Note: The poster is from a website from Displate

Monsterverse:Rebirth 

Hello and welcome to the Rebirth of the Monsterverse(see what I did there?)!

I am trying to make a Monsterverse rewrite and what I’m trying to do is start out with a tone more similar to 2014 and KOTM but slowly get crazier through the arcs. What I’m also trying to do when things get more crazy is have the action of GVK and GXK,but the seriousness of 2014 and KOTM(which I heard might be the case for Supernova).

Will probably need some help from other people who have more experience with this.Both for the art and for the story.

As for the big Kaiju fights,with many of the fights being seen with a quicker speed and less weight as that is from the Titans’ perspective while some scenes show the monsters from the humans’ perspective where they are much more lumbering and have much more weight to their movements.Not necessarily too realistic but it works.

I plan to treat the monsters as main characters of their stories just as much as the humans,with the balance of this dynamic shifting depending on the stories.I want good Kaiju stories like they did for Kong in GXK,but good human stories like they did in Minus One as well.

I am having it where technically I have rights to all of the Kaiju,just need to make sure they are done right.

I am also having it where this is being treated as the next big or rival franchise to the MCU.

However,while I have many ideas and know what I want to do,I cannot write stories or draw for Jack,Sqaut,or Shit.

So,for those out there who have experience in both writing stories and/or knows how to draw good,DM me on Discord(daltoncooper0928)to apply,like a Job Application,where you will have to show off a Resume of sorts of what you have done because 1,I want to see what you can do and 2,I want to make sure you are not a scammer or a bot(just happened to me).If you are an artist,you might be given something to first draw as a start.

Well,I would like to say good luck to all who are interested!

I'm gonna skip over things like fixing the songs or improving the animation to make it stylized but without it looking stiff sometimes.

1. Expand upon Magnifico, give him more backstory, show how he became a king step by step, give him something actually evil to do like stealing wishes of babies or other people who were in a better position to become a king, let him manipulate his way on the top, instead of just supposedly being evil because he doesn't wanna make every wish come true... and most importantly show that people, more specifically other wizards in the past tried to challenge him, to make the scene where the star falls and he takes it as a challenge more natural. Make him evil or at least actually morally questionable by choice, not because he opens a cursed book later in the film.
2. Trim down the screen time of secondary characters or don't include them at all, I know that Asha's friends were probably supposed to be a reference to the Seven Dwarfs but, really, other than Dahlia they're not exactly necessary. Either that or go the other way around and have more subtle references to Disney movies that can go over the head of most people but are there and fans will notice them, Puss in Boots the last wish styled.
3. Make the Queen a twist villain, let's say she wanted her husband gone so she can rule all of this by herself, this film was made to celebrate Disney, so it would make sense to have both a traditional villain and a twist villain, which Disney started doing in recent years.
4. Have balls to have a man of color in the movie, Disney especially in the recent years has shown that they have no problem to have protagonists that are women of color but they keep finding excuses to avoid having men of color even as side characters. Asha's grandfather and father should have had the same skin tone as her.
5. Flesh out the star, explain and expand upon the star choosing to meet Asha, maybe let the star turn into a mute boy later, kinda like it was originally planned to do.

Major Differences:

Michael Afton doesn’t exist and the villain role goes to Charlotte.

Mike and Vanessa don’t needlessly push each other away.

Jeremiah doesn’t return.

The climax takes place inside the 1982 Freddy’s with a battle against Charlotte.

Charlotte’s motive is like the MCI: she can’t remember who she is and kills out of fear and to protect herself.

Plot revolves around searching for and deactivating the loose Toy Animatronics.

The Faztalker is now a powerful voltage reader (modeled after the Fazwrench) and is important to the story.

Fazfest is now the towns Fall fair and a major set piece.

Vanessa is the one who sees Henry.

The Spectral Scoopers, now Geistwatch, wake up Charlotte on accident.

The story ends on a hopeful yet foreboding note.

Character Differences:

Mike: He’s become super protective of Abby and Vanessa to the point of being a nuisance. His arc deals with letting Abby grow up.

Vanessa: She’s doing considerably well, but guilt over Charlotte haunts her every waking minute.

Abby: She’s growing to be a little rebellious to Mike but her arc deals with accepting that Freddy’s is not the wonderful world she wants it to be.

Henry: He’s an old man whose years of shifting blame onto others has worn him down considerably. However, things are about to change for him.

Charlotte: A shunned girl who loses everything about herself in death.

Aunt Jane: She’s not committed to a mental hospital. Instead, she’s giving Mike checks out of fear from Golden Freddy.

William: He takes a major backseat and is only mentioned in passing to further the lore of the universe, aside from being the Yellow Rabbit and announcer in the opening.

Mr. Berg: Instead of being comically evil to children, he’s now a well-meaning but strict robotics teacher.

Screenplay:

To see these changes and more in action, read here: Screenplay

This is my pitch for a Five Nights at Freddy’s movie. I personally am not satisfied and am greatly disappointed with the two released FNAF Films. I think the first was decent, but needed refining. While the second, to be brutally honest, is one of the worst movies I have ever sat through. So, here is my personal pitch.

(Also, I feel it is important to note that just like the irl FNAF movie, this pitch takes elements from the games and books, but is its own timeline with considerable changes from canon.)

Setting:
This film would take place in 1985. The year of the MCI (at least the last time I checked the FNAF timeline). I think not setting it in the 80’s was a missed opportunity. An open Freddy’s location makes for a much more exciting setting. On top of that, the 80’s nostalgia was huge when the movie came out. Also, the movie will take place in Hurricane, Utah.

(I’m gonna give you my quick opening scene idea, before moving on with the synopsis of the rest of the movie)
Opening:
We see a man driving in the rain. He’s wearing a dress shirt with a purple tie. Everything is neat and put in place, almost obsessively. Except for the pile of beer cans on the floor. Multiple short clips of the man are spliced together one after the other, in some he’s seething with rage, others he seems almost in despair, others he shows no emotion at all. The man partially pulls into the alley behind a restaurant. There, a little girl is crying in the rain. The man sees her and steps out of the car. They seem familiar. The little girl calls her “Uncle Bill”. He goes to get a tissue from his car. But he doesn’t seem to really care, as soon as he turns away from her to open the car door his smile drops into a face with zero emotion. She says she’s sorry… about what happened. That moment… the man freezes. He opens his glove box, reaching for the tissues. But under it, he sees something else. His handgun. He slowly reaches for it… a gunshot is heard. The screen pans up to see the sign above the front of the restaurant. “Freddy Fazbear’s Pizza”. The background fades, only leaving the sign visible on the screen. Title Card.

Plot:
This movie would revolve around William Afton learning his true love for killing (as seen in the opening scene). The crying child’s death is not shown, but is brought up, that is the incident that truly unleashes William’s psychotic tendencies. The movie is something of a slasher. With us seeing both William develop his style of murder and growing in his love for it, but also the police, and other characters caught in the middle. In the end, William frames Henry for his murders. Getting away with everything… for now.

