Hey everyone, welcome to a new little corner of my Substack where I get to put on my writer's hat and have a bit of fun with some well-known stories. I’m calling it "DB Rewrites." The idea is simple: I’ll be taking a scene, a piece of dialogue, or maybe even a whole segment from a favourite film, show, musical, or play, and sharpening my skills by looking at how I’d have approached it as a writer.
This isn’t about claiming I know better than the original creators, far from it. It’s just a creative exercise, a way to explore storytelling and have a little fun. So let’s dive in and see where a bit of rewriting magic takes us.
For my first offering, I’m going in hard on Zack Snyder’s Batman v Superman, a beautifully crafted, ambitious, and divisive piece of cinema.
Credit Where Credit is Due
There is no denying the ambition of Zack Snyder’s Batman v Superman: Dawn of Justice. It is a film that dares to put two of the most iconic heroes in history head-to-head, on the same screen for the first time in cinematic history. Snyder approached the material with his signature blend of operatic visuals and mythic scale, and for many, that is both the triumph and the flaw of the film. Snyder’s take on the DC universe is audacious, but I honestly felt that he succeeded in many ways, bringing these larger-than-life characters to the silver screen in a way that no one else could have. Yet sometimes I wondered if what Snyder was trying to do was too much. He gave us a version of Superman that was an unbreakable god from outer space, and equally delivered a version of Batman that was so dark and so wounded it left both characters difficult to connect with on a human level for most audience members.
Main Reframe
I’ll be completely honest: this is my favourite version of Batman, and Cavill’s Superman, although more wooden than stoic at times, was really well written and had so much potential.
The structure of Batman v Superman is heavy, juggling multiple storylines, introducing lots of new characters, and rushing toward a climax that burns through years of iconic arcs in one film. It’s a tall ask for a comic book fan to digest all of the narrative, never mind the average uninformed cinema-goer.
In my version, the central conflict remains: Bruce Wayne, haunted and broken, views Superman as an unchecked alien force, while Clark Kent struggles under the weight of godlike responsibility. Their clash is the heart of the story, and it deserves room to unfold without being overshadowed by the arrival of Doomsday.
Doomsday, in my rewrite, is held back for another film. His presence here feels like a shortcut to a finale rather than an earned escalation. I love the idea that he’s a biological abomination forged from Zod’s DNA. I wasn’t keen on the fact that he looked like a spiky Teenage Mutant Ninja Turtle, but we aren’t talking visuals here; we’re looking at rewrites. Where there’s Superman, there’s Doomsday, so I love that he was introduced. I just think it was too soon. We should have had some foreshadowing so he could be brought into a Superman sequel, The Death of Superman, leading into the perfect opportunity to adapt Reign of the Supermen as the finale to a stunning Superman trilogy.
By removing Doomsday from Batman v Superman, the narrative lingers on the ideological battle between Batman and Superman. The story becomes about two men who represent opposing worldviews, manipulated into conflict by forces that understand them better than they understand themselves.
Not my Favourite Lex Luthor
Speaking of manipulating forces, let’s talk about Lex Luther. Snyder’s Lex Luthor is one of the most divisive elements of Batman v Superman. Jesse Eisenberg plays him as jittery, erratic, and unnerving, a tech world disruptor with the cadence of a street corner preacher. Many fans wanted the cool, calculating Luthor of the comics, but instead they were given something stranger, more chaotic, and more difficult to take seriously.
In my rewrite, I would not smooth those edges away. I would lean into them. This Lex is still a mastermind and world-class manipulator. Yes, he is trying desperately to stamp his name on history. He is unpredictable because he lacks control. He is theatrical because he craves validation. It is not typically how Lex is depicted, but I have an answer for that in the post-credits (stay tuned).
The “Martha” Moment
No moment in Batman v Superman has been discussed, mocked, and misunderstood more than the infamous “Martha” exchange. For many, it reduced a monumental clash into an unearned coincidence: Batman halts his murderous rage because he hears the name of his enemy’s mother. It became a meme rather than a revelation.
Zack Snyder, however, explained the scene differently. In his eyes, it was never about coincidence. He described it as the moment Batman is forced to see Superman not as an alien god, but as a human son:
“Batman realises Superman has humanity… he’s sort of embraced all the good parts of the human race… and so Batman’s able to sort of see… a thing that he is not.”
For Snyder, the shared name was a trigger, not a punchline.
The intent is powerful, but, in my opinion, and that of many others, the execution falls short. There are two ways this could go in my eyes.
Version One: Lois Saves the day
The battle is over. Superman lies broken on the ground, Kryptonite poisoning his every breath. Batman, bloodied and relentless, looms above him. The spear shakes in his hands, raised for the killing blow.
His armour is cracked, his body battered, but his rage burns hotter than his pain. This is the moment Bruce Wayne has been driving toward since Metropolis. The false god dies tonight. No more innocent lives will be lost
And then, a voice.
