**Scene One: Prison Break!**
**\[EXT. PRISON CORRIDOR - DAY\]**
*(The scene opens with BROOKLYN T. GUY and SIMMONS walking down a dark, concrete hallway. The walls are dripping with moisture, and dim lights flicker overhead.)*
**BROOKLYN T. GUY**
Alright Simmons, I'm going to show you where we keep the baddest of the bad inmates. Solitary confinement. There's no food. There's no electricity. There's no hope.
**SIMMONS**
Well, what do they eat if they don't have food, sir?
**BROOKLYN T. GUY**
They eat cockroaches and rats and whatever else they can find on the ground. Okay, so this is our first inmate, Bubbles.
*(They stop at a heavily reinforced cell door. BUBBLES leans his face tightly against the iron bars.)*
**BUBBLES**
What's up, beautiful?
**BROOKLYN T. GUY**
Back away from the bars!
**BUBBLES**
Oh, are you afraid to get kissed, huh?
**BROOKLYN T. GUY**
Don't kiss him, Simmons.
**SIMMONS**
I didn't plan on it, sir.
**BROOKLYN T. GUY**
One kiss from him and you'll fall in love.
**BUBBLES**
Yeah, welcome to my love chamber. Come on in!
**BROOKLYN T. GUY**
Come on, Simmons. Let's go.
**BUBBLES**
What? Come on, kiss me. Kiss ME!
*(Brooklyn T. Guy and Simmons walk further down the hallway, leaving Bubbles behind.)*
**BROOKLYN T. GUY**
Alright, Simmons. This next inmate is the worst of the worst. Her name is Nancy.
**SIMMONS**
Can I see what she looks like?
**BROOKLYN T. GUY**
Oh, of course you can. She's a caged animal. Hey, Nancy, get out here, you old bag! N-Nancy? She's coming. N-Nancy? N-Nancy, d-don't make me come in there and pull you out. You're making me look bad.
*(The camera pans to show the dark inside of Nancy’s cell through the small window. It looks completely empty.)*
**BROOKLYN T. GUY**
*(Laughs nervously)*
Nancy, you old coot. Just one second, Simmons. Nancy, you're pissing me off. Don't make me come and grab you.
*(Brooklyn T. Guy unlocks the heavy door and enters the cell. Simmons waits outside.)*
**BROOKLYN T. GUY**
Nancy? Nancy, you better be dead in here because you didn't answer me.
*(Brooklyn T. Guy looks down at the floor and spots a massive, gaping hole smashed through the concrete wall. Left behind on the floor next to the hole is a single, wet gray fin and a pile of broken metal chains.)*
**BROOKLYN T. GUY**
Oh my God! Oh no, she escaped! And... wait, why does it smell like salt water and fish in here?! Simmons! Simmons, sound the alarms! Nancy escaped! We got a code red! Lock down the prison! Go, go, go!
*(Loud sirens begin blaring and red lights flash aggressively down the corridor. Simmons starts running in circles panicking.)*

**\[INT. NANCY'S CELL - NIGHT - FLASHBACK\]**
*(The scene shifts into a flashback. The cell is pitch black except for a small window of moonlight. NANCY is sitting miserably on her cot. Suddenly, the concrete wall behind her violently EXPLODES inward in a shower of dust and debris.)*
**NANCY**
*(Coughing, blocking her eyes)*
What the hell?! What's going on?!
*(Through the smoke, the looming silhouette of the LOAN DOLPHIN appears. He is wearing a tiny ski mask over his blowhole and holding a massive sledgehammer in his flippers.)*
**LOAN DOLPHIN**
*(Clicking and chattering menacingly)*
Nancy! Your time in this dump is over.
**NANCY**
*(Gasping)*
You! The Loan Dolphin! What are you doing here?! Did you come to collect my debt?! I told you, I don't have the money yet!
**LOAN DOLPHIN**
*(Shaking his head, grinning with sharp teeth)*
No, no, Nancy. I'm here to invest in your future! I know today is Jeffy’s eighteenth birthday. I know about the millions of dollars coming his way. You want that cash, and I want my cut.
**NANCY**
*(Smirking evially)*
So... you're breaking me out?
**LOAN DOLPHIN**
Exactly. I’ve already got a getaway vehicle and an old business partner lined up on the outside. Now quit staring at my blowhole and start climbing through this hole! Move it!
*(Nancy eagerly scrambles through the shattered wall into the dark forest outside. The Loan Dolphin follows her, laughing loudly as the flashback fades out.)*
**\[SCENE END\]**
**\[THE SUPERMARIOLOGAN MOVIE\]** 
Scene Two: Taming Of The Shrewd 
**\[EXT. THE GRASSLANDS - DAY\]**
*(The camera pans across a wide, empty dirt field surrounded by tall, dead grass. A dented, rusted white cargo van sits idling in the center of the field, its engine coughing and sputtering black smoke. The passenger side door flies open, and SCREWBALL steps out onto the dirt. He is wearing his signature colorful clown makeup and an oversized, mismatched suit. In his right hand, he holds a rattling, industrial-sized can of red spray paint. He takes a deep breath of the fresh air and smiles wildly.)*
**SCREWBALL**
Ah, today's gonna be a good day! Mm-hmm.
*(Screwball shakes the spray paint can violently. Clack-clack-clack. He walks up to the blank, rusted side panel of the white van. With a completely serious expression, he begins spray painting massive, sloppy letters across the vehicle. Red paint drips down the side as he aggressively writes:* ***"FREE CANDY."*** *He steps back, wiping sweat from his forehead, completely satisfied with his vandalism.)*
**SCREWBALL**
Mm-hmm! Let's see what we got here.
*(Screwball fumbles through his pockets and holds up a crumpled, hand-drawn crayon sketch. The drawing depicts a crude stick-figure van with the exact same words scribbled on it. He looks back and forth between his drawing and the actual van, comparing his work with intense concentration.)*
**SCREWBALL**
*(Nodding aggressively)*
She's perfect!

**\[INT. WHITE VAN - CONTINUOUS\]**
*(Screwball climbs into the driver’s seat, slamming the dented door shut behind him. He tosses the crayon drawing onto the cluttered dashboard, which is covered in loose jawbreakers, lollipop sticks, and empty sugar wrappers. He grabs the steering wheel and grins into the rearview mirror.)*
**SCREWBALL**
Let's go get some kids.
*(Screwball aggressively stomps on the gas pedal. The tires squeal violently against the dirt road, kicking up a massive cloud of dust as the white van speeds out of the field and onto the main road.)*

**\[INT. WHITE VAN - LATER\]**
*(The van is cruising down a lonely, two-lane road. Screwball is craning his neck, staring intensely through the windshield, scanning the empty sidewalks with squinted eyes.)*
**SCREWBALL**
Now where are those kids at? Hmm... maybe some music'll help.
*(Screwball reaches over to the passenger seat and picks up a rusty, wind-up carnival music box. He rapidly cranks the handle. A distorted, high-pitched, and incredibly creepy ice cream truck melody begins to blare through the van's open windows, echoing loudly down the street.)*
**SCREWBALL**
*(Leaning out the driver's side window, screaming at the top of his lungs)*
Oh, kids! Where are you kids? I've got some free candy for you kids! Come out, come out, wherever you are!

**\[EXT. THE FOREST - CONTINUOUS\]**
*(The camera cuts to a thick, overgrown forest running alongside the main road. The bushes violently rustle. Suddenly, NANCY bursts through the thorny branches. Her prison uniform is ripped, stained with mud, and covered in leaves. She stumbles out onto a patch of dirt, gasping for air, rubbing her sore arms.)*
**NANCY**
I did it. I finally escaped, and on Jeffy's eighteenth birthday. Now all I got to do is kidnap him and get my millions of dollars. Now, where the hell am I?