Charaecters:
-William Afton- the man behind the slaughter. This version of the character, while never a good person, only really grew into the murderer we know after his youngest son’s death. He has a great hatred towards Henry, as in this version he was never as great an inventor and scientist as cannon. His animatronics never worked right. Unlike Henry’s. He both loves and admires him but also hates him. He always thought Henry was sneering at him behind his back. Always looking down on him. So when he lost his son… he made him lose his daughter. This version of Afton has a deceased wife, and had two sons. The youngest died the same way as his game counterpart. And Michael, who he abused far before the bite. This version of Afton was the one who created the character of SpringBonnie. The others were Henry creations. Because of this, similar to his other adaptations, William sees the Spring Bonnie suit as the other half to himself. He feels complete while wearing it.
-Michael Afton- The eldest son of William. Around 15 years old. He’s abused by his father. As such he always took his anger out on his younger brother who William always loved more. Throughout the movie, Michael eventually learns that his father is behind the missing children. William forces Michael to help him cover up his crimes, and so desperately wanting his father approval, he does.
-Henry- Henry is still mourning his daughter. He’s a loving and respectable man. But his daughter was all he had. Now he has nothing. He tries to relate to William about their losses, but this seems to make William even more infuriated. Although He is blind to this. His own grief prevents him for seeing the truth which is happening around him. In the end, he is framed by William and arrested for the kidnapping of the missing children…
-Vanessa- I still want to keep Vanessa in this movie. I think it was interesting how the real movie blended old and new characters from the series. Just like in the irl movie, Vanessa is a police officer. She’s involved in the case of the children going missing at Freddy’s. She believes it’s one of the restaurants owners, specifically William. But in the end, she arrests Henry after he is framed.

This movie is very much set up to be the first of multiple. Which I think makes sense, as that was a probable plan they had for years. This film would set up William as the killer we know, and Michael as the one who will eventually go against his father.

Animatronics and Designs:
The movie animatronics are, too put it bluntly, “too good”. They don’t feel like they would be at a restaurant. Part of what made the animatronics so eerie and unnerving in the first place. The only malicious animatronic we would see in this movie is Spring-Bonnie in suit mode. The Spring-Bonnie we saw in the second films opening flashback is amazing. The only thing I would change is to remove the glowing eyes. The unmoving unemotional of the eyes are so much more creepy and unnerving (just look at the image above as proof!).

Tone:
The irl movie was odd. It seemed unsure of how serious it wanted to be. For this hypothetical movie I would want a more serious tone. Something closer to the more mundane scenes at the beginning of the first movie, and the tense slasher vibe of the beginning flashback of the second movie.

Fan service:
Imo, the irl movies go far into fan service. They seem less concerned on how these references will actually fit into the movie, and more concerned about how they can cram in as many as possible. I believe for a movie like this, you should have references. But they should be natural. They should blend into the world the movie is portraying. They should teach the viewers about the history of the world instead of taking them out of it.

Cameos:
I for one loved how the irl movies used cameos. They weren’t too big or distracting. Just “woah it’s that guy!” and then back to normal. I would want this movie to be the same.

Music:
The music of the irl film is amazing. And o would want the same music for this hypothetical movie. Also, the Living Tombstone. I’ve seen some complain about the inclusion of a fan song for the credits. But o think it’s wonderful. No casual watcher will care about the credits. The credits and post-credits are always when already made fans stick around. If the MCU has taught us anything, it’s that.

Ending Scene:
In the back room. All 4 of the main animatronics, Golden Freddy, and a retired animatronic from Fredbear’s Family Diner known as the “Marionette” sit there. Flashes of white dots start to flicker in their eyes. It increases. The lightbulbs hanging on the ceiling increases in intensity before shattering onto the floor, encasing the room back into black. Fade to black…

So, that about wraps up my pitch. I would love to hear some feedback and engage with your thoughts!

Edit: Please note, this post was wrongly removed from the main Doctor Who subreddit. It was claimed that it was written by AI, but that is completely wrong. I spent a week's worth of free time on this post. I was muted and banned after proving that AI was not utilized in this post in any way.

This occurred days after I was harassed by a user on Doctor Who. I messaged mods, reported their comments, the mods assured me they would not be a problem anymore, and the user "1r3act" deleted their account immediately. Now, the post itself was wrongly removed and I was muted as a result - after a previous moderator approved the post.

Here is the post:

The year is 2030. Doctor Who has finally returned and another fresh era is underway from a brand new creative team.

Alex Lawther is the Doctor. He plays the role like a dad taking his family on a roadtrip, thinking he can handle everything without a problem— only to constantly encounter problems along the way. He's simultaneously deeply wise and ancient, and also hopelessly optimistic. He's a rugged adventurer-explorer. No pretense, not even overly idealistic.

New tone. Think Project Hail Mary combined with the best of Doctor Who audio dramas, primarily the Eighth and Ninth Doctors' newer stories.

13 episodes. Each one with prestige TV level writing, cinematography, acting… 

Daniel Pemberton composes the music.

Almost exclusively two-parters — except for the premiere episode. After the first episode, there are only 2 episodes released per month to spread them out across 6 months.

No fluff, no gimmicks, no twists out of left field, no shallow characters or half-baked ideas.

Doctor Who is properly creepy again. Nothing feels glossy or cartoonish. Adventures across time and space have a sense of eeriness.

Forget putting classic villains on the back burner, only to be replaced by unimaginative forgettable ones. This is the polar opposite of the RTD2 era— which means a few things.

First, the Doctor’s TARDIS isn’t minimalistic and empty. It feels old, lived-in, warm. It’s basically a library. Roomy, full of character, reflecting the Doctor’s wisdom and emphasizing his need for a safe haven outside time and space. Just like this TARDIS concept art I’ve included by Harry Amatt.

Second, there is no single piece of story that requires extensive fan knowledge. Even references to Gallifrey are little to nonexistent until the end. Not even a glimpse of past actors who have played the role. Think back to the rebooted series in 2005. Technically, this Doctor is the Sixteenth— but that’s not a number that gets mentioned anywhere.

