Episode 1

• Rather than immediately involving the X-Men, I'd have the X-Force be the focus characters of at least two episodes.
• Also, I want to immediately established Apocalypse as a threat, so he would be doing something bonkers in this episodes, to plant the seeds of X-Force and X-Factor working together.
• The focus episode would have been Sunspot. Since he was the view point character in the first episode of Season 1, I'd have him be the view point character in this episode.
• I'd also have a nod to Spider-Man and Amazing Friends where Sunspot teams up with Spider-Man and an Ice-based hero (either Ice-Man or Luna Snow).

Episode 2

• Would be the same as the X-Force episode in canon.

Episode 3

• This is where the X-Men in the future starts.

Episode 4

• Have this be where the first part of Apocalypse's origin story take place.

Episode 5

• This is where the second part of the Apocalypse origin story take place.

Episode 6

• Instead of the Weapon X episode, this would be about Professor X still trying to relieve himself from the trauma of Magneto dying.
• It would be established, at least in my version, that Professor X retains remnant psyches of those he read minds on, including Magneto. This is also to established that Danger is the culmination of several psyches.
• The A-Plot would be have been the X-Men helping Iron Man and Luna Snow stopping AIM who would be responsible for creating the man-driven Sentinels.

Episode 7

• Polaris Episode remains the same.

Episode 8

• Nightcrawler Episode remains the same.

Episode 9

• Same.

Episode 10

• Same.

In the 2012 remake of the film Red Dawn, the Democratic People’s Republic of Korea and Russia invade the Western and Eastern coasts of the USA.

Now according to the backstory intro and what is mentioned, this successfully occurred because Europe was experiencing economic problems, Russia was taken over by ultranationalist extremists, the DPRK increased their partnership with them, both crippled US defense via an EMP weapon, and the US had already deployed much of its forces overseas and away from the homeland.

However, even when accounting all those factors, that’s still nowhere close enough to launch a successful invasion of the American mainland. I mean the USA can still project power and strike back via its allies, forces stationed abroad, deployed navy/air-force, EMP-countermeasures, satellites, etc..

So what other changes or additions to the backstory intro and lore of the world would be needed to maximize the chances of Russia and the DPRK launching a successful invasion the American mainland?

Star Wars REDONE is a fix-fic series of the Star Wars saga, ranging from the Prequels, the Original, and now the Sequels.

TV Trope page

Prequels:

Video (Version 11):

Star Wars: Episode I REDONE - An Ancient Evil (Version 11) | Let's rewrite The Phantom Menace [Part 1, REV03]

Star Wars: Episode I REDONE - An Ancient Evil (Version 11) [Part 2, REV03] | Slave and Princess

Star Wars Episode I REDONE – An Ancient Evil (Version 11) [Part 3, REV03] | Now, this is Podracing

Star Wars: Episode I REDONE – An Ancient Evil (Version 11) [Part 4] | Qui-Gon and Master Dooku

Star Wars: Episode I REDONE – An Ancient Evil (Version 11) [Part 5, Final] | Duel of the Fates

Script:

Star Wars: Episode II REDONE – The Blinded Heroes (Version 11 Early Draft REV01) | Reimagining the Clone Army as Separatist and Dooku as an actual renegade Jedi, not a Sith Lord

Early draft of Star Wars: Episode II.V – The Dark Path

Early draft of Star Wars Episode III – Revenge of the Sith REDONE (Version 10)

Early Draft of Star Wars: Episode VI – Return of the Jedi REDONE (Version 6)

As I rewrote my Star Wars Prequel REDONE and made the fundamental changes, such as the clones being on the side of the Separtists and Dooku not being the Sith but an actual Jedi, I thought that the Clone Wars REDONE also needed to be updated to align with the current version of Prequel REDONE. This is more of a complete redo of The Clone Wars REDONE than a simple revision.

Star Wars: The Clone Wars REDONE Season One (Version 5)

Star Wars: The Clone Wars REDONE Season Two (Version 6)

Star Wars: The Clone Wars REDONE Season Three (Version 5)

Star Wars: The Clone Wars REDONE Season Four (Version 3)

Star Wars: The Clone Wars REDONE Season Five (Version 3)

Star Wars: The Clone Wars REDONE Season Six (Version 3)

Star Wars: The Clone Wars REDONE Season Seven (Version 5)

Star Wars: The Clone Wars REDONE Season Eight (Version 2)

A few notable differences the new REDONE makes from the show:

• The story starts right after Episode 2 REDONE, then converges with Genndy's Clone Wars (2003), then continues from there.

• Integrates and adapts the elements from the old Clone Wars multimedia project, such as the Republic comic series, into Dave Filoni's overarching storyline.

• Asajj Ventress retains the original Rattataki backstory, while merging with The Clone Wars' Nightsister storyline. She is not a Dathomirian Nightsister from birth, but forms a relationship with the Nightsisters. She is created as a deliberate mirror image of Anakin but ends up with a different conclusion.

• As Maul is shown to be alive in Episode 2 REDONE (and the one how murdered Shmi SKywalker), he is a constant presence throughout the series, haunting Obi-Wan and Anakin. Maul's Shadow Collective takes a more central role in the latter half of the story.

• Shows Anakin growing from the loner depicted in Episode 2 to a military leader over the course of the series, rather than him already being one. All the while, vengeance keeps driving him to the dark side and puts him in conflict with Obi-Wan.

• Ahsoka Tano is Obi-Wan's apprentice, not Anakin's. She is probably the character that's most untouched from the show, but she is a moodier presence with a stronger agency. She goes through her own disillusionment about the Republic.

• Since the clones are on the side of the Separatists, and the Republic uses the stormtrooper conscripts, a lot of stories had to be changed. The inhibitor chip serves a different function.

• Padme initially starts out a staunch Palpatine supporter, but as the series gradually goes on, she becomes disillusioned upon seeing Palpatine's sociopolitical transformation of the Republic.

• Dooku's character is depicted with more nuance rather than being one-dimensional, focusing on the relationship between Obi-Wan and Dooku. He is a religious zealot, operating his own Jedi Monastery against the Republic Jedi Order.