Lois: “Bruce! Stop!”
Lois bursts into the chaos, half stumbling, half sprinting, and throws herself between the blade and Clark’s chest. Her eyes meet his, desperate and unflinching.
Lois: “It’s Lex. He has his mother. He’s been behind all of this. Clark can’t save her, but you can.”
The words hit like a hammer. Bruce falters, confusion flickering across his face. His mother.
Lois: “If you kill him, you’re not saving the world. You’re finishing Lex’s plan. Don’t do this. Please. Be the saviour. He can’t be right now. Please, Bruce, she’s all he has.”
Batman’s breath rasps inside the cowl. His grip on the spear trembles. The vision of the alley, the pearls scattering in the dark, the scream that never left his ears, it all crashes into him at once.
The rage cracks. He looks down and sees not an alien invader, not a false god, but a son who will lose his mother if he drives the blade home.
Slowly, with shaking hands, Bruce lowers the spear. His voice is a rasp, almost alien in its vulnerability.
Batman: “I was wrong.”
He drops the spear. It clangs against the concrete, ringing out in the silence. He turns toward Lois, jaw tight.
Batman: “Where is she?”
And with that, the Dark Knight disappears into the night, not to end a life, but to save one.
This version feels genuine to the characters, especially Lois Lane. It is a story that comic book fans know well: Lois has done what she does best, digging around for the truth, a truth that ultimately saves Superman. If the scene had played out this way, it would have highlighted both Batman’s and Superman’s very human flaws and shown how easily they could be manipulated by Lex Luthor. Lois may not be a genius like Luthor, but she is sharp, brave, and has instincts that never fail her. This would have been a brilliant hero moment for someone who does not wear a cape.
Version Two: Something a little more Frank Miller
The fight has been brutal. Batman is winning, but every blow costs him. His armour is dented, his body slowing, but rage keeps him moving. Superman is pinned, Kryptonite weakening him until he can barely lift his head. The spear gleams in Bruce’s hand, its jagged edge trembling as he raises it.
For a moment, the world goes silent.
Then Lois bursts through the smoke.
Lois: “Stop! Bruce, please.”
Her voice shatters his focus. He barely flinches at first, his breath ragged inside the mask. Then, softly in his ear, Alfred’s voice crackles through the comms.
Alfred: “Master Wayne, this won’t bring them back. Not your parents. Not him. Not her. This won’t heal the promise you made to never let another child suffer the way you did. You’ve lost your way, sir. Do not let vengeance consume what little is left of the man I’ve known.”
Bruce’s grip on the spear tightens. His jaw clenches. His eyes burn with the ghosts of alleyways and funeral roses. He looks down at Clark, sees the alien who could burn the world, whilst shaking away the of boy, too weak to save his own mother.
Lois falls to her knees, clutching Clark’s hand.
Lois: “He’s not your enemy. Lex has his mother. You’re the only one who can save her.”
Batman winces at the mention of Superman’s mother. His grip on the spear trembles. The vision of the alley, the pearls scattering in the dark, the scream that never left his ears, it all crashes into him at once.
He looks down and sees not an alien invader, not a false god, but a son who will lose his mother.
Batman clenches his teeth and drives the spear downward, straight into Superman’s side.
Clark gasps, blood spills from his side. Lois screams. Alfred goes silent on the line.
Bruce’s face is stone as he holds Clark pinned with the blade. Then, slowly, he leans close.
Batman: “I was wrong. I see it now. You’re not my enemy. I’m sorry, Clark.”
A pause. Then the apology hardens, and his voice drops lower.
Batman: “But if it turns out I wasn’t wrong, remember this. I beat you. A man. Not a god. And I’ll do it again if I have to.”
He wrenches the spear free. Clark collapses into Lois’s arms, broken but alive. Bruce staggers to his feet, bloodied and battered, and turns away.
Batman: “Where is she?”
And with that, the Dark Knight goes to save Martha.
If you are going to give us a version of Batman inspired by Frank Miller’s The Dark Knight Returns, a Batman who is dark, wounded, burdened with the loss of Robin, and unafraid to kill, then lean into it. This is a Batman who is ready to kill a symbol of hope, an alien who, in Batman’s eyes, must be put in check. This Batman is in a dangerous place, brutal, bitter, unyielding, and deeply mistrustful of the world. The seed of hope in his heart is buried so deep that we are left unsure whether he is a villain or a hero. But like all seeds, there is always the chance for growth. It just is not this film’s story.
No Need For Wonder Woman Yet
Gal Gadot’s Wonder Woman is not needed in this film, especially if Doomsday is removed. In my rewrite, she remains present, but her presence is subtler and more deliberate. She watches from the shadows as Diana, but we never see Wonder Woman. She is a warrior who has walked the earth for centuries and is reluctant to step into the affairs of men. Especially in this situation, she should be shaking her head somewhere in disappointment, not jumping into the fray.
