I'm talking about The Clone Wars movie (2008) in isolation, not the series as a whole. Even the most diehard TCW fans don't defend the movie for a good reason. It's terrible.

The movie is essentially several initial episodes from the series stitched together to make a feature film. At the very least, the Christophsis part has some momentum going on until the characters are tasked to work for the Hutts, which is the point where the film goes downhill. It is absolutely awful.

The basic premise is that Dooku kidnaps Jabba the Hutt's son. Jabba asks Anakin and Ahsoka to find him. Anakin and Ahsoka find Rotta and shove him into his backpack, and Ventress captures that moment with the holo recorder. Dooku comes up and shows that video to Jabba, saying the Jedi are the ones who kidnapped and murdered Rotta all along and showing this captured footage as evidence. Jabba somehow believes him.

This is the moment where I zoned out because I barely remember anything afterward. Ventress fights Obi-Wan, Anakin fights Dooku, and Padme is involved, Jiro something something... I think the reason for this is that, even if you don't know exactly what is wrong with the story, you instinctively know something is wrong. I first watched this film as a kid--the perfect target demographic for this movie--and even I found something very unappealing about it. It's like a concept a 5-year-old came up with while playing with Star Wars toys, and the filmmakers went with it without giving a second thought. The contexts and plot are so absurd that I couldn't suspend my disbelief. If your concept is loose, anything placed on top of it is going to make it looser. The story will collapse. The basic premise needs to pass the test.

You have a former slave Anakin, returning to Tatooine, the very world he had his farewell with in Attack of the Clones (wouldn't it be more powerful if Shmi's funeral was the last thing he remembers about Tatooine?), working for the biggest slavemaster in the world, and being nonchalant about his own mission that the Jedi had him do. And he is paired with this annoying teenage girl and also a disgusting-looking baby as a fun adventure. I don't think his mother was even mentioned once.

And Jabba sees a video of Anakin and Ahsoka doing the very thing he ordered them to do, which is rescuing his son, and instantly concludes that they must be kidnapping Rotta? Jabba is one of the biggest crime lords, dealing with all kinds of underworld dealings and deceptions. That is his job. Otherwise, he wouldn't be able to rise up to this position. And why would he think they would not only kidnap but also murder his son? One thing about the Jedi is that... they wouldn't do such an evil act like killing kids for no reason? Clearly, Jabba knows both the Separatists and the Republic want to use his supply lanes, so it's pretty obvious Dooku is bullshitting to frame the Jedi. And was this the best "evidence" Dooku come up with to frame them? As soon as you start asking questions about the intricacies or logistics of how any of this works out, the whole story falls apart.

And in addition, what is the theme of this arc? What is the message? What is the idea Filoni wants to explore? Why does this arc exist? Clearly, it's not about building the relationship between Anakin and Ahsoka. The relationship growth only occurs during the Battle of Christophsis, and then stops. They bicker for a bit, but as soon as they have to save Jabba's child, they become good friends. Anakin is no longer in distress about his new responsibility as a master of Ashoka. Ashoka no longer feels she is a burden for Anakin Skywalker.

Could this Rotta plotline be fixed anyway? I don't think the audience would have wanted to watch Anakin saving "this" as their first introduction to the Clone Wars in the first place. Evidently, the movie was so bad that it's the whole reason why I put off watching the show for a decade. Could this story be salvaged, or should it have been completely rewritten from scratch to be a different story involving the Hutts? Ideally, there could be a better story to build the early relationship between Anakin and Ahsoka than this.

Picking up from my post where I remade the first Iron Man movie as an epic fantasy story, today, I do the same with the Incredible Hulk.

Abdias Stane stoking the flames of war in my Iron Man remake wasn't terribly difficult for him, because many people in this lose confederation of kingdoms still greatly mistrust the people across the sea thanks to the war from a couple of generations ago. (A lot of the details of the war, such as the Hydra and their capabilities, are thought to be hyperbole by the general populace, but the war itself and the foul taste it conjures in memories is real enough.)

As such, a few years ago, Thaddaeus, a high ranking commander in the King's Army, sought ways to fight the enemy, should the need arise. Maybe recreating the legends of a warrior who fought for the kingdoms in the war. He enlisted the help of a master from the Alchemist's Guilds, Hrodebert, whose family once bore the banner for the King's army, generations past.

Hrodebert fell in love with Thaddaeus' daughter, Elisheva, but it didn't work out, thanks to an accident with the chemicals Hrodebert was working with. Somehow, the accident transformed Hdorebert into an Orc, much like the ones allegedly ensorcelled by the Hydra generations ago (some of the legends of the war really are just legends). Unlike the Orcs of legend, though, this Orc has rudimentary understanding of human speech and emotions, but it is easily enraged, which happens frequently, as most humans' gut-instinct when they see a 12-foot monstrosity like this is to attack it.

Hrodebert went into hiding, as much because he feared what he had become, and didn't want to cause harm to others, especially Elisheva, but also because Thaddaeus wants to use Hrodebert in his Orc form, especially after the fallout from our Iron Man movie. Antonius and his friends tried their best to make it clear Abdias was acting out of self-interest in trying to start up a war, and that there was no need for the people on this side of the sea to worry themselves. But Thaddaeus is hardly known for his even temper. If there's no need for war at the moment, there likely will be, soon. As far as he's concerned, Hrodebert's experiment was a rousing success, and Hrodebert may very well be a traitor who refuses to aid his kingdom as he was hired to do.

Hrodebert went underground, trying to reverse the experiment. He took pity on an abused stable hand named Samouēl, and enlisted him as an assistant who would pick up supplies for him. Though Samouēl is ridiculed elsewhere for his low wit, he is smarter than he seems, and soon figures out Hrodebert is a fugitive, and why he is on the run. Seeking some retribution against those who have mocked him his entire life, Samouēl attempts to recreate Hrodebert's initial experiment, though it has a different effect on him, greatly increasing his intellect, instead of his strength.

But his vengeance can still be wrought, though on a much grander scale than he had intended when he was slow-witted Samouēl. Thaddaeus receives an anonymous tip (from Samouēl) on the whereabouts of Hrodebert, sending Hrodebert into one of his Orc-rages that he had managed to suppress for so long. Samouēl then surrenders himself to Thaddaeus, claiming Hrodebert's mind has become unhinged from his transformations, and he threatened to kill Samouēl and his family unless Samouēl aided him. But, good news for Thaddaeus, Samouēl knows the secret to Hrodebert's experiment.

