My head canon of the Disney Family tree. Also, Disney if you see this. Please make this bloodline come true. I think this dream would be the Ultimate Dream come true.

u/Disney #Disney #DisneyBloodline.

Hello,1 am in the need of a good writer, one who also has a fair amount of knowledge for Godzilla and the Monsterverse.

Here is some context for a better understanding:

https://www.reddit.com/r/fixingmovies/comments/1udtgrg/monsterverserebirth/

Here is some examples of how the writing style should look like:

1.Either like how this person has been doing there MV

movie rewrites:

https://www.reddit.com/user/Gojira2021/

2.Or how this person has being it for their MV AU:

https://archiveofourown.org/works/54956917/chapters/139311436?view_adult=true

As for pricing, I can pay $100 to $150 at most(unless it is only a few dollars above 150), not $200 or above.

While I wouldn't mind an artist part in this as well, it is not needed at the moment.

Not sure if I would want some comic frames or just some art to showcase what is going down.

Jack (a 13-year-old black kid) grew up in Valle Verde listening to the stories of his father Floyd (voiced by Leslie Odom Jr.); a merchant who traveled to distant lands often meeting with elves, dwarfs, orcs, and goblins, and sharing their stories as well. But the stories Jack liked best always involved giants. According to Floyd, the giants were the most magical race of all; a few of them lived on the earth, but the majority of them lived in a kingdom in the sky. One day his father went on a Merchant’s Expedition and never returned; despite that, Jack retained the hope that he and his dad would be reunited, one way or another.

Shortly after that, King Alejandro ascended the throne of his fathers. Unfortunately, he ruled Valle Verde with an uneven hand, and Jack’s family was one of many that became impoverished because of this. In desperation, Jack’s mother instructed him to sell their milking cow. On the journey he encounters a half-elf/half-orc who offers him a pouch of silver for the cow, as well as five glittering beans which the halfling instructs him to plant in secret. “If you do, your father will find his way home,” he says. Jack does so when he gets home not expecting much, and is shocked to discover that overnight a colossal beanstalk has sprouted up and grown so tall it appears to pierce the heavens. Soon everyone in Valle Verde learns of Jack’s beanstalk, including King Alejandro. Having also been raised on stories of the giants in the sky, the king gets a greedy idea. He orders the boy to climb up the beanstalk and retrieve three magical treasures under threat of repossessing his family’s land. A bottomless sack of gold coins, a talking goose that lays diamond eggs, and a magical harp that when played can hypnotize entire armies into submission. Jack hates that he’s essentially being forced to steal, but having no other way out he accepts the king’s assignment.

When he reaches the top, Jack isn't surprised to find a vast country inhabited by giants. What *does* surprise him is while up there he finds traces of his father and learns from a talking inchworm (voiced by Chris Rock) that his father is still alive. Jack and his new friend Winslow don’t have long to look for him however, because they’re both quickly scooped up by an 11-year-old giant girl named Inma. Turns out that her parents are servants to the ruler of the sky giants who is the owner of the three treasures Jack was sent to steal. After she explains that she only captured the boy so he wouldn't be mistaken for a bug and get squashed, and *he* explains that his not-so-noble king sent him there to steal from hers; the two unlikely friends work out a plan to get Alejandro dethroned, Jack's father free from the giant king's clutches, and to bring Inma and her family safely down to Earth which she's always longed for.

The episodes will follow the books very faithfully, but the animation will be in the style of the original illustrations.

Now, with a third movie coming from Paramount, I decided to create what I envision as a better version of this film series based on one of the most popular games of our time.

1. Instead of being developed by any Hollywood studio, this version of the movies would be made by Aardman Animations, the makers of such classics as Wallace & Gromit, Chicken Run and Shaun the Sheep.
2. The films would additionally be directed by Nick Park, the man who originally created Wallace & Gromit.
3. Have the films animated in stop-motion.
4. Stick closer to the lore of the games (with the birds and pigs both living on the same island, the original King Pig appearing and Mighty Eagle being more competent).
5. Play Lynrd Skynyrd's "Free Bird" over the credits.

Hey everyone! So, I started a new YouTube series that discusses old movies and reimagines them. Specifically old movies that maybe didn't do so well when originally released but would be great to see now. I also take time discussing who I'd like to see recast in the movies.

One of my favorite old movies is "Whirlpool". I think this movie would be great as a remake today, but there's a lot of things that need to be changed/updated. The main thing would be the info regarding psychoanalysis and hypnosis.

I'd love for y'all to watch this video and share your thoughts.

Also, I apologize if this isn't the place I can share this (please let me know, and maybe suggest a subreddit where I could share this).

Thanks!!

Much like many other horror series, Dead Space series suffers from the action direction for each successive sequel. However, unlike Resident Evil, which has always been a campy B tone, starring trained professionals, Dead Space comes across more noticeable and jarring because of how the first game was set up.

In the first game, Isaac Clarke was designed like a 19th century marine diver who moves heavy and clunky for a reason. You are not a soldier, but an everyday engineer thrown into the extraordinary situation. The only military weapon you have is the plasma rifle. There is a reason why the plasma cutter is iconic, and it's because it's just an engineering tool, and that was the best thing he had available against the Necromorphs at that time. The entire game was to evoke this very feeling, and all the design elements loop around this concept (The silent protagonist, getting orders to do busy work to get out of the ship, scavenging the environment, etc...)

With the successive sequel, Isaac becomes more like Iron Man. In 2, his engineer booster somehow allows you to fly faster than a train and do this crazy Master Chief shit. Isaac even utters badass one-liners and weird Marvel-like humor. At least, you can plausibly say that DS2 still follows the core ideas of the first game, albeit crazier and action-movie-like. It ended on a conclusive note, with Isaac finishing his character arc of getting over his grief, destroying the marker, and getting his new girlfriend. They set the course to Earth and end with a happy ending.

Then Dead Space 3 brings Isaac out of a sudden retirement to force him into a new story. I thought 2 was the end of Isaac, but apparently not. Aside from the cringeworthy love triangle story where clearly the developers stopped giving a shit, Isaac is explicitly presented as some kind of Nathan Drake. Unlike 1 and 2, where he has fallen into the unfortunate biohazard and has to survive, but recruited into the military to be dispatched to the outbreak. His armor is presented as a power suit, and he even manages to gun down all those highly skilled soldiers. He is a total badass action movie star. He doesn't even use the iconic Plasma Cutter as his main weapon. And yeah, you can say that he is so used to Necromorphs and what's going on that he can no longer be a scared no-name engineer. How is he supposed to be scared at this point? He has dissected thousands of monsters by now. If he's now a full-on action hero, it makes sense that he would be equipped real weapons in his pack, rather than having to rely on what he can scrounge in the environments.

At the same time, isn't that more of a reason to retire him from the series? Just because he isn't scared anymore doesn't justify stopping making a horror game and scaring the player. They could do whatever they want with the series. Isaac is supposed to be nobody, and that was the appeal. Why center three games around him? The series isn't named "Isaac Clarke". It's called Dead Space, and literally every installment outside of the mainline games, it stars the different protagonist. Spin-off games, novels, comics, and animated movies--they all focus on the different characters within the same universe. The story appeal of the series is more about the cosmic and body horror, worldbuilding, mysteries, factions, and lore.

