That ending was part of the framing device with Diana thinking about her past in the present, after Batman found and delivered her photo, so it was post-BvS and would technically fit with the Snyder-verse. So, I guess that's why I find it more interesting that WW84 seems to be going out of its way to contradict, or at least ignore the Snyder-verse, despite both being ostensibly part of the DCEU.
They're pretty quick. There's a throwaway joke in the police station where Harley recognizes Captain Boomerang from a wanted poster, she gives a comically abbreviated version of the events of the film when explaining to Cassandra what the latter would need to do to be like her in the supermarket scene, and when suiting up for the final battle, she finds her Suicide Squad costume in her box of effects (the box might even be intended to be the same one holding her gear in that earlier film, too). Enough that people who saw Suicide Squad can piece things together, but vague enough that they could be reinterpreted or glossed over if they ever decided that the wanted to decanonize the first Suicide Squad movie but keep Birds of Prey. (Course, for that matter, the logic that Harley could just be wandering around Gotham without Waller recapturing her does kinda makes the two movies seem really disconnected from the get go, but it is what it is).
Well, to be fair, there's an Easter egg reference to the events of BvS in Shazam and it seemed like the main thing that got retconned from BvS in theatrical Justice League was Superman suddenly becoming a symbol of hope when the other movies made it clear that he was a symbol of fear and uncertainty (even if his dying to save the city caused people to decide that they'd misjudged him, it's still too fast a turn of opinion, much less the melodramatic idea that his dying caused the world to lose hope so much that the time was right for Stepenwolf).
Personally, I'm not really so much invested in the cinematic universe aspect of the DCEU that if they were to decanonize the Snyder-verse (or anything else for that matter) or make the movies so self-contained and lose in continuity that they might as well be their own things. I mean, if the stuff I like was to get scrapped from the series, I'd still enjoy them as just movies. So, while I think that indulging in the Snyder-verse was one of the DECEU's earliest mistakes (or not executing them well, if you prefer), my theorizing on the fate of the Snyder-verse is more of an intellectual exercise and curiosity on how the storytelling decisions are being handled.
Yeah, I don't know he's really thinking, but he has really comes off as vindictive and self-righteous then grateful or happy to be getting the second chance. It is easy to project (I mean, I frankly think he came across as pretty entitled in the heyday of the "Release the Snyder Cut," so I am prejudging him to an extent), but still, there's always seemed to be an angry "why can't you understand why I'm so great?" attitude when it comes to people disagreeing with him (like that point where he trashed Nolan's Batman movies as being childish compared to his allegedly mature adult movies since Batman didn't get raped in prison).
I've seen well thought out arguments that Snyder is a great filmmaker and that he's not. His personal nature is certainly irrelevant to his skills in the craft, but, I don't know, between his seeming obsession with convincing people that he makes mature adult comic book movies by tearing down stuff that's not like his and his thin skin, it's not a good look and I don't really get why he's so combative. Outside of his DC work, he's seems at worst to be regarded as competent and ambitious in his projects and even his DC stuff as at least a cult following.
We'll see.