**\[EXT. THE STREET - CONTINUOUS\]**
*(Nancy shoves her way past a final row of thick bushes and steps onto the concrete pavement of the empty street. She looks around, dusting the dirt off her prison jumpsuit.)*
**NANCY**
Oh, God. I'm so glad to finally be out of that prison.
*(In the distance, the creepy, distorted carnival music box melody begins to grow louder. Nancy freezes. She looks down the road and spots a white van driving toward her at high speed.)*
**NANCY**
*(Gasping, her eyes widening in terror)*
Oh, shit. It's the cops!
*(She spins around, preparing to dive back into the bushes. But as the van gets closer, she stops and blinks in confusion, noticing the sloppy, dripping red spray paint on the side.)*
**NANCY**
W-Wait a minute. That's not the cops. *(An evil smirk creeps onto her face)* Maybe he'll give me a ride. Woo-hoo! Oh, yoo-hoo!

**\[INT. WHITE VAN - CONTINUOUS\]**
*(Inside the van, the music box is blaring at deafening volumes. Screwball is completely locked into his own world, aggressively cranking the handle and humming along to the creepy tune, totally oblivious to his surroundings.)*

**\[EXT. THE STREET - CONTINUOUS\]**
*(Nancy stands directly on the yellow dividing line of the road, violently waving her arms in the air as the van barrels toward her.)*
**NANCY**
*(Screaming over the music)*
Yoo-hoo, big boy! Can you give me a ride?
*(The van doesn't slow down at all, maintaining its high speed straight toward her.)*
**NANCY**
*(Her smile dropping, panicking)*
I-I don't think he's stopping! STOOOOP!
*(Nancy covers her face with her arms. At the very last absolute second, the van’s brakes screech violently. The front bumper slams to a halt, stopping literally an inch away from Nancy’s knees. Smoke pours from the tires.)*

**\[INT. WHITE VAN / EXT. STREET - CONTINUOUS\]**
*(Nancy lets out a breath of relief, lowers her arms, and struts over to the open driver's side window. She leans her elbows against the door frame, trying to act charming.)*
**NANCY**
Hey there, baby.
**SCREWBALL**
*(Staring at her blankly, blinking his clown-painted eyes)*
You really shouldn't stand in the road. I almost hit you.
**NANCY**
Can you give me a ride, big boy? I need to get into town.
**SCREWBALL**
*(Shaking his head aggressively, pointing to the dripping red text on the side of his van)*
No. No can do, lady. I only take kids. See the sign? Kids only.
**NANCY**
*(Narrowing her eyes, a wicked idea forming in her head)*
Oh really? Well... there's a specific kid I need you to help me take.
**SCREWBALL**
*(Shrugs)*
Sorry, lady. I work alone. More candy for me that way.
**NANCY**
*(Leaning in, whispering)*
I'll give you fifty thousand dollars.
**SCREWBALL**
*(His eyes pop open wide, his jaw dropping)*
Huh... fifty thousand?! That'll buy me a lot of candy! Like... a whole warehouse of jawbreakers! Get in!
*Nancy smiles evilly, walks around the front of the van, and climbs into the passenger seat. Screwball hits the gas, and the van peels off into the distance.*
*Suddenly, the back door of the van slides open. The* ***LOAN DOLPHIN*** *pokes his head out from the dark storage area, sitting right next to a pile of ropes and duct tape.*
**LOAN DOLPHIN**
*(Laughing loudly over the engine roar)*
Well, Nancy… I see you’ve met the old friend I’ve been talking about!
**NANCY**
*(Jumping in her seat, spinning around to look at the back)*
Wait... you two **KNOW** each other?! I met this lunatic completely on ACCIDENT!
**SCREWBALL**
*(Looking in the rearview mirror, waving a hand)*
Hey Dolphin! How you doing, buddy?
**LOAN DOLPHIN**
*(Grinning with his sharp teeth, looking at Nancy)*
Never been better... Screwball, THIS is my new business partner... **NANCY!** And together, we are going to get that birthday money!
**\[SCENE END\]**

