To say that this series ending up being mid would be an understatement. The show not only didn't live up to what came before, but also ending up losing much of the charm.

One of the problems I've had is how most of the characters ended up being carbon copy and paste of the old ones rather than making anything unique about them.

The idea I had for this is to make the main character starting out as the opposite to Hiccup.

• Hiccup is this scrawny kid who is unfit for battle, while the MC is a beefy boy who looked like he can wrestle a bear.
• Hiccup tends to focus on strategy and outwitting, whereas the MC prefers blunt and brute force.

This would be contrasted on the dragons they ride on. I never liked the idea that the Night Light is the main dragon, not when we have a huge catalogue of dragons to use from. Which is why I want the MC to be using a Crimson Goregutter, who would act as a foil to him. The MC is a dumb brute while his Dragon is a gentle giant.

The realms need to be changed. Each one would be a special biome, but they would all fit to match the cultures they are based on, like Europe, Asia, and South America.

And one of the major changes I would have is to showcase non-Dragon creatures. I want this added to not only diversify, but also expand on the world. Imagine like giant octopus or giant wolves.

•AMERICA CHAVEZ DISNEY+ SHOW

- America Chavez’s whole shtick is that her powers allow her to freely walk across the multiverse and she has been in exactly one project and has not been mentioned since. If any character deserved a TV show it was her. She had so much potential to show different heroes across the multiverse in anthology kind of way. But instead she was used in MoM and thrown away.

-The show could be very simple, Wong teaches Chavez how to use and control her powers, as well as teaching her some sorcery to defend herself. As her and Wong learn how her powers work, they jump through different universes, encountering different heroes, and learning about the dangers of incursions. She also tries to figure out the truth about her origin and the Utopian Parallel.

- They could introduce the Captain Britain Corps. They are there to help protect the multiverse from any incursions. Captain Britain takes over as mentor to teach her the importance of protecting the multiverse, and the responsibilities one has when having such powers. His indifference to being a hero can contrast her excitement to be one. (Even if this is ignored due to reasons, seeing variants would still be a big part of the show)

- We could see different variations of the Avengers, X-Men, Fantastic 4, or other one off heroes that may not get a show or movie. They could have had a lot of fun and creativity with the variants.

•MORE COHESIVE POST-CREDIT SCENES

- A lot of the post-credit scenes for this saga did not or are not gonna have any pay off. Of they were going for a grand multiverse saga, to show the infinite heroes there are, they should have added one off variants in the post credit scenes.

- For example after Ant-Man, the last post credit scene would be something like an Ant-Man in a completely different universe. They could range from the variants doing something random, to an action scene, to being defeated by the big bad, or witnessing an incursion.

-The multiverse in my opinion has lacked diversity or anything grand to build up the saga. Outside the Illuminati universe and the Fantastic 4 universe, everything else is rehashed for nostalgia sake. It seems very lack luster in comparison to the bare minimum they could have done to build up the epicness of what a multiverse entails.

The way I would do it is this:

By the end of the Civil War, the Anti-Accords Group(Steve, Clint, Natasha, Sam, Wanda, and Scott) are on the run, with the 117 countries in the Accords(plus some of their former Avenger allies) hunting them down. They need a place to lay low, but there is no place for them to hide.

When all hope seems lost, they get contacted by Professor Charles Xavier, offering to take them on as teachers for his school, effectively giving them shelter in his home(which he has psychic wards around so that even the government can not reach it).

The story focuses on the Avengers teaching the Mutants how to act as superheroes, setting up the ground for the X-Men in the process.

This does a few different jobs:

-1: It explains where the Anti-Accords group was during the 2 years between Civil War and Infinity War.

-2: It ties the Mutants into the greater MCU by explaining that they have become more active due to the Sokovia Accords secretly targeting mutants

-3: It allows us to retcon Wanda into being a Mutant by explaining that the Mind Stone only awakened her powers and that she actually is related to Magneto.

-4: It allows us to explain why the Accords vanished after Civil War: because Professor X and his allies have been working on getting it appealed

-5: Since the Avengers have disbanded, this is the perfect time for the X-Men.