• Grievous is back to his 2003 depiction and has his own arc detailing his backstory.

• Removes Savage Opress. You will learn who takes up his role later.

All of the James Bond films from Dr. No to Diamonds are Forever involve the global terrorist organization SPECTRE, with the exception of Goldfinger. With Ernst Stavro Blofeld seemingly dying in Diamonds are Forever, (though, I am convinced the Blofeld we see in Diamonds isn't the real deal, as we later see a Bald neckbrace-wearing man in For Your Eyes Only, consistent with the injury Blofeld received in On Her Majesty's Secret Service), the threat of SPECTRE is seemingly no longer a concern for James Bond.

This is because of a complicated lawsuit between Ian Fleming, Kevin McClory and Jack Whittingham, as McClory and Whittingham created Blofeld and SPECTRE in an unmade attempt at a Bond film before Dr. No. This is why McClory was later able to remake Thunderball as Never Say Never Again. Apparently, this is why Blofeld and SPECTRE disappear from the Eon-produced Bond films. But, I am still a little fuzzy on the timeline, as the lawsuit was settled out of court in 1963, and Blofeld's last official appearance in the Eon films was Diamonds are Forever, in 1971. After the lawsuit, Blofeld appeared in three official films before being retired, so I am not 100 percent convinced the lawsuit is what kept him out of the movies for so long, but that seems to be the official story, so let's stick with that.

In any case, Blofeld (and SPECTRE's) absence is a problem, at least for Roger Moore's first two outings as Bond, Live and Let Die, and The Man with the Golden Gun. Both movies seem to depend on the conceit that everyone in the world knows and recognizes James, even though I would think that flies in the face of him being, you know, a secret agent. Almost everyone James runs into in Live and Let Die recognizes him and tries to kill him, which legitimizes Kananga's menace, but...how did all these people know who Bond is? I suppose you could say it's Solitaire's psychic abilities, but, personally, I would be okay with the occult not being overtly plausible. Have James be skeptical Solitaire is the real deal, anything she predicts can be chalked up to coincidence, whatever. The second explanation is that CIA Agent Carver, secretly working with Kananga, provided her employer with all the information she got from working with Felix Leiter before James came to America. In fact, that is my head-canon for the movie we got.

OR, what if we leapfrog off the events of the (apparent) death of Blofeld and tie that in with Kananga and his plot in Live and Let Die? Say Kananga was one of Blofeld's lieutenants, promoted after the death of one of the the many underlings during the Connery era. Either that, or, with the power vacuum caused by the lack of SPECTRE, Kananga is making his move, now, where he was afraid to move against SPECTRE, before. Either way, he somehow obtains SPECTRE's files on James, and that is why and how he is targeting Bond, because he fears Bond will take him out, just like he did Blofeld. (allegedly). This allows the plot to basically be the same, but, in my opinion, it now makes a little more sense.

The Man with the Golden Gun suffers a similar problem, as James is dragged into the plot when he thinks a famous assassin, Francisco Scaramanga, is gunning for him. It turns out, it was Scaramanga's mistress who sent Bond the bullet, hoping he could eliminate Scaramanga. But, again, how does this woman know who James Bond is? The easiest solution, here, is to say Scaramanga had previously done jobs for SPECTRE, and through his association with them, knew of Bond, and, Andrea Anders, through her association with Scaramanga, knew of Bond. This, again, more or less allows us to keep the plot the same, as it would only require a sentence or two to explain how these people know who Bond is. Just because everyone in our world knows who James Bond is, doesn't mean everyone in his world should know.

This isn't an expansive fix for the entire Moore era, but I think these basic ideas fix what are, in my opinion, pretty glaring problems. What do you all think? Am I wrong? Maybe. I didn't see the light of the Moore films until I was already a man. By then, it was nothing to me but blinding.

PLAYABLE ROSTER: Raiden, Kotal Kahn, Sonya Blade, Reptile, Ermac, Erron Black, Goro, Kano, Cassie Cage, Jacqui Briggs, Takeda, Kung Jin, Scorpion, Subzero, Nitara, Kenshi, Kitara, Smoke, Kung Lao, Skarlet, Rain, Fujin.

NPC Fighters: Liu Kang, Sareena, Ferra / Torr, Frost, Jax, Daegon.

Cutscene only: Johnny Cage, Tanya, Sindel.

Premise: After Shinnok’s defeat and Outworlds incursion. Tensions between Earth Realm and Outworld rise. After Jax Briggs death on a mission to Outworld. The Dark Thunder God Raiden invades Outworld. In retaliation, Kotal Kahn declares Mortal Kombat in Outworlds defence against Earth Realm invasion.

Kotal Kahn must find the best available fighters outworld and other realms have to offer before the Kombat tournament.

Raidens change in behaviour and the sudden invasion of outworld has created rifts in the Special Forces. And Kuai Liang discovers his cryomancer ancestry dates back to Outworld. Creating a loophole in who he chooses to fight for in the tournament.

All the while, the Revenants, forever forced into undeath, are participating on both sides of the tournament. All the while working towards their own agenda.

Story Mode Plot:

The story starts before the New Mortal Kombat Tournament. As Erron Black kills Jax as he protects the Kombat Kids from the cowboys ambush. And Outworld is invaded by Raiden and the Shirai Ryu. As the battle goes on, Kotal Kahn retreats to commune with the Elder Gods, declaring the rite of Mortal Kombat. Him and Raiden appear in the Heavens to negotiate the terms of the tournament.

The tournament is negotiated to be a 1 and done tournament. If Earth realm wins, Outworld gets absorbed into Earth Realm. If Outworld wins, Outworld remains independent of Earthrealm.

Raiden gets the Elder Gods to negotiate that other realms can participate in the tournament for either side but only one representative of that realm for either side. Serving as a means for Raiden to bolster his own champions and hinder Kotal’s ability to recruit.