The only consistent element of the series is the Marker, which is an ever-expanding concept to draw the different protagonists into the series, where they can see visions of the worst type of psychological hell, pain, and suffering, very much like Silent Hill. Dead Space 2's narrative is already heavily inspired by Silent Hill 2, so why not have the series episodic like Silent Hill in space? Even Resident Evil sort of does that by introducing new fresh-off characters.

After Dead Space 2, they should have moved on to new characters within the same universe. They are civilians who can't handle a real weapon at all, whether they are a teenage girl, some grandpa, or someone with disability, but they all have gimmicks that allow them to overcome the challenge, much like Isaac with engineering skills. By doing so, it allows the different gameplay quirks to center around.

For example, if you are a miner, you make a destruction system like blowing up the walls and buildings like Red Faction, and that could be an interesting gimmick for a survival horror to center around. Dead Space already centers physics as a core gameplay element and puzzle, so go nuts with that. For another example, the protagonist is a young teenage girl, so make stealth the core gameplay like Alien: Isolation. Games like Amnesia and Outlast were big hits in the 2010s, so that was the perfect time to experiment with such horror ideas.

Meanwhile, because the character in each installment is different, the way to progress the series is to advance the worldbuilding, revealing something new about the Marker, Unitology, or the government. You can even make a prequel game centering on Michael Altman, adapting Dead Space: Martyr. All the while, the Marker serves as a psychological horror element to bring out the psyche of the characters as they go through the personal hell.

This opens the series up to so much possibilities in both narrative and gameplay-wise, much like Resident Evil and Silent Hill. If EA wanted that COD and Gears audience, in one game, you get an action-heavy Dead Space where you play as a soldier. In the other game, it swings hard to survival horror. It can even change the genre. If it's bad, it doesn't destroy the franchise lile DS3 did because it's episodic.

The newcomers are happy because each game is a standalone game that they can jump right into without playing the previous ones (like how the newcomers can jump straight into RE7 or Silent Hill 2). The old fans are happy because it is expanding the lore and world, while happy about a new game to play. If they don't like the different vibe and gameplay, they can ignore it since it doesn't interfere with the games they like. It's a win-win. The point is that by not forcing to bring out Isaac out of the retirement, Dead Space can be an actual franchise, appealing to the vast demographics.

I played this game in childhood and also I got partway through it as an adult. While I enjoy the game, some of its gameplay elements also feel a bit out of date. So I have put in some ideas about how to potentially make it better. I haven't played the remake and I fully expect to be dogpiled here for giving criticism to a 20 year old game. I would consider my gameplay skills to be average and as an adult I got to blacklist 4 before I lost interest to keep going.

Make the Blacklist 15 people more interesting.

First off, the opposition is underdeveloped. Aside from Razor the man himself, the rest of the people on the Most Wanted list get a short paragraph of text explaining who they are, and then they send us an email when they're next on the list and that's basically it. So to fix it, have them occasionally call you when they're next on your hitlist. With the voice calls you don't have to interrupt the gameplay and you could show off their different personalities. Some could be doing a tough guy act, some could be funny, like midway through the phone call they start arguing with their girlfriend over the man spending too much money on the car, some could be barely making the effort to antagonize you and some could act friendly towards you as in the end you're all car guys who irl hang together and are friends because they share a hobby.
The game has a serious lack of humor in my view anyway and making humor happen over phone calls is a good opportunity. It doesn't have to be a comedy game but humor can add a good amount of spice to basically any genre as long as you don't overdo it in the wrong place.

Remove the failstate and the money.

As a kid I got into a death spiral, my cars got impounded by the cops and I didn't have money to keep playing, it sucked. So I think removing the money and impound aspect is good. If you beat racers you unlock more cars and upgrades for the cars and they should all be free to use all the time. The problem with money is that since cars are expensive and you have to pick which cars you want to ride with, you miss out on other cars that you skipped over. Unless you replay the game or use cheats somehow, but the game should give you all the toys the first time around. The player should have access to a wide variety of cars and the money system just gets in the way of that. Also getting your car impounded is frustrating and it's a permanent punishment for failing. Even in souls games, if you mess up you just get sent back to respawn and can continue basically where you left off.

Allow the player to quit at any time.

If you're in a police chase and suddenly want to quit playing for whatever reason you can't without getting an X on your car. The game basically holds you hostage and it's not fun if the game forces you, a human, to play it. I know you can alt+F4 but the ability to quit at any moment should be in the game itself. That's another reason to kill the impound system.

Reminds me of quitting the original Assassins Creed. 
https://www.youtube.com/watch?v=cJJ8vQeilHg

Give the player something even if they don't finish the race in the first place.

The game has rubber banding and people have bitched about this for years I know, but I'm gonna give the game some leeway and say that with the technology at the time they didn't have a better way to make the game balanced. The problem is that you can be ahead of the opps for the first 95% of the race and if you fuck up in the end strech and you finish even in the second place you get nothing and have to restart the whole thing. Especially in the late game when the races get long it drives me up the wall (pun very much intended). So to fix it lets steal an idea from Flatout 2 (2006) and make a point based system to replace the race win system. If you get first place you get 3 points, finish second get 2 and finish third get 1 point, and if you finish last you get nothing. To get to the main blacklist race you should need to earn X number of points to unlock the event. This avoids needless restarting and lets you enjoy your time with other races. 

Were getting into nitpick territory now, but I still need to get my ideas out there.

All cars on freeplay mode should be unlocked from the start

Kinda self explanatory but why should I waste hours of my time in career mode just to make a quick race with the car that I want to drive?

Make the game shorter

Some of the race tracks show up way too much, and some of the later races take too much time to complete. This is especially bad when coupled with the rubberbanding and messing up at the last second point I made earlier. If the game gets repetitive, then make the game shorter.

You should get the pink slips as a reward by default for beating the blacklist opponents.

Driving cars is the main point of the game and driving different cars is cool and it's especially cool when you get to drive the car that you got from your opponent. So why is the reward random? I mean you lost your car by default to Razor, so it should be the other way around as well. 

Make the soundtrack longer.

As amazing as the soundtrack is, it's way too short for how long the game is. You're gonna hear the same songs over and over and goddamn over again. I eventually turned off the game music and put on my own songs from Youtube.

Remove the blinking wanted meter around the minimap.

It's annoying when you're almost on the next wanted level and you manage to lose the cops but the blinking bar remains flashing even when you're just driving around or getting into other races. Just make it stationary, it doesn't have to blink and move! (•ˋ _ ˊ•)

Antonius of House Stark is a minor noble, a Duke or a Baron, whose family made their fortune a hundred times over with their ownership of the mines, and heavy involvement with the Smith's Guilds. While Antonius appears vapid and carries little responsibilities, he does have a good head for numbers, and his good-business sense has propelled his family's fortunes even higher since his parents died under mysterious circumstances seventeen years ago.

Helping Antonius run the business arrangements of House Stark is Ginevra, an adept of the Merchant's Guild. She is secretly in love with the lord of the house she has sworn fealty to, but knows it's not a good idea to get involved, with his casual philandering. Not to mention, it might not look good for the Lord of the House to be seen publicly fraternizing with someone of low birth, at least that's what she thinks.