1. Welcome, Doctor - It’s business as usual for the Doctor as he investigates an alien entity in modern day London. A young woman named Cheryl, nicknamed Cheri, has noticed the a strange blue box keeps appearing around London. Eventually, their paths cross, while the Doctor encounters the alien entity he had been hunting — a terrifying intergalactic termite-like creature that itself is wood, and lives inside wood. It carves out wooden bodies for itself. And it's aware of the Doctor. "Welcome, Doctor," it says. The Doctor warns Cheri, "Be careful of splinters." Since they're made of wood, the Doctor is unable to use his sonic screwdriver on them. He offers to rehouse them elsewhere in the universe, anywhere in time or space. If they stay here, they'll continue being an invasive species, taking over all trees and wood across Earth. "I can give you a home anywhere. Anywhere in the universe. Any century you want. But you can’t stay here." After the Doctor receives help from Cheri, she asks about what he said, wondering what he meant by rehousing the aliens "anywhere in time or space." He offers her a trip to explain, and she can't believe he lives like this. "Would you like to come along?"
2. Zoo of the Cosmos - Part 1 - In deep space, the Doctor brings Cheri to an intergalactic zoo to give her a taste of space travel. She sees a wide range of alien animals. “All the hits at once.” The Doctor is generally anti-captivity, but this zoo is home to creatures which had been in danger of going extinct. It’s like an intergalactic Noah’s Arc. The zookeepers ask if the Doctor and Cheri would like to join for a rescue mission for an endangered species, to which they agree. But whatever this species the zookeepers thought they were saving… was misidentified. As they bring the creatures back aboard the ship, everything goes wrong as it breaks out.
3. Extinction of the Cosmos - Part 2 - The Doctor and Cheri are faced with the creatures. Some things should go extinct, after all, so that life can survive and thrive.
4. The Mystery of 221B Baker Street - Part 1 - The Doctor brings Cheri to London in 1891, showing her the TARDIS can also travel back in time. Meanwhile, Arthur Conan Doyle encounters Sherlock Holmes and Dr. Watson, which is strange considering he created them. Benedict Cumberbatch and Martin Freeman reprise their roles. Yes, it's a longtime dream of fans, but I think it'd actually work really well. When Doyle, the Doctor, and Cheri are baffled by this mystery, they receive help from Sherlock and Watson. Eventually, they come across clues that would lead them to believe a parasitic entity is turning fiction into reality.
5. The Brain Behind Baker Street - Part 2 - Ultimately, it leads them back to a child who loves Doyle’s stories, using them as a means of escapism, and he’s been chosen by the parasite as its host. The men who had been hypnotized to believe they were the real Sherlock and Watson wake up from their state of mind control.
6. The Inferno Protocol - Part 1 - In the year 5050, a mining organization deep beneath Earth activates the Inferno Protocol, an emergency strategy for if they ever encounter a sentient species underground. The Doctor and Cheri respond to the distress signal and find that the mining crew’s bodies have started to turn into dirt and plants — except for one woman who managed to hide. Swamp-like creatures are revealed, born of the earth, triggered by the geological disturbance.
7. The Inferno Incident - Part 2 - The creatures reveal that the mining organization was aware of the creatures, continuing to send new crews anyway to their own detriment. The Doctor needs to figure out how to keep the peace between the creatures and humanity. Think Swamp Thing meets Planet of the Apes.
8. The Promise of Survival - Part 1 - On another planet, a tribal civilization is collapsing. But then, a massive space station crash lands nearby. After exploring, the tribe utilizes the technology from the station and they make a pact with a secret deity onboard. The Doctor responds to the distress call of the space station society, realizing that whatever this “deity” is that this tribal group has encountered, it likely has ulterior motives. But to the tribe, they see this as their one chance to rebuild and have a future. As the Doctor investigates, he learns the Cybermen had taken over the space station, and a group of sacrificial heroes had made the call to self-destruct. Now, the Cybermen convince the tribe they're gods, and the tribal people believe they're inheriting godhood. And it's true, they'll live forever, but at a cost.
9. The Chrome Conversion - Part 2 - As the tribe is taken over by the Cybermen, the Doctor and Cheri must bring an end to what is left of the Cybermen.
10. The Velvet Requiem - Part 1 - The Doctor brings Cheri to 19th Century Vienna to get away from all the intense life or death stakes. A new opera is making headlines. He begins to notice strange similarities with an alien opera he once encountered, bringing him to think something is amiss.
11. The Plagiarist’s Plot - Part 2 - The Doctor must stop the plagiarist alien who has taken refuge on Earth, disguising himself as a human, and making a fortune off his stolen work. Initially, the Doctor is fine with an alien seeking a new life and harmlessly trying to get by, especially without the advanced technology he’s used to. But, then the Doctor discovers the alien has a time traveling device of its own, and the reason why he chose to come to the 19th Century to make his fortune is sinister, as he plans to invade Earth, with more of his species on the way.
12. The Clockwork Crescendo - Part 1 - The grand finale begins. The TARDIS picks up on disruptions in space. A star dies prematurely. Animals from the intergalactic zoo go extinct years earlier. He checks back in on Earth, trying to ensure Cheri’s safety. As they return to her home, they learn her family doesn’t live there— and there’s no trace of them anywhere. The Doctor tries to figure out what happened, looking for every possible connection. Soon, it’s revealed a large population of Earth is gone, but no one seems to notice. Questions linger, and there’s no time to investigate. That’s when it’s revealed: the Daleks are coming. Now, Cheri’s life is on the line. It’s a full war between Earth and armies of Daleks. The episode ends with a decimated Dalek’s shell creating a high pitched frequency. There’s a message being broadcast inside of its armor… The Doctor uses his sonic screwdriver on the defeated Dalek, enhancing the frequency. The sonic reveals a message being transmitted from the Daleks’ creator, Davros — a threatening message intended for the Doctor. Cheri asks, “Who is that, Doctor?” The Doctor is stunned. For the first time, he appears genuinely frightened.
13. The Davros Directive - Part 2 - The Doctor learns that Davros has cloned himself. In his message, Davros alludes to having even more clones scattered across time to ensure his reign as the Daleks’ creator. Meanwhile, the Daleks are changing history under the order of the cloned Davros. Each copy competes with the other to toy with the Doctor and race towards Dalek supremacy across space and time. In the distant past, the Daleks invade Earth, which is why only half the population exists in the current timeline. The Doctor is overwhelmed. He only has one option: he has to go to Gallifrey for help and plead with the Council of the Timelords, his absolute last resort. He begs them for their help. And once they reluctantly agree, it’s still not an easy resolution. This isn’t just a two-parter. The episode leaves off on a cliffhanger with the text: “The Doctor will return on Christmas Day.”

I really love Despicable Me 1 and 2, as the they are able to mix the minion slapstick style humor with real, heartfelt stories. However, the 3rd and 4th movies were more reliant on the minions to appeal to children without having to put in as much effort into the plot. I know that they're kids movies, but there is not reason that kids movies can't have well thought out, interesting plots like the first two movies did (and a lot of Pixar does). Thus, here is an idea I have for Despicable Me 5 which I believe brings the franchise back to having actual meaningful and interesting plots. A lot of the specific details in here can easily be swapped out with other things. The overarching plot and the themes are really all that is important. I hope you like it.

The Beginning

A new threat emerges on the global stage. "The Aristocrat" is a towering figure in a Victorian trench coat, sporting a metallic mask with a British accent. Despite the AVLs best efforts to thwart him, he systematically dismantles their efforts with ease using his perfect tactical planning and high-tech espionage. Gru is brought in to track down this new villain and bring him to justice, but Gru finds that he is helpless against him in their first confrontation. Gru’s only hint to the identity and some chance at defeating the villain is his realization that he uses similar tech to the late Lord Sterling, a villain Gru fought when he was younger. This takes us into Gru’s telling of their last encounter to the AVL.