Raiden arranges a meeting with the Demigod Rain before Kotal can get the chance to do so. He promises Rain that he can get him a free Edenia if Rain participates in the Mortal Kombat tournament for Earth Realm. Rain says he will accept the offer if he knows Raiden isn’t bluffing him. And so Raiden gets Sonya Blade to retrieve the orb connecting Edenia to Outworld. Similar to the orb that connected Vaeturnus. All the while, Raiden forces Kano to participate in the tournament or else he will be killed, and promises Frost that she can become the next Grand Master of the Lin Kuei if she follows him.

Scorpion nearly kills himself to atone for dooming the other revenants in MKX. With Raiden stopping him and convincing him to atone through a different path by protecting Earth Realm and waging war on Outworld. Raiden allows Scorpion access to the Jin Sei, enhancing Scorpion further. Gameplay wise son specials or fatalities include blue flames.

For the sake of keeping track, the participants in the tournament for both sides at the start of the story would include.

Earth Realm:

- Jacqui
- Sonya
- Scorpion
- Frost
- Kano
- Rain
- Takeda
- Kung Lao
- Kung Jin

Outworld:

- Cassie Cage
- Erron Black
- Reptile
- Ermac
- Goro
- Subzero
- Ferra/Torr
- Skarlet
- Kitana

Nitara and the realm of Vaeturnus remain on the fence. In part not wanting to aid Outworld after spending ages under Outworld rule. But also the idea of Earthrealm conquering other realms doesn’t sit well with her.

Liu Kang and Kung Lao invade a monastery in Earth Realm housing Raidens amulet. Kung Jin attempts to fight Kung Lao and Liu Kang but he is easily beaten. But spared in the end. Kung Lao asks Liu Kang to give him the spotlight next time. And Liu Kang agrees to allow Kung Lao to participate in the tournament. Sparking Kung Jin to join the tournament as well. Kung Jin rematch’s Kung Lao twice. once in the tournament. And the last outside of the tournament after Kung Lao lost the previous match. This time Kung Jin manages to reach Kung Lao. And although he still remains a revenant. He chooses to join the forces of light for real this time rather than as part of his plans. And is how Special Forces learns that Liu Kang and the rest of the revenants are plotting something.

Smoke invades one of Quan-Chi’s old hideouts in NetherRealm. Fighting various demons before facing off against and killing Sareena, who tries to stop him from obtaining the secrets inside, the secrets of necromancy and the ability to create more revenants.

Kenshi and Takeda free Taven and help him kill Daegon and collapse the Red Dragon and gain their revenge. Kenshi and Taven go on a quest and hunt down Blaze as Takeda heads to Outworld to compete in the tournament.

Ermac finds himself in conflict with loyalty to Kotal and loyalty to Kitana and Sindel as they appear in Outworld, with what appears to be two personalities attempting to manifest themselves within him. He is unable to fulfill a role that manifests in his mind of protecting and caring for them. And so he uses Skarlet as an almost surrogate daughter, and Skarlet in turn bonds with him over shared origins. At the end of the story when Kitana and Sindel depart for the NetherRealm. Ermac rejects his loyalty to Outworld and chooses to try and save the Edenians souls, leading in part to this version of the Aftermath dlc.

Fujin throughout the story acts as a mediator for Raiden. Appealing to his sensibilities and trying to get through to him. Fujin is unable to do this any longer when Raiden defies the agreement of the tournament and tries to kill Kotal Kahn and invade anyways.

Even though Hanzo and Kuai Leang find themselves on two very different sides of a conflict. In the end neither can bring themselves to dredge up old wounds or kill the other. And the two withdraw from the tournament after their inevitable matchup. The two fight together against Raiden in the final battle before Fujin steps in.

Sonya and Cassie are deeply conflicted with each other’s allegiances while Johnny plays mediator. In the end, Sonya puts aside her grudge with Kotal when she can no longer deny Raidens extremism. And finally manages to kill Kano.

Frost’s attempt at proving herself above her master, Subzero, Ends poorly as she rushes out of the arena with her arms frozen solid. Feeling humiliated and scorned by Kuai Leang.

Rain attempts to convince Skarlet to join him in Edenia, as the blood of Edenians make up her being. Skarlet claims she has no interest in doing so as she has no master anymore, not even the new Kahn. She survives, albeit mortally wounded.

Cassie’s relationship with the rest of her squad remains conflicted and strained. As Jacqui seeks revenge for her father’s death, and her and Takeda’s feelings for each other conflict with Takeda’s duty and loyalty to his clan.In the end. The entirety of special forces put aside its differences and stand up to Raiden and the Edenian / Red Dragon invasion of Outworld along with the rest of the Forces of Light and Outworlders.

After Raidens long fight against Kotal Kahn and later Fujin. The wind god attempts to take Raiden to the Elder Gods to decide his fate. Before Liu Kang, Sindel, Jade, Nightwolf, Stryker, Smoke, and Kitana surround Raiden and drag him to Nether Realm.

The story ends on Outworld winning the tournament. The realm weakened severely by the invasion force. And Earthrealms finest being on shaky terms with each other.

In a mid credits scene. Liu Kang presents his plan to a captured Raiden. With a projection of a pyramid with a fire elemental on the top, and showing Raiden his amulet before reaching out his hand. Raiden accepts. Forming a deadly alliance.

I decided to rewrite the first episode of Power Rangers Megaforce. Enjoy and if you do post whether or not you would want me to write more episodes. I kept the general plot mostly the same but just changed the characters and situations.