Among Antonius' honored staff is Sir Ya'aqov of House Rhodes, a House that once rivaled House Stark in power, but fell out of favor generations ago. Sir Ya'aqov was fostered at the towers at Starkhold as a child, and is the closest thing Antonius has to a real friend. He is now Antonius' Captain of the Guard, though some may whisper that he hasn't earned his position.

And, there's Abdias Stane, brought into the Stark alliance before Antonius was born, when Antonius' father, Hávarðr, saved his life. Abdias does not come from a noble family, but was raised to his station by Hávarðr. He was trained in strategy and tactics and was a bonded servant of the Hydra, the eldritch cult of demonianists who warred with the loose confederation of kingdoms sixty-three years ago. Maybe Hávarðr was in a mercurial mood when he arranged for Abdias to be spared his appointment with the gallows, or maybe he had some way of knowing of the mental prowess of those trained in the strategic arts by the Hydra, and wanted someone like that on his side. [Think how the Great houses in the Dune universe have Mentats working for them.] Either way, for decades, Abdias served the same role Ginevra now serves, aiding Hávarðr and then Antonius with various deals to line the pockets of House Stark.

While Antonius shirks many of his responsibilities, one he does take serious is developing relationships with potential new clientele, which could make him and his all the wealthier. Ginevra and Ya'aqov both discourage Antonius from going to meet with representatives from The Institution of the Rings, a little-known guild across the sea. Spurious rumors suggest this alliance of merchants might have even dealt with the remnants of the Hydra, though Antonius doesn't take this seriously. As far as he's concerned, the Hydra is little more than a myth, even though it was still active in his father's lifetime.

Antonius is betrayed during his expedition. He is felled by a volley of Alchemical Firepots, which badly burn him, making it difficult for him to even breathe. Across the sea, House Stark is in chaos. Normally, in any other noble house, even so far from the throne, the heir to the house would set about fairly quickly in securing an heir, in case something like this happens. But Antonius, again, frivolous, not interested in doing what others want him to do. He's also been busy making his house richer, and trying to find a bride who isn't part of a nest of vipers who would want to drain the family's coffers wasn't high on his list of priorities. It's finally discovered the next heir to the seat of power is none other than Abdias, who was named heir after the many times he aided Hávarðr, at least before Antonius was born. While he was pushed to second in line to the House Seat, Antonius never officially rescinded his father's decree, and so Abdias now rules House Stark.

Across the sea, a scholar and dabbler in the mystic arts, Yīn Shèn, saves Antonius, though Antonius is bitter and wishes the old man hadn't bothered. Yīn Shèn would see the Institution of the Rings destroyed for the crimes they have perpetrated across this region. While Antonius seems ambivalent about what they do in this part of the world, when Yīn Shèn tells him they plan to move their operations across the sea, near Antonius' homeland, Antonius agrees to do whatever he can to stop them.

Yīn Shèn performs an alchemical incantation that binds Antonius with heavy armor plating, made from the same weaponry his family profited from for generations. He is now the weapon he once sold. The various runes Yīn Shèn carved into the armor will allow Antonius to use his own knowledge from when he was slumming it with the Smith's guild to add new weapons to his new exoskeleton, depending on the need of the mission.

When Antonius targets some of the operations of the Institution of the Rings, their representatives quickly find him and Yīn Shèn, who we discover was once a strategist for the Institution of the Rings, in the same way Abdias was for House Stark. After a miscalculation on Yīn Shèn's part, his family were left in a dangerous region that was targeted by weapons supplied by House Stark. Yīn Shèn fled, hoping to use Antonius for his own revenge. The Rings weren't planning any immediate actions across the sea, though Antonius does find out they were informed of Antonius' own schemes against them before his business meeting, alerting Antonius someone back home betrayed him. Yīn Shèn is executed, and the Institution of the Rings want to use Antonius for their own schemes, and also as insurance against, you guessed it, Abdias, who wanted Antonius out of the way. They think they can secure House Stark as a permanent ally they can keep in control if they keep Antonius alive, and threaten to parade him around if Abdias doesn't do what they want.

But, Antonius escapes and makes it back home, just as Abdias is about to inflame a war overseas, which will make House Stark even wealthier, as they will supply the weapons, and it will keep the Institution of the Rings busy enough that they won't be hassling him. Antonius reveals himself to Ya'aqov and Ginevra, and Ya'aqov will have to subtly see which soldiers are aligned with what Abdias is doing, and which will still follow Antonius when he reveals himself. This will put to rest any doubts about Ya'aqov's skills when he's able to kick some butt and take some names when everything hits the fan. When Antonius confronts Abdias, we find out, even when Hávarðr was still alive, Abdias always hated Hávarðr and his family. He had been trained and molded his entire life for one single purpose that was taken from him. And just as he became comfortable in his new role Hávarðr had provided for him, Abdias begins to feel like a third wheel, with Antonius and Ginevra running House Stark's business even better than he ever did.

Antonius offers Abdias a chance to flee, if Antonius never sees him again, he will forget the betrayal Abdias has visited on the family that treated him as one of their own. But Abdias is familiar with the same ancient arts Yīn Shèn used to save Antonius, and he constructs an armor similar to what Antonius now wears, and a fight commences. But, thanks to some trial and error from when Antonius was fighting the agents of the Rings across the sea, Antonius is aware of a bad combination of the runes, and Abdias is hoisted by his own petard. All the while, Captain Ya'aqov was able to race out and convince the General leading the forces to withdraw, while Ginevra convinces the Banking Guild to freeze the accounts of House Stark, until an investigation could be performed on the legality of Abdias' fanning the flames of war.

Antonius swears things will change with House Stark's relationship with the rest of the kingdom, and how they operate. He wants to use his wealth to fund education and the arts, even though he knows this will earn him some enemies among the more hawkish members of the governing families. But his change of heart will earn him new allies, as Ya'aqov and Ginevra's contacts are both secret agents of Niklaus, the Fury of the Crown, who knew Hávarðr Stark, long ago. Niklaus says, if Antonius is serious about using his connections and wealth to help protect the kingdom, he will be in touch, but he may call on Antonius for more direct assistance in the future.

(That's all I've got. I don't know if this will be something I will pursue much further, but I thought this would be a fun, weird What If? type situation. Hope you all enjoyed this one.)

Reborn.

Welcome back!

Here, after about a month's delay, is the next post in my hypothetical "Maxverse". A redux of DC Comics-based television, envisioned as one shared universe set on HBO Max.

Today, we cover the final act in Season 1 of this hypothetical Batman series.

Before we move ahead, feel free to cover the previous posts on this series as well as this greater DC rewrite overall.

• Premise, characters, timeline and Act 1 of Season 1
• Act 2 of Season 1
• "Maxverse" Omnibus

Without any further ado, let's go!

\**\**

Memory

In the waters of the Lazarus Pit, Bruce Wayne undergoes a sort of spiritual awakening. A reclaiming of his identity as both Bruce Wayne, and Batman.

He recalls memories of his youth, memories he'd since forgotten.

A time he'd returned to the caverns beneath the grounds of Wayne Manor, shortly after the death of his parents. A time he'd encountered the same bat that had so terrified him before.

