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#superman ii
georgeromeros · 2 months
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Superman II (1980) dir. Richard Lester
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kent-farm · 8 months
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These need to stay on.
—Lois Lane, Smallville, “Booster”
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screaminwhales · 8 months
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i get why clark was pissed at lois for jumping off the roof, but respectfully sweet boy would not have survived a minute with margot kidder’s lois lane. good sis pulled a whole gun out and fired a blank at clark to expose him!!! she was not playing around!!!!!
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superherocaps · 10 months
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longwuzhere · 8 months
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Some cool Easter eggs I caught watching My Adventures with Superman that I want to show to people so they can be in on it with comic book readers: For the first episode's Easter eggs it's here
For the second episode's Easter eggs it's here
For the third episode's Easter eggs it's here
For the fourth episode's Easter eggs it's here
For the sixth episode's Easter eggs it's here
For the seventh episode's Easter eggs it's here and here
For the eighth episode's Easter eggs post it's here
For the ninth episode's Easter eggs post it's here
For the tenth episode's Easter eggs post it's here SPOILERS if you haven't seen this week's episode obviously
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We start off the episode with this shot of Superman with the drawn on glasses. A good homage to what Lois did in the 1980 Superman II movie...
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where she not only drew the glasses but also a full suit and hat on a picture of Superman.
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Next we see Jimmy waking up and seeing someone debunking his conspiracy theories on Sub-Diego.
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Sub Diego was an actual place in the DC universe before the New 52 reboot. In Aquaman #15 and #16 (2003) , shown here (W: Will Pfeifer, P: Patrick Gleason, I: Christian Alamy, C: Nathan Eyring, L: Jared K. Fletcher for issue 15, Nick Napolitano for issue 16). The underwater city is actually San Diego, but is buried underwater thanks to a tidal wave and makes its first appearance in Aquaman #15 (2003). There was a lot of casualties from this.
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When we get to our title its "You Will Believe A Man Can Lie" a reference to the tagline for the 1978 Superman movie.
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As seen here on the poster, it says "You'll believe a man can fly".
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Next we see our villain, well one of the villains, for the episode, Heatwave.
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In the comics Heatwave makes his first appearance in Flash 140 (1963) (cover art by Carmine Infantino, Murphy Anderson, and Ira Schnapp). Heatwave aka Mick Rory is a Flash rogue usually acting as a rival to Captain Cold aka Leonard Snart. In MAwS, their Heatwave shares the same last name and powers, but MAwS Heatwave is gender flipped. You might have seen Heatwave in the CW DC comics shows where he is played by Dominic Purcell in The Flash and Legends of Tomorrow.
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Lois, later in the episode, name drops Heatwave's name. Gotta be honest when Heatwave showed up I was like is that Rampage? Cuz the MAwS design looks vaguely like Rampage.
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If she does show up in MAwS, I'll talk more about her in another post, but for now, Rampage aka Karen Lou "Kitty" Faulkner, makes her first appearance in Superman #7 (1987) (full page here: W&P: John Byrne, I: Karl Kesel, C: Tom Ziuko, L: John Costanza).
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Steve drags Jimmy to film his debunking Flamebird videos and references Starro who I talked about here.
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Lois, later runs around with the Daily Planet police scanner trying to catch Superman and the dispatcher reports that a robbery is in progress at McGuinness Luxe Garage.
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This is a nice reference to Ed McGuinness who was the artist for Superman, Action Comics, and Superman/Batman in the early 2000s. If you've seen Superman/Batman: Public Enemies, then you'll know the movie takes inspiration from his character designs in the first arc of the Superman/Batman comic series. The Superman/Batman #1 (2003) cover here is done by Ed McGuinness, Dexter Vines, and Dave Stewart. I like Ed McGuinness's pencils, very stylized.
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Heatwave name drops Livewire and the Gazzo mod family. Both of whom I've talked about here and here respectively
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Heatwave has been running away from Deathstroke here who has been taking our her crew. Notice that Slade Wilson doesn't have the half black half orange helmet yet that almost every Deathstroke depiction always has.
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He, Amanda Waller, and the General who I totally think is General Sam Lane, Lois's dad, are fans of DBZ cuz of the scouters they're wearing.
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Later in the scene we see the General again he's totally General Sam Lane. I'll talk more about him when we get a double confirmation through a name drop/reveal in a later post calling Amanda Waller, Mandy. What a fucking bold thing to say to Waller! Like damn! power move right there!
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Superman and Deathstroke are fighting under a highway and we see the traffic is heading to Bludhaven!
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Very good reference to my favorite character in all of pop culture, Dick Grayson aka Nightwing. Nightwing makes Bludhaven his city to protect. The city makes its first appearance in Nightwing #1 (1996) (the panel here - W: Chuck Dixon, P: Scott McDaniel, I: Karl Story, C: Roberta Tewes, L: John Costanza). Fun Bludhaven fact, its crime rate is WORST than Gotham! Also HIGHLY recommend reading the new Nightwing run cuz its fucking amazing! Won a few Eisner Awards (think the Oscars but for comic books) recently and I am not just saying that because I am a Dick Grayson fan.