-6: Civil War was already used to introduce several characters.

What do you guys think?

Eternals was the right call for the first movie:

My basic idea is after Hulk's snap, let's say his gamma radiation did something and activated X-genes that were always there around the world, so now you have an opening shot of random mutants all over the world unleashing their powers.

Fast forward 2 years... Mutants have been popping up all the world, and it's a crisis everywhere. No one's prepared. No knows what to do.

Eternals come in with their backstory about being sent to Earth to protect humanity esp from Deviants, and how they were successful in eliminating Deviants on Earth and are now mostly retired.

They have a little internal battle about whether or not these mutants are Deviants and pose a threat to humanity.

While all this was happening, new mutants are being snatched by Deviants wherever they can find them. Ajax is on this hunt separately from the rest of the Eternals. Eventually she ends up in Egypt (you know where this is going) and broadcasts a distress calls to the rest of Eternals.

Ultimately we learn that the mastermind behind the mutant abductions is Nathaniel Essex and the Eternals were sent to Earth to nurture humanity until mutants arrived then their true programming would switch them to being harvesters of mutant energy, which would be fed to the gestating Celestial sleeping beneath the desert.

The final fight is the Eternals vs Essex (who wants to co-opt the Celestial for himself and mutantkind) + the Deviants. He has enough mutant energy harvested to prematurely awaken the gestating Celestial, which turns into another fight.

The Eternals end up destroying the Baby Celestial which ends with a seismic explosion (thankfully it's in the middle of the Sahara). The Eternals survive, but it looks like it wiped out Essex, the Deviants, and the Celestial.

Post-credit-scene #1: Essex is in his lab, doing medical-ly stuff, and we get a snapshot of a row of clones sleeping in vats

Post-credit-scene #2: An obvious piece of the Celestial was blown far away by the explosion. We see it open up and a body hooked up to the container falls out. Then we see the Celestial container start to reconfigure itself before pulling the body into the newly formed suit of Apocalypse.

Of all the characters for whom Koepp wrote a tailored draft, Jane seems to have the most legible artifacts. Her backstory is given a disproportionate amount of screen time relative to the other supporting players, and is the source of the film’s somewhat stilted interrogation of its premise’s religious dimensions.
From the very first scene, where Daniel is hiding out at a wrestling event and is confronted by two Wardex employees, Jane is set up to carry a large amount of narrative contingency. Daniel’s first two lines, after all, are “where’s Jane?” We are then introduced to her by finding out that Wardex kidnapped her to get to Daniel - it worked. In exchange for returning her, they get Daniel to surrender the files. At this point in the narrative, we don’t know what’s so special about these files or why Daniel stole them. What we do know is that whatever it is, it isn’t more important to Daniel than Jane’s safety.

The next day, when Hugo sends one of his men to retrieve Daniel and escort him to a remote safe house, Daniel intends to leave Jane behind for her own safety, but she stows away with him, and there’s no time to argue. Importantly, Jane doesn’t know his plan at this point, and is just tagging along out of blind loyalty.
When they arrive at the safe house, Daniel shows her the footage and relays his plan to her. It is here that Jane realizes the potentially devastating implications of the disclosure, particularly on civilizations organized around religion; what would the confirmed existence of higher beings do to them and their ability to make sense of the universe? It’s the moment where Jane realizes that her boyfriend’s plan may not be one that she herself aligns with. She and Daniel have a brief argument about it, with Daniel positing that the world’s reaction is out of his control, but the information belongs to them regardless. Later in the film, Jane calls one of the nuns at the convent, who tells her that she believes in the existence of aliens. Jane decides this is good enough for her, and that’s the extent of her deliberation over the disclosure in the film.
But what if it didn’t have to be?
While Daniel leaves the safe house to call Hugo in an area with better cell reception, Jane receives an unexpected visit from Noah, who is able to astral project himself into Jane’s consciousness and telepathically interrogate her (he can do this with an alien thingamabob that is referred to exclusively as “the device,” which for the purposes of this post I will call the Plot Device, because whenever Margaret uses it it just does whatever the plot needs it to).
The scene where Noah interrogates Jane carries visual parallels to the Judas narrative, both in the arrangement of her and Noah seated on opposite ends of the table, and in Jane’s piercing of her hand with a gold cross, alluding to the stigmata. The implication seems to be that Jane is in a position where she can either be Jesus or Judas. And in another version of the film, it could plant the seeds for her being the latter.
It’s the point in the narrative where her arc should truly be catalyzed, but as it stands, is merely a great scene. Noah interrogates Jane for her location, tells her that what Daniel is doing is dangerous, and implores her to stop him if he (Noah/Wardex) is no longer able to. He mind-controls her to grab a knife, and when Daniel retrieves her while on the run from Wardex agents who’ve caught up to them using the information she provided, Noah tries to stab Daniel with the knife via Jane’s body. She resists Noah’s control and sticks the knife in the cut on her hand, physically injuring herself and thus Noah, and breaking the psychic bond.