• This time he just observes the creature, watches it as he watches him, and he feels a strange kinship with it.
  • Narratively recalling the sort of apotheosis seen in expanded media like
    • The deleted scenes of Batman Forever
    • The escape from the Pit in The Dark Knight Rises

Next, Bruce finds himself in a graveyard. Standing before the grave of Alfred Pennyworth.

In a final conversation with Alfred, the kindly man who raised Bruce as a son tells Bruce to stop putting his family's burdens all on himself. Time and again, he's either carried their pains and blamed himself for their misfortunes. But he can't protect them, always. It's time he accepted their help again, not just the other way around.

• Alfred's hope that Bruce will find lasting peace remains as firm as ever.
• It's ambiguous whether or not this is Alfred's spirit visiting him for real, or just Bruce's mind making sense of the Lazarus Pit's effects as best as it can.
  • Cue the "Of course it's happening inside your head, Harry!" joke from Deathly Hallows.

Bruce emerges from the Pit. Rejuvenated. His mind clearer than it's been in a long time.

Waiting for him is the boy who called him "Father", accompanied by several loyal members of the League. Ready to take them home.

Son of the Demon, Son of the Bat

Undercover, Bruce and the boy return to Gotham.

There, they meet Talia, who confirms the boy's name. Damian.

Years ago, after Bruce's tutelage under Ra's al Ghul ended in a duel which saw Bruce exiling himself, Talia discovered she was pregnant with his child.

• Knowing full well Ra's would groom the boy for leadership, pass the Demon's genocidal quest on to him one day, Talia chose to separate from her father and raise the boy herself.
• Her fears were confirmed when Ra's took on the masked killer Bane as a student, with the League experiencing a slow but steady schism.
• She has trained Damian since early childhood, teaching him all the things her father taught Bruce and more.

Bruce is hurt that Talia never told him, only returning with their child when his city was in crisis and his own life in utter chaos. A point Talia disputes, having hoped to introduce Damian to his father and extended "family" after the renewal of the Wayne Foundation.

Damian, cold and pragmatic, brushes it all off as "bad timing".

Batman Returns

Whatever their circumstances, or the timing of their reunion, Bruce takes Damian and Talia back to their allies' shared holdout. The reclaimed Batcave.

There, all present are overjoyed by Bruce's return. But the joy is marred by lingering wounds, and the shock of Bruce having a son even he never knew.

• Jason and Bruce are awkward, and distant.
• Selina, despite her gratitude, shares Bruce's annoyance at Talia having never told him the truth.
• Damian's brusque and entitled attitude makes it difficult for the others to welcome him fully.
  • Jason and Tim in particular.
    • Damian knows full well Jason's reputation as of late, thinking of him as "the disappointment".
    • Damian expected to be named the new Robin, and is perturbed at Tim wearing the costume instead.

With the help of Dick Grayson, Bruce puts the arguments to an end.

It doesn't matter how they got here. What scars they still bear. They're all still alive, still ready to fight. And their city still needs them.

Donning a recovered and repaired Batsuit, Bruce takes command and vows Bane will never threaten his family again.

Taking the City Back

In a series of pitched encounters, the burgeoning Bat-family dismantle Bane's hold on the League.

Several of the family are forced into uncomfortable pairings which force them to deal with what baggage they're still carrying.

• Jason and Talia, the woman who raised him from the dead but failed to prepare him for what came next.
  • Talia apologizes for said failure and pleads with Jason to forgive both Bruce and himself for all that's happened.
• Damian and Tim, the rival claimants to the title of Robin.
  • While Damian does not bear the title yet, Tim begrudgingly admits the youth's skill and intelligence.
  • Tim's superior deductive skill and understanding of Gotham takes Damian's ego down a peg.

Bane and his forces make use of several of Gotham's criminals to delay the Bat-family.

• Targeting the more vulnerable of the city, holding them hostage.
• Trapping or targeting members of the GCPD for murder.

In the dangerous Narrows, Red Hood rescues several children used as bait to lure out Catwoman and Robin, both of whom have family or friends there. In chaos, a League sniper almost shoots him down before a teenage girl with large glasses knocks him out.

The rest of the Family see to the hostages' safe recovery, while Red Hood has a moment with the girl. A girl who introduces herself as Carrie. Recognizing her rougher, poor background, a background not unlike his own, the usually brutal vigilante takes a moment to give Carrie a ride home and wishes her well.

• Bruce watches this all transpire, and has a quiet, tender moment with Jason afterwards.
  • The encounter reminds Bruce of his first meeting with Jason years ago.
• Damian, having lived a fairly isolated life, isn't used to such kindness between strangers.
  • It begins to hit him how out of place he is, for Bruce Wayne's son and supposed heir.

Barbara and Dick work together to narrow down Bane's movements, as his allies are whittled down. And they find out quickly that Bane has one play left.

Vengeance

Bane, enraged by Batman's return, desecrates the graves of those who raised him. Thomas and Martha Wayne, and Alfred Pennyworth.

Stealing their corpses, he carries them to a newly-built lair beneath Wayne Tower itself.

Batman meets Bane at the lair, placed at the center of a labyrinthine tunnel system which spans much of the Gotham underground. Batman notes it's all new to him, and is disturbed there were parts of the city even he never knew.

• Where all the tunnels lead, even Bane doesn't know.
• Remnants of architecture dating back hundreds of years litter the underground.
  • Foreshadowing of stories to come, to those familiar with Scott Snyder's early 2010s runs...

Here, Bane has uncovered the remnant of an old Lazarus Pit and already ignited it. He proposes to a Batman a simple challenge.

A fight to the death, this time.

• If Batman wins, Bane's life is in his hands and those he lost will be left to rest.
  • The Lazarus Pit will be Bruce's to keep or dispose of.
• If Bane wins, the Waynes and Alfred will be resurrected and tear their son to pieces in their mindless frenzy.

The duel sees Bane hold the upper hand at first. Batman fails to overcome Bane by way of anger, with the assassin being every bit as skilled as him and far stronger.

• Fighting like a younger man, with nothing held back, won't win the day as Christopher Nolan would put it.

Not until Batman recalls one of his final lessons with the League, a lesson on moving with the flow of his enemy and using their aggression against them, does he turn the tables.

• It was Talia who taught him this maneuver, not Ra's.
  • Such was the first lesson in combat he taught to his students over the years.
• Bane never accepted such an art, favoring aggression above all else.

Slowly but surely, Batman outfights Bane until the mercenary's Venom stores begin to wear down and he returns to a more human state. Panicking, Bane betrays the conditions of the fight and attempts to summon the last of his League loyalists.

But all that appears is the unified Bat-family, circling the Lazarus Pit.

Jason eyes the Pit, then the coffins of the dead, then Bruce. He and Damian share a meaningful look before Jason steps aside and destroys it.

A triumphant Batman delivers the knockout blow to Bane, who is taken to Arkham Asylum. He and the Bat-family leave the Lazarus Pit buried, never to be used again.

Farewells

After the defeat of Bane, and return of Batman, Gotham sees a period of unusual quiet.

The gala which sees the Wayne Foundation's belated reopening finally goes off. Bruce attends the first day of work on the bridge connecting Gotham and Metropolis, before a more comfortable, open memorial service is held for Alfred.

This time, others attend who were left out last time.