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Near the end of the episode, we see Lois willing to jump off a building to prove that Clark is Superman. A lot of discourse was happening online over this, but I do want to say this is pretty on brand for her to do.
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In Superman II, Lois does something similar and Clark saves her. its just in MAwS, Clark flies to save her thus ruining the secret identity, while in Superman II, Clark does save her but he is still able to get away with it thanks to him playing it more subtly.
Don't know why people we're in such a fucking fit over something that Lois has done before.
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In the after credits scene, Jimmy, who planned a sasquatch finding adventure with Lois and Clark, but they were dealing with their shit and Jimmy was by himself, decides to do the finding on his own and meets a giant gorilla. In the first episode Jimmy mentions an intelligent gorilla in France and my guess is this is Monsieur Mallah. You can read more about him here. If you made it this far down, I appreciate you taking the time to check this post out and if you want to see my other MAwS Easter Eggs posts - Episode 1 is here
Episode 2 is here
Episode 3 is here
Episode 4 is here
Episode 6 is here
Episode 7 is here and here
Episode 8 is here
Episode 9 is here
Episode 10 is here
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super-oddity · 8 months
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soullessjack · 8 months
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completely obsessed with this scene from superman II where lois fucking shoots clark to prove he’s superman. what a woman
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movieposters1 · 3 months
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mylifeinmetroplis · 2 months
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LIVE ACTION CLARK KENT
Fun Fact- Superman once disco danced in order to defuse bombs
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armageddon-generation · 11 months
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Justice for Brandon Routh: Everything Cut From Superman Returns that makes it Great
Ultimately it's good Superman Returns didn't get sequels because of Bryan Singer & Kevin Spacey, but I'm kinda obsessed with the forgotten middle-child of Supes' movies, and it's infuriating how the movie's thematic spine and most of its best character-beats got cut.
The Theatrical Cut of Returns is literally half a movie. Brandon Routh deserved so much better.
Sources:
Deleted scene compilation (+Return to Krypton)
The Shooting Script (available to buy)
Superman Homepage deleted shots Page 1 and Page 2    
Novelisation by Marv Wolfman (this, the graphic novel & junior novelisation all used the 2005 shooting script.)
Superman Returns: The Visual Guide (available to buy)
Chew Chan comic art
Requiem for Krypton: Making Superman Returns
Prequel Comics (based on scenes from early drafts, with stories by writers Singer, Dougherty & Harris):
Prequel Comic #2: Ma Kent
Prequel Comic #3: Lex Luthor
Prequel Comic #4: Lois Lane
Comic book recap
‘78 opened with a boy narrating an issue of Action Comics. Returns pulled back red theatre drapes on a comic narrated by Clois’ son, Jason. 
Actor Tristan Lake is recording the voiceover in Requiem for Krypton
From the Script (p.1):
RED THEATRE CURTAINS, drawn shut. The kind found in classic movie houses of yesteryear. The slowly open ... the film flickers to life, fading in on an old comic-book
SUPERMAN. A BOY'S HAND reaches into frame and opens it.
JASON (V.O.): On a distant planet orbiting a red sun, a wise scientist predicted his world's imminent destruction. Despite overwhelming evidence, his pleas to evacuate the planet were ignored, leaving him and his wife no choice...
He turns the page to a panel of JOR-EL and his wife, LARA
JASON (V.O.) (CONT'D): ...but to place their only son into a spaceship and launch it to another galaxy, in hopes of finding the child a new home. A child destined to become Earth's greatest protector...
“In Golden Age style art, Kal-El is placed in the rocket by Jor-El and Lara, comes to Earth, grows up with the Kents, & learns that he possessed amazing powers.”
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The script cuts the Smallville part because it’s covered later in flashback.
5 years on, Superman has been mythologised. In-universe, to kids he seems as make-believe as comic books are to us.
This develops Jason’s POV of Superman. He was supposed to have this comic (from 'Uncle Jimmy') when he meets Clark in The Daily Planet
This could be why Smallville was cut; the public only knows about Krypton
The opening scene of Gertrude Vanderworth’s death was originally replaced by:
Prequel: Lex in prison 
Lex’s cell is covered in Daily Planet clippings. He nonologues to henchman Stanford
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LEX: I didn’t get you visiting privileges to my private suite so I could repeat myself … My work was more than mere greed … It’s a calling. Why can’t they see the danger? He’s a vanguard for an invasion of super-powered beings. I knew. I always knew. Making sure there was a line of defence against him. The Conquistadors carried a plague that decimated entire civilisations. Who knows what kind of spaceborne diseases he carried? Oh, they may not appreciate my genius now, but they will worship me for delivering them from this menace they so affectionately embrace.
