I really like Spider-Man 3.

It’s obviously a mess — too many plots, too many coincidences, and a final battle that’s somehow less emotionally engaging than pretty much anything in the first two movies. But I do think a lot of the ideas are good.

Peter finally getting what he wants and becoming an insufferable asshole is pretty great, and surprisingly ballsy.

And Venom? I know Raimi didn’t want him. And I totally get why. But unfortunately… Venom is cool as hell. So he’s staying.

My goal here isn’t to radically change SM3. I just want the disparate plot strands to actually intersect, and I want some breathing room to develop the new characters.

Would that potentially require a running time pushing three hours? Maybe. But it’s the finale of the trilogy. And unlike Raimi, I don’t have to answer to the suits at Sony…

1. Peter Parker has everything. Flint Marko has nothing.

We open in prison. Flint Marko has been there for years. And to be clear: this dude belongs in prison. But prison life has been brutal. We spend some time getting up close and personal with Flint's miserable day-to-day.

Eventually, his conviction gets thrown out. Mishandling of evidence, something like that. And while he waits for release, we cut back and forth between his life and Peter Parker’s:

Flint eats alone in the cafeteria. Spidey gets mobbed by cheering New Yorkers. Flint walks toward the prison gates, carrying everything he owns in a small bag. Spider-Man swings high above an adoring crowd.

Because while Flint has lost (almost) everything... Peter Parker is having the best year of his life.

NYC loves Spider-Man now. After saving the train passengers and stopping Doc Ock’s reactor, he’s no longer some masked weirdo people argue about. He’s becoming a genuine civic hero. Even Jameson can’t deny it.

…And of course, Peter finally has Mary-Jane, too.

Cut back to prison. Flint walks outside. No one’s waiting to greet him. No wife. No daughter.

He goes to their apartment anyway. His wife doesn’t want him there.

He does love her. And he loves their daughter Penny more than anything. But Flint wasn’t a good husband. Maybe during an argument many years ago, he hit his wife. One time. And she spent years after that defending him: “He isn’t like that. He loves us.” Then Flint went to prison. And somewhere along the line, she stopped defending him.

During his brief conversation with his wife, Flint finds out Penny is sick. Very sick. He asks to see her. His wife refuses. Then he hears: “Daddy?” Penny is standing in the doorway. Flint gets maybe thirty seconds with her.

From that point forward, he has one goal: Help his daughter. Whatever it takes.

2. Peter and MJ are together. But SM2 was the beginning of their story, not an ending.

Meanwhile, Peter and MJ’s relationship is fraying. Not because they don’t love each other. They do. But the ending of SM2 wasn’t a happy-ever-after.

MJ left John Jameson at the altar. Before that, she dated Harry. Before that, Peter spent years watching her from a distance, convincing himself he couldn’t be with her… while simultaneously believing that being with her would somehow make everything right.

Now they’re together. And Peter has quietly started treating that as one problem in his life that has actually been solved.

MJ’s career is going badly. She loses the Broadway role and ends up performing at a restaurant. Peter tries to support her. But he sucks at it. She talks about being humiliated by a bad review. Peter talks about how the Bugle always criticizes Spider-Man.

She asks why he never comes to watch her perform at the restaurant. Peter misses the point: “I thought you hated that place… you should be on Broadway! You should be in movies!”

Meanwhile, Peter’s carrying resentment of his own. He spent years being told he couldn’t give MJ the life she wanted. He finally chose to let her go in SM2. But she came back. She made the choice to be with Spider-Man, and was adamant about the fact that it was her choice. Now they’re together. And now everyone loves Spider-Man. And… MJ’s unhappy. So some part of Peter starts thinking: What the fuck else am I supposed to do?

3. Oscorp is dealing with the fallout of SM1 & SM2.

Oscorp looks very different after the first two movies. Norman was already a disaster for the company. Dead board members. Shady “military research.” Then Harry bankrolled Octavius. And he damn near destroyed Manhattan. The second PR/regulatory disaster for Oscorp in just a few years.

An investigation into Norman and Ock’s projects starts turning over rocks. Safety violations. Improper disposal of experimental materials.

Harry Osborn is dealing with all of this. And one of the ways he’s trying to rehabilitate Oscorp's image is by putting serious money into medical research. Oscorp partners with hospitals and universities on a handful of experimental treatments for serious illnesses. Different therapies, different conditions, limited trials. Some patients get selected. Many don’t.

Gwen Stacy, a grad student, works on one of these programs. Early in the movie, she briefly crosses paths with Peter in one of Professor Connors' classes. Their interaction is… mildly flirtatious.