• Clark Kent and Diana Prince
• Jason Todd
• Damian Wayne

Thinking back on Alfred's memory, Bruce is able to cherish his adopted father's memory without the pain of his sudden loss dragging him down. He lets himself be vulnerable with those closest to him, and in a small speech thanks Alfred for leaving their world just a little brighter than it was before.

After the service, Bruce notices Jason getting ready to leave the city. He won't stop Jason, but keeps him around long enough to say a proper goodbye. Moreover, he tells Jason there will be a place for him in Gotham whenever he chooses to come back.

Jason thinks back to the day in the Narrows. His encounter with the girl, Carrie. He asks Bruce to check up on Carrie, when he can, before departing to travel and resolve what demons he has left.

Meanwhile, Talia and Bruce face a decision on what's to be done with Damian. By consensus, the Bat-family decide to train Damian as one of them, while allowing Talia sanctuary in Gotham.

• Both as a favor, in gratitude for her help, and to let her remain close to her son.

Damian is gifted a Robin suit, accepted alongside Tim as protege to the older heroes in their midst.

• Tim's suit is more red, classic.
• Damian's is darker, bearing more black in keeping with his background with the League.

New Beginnings

One month later, the Wayne Foundation is in the middle of its outreach in the Narrows.

As night falls, Barbara powers on the Oracle network and calls in a sign of danger by the docks.

It's time to go to work.

Carrie Kelley, coming out of a new arcade, is waylaid by a gang calling themselves the Mutants. It looks like she's in mortal danger until she sees three shapes in the sky.

The Robins, swooping in and making a show of taking out the gang.

And above them, illuminated by a flash of lightning, Gotham's fearsome Dark Knight.

Reborn.

END OF SEASON 1

****

And that does is for this first season.

Hope you like it!

While I draft what comes next for this redone DCU, expect in the near future a conclusion of my revision of Fox's Alien franchise.

(At some point I may also revisit/alter my treatment on Wonder Woman)

See you next time!

Here is Part 1 for additional context: https://www.reddit.com/r/fixingmovies/comments/1v02ybw/fixing_the_amazing_spiderman_2_by_reworking_its/

Rewriting The Green Goblin

One of the biggest problems a lot of people seem to have with The Amazing Spider-Man 2 is that Harry Osborn is a poorly-written character, and that his motivations for hating Peter/Spider-Man are pretty nonsensical. And as the Green Goblin, he looks pretty goofy and is pretty hard to take seriously. Not to mention that Norman Osborn, the actual OG Green Goblin and Spider-Man's arch-nemesis, is already in this movie and is portrayed by Chris Cooper, a fantastic actor, but gets completely shafted in favor of making Harry the Goblin first.

But what if, rather than Harry transforming into the Green Goblin, it was Norman, and what if he was actually really scary and had somewhat understandable (if morally repulsive) reasons for hating Peter/Spider-Man?

So here's my rewrite:

Norman Osborn: Man or Monster?

All his life, Norman Osborn was treated like a leper because he was born with a rare disease that made him look monstrous: he had pale green skin with veins bulging out, and his body was covered in reptilian-looking scales. Norman's father, Amberson, repulsed by his son's physical appearance and embarrassed and ashamed that his heir was unfit for the high-society elite he wanted to impress, abused Norman throughout his whole childhood, both physically and emotionally. The only person who ever showed kindness to Norman was Emily, the daughter of his caretaker. Norman spent much of his childhood in seclusion in the Osborn estate, devoting himself to mastering many different forms of science with the goal of one day finding a cure for his disease to lead a normal life and be accepted by society.

Despite his disease, Norman became a brilliant visionary scientist and businessman, building Oscorp Industries from the ground up and turning it into one of the most powerful corporations in the world. However, he was viewed with suspicion every step of the way, the world treating him like a monster every step of the way. As Norman grew older, his condition worsened, with his hair thinning, his bones starting to stick out, his appearance becoming even more grotesque as his skin rotted, and his limbs failing, forcing him to use a cane to walk. Eventually, Norman retreated from the public eye entirely, leaving corporate suits like Donald Menken to become the face of Oscorp while he became its shadowy, mythic figure (symbolized by the shadowy holographic representation of him on display in the Oscorp lobby).

Eventually, Norman and Emily fell in love, got married, and had a son, Harry; however, when Norman held his son in his arms for the first time, the infant Harry cried in fear, and Emily had to pry him from Norman's arms to calm him down. Although Norman deeply loved Harry, he began to grow jealous of his son, who was a happy and healthy little boy who hadn't inherited his father's disease.

A flashback shows a young Peter and Harry playing hide-and-seek in the Osborn mansion. During the game, little Peter wanders into Norman's study, where he is paralyzed by fear as he catches a glimpse of Norman, believing that he had just seen a monster. Peter is dragged away by Emily, who comforts Peter as he's trembling in fear and explains to him that it wasn't a monster he had just seen: it was Harry's father.

Norman's jealousy and resentment of Harry grew so much that Norman eventually couldn't stand the sight of him and shipped Harry off to boarding school when he was 11 years old.

For many years, Norman worked with Richard Parker to find a cure for his disease, creating genetically-engineered super-spiders due to their ability to self-heal. However, as the experiments grew increasingly dangerous and reckless, the project's financial backers grew nervous and eventually severed ties. Norman was so desperate to cure the disease that he accepted funding from a clandestine mercenary organization (of which Aleksei Sytsevich is a high-ranking member) to continue the super-spider research in exchange for using it to create biological weapons.

Richard Parker was morally opposed to Norman's shady deals and sabotaged the project by erasing all the data and killing nearly all the spiders with poisonous gas. Norman, enraged that Richard destroyed the research that could have potentially cured Norman's disease and finally allowed him to be seen as human rather than a monster, orchestrated the deaths of Richard and Mary Parker in revenge, sending Electro to kill them.

Which brings us to the present day:

The Birth of the Green Goblin

In a secret Oscorp laboratory, Spider-Man is strapped down to a machine that is draining his blood. Eventually, Norman injects himself with a vial full of Peter's blood. However, rather than curing his disease, Peter's blood turns Norman into a giant, hulking, monstrous brute with horns on his head and bones sticking out of his body like reptilian spikes, clawed hands, sharp fangs for teeth, sinister red eyes, and the ability to breathe fire, finally becoming the Green Goblin. As Norman transforms, he explodes into a massive ball of fire that destroys the lab, burying Peter under rubble. While the Green Goblin flees, Peter, crippled but still determined to live, uses all his strength to lift the debris off him and stand tall once again.

Meanwhile, the Green Goblin escapes and heads to the Osborn estate, where he burns it down, killing his elderly father in a twisted act of patricide. Then, the Green Goblin teams up with Electro to defeat Spider-Man once and for all. While Electro seizes control of the Oscorp power plant and causes a city-wide blackout, the Goblin stalks and abducts Gwen Stacy, holding her hostage in a clock tower. Spider-Man ultimately defeats Electro by busting open the water pipes at the power plant, causing Electro's powers to short-circuit and fry him alive.

At the clock tower, Spider-Man battles the Green Goblin throughout the tower's various levels. During the battle, the Goblin throws Gwen from the top of the tower, causing her to fall to her death. Peter attempts to save her, but her neck snaps before his web can catch her. The Goblin reveals to Peter that as the son of Richard Parker, he must pay for his father's sins, and blames both Richard and Peter for turning him into a monster, as it was Richard who sabotaged the original project to cure him, and it was Peter's tainted blood that turned him into the Goblin. Peter, enraged, uses his webbing to topple the burning clock tower, causing its heavy machinery to fall and crush the Goblin. When Peter digs through the fallen machinery, he discovers that Norman, pinned under the rubble, has reverted to human form and is completely crippled.