A Different Ending
In Snyder’s version, Batman v Superman closes with the death of Superman, a sacrifice against Doomsday that feels both rushed and underserved. Killing the most iconic hero so early strips away years of potential storytelling.
In my version, Superman lives. The fight between Batman and Superman ends not in death, but in revelation. Lex’s manipulation is exposed, and the fragile beginnings of trust form between the two heroes. They are not friends. Not yet. But they are no longer enemies.
And just when the film seems ready to exhale, Lex unveils his trump card.
Deep within the Kryptonian ship, we see what his obsession has been building toward: a suit of alien armour, reworked and refined with his own genius. The jagged black lines of Kryptonian design merged with neon green accents, Kryptonite energy pulsing through its veins. This is no accident. This is Lex’s answer to Superman, a man who cannot be ignored, who will not stand powerless before gods.
The final battle is not against Doomsday, but against Lex himself, encased in the suit. Suddenly, Batman and Superman are forced to fight side by side, not because they trust each other, but because they have no choice. Batman brings strategy and cunning, Superman brings strength and speed, and together they barely manage to bring Lex down. The battle is ferocious, brutal, and claustrophobic.
When Lex is finally defeated, stripped of the armour and dragged away in chains, he does not rage. He does not beg. He simply smiles. Because even in failure, he has proven his point: one man, armed with intellect and technology, can bring gods to their knees.
The film doesn’t end with the power of friendship conquering all (this isn’t Disney). The film ends with a truce forged in fire. Batman and Superman stand apart, battered and silent. There are no warm handshakes, no camaraderie. Just a shared look, wary, exhausted, and knowing this is only the beginning.
It is the perfect place to build the famous friendship for future projects. Not forced, not rushed, but earned over time.
Post Credits Scene
The screen fades to black after the battle. The world breathes, battered but alive. The credits roll.
Then, darkness. A low hum of fluorescent lights. We are in a prison corridor. The camera follows a guard leading a prisoner down the hall. The prisoner’s head is shaved, his eyes darting, his smile faint. It’s Lex Luthor Jr., bruised but grinning as if he knows something the world doesn’t.
They shove him into a cell. The door clangs shut. Silence.
Lex sits on the bunk, rocking slightly, muttering half formed words about gods and devils. The camera lingers. And then, a shadow moves at the edge of the cell.
“Pathetic.”
The voice is calm, measured, and terrifying in its restraint. The kind of voice that doesn’t need to raise itself to command obedience.
Lex Jr. freezes. Slowly, he looks up.
In the corner stands a tall, suited figure, face obscured by shadow. Immaculate posture, controlled presence. A man utterly unlike the erratic creature in the cell.
The figure steps closer into the half-light. A sharp jaw, cold eyes, perfectly pressed suit. The resemblance is unmistakable, older, harder, infinitely more composed.
Lex Jr.: “Father…”
The elder Luthor adjusts his cufflinks, looking down with something between disgust and disappointment.
Elder Luthor: “You embarrassed the family name. Now step aside.”
The camera lingers on Lex Jr.’s face, the manic grin faltering as the reality dawns. He was never the mastermind. Never the true villain. Just the prologue.
Cut to black.
The text appears: LEX LUTHOR WILL RETURN.
Closing Thoughts
Snyder’s vision approached Batman v Superman with boldness, drawing from The Dark Knight Returns, leaning into visual symbolism, and attempting to ground gods in a modern world. His choices were deliberate, and his passion for myth and iconography is undeniable.
However, my approach to this rewrite was to simplify a lore-heavy film with an overly complicated and wholly unnecessary narrative. I wanted to give Bruce and Clark space to breathe, to allow their conflict to matter, to let the humanity of the characters rise above the spectacle. My rewrite is not a replacement but an experiment, a way of asking what might have been if the film had trusted the power of character as much as it trusted the power of imagery.
This is what DB Rewrites is about. Taking a look at some of my favourite films and stories, and having a play with them. What would I have done had I the honour of telling this story? Perhaps with enough practice, I will one day.
I hope you enjoyed this little experiment of mine. Please let me know in the comments what changes you would have made. If you'd like to see more content like this, please drop me a comment or suggest a film. Please like, share, and subscribe; it really helps grow the publication.
Until next time,
DB
Totally agree, I didn't like the ending either n wonder woman was totally superfluous to the story although I did like Diana's little appearances, like the darkness of the characters but they could've done so much more with them, Lex Luther didn't really cut it for me, much preferred Gene Hackmans original version, way back when, in Christopher Reeves original superman. Like the Lois Lane ending u rewrote, do like a woman heroine n like the way she's portrayed in this film, much more gung ho than usual.
Luv your rewrites, great concept, keep it up, look forward to reading more rewrites ☺