How to Make ‘The Flash’ Into an Awesome and Lucrative Franchise

Published by MaxBro on Tagged Features

Where is The Flash?

Superman, Batman, Iron Man, Spider-Man, Daredevil, Elektra, Hulk, the X-Men, and Catwoman (yes, even her). What do all these superheroes have in common? In the past seven years they’ve all starred in their own movies, with Iron Man set to premier May 2008. But where is The Flash?

The Scarlet Speedster. The Fastest Man Alive. One of America’s most classic and archetypal heroes, and one of the primary pillars of the Justice League. Not to mention one of comic book history’s most charismatic and personable heroes. The Flash has been zipping around at lightning speed ever since his 1940 debut in the aptly-titled Flash Comics #1. CBS thankfully gave him his own show starring John Wesley Shipp as the titular hero in the short-lived Flash series of 1990-91. But since then the hero who’s been around almost as long as Superman hasn’t appeared in his own movie. And why not? Surely The Flash is lucrative. Surely he has an active fan base who’d turn out in droves to see him save Central City on the silver screen. The Flash would almost surely be a blockbuster hit if for no other reason than it would be the first movie version of him.

So why the hold up? What is keeping Warner Bros. studios–the studio that owns the rights to make cinematic version of The Flash–from turning the DC super sprinter into a cash cow? According to IMDB.com, The Flash is scheduled to appear in theaters sometime in 2008. However, that bears little evidence other than the anecdotal kind. Actor Ryan Reynolds has expressed impassioned interest in playing the starring role and there is probably no performer that would make a better Flash than Reynolds. In the article just linked, Reynolds mentions that writer David S. Goyer, the scribe behind such notable superhero fare as Batman Begins and Blade, was at some point writing a script for Warner Bros. to green light. However, Reynolds mentioned that during his promotional tour for the remake of The Amityville Horror in 2005. Almost two and a half years ago. Who knows what’s happened since that time. How ironic that the character noted for his speed is slow getting to the big screen.

I scoured through the web to find information on why The Flash project just can’t seem to get legs. Here is a great link I found. That source draws on several other sources like Superherohype.com, Scifi.com, as well as moviehole.net. Everything looks like it had been going great, and then David Goyer drops this bombshell at the end:

I am sad to say that my version of The Flash is dead at WB. The God’s honest truth is that WB and myself simply couldn’t agree on what would make for a cool Flash film. I’m quite proud of the screenplay I turned it. I threw my heart into it and I genuinely think it would’ve been the basis of a ground-breaking film. But as of now, the studio is heading off in a completely different direction. I expect you’ll hear of some new developments on that front shortly.

I read through the highlights of Goyer’s idea for a Flash movie and found them mostly impressive. He obviously has a passion and good understanding of the character. However, as you’ll see down below, Goyer and I part ways in some fundamental aspects. I’m not sure why Warner Bros. suddenly dropped the project, or why Goyer is no longer associated with it. He was not only set to write the script, but direct it as well. Now it appears Shawn Levy (Night at the Museum) is set to direct. But if the WB flushed Goyer’s script, they’re basically starting all over again. What gives here? How does the WB green light Catwoman and not The Flash?

Despite this inexplicable delay in seeing one of my favorite superheroes on the screen, I am calmed by the old adage “Good things come to those who wait.” However, I had to wait 19 years before Warner Bros’ produced another Superman film, and the latest Bryan Singer-directed rendering all but broke my heart. I have no problem waiting for several more years for a quality Flash movie. But I am not going to sit idly by and allow The Flash any form of ill-treatment just so Warner Bros. can make a quick buck on an inferior product.

So, I am offering Warner Bros. several suggestions for making not only a hit initial film, but a memorable and worthwhile trilogy that will enthrall, entertain and haul in the cash. These suggestions are borne out of my fascination and long-time adoration of the character. But I’ve also taken the latest DC successes and failures into account. Unlike Marvel, who has been producing hit after hit since 2000’s X-Men, DC Comics just can’t spring the luck they once had with audiences. Batman Begins: a well-produced but marginal financial success. Superman Returns: more toxic than kryptonite and it hardly broke even at the box office. Catwoman…uh, yeah, let’s not go there. I’m sure The Dark Knight will perform exceedingly well next summer, but outside of that what has DC got in the works? There’s talk of a Justice League movie, but so far talk is that’s come about. Wonder Woman is apparently slated for release sometime in 2009 and given the current glut of girl power flicks (most of which are due to that damn sexy Milla Jovovich), I have no doubt that project will proceed lock step. I’ve even heard rumors of an Aquaman movie. Really, Aquaman, the red-headed step-child of the comic book universe. But where is The Flash?