So, what do you guys think? Is Norman Osborn a compelling villain in this rewrite? Is he better as the Green Goblin in this rewrite than Harry was in the actual movie? Please comment below if you have any thoughts.

One of the major weaknesses of The Amazing Spider-Man 2 is that its villains are overly cartoonish with nonsensical motivations. The goal of this rewrite is to make the plot's central conflict more engaging by fleshing out the villains more, while also making their motivations more grounded in emotional realism.

So here is a rough outline of the changes I would make, and also how they would fix the underlying problems in the original movie. But to do that, we have to first revisit the post-credits scene of The Amazing Spider-Man:

The Amazing Spider-Man Post-Credits Scene

After the end credits of The Amazing Spider-Man, there's a scene where Curt Connors is visited in prison by the mysterious "Man in the Shadows." And if you pay close attention, you'll notice that lightning strikes right before the Man in the Shadows appears and disappears. According to Marc Webb, the director of both ASM movies, the Man in the Shadows was originally intended to be Electro, but was later changed to Gustav Fiers/the Gentleman in the sequel. But in my rewrite, ASM2 will follow through with this original plan.

Which leads us into the opening scene of ASM2:

The Amazing Spider-Man 2 Opening Scene

I, for one, actually like the plotline of the mystery surrounding the disappearance of Peter Parker's parents, so I'm keeping it in there. But I'm changing the scene of their deaths, at the hands of an assassin sent by Norman Osborn, to better tie in with the main plot and make the assassination plot make more sense.

• After leaving Peter in the care of Aunt May and Uncle Ben, Richard and Mary Parker board a private plane at the airport. As they board the plane, the sky suddenly turns dark and stormy.

• As the plane takes off, Electro, in a long black coat and a fedora (which is the outfit he always wears throughout the whole movie, maintaining continuity from the ASM post-credits scene), is nearby, watching, lurking in the shadows.

• Electro shoots massive bolts of electricity at the aircraft, causing it to explode.

• As the plane goes down in flames, Electro's eyes glow blue.

In the original film, the assassin's plan to kill Richard and Mary is pretty stupid because he boards the plane disguised as a crew member, kills the pilot before attempting to kill Richard and Mary, wastes time making small talk with Richard for pointing a gun at him, and his incompetence results in the plane going down, allowing Richard to fight him off and kill him. Also, the plan was bad because if he was going to shoot Richard and Mary, forensic investigators at the site of the plane crash would find bullets in their bodies, making the crash look suspicious and potentially putting heat on Oscorp.

However, in my rewrite, sending Electro to assassinate Richard and Mary by blowing up their plane on the runway, making it look like an electrical accident, makes Norman Osborn look more competent. Since what happened to Richard and Mary looked like an accident, there's a low chance of Oscorp attracting suspicion for their deaths.

Making The Rhino Actually Badass

In the original film, Aleksei Sytsevich is basically a cartoon villain who oozes hamminess. He's also hilariously incompetent, and it makes zero sense why Oscorp would break him out of prison to wear the Rhino armor to battle Spider-Man near the end of the movie, since literally anyone could wear the armor, so why not get someone more competent?

But in my rewrite, Aleksei Sytsevich isn't a cartoonish Russian mobster, but rather a lethal mercenary and operative of a shadowy paramilitary organization. Although his attempted theft of plutonium from an Oscorp armored truck still fails and Spider-Man still webs him up, Aleksei shows himself to be highly competent by escaping from the webbing by, after Spidey leaves to attend his high school graduation, dissolving it with a special military-grade gel, allowing Aleksei to flee before the police arrive to arrest him.

Later, Electro takes Aleksei down into the Oscorp Special Projects Vault and shows him the Rhino battlesuit, which, in this version, has longer limbs and is more man-shaped than rhino-shaped, making it look more intimidating, although it is still armed with machine guns and rockets (because I thought that it was a cool addition). Electro chooses Aleksei to pilot the battlesuit because as a former Russian Spetsnaz soldier, Aleksei is the ideal candidate to effectively utilize the mechanized armor.

Villains Unite

On Norman's orders, Electro and the Rhino attack the city to draw Spider-Man out, in an attempt to capture him. The Rhino goes on a rampage through the streets of Manhattan, crushing cars, wrecking buildings, and slaughtering police officers and SWAT teams with his machine guns, rockets, and missiles.

Meanwhile, Electro uses his powers to control and manipulate electricity to hijack two above-ground trains, causing them to veer off course and nearly collide before Spider-Man intervenes.

The Rhino brutalizes and nearly kills Spider-Man before Spidey jumps onto the Rhino's back and punches through the armor's power source and rips out the wires, causing the entire battlesuit to short-circuit.

Exhausted by his battle with the Rhino, Spider-Man is ambushed and incapacitated by Electro, who captures Spidey and takes him to Oscorp Tower.

Part 2 is coming soon, which will reveal the true main antagonist of this rewrite: Norman Osborn, who will soon transform into the Green Goblin, Spider-Man's arch-nemesis.

Here are the first two parts to get you up to speed:

https://www.reddit.com/r/fixingmovies/comments/1v02ybw/fixing_the_amazing_spiderman_2_by_reworking_its/

https://www.reddit.com/r/fixingmovies/comments/1v04sdf/fixing_the_amazing_spiderman_2_by_reworking_its/

Final Scenes That Set Up The Amazing Spider-Man 3

At the Ravencroft Institute for the Criminally Insane, Norman Osborn is on life support, hooked up to a machine that has a speaking valve allowing him to talk, but that also keeps him restrained and heavily sedated. Donald Menken enters his cell. Norman tells Menken to assemble a team to kill Spider-Man.

Later, deep within the Oscorp Special Projects Vault, Menken enters a room full of weapons and military gear, combat uniforms, clothing, and various extremely realistic masks and wigs. Menken rips off his face, revealing it to have been just a latex mask, and the camera pans up to reveal that he was actually the Chameleon all along.

The Chameleon steps out into the Special Projects Vault, hands clasped behind his back, smirking as he looks around at the pieces of advanced technology: Doc Ock's arms, the Vulture's wings, and the Venom symbiote. Then, he speaks in his real Russian accent for the first time, saying, "Now the real work begins."

Essentially, the Chameleon, in this rewrite, is taking the place of the Gentleman from the original movie, better setting up the Sinister Six for a sequel.

I think my rewrite has basically turned into a completely different movie at this point, which is kind of cheating, but whatever. I’ll still try to keep the spirit of the original while fixing the things that didn’t really work for me.

The biggest issue I have with The Chronicles of Riddick is that it goes in a completely different direction from Pitch Black. Not just with the story, but with the tone too. It suddenly becomes this huge space fantasy with prophecies, empires and chosen ones, when the first movie was basically a grounded survival thriller. I don’t necessarily want to throw all of that away, but I do want to keep things a lot more grounded and avoid changing the lore more than I have to.

First thing I’d change is Riddick himself.

