First of all, Wonder Woman is a work of cinematic genius. I originally was going to refrain from seeing it, but a little bird made me see it. I was mad hesitant to see it. I avoided seeing the movie when it first came out, but I try nowadays to keep an open mind. I was blown away. It was really something. I was still thinking about it on the drive home and the score was superb.
The thing is, we worry too much about the wrong things in the West.
In the US, for example, we don't mind it when the government lost 6.5 trillion dollars at the Pentagon. Supposedly, the State Dept. lost money as well. Was it really lost? Ho-hum is the response. You can hear crickets when you ask the hard questions. That's a big deal. That's a lot of the taxpayers' money. The corruption would be laughable if it weren't so genuinely sad.
The first controversy concerned Wonder Woman's origins. Wonder Woman was invented by a man. Her skimpy attire was deemed sexist-- nevermind the fact that Moulton invented the polygraph and many other things. The link between Wonder Woman's lasso and the polygraph is crystal clear. Then, there was this whole controversy about all-woman showings of the movie. Next, there was all this shock and awe that Gal Gadot was a combat veteran. I can't for the life of me fathom how that controversy came about. Military service is compulsory in Israel for both men and women.
The newest one was Gal Gadot's salary. It was a paltry 300,000 dollars-- more than most people on the actual planet can conceive of making in a year. I think that Gal Gadot was being genuine when she said she was grateful. I don't think she was blowing smoke up people's asses. She has thought of "quitting acting". She signed a three picture deal. Worse case scenario she would make 900, 000 before taxes. Let's be honest though. If Justice League makes a lot of money (it will), they will make more Justice League flicks. So bare minimum, she would be making 1.2 million before taxes for four movies. Many foreign actors let alone American actors do not get to be in successful blockbusters that size-- let alone what may soon be one of the biggest movies of all time. "I'm done with it" (Fences).
The controversy nobody ever talks about is how Hollywood studios finance their pictures. They have already made hundreds of millions of dollars of profit before the movie gets released on any platform. Many movies do not get made if everyone does not get paid first. That's why Hollywood favors sequels and blockbusters. Blockbusters are so much easier to finance than small art films. They sell the rights to foreign investors and buy the rights back cheaply. Usually, Hollywood studios operate in countries like Germany or New Zealand where the tax laws are laxer than in the U.S. It's all legal, but the big studios have already made profit way before we have ever heard of the movie in question. The actors are paid out of the studios' cut. Why are movie tickets so expensive? Why are refreshments almost as pricey as a decent meal at a restaurant? That's the real controversy. The house always wins. Just like with everything else, people focus on the small stuff. Don't sweat the small stuff and it's all small stuff. Check out this old Slate article that expounds on movie banking.
Here's an excerpt from the article that breaks down what happens:
The Hollywood studio starts by arranging on paper to sell the film's copyright to a German company. Then, they immediately lease the movie back—with an option to repurchase it later. At this point, a German company appears to own the movie. The Germans then sign a "production service agreement" and a "distribution service agreement" with the studio that limits their responsibility to token—and temporary—ownership.
For the privilege of fake ownership, the Germans pay the studio about 10 percent more than they'll eventually get back in lease and option payments. For the studio, that extra 10 percent is instant profit. It is truly, as one Paramount executive told me, "money for nothing." In the case of Lara Croft: Tomb Raider, Paramount sold the copyright to a group of German investors for $94 million through Tele-München Gruppe, a company headed by German mogul Herbert Kloiber. Paramount then repurchased the film for $83.8 million in lease and option payments. The studio's $10.2 million windfall paid the salaries of star Angelina Jolie ($7.5 million) and the rest of the principal cast. "