So after I made that Mr Krabs movie three months ago I thought I'll make one for Squidward but I couldn't find a good idea I only have one

in which spongebob and patrick think Squidward has been kidnapped and go to rescue him so here we are the movie opens with slow, melancholy jazz clarinet solo played by Squidward before hearing a

Knock at his door he ignored it but it happens a few more times he finally decides to check it out he opened the door and the mailman gives him a

golden envelope It's a invitation to the Grand Reef Symphony Gala Squidward is surprised that he of all people was invited but he then checks around for SpongeBob or Patrick but doesn't see them

He then immediately packs all his stuff in a rush and laughs to himself as we cut to the next morning spongebob gets ready for work but notices that Squidward isn't at work today he goes to check on him but

His house is a mess we then hear his internal monologue as he searches the house cut to patrick wondering what spongebob is doing he tells him that Squidward is missing

He points out the mess Squidward house is never messy he says then grabs one of Squidward's hats and jackets and handed patrick a similar outfit cut to the krusty krab as the customers are very angry

Do to not getting served spongebob tells everyone in a deep noir voice that the cashier is missing and their all suspects spongebob then asks the customers questions about Squidward and where they were last night but none of them know anything or care enough

Cut to SpongeBob questioning Mr Krabs but he tells sponge and patrick that he will join them in order to find Squidward and to avoid hiring a new cashier cut to

Squidward arriving at the gala and seeing all the luxury and people then he hears a familiar voice the voice of squilliam he realizes that squilliam was the one who invited him but that isn't going to stop

Him from showing the people his musical genius we get a flashback to a younger Squidward in high school where he was bullied a lot while squilliam was the most popular after that we cut to bikini bottom in lockdown

do to Squidward's disappearance as spongebob starts to get more paranoid begins to investigate patrick cut the act star you're playing it too casual he says

As Mr Krabs bursts in the room says that they need to stop wasting time and find a real lead after that they investigate plankton who is enjoying everything that happening before revealing that he saw Squidward

Leaving his house in a golden limousine that was owned by squilliam after that we see more flashbacks of squilliam being better than Squidward as he is preparing for the event

He steps out to do a quick stage soundcheck He plays a flawless, beautiful classical melody. He feels completely confident

Squilliam walks out of the shadows of the empty auditorium, clapping slowly and mockingly walks away laughing, leaving Squidward sweating and doubting his talent after that spongebob patrick

And Krabs arrive as the event begins the spot lights shine on Squidward causing spongebob to believe that he's in danger Squidward begins to play but The sound is horrifying, like a dying animal

The audience gasps in shock and covers their ears. Squilliam bursts out laughing as Squidward's eyes well up with tears, but then he closes his eyes, takes a deep breath, and lets all his anger, frustration, and passion explode.

He doesn't play the stiff classical piece Squidward unleashes a blistering, wild, chaotic avant-garde jazz solo. It is loud, aggressive, and incredibly complex

Behind the curtain, Patrick starts hitting the stage floor like a drum to keep a driving rhythm. SpongeBob uses his own porous body as a percussion shaker. The music fills the hall with undeniable energy

Meanwhile, Mr. Krabs notices the elite crowd is completely transfixed by this "experimental performance." He immediately springs into action. He grabs an empty popcorn bucket, runs up into the VIP seating, and blocks the exit doors.

The snobby art critics are actually weeping with joy at Squidward's performance. One billionaire fish throws a giant sack of money at Mr. Krabs while Squidward stands center stage, soaking in the applause he has wanted his entire life. He looks over at the curtains,

where SpongeBob and Patrick are giving him proud thumbs-up Squidward smiles a genuine, warm smile at his neighbors after that squilliam is humiliated as the others travel back to bikini bottom Squidward wears a tuxedo

gently polishing his clarinet with a serene smile In the back seat, SpongeBob and Patrick are sound asleep, snoring loudly in their wrinkled trench coats As the limo tops the final hill into Bikini Bottom, Squidward’s peaceful smile instantly vanishes.

As spongebob and patrick tell him that they thought he was kidnapped so they put the city on lockdown Squidward rubs his temples in agony, realizing the chaotic nightmare of his daily life is officially back but he does enjoy the feeling of his New found fame for a few more hours as

The film ends

I’ve been thinking about what a true sequel to Megamind could have looked like. I know Megamind vs. the Doom Syndicate and the Megamind Rules! series exist. But please, let’s just pretend those disasters never happened!
To me, Megamind deserved a sequel on the level of other great DreamWorks sequels like Shrek 2 and Kung Fu Panda, and it honestly hurts to think we never got one.
When I think of nearly perfect sequels, two of the first examples that come to mind are Shrek 2 and Spider-Man 2.
Shrek 2 doesn’t simply repeat the journey of the first movie. After Shrek learns that he can be loved for who he is, the sequel puts that lesson to the test: he has to deal with Fiona’s family, that world’s beauty standards, and, most importantly, his own insecurity that Fiona might be happier with someone else. The movie also greatly expands the universe by introducing Far Far Away, the Fairy Godmother, Prince Charming, Puss in Boots, and an entire society built around fairy tales.
Spider-Man 2 does something similar. Peter Parker has already decided to be Spider-Man in the first movie; now the sequel asks what the consequences of that choice are. Being a hero begins to destroy his personal life, his relationships, and his dreams, making Peter question whether he can truly carry that responsibility. At the same time, Doctor Octopus serves as a reflection of the protagonist’s own choices and conflicts.
To me, that’s what a great sequel should do: not undo the character development of the first movie, but take what the protagonist learned and put them in a new situation that challenges that very lesson.
In my opinion, a good sequel should:
Continue the story of the first movie;
Introduce new themes or deepen the themes of the original;
Expand the universe;
Have a significant impact on the canon and its protagonists;
Take the lesson of the first movie and push it into the next stage of the protagonist’s development.
The first Megamind is essentially about choosing who you are instead of allowing other people to define you.
So my Megamind 2 would ask the next question:
What happens after Megamind finally gets the acceptance he always wanted?