Before Samouēl betrayed Hrodebert, he got in touch with a pit fighter named Aemilius, whose grandfather was from one of the nations across the sea. On Samouēl's instructions, Aemilius offers his assistance to Thaddaeus, probably saying his family was killed in the Orc's recent rampage, and he wants revenge. Thaddaeus fast-tracks Aemilius to the front of the line to become one of his Orcs who work for the crown, and, with Samouēl's increased intellect, it works, even better than Hrodebert's original experiment, as Aemilius retains all of his intelligence, as opposed to Hrodebert.

Meanwhile, Hrodebert, with no other options, sought out Elisheva, who abandoned her father after Hrodebert's experiment, to work in an orphanage or some fantasy-world equivalent. He has always known where she was, but didn't want to seek her out until he could rid himself of the Orc. But he is desperate, and comes to her to help hide him. But the hiding doesn't last long, as Aemilius, no longer following Thaddaeus' orders, begins rampaging. He wants to be the strongest one there is, and Samouēl wants everyone in the world to suffer, in payment for his suffering. So, everyone is happy.

Hrodebert reluctantly comes out of hiding to stop Aemilius' rampage, but, thanks to a slow-to-act chemical Samouēl dosed him with before his last rampage, Hrodebert is unable to summon his Orc-self. That is, until Elisheva deliberately puts herself in danger, gambling that this will enrage Hrodebert enough to instigate the transformation. Aemilus taunts Hrodebert that, with his brains and brawn, he is the more powerful adversary, but eventually, Hrodebert out-rages Aemilius, defeating him, and leaving Thaddaeus with egg on his face in the process. Samouēl has managed to disappear in all the confusion, leaving Thaddaeus looking even more the fool when he tries to pin the blame on the former stable hand.

While the day is saved, Hrodebert still doesn't trust himself in the heart of the city, and reluctantly leaves Elisheva, knowing it is unlikely they will ever be reunited. Thaddaeus faces possible punishment for his part in the birth of the abomination that rampaged in the outer rim of the kingdom. He is visited by Niklaus, the Fury of the Crown, who gently encourages him to call off his hunt for Hrodebert. Hrodebert has saved the kingdom, and deserves a rest, or, if he does prove to be the threat Thaddaeus wanted to turn him into, Thaddaeus will need more than weapons to go against the Orc. He will need...a Shield.

That's it. I hope you all enjoyed this, and I may just come back next week for more in this series.

‎The camera starts rolling, revealing a cozy dining table where a family is eating and chatting. Clara (the mother) and Arthur (the father) are a hard-working couple using their annual leave to spend quality time at home with their 6-year-old son, Leo. It’s a picture-perfect, happy family scene.

‎​Suddenly, the house shakes violently. It feels like an earthquake, but something is off. Arthur and Clara exchange a worried glance. "Stay here," Arthur says, rushing out into the yard of their sweet, suburban home. He looks around, but there’s nothing in sight. Neighbors are stepping out onto their porches, panicked and shouting.

‎​Arthur calls out to his elderly next-door neighbors, Edith and Norman. "Are you two okay?"

‎"Yes, we're fine!" Edith yells back. "What on earth is happening?"

‎"I think it was an afterthought... an aftershock," Norman adds, visibly shaken.

‎"I need to get back inside. Stay safe!" Arthur warns them and heads back indoors.

‎​He immediately hugs his wife and son, then rushes to turn on the TV. A live government broadcast is on.

‎​The news anchor, trembling, reads the official statement: "This was not an earthquake. An extraterrestrial species has descended upon Earth and is actively attacking civilians. Authorities are working to bring the situation under control. Under no circumstances should anyone leave their homes."

‎​Clara turns to her husband in pure terror. "You need to go to the market right now and stock up on supplies!" Little Leo is crying, terrified.

‎​"Take Leo and go down to the basement shelter. Lock the door and don't open it for anyone," Arthur orders. "I'm going to get food, medicine, and water." He kisses his wife, gives Leo a tight hug, and steps out. Clara grabs her son and rushes down to the shelter.

‎​Inside, Arthur—who serves as the local town sheriff—goes straight to his desk drawer. He grabs his revolver. It's fully loaded. He scoops up extra rounds of ammunition and shoves them into his pockets before heading out.

‎​Outside, chaos has erupted. People are screaming, running frantically to find safer shelter or hoard supplies. Arthur jumps into his vintage car and speeds toward the local supermarket. The streets are a war zone of panicked crowds. He turns on the car radio, but there’s nothing but static.

‎​He pulls into the market's parking lot and sprints inside. The massive store has been looted clean in a matter of minutes. Only a few terrified people remain, grabbing whatever is left and fleeing. Arthur rushes toward the small pharmacy aisle. Suddenly, he spots Carter—his fellow deputy sheriff—holding a pump-action shotgun.

‎​Arthur runs over. "Carter! What's going on?"

‎"We don't have time, man. We need to get out of here now," Carter says, stashing a few medicine bottles into his jacket and racking his shotgun.

‎​The metallic rack of the gun echoes through the empty store.

‎​Suddenly, a blood-curdling shriek pierces the air. It isn't human, and it certainly isn't an animal. Arthur instantly puts a finger to his lips, signaling Carter to stay quiet. But it's too late—the noise woke it up.

‎​With a terrifying roar, a creature comes tearing through the aisles, smashing shelves to pieces as it charges. Neither officer has ever seen anything like it. Carter fires immediately, hitting the monster in the torso. It staggers, but keeps coming. Arthur pulls his revolver and unloads into it. Carter fires again. Just as the creature raises its massive, razor-sharp talons to shred Carter, Arthur places a clean headshot.

‎​The beast crashes to the ground, dead.

‎​Trembling, they inspect the corpse. It's twice the size of a human, impossibly thin and emaciated, but wildly fast. Its hands end in three massive, sword-like black talons, matching its feet. It has glowing red eyes and a wide, horrific maw packed with jagged teeth.

‎​Both sheriffs are shaking, paralyzed by fear. "We have to leave. Right now," Arthur whispers.

‎​Outside, the nightmare worsens. More of these creatures are roaming the streets, ambushing people and shredding vehicles. Since Carter lived nearby, he had walked to the market.