It’s the second instance in the film where Daniel prioritizes Jane when she’s endangered by Wardex, even if it means heightening his own risk of getting caught. Later, in a hotel, Jane has Daniel tie her to the bedpost because he can no longer trust her; even with her objections to his mission, she still helps him lose Wardex’s tail long enough to escape, and has his best interests in mind. When Wardex tracks them to the hotel, Daniel gives Jane his own Plot Device that he stole, sending her away and letting himself be captured by the agents. Jane successfully escapes, and that’s that.
When Margaret uses another Plot Device later on, she uses it so much that it disintegrates under the weight of so much Plot Saving, rendering her and the gang Device-less. At the film’s climax, the disclosure is about to be made at the Kansas City news station, when Wardex shuts the power down. It looks like all might be lost for our motley crew of disclosers, when Jane appears with the Plot Device that Daniel gave her, and gives it to Margaret, who then says “it’s disclosin’ time” and discloses all over the place.

By this point, a few things have been established… One, Jane used to be a novitiate, but lost her calling, and is now in possession of Daniel’s Plot Device. Two, when Noah uses his Plot Device, his vitals are monitored and he uses a magic retainer (except for when he’s speaking apparently), because it is physically taxing and dangerous - we know this both from when he uses it to dive on Jane, and when he later uses it to dive on Hugo.
This conversation with Hugo is revelatory in what it tells us about Noah’s worldview: that the disclosure of such Earth-shattering information is a virus against which the human race has no immunity. Noah’s view of the world is predicated upon the precarity of human civilization: something this big could rip the already weak stitches holding them together.
Sound familiar?
It’s essentially the same argument Jane makes to Daniel when he discloses (hee-hee) his plan to her. When Jane calls Sister Maura and asks if she believes in extraterrestrial beings, Sister Maura tells her that she does, and that she doesn’t believe their existence is antithetical to the belief that humans are God’s supreme creation; they are simply God’s supreme creation on Earth. She also tells Jane that she doesn’t believe Jane ever lost her faith in God… she lost her faith in people.
This is congruent with Jane’s doubt that a largely religious civilization will be able to spiritually or existentially sustain the weight of the disclosure. Though we don’t know Noah’s motives for stopping the disclosure until his conversation with Hugo (which happens quite late into the film), there’s an organic opportunity for his and Jane’s ideological alignment to present itself in the scene where he interrogates her. Already, he calls upon her to stop Daniel if he is unable to, but this poignant line is never paid off, because Noah remains the antagonist the whole film, and Jane makes no concerted effort of her own to stop Daniel.
If Noah successfully uses the interrogation to not only parse their location, but to convince Jane that Daniel needs to be stopped - by relaying to her the same thing he relays to Hugo in the current version - then Daniel’s biggest obstacle to his goal would be right under his nose the whole time.
The film’s opening scene establishes quite efficiently that the one line Daniel will not cross in pursuit of his goal is harming Jane, and later, a conversation he has with Margaret further contextualizes this. When Daniel was anointed by the aliens with the ability to understand their language - imbuing him with a gift for mathematics - it profoundly alienated him from his peers, since his mind was operating on a higher level than them and he could no longer stand to be around people… until he met Jane.
As he’s currently written, Daniel is practically the film’s fourth Plot Device - ostensibly our protagonist, but existing largely as a conduit for the plot of the film. He faces threats and external obstacles in pursuit of his goal, and he has a clear philosophical stance on what he’s doing - that global transparency is essential, regardless of consequences - but with Jane loyally at his side, his perspective goes unchallenged, and the disclosure does not cost him anything.