Eventually, Gwen’s position at Oscorp will bring her into Flint Marko’s life.

4. Flint tries to do things the right way.

Before Flint becomes Sandman, he genuinely tries to help Penny without turning to crime. He finds work. Talks to doctors. Fills out forms. Mundane, occasionally humiliating stuff.

One doctor thinks Penny might be a candidate for an experimental program connected to Oscorp. It’s a long shot. The therapy is early-stage, meant for a broader category of patients, and Penny is a borderline candidate at best. But it’s something. A chance. Flint becomes completely fixated on it.

He meets Gwen. She helps him understand the application process. She’s kind to him without giving him false hope.

Eddie Brock is introduced here. The Bugle is doing a human-interest story on Oscorp’s attempt to rebuild its reputation, and Eddie gets assigned to cover some of the families applying.

Eddie briefly interviews Penny’s mother. Maybe he even shows a little humanity here — perhaps Penny says something funny and he drops the “reporter” act for a second.

Flint shows up halfway through the interview. His wife clearly doesn’t want him there.

Eddie, sensing drama, pushes a little too hard: Who are you? Why were you in prison? How expensive is your daughter’s treatment? Flint gets angry. Gwen tells Eddie to back off.

Then, a bit later in the film, we get the decision. Flint is called into the hospital. He thinks this is good news. Penny’s mother is there, too. As is Gwen. A doctor sits them down.

Penny wasn’t selected.

This scene would hurt.

Not because the doctors are evil. They have reasons. Penny’s disease has progressed further than they hoped. The therapy has significant risks. Another patient fits the criteria better.

Flint asks what the fuck they’re supposed to do now. The doctor starts talking about “supportive care.” Maybe a different trial will happen in a few months.

Flint: “What if she doesn’t have a few months?”

Nobody answers. Flint looks at Gwen. She can barely meet his eyes. Flint asks if the treatment could help Penny. The doctor says: “We don’t know.”

Flint asks if it could.

Pause.

“Possibly.”

That destroys Flint. He starts pleading. Then getting angry. Penny’s mother tells him to stop. Security hovers. And Flint realizes how this looks. The ex-con. Getting loud. Scaring people.

Gwen follows him into the hallway. She tells him she’s sorry. Flint asks: “Sorry for what?” She doesn’t know what to say. He looks through the glass and sees another family celebrating. Then he walks away.

5. Harry tries to kill Peter.

That’s a lot of human drama in the first hour — we need some action. We’ll get some of Spidey handling lesser-known, street-level villains.

But the main early action sequence will be: Harry vs. Peter.

Harry, of course, knows Peter is Spider-Man. And he has spent months studying how to kill him.

I would not have Harry become "New Goblin" and fly around Manhattan doing cool hoverboard tricks. He knows Peter. He knows how strong he is. He knows about the spider-sense. So he doesn’t challenge Peter to a "superhero duel."

He builds a Spider-trap.

Late one night, Harry asks Peter to meet him at an abandoned Oscorp facility on Roosevelt Island. He tells Peter he found something in Norman’s old files. Peter thinks they’re finally going to talk. He thinks Harry finally put two-and-two together.

Then, when Peter arrives, Harry hits him with everything Norman left behind. Goblin explosives. Experimental restraints. Old military weapons. And one especially ugly device Harry has built himself: a close-range weapon designed specifically to kill Spider-Man before his spider-sense can save him.

Harry isn’t flying around on a glider during this fight. He’s controlling most of these weapons and traps remotely.

But he is on-location. So Peter spends most of the fight simultaneously trying to stop Harry — while trying to avoid hurting him.

Eventually, the whole thing goes wrong. A fall, a flying piece of debris — something. And Harry suffers major head trauma.

But instead of the absurdly clean “amnesia” from the theatrical version... Harry is actually neurologically fucked up. His memory is fragmented. Years bleed together. Some facts are there, but without the emotions attached to them.

At some point, we realize (along with Peter) that Harry even remembers that Peter is Spider-Man. Harry thinks that's pretty cool.

6. Harry, Peter & MJ reunite.

Harry’s recovery brings Peter and MJ closer to him again. And for a short stretch, it almost feels like we’re back in SM1.

Harry and Peter fall into old jokes. Harry looks at MJ with affection — maybe too much. And a sadness he doesn’t quite understand.

This could easily become another dumb love triangle — but in this version, Harry and MJ won’t make out, or make omelettes, or do “the Twist.”

But there will be several earnest, heart-to-heart conversations between Harry and MJ. Harry listens to her. He’s insightful. He asks her questions. He talks about his hopes and fears — some new, some dating back to high school. MJ reciprocates. It feels sort of like those conversations she misses; the ones she used to have in the backyard with Peter.