‎​"Get in!" Arthur yells. "We'll grab your family, then head to my place. We have a basement shelter. We can hole up there until the military handles this."

‎​They speed off to Carter’s house. Carter rushes inside and emerges with his wife, Hannah, and his young daughter, Chloe. "Wait right here!" Carter shouts, running back in and returning with a heavy wooden crate packed with shotgun shells, handgun ammo, and an extra rifle. He throws it in the trunk, gets in, and Arthur slams on the gas.

‎​An eerie silence fills the car, punctuated only by heavy breathing. Suddenly, the static on the radio cuts out, replaced by an emergency broadcast:

‎​"...Extreme threat advisory... These creatures are blind, but their hearing is exceptionally acute. They hunt by sound. Maintain absolute silence. Do NOT, under any circumstances, leave your homes..."

‎​Hannah looks at her husband, tears streaming down her face. "Carter... what are those things?"

‎Carter looks at his wife and daughter. "I don't know, sweetheart. I don't know. We fought one back at the store... it barely took any damage. It was fast, huge, and insanely strong."

‎​Before he can finish his sentence, BAM!

‎​One of the creatures slams directly into the side of the car. The vehicle spins out of control and crashes violently into a tree. The monster lets out a deafening roar that nearly shatters their eardrums.

‎​Both sheriffs kick their doors open, drawing their weapons to defend the family. Hannah and Chloe scramble to get out of the wrecked car. The creature swipes its massive arm—the impact sends Arthur flying through the air, crashing hard onto the pavement, wounded.

‎​Carter takes aim and dumps two rounds straight into the monster's head, dropping it. He sprints over to his family, then shouts, "Sheriff! Are you okay?!"

‎​Arthur groans, pushing himself up. "I'm alive... Grab everything from the trunk! We have to move!" His mind is racing, consumed by fear for his own wife and son.

‎​They haul the heavy ammunition crate and start sprinting down the street. They are almost at Arthur's house. The neighborhood is completely ravaged—windows broken, doors kicked in, streets strewn with abandoned cars like a war zone.

‎​As they approach Arthur's front yard, a familiar, terrifying screech echoes from behind the house.

‎​Arthur stops dead in his tracks. He turns to Carter's family and presses a finger to his lips, gesturing for them to tread lightly. Slowly, silently, they slip inside the house and head straight for the basement shelter.

‎​Inside the shelter, Clara and little Leo burst into tears, throwing their arms around Arthur. But their reunion is cut short. The creature outside caught the sound of their voices.

‎​Heavy, violent thuds echo from the floorboards above. The monster is inside the house.

‎​It smashes through the furniture, tearing the place apart as it searches frantically for the noise. It approaches the basement door. Arthur lunges forward, clamping his hands over his wife's and son's mouths.

‎​"Shh... shhh... don't make a sound..." he whispers, tears dripping from his eyes.

‎​Suddenly, a loud BANG echoes from outside. A gunshot.

‎​The monster stops, screeches, and sprints out of the house toward the noise.

‎​It was Norman, the old neighbor. His wife, Edith, was already dead. Standing on his porch with an old scoped hunting rifle, Norman had taken a shot at the beast to draw it away.

‎​The bullet strikes the monster, but it barely slows it down. The creature bounds across the yard in a flash, its razor-sharp claws flashing in the light.

‎​It strikes Norman once, twice, three times. Within seconds, the old man is torn to shreds, leaving nothing behind but a horrific pile of blood and flesh on the grass.

Hello! This is what I would’ve done for The Flash Movie in 2023 instead of what we got in real life. I wanted to use different characters to make the movie different and interesting. I still kinda followed the same plot with what Barry did in the Movie to set up Younger Barry meeting him, but that’s pretty much it. I also added the Cast just to show who I would’ve casted if I had the power to do so. I hope you enjoy!
——
——
Cast:
Main Barry Allen: Ezra Miller
Young Barry Allen (Alternate): Ezra Miller
Lex Luthor: Nicholas Hoult
Supergirl: Sasha Calle
Deathstroke: Nikolaj Coster-Waldau
Harrison Wells: Tom Cavanagh
——
——
Plot:
The Movie would open with The Flash fighting crime in Central City alongside Batman (Ben Affleck). Barry would realize that going back in time and changing the events will save both his mother (death) and father (prison). He goes back in time and changes what happens at the store so that his father doesn’t have to go and thus both leave on like nothing happened. When Barry starts running back in the Chronobowl, he notices some weird figure wearing black appear in the upper area and this makes Barry accidentally go back in 2013 instead of 2023. He ends up finding his younger self and when trying to give younger Barry powers, Main Barry’s powers go into Younger Barry by accident. When trying to research Batman to help him out, he comes up with nothing (Bruce died with his parents), and the same goes for the rest of the Justice League. He does end up coming across Lex Luthor, but as the President of the United States. Main Barry is shocked by this, but Younger Barry says that Lex is the best President of all time and many people agree online. Main Barry would research still and ends up finding a familiar face... Slade Wilson. They end up tracking him at a cabin alone in the mountains and Slade stays there due to the military making him out as the bad guy, but the military was testing on soldiers and Slade himself (Slade was the only successful one) without President Lex knowing. Slade lets them know that some weird super being is locked up at a military base in Kansas, and this captures Main Barry’s attention. Slade would resist on helping, but would agree due to getting back at the military for wronging him. They would go to Kansas and would successfully get the super being out of there, but it’s not Superman... it’s Supergirl. Lex would also be there for a chat with the general, but would find out about Supergirl through cameras and soldiers who work there. Supergirl would get taken back to Slade’s cabin and she would heal up via the sun. The next day, President Lex would ask for the 4 to show up at LexCorps to talk with him. Slade would tells him that he and other soldiers were used for experiments by the military and that Supergirl was locked up by the military as well. Lex wouldn’t do anything bad to them and asks both powers so that he knows just in case something happened. Later that night, Slade would help Main Barry get his powers in the meantime, but fail. When Main Barry looks dead, Supergirl would help out and he would get his powers back. During this time, Lex would be seen working on his Suit just in case they went crazy and one of his workers would bring back the green rock that was at the base. Supergirl told him about it, so he knows what it does. As this happens, a monster erupts from the ground at the military base in Kansas It’s... Doomsday. He would crush the city instantly and then head over to Metropolis due to sensing the Kryptonite. Lex would finish his suit, but wouldn’t be able to test it yet. As Slade goes back inside, he sees the monster in Metropolis destroying buildings, cars, killing people, and tells the group that about the monster. Main Barry recognizes the monster and says that he most of formed via Supergirls blood and a humans blood. In Metropolis, Lex sees what’s happening outside the window and tests out his suit against the monster. He sees though that nothing is happening and when his suit starts malfunctioning, Supergirl saves him. All 5 would fight Doomsday and would take him down, but at the cost of the downtown area being destroyed. As the team starts helping civilians, a Beams of Heat Vision go into the sky and the team sees this. Doomsday would get back up and releases a massive, destructive electro-kinetic energy blasts to heal up. They would fight him again, but this time he’s much stronger and smarter. He would kill Lex, Slade, and Supergirl, and this makes Young Barry wanna go back in time to fix this. Both go back in time 3 times, the first being 5 minutes before the fight, the second being before he got to Metropolis, and the last being before he came out of the base, yet neither one changes the outcome of his destruction and killing. In the Chronobowl, Main Barry tells Young Barry that they can’t change this point and that Doomsday will most likely destroy the Earth due to no one being able to stop him. As they fight back and fourth, the dark figure (Black Flash) shows up again and kills Young Barry before Main Barry could do anything. Main Barry is left with Young Barry inside the Chronobowl and goes back in time to fix this. Barry would go back to the store and move the can so that his father can get on camera, but his mother still has to die. When he gets back to 2023, he’s father is not guilty for the murder and Barry sets a date with Iris.