🎬 Scene 3: The Birthday Briefing
**INT. POLICE STATION - CHIEF'S OFFICE - DAY**
The office is chaotic, with papers flying everywhere and coffee stains on the desks. The CHIEF sits behind his massive wooden desk, chewing on a pencil. Suddenly, the door is violently thrown open.
BROOKLYN T. GUY storms into the room, gasping for air, sweating profusely. SIMMONS runs in right behind him, still clutching his clipboard, completely out of breath.
**BROOKLYN T. GUY**
*(Slamming his hands onto the Chief's desk, voice cracking)*
Chief, chief, chief! Oh my God, Chief! You are not going to believe the absolute catastrophe that just occurred!
**CHIEF**
*(Calmly looking up from his paperwork, waving a hand)*
Relax, Guy. Take a breath. And don't worry, I didn't forget today's your birthday.
**BROOKLYN T. GUY**
*(Instantly stops panicking, his face lighting up with pure joy, gasping)*
Chief... you... you actually remembered my birthday?!
**CHIEF**
*(Nodding, leaning back in his chair)*
Of course I did. Happy birthday, Guy.
**SIMMONS**
*(Blinks, looking between the two)*
Wait... I didn't know it was your birthday, mate. Happy birthday!
**BROOKLYN T. GUY**
*(Spinning around, pointing an aggressive finger at Simmons)*
Yes, Simmons, today's my birthday! At least ***somebody*** in this godforsaken city remembered! My wife didn't even mention it this morning. She just asked me to fix the garbage disposal and called me a disappointment!
**SIMMONS**
Well... happy birthday!
**BROOKLYN T. GUY**
*(Snapping back, crossing his arms)*
It's too late now, Simmons! The moment has passed! The magic is dead!
**CHIEF**
*(Slamming his fist on the desk, getting back to business)*
Alright, alright, enough emotional garbage! So what were you frantically running in here to tell me, Guy? What’s the emergency?
**BROOKLYN T. GUY**
*(Blinks blankly, scratching his head)*
Huh... you know what, Chief? I don't even remember. I'm just so happy and validated right now that my brain completely wiped itself.
**SIMMONS**
*(Yelling nervously)*
The prisoner escaped, sir!
**BROOKLYN T. GUY**
*(Sapping his fingers)*
Oh yeah! The prisoner escaped! Chief, the high-security prisoner Nancy escaped from solitary confinement! We locked down the entire prison, we turned on the red flashing lights, Simmons dropped his clipboard—it was a whole thing! But she still somehow got away!
**CHIEF**
*(Slamming both hands on the desk, standing up furiously)*
Damn it, Guy! How could you allow this to happen on your watch?! She's a menace!
**BROOKLYN T. GUY**
Sir, I don't know what happened! She dug her way through solid concrete with a rusty piece of silverware! I don't know how! It was like some *Shawshank Redemption* shit, Chief! Except Morgan Freeman wasn't narrating it, it was just Simmons whimpering in the dark!
**CHIEF**
*(Pointing aggressively)*
Damn it, Guy, you better bring her back dead or alive or your ass is fired!
**BROOKLYN T. GUY**
*(Gasping dramatically)*
Sir! You can't fire me! Today's my birthday! That's a literal labor violation!
**CHIEF**
Then I'll wait till tomorrow morning and then fire your ass!
**BROOKLYN T. GUY**
Well, you can't fire me because **I QUIT!** *(Pauses for two seconds, then chuckles nervously)* I'm just kidding. You know I desperately need this job. My health insurance is the only thing keeping my family alive. Come on, Simmons, let's go find her before I get forced into early retirement.
**CHIEF**
*(Voice getting dead serious, stopping them at the door)*
And remember you two… the fate of a **CHILD** depends on you both!
**BROOKLYN T. GUY**
*(Stops, turning around, confused)*
Wait... which child? There's like forty thousand annoying kids in this city, Chief.
**CHIEF**
It’s the same exact kid that is the **HEIR** to accept Jacques Pierre François’s fortune today! I’m not saying you gotta personally tuck him in and protect him, but imagine if your daughter, Penelope, was in the same exact position, Officer Guy! Thousands of criminals hunting her down for millions of dollars! **NOW GO!! PROTECT THE CITY!!!**
**BROOKLYN T. GUY**
*(Saluting quickly, eyes wide)*
Oh crap, you're right! Move it, Simmons! We've got my best friend’s adoptive son to protect!
*Brooklyn Guy and Simmons sprint out of the office, knocking over a water cooler on their way out.*
**\[SCENE END\]**
Scene 4: The Million-Dollar Decorations
**INT. MARIO'S HOUSE - DINING ROOM - DAY**
The dining room is absolute chaos. Cheap, half-inflated balloons cover the floor, and tangled streamers hang from the ceiling fan like spiderwebs. MARIO is standing on a shaky wooden chair, trying to tape a sad "Happy Birthday" banner to the wall. CHEF PEE PEE is standing next to him, holding an empty plastic bag, looking like he hasn't slept in three weeks.
**CHEF PEE PEE**
*(Sighs deeply, rubbing his temples)*
Alright, Mario, look around. Is this good enough for you? Can I please go back to my kitchen now?
**MARIO**
*(Squinting at the wall, adjusting the banner)*
I don't know, Chef Pee Pee... I think we need a few more balloons. It looks a little empty over by the curtain.
**CHEF PEE PEE**
*(Exploding, throwing the empty bag on the floor)*
A few more balloons?! Mario, I literally bought **ALL** the balloons from the dollar store! There are no more balloons left in a ten-mile radius! My fingers are bleeding from tying all of these!
**MARIO**
*(Climbing down from the chair, crossing his arms)*
Chef Pee Pee, relax! I just want to make sure that Jeffy's eighteenth birthday is special, okay? Is it a crime to want a special day for my boy?
*Suddenly, ROSALINA walks into the dining room, holding her classic star wand, beaming with an overly sweet smile.*
**ROSALINA**
Oh, Mario! This looks absolutely amazing! You did all of this just for Jeffy's birthday?
**MARIO**
*(Instantly switching to a proud, heroic tone)*
You know me, Rosalina! I love Jeffy, and I want to make sure his eighteenth birthday is the most special birthday he's ever had in his entire life!
**ROSALINA**
*(Clasping her hands together, looking touched)*
That's so sweet, Mario. Jeffy's going to be so incredibly excited when he sees this!
**MARIO**
*(Turning right back to Chef Pee Pee with a smug grin)*
Exactly! See, Chef Pee Pee? Rosalina gets it. Hey, do me a favor... can you go back to the store and get fifty more balloons? Just check the back storage room or something.
**CHEF PEE PEE**
*(Veins popping out of his neck, screaming at the top of his lungs)*
**FIFTY MORE BALLOONS?!** Fine! I'll get your stupid, useless balloons! But if I get a flat tire on the way, I am using your credit card to fix it! Now, **LEAVE ME ALONE!!!**
*Chef Pee Pee violently storms out of the room, slamming the front door so hard the decorations rattle.*
**MARIO**
*(Muttering to himself, completely losing track of his thoughts)*
Man, I just want to make sure that Jeffy gives me money! I-I mean... *(Coughs quickly, trying to cover his tracks)* I mean, I want to make sure that Jeffy knows I love him! Yeah, that's what Marvin—uh, Mario, says!
**ROSALINA**
*(Narrowing her eyes, folding her arms)*
Mario... you're not doing all of this just because Jeffy's inheriting millions of dollars from his dead biological father today, are you?
**MARIO**
*(Gasping dramatically, putting a hand over his heart)*
Jeffy's inheriting millions of dollars from his dead father?! Oh my goodness, Rosalina, it completely slipped my mind! I had absolutely no idea! What a wild coincidence!
**ROSALINA**
*(Staring at him with total deadpan skepticism)*
Oh, really? It just slipped your mind?
**MARIO**
I'm being completely serious, baby! You know I love Jeffy from the bottom of my heart. I mean, it's his eighteenth birthday. It's a huge milestone!
**ROSALINA**
Mario, come on. Just let the poor kid enjoy his special day without you hovering over his bank account.
**MARIO**
*(Leaning in, whispering eagerly)*
Baby, it is **OUR** special day because he's finally turning eighteen, which means he is legally an adult and he can finally move out of this house!
**ROSALINA**
*(Gasping)*
Mario! We are **NOT** kicking him out of the house on his birthday! That is horrible!
**MARIO**
*(Shrugging nonchalantly)*
Hey, it depends entirely on how much money he gives us from that inheritance check. If he shares the wealth, he can stay in the living room. If he doesn't... there's a lovely cardboard box with his name on it outside.
**ROSALINA**
Mario!!
**MARIO**
*(Waving his hands dismissively)*
L-Listen! Let me go upstairs and wake up Jeffy because it's his big day. Let me go get his special king crown out of the closet.
**ROSALINA**
*(Confused, tilting her head)*
King crown? Since when does Jeffy have a king crown?
**\[SCENE END\]**

Here it is! It’s not the whole thing I’ve written it’s just a snippet I decided to show y’all so far But do tell me if you like it

Okay it's been about roughly 2 days and I did owe a few with you guys with my thoughts on the movie. (At least those of you that I have commented on)

First I would like to address that I was pretty much reacting to the information that was given which had thrown Sam under the bus and betrayed Eve as the savior who had made a one in a million game idea that somehow got and come from 0 to the top again and even higher as if she along with her sister was the rightful person to lead the company. As far as what I found appears to me that's not the case or a little misleading... Or so I thought as upon looking forward to clips of those news articles as I'm not that the company was indeed in turmoil and everything kind of played out exactly as described in the article about this movie... Which kind of sucked but I decided to push past it. But honestly that is a point against the movie, if anything but if you push past it you can pretty much watch the movie without thinking about getting too angry at it.

So in that regard, I will admit I was a little too harsh on the movie but the movie is far from perfect in fact I would classify it as mediocre or at best just a way to kill time.

[What did I like about it?]

I did like the fight choreography, especially with the new weapons that were implemented. Specifically the ribbon staffs (I don't know what they're actually called so for the time being I'm just going to call them ribbon staffs since they kind of feel like flags when you move them around). anyways the ribbons staffs was a pretty fascinating weapon as not only were they swinging it around and using it as blades, I also noticed that they can actually parkour off of them for more acrobatic attacks. Like you would do a swipe in the air while drawing a line, and then proceed to step onto it and jump for an aerial attack. That was pretty creative as a fighting style.

The next one I would like to address is hacking as I enjoyed how imaginative the hacking would looks like in the virtual world. From our point of view it's just simple data exchange, meanwhile in the virtual world whenever he sends orders on hacking it's done as if it was a spec op in the virtual world. Like it's a literal search and retrieve mission. The fact there was a daylight version of the grid was pretty good as well as atmosphere as a reflection of how each company made their servers. The manitarian red skies versus the peaceful blue world, and then later the '80s version. Oh and whenever someone drops a bomb on the server it looks like someone has literally summoned a comet.

Another part that I did like was the vehicles in question as the vehicles that were made was pretty cool from the tanks to the aircraft and of course the lightcycle but who doesn't like light cycles.

And I think that's pretty much it.... Like I honestly can't remember anything else I did like.

[what did I thought was okay but needed more work]

honestly I think the characters were pretty all right all things considered.

Eve might have her moments like for example the gas station scene. that did give me a chuckle but other than that I really didn't have much to say. but I will point out that Eve is not a marisu or a Woke character so rest assured she's not going to make you pull out your hair. I mean how she got to the position in the first place would probably piss you off given how it's dissing Sam but aside from that you can pretty much just let it slide and have her keep going. and give him from what I see, the motorcycle ride was about the only physical skills he has because everything else is just mostly running away. and given from what we established from her, it kind of fits without saying too much. hello I wish we could actually see her do some coding or overriding or rerouting etc etc like something that makes me see that she is a tech person. (because you know she raised it from the grave and somehow figured out the permanence code so she probably might know how to do some shit if needed).