In conjunction with this essay, I am also putting together a Flash treatment for Warner Bros. Although I am a novice, and in all likelihood the WB already has a script and/or story arc in place by professionals in the wake of Goyer’s dismissal, I am going to contribute anyway. Besides, don’t tell me Warner Bros. isn’t in desperate need of writing talent after Catwoman. I know without a doubt I could write a better film than that. Frankly, all of Hollywood is in hearty need of worthy wordsmiths. And with the possible summer 2008 strike looming (UPDATE 11/11/07: With the current writing strike, I don’t expect The Flash to gain any traction at least in the immediate future), the talent pool is even more in danger of drying up in Tinsel Town.

(Note to Hollywood: Hey executives, there are hundreds of talented and passionate writers out there just dying to get their big break. We aren’t money-hungry, we just want to produce quality work that millions will enjoy. Speaking for myself, money is secondary when it comes writing. I’d rather make something truly worthwhile and take home average pay, than get paid millions to peddle formulaic and predictable crap. We’ll work our hearts out for you just so at the end of the day we see our names in the credits and the smiles of the audience when they see the work we produced on the screen. You know this already. You don’t need me to tell you this. So, why not help us out? Why not make your offices more accessible for the average writing Joe? You always make films about the triumph of the little guy, you’re always out there trumpeting some pet political cause designed to help the “little guy.” So, why not live by that creed in your business practices? Why not see the sea of talent around you and take a swim?)

Now, if there’s one thing I can’t stand, it’s a critic who won’t offer any suggestions of his own for making the object of his criticism better. I am not like 99% of the other Flash fanboys out there who will whine and moan but do nothing. I am treating the below suggestions as though Warner Bros. approached me directly, pointed its big ol’ finger at me and asked, “How would you write The Flash, mb?” As though the sole responsibility of success or failure at the ticket counter depended on me alone and how well I translate the character of the Flash to the big screen. So, here they are, seven suggestions for making The Flash into an awesome and lucrative franchise:

1.) Base the story around an adult instead of teenage Wally West, but incorporating Barry Allen’s origin and personality.

Here is the plot summary taken from IMDB for the purported upcoming Flash movie:

While touring the crime scene lab of his uncle, Barry Allen, teenager Wally West is doused in chemicals after a lightning bolt strikes them, which enables him to run faster than any other human being on earth. Becoming the Flash, Wally sets out to protect the people of his city from the villainous threats that arise.

While this randomly-written description may have nothing to do with the actual plot of the movie, the above summary would never work. This version may appeal to a younger audience, but by using a teenager, you are straying into predictable territory. Spider-Man is teenage Peter Parker. That works fine with the character because Spidey was largely written as the hero for nerds, dorks, geeks and otherwise angst-ridden teens. He relates better than Superman because his powers are minimal and he still deals with issues more akin to young people (like getting to classes on time, finding a job, etc.).

But the classic version of the Flash has always been an adult with adult responsibilities. Even the phenomenal powers of super speed seem to require a more responsible and trustworthy individual than could be provided by a plucky teenager. Obviously nobody wants to watch a movie about a middle-aged guy running around in tights trying to save a city. But let’s make a compromise and create a hybrid character incorporating the best elements of each incarnation of The Flash. Here is how I would write the character as taken from my treatment:

Wally West/The Flash - A brainy, absent-minded forensic scientist working at Central City Police Station. His reputation as an introspective, albeit “life-of-the-party” personality proceeds him, as well as his habit of perpetual tardiness, both in his public and private life. Above all, he is dedicated to his task of piecing together the mysteries of some of Central City’s most heinous crimes, and is well-regarded both in the department and the city media as an astute detective.

I would make Wally West a charismatic but serious personality. I want him to seem like he could be your best friend at a party, but wouldn’t think twice about taking a bullet to save someone in harm’s way. He is your friendly protector, an approachable, likable hero with a good sense of humor but a mind like a calculator. In high school he always had a date on Friday nights, but he also always won first place at the annual science fair. You like him, you trust him. He’s a capable, handsome modern man. He’s middle-class. He’s not brooding and vengeful like Bruce Wayne/ Batman. Not powerful and idealistic but socially inept like Clark Kent/Superman. Not courageous but woefully naive like Peter Parker/Spider-Man. Not brilliant but internally conflicted and troubled like Tony Stark/Iron Man. And certainly not wildly out of control and lonesome like Bruce Banner/The Hulk.