Kitty Kowalski & Gertrude Vanderworth
Lex has a medical exam before his release. His henchwoman Kitty is the nurse. She flirts with him but complains Superman is all Lex thinks about 
Lex burns his old toupé to “cleanse” himself
In flashback, Kitty sees Lex kill an inmate in self-defence. Lex threatens her to protect his perfect record. But Kitty says she’s his “biggest fan” & anger becomes lust 
This is in The Visual Guide (p.26):
"She witnessed Lex murder a fellow inmate. Kitty refused to squeal to the guards, and she and Lex made clear their attraction for each-other."
Kitty is the Vanderworth widow's maid & suggests Lex write to her
She doesn’t like the name Kitty: “My name is Katherine”
An imaginary Superman hovers above, watching Lex leave prison.
Gertrude Vanderworth is waiting outside:
LEX: Gertrude! I’m dying in here. I’m dying without you. Please, take me home. If only you could imagine the grotesque living conditions I’ve been exposed to, dear, sweet Gertrude. You’ve rescued me from Dante’s Inferno, from the depths of human depravity.
Shows how prison changed Gene Hackman’s Lex into Returns’ philosophical maniac
Characterizes Kitty as Lex’s ‘Harley Quinn-lite’ & makes her more active
Stronger explanation for Lex's escape than Clark missing his court date 
The comic's final panel is Lex looking up at the imaginary Superman in the sky, zooming out into space, then leading into...
The Opening Titles as Clark’s journey to Krypton:
(from the Script):
“Stars interspersed with DAILY PLANET HEADLINES tracing Superman’s history, many by LOIS LANE;
“METEOR SHOWER BAFFLES SCIENTISTS”
“CAPED WONDER STUNS CITY”
“I SPENT THE NIGHT WITH SUPERMAN”
“SUPERMAN STOPS CRIMINAL MASTERMIND, LEX LUTHOR”
“LEX GETS LIFE THANKS TO MAN OF STEEL: SWEARS REVENGE”
“ASTRONOMERS DISCOVER KRYPTON INTACT – SIGNS OF LIFE FOUND”
And then the biggest headline of them all:
“SUPERMAN DISAPPEARS”
More headlines follow as the world is besieged … war, famine, crime. Soon, these headlines push Superman to the back pages. Within years, he’s all but faded from public consciousness. Finally, one last headline:
“WILL HE EVER RETURN?”
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IS IT KRYPTON? (p.12), LUTHOR GETS LIFE (p.24) & VANDERWORTH TOPS THE FORTUNE 500!! (p.22) are in The Visual Guide
This gives the indulgent title-sequence a purpose. It sets up the consequences of Clark leaving, his history with Lois & Lex, Krypton’s discovery, and the Vanderworth fortune Lex will steal
This transitions into:
Return to Krypton
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Concept art by Ben Proctor
The script describes “the remnants of this great civilisation… cities, monuments… all made from the same crystal technology” not in the filmed scene
Clark finds the House of El crest in the “VALLEY OF THE ELDERS . . . a VAST CANYON OF CRYSTAL MONOLITHS arranged in a circle” with more family crests.
Clark's escape is more visceral (Script pp.2-3):
“GIANT SLABS whiz by ... thousands of pieces of glowing kryptonite are hurtling towards him ... Parts [of Clark’s ship] shatter and break off ... The crystal immediately GROWS BACK ... more kryptonite smashes against the window, cracking it. Crystals work quickly to repair the damage, but it keeps coming.”
The filmed version puts Vibes over story: 
The Valley of Elders returns on Lex’s New Krypton in the finale. 
Without the other House crests the El one feels random
Showing Krypton's achievements validates Lex’s plan to resurrect it.
Clark’s ship self-repairing introduces ‘growing’ crystals immediately
Opening an action beat is important because the next one isn’t for 40 mins
Famously, this scene cost $10 million. Videographer Rob Burnett said:
“This was always meant to be the original opening [it] explained why he was so weak when Martha found him [&] that Kal-El sweats in the presence of kryptonite which Luthor notices later ... It wasn't cut until some last-minute test screenings … people unfamiliar with Donner's Superman films & Kryptonian crystals/tech found this dialogue-less opening confusing & uninteresting”
To solve this dialogue problem it was suggested Clark bring his mother Lara's memory crystal with him. She would narrate Krypton's history as Clark explored, contrasting its past glory with its current ruin. But the scene was already finished & Singer decided:
I didn’t feel it ... No-one told me to do it. I had no time restrictions or pressure whatsoever. I just felt the movie doesn’t need this."