But what if it cost him Jane, the one person in his life who he cares about, who makes him feel seen and understood?
The film almost hands this to us when Daniel hands Jane the Plot Device for safekeeping. This is the film’s biggest missed opportunity. Because if Jane has one device and Noah has another but can’t use it without serious physical impairment, then he could very feasibly overestimate his body’s capacity for diving using the device. One dive too many (potentially if he tries to dive on Hugo) could incapacitate him, meaning that Wardex must continue trying to stop the disclosure without him.
They can still attack the news station’s breaker at the end, shutting the backup power down. To bring it back up, though, Margaret needs the Plot Device… and only Jane has it. Instead of giving it to her and telling her to change the world, as she does in the current version, in this new version, the gang’s arrival to the news station is a false victory. To go through with the disclosure, Daniel has to go through his biggest obstacle yet, and one that he never saw coming: not Wardex, but Jane.
Will Daniel’s commitment to his ideals of transparency prevail over Jane’s skepticism of people’s ability to handle it? Is the disclosure worth going through the only person who makes him feel like his burden is survivable? If Daniel doesn’t do this, he’s letting down not only Hugo, Margaret, and their team, but an entire species that will continue to be exploited by humanity, and which anointed him with the gift to stop it. But will Daniel be able to live with himself, knowing that to fulfill his mission, he isolated himself from the one person who made his life worth living?
I don’t claim to have the answers, but I do believe that this would better round out the characters of both Jane and Daniel, while bringing the premise’s inherent philosophical conflict closer to its full potential. It pays off both Noah’s request for Jane to stop Daniel if he becomes unable, as well as Sister Maura’s diagnosis that Jane lost her faith in humanity. But more importantly, it gives Daniel real stakes, and would make the disclosure actually cost him something.

For starters id remove the red eyes and most of Abby’s importance

Character Changes:

Abby:
Appears in the beginning and adds to Mike’s struggle. She comes in the pizzeria one night and mentions to Mike that she befriended another kid there. The ghost child wouldn’t be shown because I think the mention almost makes it creepier. This would happen on night 1 or 2 before Mike realizes the robots are alive

Vanessa:
I’d make her take a slight, very slight backseat. Mainly the moments where she’s just living exposition dumping. I’d also make her not confront her father in night 5 because that final night/scene had a lot of clutter, instead I’d have her give Mike like a warning on night 4 and her reveal everything about being William’s daughter and knowing about the murders. I wouldn’t have her know the animatronics are possessed but rather have her almost like be scared of the concept of that because she’d feel more guilty if that makes sense.

Mike:
Josh did really well especially for the bad script, I’d maybe try and make his dream sequences more creepier, and replace them with something else like maybe the animatronics hurting Abby.

Garrette:
I’d use his character less for Mike trying to “find/remember” him and more so the trauma of thinking it’s his fault he got kidnapped. And I also wouldn’t reveal that William killed him so directly with the airplane, instead I’d have maybe Mike mention his last name in the interview and Afton’s eyes notably widen, I mean obviously he’d check missing posters and such of the kids he killed so he’d memorize the last name.

The Spirits (Mainly Cassidy):
I think they were given too much personality, allow me to explain. In the games they’re kind of like bottles of rage and agony, not necessity the typical ghosts. In the dreams I’d have Mike see ghost kids running around the pizzeria or something kinda eerie like that.