For guys he’s your ideal dad, uncle, or big brother. For ladies he’s your flawed but still ideal husband who might stay out too late or forget your birthday, but will surprise you with flowers the next day, or the guy you always wanted to date. For employers, he’s your loyal, relentless and smartest employee even if head-strong at times. This is The Flash: a bolt of lightning that fills you with hope and brightens your day.

If you want to create a lucrative franchise around The Flash, make his personality mainstream and likable. Do not make him edgy. Do not make him a teenager. Make him a late 20-something ambitious professional. Make him have universal appeal. The best part about making the Flash like that is you already have an actor in Ryan Reynolds who easily fits the image of the quintessential modern hero.

But there is something else vitally important. The Flash must appeal not just to comic book fans but to families. Parents must feel comfortable with the character enough to take their children to see him in the theaters. In the Justice League cartoon, and in the live-action 1990-91 series on CBS, Flash is portrayed somewhat as a ladies man. I have never accepted that element of Flash’s character, and it would not sell well to general audiences. Families will not flood the theaters to watch a superhero hit on a bunch of woman or carouse his way through a story, nor should they. Remember Superman Returns? One of the reasons that movie bombed was because Superman was portrayed as an absentee father. He knocks up Lois Lane and then takes off on a five year journey for a nostalgia trip to where his destroyed planet once orbited. That complete lack of judgment ruined his character and the movie for audiences everywhere. It’s a big part of the reason why the movie failed at the box office. Likewise, no special effects and no big budget will save a Flash movie if the main character is a lascivious lout. So, keep him a straight arrow for the most part and concentrate on making a great story.

2.) Pay homage to the biography and origin of The Flash.

One of the main reasons I’m puzzled as to why Flash hasn’t been given his own movie is that out of all the superheroes he arguably has the richest history. The Flash as conjured in 1940 by Gardner Fox and Harry Lampert is largely a modern re-creation of the ancient Greek god Hermes. In Greek mythology, Hermes acted as a messenger between the gods and humans, racing across the atmosphere like a kind of one-man ancient Fed Ex. His signature outfit included winged sandals and a winged petasus. Jay Garrick, the name of the original Flash from 1940, also wore a petasus. Another connection is Hermes often acted in accordance with fellow messenger Iris, the personification of the rainbow. Iris is the name of Barry Allen’s wife.

But aside from the Greek mythology references, The Flash is unique among heroes in that he has multiple versions. There is the Golden Age Jay Garrick version, a college student who gains super speed from breathing in heavy vapors. The Silver Age Flash gave us Barry Allen, who famously got his powers when a lightning bolt struck him in his lab while he happened to be doused in chemicals. Then came the Wally West, Barry’s nephew, who gained his powers the same way. Fourthly and finally, we have Bart Allen, the grandson of Barry Allen.

I would incorporate elements from each version of the Flash, adding certain references to his deep history where appropriate. For example, I would have the credits show a progression from Hermes through Wally West using some method of CGI. The idea is to give a fuller picture of the character. Everyone knows The Flash, but not everyone knows him as well as Spider-Man or Superman. Therefore, start the franchise off on the right foot by making Wally West a heroic, noble amalgam of the three primary Flash incarnations. This will give dimension to his character, and certainly please some of the more ardent Flash fans who are keenly aware of every detail concerning their favorite hero.

Concerning the origin of Wally West’s powers, I would absolutely use the Barry Allen lightning strike version but without dousing him in any chemicals. Instead, I would make the lightning bolting itself seem special, as though some cosmic force picked West specifically to have the powers of super speed. The bolt should be interpreted as fate and destiny, not just some random lab accident.

3.) Make Wally West a married man with an 8-year old son.

Wait, give The Flash a wife? And a son? Yes, indeed. Why? Because it hasn’t been done before. Almost every superhero on the screen thus far is either single or comes from a broken home of some kind. Flash is the hero that should break that mold. Making Wally West a married man with a son also reinforces his image as a positive role model that will make him more attractive to families and people of all ages. I respect that nowadays the trend is to make super heroes dark and complex. But Flash is a light-hearted, fun kind of hero. After all, we’re talking about a guy who runs around at super speed here. He’s not exactly looking to bash the skulls of criminals the way Batman or certainly The Punisher might.

