Easily the most fleshed out character, Lord seems to be on screen more than anybody else. We really see his arc and what’s driven him to this point in his life. We experience, with him, his ups and downs, as well as his caustic relationship with his son. Inevitably, Lord’s company starts becoming successful, but he doesn’t stop there. He fuses his television influence with his new genie powers and is suddenly able to connect with people all over the world and grant their wishes, becoming stronger from their qualities. Needless to say, society is in a total state of chaos. Apparently everybody wants something and is willing to destroy the world in order to get it.
Wonder Woman 1984 takes a very pessimistic view on humanity, yet tries to sympathize with it at every turn. The movie ignores the fact that there are people in the world who would actually wish for world peace. The “everyone gets a wish” premise naturally opens up a giant floodgate of plot holes. Not the least of which is the unreferenced paradox of two people making contradicting wishes. What would happen then?
If you weren’t clear about what year this is all set in, it’s 1984. The ‘80s milieu is on full display here with Porches, fanny packs, triple decker shopping malls, roller skates–you name it! The film is always very aware of its setting and Jenkins and company have a lot of fun with designing this world. The only thing missing is an adequate ‘80s music soundtrack. One of the co-writers, Geoff Johns, also has a story credit on 2018’s Aquaman, and I can’t help but notice some similarities–both good and bad.