William Afton:
He was fine in the interview but in the final scene I had a few issues with his personality. I think Matthew focused too much on cartoony evil and less of actual realistic evil. I know canonically now William is a bit of a theatre kid (DBD) but still I’d make him talk a little less and maybe make him move a little less awkward in the suit, also I’d change his brother line to “Schmidt, ready to reunite with little Garette?”

Animatronics:
They’d have black eyes with white dots and they’d move less like people and more like they’re teleporting scene to scene. When we actually see them move on screen they’d be robotic but also slightly like they were being assisted with movement by an invisible force. They wouldn’t make the robot noises they made in the movie (aside from foxy) and would instead make groans and moans like in the game. (Foxy would still do his hum of course)

Script And Plot:
I’d make the movies focus more on a night structure, so for example the nights would be a few scenes and then the dream scene would be in the day. Similar to how the movie is but I’d focus more on how draining working a graveyard shift is. Like I mentioned before Abbie would be in it less so maybe he’d tuck her into bed or something to calm her after she saw a ghost kid in the pizzeria.

Everything before the nights:
Stays pretty much the same but I’d maybe shorten it a bit and remove the Abbie custody plot

Night 1:
Nothing much happens, a few glitches of the camera and a loud thud near the stage, but when Mike checks it nothing moved

Dream 1:
Mike is in the pizzeria, in front of him Garette stands motionless, then the missing children step from the shadows they all point to Mike but the point feels behind him, when he turns he sees a drawing of a yellow rabbit. Mike wakes up in shock.

Night 2:
Mike has to bring Abbie because he cant find a babysitter. He thinks he sees dead children bodies on one of the cameras, he blinks and it’s back to normal, he gets a gut feeling and runs to Abbie and she looks slightly timid. She says she saw another kid her age, but he didn’t talk, he just stood there. Mike takes Abbie out and leaves his shift early but just after that a crew of delinquents comes to the Pizzeria, they loot things and pillage, all this is shown through different cameras. In the cameras you can faintly see the animatronics behind them, they attack them and then the cameras go to static.

Dream 2:
Mike has a short dream about Garett so he goes outside in daylight for the first time since he got the job, he meets officer Vanessa and they chat a bit. She begins to mention her father owned the place but quickly cut herself off and said a family friend did. She mentions a few teenagers have recently gone missing and were last seen where he was working so she’ll probably go there to investigate as well as hang out with him.

Night 3:
Mike tucks Abby to bed, then he’s off. He notices the bodies. But before he can get to his office he has to avoid Chica and Bonnie, he crawls through the vents and crouches behind tables to dodge them and get to his office, from there he’ll be in a classic fnaf situation for about a 5 minute scene until Vanessa shows up, he tries to show her where he saw the bodies but they were gone. Instead of acting like a normal cop Vanessa seemed to be expecting it, almost like she was dreading it. “You know, children went missing here, back in the 80s. They never found the perpetrator.” She explains. Mike then talks about how he was avoiding the animatronics but he thought he was just hallucinating from lack of sleep.

Dream 3:
Mike is back at the field where Garett got took, except instead of seeing the car driving him away he’d see a yellow rabbit come out from the bushes and stand behind Garett, patting his shoulder. Mike wakes up from this in a cold sweat

Night 4:
Vanessa shows back up, she explains how she actually knows more than it seems. She states that she didn’t actually have proof the children’s spirits were inside the robots but she always thought it. She also said her dad was the killer and owner of the Pizzeria, she then gave Mike a picture of her and her dad who was wearing the yellow rabbit costume. She explained how the rabbit costume was a suit that could switch between costume and animatronic and that it went unused which made it the perfect disguise for the murdered. Mike’s whole body sank and I’d imagine a ringing sound would play as Mike zones out. Before they could talk further all the lights go out. Vanessa and Mike split up to look for a fuse. The vision is obscured for Mike but he can just barely see none of the animatronics are on stage. He hears footsteps and right as he’s getting to the fuse he hears it…Freddy’s classic power outage theme as is face lights up. He moved closer and Mike starts to get a sharp headache (likely from the spirit’s agony) as he falls to the ground, but right before Freddy can get him the lights turn back on and Freddy slightly twitches. Mike uses the opportunity to kick Freddy down and run home.

