Professor X, Magneto, Mystique, Cyclops, Storm, and Jean Grey. The movie also turned many of the actors who played such characters into household names, with Patrick Stewart and Ian McKellen becoming synonymous with their respective characters. However, the cast's biggest success story is Jackman, who went from an unknown theater actor from Australia to one of the biggest movie stars in the world, embodying the character of Wolverine with roles in multiple Marvel movies in the decades since X-Men's release. It launched Marvel's first cinematic universe Long before the Marvel Cinematic Universe was established, Fox's X-Men franchise was the closest thing Marvel had to an interconnected film franchise on the big screen. X-Men led to the development of two sequels, a trilogy centered around Hugh Jackman's Wolverine, a series of prequels surrounding a young Magneto and Professor X, and Ryan Reynolds's hit Deadpool trilogy. It also led to the standalone film, The New Mutants, as well as two TV series, Legion and The Gifted. While Fox's X-Men universe was a mixed bag in terms of quality, the billions of dollars it grossed demonstrated that superheroes with crossover stories could be a massive success at the box office. X-Men revived the superhero genre Before X-Men premiered in theaters in 2000, Marvel's only successful film at the time was 1998's Blade. At the same time, comic book movies had garnered a negative reputation in the '90s with campy, corny, and lackluster films like Steel, Spawn, and Batman & Robin. However, the success of X-Men reignited the superhero genre in film and television. As a result, X-Men paved the way for other Marvel blockbusters like 2002's Spider-Man, 2003's Daredevil, and 2005's Fantastic Four to score big at the box office. This gave DC the confidence to make a comeback with superhero blockbusters like Man of Steel and The Dark Knight trilogy. This also opened the door for the Marvel Cinematic Universe to rise up, with movies like Iron Man and The Avengers taking the world by storm, making Marvel the blockbuster giant it is today. Looking back on X-Men today, the film hasn't aged as well as Wolverine, as many modern comic book movies have raised the bar for the genre. Nevertheless, this blockbuster tale of mutants fighting for peace and equality gave all its cinematic successors the chance to succeed in theaters, as it showed how terrific comic book films can be in the modern age if done right. X-Men is streaming on Disney+.
Telegraph
10-07-2025
- Entertainment
- Telegraph
Homeless, paranoid and eating out of bins: the tragedy of Superman's original Lois Lane
When director James Gunn, steward of the high-flying new Superman reboot, was recently asked to list his favourite comic book movies, he singled out Richard Donner's beautifully brash 1978 take on the Man of Steel – the film generally credited with firing the starter pistol for the modern cinematic superhero era. 'How do you take this outrageous concept of a guy who flies around and turn him into something real?' mused Gunn of Donner's Superman – to which his all-new take on the character pays tribute by utilising John Williams's beloved 'da-dah-dah-dah' musical cue. 'I'm definitely influenced by what Donner did, with Superman, and what Christopher Reeve did with Superman and Margot Kidder, who's fantastic in the movie.' After a pause, Gunn gets what you suspect was his actual point all along. 'She's really the heart of it in a lot of ways.' How perceptive of Gunn to understand that Kidder's plucky girl-reporter Lois Lane is the emotional core of the original Superman. Firstly, she is the perfect audience surrogate – when Superman catches her mid-air and says, 'Easy miss, I've got you', she speaks for us all by saying, 'You've got me – who's got you?' But as Gunn perceptively notes, Kidder is also the heart of the film: in a story about flying aliens and people shooting lasers from their eyes, her love affair with Superman's alter ego, Clark Kent, feels real and grounded – and it elevates Donner's Superman beyond simple, late Seventies escapism. It has also informed Gunn's film in which David Corenswet emulates Reeve's boy-scout-who-can-fly ideal of Superman/Clark Kent, and Rachel Brosnahan portrays Lois Lane as a 'fiercely intelligent' journalist who clearly owes a lot to Kidder. 'I love the romance between Lois and Superman in the first original film, and I think it was really beautiful, but it was also very much Lois going goo-ga over Superman because he can fly around and pick up planets,' said Gunn, explaining how he hoped to build and improve upon the 1978 Superman. 