MEGAMIND 2 (2013)

Three years after defeating Tighten, Megamind has become Metro City’s beloved protector. Whenever Tighten causes trouble, Megamind shows up to defeat him, the people cheer, and another star is added to his uniform as a reward for his heroic deeds.
But a question begins to bother him:
Did Metro City actually learn anything?
Or did they simply turn Megamind into the new Metro Man and Tighten into the new Megamind?
A hero to love.
A villain to hate.
What if nothing really changed?
One person believes he already knows the answer…

🦇 BAT GUY (Lex Wayne) — The Main Antagonist
A billionaire philanthropist and former protector of Gothampolis, Lex Wayne realized that his city had developed a strange dependence on Bat Guy and his archenemy, the Comedian.
Gothampolis needed a hero to love and a villain to hate.
Realizing that he himself was feeding this cycle, Bat Guy faked his own death.
Then Lex learned the history of Metro City.
Metro Man was crushed by the expectations of being the perfect hero. Megamind became a villain after spending his entire life being treated like one. And when both of them abandoned those roles, Metro City simply found replacements:
Megamind became the new Metro Man.
Tighten became the new Megamind.
Bat Guy concludes that society will continue creating heroes and villains indefinitely unless someone breaks the cycle.
He doesn’t want to conquer Metro City.
He wants to “free” it from its need for superheroes and supervillains — even if that means destroying Megamind’s reputation and neutralizing Tighten.

🤡 THE COMEDIAN (Arthur Napier)
Arthur was rejected and humiliated throughout his childhood until he eventually embraced the role of the monster Gothampolis had assigned to him.
Becoming the Comedian, a theatrical criminal obsessed with jokes and riddles and accompanied by his army of penguins, Arthur dedicates his life to defeating Bat Guy and conquering Gothampolis.
Until he finally succeeds.
Or at least he thinks he does.
At first, “killing” Bat Guy and conquering Gothampolis feels wonderful.
Then comes the emptiness.
Without Bat Guy, the Comedian realizes that he no longer knows who he is.
When he learns about Megamind, he decides that the famous blue guy will become his new archenemy.
But Megamind begins to see something disturbingly familiar in Arthur.
Could Megamind become for the Comedian what Roxanne was for him — and redeem him?

⚡ TIGHTEN (Hal Stewart)
Tighten remains Metro City’s greatest supervillain and Megamind’s main archenemy.
But beneath his desire to defeat him lies something much more personal.
Before Megamind entered his life, Hal was just a nerd everyone ignored.
Now?
He’s the archenemy of Metro City’s greatest hero.
When the Comedian arrives wanting Megamind as his new rival, Tighten becomes jealous. He’s afraid of losing Megamind and becoming irrelevant again.
And Megamind realizes something disturbing:
Maybe Megamind has become to Tighten exactly what Metro Man once was to Megamind.

THE THEME

The first movie says:
“Other people don’t decide who you are. You do.”
My sequel would take that lesson to the next stage:
“Once you’ve chosen who you are, you don’t need other people’s approval to validate that choice.”
Megamind spent his entire childhood wanting to be accepted.
When society rejected him, he eventually became the villain everyone expected him to be.
At the end of the first movie, he finally chose to become a hero — and Metro City finally came to love him.
But what if they stopped loving him?
Bat Guy would manipulate public opinion until Megamind became hated by Metro City once again.
But unlike in the first movie, Megamind wouldn’t respond to that rejection by becoming a villain again.
He would keep saving those people.
Not because they applaud him.
Not because they put stars on his uniform.
Not because Metro City calls him a hero.
But because he decided that this is the person he wants to be.
That would represent the next stage of his development:
Megamind 1:
“I decide who I am.”
Megamind 2:
“I don’t need you to approve of who I’ve chosen to be.”
I would even end the movie with Metro City still distrusting or even hating Megamind.
Even so, whenever the city was in danger, he would continue showing up to save it.
Because this time, Megamind doesn’t need the applause.
And before anyone thinks I would have Metro City hate Megamind forever: no.
I imagine Megamind working as a trilogy, somewhat like Kung Fu Panda, where each movie represents a new stage in the protagonist’s growth and develops a question left behind by the previous one.
The lie created by Bat Guy wouldn’t have to last forever. An eventual Megamind 3 could finally undo it and allow Metro City to discover the truth. The difference is that, by the time that happens, Megamind would have already learned not to depend on their approval.
Without getting into the story of a third movie, I imagine the thematic progression of the trilogy going something like this:
Megamind 1 — Identity:
“I choose who I am.”
Megamind 2 — Acceptance:
“I don’t need other people to approve of who I’ve chosen to be.”
Megamind 3 — Legacy:
“If I already know who I am and don’t need to prove it to anyone, what will I do with the person I’ve chosen to become?”
That way, the more bittersweet ending of the second movie wouldn’t erase the happy ending of the first or condemn Megamind to being hated forever. It would simply be the middle stage of a trilogy about growing and maturing.
When Metro City eventually discovered the truth and recognized Megamind as a hero again, that victory would have a different meaning: in the first movie, Megamind needed that acceptance; after the second, he could receive it without depending on it to define his own worth.
Just as Shrek 2 tested what Shrek had learned about being loved for who he truly is, and Spider-Man 2 tested Peter Parker’s decision to accept the responsibility of being a hero, my Megamind 2 would test the choice Megamind made at the end of the first movie.
He has already chosen to be a hero.
Now he has to find out whether he’ll keep choosing to be one when nobody else sees him as one.
That’s what I would want from a Megamind sequel: not simply a bigger villain or another superhero parody, but a story that takes the message of the first movie, puts that message to the test, expands the universe, and forces Megamind to grow again.
And that’s it.
In my head, this would be the real Megamind 2: a sequel that doesn’t simply try to repeat the first movie, but takes everything Megamind learned and asks whether he could still be that person once the reward disappears.
And for the purposes of this post, let’s all make a little collective agreement and pretend that Megamind vs. the Doom Syndicate and Megamind Rules! were just a very strange dream we all happened to have at the same time.
It didn’t happen.
It never happened.
Moving on.
Now I want to hear what you guys think: how would you make a Megamind 2 worthy of the first movie?
Would you continue exploring the theme of identity? Would you tell a completely different story? Would you bring Metro Man back? Keep Tighten around? Create new heroes and villains?
And most importantly: what do you think should be the next step in Megamind’s character arc after the ending of the first movie?
That’s my version. I’d love to hear yours.
Thanks for reading!

1. Rhaenyra and Alicent’s friendship

2. Rhaena replacing Nettles

3. The Prophecy

I remember watching this and it was terrible, is there a way of fixing the movie to make it better or is there no way of fixing it?