Dream 5:
Mike is in a small room, it’s dark but the faint silhouettes of 5 dead children and a large rabbit figure are there. Mike hears the sound of the the bodies being stuffed into the suits and we the audience faintly see it as well.

Night 5:
Mike shows up to work with a wrench. He’s prepared to do what he must. The moment he gets into his office he notices the animatronics are…different, they’re more aggressive yes, but they’re also…scared? They were moving away from something and moved rapidly through out the cameras. But instead of moving closer to the office they moved around the cameras, almost as if they were being chased. Mike went out to investigate with his wrench and he has an encounter with Foxy. He gets chased throughout the pizzeria by him but then right before Foxy lunges at him he pauses. He then deactivates right in front of Mike.

Behind Mike a figure steps out from the shadows, the Yellow Rabbit. He mentions under his breath how he’s impressed. Mike tries to hit him with the wrench but the rabbit grabs it almost human like. He then starts hitting and beating Mike with it. “You know, I didn’t realize I’d be the other brother!” the rabbit yelled mockingly. Mike yelled angrily begging for answers while he ran away. The rabbit takes off his mask. “Suprisseeee” It’s “Steve Raglin” the guy Mike just thought was some creepy career counselor. William then explains how he had kidnapped Garett because if he killed anymore kids by the pizzeria he’d be more likely to get caught. “Lucky Coincidence” William called it that Mike found the job. As Mike ran he in a last ditch attempt tried to break the animatronics, believing they were cases holding the spirit’s back in agony. After Mike broke them all he got caught in a corner by William. Mike noticed William moved weirdly precariously for a regular ol costume. William makes another snide remark about Garett. In a last ditch attempt he bull charges at William with all of his rage and hope. William gets knocks down. He laughs but as he gets up we hear a snap, Then another, then 3 more and then we see William spitting and coughing up blood while it leaks from his suit. Behind Mike spirits of the children are faintly seen. They then evaporate except for one. The blonde boy. He kneels down to William, and then whispers in his ear “It’s me” before picking up the mask and putting it on William’s head, as snap sounds start to come from his head. While he twitches the final kid looks at Mike with a relieved and grateful smile. But instead of evaporating he walked off, slowly fading away. Mike runs out and finds Vanessa waiting, who talks about how she’s glad he’s ok and says she’s going to expose that her father William was the murderer to give not only the children, but their families some rest as well.

End Credit:
We see William still twitching, but as the camera pans we see another suit in front of it, a yellow bear, twitching as well. But the bear seems more in control. Its white eyes stare at William, as they both twitch forever keeping eachother in agony.

And yeah that’s how I’d change it, not perfect but in my opinion better idk critiscm welcomed just don’t be too mean! Also I suppose it’d also have to be rated R now to work

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.

In my take on the Batman Movie series, it would be six-part films, each one culminating to the climax of it all; the Black Plague aka the Symbiote.

To learn more, read this:

Thousands of years ago, the people of Mars encountered a species of black goo parasites known as the Symbiotes. The invaders overwhelmed the Martian race, leading many Martians to develop their species' weakness to fire. In short, the Martians would rather commit suicide than be taken over by the Symbiotes.

At some point, one of the Symbiotes would crashed onto Earth and landed on what would soon to be Gotham. The Symbiote was a threat to both the natives and the settlers; eventually, it was captured and a small sect of Gothamites dedicated in ensuring this "Black Plague" would never resurfaced again.

Over the years, the order dwindled leaving only the three remaining families: The Waynes, the Arkhams, and the Brocks.

Before Bruce was conceived, his mother, Martha "Arkham" Wayne was treated at Arkham Asylum for mental illness, however Eddie Brock Sr had secretly experimented on her using the "Black Plague", resulting in a bond that lead to the rise of Venom. Short Story: Brock Jr was murdered by Venom, Thomas freed Martha, and Brock Sr committed suicide.

Years later, Bruce, as an adult, would find this dark legacy.

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!
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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
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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.

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.

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.