Zack Snyder’s trilogy is more than spectacle; it is a modern myth cycle — birth, death, rebirth.
He frames heroes as archetypes drawn from Jungian and Campbellian symbolic worlds, where Greek myth, Christian theology, Western philosophy, and analytical psychology converge.
This is literally Zack Snyder and Fabian Wagner's work on ZSJL. Snyder believed superheroes should be framed vertically like comics splash pages. Since IMAX cameras were too loud for dialogue before The Odyssey, they shot open aperture and presented it in full open matte instead.
this is the only open matte i’d say is a genuinely better experience than the original aspect ratio, the compositions are sooo much more comic booky like this it’s awesome
Films Listed:
• Zardoz (1974, John Boorman)
• The Matrix (1999, the Wachowskis)
• Batman v Superman (2016, Zack Snyder)
• Megalopolis (2024, Francis Ford Coppola)
Lex's power comes from his father, as does Superman's, as does Batman's. Lex's father abused his son (abused his fatherly power) therefore Lex abuses power. Superman's father gave him up to save him (relinquished power and thus won it), Batman's father though powerful died powerless, and this is Batman's great fear for himself.
@ModernSaviors That's why I think Batman v Superman isn't choosing between Left and Right.
It's critiquing the extremes of both.
Superman stands at the center as the myth of power itself, while Batman and Lex become the worst angels of their respective worldviews.
9/9
I don't usually read films through political frameworks, preferring philosophy instead. But one line from @ModernSaviors' excellent video essay revealed something for me:
"The Superman... mythologizes our relationship with power."
The revelation of Chris Terrio's script.
🧵1/9
Your relationship with power determines how you will see the Superman; and in an ideology where the victim is the hero, power is explicitly evil.
Homelander | The Liberal Superman
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@ModernSaviors Neither response is presented as virtuous.
Batman can only see the danger of a ticking bomb.
Lex can only see an oppressive tyrant waiting to be exposed.
Both reduce Superman to the limits of their own ideology.
8/9
Genre films seldom reach cinema status: The Shining, Excalibur, and Blade Runner rank among them. In superhero films, TDK Trilogy legitimized the genre as cinema, while the Snyderverse pushed it toward literary mythmaking. Finally, Eastrail 177 meta-comments on superhero culture.
@CaseyBookAuthor M. Night Shyamalan is a very influential yet underrated auteur. Despite the mixed reception of Signs, The Village, and The Happening, his influence persists in indie and elevated horror. Leave the World Behind follows The Happening, while Disclosure Day recalls Signs.
Steven Spielberg’s #DisclosureDay (2026) is a synthesis of the thematic and narrative frameworks established in Signs (2002) and Man of Steel (2013), staging questions of faith, agency, and meaning amid the earth-shattering emergence of extraterrestrial reality and power.