The series Bad Robot (JJ Abrams) about the Dark Justice League stopped again and again |

As part of a more general forum in the case of a contract signed between Bad Robot and Warner Bros. A few years ago, The Hollywood Reporter reported on the glaring lack of progress on the Justice League Dark family series. On the inside, JJ Abrams’ company would have been a source of concern for studio experts over the years. Especially since the takeover of WarnerMedia by Discovery Inc., which has led to the fall of several crowned heads and the arrival of a new president who is already playing cards on the table about his intention to cut costs.

So far, there is no news about the “new organizational structure” of DC Films.

Thus, Bad Robot, Hollywood’s all-star genre film production company (linking sci-fi and fantasy in nomenclature), would have had some difficulty getting the machine running. David Zaslav, President of Discovery Inc. and new head of internal solutions at fledgling Warner Bros. Discovery would have begun to express some reservations about the partnership signed by the former team with J.J. Abrams. An apparent shortage of productions began in question, and the case of the Demimond series, which on its own would have mobilized a $200 million envelope. That’s more than the budget for Game of Thrones: House of the Dragon.

This particular project seems to have been at the epicenter of the storm for David Zaslav. The series, written by Abrams himself for his return as a television series writer after years spent creating or directing film projects, will not be unanimously received by the new Warner Bros. studios. Discovery and should soon receive interest-or-no-go-to-genuine arbitration. But beyond that, new leaders tend to be quite cautious about the usefulness of the famous “master contract” signed between WarnerMedia and Bad Robot. The sponsor at the time signed up for a huge $250 million check for this veneer of exclusivity, and today the projects are still missing to justify a particularly hefty reward.

The Hollywood Reporter, however, clarifies that the agreement should not be questioned; rather, not yet. Suppose the situation clears up when everything that has already begun or represents too much progress to be written off in the profit and loss column is settled. But seeing Bad Robot moving forward in other productions with Netflix (the U2 documentary) or AppleTV+ (the series Presumed Innocence and the recently announced Speed ​​Racer adaptation) will likely give Zaslav some trouble. Specifically, he notes that the JJ Abrams box is also positioned on some of the IPs in the DC Films catalog – Hellblazer and Madame Xanadu – and that nothing seems to have been done to move either project towards a concrete and organized production. The article, however, points out that the first drafts of scripts have already been written for various episodes of Constantine and that the script for Madame X has been completed without further information.

So the blatant lack of news about these two adaptations and the tense relationship between Abrams and Zaslav could pose a problem, especially for these two time-limit attempts. The new president will already be looking under a magnifying glass at all contracts signed between WarnerMedia and various outside vendors against the company’s first installment catalogue, The Hollywood Reporter notes in comparison to Berlanti Productions, the production company behind Arrow, The Flash. , Legends of Tomorrow and most recently The Titans, Doom Patrol and Superman & Lois have already repatriated to HBO Max. In the three years that separate the signing of Bad Robot from the merger of WarnerMedia and Discovery Inc., Greg Berlanti and his staff have not been burned: the organization has largely contributed to the war effort to fill the platform grid with exclusives produced quickly, with licensed characters and for reasonable budgets.

In short, the problem will not be so much about knowing when Constantine/Hellblazer and Madame X will appear, but about whether they will actually see the light of day, at a time when Discovery has already implements budget savings policy for exclusive releases of HBO Max. An update that just recently cost the life of the Wonder Twins adaptation due to low cash costs. Even more troubling, if David Zaslav believes the former WarnerMedia experts were duped into signing Bad Robot for a staggering amount without seeing any real return on their investment yet, we are safe to assume that the merger company will eventually turn off the tap after 200 million. required by Demimond. Overall, Warner Bros. Thus, Bad Robot would have freed up about $500 million without currently having any guarantees of subscriber loyalty or building a streaming pipeline, as required by this type of contract between the two companies.

Which is disturbing at best. Warner executives had already aborted the Swamp Thing of DC Universe series, judging that the character had more to say than the product then led by Atomic Monster. On the other hand, we remember how Disney decided to nip the Y: The Last Man adaptation in the bud to destroy a particularly difficult set-up site after endless delays. The fragile economy of TV series in the era of streaming and the war over the sharing of available brain time does not help to create a calm atmosphere when the sponsor and its main supplier already seem to be struggling to get along. Particularly when the structure, based on the president’s original order, comes from a major deal that commits to making the most of the costs of a particularly expensive merger.

Despite everything, we remain optimistic, hoping that some of these adaptations will succeed (and by a competent studio as well), but a question mark is starting to form over the Justice League Dark franchise, which, in addition, remains a relatively cursed property. for the fact that it was no longer possible to make two attempts by different teams. For a while, the project’s nickname “Dark Universe” could have been a mistake – there are things that Hollywood does not forget.

Back to top button