But Marv Wolfman did something similar when retelling Jor El and Lara sending Clark away in Chapter 1 of his novelisation:
“It had been a timeless city, strong and powerful. It survived the vast armies of three great nations waging war on its bloodied streets. It stood proud as the signing place of an everlasting peace . . . [Lara] spent her early years dreaming of living where Krypton’s earliest founders had once walked, did not want to believe that this magnificence and all it stood for would soon be gone. She had spent her first year out of university touring the city . . . She trekked out to the Valley of the Elders . . . the fabled roads that Sor-El, Kol-Ar and Pol-As, the chosen representatives from the three warring nations, must’ve taken when they created the original laws of humanity that governed Krypton. From the ground, those crystal monolith towers, reflecting the full spectrum of light, looked to Lara like hands raised in reverential prayer. Kryptonopolis had been grown from a single crystal more than 10,000 years before ... shaped by the earliest Kryptonians into vast cities millions of buildings strong"
The Visual Guide also explains the Valley of the Elders is “Where Sor-El, Kol-Ar, and Pol-Us established the laws that governed Krypton" (p.79)
This is a great parallel to ‘78's opening. That was Clark’s origin. Returns is him mourning
Seeing Krypton contextualizes Clark’s arc. We understand his alienation instead of being alienated by him
It bookends the movie with New Krypton, and gives Returns’ oft-mocked climax ‘Superman Lifts a Big Thing’, thematic weight: Clark is excising the grief that drove him from Earth
Lara's narration about the wonders of Krypton both heightens the tragedy & establishes what their tech can achieve, crucial to Lex's plan
Writer Dan Harris said:
“Lex Luthor’s trying to turn this world [Earth] into the dead world, the place [Clark] can’t live, so it becomes a person’s search for identity and home and their place in the universe.” (The Shooting Script interviews p.27)
Martha Kent and Ben Hubbard play Scrabble 
Martha spells ‘Alienation’ (THEMES!!) & touching Clark’s name carved into the table is lovely visual storytelling
Ben is there when Clark crashes. Martha stops him calling the cops.
BEN: Martha-
MARTHA: (firm) Tomorrow. Bingo.
She looks at him, stonefaced. He takes another look outside – and at her, and realizes what’s happening. He sighs and shakes his head.
BEN: A meteorite?
She nods.
BEN (CONT’D): Martha Kent, I knew you’d be trouble
There’s a blooper of this scene in Requiem for Krypton & it's mentioned in The Visual Guide (p.20)
Gertrude Vanderworth's death, and Lex stealing her fortune, is shown after Clark passes out in Martha’s arms when he crashes, followed by Lex taking the yacht to the Arctic
Lex Finding the Fortress
Cool details about the Fortress' warm crystals & creating protective weather patterns, explaining the storm around New Krypton in the finale
While exploring the Fortress they find Clark's garage:
From The Visual Guide:
"Lex lingers in a cavernous chamber he dubs 'the garage', where he sees evidence of the construction and launch of Superman's spaceship"
KITTY: So did he?
LEX: Did he what?
KITTY: Take off for his homeworld?
LEX: (looking at Stanford) Well… We gave him a little push.
In the novelisation (p.89)
Lex’s First Experiment
After plundering the Fortress, Lex would test the crystal immediately- “he created a kind of giant Fortress of Solitude in the ice” (Script interviews p.28), destroying the original. Such a great way to raise the stakes!
Extended Clark waking in his childhood room
Clark waking to his starry ceiling & the Kent family photos give his return more emotional heft
Extended Young Clark’s first flight, 
Which leads into…
 “Little Secret”- Clark finds the Kryptonian ship as a boy
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From The Visual Guide (p.11): “When he holds the Father Crystal, Clark feels a primal connection to the vanished world of his ancestors”. Martha’s prequel comic shows Jor El & Lara reflected in the crystal.
The Father Crystal is the key to Lex’s plan, so it's important to see its importance to Clark.
'Little Secret' leads into: 
Martha Kent Prequel: The Kents tell the truth
The Kents find Clark on the cellar steps with the Father Crystal, staring at his ship.
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They talk in the kitchen:
MARTHA: … I wish we could tell you more… well, anything about your real parents
CLARK: You are my real parents. Those other people, the ones that gave me away… They mean nothing to me. [he bends a fork in half]
JONATHAN: I understand that you feel that way now, Clark. But I have something to show you. [He leaves the room to get something]
CLARK:Ma, I- I… Am I even human? Am I some sort of monster?MARTHA: Clark Kent, bite your tongue! You are our son and we love you. That’s all that matters.
JONATHAN: Clark? This is yours. You were wrapped in it when we found you.
He gives Clark the cloth he was wrapped in when they found him - blue fabric with the “S” shield
This is a big change from ‘78, where Clark didn’t find the Father Crystal until after Jonathan dies. Martha wasn’t there & they didn't discuss it. The Fortress of Solitude made his suit.