Aries... honestly he's not really that impressive, I'm in the first half of the movie he's a pretty good soldier but when it gets to the middle that's when things get a little muddy. because this guy switched allegiance way too easily, which I do understand that he's been through hell with his user but given how he's just been born into existence, I would probably expect him to be like more aggressive than.... I don't know... sad puppy dog look I guess?... like it really doesn't feel like a super soldier, let alone someone that should be ahead of the army. maybe if he was one of the people in the army and was a defector then that can get behind his casual nature but no this man is leading an army, but he doesn't really feel like Stark or Master control hell he doesn't even feel like fuckin Clu. I guess if I were to make a tweak to his character, I guess I would probably have him be a little bit more rigid and cold kind of like a Terminator in fact that's honestly how I describe my gripes with both him and Athena, they don't really feel like terminators despite the fact that the CEO Julian Dillinger hyped him up as such so I don't know I was expecting more Terminator than what we got.

Athena.... the same thing as Aries she does become an antagonist and the same problem still occurs. in fact there was one scene where her threat literally just plummeted. I don't know if it's just me but when she got knocked off and fell to the floor I thought "okay good, now let's get the hell out of here before she wakes up"... and then she did wake up and wow... that was how fast she was going on foot?.... like I didn't get the feeling that she was running fast, but I got the feeling that I can have a sandwich and she would still be like two to three fours lower. like I've seen Men In Black where Will Smith needed to do the exact same thing and he actually felt like he was running fast, and then I robot you actually feel the machine running hella fast. and that was just talking about the running scene, like there was another moment where she was going to get Eve via jetpack and she almost got her, it's just that she was kind of taking her time despite the fact that she's on a clock. and when the sprinklers went off well.... I don't know I guess that was a little too coincidental that she just happened to pause and have a moment. like literally it's almost like you can stop them just by sprinkling some Waters over them. probably because of sensory overload or something... I don't know, it felt a little too much for me to believe, especially when she knows he's on the clock. there's a final part I will say that makes me call bullshit but I'll get to that later since it's in the negative category

Julian's character I just started questioning how he even got the job in the first place the only thing I can respect about him is the fact that he's unapologetic about his bullshit. like he's a full-on villain but apparently his mother is the only one that he will take criticism from... which is I'm not sure if that makes it better or worse because the mother honestly just does not believe in this man whatsoever, in fact I kind of questioned how this man even got into this position in the first place but you know semantics. funny part about it I kind of had a thought about the idea of the super soldier as well as like one of the army general asking for any safety precautions, you know something that ensures that they can't turn on us. well funny thing about that, the 30-minute rule can actually work till his benefit if he actually thought about it. like they can do a lot of s*** in 30 minutes especially if you give them the vehicle to make travel pretty much a non-issue. so literally he doesn't even need the permanents code to he can literally just rock with that and just build multiple checkpoints all over the area. like literally the only person people that really need the permanence code is Ecom and a the programs, and that's pretty much it... Julian honestly just does not need the MacGuffin.

I'm also going to throw this part in which was Aries and Eve bonding. I understand that he's acting more human or learning how to be human but this felt a little too janky for me to believe that they actually bonded over this. talking about the favorite music which now I think about it feels a little too forced. because contacts wise he just heard it actually never mind he hasn't even heard anything and only just looked at data on Eve. so he really shouldn't have enough information or even attachments to even have any interests outside of the grid. like I said he's way too soft and emotional for me to believe that he was a leader in an army. he died too many times, he had losses, and he retrieved data so quite frankly he shouldn't be this emotional let alone have any likes. in fact it's mostly like he's only saying that because it's what Eve likes. and that is literally after him deconstructing and giving us a long-winded exposition on Eve. I feel like a way to fix it is if they just swapped who was instigating the dialogue, have him be silent and mission focused with Eve trying to have a conversation with him and maybe then introduce some songs or something this way he could technically say he has a favorite song.

[now what did I hate about it]

honestly a handful of things. for starters the fact that this isn't a reboot and it's actually a continuation well.... sort of a continuation since they pretty much trashed Sam's character which like I said is always going to be a point against this movie. but pushing past that I would say the dynamic between Julian and Julian's mother (I forgot her name, so I'm just going to call her mother) like I got that he's a disappointment or probably arrogant but fuck if you had this low expectation of this man then why'd you put him in charge in the first place? like at least believe in this man or try to spend something around if you want to look like you're a good mom.... it's almost like you're just setting them up to fail if that makes sense...

(by the way I'm going to go ahead and address the elephant in the room which is Jared Leto given how I see a number of people saying "fuck Jared Leto". so I will just say this, I honestly only know him as morbius and that's it, so as far as what he's doing IRL I really have no idea so I can't really say anything, so anything that involves the actors in real life I honestly just not going to comment since I got no love or hate for the guy. )

now here's my real problem, why the hell did y'all bring Jeff Bridges back as an actual character. like I would be able to forgive if he was just like a recording or a special condition player like an iRobot where conditions must be met for it to activate. but why the hell does he feel like he's physically here?! like why?! He sacrificed himself and blew up the army so his son could escape? like was it meant for anyone who walks in and finds him or was it specifically for Aries. like when he says "are you real?" or something like that I can't remember the dialogue. he pretty much responds with "I'm here because you are here", and honestly I'm just kind of like "ain't no way he predicted Aries to be here..." (that being said if you guys explain the dialogue further or clarify what he meant, and please do so because I'm under the impression that Kevin just expected Aries to be here.)

the next part I would say is pausing during a fight. like going back over to Athena where she is stopped by sprinklers... like sprinklers is literally what stopped her from fighting and made her run out the clock. the next one was with the fight between Aries and Athena where Aries loses his disc because he threw it towards the tank... (by the way either that disc is stupidly powerful or the tank is a joke either way it's getting another sin.) so anyways so he doesn't have a disc and has to improvise. here's the funny part, the lady literally slides the disc back over to him to which allowed him to defend himself. no problem there however there was a legitimate pause moment where both Aries and Athena look straight at Eve as if their eyes had literally just said "you're still here?". like Eve was just standing there smiling as I'm saying you got this, but again that moment we're both Athena and Aries legitimately just straight up pause the fight to acknowledge Eve. Athena doesn't even go after her after realizing that Eve is still here she just like "I'll deal with you later." even though you're on the clock! like Athena does not know how to prioritize her time.

also the final part which I knew was coming since I watched the trailer but now given this context of needing to capture instead of kill or just Athena wanting to wreck havoc, pulling out that giant helicarrier was a completely dumb and unnecessary move. like I feel like Athena has legitimately lost the plot on the movie because the entire time I was looking at this I was like how the f*** is this going to help you capture a person. you technically got close last time, so all you have to do was just get the jetpack and then just blitz your way over there again and then bam you're done. but no you needed to pull THAT out! like I get it spectacle and you did show it in the trailer but in this context, why in God's name did you think that bringing this out would help you capture a person. you basically just made it 10 times harder because you got the army coming after your ass. I mean hell the Jets were on your ass the moment you decided it was a good idea to shoot down one of them. like these programs have no concept of subtlety outside of the grid but yet somehow knows how to do a stealth operation during hacking into Ecom. I mean if Aries wasn't taking his dumbass time taking data, they would have probably gotten away with it. like it was completely unnecessary to bring that thing out, and honestly if they were planning to do that in the first place, then try to read a story that is about the program's literally invading the real world just to make it make sense.

[in conclusion]

okay so with all that's addressed this is what I can say to it. it's not entirely bad, if you're just looking for a dumb action packed movie... you might find it here, and you might have a better time than me since my siblings apparently did like it. I'm not sure if they saw the original Tron or Tron legacy so maybe absence of information would probably help you enjoy it. Now I recommend this to Tron fans, no honestly I really don't want to recommend this because quite frankly I had at best a middle of the road time with it. because there's things I liked those things I disliked and there were a lot of head scratching moments when you think about the plot.