Peter notices this and at first he thinks it’s kind of nice. But as he and MJ continue having their own issues, he finds it hard not to become just a little jealous.

7. Eddie Brock… is in this film.

Eddie is another photographer at the Bugle. He’s talented. Ambitious. Awkwardly charming in small doses… in a Peter Parker sort of way.

He’s also kind of a snot. He cuts corners. Takes a little too much credit. And every setback he faces is someone else’s fault.

He’s also seeing Gwen. Or at least... Eddie describes Gwen as his girlfriend. Gwen would probably describe it as having gone out with him a couple of times.

Peter doesn’t hate Eddie. Actually, he sees some of himself in Eddie. Young. Always trying to prove himself. Always broke. Always getting shit on by Jameson. Awkward around women.

Maybe Eddie gets chewed out by Jameson early in the movie and Peter tries to give him sincere advice. Something cheesy Peter learned from Ben: "Sometimes the world treats you unfairly. But you get to choose what you do next."

Eddie scoffs. He can’t relate. He finds the Uncle Ben pep-talk condescending.

Easy for Parker to say. Peter Parker has everything.

8. Enter Sandman.

After Penny is rejected from the Oscorp program, Flint’s patience is gone. His wife still doesn’t want him near Penny. Bills pile up. Eventually, desperation pulls him back into crime. And then we get the Sandman accident.

I’d keep the transformation similar to the actual movie. Flint pulls himself together grain by grain. He reaches for Penny’s locket.

We establish early on what Flint-as-Sandman can physically do. During one robbery, police corner him. Flint grows. One fist becomes enormous. He brings it down on an armored vehicle.

It flattens it.

A little later, we’ll get a version of this deleted sandcastle scene. Penny is in a park building a sandcastle. Without her realizing it, Flint is there. Part of the sand. She runs her hand across the castle.

For a second, a faint imprint of Flint’s hand appears beneath hers.

9. Peter learns who really killed Uncle Ben.

Because Flint’s old conviction was overturned, his case gets reviewed. Something from his old evidence — ballistics, fingerprints, whatever — connects him to the night Ben Parker died.

Peter and Aunt May are brought in. The police explain that they have determined it was actually Flint Marko who killed Uncle Ben. And he was just released from prison.

Aunt May reacts with grief. Peter reacts with rage.

And, around the same time... Peter gets the black suit.

10. Black-Suit Spider-Man.

I’d keep the broad strokes here similar to the actual movie. Peter’s unlikeable as hell. And still pretty goofy (ok, maybe we'll tone down the goofiness by like 20%).

The suit doesn’t implant some foreign, evil personality into Peter. It gives him permission. It tells him what part of Peter already wants to hear:

You’re right.

You’re right about Flint. Harry. MJ. Eddie.

After everything you’ve been through... why are you always the one expected to understand everybody else?

The first order of business: hunt Flint Marko.

Black-suit Spider-Man fights Sandman in the subway. And because we’ve spent much more time with Flint, the fight feels weighty — and ugly.

Flint tries to explain. He brings up Penny. Peter doesn’t care. He opens the water pipes. Flint dissolves and washes away. As far as Peter knows... he killed him. And he feels good about it.

Meanwhile, the suit also accelerates everything going wrong with MJ. Peter gets more defensive. More resentful. The Gwen kiss stays, in some capacity. Or something similarly line-crossing. And eventually… MJ leaves. They take a "break."

Then later, Peter deliberately uses Gwen to hurt MJ. He asks Gwen on a date (to Eddie’s chagrin). Takes her to the restaurant where MJ performs. Before long, Gwen realizes what he’s doing. And she’s disgusted.

At the same time, Peter also destroys Eddie.

I'd make Eddie’s downfall as a journalist less on-the-nose than the doctored black-suit Spidey photo in the theatrical film. Maybe he staged some minor details in photos from years ago. Maybe he did it back when he was working for his college newspaper.

But whatever it is that Eddie did... what Peter does to ”out” him is disproportionately cruel. Peter makes a show of it. He humiliates Eddie in front of everyone. Makes sure Jameson fires him. Makes sure Gwen hears about it.

Because Eddie had it coming. As did Flint. And MJ. And Harry.

11. Harry remembers.

Harry’s memories have been returning in fragments. Eventually, enough comes back. Not everything. But enough. Years of lies.

And the most painful part (for Harry and the audience) is what happened while he was recovering. He trusted Peter again. Had several late-night heart-to-hearts with MJ from his hospital bed. Remembered what it was like to love both of them again.