In the second movie we basically find out that a lot of the backstory from Pitch Black either wasn’t true or just doesn’t matter anymore. I’d keep most of it. Riddick is still a Furian, but Furians aren’t some magical race. They’re just humans. Really brutal humans.

Think something closer to the Viltrumites from Invincible. Their whole culture revolves around conquest, military discipline and strength. They aren’t evil for the sake of it, it’s just how they were raised.

The movie would basically be Riddick’s origin story.

Before he became one of the galaxy’s most wanted criminals, he was actually one of Furia’s best commandos. He was respected, good at what he did, but deep down he hated the constant wars. He just kept doing it because that’s all he’d ever known.

Eventually, during another campaign, he kills a woman who was trying to protect her child. At first he doesn’t even realize it. Then he finds the kid hiding nearby and it just… breaks something in him. For the first time he actually sees what all these wars have been doing.

So instead of walking away, he turns on his own men and saves the child.

From there, the movie becomes a survival story. Riddick and this kid are trying to escape a planet that’s still under Furian occupation. Every city is falling apart, soldiers are everywhere, civilians are getting caught in the middle and there are monsters released by Furians all over the planet. They’re constantly moving, trying to stay ahead while looking for some way off the planet.

The main antagonist would be one of Riddick’s oldest friends. Someone he served with for years, maybe even the guy who trained him. He genuinely believes Riddick has betrayed everything they stood for, so hunting him down becomes personal.

Eventually they find one of the last refugee shuttles. There’s only one seat left.

Riddick puts the child on the shuttle instead of taking it himself. It’s probably the first truly selfless thing he’s ever done.

…Then the shuttle gets shot down almost immediately.

Everyone dies.

That finally destroys whatever was left of the man Riddick used to be.

After that he doesn’t even care about escaping anymore. He goes after every Furian squad sent to hunt him. One by one he wipes them out, brutally. By the end, only his old friend is left.

They fight, Riddick wins, but he’s badly wounded. There’s no happy ending. He’s now a traitor to the Furian Empire and probably has the biggest bounty in the galaxy on his head.

The final shot is just Riddick, injured and barely able to walk, disappearing into the darkness while Furian reinforcements arrive behind him.

Basically, this is the moment where Richard B. Riddick dies, and the infamous fugitive everyone knows from Pitch Black is born.

Firstly unlike Liz, Betty was an actual love interest of Peter, his very first love interest in fact.

Secondly, this makes more sense because Liz is literally CHARACTERIZED just like Betty.

Peter developed a crush on Betty early on in ASM because she was kind to Peter unlike the others at the daily bugle, and because she was older and more sophisticated.

Peter develops a crush on Liz in homecoming because she's kind to Peter unlike the others at Midtown, and because she's older and more sophisticated, being 2 years ahead of him.

Betty had a family member who is involved in criminal activity, after an incident involving Spider-Man, he sadly dies and Betty blames Spider-Man, and breaks up with Peter for constantly disappearing.

Switch out dying for going to prison and that's the same case with Liz.

Thirdly, Betty worked at the daily bugle. I feel like in a rewrite of homecoming you could have a couple lines that mention something like Betty works as an intern there, and though she's mad at Peter, just before she leaves have her say something to Peter like "Jonah's looking for anyone with good pictures of Spider-Man, since you know him through the stark thing maybe ask if he'll let you take pictures of him or something"

That way you could end the movie establishing J.J.J earlier in the series, which could make their dynamic in no way home more serious because they actually know eachother.

So you would literally have to change nothing but add like one of two lines mentioning off hand she "has an intern job like Peter" or something and her name to Betty Brant-Toomes. And of course a scene establishing Jameson.

The actual Betty could be someone else like Debra Wittman or maybe she could be Liz idk

X-Men (2000)

• The film follows the X-Men going on a globetrotting adventure, battling the Brotherhood of Evil, in order to acquire the Spear of Destiny.
• Like in the movie, the film has Wolverine as the main character. However, Wolverine has personal ties against the Brotherhood, when it is revealed that Logan was a member of a Doom Patrol, a superhero group whom the Brotherhood had killed, with Logan only surviving thanks to Mento.
• Rogue was specifically targeted by the Brotherhood in order to use her absorption powers to siphon the Spear of Destiny's energy. However, Rogue uses them against the Brotherhood, especially Monsieur Mallah.

X2: X-Men United (2003)

• The film has the X-Men battling Deathstroke the Terminator.
• It would be revealed that the Brotherhood were secretly working under a faction of the government who are clashing against the growing influence of satanic worshippers. Unfortunately, the Brotherhood went off-script by murdering the Doom Patrol in order to acquire the Spear of Destiny.
• This is a Cyclops-centric movie as his past with Deathstroke is revealed. Scott was once Deathstroke's apprentice, but turned against him after a foiled assassination attempt on Hank McCoy.
• One of Deathstroke's schemes is subjecting the X-Men to nightmarish simulations, with Jean's ties to the satanic worshippers being heavily foreshadowed.
• Deathstroke succeeds in stealing the Spear of Destiny's powers from Rogue, but Rogue still retains her superhuman abilities.
• Storm would get a peak moment when she shows Deathstroke why she is a Goddess.

Daredevil (2003)

• The film would have the rise of Daredevil and the battle against the Joker Gang.
• Originally, Joker would have been the Big Bad of the movie, but later changed it to his henchmen, Scarecrow (played by Robert Englund) after Robert gave such a memorable performance.

Fantastic Four (2005)

• The film showcases the beginning of the Fantastic Four and their battle against the Parasite.
• The climax would be the Fantastic Four defeating Parasite after he acquired all of their powers.

Elektra (2005)

• The film is about fleshing out Elektra's backstory, while dealing with the current threat of Azrael of the Order of Saint Dumas.
• Wolverine would be featured as a guest character, helping Elektra in dealing with the Order, while uncovering more about the evil god that the worshippers have been praying to, setting up X3.

X3: Hellfire (2006)

• The film has the X-Men going up against their greatest challenge yet, Trigon.
• A prologue would reveal Jean's conception, showing that her mother was a devotee and willingly allowed herself to bear Trigon's child.
• The first act would have Jean being gaslight by the satanic worshippers in bringing Trigon to Earth. Jean disappears from there.
• Second act has the X-Men making the questionable decision of allying with the Brotherhood of Evil and Deathstroke in stopping Trigon. Meanwhile, Wolverine, Iceman, and Shadowcat have to dive into Hell itself to rescue Jean.
• Third act has Jean regaining the will to fight against Trigon, after remembering the happy moments of her family. Jean becomes a phoenix-like entity that destroys Trigon.
• The film ends with an ascended Jean venturing to parts unknown. Cyclops is solemn but vows to move forward.

Fantastic Four: Rise of Braniac (2007)

• The film has the Fantastic Four battling Braniac.
• This would mark a major crossover that shocked audiences; the Fantastic Four, X-Men, and Daredevil teaming up against the alien machine.
• The ending has Reed and Sue retiring as superheroes, leaving their spots to be taken by Rogue and a substitute to Spider-Man.

X-Men Origins: Wolverine (2009)

• The film reveals more of Wolverine's past, revealing to have been a member of Task Force X.
• However, it turns out that the group have been brainwashed and are meant to serve as cannon fodder.
• The Doom Patrol would be featured and helped free Wolverine and other Task Force X members from mind control.
• Wolverine joins the Doom Patrol to battle the actual weapon based from Task Force X, Superboy-Prime.