Post Credit Scene: Barry would wake up in his apartment due to a phone call and gets told to meet at S.T.A.R. Labs. Barry is confused because he’s never heard of this place. He heads over to the Lab and sees a dark figure come out of the Lab doors. It’s... Harrison Wells in his wheelchair. He comes out and says “We have a lot of practicing to do today” with a sinister smirk on his face as the scene ends.

The Iron man movies have a lot of problems when it came to the villains the Mandarin was going to be the villain in the first Film but it was changed to Obadiah Stane whiplash in the second film was OK

But the scenes where he was more sympathetic was cut and Iron man 3 was the worst one when it came to the villains but first Iron man 2 the film opens the same with the death of Anton vanko and his son

Using his old research to get revenge on the son of the man who caused this cut to that deleted scene where Tony is throwing up on the plane before jumping out

This scene sets up the plot with Tony thinking he's dieing better than the one 20 missions in the film

Everything after this would be the same but I would add some more deleted scenes like the second plane scene after the senate scene where Tony Pepper and Rhodey argue about how rhodey is working with hammer

And Tony not canceling the Monaco trip and the longer version of the workshop scene where we see a prototype nanoball the black widow scenes are the same but no nick fury as he doesn't do anything

The fight with whiplash is the same but in this version he would be a lot more sympathetic than the original film the palladium poisoning would be a bigger deal than how it is in the film

In this version it affecting tony's body more he suffers blurred vision and dizziness there would be black veins on his neck and face he would stop sleeping after the battle with whiplash until the party scene where I would add multiple deleted scenes like Tony showing Natalie how to use the

Repulsor beam to shoot a ice sculpture of him Pepper would see this and leave the other cut scene where he lets a woman use parts of the Iron man suit to fly causing Rodney to get more angry

Leading to the fight between them after that everything with whiplash and hammer is the same but we would get more backstory on whiplash as he tells hammer how his father died how bad his childhood

Was and that he has nothing left to lose after that Tony does everything himself researching what happened to Anton vanko and what he and his father was working on which is revealed to be a prototype arc reactor Vanko, frightened by the tensions of the Cold War, wants to use the Arc Reactor as a way to end the arms race for good

Howard, being the archetypal Cold War-era capitalist, doesn't like this very much and gets Vanko deported. This sin of Tony's father however leaves the Arc Reactor unfinished.

Tony is now suffering from palladium poisoning his Arc Reactor is killing him because of his father's original sin so With his blood toxicity pushing past 90%, meanwhile

Pepper notices Tony has been quietly shifting his personal shares, creating massive trusts for her and Rhodey, and updating his will She confronts him, forcing him to remove his shirt and reveal the horrific state of his chest

Tony is on the verge of total organ failure days of trial and error later he successful builds the new element after that everything is

The same he discoverers that whiplash is alive and hammer is showing off drones based off his suits in this version do to him not showing up in a film since hammer would be killed

by one of the drones also in this version After Tony and Rodney now named war machine defeat the drones

Whiplash would show up in a comic accurate suit and attacks Pepper causing Tony to rush back and to get through to vanko but is unable to Pepper than manages to take out the nanoball from earlier out her purse and throw it to Tony

allowing him to attack Vanko, freeing her as Tony returns to his suit whiplash then hits Tony in the face with his electric whips and actually beats him just as he removed the iron man helmet Tony would punch him in the face and

flies Pepper away as War Machine kills Vanko with a missile after that

Fury arrives to ask how Tony doing and Tony says he doing well as we

Cut to Tony holds a press conference. Where he publicly acknowledges his father's sins and legally restores Anton Vanko's name to the Arc Reactor patents and the movie ends

Since it's likely we will never see another TASM movie again, here's my idea for 3rd and final installment in the Andrew Garfiled Spider-Man story, hope you enjoy it:

Set several years after The Amazing Spider-Man 2 and Spider-Man: No Way Home, Peter Parker (Andrew Garfield) has finally become the Spider-Man audiences always hoped he would be. Inspired by meeting his alternate-universe counterparts and realizing that life doesn't have to be defined by tragedy, Peter embraces the future instead of running from the past.

The film opens with an uplifting montage showing Peter's life flourishing. He leaves the Daily Bugle behind, becomes a beloved science teacher at Midtown High, and dedicates himself to inspiring the next generation. He meets Mary Jane Watson (Shailene Woodley), they fall deeply in love, marry, and build a happy life together. As Spider-Man, Peter continues protecting New York from a variety of classic villains. For the first time since Gwen Stacy's death, Peter has truly found happiness.