'But what I wanted to see is why does Superman love Lois so much so from the very beginning we did chemistry reads with Superman and Lois, David and Rachel – and that is how they got these roles because not only were they individually great but together as a couple – they bounced off each other in a truly dynamic way.' The new Superman has the potential to be a career milestone for all involved – not least Warner Bros' DC Comics, thoroughly trounced by bitter rival Marvel across the past decade. Yet no matter how it performs, the cast will hope to avoid the sad fate suffered by Margot Kidder, for whom Superman was a rare bright point in a life marked by hardship and loss. Kidder, who died in 2018 at the age of 69, was always an outsider in Hollywood – never more so than when Superman briefly made her one of the most recognisable actresses on the planet (and the highest-paid Canadian screen performer ever up to that point). As the most fascinating stars often are, she was a contradiction: hard-headed and determined, yet vulnerable and capable of waywardness. She became the embodiment of the 'Superman curse' when, after a spell of financial and career reversals through the Nineties, she ended up homeless, scouring for food from bins on LA's Skid Row, with several teeth missing (she'd removed them herself in a fit of paranoia so that she could not be traced through dental records). Yet even her moments of apparent triumph had an element of tragedy. She had auditioned for Superman in 1977 not because she wanted to fly around in the arms of Christopher Reeve but because she was desperate to escape her first marriage to writer Thomas McGuane – with whom she was living on a ranch in Montana. 'I decided, for the first time in my life, I was going to commit to a man, be a wife and mother,' she told Rolling Stone (she and McGuane had a daughter, Maggie, in 1975). 'It was the only relationship in which I said, 'I'm going all the way, even if it means my own self-destruction.' But I really didn't commit – it was sort of half-assed. I mostly sat around and wept in closets. It was a great lesson.' Having had enough of weeping in closets, she set her heart on Hollywood and on leaving her husband behind in his ranch in the middle of nowhere. 'One day, I got a phone call from Margot Kidder in Montana,' said her agent, Rick Nicita. 'She said, 'I'm coming back to the business, and I want you to be my agent, okay?' I said, 'I think we ought to meet and talk about it; we hardly know each other.' And she said, 'Hey, let's just do it.' So, I had her fly in and sign agency contracts. 'The first thing I said to her was, 'You can't live in Montana and maintain a career here. You're gonna have to fly in for meetings.' She said fine. So right away, I pushed real hard and got her a meeting for Superman. Then I called her, and she said, 'I can't come in, I have a cutting horse class.' 'Cutting horse?!' I said. 'No way. You're flying in. You've gotta be here.'' Kidder got her wish – she auditioned successfully for Lois Lane and, with one bond, was free of Montana and her marriage to McGuane. Superman was a gift to comic book fans. Kidder, though, wasn't quite so positive regarding the film's legacy. It cemented her in the public imagination as Lois Lane, the hard-charging journalist – a persona that quickly became constrictive. She isn't the only one who has had to reckon with the Lois Lane of those movies. Every actress to subsequently take on the role since, from Teri Hatcher in Lois and Clark to Amy Adams in the DC Extended Universe, has had to have a dialogue with Kidder's Lane, whether by pushing in the opposite direction (Hatcher) or riffing cautiously on Kidder's portrayal (Adams). It remains to be seen how well Brosnahan will deal with Lane and the attendant baggage. Outsiders saw Superman as the defining moment in her life and career. However, for Kidder, her before-and-after-moment was a car accident in 1990. She was back in her native Canada, filming a cable adaptation of the Nancy Drew novels, when she injured her spinal cord in what she had assumed to be a minor collision. But the pain grew worse and she resisted going under the knife because of the small but real danger of paralysis. Kidder turned to painkillers, a dependency that, she said, left her thinking 'muddled'. Surgery eventually helped. However, her insurer refused to settle the bills, and she ended up with six figures in debt. Always a little irrational, her decline was rapid. 'There were days I just desperately wanted to die,' she would tell People magazine. Rock bottom came in 1996 when she became convinced her first husband, McGuane, was stalking her. She went missing for four days in Los Angeles and was found, dishevelled and incoherent, in a side street, her teeth yanked out. 'I was like one of those ladies you see talking to the space aliens on the street corner in New York,' she later said. Kidder had been born in Yellowknife in Canada's remote Northwest Territories. Her father was a mining engineer, and her mother was a history teacher. Her interest in show business was ignited when she was 12, and her mother took her to New York for a Broadway performance of Bye Bye Birdie. 