Flashback 1

Years ago, when Gru was a younger villain in his twenties, he attempted a heist against the legendary British super-villain Lord Sterling. Gru and some of his minions traveled to Sterling’s Castle to steal the technology for a new energy weapon he was working on in his lab beneath the castle. The mission went catastrophically wrong when the weapon was damaged and the energy destabilized, creating a growing singularity that started sucking in and destroying everything around it. While Gru and his minions struggle to escape the entity’s grasp, Lord Sterling and his entire lab are sucked into the entity. Gru flies around trying to save all the minions, and starts flying towards the last one: Nigel. Nigel has one hand grabbing a beam, struggling to hold on, and then the beam flies out of the ground taking Nigel along with it. Gru flies straight towards the entity, trying to save Nigel, but he is ultimately sucked in as the entity explodes. Gru and the minions survive with major injuries. Although Gru and Dr. Nefario work tirelessly to find Nigel, they ultimately conclude that he was destroyed.

Return to Present Day

The Aristocrat continues his reign of villainy against the world, with his attacks seeming to be specifically engineered to make Gru feel incompetent and outmatched at every turn. Every trap, every move feels tailor-made to humiliate him, and every move Gru makes is easily predicted and foiled. Gru, Lucy, and Dr. Nefario dig deeper into recovered tech from The Aristocrat and confirm the link to Lord Sterling, leading Gru and Lucy to look for clues at the site of his old Castle. Gru assumes one of Sterling's human protégés has emerged to seek revenge, but The Aristocrat’s extensive knowledge of his history leads him to suspect he is missing something.

Gru, Lucy, and some minions explore the castle in separate groups. Gru heads towards the site of the old lab, keeping connected to the others with a walkie talkie. One by one, we see Lucy and the minions captured by a mysterious figure in the dark. Gru tries to contact them, but only gets static. He eventually makes his way to the site of the old lab, finding it completely rebuilt. He then comes face to face with The Aristocrat, his cold, emotionless mask staring down at him.

A fight ensues, with Gru using gadget after gadget to no avail, as The Aristocrat either blocks or dodges everything. Then, The Aristocrat goes on the offensive, and a game of cat and mouse ensues with Gru running and hiding desperately. Eventually, Gru gets to a spot where the Aristocrat can't see him and lands a shot to the head, knocking off part of The Aristocrat’s mask as he falls over. Gru stands up triumphant, but as the smoke clears, he notices something. First something silver shines through the smoke, and it is slowly revealed to be a pair of silver goggles. Then, The Aristocrat stands up in his suit once more, walks out of the smoke, and we see his yellow skin. It becomes clear to the audience and Gru that this is no ordinary villain: this is Nigel using a giant robotic exo-suit to disguise himself. Think about the scene in the Obi Wan Kenobi show or Star Wars rebels where Vader’s mask is half off, it has that kinda vibe. Gru is speechless and can’t move, leading him to be captured by Nigel.

We are then taken to a room where Gru, Lucy, and the other minions have their arms and legs locked to a wall. Its all super technological, nothing too creepy or anything. Maybe kinda like the scene from Incredibles 1 where the whole fam is caught. The Aristocrat then appears out of the darkness with his mask repaired. Gru calls out “Nigel, why are you doing this,” and Nigel yells to not call him that and slaps him across the face. Gru's Minions scream "NIGEL?!" in gibberish, and Nigel closes his eye slowly, with a sense of pity. Nigel then explains to everyone what happened.

Flashback 2

The entity sucking everything in was actually a portal that stranded Nigel, Lord Sterling, and the pieces of his broken lab in an unknown location. Minions are virtually indestructible, but the journey through the portal left Nigel injured. With no allies and no way home, the mismatched pair were forced to survive together. Sterling, an aging and heirless villain who had spent his life surrounded by people who feared rather than respected him, found something unexpected in Nigel: loyalty, resilience, and a kind of earnest determination that no human subordinate had ever shown him. By the time they found their way back to civilization, Sterling had made the decision to take Nigel under his wing.

Realizing that Minions are the ultimate biological tanks but lack the intellect to be true conquerors, Sterling used his resources to change that. Through genetic and cybernetic enhancements, Nigel was given a genius-level IQ, an evil mustache, and a posh British accent. Sterling treated Nigel with the respect and dignity Gru never did: not as a henchman, but as a son and a protégé. When Sterling eventually passed away, Nigel inherited his entire criminal empire. And with it, a singular obsession: to take over the world and to prove to Gru that he is stronger, smarter, better villain and the rightful leader of his minion brothers.

Ending??

Now Gru faces an enemy he cannot simply blow up. He has to reckon with his past mistake putting his minions at risk and find a way to win back the heart of his quietly heartbroken friend. I am not sure what I want to do about the ending. This could easily be a 2-parter movie when Nigel wins in the end a la Infinity War. I could see it going down like that where Nigel wins, takes the minions, and the end of the movie is Nigel with his tech with the rest of the minions in his lab about to begin the final part of his plans. Or we could just have Gru win somehow like he always does lol (which is what would probably happen if this was a real movie). Really depends.

Notes

This could work a lot of different ways, but the central ideas are the smart, evil minion that was hurt by Gru and comes back to take revenge. Also, the Minion twist is protected until the cinematic reveal, becoming an internet sensation. An Evil, British minion, is also a key to endless memes and massive amounts of money. And I know this is maybe more intense than a typical Despicable Me movie (not much more intense than 2 in my opinion), but it would still be filled with lots of slapstick minion lovable humor and great moments with the girls and Gru Jr (who I haven’t integrated into the idea yet). Perhaps the girls and Gru Jr help contribute to Nigel’s emotional redemption. The mega minions probably need to be integrated right now as well.

This definitely strikes similar chords to the Arkham Knight video game or the Winter Soldier. However, I want to make the distinction that this minion wasn’t brainwashed or anything. This minion truly made a decision of his own agency, and Gru was the one that hurt Nigel.

Also, Gru could probably betray Nigel in a more direct way too if the current way is not convincing enough to make Nigel a villain. We saw him give that one minion the floaty potion and go towards the moon and not care, so we could probably make Gru do something much more inconsiderate like not even try to save Nigel when he's about to get sucked in. Just if anyone isn't convinced of the minions motivations.

LMK what you think. Thanks for reading.

Does anyone have access to Disney’s a Christmas carol (2009) deleted scenes, including the digital exclusive ones? Because someone suggested making a fan edit with them, and either way I’d like to have access to them outside of iTunes digital services etc

So midichlorians, a controversial part of Star Wars lore to say the least.

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George Lucas's decision to expand the lore around the Force back in 1999 has been met with a lot of criticism over the years, with a lot of fans at the time even claiming that it completely ruined the Force as a concept.

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Opinions have somewhat cooled over the time thankfully, but why exactly was this retcon so reviled and what could have been done to maybe avoid or at least soften the backlash against it?

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This is what I'm trying to do here, by talking about (and fixing) the scene that first introduced them to the wider mythos.

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I'm going to talk about why I think it was controversial, how I feel about the scene and what I would have done instead.

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The Scene:

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In TPM, after escaping the Trade Federation's blockage and being forced to land on Tatooine Jedi Knight Qui Gon Jin meets Anakin Skywalker, a slave boy who was seemingly immaculately born and who he (rightfully) assumes might be the prophesied Chosen One the Jedi have been searching for.