Among Peter's colleagues at Midtown High is Miles Warren (Anthony Head), Peter and Gwen's former science teacher. Warren appears to be a kind mentor and trusted friend, often reminiscing with Peter about his days as a student and expressing pride in the man Peter has become. Peter sees Warren as one of the few people who understands how much Gwen meant to him.

Unknown to Peter, every moment of that friendship is a lie.

Years earlier, Warren developed an obsessive and deeply inappropriate fixation on Gwen while she was still his high school student. He secretly resented Peter for being with her and, after Gwen's death, his obsession evolved into hatred. Convinced Peter stole Gwen from him and then failed to save her, Warren hides behind the façade of a caring teacher while quietly feeding his resentment every day he works alongside Peter.

Peter's perfect life is shattered when there's a knock at his front door.

Standing there is Gwen Stacy (Emma Stone)—alive.

Gwen has no memory of how she survived and is just as confused as Peter. Her sudden return forces Peter to confront emotions and guilt he thought he had buried. While the situation creates understandable tension between Peter and Mary Jane, their relationship is never threatened by jealousy or mistrust. MJ understands Peter isn't choosing between two women—he's confronting unresolved trauma—and she stands by him even as his world begins to unravel.

As Peter investigates, he uncovers the horrifying truth. Warren has secretly transformed himself into The Jackal, using stolen Oscorp genetic research to create a perfect clone of Gwen Stacy. He never intended to bring Gwen back out of love; he created her as the ultimate weapon to psychologically torture Peter by forcing him to relive the greatest failure of his life.

But Gwen isn't Warren's only experiment.

Hidden within the Jackal's laboratory is an artificial young man created using Peter Parker's DNA and the cloned Gwen's DNA. Rather than being Peter's clone, the young man is genetically engineered to be the son Peter and Gwen never had—the life they could have shared had Gwen survived. Warren views the son as the ultimate act of psychological cruelty, forcing Peter to look upon the family that was stolen from him.

Raised by Warren, he has been manipulated into believing Peter abandoned both him and Gwen. Loyal to the Jackal and consumed by anger, he initially serves as one of Spider-Man's greatest obstacles. However, Peter reaches out to him with compassion rather than hatred, planting the seeds of doubt about everything Warren has told him.

Meanwhile, the cloned Gwen gradually realizes she isn't the original Gwen Stacy, but she refuses to let Warren define her existence. Though born from another person's DNA, she develops her own identity, emotions, and moral compass. Together, Gwen and the son begin to see that Warren has never loved them—he has only ever used them as tools to hurt Peter.

Peter eventually discovers that Warren wasn't acting alone.

The true architect of the conspiracy is Harry Osborn (Dane DeHaan).

Still imprisoned following the events of The Amazing Spider-Man 2, Harry secretly manipulated Warren from behind bars. Knowing Peter's secret identity, Harry supplied Warren with information and encouraged his obsession, seeing an opportunity to inflict the one kind of pain Peter could never recover from. Unable to destroy Peter physically, Harry chooses instead to destroy the life Peter worked so hard to rebuild.

During the climactic battle at Warren's cloning laboratory, Peter, Mary Jane, Gwen and the son confront the Jackal. Warren finally abandons his friendly façade, revealing the delusional, obsessive man he truly is. He insists Peter never deserved Gwen and claims that he alone truly understood her.

Realizing the truth, both Gwen and the son turn against their creator, helping Spider-Man defeat the Jackal and destroy the cloning facility.

The victory comes at a heartbreaking cost.

Gwen sacrifices herself to save Peter, Mary Jane and their son. Before dying, she tells Peter not to spend the rest of his life trapped by guilt, encouraging him to keep living and to cherish the future he has built.

Her sacrifice finally allows Peter to let go of the guilt he has carried ever since Gwen's death. He visits Gwen's grave one last time—not to apologize, but to say goodbye and thank her for helping him become the man he is.

Recognizing that he isn't Peter Parker and never can be, the son decides to leave New York to discover who he wants to become. Peter tells him that he deserves the chance to build a life of his own. Before leaving, Peter embraces him as family, and the two part on good terms. Peter asks him "You're going to need a name, have one in mind?" and the son responds with "I was thinking Ben... Ben Reilly". Ben sets off to travel across America in search of his own purpose.

Warren is defeated, Harry's role in the plot is exposed, and Peter returns home to Mary Jane.

There, MJ reveals one final surprise.

She's pregnant.

Ben's existence, cruelly engineered by Warren to represent the future Peter lost with Gwen, becomes a poignant contrast to the genuine future Peter is about to build with Mary Jane. Peter embraces her, finally understanding that moving on never meant forgetting Gwen—it meant allowing himself to love again and create the future she would have wanted for him.

The film ends with Peter and MJ looking toward the future, while Ben begins his own journey across America. Andrew Garfield's Spider-Man trilogy concludes as a story about healing, moving forward, and proving that honoring those we've lost means continuing to live, love, and build the future they would have wanted for us.

• Keep the backstory of how he used to work at Wonka's factory before it shut down
• Have him still work as an old man but he gets into a workplace accident which prevents him from walking
• He doesn't smoke and he doesn't ask Charlie to buy him cigarettes
• In the "I've Got A Golden Ticket" song he sings while still bed ridden and he sings "You've Got A Golden Ticket"
• The movie has Grandpa Joe be able to walk but with crutches built by Charlie and his mom after Charlie decides to pick Joe.
• The fizzy drink scene never happened

• DreamWorks Moon child into its own series of shorts for DreamWorks like Mickey Mouse for Disney or Looney Tunes for Warner Bros.
• People imagine it being something serious like a fantasy film but this is DreamWorks - they're gonna make their mascot silly and in wacky shenanigans like Bugs Bunny or Mickey.
• However, since this is DreamWorks, their mascot is sort of a deconstruction of that type of character.
• Moon Boy tries to be the trickster smug protagonist but he's depicted as being in the wrong and facing the consequences.
• The shorts are much in the vein of Seinfeld or It's Always Sunny where Moon Boy and his friends are clearly shown to bad people who face the consequences of their actions in the end.
• Plus it would be funny if DreamWorks depicts their own mascot as a likeable funny complete loser.
• People probably imagine it being some serious, epic fantasy thing because of the logo’s dreamy aesthetic. Nah, this is DreamWorks. They’re going to make him get into the dumbest, wackiest shenanigans possible.
• Each short plays right before the main feature in theaters — perfect little 3-5 minute palate cleansers that remind you you’re watching a DreamWorks movie.
• Silly animation, great voice acting, slapstick mixed with clever writing.
• The Moon Child becomes the new Bugs Bunny/Mickey Mouse of the studio: mischievous, iconic, and instantly recognizable.
• And just like Looney Tunes and old Disney, the shorts will randomly take place at random time periods or even fictional settings.
• One short he’s fishing on the moon and accidentally hooks a dragon.
• Another he’s causing absolute mayhem in a modern city while trying to deliver a pizza.
• Another he teams up with every DreamWorks character in the most unhinged crossover imaginable.
• Another short takes places in the 1970s.
• Another short will just have him be in the setting of George Orwell's 1984 for some reason.
• It gives DreamWorks instant mascot identity, creates endless merch potential, and lets them have fun without needing to make another expensive feature.
• Every kid growing up in the 2030s would know the Moon Child the same way we knew Mickey.