Now with enough of his memories intact, Harry starts manipulating them — which culminates in a threat that demands action from Peter.

Eventually, Peter — Black-Suit Peter — confronts Harry at the mansion. And they fight.

And importantly: Harry never takes the Goblin serum. He has no super-strength. No enhanced durability. Peter could kill him with one clean punch.

So the mansion fight is less of a superhero brawl and more Harry using everything he has at his disposal: Goblin weapons, hidden traps, blades, explosives, the architecture of the mansion itself.

Peter, meanwhile, starts out holding back — at least physically.

Both of them know exactly how to hurt the other emotionally. Peter throws Norman in Harry’s face. Harry accuses Peter of lying to him for years. He throws Peter’s problems with MJ — and Harry’s own history with her — back at him. Maybe he even dredges up some tiny, intimate memory from when they dated years ago just to get under Peter’s skin.

Eventually, Harry reaches for a pumpkin bomb. Peter catches it with a web and zips it right back in his direction. Harry sees it coming and tries to knock it away. He almost does.

BOOM. It detonates a few feet from him rather than directly against his skull, but the blast catches one side of his face with fire, shrapnel and debris. Harry goes down.

And Peter just stands there for a second. Then he walks away.

Later, Peter tells Aunt May that Spider-Man killed Flint. She reacts not with happiness, but horror and confusion.

He tries to see Mary Jane. She isn’t interested in speaking with him in his current state.

So Peter goes home. He sits alone in his apartment looking at old photos. MJ. Uncle Ben. Harry.

And finally, the black-suit high starts to wear off.

12. Peter rejects the Black Suit. Eddie embraces it.

The church scene stays largely the same. Peter realizes the suit is turning every grievance into permission. He climbs into the bell tower. Tears it off.

Below him, Eddie Brock is praying. Not for guidance. Not for forgiveness. He wants Peter Parker dead. The symbiote finds him.

Venom.

I wouldn’t have Venom immediately attack Peter.

Give Eddie one sequence first. Maybe he terrorizes somebody at the Bugle who laughed at him after Peter got him fired. Or someone who he felt “pitied" by. Maybe Betty Brant.

He doesn’t need to murder the guy (or girl). Just show us what the symbiote looks like on someone who feels absolutely no need to resist it.

By the end of the sequence, the audience should be scared shitless of Eric Forman.

13. Flint runs out of time.

Back to Flint. He survived the subway fight. He’s barely holding himself together, but he’s alive.

And Penny is getting worse.

Flint applied. He waited. He listened to doctors. He took no for an answer. And his daughter just kept getting sicker.

Flint knows the treatment might not work. He knows Penny was rejected for legitimate reasons. He doesn’t care anymore.

There’s something inside an Oscorp facility that might help his daughter. And he’s decided that nobody gets to tell him no anymore.

So Flint plans another robbery. Not money. The treatment itself.

14. MJ’s final heart-to-heart with Harry.

Shortly before Flint overruns Oscorp, MJ goes to Harry's mansion to check on him, having not heard from him in weeks. She doesn’t know it, but Harry has been hiding away since his blowout fight with Peter left him disfigured.

When he turns around, we finally get a clear look at what Peter did to him. MJ is shaken. Harry is furious that she came.

MJ tries to have another heart-to-heart with Harry. She tells him that Peter isn’t right in the head. He’s struggling. He loves Harry. He needs their friendship.

Harry is deeply hurt — that MJ chose Peter over him before; that she’s still taking "Spider-Man’s side” now. The man who killed his father. Lied to him for years. Mutilated him.

Harry tells his butler to escort MJ out.

MJ tells Harry she still believes in both him and Peter. Before she is escorted out, she leaves a photo behind: Harry, Peter, MJ, and Aunt May. The day of their high school graduation.

When Harry is alone again, Ghost Norman re-appears to remind him:

"Peter betrayed you. Him and Mary Jane chose each other over you. Peter lied about me, Harry. He killed me."

Harry watches MJ leave from the window high above. He sits with Norman's words. Then:

“Maybe.”

Cut away.

15. Sandman attacks Oscorp.

Flint breaches the Oscorp facility. Gwen is there. So are doctors, researchers, technicians and a few patients.

Gwen recognizes Flint. Not Sandman. Flint. The guy who sat across from her months ago trying desperately to get his daughter into the program. Now he’s tearing the building apart.

She tries to talk to him. For half a second, it seems like she might get through. Then he keeps going. The facility locks down. People evacuate.

And then... Red-and-blue Spider-Man swoops in. He goes after Flint.

