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Wonder Woman 1984 (also known as WW84) [1] is a 2020 American superhero film based on the DC character Wonder Woman.Produced by Warner Bros. Pictures, DC Films, Atlas Entertainment, and The Stone Quarry, and distributed by Warner Bros., it is a standalone sequel to the 2017 film Wonder Woman and the ninth film in the DC Extended Universe (DCEU).
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Openclipart, also called Open Clip Art Library, is an online media repository of free-content vector clip art.The project hosts over 160,000 free graphics and has billed itself as "the largest community of artists making the best free original clipart for you to use for absolutely any reason".
Sebastian Ballesteros as the fourth Cheetah from Wonder Woman (vol. 2) #171 (August 2001), art by Phil Jimenez. Argentine business tycoon Sebastian Ballesteros becomes the fourth Cheetah, as well as the only male Cheetah. He is an agent of the Amazon's enemy, Circe, as well as her lover. He seeks the plant god Urzkartaga to become a new version ...
Barbara Minerva AKA Cheetah: Wonder Woman: DC Comics: Has mobility problems, uses a cane and suffers pain in her non-cheetah form. [citation needed] 1959 Victor Fries AKA Mr Freeze: Batman: DC Comics: He requires usage of assistive tech (his cryo-suit) to live and move [citation needed] 1986 Cable: he Uncanny X-Men and The New Mutants: Marvel ...
The trailer revealed a more extensive look at the film's two villains, Barbara Ann Minerva, a.k.a. Cheetah (Wiig), and Maxwell Lord (Pascal). It […] ‘Wonder Woman 1984’ Trailer Reveals ...
Villainy Inc. debuted in Wonder Woman #28, in the last story written by series creator William Moulton Marston.The villains, who were individually sentenced to and later escaped from a prison on the Amazon penal colony Transformation Island, teamed up to take down their common enemies, who are led by the Saturnine slaver Eviless, who tricked the Amazons into believing she had lost her evil ...
Wonder Woman is the subject of a 1978 - 1979 video art piece by Dara Birnbaum, Technology/Transformation: Wonder Woman.In this work she uses appropriated images of Wonder Woman to subvert the ideology and meaning embedded in the television series. [3]