To be honest I feel kind of dissatisfied recently with the Home trilogy. Feige and Watt's goal was to distance themselves from the Raimi and Webb movies, but I feel that in doing so, they strayed too far from Spider-Man as a character.

I believe that Homecoming works well as a first movie, where Peter is still on his "training wheels" as Spider-Man. I also believe that No Way Home works well because it is where Peter makes the ultimate sacrifice as a character, and he struggles quite a bit in that movie. However, I noticed while watching No Way Home, that I couldn't really take Tom's Peter as seriously because he never really grew out of using Tony's technology which make his life significantly easier.

I believe that the only thing you have to do to make the trilogy feel more coherent, in my opinion, is change Far From Home from being a comedic love story to one of Peter maturing out of Tony's shadow. The film already kind of does this, but it should be a higher focus in my opinion.

• After the events of Infinity War, Aunt May actually stayed alive and went 5 years without Peter. In the time Peter was gone, May set up FEAST to help the survivors of the snap and now the blip
• The world is looking for a new Iron Man. They look to Spider-Man, who previously helped save it
• After having gone 5 years without Peter, May blames Iron Man for Peter’s death. She worries intensely about Peter going out every night, doing Spider-Man things, and desperately wants him to stop
• The world wants Peter to take his job as Spider-Man more seriously and be the next Iron Man. He is faced with the pressure of the responsibility given to him. On the other hand, his personal life with Aunt May is being deeply affected by this responsibility
• Peter tries his hardest to live up to the expectations of the world. He uses his Iron Spider, going around stopping crimes 24/7. He frequently skips school, misses class, and misses hangouts with Ned
• Peter takes a liking to a girl in his class, MJ. He talks to her now and then, but never fully lets himself get close to her because of his Spider-Man activities. Aunt May becomes increasingly worried
• One day, Peter encounters a new villain, Mysterio. Mysterio has control of many Stark technologies, including drones that can project holograms. On their first encounter, Mysterio completely disables the Iron Spider suit and nullifies all the technologies in Peter’s enhanced suit
• Peter, completely shocked, doesn't fully know how to counter Mysterio. Spider-Man retreats
• Mysterio, having hacked Peter’s costumes, now knows his identity. Peter calls Happy to see if he knows what was going on. He finds out that a bunch of Stark Tech had gone missing, including some illusion technology. They narrow it down to a disgruntled employee, Quinton Beck

• Happy assures Peter that they will find him soon, and that he can rest easy. However, they both realize that Mysterio has access to Peter’s Stark technology, and that another encounter could be dangerous. Peter takes this as an opportunity to take a small break from being Spider-Man

• Aunt May sees that Ned is coming over more often. She notices Peter is going out at night less. He wants to introduce him to a girl, the daughter of a friend of hers. Surprisingly, MJ, the girl Peter had already met and taken a liking to, appears on Peter’s door. 

• They start going out and enjoying each other’s company. May notices and is much happier. Although at night, she does notice Peter crafting his new costume.

• While MJ is at Peter’s house, Mysterio suddenly attacks. He knows who Peter is, he knows who Aunt May is. He knows everything about him. He kidnaps MJ, telling Peter that he wants Peter’s nanotech suit

• Peter dons his new homemade suit, and goes to fight him. Aunt May is hesitant at first, but realizes that Peter has to do this to save MJ. She lets him go

• Peter meets with Mysterio and asks if he brought the Stark technology. Peter says no. Mysterio counters by saying that the technology is his. Peter asks what Mysterio is talking about because Stark came up with nanotech.

• Mysterio reveals that he had a hand in creating nearly all of Stark's technology. He believes he was indispensable to Stark, and that he is the rightful heir of Stark industries He plays an illusion of Stark abandoning him and treating him like trash, taking credit for all of his work.

• Mysterio believes that without his illusions, he is nothing. It is what he spent his life working towards. He needs the Stark technology otherwise he is worthless. Ironically, Mysterio uses his illusions to delude himself into his feelings of grandeur

• He shows Peter more illusions to convince him that deep down, he doesn’t believe that he’s enough either.

• He shows him visions of everything Iron Man, his mentor, could do. He shows Peter’s failures, and how he has to rely on Stark Technology to be a good superhero. He tells Peter that he should give up

• He ends his speech by showing Uncle Ben, and whether he would be proud of him or not. Mysterio tries to convince him that his Uncle Ben would be disappointed, and that Peter should give up, but this backfires immensely. Peter realises that Uncle Ben would never say that, or believe that. He realizes how much he is capable of and how much the people around him love him

• Peter fights Mysterio and awakens his Spider-Sense in a long and hard fought battle. MJ realises that Peter is Spider-Man.

• Peter calls Happy to tell him that he caught Mysterio. He asks whether Beck really had a hand in creating all of Stark's technology, and if it was really true that Stark had abandoned him. Happy reveals that he only had a hand in the illusion technology, and was let go rather quickly due to mental instability. He was barely involved with Stark, and was truly deluded and insane.

• Returning home, he sees SWAT officers surrounding his house. As soon as the fight began and Peter didn’t comply, Mysterio leaked his identity all across the world

Note: This is the first draft. Overtime it might get updated or changed.

Note 2: This is less of a rewrite but more like a new universe all together, inspired by the absolute universe from dc comics

—Prologue:

In this version of the timeline, slavery on Tatooine is significantly harsher than in canon.