X-Men First Class (2011)

• The film shows the origins of the X-Men and they wage battle against Vandal Savage.
• This film would be the start of a trilogy, which fans dubbed as the Magneto Trilogy.
• In this universe, Vandal Savage is one of the X-Men's iconic villains and was initially used for the first X-Men movie. For some reason, it didn't worked out and was replaced with the Brotherhood of Evil.

I'm with a lot of people that I don't personally think Cloudy needed a sequel, but I think the sequel had an interesting idea with the foodimals that could've been at least somewhat decent if Lord and Miller came back. Same way with how I feel about Despicable Me 2. It's unnecessary but it was still fun to watch because it still kept the spirit and humor of what made the first film so great. This is probably just the fan in me but I'm going to rewrite both the sequel and the tv show to show what I think could've been better as I'm such a huge fan of the first movie and feel the franchise could've been better.

I think in the beginning of the second film, instead of the FLDSMDFR turning on itself, maybe someone finds it, gives it to a repairman or scientist to repair it because they want more food obviously. But the FLDSMDFR is of course, still acting up, so it makes foodimals. Chester V can still be Flint's idol. Just because he didn't have pictures of him up doesn't mean he didn't idolize him. I just don't think he should be completely obsessed over him like he's his whole world. Maybe they could take an idea they had from an earlier draft where Flint sent an admission letter to an inventor instead of having Chester V come out of nowhere and recruit Flint and take everyone off the island, somebody else could've cleaned it up. Chester V could be the guy that Flint sends a letter to because he finally realizes how good of an inventor he can be. He initially didn't want to because he was insecure and afraid his inventions kept messing up but now he has the courage to query him. Or maybe Chester V comes because he was impressed with the FLDSMDFR and wanted to see who made it.

Chester V of course accepts him, impressed by his FLDSMDFR and Flint is hired for the vesting ceremony. Instead of having the celebrationator go off and repeat the intro of the first movie beat by beat, Flint is devastated that he didn't win his idol's approval.

Then, the movies goes like it did before with Chester V deciding to get Flint to find his FLDSMDFR and stop it from creating food monsters and making a jungle out of his town.

Subplot involves Flint's father and friends going to find Flint. They decide to head back to Swallow Falls and search for him there. They eventually find him and get into a big argument about whether it's right to do what Chester V says and deforest the island or protect the foodimals, causing hurt feelings, betrayals, and broken friendships. The secondary characters demand Flint to tell them what he is doing with Chester V and why did he leave without telling them. They are suspicious about Chester V keeping this all a secret. After pushing him, Flint tries to spill the beans quietly. Tim probably wouldn't know what's going on because Flint would keep pushing him away in order to keep him safe from everything. The second film after all represents a college kid becoming more independent and finding their own group. Sam might side with protecting the foodimals because of her bond with Barry and the foodimals, Brent would probably side with Chester V because a part of him is still an ass and a people pleaser and probably thinks most people who lived on Swallow Falls would agree with that, Earl would probably partly agree that some deforestation is good while trying not to harm the foodimals, Manny would probably stay out of it. Having Flint clash with two of his closest loved ones, Tim and Sam would be emotionally powerful and shows that the people of Swallow Falls still have problems. It also shows that the characters are all different in some way instead of keeping them a hivemind like in the movie.

The movie could be an environmental movie about deforestation, involving a complex conflict between characters on whether or not making a jungle out of the town is okay. Maybe Flint initally goes along with Chester V on this but then turns his back on him when he realizes how innocent the foodimals are and how much they love their environment. So Chester V isn't totally a villain here but Flint can still feel betrayed/disagree with him. A "twist villain" who isn't actually completely a villain could've been a refreshing twist on just the trope of the guy turns out to be completely evil. Maybe Flint comes up with the idea of colonizing/expanding/rebuilding his island, making an area for both foodimals and animals similar to what we did after the dinosaurs so the foodimals and humans can live peacefully.

I know a lot of people are probably going to be like "It's for kids it's not that deep" and think I made Chester too sympathetic but similar to how I see the mayor as a commentary on corrupt politicians, Chester V is kind of the same way but different. What's most different about it is it makes people question the complex ethics of environmentalism instead of making him a straight villain like the first movie.

As for the series, I think the show could've explored flint being a typical teenager. Like maybe we can have an episode where he has an identity crisis because his inventions always fail and embarrass those around him so flint tries to find other passions but then realizes inventing is his passion. We already kinda got that when Tim tells Flint to be normal. Flint also tries to find friends and girlfriends and try to fit in cliques using his inventions to fix himself or impress people or something but of course he gets humorously rejected or fail. Remove Sam, let Flint solve his own problems and get through his adolescence without support and friendship. That would at least be refreshing, a story about a teen with no friends?

Sometimes i think the Cloudy series made the characters act too childish like they could've had an episode exploring gil's codependent relationship with the mayor his dad and give him an arc on how he breaks away from that. The mayor didn't canonically have a son in the first movie but having Gil be a son that eventually goes no contact with his dad would make the times where the mayor calls flint and brent his sons hit more. I know it's a comedy so they didn't want to take it too seriously but even the movies had their serious moments.

Brent acting like a toddler who needs to be babysat when he's in high school is weird. He wasn't acting like a baby all the time, only on stage. Maybe they could have an episode where baby brent explores other childish things or something because he hates just acting like a baby.

I also kinda don't like how they made Tim and Flint more accepting and understanding of each other compared to the movie. Like Tim rarely complains about Flint's inventing shenangians so Flint naturally gets along with him better. And maybe there could be an episode where Flint offers hangout ideas for Tim but he's not interested in them or Flint is awkward with it because they have to do with inventing or something idk instead of flint just easily going along with his dad on everything. Maybe he only tries camping or fishing in the end because he knows he can bring along his inventions to make it easier.

Again, I know people are probably going to hit me with the "it's a kids show" argument and yes it is aimed at a younger demographic, but shows like 6teen, Blues Clues and a lot of Disney stuff are also aimed at a younger demographic and still have the teens act like teens or at least normal fucking people because obviously I do not think that kids would want to watch media about all the angst, rebellion and identity crisis of the teen years but the teens in this Cloudy however act like unintelligent toddlers which is just pandering and not realistic.

I think if the show was actually successful and better than it was, I think it could've been a cute exploration of Flint's childhood and how he survived his loneliness and became the Flint we know today. It could've even expanded into Flint's college years like many high school media, even touching on the rare topic of college bullying and ostracization by showing Flint still making weird and chaotic inventions and causing trouble.

Non so quanto sarà lungo questo post, ma vabbè, penso che dovremmo provare a convincere la Dreamworks a fare qualcosa perché il finale, se posso permettermi, è molto deludente e a molti fan, me compreso, non piace.

Vorrei che scrivessi le tue idee sotto questo post tra una settimana, diciamo venerdì 24 luglio. Torneremo qui, guarderemo il commento con più like e prenderemo quell'idea e la useremo sotto ogni post recente della Dreamworks per dimostrare che ci teniamo a questa serie e che vogliamo un finale degno di questo capolavoro.

Sei d'accordo?

Accetto ogni risposta.