But making West as a married man also makes him a more serious character. There is something just plain respectable and noble about a family man. It will also be entertaining to watch him try and balance his life as a husband and father, and as a super speedy savior to Central City.

However, before you go thinking I’m trying to take The Flash down into Disneyland territory, let me introduce a foundational plot point here. At the same time Wally West is struck by that lightning bolt, criminals unwittingly murder his son in a shoot-out with police. That horrible tragedy has two results:

1.) The death of his son becomes Wally West’s motivation to become The Flash and protect Central City from its various villainous threats, and…

2.) It becomes the centrifugal force in regards every further plot development. This is why the lightning bolt must seem like a calling from destiny itself. It’s a terrible thing for a parent to lose a child, and so the death of Wally West’s son must have an important significance.

While the death of West’s son makes him a sympathetic character, it also makes you hate the villain indirectly responsible for it. This leads me to the next point.
4.) Make Mirror Master the first villain.

Without giving away too many plot details, the villain I believe would best serve as the first is undoubtedly Mirror Master. Here is how I would write him according to my treatment:

Mirror Master – Utterly ruthless and unforgiving to the core, MM is obsessed with discovering a way to access alternate dimensions through his revolutionary new technology. While deeply concerned with the advancement of science, his obsession springs not from a concern with uplifting the ideal of societal enhancement through technology, but in advancing his name as preeminent among the greats. A highly gifted and renowned scientist in the field of nanotechnology, he is not above stealing the secrets of his fellow colleagues for his own benefit. Willing to murder, cheat, steal, and harm anyone who stands in his way, MM avails his services to the criminal underworld of Central City in order to further his plans and develop funds for his personal enterprises.

That description is still subject to changes, but the main point is The Flash must have a vicious villain to offset his charismatic and likable personality. Considering Mirror Master’s power to teleport himself anywhere, anytime, he becomes an omnipresent spectre of peril. Mirror Master is also the perfect initial villain because instead of killing him, Flash could perhaps trap him in another dimension, thus allowing for a chance for MM to return. Remember how Norman Osborne kept recurring in Spider-Man even though he’d been killed as the Green Goblin in the original? The idea is similar here.

For Flash parts II and III, I would argue using villains Captain Boomerang, Weather Wizard, and as the penultimate enemy, Zoom. I would also have Mirror Master return at a later point to perhaps facilitate the actions of the aforementioned criminals. By the way, this isn’t some random list I’m generating here. I have a very specific story arc in mind that cuts through all three parts of the trilogy. But in the interest of secrecy, I’d rather keep them to my treatment for now.

5.) Make the use of the Speed Force an integral part of the storyline.

With the Flash, the possibilities are literally infinite. Flash often travels through time or does other amazing feats that defy the laws of physics in the comics. But his most perplexing trait is being able to tap into the Speed Force–an “extradimensional energy source, which provides his powers and gives him several other abilities.” For a visual definition of what it means when Flash taps into the Speed Force, check out this clip from the animated Justice League series. I would have Flash break the Speed Force in such a manner an effort to push himself faster during the film’s climax.

As Wally is a scientist, his ability to go lightning speed obviously perplexes him, and his progression of understanding his own powers leads him to ultimately realize he can perhaps travel in time. And if he can do that, he can save his son. This is what I meant earlier when I said the death of his son becomes the centrifugal force in the story. Mirror Master kills Flash’s son, Flash gets justice by stopping the MM from destroying the city, thereby forcing Flash to use the Speed Force. From there he continues experimenting with this ability until at the close of the trilogy he is able to travel back in time. If he can do that, perhaps he can rescue his son, and thereby prevent all the ensuing villains from acting out their heinous plots. Perhaps. It’s an idea. It may sound confusing, and there are obviously a ton of other points to consider, but I think the scenario just described makes for a nice story arc.

Besides, you need to have something all-encompassing in the storyline that will keep people coming back to the theaters. For Spider-Man, each story brought him closer to Mary Jane and gave him a set of problems that resulted in maturing him in a new and different way. For the Flash, each installment brings him closer to understanding his powers, and therefore the ability to save his only son.

6.) Don’t write a sequel where Flash loses his powers or doubts his calling.