Clark's anxiety is more in-line with MoS (“Can’t I just keep pretending to be your son?” / “You are my son.”). Rejecting Krypton is important, as his adult desire for a home drives him from Earth
Here we see Clark feel the alienation he fears for Jason in his final speech ("you will be different..."). Parenting is a big theme of Returns
Clark reads Why the World Doesn’t Need Superman in the Kent barn 
In the script, Clark taking the tarp off his ship leads into the Little Secret flashback- which the deleted scene cuts around. The shots following him back to farmhouse include this voiceover (Script pp.13-14):
LOIS LANE (V.O.): For five long years, the world has stared into the sky, waiting, hoping, and praying for his return. We have spent our days asking where he went, debated why he left, and wondered if he’s even alive…
People have always longed for gods, messiahs, and saviors to swoop down from the sky and deliver them from their troubles. But in the end, these saviors always leave, and we are faced with the same troubles that were there from the beginning.
So, instead of facing them ourselves, we wait for the savior to return. But the savior never does, and we realize it was better had he never come at all.
Reading WTWDNS is referenced in The Visual Guide (p.29)
Articulating Lois’ POV makes her more than a bitter ex. Even the Junior novelisation has this!
In the Theatrical Cut Clark returns to the Daily Planet trying to reclaim the old status quo, until he learns Lois has a family. Here, he faces consequences for leaving before learning Lois has moved on, so he’s less selfishly motivated, and returns to the Planet to actively reconcile with her
Parallels Young!Clark finding the Father Crystal- the inciting moment of ‘78’s plot
Martha encourages Clark to return to Metropolis / Clark meets Ben Hubbard 
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This is a cute scene, humanizing Clark
Martha is selling the farm & moving to Montana
(Script p. 76), cut dialogue in purple
MARTHA: Clark, dear… No one will ever replace your father. But, Ben and I have found something special. Together. And, well, this might all come as a shock…
Clark gives her a look. Just level with me.
MARTHA: I’m selling the farm. We’re moving to Montana.
CLARK: Montana?
MARTHA: The lakes are great. And we love the fishing.
CLARK: Fishing?!
MARTHA: Clark, you’ve been gone a long time. And not even you can stop the world from spinning.
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In the novelisation (p.76)
Building this subplot from a background character from ‘78 is neat.
It expands Returns’ narrow emotional scope: It's not just Lois moving on
Superman suit in Clark’s case & changing in The Daily Planet closet 
As Clark puts his suitcase in the janitor’s closet he opens it, revealing his Superman costume & a Kent family photo.
So, when he rips his shirt open there’s "NOTHING. Where's his suit? He panics, then remembers." . He must change in the Daily Planet janitor’s closet. As he leaves he "catches a glimpse of his reflection in a window -- he's still wearing GLASSES" (the Script p.44)
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Love Superman in glasses as a metaphor for the transition from Clark to Supes. 
The Theatrical cut emphasizes Lois’ POV of Superman’s return but this is more balanced & impactful for Clark 
Lex and Stanford discuss Superman’s return
When Lex learns Superman is back he & Stanford discuss luring him away. You can see Stanford running to catch up with Lex before the Theatrical scene cuts away. Deleted dialogue in purple:
STANFORD: So, what are we going to do?
LEX: You’re going to modify it and attach it to the stern, I don’t care of the instructions are in Russian
STANFORD: You know what I mean, Lex. He’s not stupid. How long do you think it’s going to take him to trace all that stuff back to me– and you. He was supposed to die up there.
Stanford paces. Lex clenches, obviously stressed. He hears the WHIMPERING of Gertrude’s dog. 
Infuriated, Lex hurls the newspaper at it but misses. Enraged, Lex snatches a heavy crystal off the desk, when he STOPS. He stares at something on the NEWSPAPER
Lex bends down and picks up the paper. He smiles, and hands it to Stanford.
LEX: Stanford, you worry too much.
Stanford looks at the article, intrigued.
“WORLD’S LARGEST COLLECTION OF METEORITES TO EXHIBIT AT METROPOLIS MUSEUM OF NATURAL HISTORY”
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Lex & Stanford faking Krypton’s discovery makes all Clark's problems his fault. Clark did nearly die, & it makes Lex a more formidable villain
It makes the plot more cohesive 
Clark being tricked by his nemesis > ‘he just left lol’
Lex’s desperation gives him depth. Stealing Kryptonite is now a response to Superman, where in the Theatrical cut it’s so underplayed it seems like just the next step of his plan.
Stanford and The Daily Planet
I can’t find it, but Mr. Sunday Movies  cites an interview where the actor revealed Stanford was a disgraced Daily Planet science correspondent, & wrote the articles about Krypton. 
More plot cohesion, connecting The Daily Planet & Lex plots. If Lois recognises Stanford when she’s on Lex's yacht, she could figure out Clark was tricked, helping her forgive him. 
Extended Clois outside The Daily Planet
Deleted dialogue in purple, (Script pp.58-60):
CLARK: Well … Maybe saying goodbye was so hard because he didn’t know whether it would be goodbye for a little while … or goodbye forever.
Lois doesn’t seem to be listening
CLARK (CONT’D, QUIETER): And maybe he had to go and he wanted to say goodbye, but he couldn’t find the guts to do it, because maybe if he saw you, even one last time… Well, maybe he was afraid that if he even looked at you just… once… he would never be able to… leave (beat) Maybe it was too difficult for him.