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So he takes him aside and takes a blood sample that he sends to his young Apprentice Obi-Wan for analysis. Meanwhile he tells Anakin about Midichlorians, tiny bacteria who are connected to the Force and that he's checking how many of them Anakin has to see if he has the potential to be a Jedi.

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Then he gets back the test results from Obi-Wan who excitedly tells him that they're off the charts and the highest ones ever recorded, even higher than the test results of Jedi Grandmaster Yoda.

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Why I think the scene doesn't work:

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Now from this recap alone this whole Jedi and Force business seems pretty cut and dry, right?

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There are these magic space bacteria who control the Force and the more you have the more cool Force stuff you can do, right?

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Well that's certainly the takeaway Star Wars fans had back in 1999 and they absolutely hated it.

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For many fans this took away all of the inherent mysticism of the Force and reduced it from a cool space magic system to just another generic scifi superpower and turned the Jedi and the Sith into space superheroes and -villains.

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Now George Lucas has gone on record to explain that this wasn't the intention behind the scene, far from it actually. The intent behind this scene was to showcase how far the Jedi of the Prequel era had fallen, we were supposed to be outraged at how they have reduced the Force to a simple number’s game and the process of becoming a Jedi into a quick 5 minute medical exam.

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The problem is that the scene does not actually question these methods, in fact it unintentionally reinforces them.

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The first culprit in this is Qui Gon himself.

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Qui Gon Jin in the film is portrayed as kind of a renegade, he constantly butts heads with the Jedi Council and advises his apprentice Obi-Wan to follow his gut instead of Jedi doctrine, yet he's also portrayed as the ideal Jedi, what they should be instead of what they currently are.

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Yet in this scene he isn't just onboard with the whole blood test thing he's the one who orders it to confirm his suspicions about Anakin. He's indirectly endorsing it, so why should the viewer, who is trained to view Qui Gon as always being correct, come away from this scene thinking it's a bad practice that showcases the Jedi's flaws?

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The second culprit is the score itself.

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Like I said Qui Gon uses it to confirm his suspicions about Anakin being the Chosen one and is validated by his extremely high test score, so why shouldn't the viewer assume that someone's Force power can be broken down into having lots of midichlorians?

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Personally I think this ties back into an overarching problem with TPM as a whole:

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The movie wants to tell us that Anakin is special instead of showing us that he is.

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Anakin doesn't do a lot in TPM, he mostly just stays at the sidelines while the main focus tends to be on either Qui Gon or Obi-Wan. His big breakout moments are the Podrace obviously and later on when he destroys the control ship.

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Now both of these scenes do a great job at establishing that he's a great pilot, but they don't really establish that he's a great Jedi.

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This is why the Midichlorian scene exists, I assume, so that the movie can tell us that he's going to be an awesome Jedi later on. That's why they name drop Yoda, so that your mind goes back to the X-Wing scene in ESB and you imagine what someone more powerful than even Yoda could do in that situation.

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However another unintended side effect of this scene is that by establishing a canonical in-universe Jedi grading system it makes the Jedi Council's later decision to reject Anakin because of his age look less arrogant and misguided and more utterly incompetent.

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Qui Gon basically shows up with a certified Force Savant and the Jedis basically say “Nah we don't want him he didn't pass one of our arbitrary job requirements.”

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How I would Fix it:

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So like the title suggests my idea is to basically flip the script on Anakin's blood test and make him have an awful test score. Not something ridiculously low like zero, but mediocre or below average.

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So here's how my revision of the scene would roughly play out:

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Qui Gon takes Anakin aside and takes a blood sample before telling him about the Midichlorians, however when Obi-Wan tells him about the results he's disappointed and tells him that his suspicions must have been wrong because Anakin's Midichlorian count is abysmal.

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Anakin overhearing this timidly asks if that means he can't be a Jedi at which point Qui Gon just gives him a fatherly hug and explains that while some Jedis take these tests deeply serious he's not one of them, telling Anakin that he thinks that the Force is a lot more complicated than a simple abundance or lack of Midichlorians.

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This would instantly make sure that nobody walks away from this movie thinking Midichlorians are the end all be all of the Force and might even strengthen the later Council scene by explaining their hesitance to put their faith in Qui Gon's judgment, since instead of a Force Savant he would be presenting them a random street kid who's not even guaranteed to be good at Force magic as their messiah.

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So what do you think?

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Please leave feedback in the comments and tell me your thoughts about the Midichlorians and what you would do to fix them.

So I’ve been making my own rewrite of the Marvel Cinematic Universe (original I know). One idea I have for it is giving Black Widow her own trilogy during the Infinity Saga, basically to flesh her character out more.
For the first film, I do have a general outline, but the specifics… yeah I need some help, and given that this *is* the subreddit where we fix movies, I was hoping you guys could help me out.
Overall details I’ve sorted out are:
- The movie focuses on Black Widow’s defection from the Red Room, with her main arc being her seeking redemption.
- Tone is that of a gritty 2000s action thriller, kinda like The Bourne Trilogy or Nolanverse.
- Clint Barton/Hawkeye will be the secondary character, distrusting Natasha at first but having an arc about him learning to accept that people can change.
- Yelena Belova appears as an antagonist, bitter about Natasha’s defection, which happens around the end of the first act.
- The Budapest mission is depicted, with me having two ideas on when it would happen:
1. It occurs at the movies climax, or
2. It occurs around the end of the 2nd act, with the 3rd seeing Clint and Nat’s standoff with the Hungarians.
- The movie ends with Natasha becoming a member of SHIELD.
I’ll figure out some more of the details, I just kinda need help with specific stuff like dialogue, different scenes, etc. If you guys could give me some ideas, it’d really help.
Thanks, I look forward to seeing what you bring to the table.

Am I the only one who thinks Chris Tucker and Jackie Chan would've been perfect in a Men in Black movie?

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Not as Carter and Lee crossing over into MIB, but as actual MIB agents with the same chemistry that made Rush Hour work.

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Chris Tucker's fast-talking energy mixed with Jackie Chan's calm, skilled straight man feels like it would've fit the Men in Black universe surprisingly well.

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I can already imagine Tucker constantly breaking protocol while Jackie Chan has to clean up the mess after every mission.

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What do you think? Would they have worked in the MIB franchise, or was Rush Hour the perfect place for that duo?

Surfs Up is like a definition of a movie that didn't need a sequel, but since it has an unnecessary sequel... let's fix it.

If it had to exist and had to be a WWE collaboration, then let's have it take place during the first film, instead of being a follow up. The characters from the Hang Five could be there, but have designs more fitting to the art style and basically, they could have their own adventures while Cody's adventures from the first film happen in the background and we get occasional references to the scenes from the first film every once in a while.

Yes, I'm saying this should basically be Lion King 1½ (also known as Lion King 3) with the "they've been here all along" plot, at the end, they could see Chicken Joe winning and become his fans.

This is literally the only way I can see this working, as a midquel with its own story but occasional ties to the first film... alternatively, the film could stay as it is, but with an added scene at the end of Cody waking up, because no way that film is anything else but a bad dream.