Both Superman II and Spider-Man 2 already covered that territory in-depth. It’s a tired formula: Superhero’s identity becomes a burden–Superhero then somehow relinquishes or loses his powers–meanwhile an unseen menace comes to power, thus forcing the superhero to remember his calling–Superhero inexplicably regain his powers and saves the city/rescues his love. It’s a nice, dramatic formula, and both aforementioned movies utilized it fine. But it’s old, give it a rest.

I would rather see a sequel where Flash is so appreciative of his powers that he drives himself harder than he perhaps should, rescuing Central City from every imagined threat. However, instead of his heroic exploits making him a menace to the criminal underworld, they only make him a larger target. The result: a bigger, badder villain(s) comes to match wits with the Scarlet Speedster, only to realize Flash is a more ambitious hero than the villain anticipated.

Again, this is where the death of his son comes back. When Flash initially realizes he has his powers, he is confused, curious, but also regretful about having them since that lightning bolt kept from him saving his son from the mobsters. It’s only later he realizes that not only can his powers do a lot of good for a lot of people, but they may enable him to bring his son back. This is what drives Flash forward. However tragic the death of son, he realizes it was the hand of fate that chose him, so he accepts it and makes the best and most responsible use of his powers.

7.) Balance out the story with comedy where appropriate.

For a movie about a guy who can run at super speed, there’s a ton of ways to bring in the funny. One of the reasons I so fondly remember the CBS ‘The Flash’ is the way the writers made the show dramatic but quite amusing at the same time. One of the running gags was how Barry Allen always slipped away from his lab partner Julio Mendez in a blur, with Julio left wondering where the heck Barry had gone to so quickly. Even funnier was how police officers Bellows and Murphy always argued over the identity of the Flash, despite that he unknowingly worked in their midst. There were also moments where Flash’s powers made for some great comedy:

–The time when The Trickster lets loose a flood of marbles that force Flash to run over top them in a ridiculous fashion.

–The time where Flash out-muscles a gang of mobsters with a broken stick, causing them to unintentionally hit one another like The Three Stooges.

–The time where Barry Allen cleans his apartment at super speed only to find the air turbulence he causes in his wake makes a bigger mess than he originally had.

It goes without saying that you’ll never have a successful Flash movie that’s all slapstick and comedy like the 1960’s ‘Batman’ series, but humor is important. This is a mainstream movie for everyone from young kids to the elderly. Universal appeal is essential.

While there are perhaps dozens of more suggestions that should go here, this piece is really just a starting point. It’s meant to encourage debate around the web, and hopefully in the executive offices of Warner Bros. studios too. If I can help in even the smallest way move a potential Flash project forward, I’ve accomplished my goal. We fans no longer live in a fiefdom anymore. We can contribute in more ways than we ever could before.

I do have many more ideas to share, but the rest are largely related to intricate plot points or other minutiae of the story. Consider the above ones the seven major pillars–A kind of Bill of Rights to a Flash movie. I take Flash seriously not only because I’m a big fan, but because I believe DC still has so much potential to make awesome and lucrative comic book-based movies. Right now Marvel is riding high, but some of their characters have taken forever to get to the screen and its the pent-up demand that’s partially due to their success. James Cameron originally was supposed to direct Spider-Man back in the 80’s, but after years of studio wrangling, budgetary and special effects setbacks, Sam Raimi finally snagged the project. Then in 2002 Spider-Man became one of the biggest blockbusters in history.

Flash has waited long enough, and it’s time for the Fastest Man Alive to make his big screen appearance. I recognize that my intention for a Flash trilogy is perhaps a bit overwhelming and absurdly ambitious, but why shouldn’t I dream big? If done correctly, Flash could very well spearhead a DC resurgence. Lately, many filmmakers have tried to emulate Marvel’s style. Superman is a baby daddy. Catwoman is an average working girl. But Marvel’s success is largely a trend, and trends change. Eventually, audiences will want to see heroes on the screen who are noble, classic, and majestic instead of the warts-and-all approach Marvel takes with their flawed and sometimes tragic heroes. Flash can bridge the divide between the two worlds, and appeal to people on either side of the spectrum.

Like I wrote before, with the Flash the possibilities are limitless. It’s time to explore them, and bring the Scarlet Speedster to life in theaters.

In the meanwhile, I’m continuing my Flash treatment since it appears the WB doesn’t yet have anyone else on the project. If there’s one positive development here it’s that at least the WB isn’t trying to push out a Flash movie just for the sake of beating the strike going on at the moment. That shows they clearly care about the character, or at least consider him the bearer of a potentially very lucrative franchise.

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November 11th, 2007

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