'That was it. I knew I had to go far away.' As a young woman, Kidder had an ethereal quality. She appeared on the Dick Cavett show in 1970 wearing a white gown without shoes and explained that, since she did not plan on a long-term career in acting, she was training in Vancouver with Robert Altman to be a movie editor. Hollywood's call would nonetheless prove irresistible, and she was soon living in a California beach house with fellow actress Jennifer Salt. Their home became a legendary hang-out for a gang of up-and-coming young film-makers and actors – among them Martin Scorsese, Steven Spielberg, Susan Sarandon and Brian De Palma, with whom Kidder would have a relationship and who cast her in his 1972 psychological horror Sisters. 'It was a wonderful time to be young,' she remembered. 'The Sixties didn't end until about 1976. We all believed in Make Love Not War – we were idealistic innocents, darling, despite the drugs and sex. 'We were sweet lovely people who wanted to throw out all the staid institutions who placed money and wars above all else. When you're young you think that's how life works. None of us were famous, we were broke. We didn't think they'd be writing books about us in 30 years. We were just kids doing the right thing.' Kidder was even then hard to pin down – a hippy with a hard-headed streak, a phlegmatic soul who found the travails of Hollywood often too much to handle. Her first big part, opposite Robert Redford in 1975's The Great Waldo Pepper, was heralded by everyone, apart from Kidder herself. She hated herself in the film about stunt pilots in Twenties America and expressed the belief that she should have been cut entirely from the final edit. Kidder didn't have high hopes for Superman, either. This was the pre-superhero era, and Kidder was only vaguely aware of the Man of Steel. Going to London to try out for a cheesy blockbuster wasn't an opportunity – it was a potential escape hatch from her miserable marriage. 'I really wanted the part. It was frightening as all auditions are. I had my first audition then I flew from Montana, where I lived, to London to do a screen test. I went 'I gotta get this movie because your marriage is really bad, but you don't have the strength to get out. But if you get a big movie, you can get out,' so there was that motivation.' She didn't think the movie would do very well – especially when she clapped eyes on the supposed star. 'When I first met Christopher Reeve before filming he was the skinniest, dorkiest guy you could imagine, his pant legs six inches above his ankles. I mean I thought this is Superman? So all I kept going was 'look like you love him' and it worked I got the part.' Despite her misgivings, Kidder was immediately definitive as Lois Lane. She imbued the character with a raw-knuckled drive, topped off with lashings of Old Hollywood moxie. Her Lois wasn't just the best superhero girlfriend ever – she was one of the all-time great screen journalists, a newshound determined to get the story no matter what (even if, as in Superman II, it involved climbing the Eiffel Tower to eavesdrop on terrorists). But if Kidder effortlessly inhabited the role, the off-screen adjustments were more difficult. 'Fame is weird, is what it really is,' she said. 'It's the weirdest thing in the world.' Following Superman, her first major part was in The Amityville Horror. Again, she was the only one not impressed with herself. While the media talked in shocked tones about the chilling horror and the real story it was based on, Kidder derided it as low-grade hokum. 'What a piece of s---,' she would say of it. 'I couldn't believe that anyone would take that seriously. I was laughing my whole way through it, much to the annoyance of Rod Steiger, who took the whole thing very seriously. At the time, my agent proposed sort of a 'one for me, one for them' policy. That was one for them.' Her personal life was meanwhile in near-constant turmoil. She had a long-term relationship with Richard Pryor, the comedian occasionally breaking off the courtship to marry other lovers. Kidder was herself married and divorced three times – including a six-day marriage to actor John Heard in 1979. Other paramours included writer/director Tom Mankiewicz and former Canadian prime minister Pierre Trudeau (father of Justin). After her meltdown in 1996, she gradually put her life back together, though the acting roles generally dried up (she popped up on the Superman spin-off Smallville, describing the part as boring). Living in rural Montana, she found solace as a public speaker and activist – talking about her mental health struggles and campaigning for Left-wing causes. 'I got a reputation for being sort of nuts and difficult, because I was at that point, so I wasn't much in demand,' she told the AV Club in 2009. 'And also, on the basic level, I'd made a lot of movies that didn't make money. And if you make movies that don't make money – I mean, it is a business, after all – you are not in demand.' But the demons eventually quietened, and she made peace with her tumultuous life on and off camera. She was even able to look at Superman and Lois Lane in a positive light.