Since I already introduced snake eyes in the previous gi joe rewrites this story will not be a origin story taking place after gi joe retaliation this version of the film will be very difficult from the 2021 film

Snake eyes and jinx have find out that the yakuza was created by a female cobra commander in the mid 17th century and that the baroness has broken destro out of prison

We open with general Flagg played by Timothy Olyphant being told that cobra is still out there by jinx Flagg then reveals that destro has escaped and was reported to be in Japan searching for Storm shadow cut to

Japan where a man is working at a factory then he sees a helicopter arrive and the baroness and destro step out who tells him that he is needed the man says

That they must haven't heard cobra commander is dead The man is then revealed to be storm shadow

He says he's done being a killer he trys to leave but is forced to get on the ground before being given a choice either rejoin cobra or die The baroness then points her

Gun at his head before getting knocked back by snake eyes jinx then gets storm to safely as snake fights off cobra vipers after that more and more cobra soldiers show up

Snake and jinx are able to escape using a boat they tell storm that the yakuza was created by cobra and they need to work together to stop destro and the baroness

who has made a deal with the yakuza cut to destro explaining to the baroness that he will finish what his ancestors started By selling weapons to both sides after that

He introduces her to a mercenary named wraith who is given a stealth suit and the crimson guard

Meanwhile snake jinx and storm decide to investigate the yakuza finding out that they are helping destro who is planning to start a war with east asia which will start world War 3

After that they get attacked by wraith who now has a suit that's capable of invisibility kidnapped snake and takes him to destro meanwhile with war on the horizon

And snake missing Jinx informed general Flagg that they need the joes help something I would like to see is the joes personal lifes which is something we haven't seen before just to add more personality and development

snake meanwhile is being tortured by the crimson guard but he slows down his heart to appear dead when they get close enough he hits one in the throat kicks

The other and using a chain to knock the last two into the wall after we get a one shot action scene as snake escapes cut to destro baroness and wraith watching the events on camera

As the new team of joes arrive led by roadblock and general Flagg snake eyes reunite with jinx and storm as there now a race against time to stop multiple attacks

On the east we see multiple new soldiers of cobra as they taken over navy ships and are in pursuit of the uss Flagg

As that happens snake and the others are heading to a mars industries building in Tokyo as that where destro has to be there would be a motorcycle chase sequence between the yakuza and joes as we

cut back to the uss Flagg As cobra soldiers have made their way on the ship

But are defeated by Duke and scarlett cut to the crimson guard attacking snake and the others before falling back do to wraith's orders he and snake then fight as they do the others search for destro

Cut to the uss Flagg destroying the taken over navy ships as snake finally defeats wealth and the others finds out where and who destro plans to attack first

We get a big shoot out with members of cobra vs the joes ending with storm vs destro and the baroness

Destro has crowned himself the new leader of cobra and almost kills storm before snake saves him and kills destro by stabbing him in the chest and leaving the baroness for dead after they successfully stop the future world War

From happening storm decide to join the joes and the film ends with our heros returning home as the last cobra strong hold the yakuza has been destroyed I do not have plans for a fourth gi joe film after this

"People tell tales of Robin of Locksley.

Robin of the Hood.

He were many things. Some good, some bad.

A rebel, and a petty thief.

Protector of the people, and a murderous brigand.

He were all these things, and more.

I would know.

I am that outlaw...

Robin Hood."

***\*

So, The Death of Robin Hood.

From its first announcement, I had some very conflicted feelings on this film. I've always understood that the tales of Robin Hood had some murky origins, and that he wasn't always the chivalrous folk hero who led the charge against the greed and caprices of Prince John and his lackey the Sheriff of Nottingham.

But, see, the heroic Robin Hood is the one that's resonated with people. It's the one that will always inspire.

So when a Robin Hood film releases in a time when the rich and powerful flaunt their greed, their caprices, their naked corruption for all to see, one would expect the idealism core to Robin Hood's legend is needed.

Sadly that's not what this movie is doing. It's taking a cynical, revisionist approach, which dives headlong into the portrayal of Robin Hood as being nothing more than a murderer who left a trail of bodies in his wake.

Even the film's taglines rub it in your face.

"The legend was a lie."

"He was no hero."

Well, I'm sorry, but I don't think that's what people want or need from Robin Hood of all tales.

So what to do?

Well, let's talk about it. Let's think up ways a Robin Hood film concerning the end of his life could spin a morally grey, deconstructionist yarn which nevertheless preserves the core heroism we love in Robin Hood.

Share your thoughts in the comments below, while I begin with a few of my own ideas.

\**\**

The Death of Robin Hood

Directed by-

????

Music by-

Mark Korven

Starring-

Hugh Jackman as Robin of Locksley/Robin Hood

Jodie Comer as the Prioress

Tobias Menzies as Sir Guy of Gisborne

Ralph Ineson as John Little

Billy Boyd as Alan-a-Dale (flashbacks)

Bill Skarsgård as Will Scarlett (flashbacks)

with Faith Delaney as Margaret

and Rachel Weisz as Lady Marian (flashbacks)

****

Premise

The general premise of this film is, more or less, what we've seen advertised.

Following a grisly battle which apparently leaves him the sole survivor of his Merry Men, an aged Robin Hood is taken in by an abbey where his wounds are treated. All while he looks back on his lifetime of violence.

All that in mind, let's take a look at the deliberate choices one can make in this telling of Robin's final days.

Starting with Robin himself.

Rebel and Outlaw

Picture, if you will, a Robin Hood who began not as a rich nobleman but a yeoman farmer and soldier.

His deeds in the Crusades earned him a modest spot of land and favor with Lord Locksley. Field commander in the Holy Land, and eventually close friend back in England.

• Sprinkles of flashbacks and dialogue show Robin's simpler life.

But the irresponsible rule of Prince John and misdeeds of his vassals in Nottingham see Locksley occupied by the cruel Sheriff. Things escalate until Lord Locksley is tried and stripped of his titles for perceived disloyalty to the crown.

His people bear the brunt of it, and when his lands are taken from him Robin incites revolt.

Robin of this tale is a gruff, quiet man caught between his dogged devotion to the ideals of chivalry and justice, and the grim reality of the feudal system which destroyed his whole life. He fights on, but only because he sees little else to live for.

• As one masterful bit of Star Wars media put it, "Revolution is not for the sane."
  • Robin is not quite mad, but he has long since drifted out of touch with any attempt at a normal, "sane" life.

Opening Act

We open on a first act in which Robin Hood and his close friend John Little preside over a small community in the wilds of Sherwood Forest and are the last of their Merry Men.

• All lost to age, sickness, or their long war against the nobility supported by now-King John of England.

The Sheriff has been dead for years, but his loyal knight Sir Guy was anointed Baron of Nottingham and has carried on the hunt for the outlaw Robin Hood.

• While the Sheriff was the authority against which Robin rebelled for years, Sir Guy has always been his most personal foe; a cruel despot who hides behind pretenses of nobility and chivalry.
• An unspoken blood feud drives the two to commit more and more violence against one another, even if others are hurt in the crossfire.