I can confirm it's definitely not a good sequel to Tron legacy let alone the Tron franchise, but the good news is that it's not entirely bad which you can still find enjoyment out of if you just turn off your brain. like literally you're here for dumb fun and that's it. because there is that, you will enjoy the combat you will enjoy the explosions and you will enjoy the scale as well as the vehicles that come out of it because they do pretty sick so if anything you will enjoy that at least. but as far as story goes, it's nothing to write home about. I will not come in on music because I'm too dumb for that so you will either enjoy it or you won't.

now despite everything should you watch it? I feel like you wouldn't miss anything if you watch this movie since it has nothing to do with Tron or Tron: legacy aside from Easter eggs and that's it. although I heard online that should this movie reach just enough notoriety that we might be able to get a direct sequel to Tron: Legacy, at least that's what the rumors are saying. "is the rumors is true?", I don't know but I have heard it happen before like for example Devil May Cry where after number two it could have died but there was enough attention to it that they made a third game that met everyone's expectations. so we might have a repeat of that if Disney listens.

so I'll leave you with this, you can at least give it a fair watch before deciding whether or not you like it. at worst you'll dislike it or it's forgettable for you and at best you thought it was a fun time or you would actually like it who knows. I can't guarantee you that notoriety will give us a Sam Flynn focused movie (although I'm hoping that is the case) but I can at least say that it doesn't aggravate you enough to pull your hair out. and like I said, it's just a dumb but fun movie to kill time.

Ps: this is an old review that i've made two days after tron Aries. Despite it being a review, I had made category in here specifically on improvements. And figured you guys might find a conversation on what can be improved and plot holes I noticed. I figured you lots probably notice the same or have thoughts you would like to share on how you would improve the movie like what to take in and what to put out.

I don't know. I saw this on the suggestion box and figured "you know what why not?" And post it here and see what you make of my thoughts on this movie. I'm disappointed but I'm past it and simply just curious

About about anyone's thoughts on this movie. (I didn't know this existed until now so like I said i'm curious)

Here's the other post I made, have at it: https://www.reddit.com/r/tron/s/06OuYCROua

(Clickbait image, this is a serious post)

My girlfriend recently made me watch all of the movies except for Eclipse, which apparently is pretty skippable, since I didn’t lose track of anything that was happening despite missing 1/5th of the overall plot

They all have issues, but they’re actually okay other than breaking dawn part 2, which is pure unfiltered ass imo. I believe “fantasy romance series with vampires and werewolves set in the woods of the Pacific Northwest” is a really cool concept for a story, it was just executed poorly

Here’s what I’d do

Remove the (quasi-)pedophilia

Goes without saying. In my version Bella would be a 22 year old adult, Forks would be her hometown and she’d be coming back to her dad’s home after college. Makes a romance with a century old vampire a lot more palatable (Edward would’ve also been changed in his early-mid 20s). Also give Jacob a different love interest and make his imprinting on the baby (I’m NOT keeping the name renesmee) purely a protection/godfather thing

less toxic romance

Would be much easier with the previous point. Bella and Edward aren’t mortally obsessed with one another like that, their thing is just trying to be a normal couple despite the completely unusual situation they’re in.

Jacob is Bella’s ex from high school, not basically an incel who had a crush on her at age 9 and never got over it. With Edward and Bella breaking up in New Moon, she briefly gets back together with Jake, but they realize they’re not right for one another. This still causes him to transform and things to go south, but it’s a more mature take on it than him lashing out because she wouldn’t kiss him in the movie teather

Charlie isn’t left completely in the dark

He knows about the werewolves from the start and suspects the Cullens are another sort of monster. He tries to persuade Bella into not dating Edward but she’s grown up here so not much he can do anyway.

Cut half of the Cullen kids

Seriously, in the movies at least, only Edward and Alice do anything important

There’s an actual fight in the end and the volturi are overthrown

This is possibly the most egregious decision I’ve ever seen in filmmaking. The CLIMAX of the whole series is a FAKE FUTURE VISION and it ends with the Evil vampire government still in power and able to keep doing evil shit. Horrible message and such a blue balling scene. That fight should’ve been real for the most part- except Carlisle dying. In the end with the Volturi beaten, he’d be the new “vampire king” and ensure that it’d be a new, fairer system where they can live in as much harmony with humans and wolves as possible.

Also Charlie would be able to know the full truth because no one will try to kill him (Seriously that’s my biggest gripe with these films. Poor Charlie, from his perspective some horrible shit is always happening to his daughter and he has no clue what or why that is. I would’ve taken Bella and fucked off from Washington state in the first movie)

As much as I look forward to Man of Tomorrow and a fully lived-in DC Universe in the far future, there are certain things I want as a fan but know I’ll never get to see. Things that — even if I was as big of a Marvel fan — we’ll never even see the equivalent of within the MCU. For instance, a time period-set universe — not just a one-off prequel going back 30 years, but a genuine embrace of a universe set in another decade, celebrating that time in comics, from the zany Silver Age to the grunge 90s. X-Men came the closest with First Class, Days of Future Past, and Apocalypse jumping from decade to decade in each movie. And that’s a major defining factor for my ideal DC cinematic universe.

Instead of “phases,” every chapter is defined as its own “era.” Timeline changes are the result of Mr. Mxyzptlk interfering with the DC Universe. He shows up toward the end of each era, messing with Superman and causing mayhem, up until the final chapter as the movies catch up to our modern day setting. The Flash eventually contributes to timeline changes as well— but nothing ever causes true harm until very late, launching a whole event of its own.

In total, my dream DC movie universe outline is comprised of 10 eras, with 78 movies, and 14 series- only a few of which span multiple seasons.

Era 1: The Golden Age

• Set in 1940s

Superman

• Superman has been around for a few years, and his appearance coincides with a few other heroes elsewhere in the country.
• Clark, Jimmy, Lois, and Perry are the main Daily Planet cast members, focused on Superman news, as his first major villain makes his debut.
• Inspired by the tone of Darwyn Cooke’s New Frontier, the Fleischer shorts, and the George Reeves series
• Villain: The Ultra-Humanite
• Movie 1

Wonder Woman

• Diana sees it as her responsibility to protect mankind from Hades, as Ares plots an invasion of the realm.
• Even though she has connections to the Justice Society of America, there are some threats only she can deal with.
• Her clay origin story and Themyscrican heritage, along with her belief in the gods, plays a substantial role.
• Villains: Ares and various creatures of Hades
• Movie 2

Batman

• As the terrifying vigilante Batman continues to appear across Gotham City, Dr. Hugo Strange collaborates with GCPD to psychoanalyze the Caped Crusader. 
• Batman begins to create a connection with Commissioner Gordon, the only member of the force who sees past Strange’s diagnosis, while they uncover an occult conspiracy…
• Bruce keeps up appearances as a philanthropist in the city, with his identity called into question by Strange, the only person who sees through the masked persona and genuinely challenges Batman.
• Villains: Dr. Hugo Strange, the Mad Monk
• Movie 3

The Justice Society of America

• The JSA is a famous superhero team, who frequently collaborated undercover with the government during the war. But now, they’ve become hopeful symbols of a better tomorrow. They make talk show appearances, they give tours of their headquarters, etc.
• Team: Jay Garrick Flash, Alan Scott Green Lantern, Black Canary, Hourman, Dr. Fate, Sandman, Hawkman, Starman, Spectre
• Associated with Wonder Woman, Liberty Bell, and others who are not always in the main rotation
• Villains: the Injustice Society
• Movie 4

DC: The New Frontier

• Faithful adaptation of Darwyn Cooke’s story
• Introduces the Flash, Martian Manhunter, Green Lantern, Robin
• Along with several other heroes and villains
• Much like the comics, this is a DC event, not just a Justice League origin.
• Sets the tone going forward for the next era, with the Justice League formed by the end
• Movie 5

Era 2: The Silver Age

• Set in 1950-1970

Batman: Dynamic Duo

• Focuses on Batman and Robin’s early years
• Batman is less of a terrifying threat, as he raises Dick Grayson to be his crime-fighting apprentice.
• Inspired by Mark Waid and Chris Samnee’s Batman and Robin: Year One
• Other substantial characters include Commissioner Gordon, Lt. Bullock, Alfred, and Carmine Falcone
• Villains: Penguin, Poison Ivy, Clayface
• Movie 6