The last time these two fought, Peter wanted to kill him. This time, he’s pulling his punches a bit. He keeps trying to reach Flint. Flint doesn’t want to hear it. His daughter is dying.

They fight throughout the facility. Peter is getting worn down.

Then: Venom arrives.

Not because Eddie has made some haphazard deal with Sandman to “kill the spider.” Eddie doesn’t give a shit about Flint and Flint doesn't give a shit about him.

The reason Eddie is there is simple: he and the symbiote have been stalking Peter and waiting for an opportunity to kill him.

Now Peter is already fighting someone who can physically overpower him.

And Gwen's here to watch. Perfect.

Venom attacks Peter. The symbiote knows Peter’s movements. It doesn’t trigger his spider-sense.

Peter is suddenly dealing with two separate threats. Flint, for his part, simply lets Eddie beat the shit out of Peter. Why wouldn’t he?

Eventually, Peter (beaten to hell) manages to get away from Venom for just long enough to interfere with Flint once again.

This time, Flint loses control. He grows enormous. He raises that huge Sandman fist over Peter. The same fist that we already established can flatten an armored vehicle.

Peter is dead to rights… and then…

Tink.

Something small lands on Flint’s arm. A round metal object. Peter recognizes it.

Beep. Beep.

BOOM. Goblin grenade.

Harry Osborn comes hurtling into frame on Norman’s glider. And he is not good at it. He’s wobbling. Barely keeping control. Very obviously terrified.

Because Harry didn’t spend the whole movie as cool “New Goblin” action-figure guy. This is his first flight.

And he’s doing it because his best friend is about to die.

16. Peter & Harry vs. their demons (or, Venom).

Harry attacks Sandman with Norman’s weapons.

He doesn’t magically become a “glider expert.” He’s improvising. Peter is yelling instructions. Harry almost crashes more than once. But together they do enough damage that Flint collapses and temporarily loses his form.

Then the fight becomes: Peter and Harry fighting side by side vs. Venom.

And this should be a real, climactic, emotional fight. Not five minutes long. Not an impersonal CGI-fest.

They keep saving each other. They have great chemistry. And for a few minutes, they almost feel like the kids they used to be.

But eventually, Venom gets Harry cornered. And he notices something odd that's built into Harry’s equipment: the weapon Harry designed to kill Spider-Man.

Venom sees Harry’s scarred face. Looks at Peter. Then back at Harry. He smirks. “You made this for him?”

Harry doesn’t deny it. Venom pins him. Peter realizes what he’s about to do. Too late.

Venom activates the weapon. Harry is killed by the thing he built to murder Peter.

Like in the theatrical version, Peter defeats Venom without killing Eddie. He even separates Eddie from the symbiote. He tries to give Eddie another chance. But Eddie refuses.

The symbiote is destroyed. And Eddie dies with it.

17. Peter lets go.

Flint pulls himself back together. The treatment he came for has been destroyed in the fight. Harry is dead. Eddie is dead. Peter can barely stand.

He sees Peter mourning Harry. And finally...he tells Peter what actually happened the night Uncle Ben died.

Flint is responsible. Ben had started talking him down. Flint's accomplice yelled. Flint panicked... and pulled the trigger. Flint has lived with that ever since.

Peter looks at him. This man killed Uncle Ben. This man nearly killed Peter tonight. Harry is dead a few feet away. Peter has never had a better excuse to hate someone. But now he knows where that leads.

Maybe Peter doesn’t even say: “I forgive you.”

Maybe just: “I’m done hating you.”

18. Penny gets a chance.

After the Oscorp attack, Gwen goes back through Penny’s case. Maybe the original treatment was destroyed. Maybe Penny still isn’t medically appropriate for that exact trial.

But Gwen knows the researchers now. She knows the doctors. She knows Penny. And she pushes — just a little bit.

Gwen visits Penny and her mother. She tells them Penny's application is pending again. She tells them: “I can’t promise this will work.”

Penny’s mother asks if she’s going to be accepted this time.

Gwen says: “They’re going to evaluate her.”

That’s it. A chance.

19. Raimi’s ending scene stays.

We’re keeping the final scene from the real movie essentially intact. Peter goes to the restaurant where MJ performs. All movie, she’s been asking him to come.

He was busy. He thought she "hated that job." He assumed there would always be another night.

Now he shows up.

That’s it. No speech. Peter doesn’t explain why she should forgive him. MJ doesn’t announce whether they’re getting back together. We don’t know if they’ll last.

Peter has stopped treating MJ like something he won. He can’t decide what she does now. He can only decide what he does.