. . .
CLARK: So… Do you want to grab a quick bite? Catch up? My treat.
LOIS: Oh I’d love to, but Daddy took the car and it’s my turn to ‘cook’ the family dinner, which means I’ve got just enough time to get back to the ‘suburbs’ and order the Chinese
CLARK: Suburbs?
LOIS: Yeah, we have a really nice place on the river. You should drop in sometime.
CLARK: I’d love to.
Brandon performs this dialogue for a screentest in Requiem for Krypton
Much better reason for Clark not saying goodbye. Corny, but if your gonna justify an OOC decision, do it with the romance at the heart of your movie. 
Lois is much nicer & less dismissive of Clark. Theatrical Lois seems to actively dislike him.
Hints Lois feels stifled as a suburban mom
Lois Prequel: Writing Why The World Doesn’t Need Superman
The ‘Lois at home’ scene begins with a flashback:
Perry tells Lois to write a piece for the 5th anniversary of Superman leaving. She struggles with writer’s block at home, & goes out to smoke. She thinks Clark blows out her lighter, but she’s imagining it & realizes she must move on. That night she writes WTWDNS
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Then Richard asks about I Spent the Night With Superman, then Clark is revealed to be watching at the end of the scene.
[After Clark flies away, Script p.63]
Lois picks up some food, then suddenly stops and turns to the window, staring into their backyard. Beat.
RICHARD: Lois? You okay?
Lois snaps out of it.
LOIS: Yeah, sorry. Hey, didn’t I have four won-ton’s?
Jason stuffs a won-ton into his mouth.
LOIS (CONT’D): JASON!
Lois & Richard dive, trying to snatch it from his mouth
A cute Jason moment, & Lois ‘sensing’ Clark makes his spying a little less creepy, selling their 'stracrossed lovers' connection
Superman On Patrol
Two scenes are omitted from the script (p.64) before the ‘Bulletproof’ bank robbery. Presumably they formed a full crime-fighting montage, like in ‘78.
The Visual Guide describes two cut sequences that perfectly fill that gap (p. 60):
“In Switzerland, he saved 12 stranded climbers from the peak of the Matterhorn. In Venice, he prevented the famous canals from flooding the city streets. Superman seems to be everywhere at once, but nowhere is he more prominent than in Metropolis…”
Full Deli Robbery Segment
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MONTAGE REPORTER #3: Sir, after he captured the men trying to rob your Deli, did he do or say anything?
DELI OWNER: He tried the hummus. He said he liked it – and Superman never lies!
More action! More wholesome Superman! Expanding the scope of the movie beyond Metropolis!
Lex’s Plan
Higher-key Kryptonite heist where Lex’s gang fool guards and witnesses
The movie needs more energy. Like the stolen missile earlier, in the Theatrical Cut Lex’s plan is afterthought bullet-points 
When Kitty returns to Lex after Superman saves her, the stolen missile is being disassembled. Lex takes its explosive & the kryptonite he’ll stab Clark with 
Lois Prequel: Why she resents Superman and meeting Richard
After Perry demands Lois interview Superman we flashback to him doing the same thing after Krypton was found:
But Superman never shows. Months pass until “the world had to admit” he was gone.
The world turned to Lois as their 'Superman expert.'
JIMMY: Miss Lane. You okay?
LOIS: I will be once Perry lets me cover something over than Superman. He left. He's gone, and maybe he's never coming back. How many different ways can I write that?
JIMMY: I know Miss Lane. I miss him too.
The world refusing to let Lois move on by pigeon-holing her as ‘Superman’s Girlfriend’ is important context.
Now Perry refusing to let Lois cover the blackout is part of a sexist cycle she’s fought for years
Lois escapes to the roof for a smoke: "Even as the days kept passing, I held out hope. I mean, he never disappointed me before, right?'
Richard White introduces himself just like Clark:
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RICHARD: Those things will kill you, you know. Hello, Lois. I'm Richard White.
LOIS: White, huh? Did Perry even read past your last name on your resume?
RICHARD: I won't deny what it looks like, but my uncle hired me because I'm damn good at what I do. And with you I see wasted talent. The Superman story is old news. The Planet's best reporter should be used elsewhere.
LOIS: You're certainly more insightful than you look, White.
Directly parallels Richard and Clark
And contrasts the rooftop interview with Superman immediately afterwards; we now know she waited here for Clark to return every night until she met Richard
Clark Visits the Fortress of Solitude
When Clark visits the Fortress of Solitude he has cut voiceover (Script p.89):
SUPERMAN (V.O.): Father... It’s been a long time since I’ve come to you… But I’ve never felt so alone.
EXT. FORTRESS OF SOLITUDE - SAME TIME
Superman lands & approaches the console. The crystal has been taken. WITH A VOICE ECHOING THROUGH THE ARCTIC LIKE THUNDER:
SUPERMAN: FATHER!!!