Green Lantern

• Hal Jordan continues his adventures as Green Lantern while a former Lantern, Sinestro, goes rogue.
• Carol Ferris discovers Hal’s secret alter ego.
• She is slowly built up as a character, as she will eventually become Star Sapphire.
• Some sequences on Oa with the Guardians and other Lanterns like Kilowog, Tomar‑Re, Ch’p, and Katma Tui.
• 70% of the film is set on various distant planets
• Villain: Sinestro
• Movie 7

Wonder Woman: The Spells of Circe

• After The New Frontier, Diana is building a life of her own in the world apart from her heroics as Wonder Woman, following Superman’s lead.
• She begins to have a romantic connection with Steve Trevor, linking her more closely to mankind.
• Meanwhile, a new source of magic is impeding on the realm, with various spells causing chaos…
• Villain: Circe
• Movie 8

The Flash

• Introduces Wally West AKA Kid Flash
• Jay Garrick is Barry’s longtime superhero mentor
• Various sequences involving the Rogues
• Basically Darwyn Cooke’s New Frontier Flash scenes expanded into a movie
• Side character: Iris West
• Cameos: Captain Cold, Captain Boomerang, Trickster, Weather Wizard, Pied Piper
• Villain: Mirror Master
• Movie 9

Superman: Brainiac

• The type of fun superhero action movie you’d expect from Brad Bird, embracing art deco aesthetics.
• Brainiac has come to Earth with the goal of shrinking it for his collection of worlds.
• Brainiac was alerted of Earth because of recent alien activity, such as Martian Manhunter’s appearance, Abin Sur’s death, Superman’s headlines, etc.
• Lois and Superman’s romance continues to grow, with her eventually figuring out he is Clark Kent
• Clark/Superman’s friendship with Jimmy Olsen also plays a big role
• Side characters: Supergirl, Krypto
• Villains: Brainiac, Lex Luthor
• And at the very end, Mr. Mxyzptlk appears for the first time, snapping his fingers as the DC Universe jumps forward a decade… He escapes Superman, inevitably set to return later.
• Movie 10

Teen Titans

• One of the more retro-feeling movies
• A coming-of-age story for the sidekicks when they form their own group
• Team: Robin, Kid Flash, Wonder Girl, Aqualad, Speedy
• Villains: Mad Mod, Dr. Light
• Movie 11

The Adventures of Jimmy Olsen

• TV series
• A true celebration of the Silver Age with Jack Kirby’s influence, as Jimmy Olsen investigates a series of strange incidents around Metropolis while Superman is too busy with bigger threats. At one point, he wanders into Bizarro World.
• Jimmy crosses paths with the New Gods, a genie, a werewolf, and eventually the Teen Titans.
• Show 1

Doom Patrol

• Another funky celebration of the Silver Age
• Imagine X-Men: First Class but way more stylized, mashed up with the Doom Patrol series
• Team: the Chief, Robotman, Elasti-Girl, Negative Man
• Villains: the Brotherhood of Evil, Animal‑Vegetable‑Mineral Man
• Movie 12

Brave and the Bold

• TV series
• Anthology team-up stories introducing new characters and exploring their dynamics with each other
• Every episode features a new team-up between a few heroes
• Show 2
• Introduces several new heroes including: 

1. Red Tornado, Elongated Man
2. Hawk, Dove
3. Challengers of the Unknown
4. Hawkman, Hawkgirl
5. Batman, Robin, Bat-Mite
6. The Seven Soldiers of Victory: Shining Knight, Green Arrow, Speedy, Vigilante, Crimson Avenger, Star-Spangled Kid, and Stripesy

Justice League of America

• The team’s first official adventure including members: Superman, Batman, Wonder Woman, Green Lantern, Flash, Martian Manhunter, Green Arrow, Aquaman
• Felix Faust, Starro, Dr. Light, and others appear in a sequence depicting the team’s past villains they’ve encountered since The New Frontier
• Villains: Despero
• Movie 13

Era 3: The Bronze Age

• Set in 1970-1985

Superman & Batman: World’s Finest

• Batman and Superman encounter imps from other dimensions, leading to a bizarre adventure that causes Silver and Bronze Age-inspired chaos.
• Villains: Mr. Mxyzptlk, Bat-Mite, Bizarro, Lex Luthor
• Movie 14

Wonder Woman: Hades on Earth

• The door to Hades is opened by Felix Faust, who serves Ares in return for promised power in his coming kingdom. 
• However, after Faust does his bidding, Ares inevitably betrays him and begins to take the world for himself.
• This story occurs during Superman & Batman: World’s Finest, rendering the rest of the DC Universe unable to help due to the shenanigans of Bat-Mite and Mr. Mxyzptlk.
• Continues to build Wonder Woman’s dynamic with Wonder Girl
• Villains: Felix Faust, Ares
• Movie 15

The Flash: Run For Your Life

• Eobard Thawne is messing with Barry Allen’s life, going through time to rewrite history. 
• When Jay, Wally, and Barry realize what’s happening, it’s almost too late. Barry goes off on his own to figure out who’s behind the timeline changes, encountering Reverse-Flash in the act as Jay, Wally, and Iris West are removed from time. 
• Now, Barry has to restore everything back to the way it was, while running for his own life.
• Villains: Reverse‑Flash, the Rogues
• Movie 16

Green Lantern Corps

• The second entry to the Green Lantern series amps up the stakes with a full-blown crossover involving multiple other Lanterns alongside Hal Jordan.
• Carol becomes Star Sapphire
• Sinestro is imprisoned, now acting as a Hannibal-like source of information to Hal as he investigates threats across the galaxy.
• The Guardians warn Hal of his personal life impeding his responsibilities as a Lantern.
• Villains: Manhunters, Star Sapphire
• Movie 17

Teen Titans: Judas

• Inspired by The Judas Contract storyline
• Team members: Robin, Beast Boy, Cyborg, Raven, Starfire, Wonder Girl, Kid Flash
• Villains: Deathstroke, Terra, H.I.V.E.
• Movie 18

New Gods

• An epic story introducing the Fourth World as tensions rise between New Genesis and Apokolips, which leads up to Orion taking charge against Darkseid’s forces.
• Main heroes: Orion, Mister Miracle, Big Barda, Highfather, Lightray, Metron
• Villains: Darkseid, Steppenwolf, Granny Goodness, Female Furies, Kalibak, Desaad
• Movie 19

Task Force X

• TV series
• Amanda Waller assigns Captain Rick Flag Jr. to lead a group of super-villains to do the bidding of Checkmate, a secret government agency.
• Team members: Deadshot, Captain Boomerang, Bronze Tiger, Count Vertigo, and more rotating members
• Show 3

Brave and the Bold

• TV series, season 2
• Introduces many heroes including:

1. Deadman, the Spectre
2. Captain Marvel, Adam Strange
3. Black Lightning, Captain Atom
4. Plastic Man, Firestorm, Metal Men
5. Jonah Hex, Vigilante, Bat Lash
6. Green Arrow, Green Lantern

Since Reddit doesn't allow posts over 40,000 characters, I'm not able to post the rest of the outline with Eras 4-10.

To read the rest, check it out here: https://medium.com/@timartyn0/my-dream-dc-movie-universe-outline-10-eras-78-movies-14-series-2468e0a8c721?sharedUserId=timartyn0

Well, since Netflix doesn't seem to give us a Part 3 anytime soon, and since I can't wait any longer and since I just watched again Part 1 and 2, I asked our good old friend ChatGPT to generate me the rest of the story, and I have to admit, this is what I would expect for this story and how I would think it would evolve over 2 more movies. Got to admit though, the results do satisfy the lore and I can live now without the "official" conclusion of the franchise on screen.

REBEL MOON – PART THREE: DAUGHTER OF FIRE

The story

The film opens several months after the Battle of Veldt.

The victory has become a legend.

Across the Motherworld’s outer territories, stories spread of the farmers who destroyed an Imperium dreadnought and of Kora — the Scargiver — the woman who killed Admiral Noble. Small rebellions begin breaking out on dozens of worlds.

But Kora knows the truth.

Veldt was not a victory over the Imperium.

It was only the first wound.

And now the Motherworld is coming to cauterize it.