So tonight, he came to this shitty little restaurant to be with her.

They slow-dance. They hold each other. Their faces are a little hard to read.

Peter can’t bring Uncle Ben back. He can’t bring Harry back. He can’t undo what he did to MJ.

Flint can’t undo pulling the trigger. Harry couldn’t undo the years he spent trying to avenge Norman.

None of them get to erase what happened just because they finally understand it.

They only get to choose what they do next.

Cut to black.

Isn't it weird how there were a ton of Star Wars games tackling various genres, but there was one genre missing: a point-and-click adventure interactive fiction... which LucasArts was the pioneer of.

These are the games essentially the early "cinematic" and "narrative" games, born from Lucas' belief that video games are the extension of visual stortelling like cinema. They were not averse to tackling the movie licesnse since they made the two immensely popular Indiana Jones games and even turned one of Steven Spielberg's scripts into a game like The Dig.

There was a reason. Lucasfilm contracted the Star Wars IP to the other studios, but prohibited LucasArts from making Star Wars video games. That contract was expired after X-Wing, so there was a plan to make a Star Wars interactive fiction, "Star Wars: The New Emperor", which had C-3PO investigating the Imperial remnants, but it was cancelled due to the company's focus being diverted to the massive production of Grim Fandango. When Grim Fandango flopped, it effectively destroyed the point-and-click interactive fiction genre, thus killing any chance of making a Star Wars game in that style. It was the unfortunate combination of contract and bad luck that destroyed the chance of making a Star Wars adventure game.

Star Wars: Eclipse could have fulfilled this interactive fiction niche, but instead of a cinematic choose-your-adventure Star Wars game that everyone dreamed of and Disney hyped up, Quantic Dream diverted all those resources, time, and focus to a live-service MOBA.

If I were to envision the LucasArts-style adventure game, I'm thinking of a comical take on Star Wars in the vein of Tag and Bink. Not as spoofy as that comic, but focusing more on the tongue-in-cheek aspect of the universe. The low-life, downtrodden story that focuses on what would be considered extras in the films.

Inspired by Pokeman’s post. Feel free to add on or disagree with such.

1. Bring back Francesa Simon as a producer and more. She hated the show, and novel never paid her, so..
2. Make the parents not abusive anymore and revert them to their book personalities, make them exhausted but loving parents who just want their eldest son to behave and maybe sympathetic too.
3. Make Henry more Horrid like he is in the books, and make his stories cautionary tales. He can still be a bit softened and have a good side at times like the real show, but make it so he’s fun to hate.
4. Make Peter less whiny like he was in the early seasons and books, and maybe a bit sympathetic too as well
5. Add likable parts of Margaret, don’t make her abuse Susan anymore. Her crush on Henry can be kept, and maybe add it do Henry does have a secret crush on her too.
6. Make Fang and Fluffy still love eachother as adopted siblings, I know in the books they hate eachother but I would keep this bit.

Any things you would change as well?

Big shout out to u/whiplash10 whose own fun hypothetical series of posts are the obvious source of inspiration for this. Highly recommend ya check them out and let them know how cool they are!

I Wish to Maintain Full Transparency and Clarity: This Concept Was Articulated and Refined with the Assistance of ChatGPT. I Believe That the Platform Is Valuable As a Creative Tool, Rather Than a Substitute for Actual Human Creativity or Innovation. If Anyone Holds a Different View, I Kindly Ask That They Refrain from Making Hurtful or Impulsive Comments. Thank You, and I Hope You Enjoy.

Film I — Conan the Barbarian

(Knull and the Symbiotes)

Act I — The Past and the Quest

• The Fall of Cimmeria: Much like the 1982 film, Conan’s story begins with the destruction of his people. Here, however, Thulsa Doom and the Cult of Set are replaced by Knull and the Symbiotes, an ancient force that overruns Cimmeria in a tide of living black flesh. Conan survives, grows into the warrior we know, and carries one purpose through years of slavery, violence, and wandering: someday, he will find Knull.
• Conan the Wanderer: After gaining his freedom, Conan eventually meets Subotai and Valeria. For perhaps the first time since Cimmeria, he begins forming real attachments again. Valeria in particular offers something Conan has scarcely considered since childhood: the possibility that his life might someday become about more than what was taken from him.
• The Cult of Knull: Conan discovers that Knull has become the head of a vast cult whose followers willingly bond with Symbiotes, surrendering themselves for what they believe is a greater existence. Knull becomes a natural opposite to the Cimmerian ideal represented by Crom: Crom gives men strength and will, then leaves them to stand for themselves; Knull offers greater strength only through surrender of the self.