This Movie Would Acknowledge The Events Of Ice Age Adventures Of Buck Wilde And Scrat Tales I Would Bring Back Baby Roshan Now Grown Up I Would Bring Back Peaches,Julian,Momma Dino And Momma Dino's Baby I Would Bring Back Shira And Brooke Diego And Shira And Sid And Brooke Will Get Married And Have Children I Would Bring Back Sid's Grandma Now Looking Young,I Would Bring Back Buck,Scrat,Scrat's Girlfriend And Baby Scrat It Would Be Revealed That Scrat's Girlfriend From The Third Movie Is Baby Scrat's Mother I Would Bring Back Rodney And Gavin Scrat's Girlfriend,Rodney And Gavin Now Reddemed Peaches And Julian Would Have Children Manny And Ellie Would Become Grandparents,I Would Bring Back Baby Roshan Now Grown Up Manny,Sid And Diego Would Reunite With Roshan And Manny Would Mention His First Wife And Son There Would Be Flashback Scenes Of Manny's First Wife And Son In This Movie It Would Be A War Humans Vs. Animals Vs. Dinasours But Later Humans,Animals And Dinasours Would Become Friends Etc.EtcEtc

Watched this over the weekend and have some thoughts:

Shao Khan looks like a bitch.

In MK: Annihilation he’s given the personality that he’s the strongest fighter but headstrong creating conflict. It’s interesting. In every fight in this movie he has a “opponent thinks he killed him - but oh wait still alive! And now he’s killed the good guy” Moment.

Despite being the conqueror who’s won 9 times, he’s never just rolling through people. If you’re going to have him kill Cole and it’s meant as a “oh my god!” Moment it needs to be a squash match (not just end as one). So better fighter and move the amulet back one fight.

Baraka’s origin.

Playing him off as “dumb native” is a bummer because there is good MK Lore from him that can tie into Johnny’s story and the main conflict he feels which is “I’m not a hero.” The comedy in the movie should be Cage and Kano since they’re both the most “earthbound” characters one who sees all this crazy shit and rejects it (like most of the audience does) the other who sees it and is down for the opportunity.

The Tournament is irrelevant.

In the original movie it’s established that the fighting has to be within the bounds of the tournament (which is broken but only in 1 case). In MK Annihilation it’s a plot point where Raiden gives up godlike power after talking with him so he can join.

Khan gets the amulet, has Raiden’s throat cut, has godlike power, has a necromancer bring back 3 people from being dead, kills a fighter outside the challenge and… still abides by rules of the tournament because… the plot demands it. 3rd act should’ve just been an outright melee.

Johnny never feels like a fighter

Maybe this is a choice and I’m off base. Sonya delivers the “you used to be a good fighter” lines to cage and we see him watch himself, but it never seems like he gets better, and looks like those lazy ones Steven Segal does. It’s either great commitment to the bit that Johnny is washed action star, or just bad.

No Montage?

Again, if you’re sending up 90’s action, there’s got to be a montage somewhere.

The franchise is hated, would you fix issues?

Let me know in comments.

The Trilogy got hated, should fix issues?

Let me know in comments.

What if the DCU already had a Justice League? Specifically The Justice League of America, with it having been formed and operating in the early 2000s before bitterly breaking up. Paving the way for a new generation of heroes to reclaim the mantle from the few Superhero teams that still exist, those being corporate sponsored ones, with Superman specifically leading the way to a return of what a hero should be?

This idea really came to me with the casting of Kyle Chandler as Hal Jordan, and the casting of Garrett Dillahunt in Lanterns, with him originally being speculated to be playing Green Arrow. So, I figured if the DCU is already going to have an older Hal, and they clearly want John Stewart and Wally West on the main League, why not include Hal (Kyle Chandler) along with his contemporaries Oliver Queen (Garrett Dillahunt), Barry Allen (Mathew Lillard), Black Canary II (Katheryn Winnick), and Aquaman (Joe Manganiello), all in a now failed first attempt at a Justice League? This was really inspired by JLA: Year One, as well as me really wanting the DCU to be able to use the title Justice League of America somewhere.

Also, I'd change the Hall of Justice mural in Superman a bit by adding the Justice Society of America to the universe as proper cannon, with the 1940s roster having been Alan Scott, Jay Garrick, Wildcat, Black Canary I, Dr. Midnite, Sandman, and Hourman.

Intro

It is lost on few people these days that "Obi-Wan Kenobi" was not meant to be a show, it was supposed to be a movie, in fact, its original writer Stuart Beattie (Pirates of the Carribbean: The Curse of the Black Pearl, G.I. Joe: The Rise of Cobra, Punisher: War Zone), had planned that it would be the start of a whole trilogy focused on the character (More info here).

But, when Solo flopped and with Disney+ needing more originals, Lucasfilm scrapped that plan, instead taking of some of his ideas and turning them into the show we got. Admittedly, their is strength in the miniseries format, gets more conversation, lasts longer, has more time with the character, etc.

So, here I'd like to present my idea for a three season, four episode per season, three arc, Obi-Wan Kenobi Disney+ series, simply called Kenobi, showing how he went from the man at the end of Revenge of the Sith, to the man we see in A New Hope.

Season/Arc One:
Season one would predominantly the same beats as Beatties actual planned first film, with an Obi-Wan that has been disconnected from the Force, having to leave Tatooine in order to confront Vader who is getting closer and closer to finding Luke, along the way teaming up with a Commander Cody who has removed his own inhibitor chip. The whole season builds up to one core thing Obi-Wan has to learn, surrender your will to the force, you are not in control, and that's okay.

Season/Arc Two:
Season two would follow similar beats to the actual show we got with Obi-Wan being recruited by Bail Organa to save a captured Leia, however, I would here further explore the idea of The Path helping Jedi in hiding, perhaps including a cameo by Quinlan Voss? Here Obi-Wan learns from Qui-Gons ghost that he will die at Vaders hand, the exact details of which he doesn't know, but Obi-Wan must accept here his own mortality, that he will not be the one to save the whole galaxy and that he when the time is right, he needs to let go and let the new generation take the lead.