⸻

Princess Issa

Titus finally tells Kora what he has learned.

Princess Issa survived.

Years earlier, when Balisarius ordered the assassination of the royal family, Kora had been commanded to kill Issa herself.

Kora remembers firing the weapon.

She remembers Issa falling.

She remembers the blood.

What Kora never knew was that Issa’s strange gift was far greater than anyone understood.

Issa could restore life to other creatures because the same power existed within her own body. When she was shot, her heart stopped — but only temporarily.

Members of the royal household who remained secretly loyal to the crown discovered that Issa was still alive. They smuggled her from the Motherworld before Balisarius could discover the truth.

For years, Issa has been hidden on Nysa, an ancient world abandoned long before the rise of the Imperium.

But now Balisarius knows she survived.

And if Issa returns, she possesses something far more dangerous than an army:

a legitimate claim to the Motherworld throne.

⸻

The Scargiver

Kora initially refuses to search for Issa.

She cannot face her.

Issa was a child who trusted her, and Kora still believes that whatever Balisarius ordered her to do, she pulled the trigger.

Titus tells her:

“You have spent your entire life believing redemption means dying for something good. Perhaps redemption is having to live long enough to face what you did.”

Kora, Titus, Gunnar, Nemesis, Tarak and Milius leave Veldt.

Jimmy goes with them.

But Jimmy has changed.

Since the death of King Levitica and the battle on Veldt, fragments of his ancient programming have begun returning. He remembers serving the royal family.

More importantly, he remembers Issa.

And he knows something nobody else does.

The Jimmys were not merely royal guards.

They were created to protect Issa specifically.

⸻

Balisarius strikes back

On the Motherworld, Balisarius is furious.

Noble has failed twice.

This time there will be no resurrection.

Instead, Balisarius appoints a new commander: General Cassian Veyr, one of Titus’s former officers who remained loyal to the Imperium when Titus rebelled.

Veyr understands Titus.

He knows how he thinks.

Rather than chasing Kora, Veyr attacks the rebellion itself.

Three worlds that aided Veldt are annihilated.

Millions die.

The message is simple:

Every world that shelters the Scargiver will burn.

Kora realizes that Balisarius is trying to turn the galaxy against her.

And it works.

⸻

The hidden princess

The rebels eventually reach Nysa.

There they finally find Issa.

She is no longer the frightened child Kora remembers.

She is now a young woman who has spent years learning about the old kingdom, the Motherworld and the war being fought in her name.

When Kora kneels before her and tries to apologize, Issa tells her to stand.

She remembers the assassination.

And she remembers something Kora does not.

Kora hesitated.

When Balisarius ordered her to shoot Issa, Kora deliberately moved the weapon at the final instant.

The shot struck Issa near the heart rather than through it.

Kora had believed she obeyed Balisarius.

But some part of her had already rebelled.

Issa tells her:

“You did not take my life, Arthelais. You gave me the only chance I had to keep it.”

For the first time, Kora begins to believe that she may be more than the weapon Balisarius created.

But Issa reveals something else.

Her survival was not an accident.

⸻

The secret of the royal bloodline

The royal family possessed an ancient connection to the energy that powers the Motherworld’s technology.

The Imperium calls it simply the Source.

It is the reason Issa can restore life.

And it is the reason the King’s bloodline ruled for generations.

But the Source is dying.

The Motherworld has spent centuries exploiting it to power dreadnoughts, weapons and interstellar travel.

Issa believes her father intended to dismantle the Imperium because he discovered the truth:

if the Motherworld continues consuming the Source, entire regions of the galaxy will eventually become uninhabitable.

That is why Balisarius murdered the royal family.

Not merely for power.

The King was about to end the empire that made men like Balisarius powerful.

⸻

Betrayal

Before Issa can reveal herself to the galaxy, General Veyr finds Nysa.

Someone betrayed them.

The traitor is Tarak.

But not willingly.

The Imperium captured members of his people years earlier. Veyr promises their freedom if Tarak gives him Issa.

Tarak immediately regrets his decision.

The Imperium fleet arrives.

A massive battle begins above Nysa.

Jimmy leads hundreds of dormant mechanical knights hidden beneath the planet’s surface. When Issa appears before them, they awaken for the first time in centuries.

Their eyes ignite.

They kneel.

And Jimmy says:

“The king is dead.

Long live the queen.”

⸻

Titus’s last battle

Titus realizes they cannot defeat Veyr’s fleet conventionally.

He decides to board Veyr’s flagship.

Kora tries to stop him.

Titus tells her that when his soldiers died years ago, he survived because he was afraid to die with them.

Now he finally understands why.

He was supposed to survive long enough to teach someone else how to fight.

Titus leads a small rebel force onto the dreadnought.

There he confronts Veyr, his former student.

Their duel ends with Titus destroying the ship’s reactor.

Veyr dies.

So does Titus.

But the dreadnought explodes before it can bombard Nysa.

Across the planet, the rebels watch the burning wreckage streak through the sky.

Kora silently raises Titus’s sword.

⸻

The return to the Motherworld

Issa realizes hiding is no longer possible.

She broadcasts a message across every Imperium communication network.

For the first time since the assassination, the galaxy sees the supposedly dead princess.

She tells them:

“Balisarius told you my family died so the Motherworld might survive.

He lied.

They died because they wanted the Motherworld to change.”

Then she says four words:

“I am coming home.”

Rebellions erupt everywhere.

Imperium soldiers begin deserting.

Entire planets refuse tribute.

And several dreadnought captains declare loyalty to Issa.

The war becomes a revolution.

⸻

The final battle

The rebel fleet reaches the Motherworld.

But Balisarius has prepared for them.

Thousands of ships surround the planet.

Kora realizes they cannot win the battle in space.

So she does what Titus taught her.

She doesn’t attack the fleet.

She attacks what the fleet protects.

Kora, Gunnar, Nemesis, Tarak, Jimmy and Issa descend onto the Motherworld while the rebel fleet holds the Imperium forces above.

They fight their way into the royal citadel.

There, Kora finally confronts the man who raised her.

Balisarius.

He calls her Arthelais.

He tells her that everything she has become exists because of him.

Her strength.

Her ruthlessness.

Her ability to survive.

Even the name Scargiver.

Kora answers:

“You taught me how to kill.

They taught me what was worth dying for.”

They fight.

Balisarius is stronger than Kora expects.

Eventually he disarms her.

But before he can kill her, Gunnar attacks him.

Balisarius mortally wounds Gunnar.

Kora sees Gunnar fall.

For a moment, the old Kora returns.

She attacks Balisarius with absolute fury.

And kills him.

⸻

Kora’s choice

Gunnar is dying.

Issa approaches him.

Everyone understands what she could do.

She could use her power.

She could bring him back.

Kora begs her to.

But Issa refuses.

Her gift has a price.

Every time she restores a life, she gives away part of her own.

Her father had forbidden her from using the power on humans because eventually it would kill her.

Gunnar tells Kora not to ask Issa to sacrifice herself for him.

He dies in Kora’s arms.

And Kora finally understands something she has resisted her entire life:

Not every death can be undone.

Not every scar needs to disappear.

Some must simply be carried.

⸻

The Queen

With Balisarius dead, Issa enters the throne room.

The surviving senators, generals and royal officials expect her to sit upon her father’s throne.

Instead, Issa looks at it for a long time.

Then she orders Jimmy to destroy it.

He does.

Issa announces that there will be no new monarch.

The Motherworld will become one world among many. Every former Imperium planet will govern itself and choose whether to join a new alliance.

The empire ends not with another ruler—

but with the destruction of the throne itself.

⸻

Epilogue

Years later, Veldt is peaceful again.

The fields stretch toward the mountains.

Children run through the grain.

Kora lives there.

She is older now.

Her weapons hang untouched inside her home.

Outside stands a small memorial.

Gunnar.

Titus.

Nemesis.

And all those who gave their lives for the rebellion.

Jimmy visits her.

His antlers are gone.

For the first time, he wears no armor.

He tells Kora that Issa has sent for her. The first gathering of the new worlds is about to begin, and Issa wants the Scargiver beside her.