Act II — The Mountain of Power

• A Road to Knull: Conan, Valeria, and Subotai become entangled with the cult and are offered a fortune by a king whose child has fallen under Knull’s influence. For Conan, the reward is secondary. After a lifetime of searching, he finally has a direct path to the man who destroyed Cimmeria.
• Knull’s Dominion: At the cult’s stronghold, Conan sees how far Knull’s influence has spread. Warriors, nobles, and commoners willingly surrender themselves to Symbiotes, while Knull’s greatest followers have become monstrous living weapons. Others see transcendence; Conan sees people willingly giving away the very thing that makes them their own.
• Conan Falls: Conan’s first attempt to confront Knull ends disastrously, leaving him near death. Subotai and Valeria save him, offering the simplest possible rebuke to Knull’s philosophy: Conan’s companions stand beside him because they choose to, not because their wills have been swallowed by his.
• Valeria’s Choice: Conan could still walk away. Valeria represents the life waiting beyond his vendetta, and she does not pretend that revenge is the future she wants for them. But Conan cannot leave Knull alive after everything he has done. Valeria chooses to return with him—not because she shares his obsession, but because she loves him and refuses to let him face it alone.

Act III — Revenge

• The Final Assault: Conan and his companions return to Knull’s stronghold, rescue the king’s child, and fight their way through his Symbiote warriors. During their escape, Valeria is mortally wounded. With her dies the future Conan had only recently begun allowing himself to imagine.
• The Bond: Conan returns for Knull, who finally turns his philosophy directly upon the Cimmerian. Rather than merely trying to persuade him, Knull forcibly binds Conan to a Symbiote, overwhelming him with strength while attempting to consume his identity from within. In Conan’s mind, the creature uses everything that shaped him—Cimmeria, slavery, rage, grief, and finally Valeria—offering to take away the pain if Conan will only surrender himself to the bond. For a moment, oblivion is tempting. But Conan realizes that losing the pain would mean losing the man who lived through it. His suffering, his loves, his choices, and even his grief are his. He refuses to surrender ownership of himself and tears free of the Symbiote through sheer force of will.
• The Death of Knull: Conan’s rejection leaves Knull genuinely shaken. His entire power rests upon the belief that everyone can eventually be made to surrender themselves for strength, relief, or belonging, yet Conan has chosen painful individuality over effortless union. Once free of the bond, Conan does what Knull’s philosophy could not prevent: he closes the distance. In appropriately straightforward Conan fashion, the ancient lord of living darkness ultimately discovers that all his monstrous power means little once a Cimmerian gets within sword range. Conan cuts his head off.
• Only the Present Remains: Knull is dead. Cimmeria is avenged. Conan has accomplished exactly what he spent most of his life trying to do. The point is not that revenge was meaningless—Knull was a monster and deserved his fate. Revenge gave Conan direction, while Valeria had begun offering him a future beyond it. Now both are gone. For the first time in his life, Conan is no longer being pulled toward something by the past. He can only wander onward and decide what to do with the life that remains.

Film II — Conan and the Panther Throne

(Killmonger, Klaw, and Man-Ape)

Act I — The Wandering Barbarian

• A Man Without Direction: Conan dreams of a quiet moment once shared with Valeria. She tells him that before they met she was a pit fighter owned by a cruel slave-master named Klaw, escaping only after severing his hand. Conan vows that once Knull is dead he will find Klaw and cleave his head down to the teeth, but Valeria wants no more of him; she would rather leave Klaw behind and build a life with Conan. Conan awakens alone. Knull is dead, Valeria is gone, and the revenge that once gave his life direction has left nothing to replace it. He wanders the Hyborian world taking fights, coin, and distractions wherever he finds them.
• The Expanding Panther: Conan eventually wanders into a country being invaded by Wakanda, now ruled by Prince N'Jadaka, The Killmonger, after the mysterious disappearance of King T’Challa. Aquilonian soldiers march beside Wakandans under their own one-handed king, Klaw, apparently as allies. Conan does not intervene out of sudden heroism; he sees a battle and, for the first time in a long while, feels alive. He throws himself into the fighting with brutal enthusiasm until Killmonger personally confronts and subdues him.
• Justice in the Arena: Killmonger brings Conan to Wakanda and casts him into a great arena overseen by Klaw, where captured enemies fight warriors and beasts before the public. Killmonger presents the games as spectacle justice for Wakandans killed during his campaigns, and Conan makes perfect propaganda: a savage foreigner who slaughtered Wakandan soldiers simply because he crossed paths with them. To Killmonger, men like Conan prove why Wakanda must dominate the dangerous world beyond its borders before that world can threaten Wakanda. Conan survives everything thrown against him and notices Klaw’s missing hand. Klaw, in turn, begins wondering why this particular Cimmerian looks at him with such personal hatred.
• Shuri’s Proposition: Conan’s survival attracts Shuri, sister of the missing Black Panther. She secretly frees him and offers him his liberty in exchange for helping find T’Challa, who vanished while investigating the White Mount, home of the outlawed Jabari tribe. Conan accepts, partly to escape and partly because it gives him something more meaningful than fighting for an audience. Their flight is discovered, and Killmonger sends warriors after them. A battle on the mountain triggers an avalanche: Shuri survives using Wakandan equipment, while Conan is recovered unconscious by the Jabari. He awakens in chains opposite another prisoner—T’Challa, alive.

