Patty Jenkins has finally done what was once largely considered the domain of the impossible: crafting a decent DCEU movie. From the ponderously nihilistic and confrontationally illegitimate heir to Donner’s Superman in Man of Steel, to the abominably loud and Bay-esque caperings of a gun-toting Batman in Batman vs Superman, DC has had little success with critics and general audiences alike, satisfying only that rare breed of subhuman, the mutant twist of masochist and violence fetishist that appears as absurd as Zack Snyder’s resume.

One wonders though: has Patty Jenkins truly done the impossible, or has she won the day, much like her fictional counterpart, because she’s simply a woman, helming a large tentpole film? One wonders similarly about Get Out, which received wonderfully rosy reviews from critics, begetting the broad question of whether or not such plaudits are genuinely deserved, or earned by merely serving as a minority in what is otherwise a majority white males’ world.

Regardless, Wonder Woman is on track to lasso nearly a hundred million in opening ticket sales worldwide this weekend, thanks in large part to strong pull in Asian markets (Wonder Woman has not released in China as of this writing) and those numerous Americans who wish to suffer through two hours of Gal Gadot striding valiantly through skillfully-deployed pyrotechnics, and Chris Pine’s less-skilled affectations, in search of a film superior to Pirates of the Caribbean 5.