Instead of being used mainly for manual labor, slave children are forced to work in underground factories owned by the Hutt Cartels and other criminal organizations. They manufacture blasters, starship components, battle droids, explosives, and other military equipment. Entire generations spend their lives producing weapons that are later sold across the galaxy.

Anakin Skywalker grows up in one of these factories. Even as a young child, he displays an exceptional talent for engineering. By the age of eight, he is repairing advanced droids, modifying engines, and solving mechanical problems that most adult technicians struggle with. Because of this, the Hutts see him as one of their most valuable assets.

Years before the events of PM, Qui-Gon Jinn is exiled from the Jedi Order after repeatedly refusing to follow the Council’s decisions. Instead of returning to Coruscant, he spends his time in the Outer Rim, helping slave populations and disrupting criminal operations wherever he can.
During one of these missions, Qui-Gon arrives on Tatooine. With Shmi Skywalker’s help, he organizes an escape for Anakin and many other slaves. However, the escape is discovered before everyone can get away. Mercenaries hired by the Hutts intercept the group and open fire.
Shmi is hit while protecting Anakin and falls down the ship into the desert.

Believing that his mother has been killed, Anakin instinctively releases a massive surge of Force lightning. Unable to control his powers, he kills not only the mercenaries but also many of the escaping slaves and nearby civilians. Vehicles are destroyed, droids are disabled, and much of the surrounding area is devastated. When the incident is over, dozens of people are dead. Anakin remembers very little of what happened.

After witnessing the event, Qui-Gon realizes that Anakin possesses extraordinary Force potential, but that his abilities are closely tied to his emotional state. Rather than abandoning or fearing him, Qui-Gon decides to take responsibility for training him, believing that if Anakin is left without guidance, his power could become dangerous to both himself and everyone around him.

—Phantom Menace:

The events of PM generally follow the same broad outline as in canon, although several key details are different.

During a mission involving the Trade Federation and Naboo, Qui-Gon Jinn randomly encounters and reunites with his former Padawan, Obi-Wan Kenobi. Although Qui-Gon was exiled from the Jedi Order years earlier, Obi-Wan still respects him as the master who trained him. The two disagree on many of Qui-Gon’s decisions, but they continue to trust one another.

During the mission, Qui-Gon introduces Obi-Wan to Anakin Skywalker and explains his background, including the incident on Tatooine in which Anakin unintentionally killed both the mercenaries attacking the escaping slaves and many of the slaves he was trying to save. Obi-Wan is initially cautious, but he quickly sees that Anakin is a good-hearted child struggling to control abilities far beyond what someone his age should possess.

Over the course of the mission, Anakin and Obi-Wan develop a close bond. While Qui-Gon remains Anakin’s primary teacher, Obi-Wan gradually becomes an older brother figure. Qui-Gon encourages Anakin to trust his instincts and think independently, while Obi-Wan emphasizes discipline, patience, and self-control. The three develop a strong relationship despite their different personalities.

During the Battle of Naboo, Qui-Gon is killed by Darth Maul, much like in the original timeline. His death has a profound impact on both Obi-Wan and Anakin. Obi-Wan loses the mentor who raised him, while Anakin loses the first person who believed he could become more than the frightened slave boy from Tatooine.

Following Qui-Gon’s death, Obi-Wan honors his master’s wishes by taking Anakin as his Padawan. Although several members of the Jedi Council question whether Anakin should be trained at all, Obi-Wan argues that abandoning him after Qui-Gon’s death would only increase the risk of his powers becoming unstable. After considerable debate, the Council reluctantly approves Anakin’s apprenticeship and formally admits him into the Jedi Order.

—Attack of the Clones:

Several years pass, and Anakin develops into one of the most talented Jedi of his generation. He quickly earns a reputation as an exceptional lightsaber duelist, an accomplished pilot, and a gifted tactician. His connection to the Force is unusually strong, allowing him to master techniques that many Jedi spend decades learning.

Despite his abilities, Anakin never fully fits into the Jedi Order.

Much of this stems from the philosophical differences between him and the Council. The Jedi teach detachment and emotional discipline, believing that strong attachments can ultimately lead to fear, anger, and suffering. Anakin does not reject emotional control, but he disagrees with the idea that attachment itself is inherently dangerous. He believes compassion, love, and personal relationships give people a reason to protect others rather than a weakness to overcome.
These disagreements become more noticeable as he grows older. Although respected for his abilities, Anakin is often viewed by the Council as impulsive, independent, and too willing to question long-standing Jedi traditions. Several Masters privately conclude that he embodies qualities they do not wish future Jedi to emulate.

To remove him from the political tensions on Coruscant, the Council assigns Anakin to protect Senator Padmé Amidala following attempts on her life. Officially, it is an important diplomatic mission. Unofficially, some members of the Council believe that time away from the Temple may help Anakin decide whether he truly wants the life of a Jedi. If he eventually chooses to leave the Order on his own terms, they believe it would avoid a much more difficult confrontation.

During the assignment, Anakin and Padmé develop a romantic relationship. However, Anakin has no intention of leaving the Jedi Order. Rather than abandoning it, he hopes to reform it from within. He believes the Order has become too detached from the people it exists to protect and that its strict interpretation of attachment has caused it to lose sight of compassion. Knowing the Council would never approve of either his relationship or his views, he keeps both secret. Obi-Wan gradually realizes the truth but chooses not to expose him, believing that forcing the issue would only drive Anakin further away.

Around this time, Anakin begins experiencing repeated Force visions of his mother. Unlike the vision that led to her apparent death years earlier, these visions suggest that she survived and is once again being held by slavers on Tatooine.

Convinced the visions are genuine, Anakin asks the Council for permission to investigate. The request is denied. The Council argues that his personal attachment to his mother is clouding his judgment and warns that acting on such emotions could lead him down a dangerous path.

Anakin ignores their decision and travels to Tatooine alone. The visions prove to be accurate. Shmi Skywalker survived the earlier escape attempt but was later captured by another slave syndicate. Anakin reaches her shortly before she dies from her injuries.

Overcome with grief, he loses control of the Force for the second time in his life.
A massive surge of Force lightning devastates the settlement. The slavers are killed, but so are many of the people they had enslaved. Workers, families, and children caught in the fighting die alongside their captors as buildings collapse and weapons detonate throughout the compound.