FATHER!!! Is OTT but important when Superman has so little dialogue
Clark is now clearly driven to the Fortress by Lois’ rejection. In The Theatrical Cut, he just checks in because it’s time for Plot to happen.
Losing Jor-El emphasizes the theme of parenthood- Clark loses a father as he gains a son- & justifies Jor El’s voiceover later
Lex's Fortress
In an earlier draft, Clark found the new Fortress Lex grew in his first experiment, and "Clark sunk it and put it underwater"
Originally “Richard & Lois flew there with Clark to investigate & take pictures" (Script interviews p.28) but later on these became satellite pictures that were delivered to the Planet. Lois saw them & understood what Clark had lost.
Lois seeing & understanding Cark's losses is important
Clark destroying Lex's Fortress would be an impressive action beat & Returns is desperate for those. Showing Lex's impact through action!
Extended dialogue on the yacht explaining Lex’s plan
LEX: It’s not just an island. It’s an entirely new continent. Virtually indestructible and self-sustaining. For lack of a better name, it’s Krypton. An extinct world, reborn on our own.
LEX: I’ll have ADVANCED alien technology thousands of years beyond anything anyone could throw at me. Weapons, vehicles, you name it. 
Gives New Krypton more credibility & makes Lex's plan more concrete, especially after Return to Krypton showcased Kryptonian tech
Saving Metropolis
Earlier drafts of the ‘Saving Metropolis’ sequence had “monster waves surging in every direction” (The Visual Guide p.70) Dan Harris also mentioned "waves coming in" and Clark “pulling a subway train out [of the ground]”. (Script interviews p.28) The script omits several sections that could fit these moments.
The script includes Clark saving people from cars set on fire by the gas explosion.
Again, Returns copies ‘78, but that earthquake was way bigger - a dam explodes, a bridge collapses, a train derails. Clark shifts tectonic plates to stop it.
Perry White meets Superman
I understand why this was cut but it’s still cool
The Missile Explosive
After Jason kills Brutus, the deleted scene of Lex finding Brutus’ body is followed by (Script pp.113-114):
INT. YACHT - PANTRY Lois & Jason sit against the far wall, exhausted & worried. The door swings open, revealing LEX. He looks at Jason & winks.
LEX: Catch.
He tosses SOMETHING into the room, wrapped in the handkerchief. It rolls towards Jason’s feet. LOIS CHARGES just as Lex slams the door. Jason removes Lex’s handkerchief, revealing the EXPLOSIVE from  the missile.
LOIS: Honey… don’t move.
Lois is panicked, searching for any way to get rid of the explosive. Finally; a SMALL AIR DUCT. She kneels & pulls at the VENT COVER. It won’t budge. She looks around & finds a LARGE METALLIC SOUP LADLE.  SHE JAMS THE LADLE INTO THE VENT, using it like a crowbar. 
JASON: Mommy?
LOIS: JASON DON’T MOVE!
Lois strains to pry the vent away. After what seems like an eternity, it finally pops off. She approaches Jason VERY CAREFULLY.
LOIS (CONT’D): Okay Honey, stay still…
Lois THROWS IT into the air duct … grabs Jason & rushes him to the other side of the room. The explosive drops down a series of air ducts … Silence. Lois and Jason open their eyes, relieved.
Then – BOOOOOOM! THE BLAST ROCKS THE ROOM. A burst of flame shoots from the vent. Lois shields Jason. The flames are followed by a GEYSER OF SEAWATER. The room is tipped upward. Water is streaming in. Lois tumbles backwards into the water, struggling to reach Jason, but she’s STUCK.
ANGLE UNDERWATER: Lois’ leg tangled in a LIFE PRESERVER.
LOIS: HELP ME! Oh God…
Water floods into her mouth. She disappears under the surface when the DOOR is RIPPED OPEN, AND THE SILHOUETTE OF A MAN STEPS INTO THE ROOM. He dives underwater.
The man rips Lois’ leg free from the cables and pulls her to safety. Lois finally opens her eyes and comes face to face with… RICHARD. She and Jason are stunned.
LOIS (CONT’D): How –How did you get here?
RICHARD: (obviously…) I flew.
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Lex’s response to Superman’s son here is more appropriate & threatening.
Another setup & payoff with the missile explosive gives the film more structure. Plot, y'know?
Makes Lois more active
Richard/Clark parallels
Jason recognizes Clark 
[in the seaplane after Superman saves them from the yacht]
Jason curiously looks up at Superman.
JASON: Hey, you look just like–
SUPERMAN: (Cutting him off) Can you fly?
For a moment, it looks like Superman is speaking to Jason – then he turns his head to Richard.