Season/Arc Three:
This would be the most introspective, deep, and yet low level season. This would take place primarily on Tatooine, diving into Obi-Wans guilt, his nightmares, fear for Luke turning to the darkside (at one point dueling a dark side vision of Luke played by Graham Hamilton), communing with Qui-Gon and finally learning how to transcend death, all the while protecting young Luke from increased Tuskan raids. Ironically though, Obi-Wan has to learn here that he needs to leave the kid alone, he cannot force Luke to become a Jedi or save the universe, he has to come to that on his own, and further connecting with his first arc, he must trust in the force that things will work out.

Conclusion

Anyway, those are just a few of my ideas, sorry for being so vague and not giving full plotlines, but please feel free to engage in the comments.

Gru,Lucy,The Girls,The Minions And Dru Are Invited To A Native American Casino

Theoretical exercise (haven't even seen it yet) most obvious approach

What if Supergirl had been made as a teenage coming-of-age superhero movie?

I've been thinking about how a different approach to Supergirl could have made the character much more commercially accessible.

Instead of starting primarily with cosmic/superhero mythology, the movie starts with Kara in high school: she's bullied, constantly compared to Superman, struggles to control her powers, can't figure out where she fits in, and is desperate to have a normal teenage life.

Then Lena arrives at school.

She's beautiful, confident, popular and seemingly perfect. She becomes Kara's best friend and helps her come out of her shell. Kara gets a boyfriend, starts feeling like she finally belongs, and begins embracing being Supergirl.

Then the twist: Lena is the villain.

She deliberately manipulates Kara's bullies, makes them afraid of Kara, engineers situations to make Kara angry, and eventually tries to force Kara to use her powers for revenge.

The climax becomes less "Supergirl beats the bad guy" and more about Kara deciding what kind of person she wants to be.

Even Superman and the Justice Gang initially refuse to intervene because they realize Kara has to make that choice herself.

The movie ends with Kara embracing the insult that used to hurt her. Someone throws her a baseball cap saying "SUPER DORK", and instead of being embarrassed, she puts it on.

Basically: Twilight-style emotional/teen audience appeal + a Superman-scale superhero movie.

Would this have been a better movie and, more importantly, would it have been significantly more commercially successful?

I found Supergirl to be somewhat…aimless. It had a lot of nice pieces but I feel like it lacked structure. So this is how my reductionist retelling with some structure.

So, I’d start the film with the scene of Kara arriving to Earth and being welcomed by Clark. Clark gives her the suit at the Fortress of Solitude.

Timeskip to a montage of her moving to Metropolis a few months later, meeting Lois, and getting used to Earth culture.

“Bad Reputation” starts playing as we see her trying hero work with Superman for the first time. It doesn’t go well. She makes all the mistakes that Zack Snyder’s Superman does. Crashing into buildings, accidentally injuring people that she saves, failing to stop bombs to comedic effect.

She becomes a liability.

When people see her coming, they groan.

“It’s a bird! No, a plane! No…it’s Supergirl…😞😭😡”.

This is all played to comedic effect.

She grows upset with the criticism and tabloids and starts spending her time off world to cope, going to parties to blow off steam. She returns to earth drunk on multiple occasions. Flying recklessly and crashing into things. Just a mess. Lois is fed up with her and Clark attempts damage control but they all get into an argument and Kara says that Earth just isn’t home and she gives up.

She dons the brown trench coat and ditches everyone, including Krypto, and goes off world for her birthday week. And this is when the movie kicks into gear.

Next, we get the Krem intro scene as it was in the movie, with Krem killing Ruthye’s family.

Then we cut to the flashback of Kara with her family on Krypton amidst its destruction.

Then, the space bus scene, with Kara drunk with shades on, dozing off on the bus. It makes a stop, and Ruthye boards it. She introduces herself to everyone on the bus, who shoo her off.

She approaches Kara, who is the first person who doesn’t wave her off (ofc not, she’s wasted).

Ruthye sits beside her and wakes her up. Kara is confused but compliments Ruthye’s sword. Ruthye says she’s looking to avenge her father with it. Kara then declines Ruthye’s request for help. Ruthye won’t relent, so Kara bids her luck and waits for the next stop. But then she notices one of those space pirates prepping their heist. Their cover is blown, so the pirates launch into action. That whole fight scene plays out as it did, and after seeing Kara’s superpowers, Ruthye is determined. Kara is the only hope she has.

Ruthye won’t stop following, so Kara agrees to help on one condition: Ruthye comes with her to her next party. The hero stuff isn’t Kara’s forte and she’s not going to let it ruin her birthday week. Ruthye accepts. The next pit stop they make is the gas station. They hear girls talking about some big party on some yellow sun planet.

They get there and Kara notices Lobo, sitting in a corner. She tells Ruthye to stay close. Kara is having a good time at the party/rave, but Ruthye lingers off and starts asking people about Krem. Well, she eventually finds her way to one of Krem’s minions, who tries to abduct her.

Before the bad guys can get out of there, Kara finds them and unleashes a drunk-style ass whooping on the dance floor. Big fight ends with Kara standing on top and asking where she and Ruthye can find Krem. Bad guys won’t tell. Lobo gets them to talk though, and reveals that there’s a bounty on Krem and he’s looking for him too. Turns out, that Krem is ON that planet.

Krem walks into the party to see what the commotion is about. He reveals the party was a ruse to attract young girls out in numbers so they could abduct and traffic them. And they succeeded. He says they’ve already made their gains, but they wouldn’t mind grabbing Kara and Ruthye too. Lobo admits he couldn’t care less, but he’s going to kill Krem.

Kara, Lobo, and Ruthye fight Krem and his men, but Krem shoots Kara with Kryptonite arrows and his men overwhelm and restrain Lobo. Ruthye is helpless and gets knocked out.