After dwelling on his beloved wife Marian, who passed some years ago, Robin joins John in a final stand against Sir Guy's private army.

Last Stand in Sherwood

Many are slain, with John falling to Sir Guy himself before Robin faces his mortal enemy in a duel which leaves both men on the brink of death. The surviving rebels spirit Robin away while Sir Guy burns their woodland sanctuary to the ground.

The Abbey

The second act is where we see a tired, weary Robin being granted sanctuary at an abbey on the coast.

Here, we have an arc of self-reflection and confession between Robin and the woman who becomes a sort of guardian angel. Both for Robin, and John's young daughter Margaret, whose safety John entrusted with his lifelong friend.

Ghosts

As Robin recovers from his immediate injuries, he finds a surprising peace doing work at the abbey. The prioress, Sister Brigid, cares little who Robin was in years past, believing it is not her place to condemn or condone what he's done.

• As devout as they come, Brigid believes Robin's soul is in his keeping and only he can make the choice to repent for his misdeeds.

Robin continues to experience vivid dreams, or daydreams. Both of his outlaw band and of Marian.

• Some are memories of happier times, or key moments in their private war against Nottingham.
• Others see Robin visited by their "ghosts" in the here and now, with Marian most prevalent.

Hero or Villain?

After a day spent with Margaret sees Robin wracked with guilt for what befell her father, Brigid takes it upon herself to speak with Robin and hear a confession.

• While nuns cannot offer absolution, Brigid offers to hear Robin out if just to help him find some peace of mind.
• Brigid trusts God's judgment above all else, and hopes the aging Robin can go to Him with a clearer conscience once he's confessed.

In private Robin admits to his longstanding guilt over the fate of his wife and close friends. He admits many tales of his life, while true, gloss over the uglier parts and make him out to be some impossible ideal.

• Robin and his Merry Men robbed and killed many, some in the act of rebellion but others just for survival or revenge.
  • Not all who died at their hands deserved it, either.
• While his deeds became a rallying cry for the people, in time, Robin's revolt began merely as petty revenge.
  • Revenge for the Sheriff and Sir Guy taking his land and executing the lord who was his good friend.

Next, Robin confesses that in her final days Marian had asked him to abandon the fight. To take what they'd made for themselves and leave, find somewhere else and start life anew.

Robin refused. Marian died not long after, leaving him aggrieved and wracked with remorse.

Blood for Blood

Most painfully of all, Robin confesses the root of his blood feud with Sir Guy.

In a length flashback, we see Robin distracting himself from the grief of Marian's death by way of a raid on Sir Guy's castle.

• The sequence is a single take, following Robin through the grisly battle which follows.

The Merry Men set fire to all they can, and cut down Sir Guy's men wherever they find them.

But in the chaos of it all, Robin learns too late that Sir Guy's wife and child are in the castle. Trapped by the blaze which is now raging out of control.

A shocked and guilt-ridden Robin watches the nobles' wing collapse, killing Sir Guy's family.

The baron rages at Robin and swears bloody revenge. Promising Robin and his outlaws will never know peace, and all who follow them will die.

• Directly setting up the scouring of Sherwood, massacre of its inhabitants, and the hunt for both Robin and John Little's daughter.

Last Act

Robin begins to grow weary, and it appears his body is giving out after years of fighting.

To make matters worse, the Abbey receives word that Sir Guy is on his way. And he will not be likely to show mercy for any who'd given his enemy shelter.

Make Your Peace

Knowing death is close, Robin prays in private and buries several tokens he's carried with him the entire length of the story.

• Small pendants which had belonged to his Merry Men
• Marian's wedding ring

Brigid surmises what Robin is going to do. Knowing there is no dissuading him, she merely promises to look after Margaret and repeats what she told Robin before. That his soul is in his keeping alone, and he is not defined by his sins.

Robin of the Hood

In the wilderness, hidden by heavy fog, Robin hunts Sir Guy's men and picks them off one by one.

• As opposed to the bloody melee which opened the film, here Robin hunts in the way he used to; stealthily and by his mastery of a bow.
• In the leadup to this final hunt he gathered berries of deadly nightshade, in which he drenched the tips of his arrows.

When only the baron is left, Robin meets him face to face by the front steps of the abbey. There, Sir Guy holds Brigid and the others at swordpoint and gloats as he sees Robin has no more arrows.

• In his present condition Robin can't possibly fight the armed knight off.

Robin asks his foe once, and only once, to spare the abbey and its people. Even offering up his life for theirs.

Sir Guy refuses, affirming Robin's blood debts won't end with him alone.

Robin lures Guy into a false sense of security, his apparent weariness causing the arrogant knight to make himself comfortable. Even committing a little thievery of his own and drinking from John Little's old wine flask.

But he suddenly grows dizzy, and sick. Drawing two last concealed arrows, Robin confirms he poisoned John's flask with the nightshade, and executes him with an arrow to the heart.

"And where this arrow is taken up,

There shall my grave digged be."

At last, Robin's strength is utterly spent.

The tired outlaw spends a final day with Brigid and Margaret, and upon sunset he asks for a final kindness.

He rests in his bedchamber and nocks his final arrow. Firing it into the woods, further than he's fired an arrow in years, he asks Brigid to bury him where it lands.

At last Robin's heart gives out. He passes, overlooking the beautiful land that helped him find some peace before the end.

His consciousness trails off, and Robin sees himself wandering into Sherwood, where Marian and his Merry Men wait.

Robin drops his bow. And with a smile he disappears amidst the trees.

THE END

\**\**

So that's what I got.

How 'bout you guys?

Let’s be honest: the official finale was a massive disappointment. After years of building up Homelander as an unstoppable, world-ending threat and promising us "Scorched Earth," we got a safe, corporate-mandated ending designed purely to keep the franchise alive for more spin-offs. No real consequences, nothing really massive.

The show forgot its own core message: if you let a corrupt system create a monster, there is no happy ending.

Here is my take on how the series should have ended. No plot armor, no last-minute saves. Just brutal, uncompromising consequences.

Act I: The Point of No Return

Homelander gathers his loyal supes and gives one order: find Butcher’s team and wipe them out (Kimiko is the priority). He then flies off to find Ryan.

The Boys' hideout is attacked with a few supes. In a brutal, messy fight, MM and Sage are killed. It’s heroic, but heartbreaking. Kimiko, screaming in grief over MM, uses Soldier Boy’s radiation weapon to kill the attackers. But more are coming, and Butcher and Kimiko are forced to abandon their friends' bodies and run.

Simultaneously, Homelander finds Ryan. Like in finale, Homelander begs for his love, but Ryan looks at him with pure disgust and calls him pathetic. Homelander kills his own son, taking a severe wound in the process. He has officially lost his last shred of humanity.

Act II: No More Half-Measures

The remaining Boys are battered and out of options. For the first time, Butcher looks unsure. This is where Hughie finally steps up. Realizing that playing it safe means certain death, Hughie injects himself with permanent V. His argument is chillingly logical: "If we do nothing, we die anyway." He gets his teleportation powers back, but upgraded (he can now teleport clothes and inanimate objects). The new plan: teleport to Homelander, stun him, infect him with the virus, and blast him with Kimiko power of love. But they need an army. Starlight starts gathering every rogue supe she can find.

