The "Batman" trilogy, a series that disappeared due to Murphy's predecessor, was still not in Warner Bros.' plans, especially with the DC superhero movie universe already in motion. This series might never reappear.
Long ago, Murphy had shown interest in this trilogy but was rejected by Warner Bros. After the rejection, he gave up on the series because the rights were firmly held by Warner Bros. and DC Comics. Adapting the realistic "Batman" trilogy faced an insurmountable obstacle with the rights.
Reflecting on the former "Batman" trilogy, Christopher Nolan's success with the series ironically limited the entire DC movie universe.
Just as "Batman v Superman" received critical backlash, many critics believed that Murphy had launched the DC superhero series into brilliance, but his extreme personal style constrained its further development. The series bore his distinct mark from the start, and the success of "Man of Steel" solidified this style among fans, making Warner Bros. reluctant to abandon it.
Though these criticisms were somewhat biased, they held some truth.
Given his current film preparations, Murphy couldn't help but reflect on the former "Batman" trilogy. Its success and the greatness of "The Dark Knight" were undeniable.
However, he believed that after "Batman Begins," Christopher Nolan began inserting his personal narratives under the guise of Batman, which should have been halted. Instead, he should have linked "Superman Returns" and "Batman Begins" concurrently, introducing other characters in the process.
"Batman Begins" retained a comic book feel, inspired by "Year One," focusing on Bruce Wayne's journey from his parents' death to his decision to become Batman, methodically acquiring and crafting equipment, honing his skills, and inching closer to his goal. Though Batman's combat abilities were relatively weak, they were still stronger than in the subsequent two films.
However, "The Dark Knight" and "The Dark Knight Rises" lost that comic book feel. Batman's strength was significantly reduced, especially in his fight with Bane, where he was left with only flashbangs, smoke bombs, and Batarangs. In "The Dark Knight," he was even brought down by a gang's guard dog.
In his pursuit of realism, Christopher Nolan successfully erased the mythic, epic, and technological elements that were supposed to be intrinsic to the DC universe.
Ra's al Ghul no longer used the Lazarus Pit to extend his life; Scarecrow became a weakling with a gas mask spraying fear toxins from his sleeves; the Joker, though the best-portrayed, was just a powerful criminal, far from his comic book counterpart; Bane had no high-tech venom injections, relying purely on muscle.
Thus, this series could never integrate with the DC universe; it served Christopher Nolan, not the DC cinematic universe. Nolan likely never considered integrating with other superheroes like Superman or Wonder Woman.
Speaking of superhero crossovers in films, this concept wasn't pioneered by Marvel. Warner Bros. and DC Comics used it first.
In the disastrous 1998 film "Batman & Robin," an important piece of information was revealed.
In the opening scene, Batman and Robin suited up and geared up, with the camera flashing over their batsuits and utility belts. As the Batmobile rose from the ground, Robin said, "I want a car, chicks dig the car."
Batman rolled his eyes and said, "This is why Superman works alone."
Though the dialogue was ridiculous, it hinted at an important fact: Superman existed in this Batman's world, and they were familiar enough to joke about each other.
This dialogue indicated Warner Bros.' intention to connect the Superman and Batman series. However, the epic failure of "Batman & Robin" with both critics and audiences led Warner Bros. to shelve the Batman series until "Batman Begins" rebooted it.
Not just "Batman & Robin," but 2006's "Superman Returns" also referenced Batman's city, Gotham. After returning to Earth, Superman was active worldwide, and news reports mentioned many cities, including Gotham, Bruce Wayne's home.
From Murphy's knowledge, Warner Bros. had indeed planned to link Superman and Batman, but the poor reception of "Superman Returns" and Christopher Nolan's strong opposition to crossovers put the plan on hold.
The chain reactions from Murphy's presence meant these plans never materialized. Warner Bros. and DC Comics took a different path.
However, even with Murphy's involvement, they stubbornly returned to their original trajectory, with Zack Snyder taking over the "Justice League" helm.
"Will the DC superhero movie series just sink like this?"
On their drive home, Gal Gadot, due to her connection with Margot Robbie, discussed this topic with Murphy. "Can't Zack Snyder turn it around?"
Murphy navigated through Century City, replying to Gal Gadot after passing the busy streets, "He could, if given the freedom to film, like I was given."
"That's impossible," Gal Gadot shook her head. "There are fewer than five directors in Hollywood with your level of authority. Zack Snyder is far from that."
She pondered a moment, "I think Warner Bros. will limit his power in the next film."
Murphy nodded slightly, "A Zack Snyder with his hands tied can't play to his strengths."
Gal Gadot asked curiously, "Like what?"
"Like the rating," Murphy said directly. "He's more suited for R-rated films, not PG-13 teen movies."
As a director fond of R-rated films, Zack Snyder was constrained by the PG-13 rating, unable to fully explore cult themes or intense violence. His trademark dark style became mere posturing, a visual style without substantive storytelling. To put it bluntly, it felt like he was just showing off.
Most regrettably, Snyder's "Batman v Superman" made no efforts in genre exploration, aligning with his focus on form—whether narrative or visual.
Murphy understood that reflecting on these points was a reminder to avoid Zack Snyder's mistakes.
His current film, similarly dark and intense, aimed to avoid superficial style in favor of substance from theme to core.
Entering Beverly Hills, Murphy didn't head directly to the Wave Manor but instead drove to Rodeo Drive, dropping off Gal Gadot.
"I won't be home for dinner," Gal Gadot said as she got out. "I'm going to hang out with Maggie. We'll be back later."
"Okay."
Murphy nodded, then drove off.
Gal Gadot looked around for paparazzi, saw none, and walked into a nearby café. Not seeing Margot Robbie inside, she checked her watch.
"That girl," she muttered, "Seems like she's late again."
She ordered a lemon water and sat in a corner, considering whether to call Margot Robbie.
Just as she opened her contacts, a pair of hands gently pinched her face from behind. Gal Gadot didn't turn around; the scent and hand shape told her who it was.
"You're late, Maggie," she said.
"I've been here," Margot Robbie said, sitting across from Gal Gadot. "I just went to the bathroom."
Gal Gadot nodded, "No wonder I didn't see you."
She pointed to Margot Robbie's outfit, "Why the formal wear?"
Margot Robbie was in a perfectly fitted professional suit, highlighting her curves and looking sharp.
"Don't you think it suits me?" Margot Robbie crossed her arms. "I realized during the audition that I'm a perfect match for professional attire."
Speaking of the audition, Gal Gadot added, "Good news, the production team will contact your agent tomorrow."
"You're not handling the negotiations, are you?" Margot Robbie asked curiously.
"Of course not," Gal Gadot shrugged. "I have to avoid any conflict of interest."
"Oh..." Margot Robbie drew out the word, then leaned forward, her face close to Gal Gadot's. "You've helped me so much, how can I thank you?"
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