It’s no secret that the DC Extended Universe is struggling to keep up with the Marvel Cinematic Universe. Despite the success of Patty Jenkins’ Wonder Woman, the DCEU struggled to make its film Justice League a hit in order to remain prestigious in the world of superheroes.
Since Suicide Squad was a critical disaster, the DCEU put a ton of money and time into Justice League reshoots. Though reshoots are normal — especially with big-budget films like the $220 million Justice League — rumors of trouble continue to plague the film long after its release.
During production, director Zack Synder, who brought Batman v. Superman: Dawn of Justice to life, left Justice League, due to family tragedy. Acclaimed director Joss Whedon stepped in to finish the project, but many fans were concerned that with Synder’s absence, Whedon and DCEU have taken the opportunity to change the entire direction and tone of the movie. It doesn’t help that the DCEU is spending $25 million on reshoots, which would fund an entirely new mid-budget film.
So what exactly is happening with Justice League and all of its changes?
A different kind of Cyborg
It seems that most of the reshoots for Justice League were focused on Cyborg aka Victor Stone. Since a standalone Cyborg film is slated for release in 2020, Whedon wanted to make sure that they got the tone of the character just right. (The legacy of the DCEU is going to depend very heavily on its next few films.)
Joe Morton, who stars as Cyborg’s father Dr. Silas Stone, in the film told IGN,
Well, the stuff that I had to do were just really small little bits and pieces, nothing necessarily having to do with tone. I know that with Ray [Fisher], the young man who plays Victor, there were some adjustments that they made in terms of the tone of that character.
Ray Fisher, who plays Cyborg himself, added his two cents when he said, “They’re brief if anything. Zack picked a great director to help clean up for us.”
Cyborg is extremely important for Justice League so this major change had to happen. After all, Synder called the character, “the heart of the film.”