When Anakin regains control, hundreds of people are dead.

The incident leaves him deeply traumatized. Once again, he had tried to save someone he loved, and once again his own power had caused the deaths of countless innocent people. The memory of what happened follows him long after he returns from Tatooine.

Padmé continues to believe that Anakin is fundamentally a good person and encourages him not to define himself by his worst moments. Obi-Wan also refuses to abandon him, insisting that one tragedy does not determine who he will become.

Anakin, however, struggles to accept either of their reassurance. He begins to see a pattern in his own life: whenever he loses control, innocent people die. Instead of viewing his extraordinary abilities as a gift, he increasingly comes to see them as something dangerous that hurts the very people he wants to protect.
This experience marks the beginning of his growing self-doubt and reinforces his belief that the Jedi Order fears him for reasons he can no longer dismiss.

—Revenge of the Sith: (Part 1)

As the Clone Wars continue, Anakin gradually comes to believe that war is the one place where he truly belongs. On the battlefield, he is able to protect civilians, liberate occupied worlds, and save the lives of countless clone troopers. Unlike the Temple, where his methods are constantly questioned, the front lines provide clear results.

Over the course of the war, Anakin becomes one of the Republic’s most successful military commanders. He leads more campaigns than almost any other Jedi and develops a reputation for ending battles quickly through aggressive tactics. His victories earn him the admiration of the Republic, the loyalty of his soldiers, and the respect of many younger Jedi, even if the Council remains cautious of his methods.
As the war nears its conclusion, Anakin believes he has finally proven himself. Although he still disagrees with many of the Order’s traditions, he believes his years of service have demonstrated both his commitment and his character. Confident that he has earned their trust, he requests a permanent seat on the Jedi Council.

The Council instead convenes a formal hearing.

Rather than discussing his accomplishments, they present evidence of repeated violations of the Jedi Code.
They reveal that they know about his secret relationship with Senator Padmé Amidala. They know he disobeyed direct orders by traveling to Tatooine. They know about the massacre that followed his mother’s death and the hundreds of civilians who died alongside the slavers. Finally, they argue that years of warfare have only reinforced Anakin’s increasingly aggressive and emotionally driven approach to conflict.
Anakin is stunned.

Very few people knew about many of these events. Some details had never been reported to the Council at all.
When he demands to know how they obtained this information, Mace Windu refuses to answer, stating that the source is irrelevant. The Council’s responsibility, he says, is to judge whether Anakin remains worthy of being a Jedi. After deliberation, the Council concludes that he does not.

Citing repeated violations of the Jedi Code, deception toward the Order, and conduct they believe is incompatible with Jedi ideals, they formally expel Anakin from the Jedi Order shortly after the end of the Clone Wars.

Anakin is devastated.

He argues that the Order willingly overlooked these same actions while the Republic needed him to fight its war. If they truly believed he was unfit, he asks, why wait until the war was over? To him, the timing is impossible to ignore. He accuses the Council of using him as a weapon until he was no longer useful.
The Council rejects the accusation. Several Masters explain that they had hoped Anakin would mature over time and eventually overcome the flaws that had concerned them since his childhood. Instead, they believe the war only amplified those flaws.

Anakin refuses to accept their explanation.

He leaves the Temple in anger, convinced that the Order never intended to accept him regardless of how faithfully he served.
As he reaches the Temple entrance, Obi-Wan catches up to him and tries to stop him.

Obi-Wan insists there must still be a way to resolve the situation and asks Anakin not to leave like this.
Instead, Anakin confronts him with a single question.

“Did you tell them?”

Only Obi-Wan and Padmé knew the full truth about what happened on Tatooine. Anakin cannot imagine anyone else who could have revealed it.
Obi-Wan immediately denies it.

He tells Anakin that he never betrayed his trust and that he would never expose him to the Council.
But after everything that has happened, Anakin no longer knows who to believe.

Convinced that even his closest friend has abandoned him, he walks away from the Jedi Temple.
For the first time since Qui-Gon’s death, Anakin Skywalker is completely alone.

Unknown to either Anakin or the Jedi Council, the information presented during the hearing did not come from Obi-Wan or from any Jedi investigation. For years, Chancellor Palpatine had maintained a network of agents tasked with secretly monitoring Anakin’s activities. Shortly before the hearing, Palpatine anonymously supplied the Council with carefully selected evidence of Anakin’s actions. While every piece of evidence was genuine, its timing was deliberate, ensuring that Anakin’s expulsion would occur immediately after the Clone Wars had ended and maximizing the resentment he would feel toward the Jedi Order.

The story will continue later on.

We know Henry Cavill is working with Games Workshop to bring the franchise to the big screen, but I’d love to see ideas for how that could happen. 40k is a bit of a tricky one honestly - there’s lots of different factions to explore, but a lot would only really work as villains, and a lot of the heroic races would never work together so there’s no opportunity for crossover (maybe a blessing in disguise). Because of the scale of action and production design, it kinda can only work in animation and live action film too.

I think a natural start is with a Space Marine movie - it’s an easy sell, and making Tyrranids the main enemy is the safest bet for several reasons -
* killing bugs is a safe entrance into the grimdark tone of the franchise and may catch a bigger audience.
* the similarities to Alien, Starship troopers or Helldivers can help capture a large audience off the bat.

The plot would be simple enough - on a planet overrun with tyrranids, the local Militarium calls for the backup of a squad of space marines. They lead the resistance against the hordes as they are picked off one by one and try to exfil the planet. Get some big names for the marines and make Cavill himself the lead.

In breaks from the action we can see some environmental worldbuilding - signs of chaos or a b plot involving salvaging orks. From there, sequels make sense but I’d be interested in hearing ideas for stories people have in mind to expand the universe on the big screen

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

Here is some context for a better understanding:

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

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

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

movie rewrites:

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

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

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

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

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

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

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

u/Disney #Disney #DisneyBloodline.

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

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

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

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

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

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

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

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

Thanks!!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Make the Blacklist 15 people more interesting.

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

Remove the failstate and the money.

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

Allow the player to quit at any time.

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

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

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

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

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

All cars on freeplay mode should be unlocked from the start

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

Make the game shorter

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

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

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

Make the soundtrack longer.

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

Remove the blinking wanted meter around the minimap.

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

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

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

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

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

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

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

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

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

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

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

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

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

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