Also in the novelisation (p.285)
More Jason/Clark connection & more payoffs (Jason suspected Clark's identity after seeing him next to Superman on TV earlier)
Context: New Krypton
The script describes it as “almost identical to the ruins of Krypton ... Unlike the ruins, this place feels like it could be full of life – what he hoped to find when he went to Krypton,” with buildings “resembling the Fortress of Solitude”.  made of the Fortress’ glowing white crystals, presenting the facade of life.
Clark confronts Lex in “an exact reproduction of the Kryptonian VALLEY OF ELDERS" (where we saw the El Crest in Return to Krypton). Flickering x-ray vision reveals “IN THE GROUND AND WALLS are pockets and veins of kryptonite” 
From The Visual Guide (p.79):
“New Krypton recreates its planet of origin according to an ancient blueprint, beginning with the vanished capital of Kryptonopolis ... [it] will eventually replicate the towering face of Mount Argo, the bottomless depths of the Xan Chasm, & the polished dome of the Krypton Science Council”
Superman hears something else in the wind, coming from inside the structure: a VOICE. Faint, but familiar. Maybe JOR-EL? LARA? It’s joined by other ghostly whispers before another familiar voice calls out:
LEX (O.S.): See anything familiar?
The ghostly whispers are a cool detail
Now New Krypton is literally a ‘dead world resurrected’, not just some land, & will terraform the whole planet. It brings the movie full-circle- Krypton followed Clark home
After beating a powerless Clark, Lex reveals the truth
LEX (CONT’D): Look, buddy. We sent you there to die, but ya’ had to come back…
Superman looks at Lex, his expression turning from agony to realization.
LEX (CONT’D): Oh yeah. All those photos? Those stories about Krypton still existing? It was me. (Beat) And him.
ANGLE ON: Stanford.
LEX (CONT’D): Thankfully the press doesn’t check facts like they used to. (Beat) Hey, you took away five years of my life. I just returned the favor.
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In the novelisation (p.297) & literally every other adaptation of the story. Why the fuck would you cut it?
As Clark drowns:
“Crystals are growing towards him from every direction. ALL GLOWING GREEN from Kryptonite. He tries swimming to the surface, but he’s too weak. He’s trapped ... A mesh of crystal walls are closing in around him, over him like a tomb."
The tomb is a thematically resonant image (New Krypton = graveyard) & heightens the crystals’ threat
Jason ‘senses’ Clark instead of seeing him from the plane window
In the script, Jason wants to help Clark too- not just Lois & Richard deciding.
Jason looks out the window, pointing down to the water.
JASON: There.
He turns to Lois. Beat. She can’t see anything.
LOIS: You’re sure?
Jason nods. He’s certain.
While Clark in hospital, Lois names ‘New Krypton’
it's gone “into orbit somewhere between Mars & Jupiter. Supposedly it’s laced with Kryptonite & still growing”. 
Again, creates a thematic bookend with 'Old Krypton' in the beginning
Outside the Hospital
Ben Hubbard waits with Martha Kent- you can see his shoulder next to her in the Theatrical Cut
There are shots of Lois, Jason & Martha talking while they're in the crowd- presumably Martha offering support without Lois knowing who she is
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Martha meets her grandson! The two mothers of Kryptonian sons talk!
Bringing Martha & Ben back ties the Smallville section of the movie back into the plot
Final Clois Exchange
SUPERMAN: Thank you, Lois.
Tears well in her eyes, struggling for something to say.
SUPERMAN (CONT’D): It’s alright.
It’s what she’s wanted and needed to hear for years.
It’s such a small thing, but gives Clois closure, and Clark more lines
OTHER CHANGES
Color-grade: Returns’ drab sepia look ruins beautiful cinematography. The original color-grade in the teaser trailer (which is like 70% deleted footage) is much better, as is this color-corrected shuttle sequence
A tighter edit to compensate for the action-light script. They went for a classic, unhurried edit, but you could shave multiple seconds off most shots without losing anything. The Superman Restored fanedit re-inserts 25 mins of deleted scenes and is still 8 mins shorter than the Theatrical Cut
Tldr;
Returns is inherently slow-paced. Even with a faster edit, adding all this would push it past 3 hours. Regardless, Singer shot his own film in the foot because his priorities were wrong: Outlined above is a more balanced, cohesive story with richer themes. The Lex and Krypton subplots are complete. Clark feels like the main character, & Lois is more sympathetic. 
Brandon deserved so much more.
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sassylittlecanary · 8 months
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My Adventures with Superman • Superman II: The Richard Donner Cut
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georgeromeros · 2 months
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Superman II (1980) dir. Richard Lester
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kent-farm · 10 months
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—Clark Kent + Taking Off His Glasses 👓
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atomic-chronoscaph · 1 year
Photo
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Superman II (1981)
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boardchairman-blog · 10 months
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**Shots of the Movie**
Superman II (1981)
Director: Richard Lester Cinematographer: Robert Paynter
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slashersthehorror · 8 months
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古絵。
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Merry Christmas, Alfred...bless the people...and the cats.
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1989 and 1979
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