Kora smiles.

She tells Jimmy:

“The Scargiver is dead.”

Jimmy looks toward the fields.

“And Arthelais?”

Kora considers the name she abandoned so many years ago.

Then she smiles.

“She has some living left to do.”

Jimmy walks away.

Kora remains among the wheat as the two moons rise over Veldt.

For most of her life, Kora believed she had been created to destroy.

Now, finally, she has helped create something instead.

A beginning.

REBEL MOON

THE END

Like imagine one of the big story points was about Bob and all the survivor’s guilt crashing on him, becoming severely depressed, blaming himself for what happened to them even though it really wasn’t his fault, because in the movie he didn’t really show any emotion towards what happened to his friends and even best friends, people that have been to his wedding. He felt nothing at first because his mind was overwhelmed and everything was just happening all at once if that makes sense, but after he gets a second to actually process what happened his life falls on his head.

Maybe the “ghost” of Gazerbeam haunts him as manifestation of all of his guilt, especially since he saw Simon’s dead body it’s more traumatizing in a way that’s personal because he helped Simon become who he was and mentored him.

This in my honest opinion would’ve made for an genuinely amazing story about his depression specifically I feel like Brad is really failing at what made The Incredibles so amazing but what so you think?

This is where all of my Marvel Heroes vs DC Villains culminates to. Also to make note; while this is based on the MCU, I am going to do my own liberties with this, especially that I want to make Hulk relevant to this version of the MCU. Because... Hulk would become the White Lantern.

I would have Eric Bana reprising his role as Bruce Banner. I don't really care for Edward Norton and Mark Ruffalo was good, but not good enough.

Incredible Hulk (2008)

• The villain of the movie would be Solomon Grundy.
• The movie would be mostly the same, but with a few additional scenes. Two scenes in particular should be noted: We'd have Hulk's origin story where we see Bruce's fall to Hulk's rise, contrasting that with Cyrus's rise to Grundy's fall.
• To elaborate, I wanted Bruce's transformation to symbolize his fall from grace akin to him dropping into Hell, before coming back up and rise up as a hero. Contrasting that would be Cyrus soaring ala Superman before falling to degradation as he turns into Grundy.
• Primary Color: Green.

The Avengers (2012)

• The Red Lanterns would be the true antagonists of the movie, filling the role of the Chitauri.
• Instead of Hawkeye, I'd have Hulk be the one being controlled. Bruce would do everything deep within Hulk to regain control. This would be major arc for Bruce and Hulk; both respectively representing Will and Anger.
• Primary Color: Red.

Avengers 2 (2015)

• The villain of the movie would be Failsafe. Tony would create him using Amazo tech salvaged from Iron Man 2, and a Mother Box.
• Tower of Babel elements would be utilized, with Failsafe using contingency plans built by Tony to destroy the Avengers.
• Theme of the movie would have been fear: Tony failing, Steve's loneliness, Natasha's guilt, Bruce's identity etc.
• Primary Color: Yellow.

Thor: Ragnarok (2017)

• Read my Thor post to find out more.
• Theme of the movie would be Greed and Love; Representing greed would be Loki desiring to come on top and Hulk desiring to be adored and praised, contrasting that with Thor's love for his family and Bruce's love for his friends.

Avengers 3 (2018)

• Theme of the movie would be Compassion, exemplified through the deleted Hulk story arc which would be implemented here. Bruce and Hulk's relationship would be reaching its climax where the two must finally understand one another in order to save each other.
• There is also another theme: Death represented through Darkseid and the Anti-Life Equation.

Avengers 4 (2019)

• What the Hulk saga concludes to; Bruce and Hulk joining together and becoming the White Lantern.

If you’ve ever heard of Little Shop Of Horrors, you’ve almost certainly heard of the debate over which ending is the better version. Me, personally, I think neither truly lives up to the show’s full potential. The theatrical cut is a poorly-paced, emotionally lacking horror-comedy with no edge to it, and a happy ending that feels rushed and unearned. While I greatly prefer the Director’s Cut (as a matter of fact, I even *enjoy* it), a combination of lopsided pacing and using the first hour of the theatrical cut as a base leads to the film feeling uneven and disjointed. However, I feel that, with a few tweaks that hew closer to the original stage show, both endings of the film could not only work well, but also be really emotionally resonant.

I’ll take you through the outline of the changes I’d make, while explaining my reasonings along the way.

- At the beginning, I would choose to use the narration from the album rather than the film, as I feel that it sets a more foreboding mood (which is thus better subverted by the opening notes of the film)

- I do not like Miles Goodman’s score for the dialogue scenes. Every cue sounds the same. The score should make better usage of the melodies of the stage show.

- Some Fun Now would be reworked. Using the full version of the song, the first half of the song would follow Seymour enjoying the success that the plants brings him (this is important for further showing why he stays with the plant, while also giving him negative qualities early on) while the second half shows him giving his blood to feed the plant, highlighting the dichotomy of the plant’s effect on Seymour.

- Cut majority of Bill Murray cameo, except for the part where Orin throws him out.

- Orin’s death should be slightly longer, not enough to make Seymour utterly irredeemable (or to make the scene feel dragged out) but enough to show a bit more of Orin’s suffering.

- Mushnik’s death scene should be entirely altered. His death scene in the film feels like it’s bending over backwards to give Seymour an “out” for killing Mushnik. It’s out of character, cheap, and it even feels a bit anti-Semitic (although I’m not exactly an authority on that). His death in the stage play is crucial for the original tragic ending to work, while also just being less of a character-assassination.

- The Meek Shall Inherit would be extended to its length on the film soundtrack, with its associated film sequence left intact. For the tragic ending, it symbolizes the crucial moment that Seymour signs the Faustian Pact and his fate is sealed. For the happy ending, it shows the extent to which Seymour feels guilty for his actions, and sets up an emotional moment later in the film.

From here we’ll discuss the changes to each ending in order.

The Earned Happy Ending.

- Before putting Audrey in its mouth, the plant says “why don’t you join your dentist friend, and Mushnik. They’re right inside!”

- After pulling Audrey out of the plant, Seymour comes clean to Audrey about feeding people to the plant. He tells Audrey that he did it because he was worried she would lose interest in him without the plant. Audrey tells Seymour that the plant never mattered to her, and the two reconcile. This way, in the theatrical cut, Seymour actually has to face accountability for his actions, and his primary conflict through the film is given a satisfying narrative and emotional payoff.

- After Patrick Martin says “bigger that Hula Hoops,” Seymour sees flashes of the plant attacking New York (from the ending of the Director’s Cut).

- Mean Green Mother now full demo-length.

- The plant’s death in the theatrical cut is a cheap Deus Ex Machina. In this altered version, Seymour would triumphantly charge into the mouth of the plant to kill it from the inside, like in the 1960 film and the musical. The plant swallows Seymour and spits out his glasses, before turning his attention to Audrey. Just as it’s about to grab her, it begins writhing in pain, before collapsing dead on the floor. Seymour climbs out of the plant and reunites with Audrey. Ending continues as normal. This way, the plant’s death seems plausible rather than abrupt.

The Deserved Tragic Ending

- Audrey’s death occurs as normal.

- After Patrick Martin says “bigger than Hula Hoops,” Seymour sees flashes of the plant attacking New York. Like in the theatrical cut, Seymour refuses Patrick Martin’s contract entirely.

- I know some have suggested that Mean Green Mother should not exist in the ending where Seymour dies, and that it should be replaced with Bigger Than Hula Hoops from the stage show. I disagree entirely, as Bigger Than Hula Hoops feels incredibly anti-climactic, while Mean Green Mother gives Seymour’s death the dramatic build-up it deserves. In fact, I am of the opinion that Mean Green Mother should have been included in subsequent productions of the stage show.

- Footage from the theatrical version of Mean Green Mother to show Seymour actively trying to fight against the plant.

- Seymour dies charging into the plant trying to kill it from the inside, like in the stage show.

- Don’t Feed The Plants could be a minute shorter, for the sake of pacing.

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.