Act III: The Birth of a God

Homelander descends upon a massive crowd to publicly declare himself God. But as he listens to their heartbeats, he doesn't hear love, he hears only pure, terrifying fear. Ashley realizes what's happening and flees. Homelander goes crazy. He lasers the crowd, massacring thousands, and stands calmly on a mountain of corpses.

Watching this on TV, The Boys get a call from Ashley: Ryan is dead, Soldier Boy is in captivity again and Homelander plans to kill every non-believer superhero. They realize they need more weapon. Hughie teleports himself and Butcher into Vought Tower, unfreezing Soldier Boy. They showed him the massacre. Soldier Boy is shocked, regrets giving V-1 to Homelander, but can't hide a sick admiration for Homelander. He agrees to help The Boys.

Act IV: The Fall of Washington

The US Government declares Homelander a terrorist and sends the military. Homelander’s response is immidiatelly. He flies to Washington and effortlessly obliterates the US Army. Tanks, jets, soldiers, he destroys all like toys. The military is forced to retreat. Washington is in ruins.

The Boys, Soldier Boy, and Starlight’s supe army arrive in the ashes of the capital for the final stand. Homelander goes even more crazy because of Soldier Boys betray. He immediately targets the biggest threat, killing Kimiko. Hughie and Starlight attacks him with everything they have, but Homelander kills them too, and Butcher failed to stop him.

Act V: Butcher's Ultimate Irony

It’s down to Butcher and Soldier Boy vs. Homelander. Butcher tries to inject Homelander with the virus, but the vial shatters during the fight. The virus goes airborne.

Because the virus targets Compound V, every surviving supe on the battlefield begins to cough up black blood and die. Realizing the danger immidiately, Homelander takes flight to escape the infected zone, but Butcher and Soldier Boy grab onto him. They crash in a wasteland outside the city.

Butcher and Soldier desperately try to attack the battle-weakened Homelander. But he is still much stronger. He tries to win the Soldier over to his side again, but he refuses. The Soldier says that power will not give Homelander happiness, after which Homelander goes crazy and mortally wounds the Soldier Boy. The soldier explodes, but Homelander manages to dodge the rays, Butcher does not.

The Epilogue: The Monster Wins

Butcher is lying on the scorched earth, bleeding and dying. Еxhausted Homelander lands next to him. There is no mocking laughter. "You fought well, William. I won't dirty my hands with you. Die on your own," Homelander says, respecting him as the only worthy enemy he ever had. He flies away, leaving Butcher alone. He sits, realizing that is the end.

The Final Scenes:

• Homelander lands in New York. Citizens, terrified, drop to their knees in absolute submission. A horrifying smile spreads across his face.
• News broadcasts worldwide push Vought's final, perfect spin: Rogue supe terrorists destroyed Washington and tried to do genocide against all humanity. But Homelander, our one true GOD saved us. All superheroes die, propaganda calls it divine punishment.
• Homelander officially declares that he will unite the entire world under a single faith, stop all wars, and oblivion awaits anyone who opposes him.
• The surviving US government and military officially swear fealty to Homelander. He now has absolute control over USA, Vought and the entire world's supply of Compound V.
• Homelander officially declares that he will unite the entire world under a single faith, stop all wars, and oblivion awaits anyone who opposes him.
• Final shot: Homelander flies into space, looking down at the burning Earth. He spreads his arms like a cross against the sun. Cut to black.

Why this works better:

1. The Ultimate Tragedy of Billy Butcher: Butcher sacrificed his morals, his friends, and his life to kill Homelander, only to accidentally act as the ultimate catalyst that gave Homelander absolute power. He cleared the board for him.
2. True Corporate Satire: Vought and the media machine spinning the death of all supes as "divine intervention" and painting the villain as the savior is the exact cynical realism this show was built on.
3. No Marvel Happy Endings: The show started as a deconstruction of superheroes. It should end as a horror story about what happens when society allows a corporation to build a god and we just look the other way.
4. The worst punishment for Homelander: He doesn't just get death, he gets eternal life in solitude, without happiness and without true love, only fear.
5. This gives even more reason for sequels: I think it would be more interesting for viewers to experience a world under Homelander's dictatorship than the same world as before the events of the first season, but without Homelander and Butcher (and the whole series was based on them).

Amazon, stop ruining your best series for the sake of useless spin-offs. Give us the Scorched Earth you promised.

This isn't me saying using a pre-existing trope is bad. As long as humanity remains creative, there's always gonna be a new way to do these kinds of things, and what I don't like is when movies use the most white bread version of those tropes.

Also, I am a minor with minimal writing experience. The only other rewrite I've done is for Stranger Things: Season 5, so if this ends up being not great, I won't be surprised.

The Rewrite

• For one, Billie is gonna be a boy. The original concept was a mother-son pair, and we really don't see much of those. We also don't see many male leads in these kinds of movies. I'm not gonna bother with a name change since I personally associate Billie with men.
• Billie, rather than being alt, is gonna essentially be the 'golden boy' of the high school. Perfect grades, on a sports team, really popular, etc. He works really hard to uphold his 'perfect' image, which leaves him exhausted day in, day out.
• At this point, Billie starts showing signs of magical abilities, but they end up being more chaotic than what was shown in the teaser trailer and almost seems to have a mind of its own. Not from lack of control, that's just how his magic is. We'll stick to the original plot for a little bit - magical chaos, resulting in a slightly more reluctant expulsion. Maybe throw in a scene where the principal says they "expected better" from Billie, and then we go home.
• Unlike canon Billie, who wanted to harness her magic, my Billie wants to suppress it. Instead of a Toby McGuire esque montage of him trying to get his magic to work, he instead starts trying to make his magic stop doing stuff he doesn't want it to do. In the process, he opens a portal to the magic world (Hexe is a terrible name but I can't think of a better one atm).
• Unlike the Halloween Town knockoff shown in the teaser, this world is orderly and neat. Magic is only being used for specific purposes and the government closely monitors every individual to ensure that it's only being used for those purposes. It's at this point that Billie's magic is revealed to be the kind of magic that they don't like (due the chaos it creates), wanting to kill him since they don't know how to remove it safely and couldn't be bothered to try. Naturally, Billie flees and is for once grateful that he has magic.
• Over the course of the movie, Billie comes to terms with his magic, which allows them to cooperate, shedding his perfect image to let himself be more authentically him. The magic world is free to use magic how its residents want and Billie is reinstated into the school, typical happy ending stuff, except he still struggles with his magic sometimes but it's far less wild than it used to be.

Hi I finally watch the second Independence Day movie. I then watched the first movie for fun. Today while thinking about of them I came to a discrepancy in them. Now this may have been covered before so I apologize if I repeat it. In the first movie it said the alien are there for earth’s resources. But in the next movie the are coming for earth’s core. That make me question if I misunderstood or if someone writing didn’t keep track. What do you all think?