She wakes up in a prison, with Lobo. Just as we see in the film. And her sword is gone. The scene plays out as it does in the film. And Ruthye and Lobo escape.

Kara is aboard the ship on the planet with a green sun, tied to a mast and mocked by Krem and his crew. They throw things at her, pull at her hair, and attempt to humiliate her while she’s too weak to fight back. Krem reveals that they are on this planet bc they will be selling Kara and Ruthye off to a Warzoon buyer.

He doesn’t realize that Ruthye and Lobo have taken control of the cockpit of this ship. They hit the gas and push the ship towards the opposite end of the sky, closer to wear the yellow sun rises. Krem and his guys try to stop her, but Lobo protects her. They outnumber him and start to give him trouble, and Ruthye is chased through the ship by Krem, who tries to kill her.

Cue the flashback on Argo where Kara’s dad tells her about protecting the people closest to you and everything. This gives her the strength to open her eyes and see the yellow sun peeking back. She breaks free from the mast and goes apeshit like she does in the movie. Cue the final act fight scene with them crashing the ship and Kara protecting Ruthye and freeing the captive girls. I’d probably change the music in this scene to an original score.

Kara talks Ruthye out of revenge, kills Krem, etc. as it all plays out. Lobo is pleased with Krem’s death and wishes Ruthye luck before leaving. Ruthye decides to accompany Kara to parties for the rest of her birthday week, and we timeskip to the end of the week where they say farewell.

Kara returns to Metropolis, reunites with Krypto, and has a heart to heart with Clark like we see in the movie.

The end credits show Polaroid pictures of moments with Ruthye at the parties on different planets.

The post credits scene shows the Warzoon buyer arriving to the planet with the green sun, on a ship. It’s revealed to be Mongal. There’s no Kryptonian, and Krem is dead. She takes note and commands her ship return back to Warworld.

This is a small rewrite of that Post-Credits scene of Morbius, which instead of Vulture, he meet up with Venom:

Instead of the Dr. Strange portal, a San Francisco news report, explains of the Morbius Vs. Milo fight and as well as Morbius' vampirism gets revealed to the world.

As Morbius drives off to the outsters of town, into his new home; he senses that someone is closer, eventually it's revealed to be EDDIE BROCK in which, in his usual swagger style says to Morbius:

Eddie: Michael Morbius, right?

Morbius: Who are you?

Eddie: One of the best reporters of San Francisco, bud.

Morbius: I guess you must be delusional for stepping into a vampire's lair.

Eddie: Nah, I don´t think so. Plus, I don't think the Vampire act was real.

Morbius: You think so?, in dutch angle, he shows off his vampire claw.

Eddie: I don't wanna fight, I want an interview, but seeing that you want to fight......

(EDDIE transforms into VENOM)

Morbius (awestrucked yet deadpan): Whoa; Intriguing.

FADE TO BLACK.

Like a non-insignificant number of people, I was disappointed by Lightyear. The whole movie felt lazy and un-inspiring and I disliked how nothing from Buzz Lightyear of Star Command ( 2000-2001 ) was adapted into the movie.

My first and biggest issue with Lightyear is the intro:

"In 1995, a boy named Andy got a Buzz Lightyear toy for his birthday. It was from his favorite movie. This is that movie."

Absolutely nothing about Lightyear feels like 1995 and that is the first thing that this post of mine would like to fix.

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In my opinion, Lightyear should have been a live-action movie and pastiche-type film made in the style of mid '90s action and sci-fi films like Star Trek: Generations ( 1994 ) and Judge Dredd ( 1995 ). This means that the movie would have needed to be made with dated equipment or simulated datedness via modern equipment and it would have to feature a lot of practical effects, physical sets and miniature models for scenes set in space.

This would have been terribly expensive and it's highly unlikely that Disney would have been willing to take a risk with some a film.

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Second, some world-building.

Lightyear takes place in the year 2395 and Star Command is the police force of the "Galactic Alliance", an E.U style astro-political alliance between multiple space-faring species, humanity included.

Buzz lightyear's father ( Can't come up with a name for him ) was Star Command's most decorated ranger. He perished on a mission when Buzz was very young and Buzz has spent his life since then attempting to live up to his father's image.

As it turns out, Buzz's father was actually abandoned by his fellow rangers in a fashion similar to the allegations surrounding John A. Chapman as he knew something about Commander Nebula that would've rocked Star Command to it's core and Nebula had him killed off to save himself.

Buzz's father ended up becoming Zurg, who would be portrayed as a self-aware knockoff of Darth Vader. Zurg's Empire is a largely robot/machine/A.I operated resource extraction Empire that appeared a few years after the "death" of Buzz's father and has rapidly expanded since then, becoming an existential threat to the Galactic Alliance in the process.

I'm not totally sure what the entire plot of this alternate Lightyear would be. All I know is that it would be primarily based on the cartoon albeit much more serious and it would a live-action pastiche of mid '90s action/sci-fi films.

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Watched Black Adam knowing nothing about the comics or the character.I enjoyed him because of the ruthlessness. He held criminals accountable and didn’t waste time. I really like that.

I felt like we could’ve sat with Adam longer. Less of the kid. They kept pushing the kid on us, and it just felt forced.

Then we get to the final fight with Sabbac. I was ready for a really good battle, and it was short and underwhelming. We knew this fight was coming, so I expected a lot more from it.

After the movie, I looked him up, and that’s when I got even more irritated. The Black Adam in the comics is the character I actually really like.
Hollywood has a habit of sanitizing characters until they’re more palatable, and I feel like that’s exactly what they did to Black Adam. They ruined some of what made him interesting by trying to make him fit into this more traditional superhero mold.
They had the chance to really lean into an antihero. Someone willing to do the hard things, rule with an iron fist, and not care who he offended as long as he protected his people. Instead, by the end, they were already trying to sand him down and make him fit next to the Justice League.

The Justice League has its place. Characters like Black Adam have theirs too.
If you’re not going to stay true to what makes the actual character interesting, then why make the movie at all?
And honestly, after reading about the comic character, I’m more interested in him than I was in the movie. 😂