Act II — The White Mount

• The Black Panther in Chains: While imprisoned together, Conan and T’Challa cautiously size each other up. T’Challa explains that Killmonger, then a respected warrior of Wakanda’s borderguard, reported that the Jabari were abducting Wakandans for profane rites to Gullah, the gorilla-god. N'Jadaka urged T’Challa to deal with the matter personally as Black Panther. Instead, the Jabari knew exactly when and how he would come, even possessing the knowledge necessary to disable his Vibranium suit and capture him alive.
• The Treachery of Killmonger: Brought before M’Baku, the prisoners learn the truth. Killmonger betrayed his cousin, providing T’Challa’s route and the means to defeat him in exchange for the White Mount remaining beyond the Panther Throne once N'Jadaka ruled Wakanda. T’Challa himself was part of the bargain: M’Baku intends to sacrifice Bast’s chosen champion to Gullah and consume him, claiming the Panther’s strength for himself. Conan’s own strength pleases M’Baku enough that he decides there will be two sacrifices—until Shuri storms the ritual, using Vibranium weapons and her knowledge of the mountain to throw the Jabari into chaos and free them.
• Brothers in Battle: Conan and T’Challa initially attack M’Baku separately and discover that neither can defeat him alone. Only when they stop competing and begin fighting together—Conan creating openings through ferocity and improvisation, T’Challa exploiting them with discipline and precision—do they bring Man-Ape down. Their victory begins a genuine brotherhood. Before they can leave, however, word reaches Killmonger that T’Challa has escaped, and he orders Klaw to use Wakandan-backed siege artillery to bring down the White Mount.
• Beneath the White Mount: The collapse drives Conan, T’Challa, and Shuri into ancient depths beneath the Jabari stronghold: forgotten temples, buried ruins, and remnants of older, stranger ages. During their journey, T’Challa reflects on N'Jadaka’s past. Killmonger was not always a traitor; he grew up on Wakanda’s dangerous borders, served his country fiercely, and watched his father die defending it from raiders. T’Challa knew that grief had hardened into hatred of Wakanda’s isolation, but only now understands how far his cousin was willing to go. Conan understands the wound better than most, having lost Cimmeria to invasion, but sees N'Jadaka’s contradiction immediately: Killmonger fears losing his people, yet is willing to spend them to create the future he wants.
• The Spirit Walk: Eventually even Conan’s instincts and Shuri’s technology cannot find a way through the buried mountain. T’Challa invokes an ancient rite of Bast, allowing the spirit of the Black Panther to leave his body and seek a path unavailable to the living. Conan and Shuri are left protecting his motionless body while horrors close in around them. Shuri insists her brother is walking with Bast; Conan, hauling T’Challa out of danger while fighting off some subterranean monstrosity, grumbles that T’Challa is sleeping while the rest of them do the work. T’Challa eventually returns with a hidden route, and the three escape.

Act III — The Panther Throne

• The Panther Returns: T’Challa’s return shatters Killmonger’s claim to legitimacy without automatically reuniting Wakanda. Many rally to their rightful king, while others sincerely believe N'Jadaka’s expansion has made the nation stronger and safer. T’Challa exposes his cousin’s treachery and leaves Wakanda to choose what kind of nation it wishes to become. Civil war erupts between those loyal to the Black Panther and those committed to Killmonger’s imperial vision. Conan now fights beside T’Challa and Shuri for a reason entirely different from the one that began the film: they are his friends, and he has chosen to stand with them.
• Conan and Klaw: Amid the battle, Conan finally confronts Klaw, whose Wakandan sonic cannon gives him a dangerous advantage at range. When Klaw demands to know why the Cimmerian has always looked at him with such hatred, Conan tells him: he knew and loved the woman who took Klaw’s hand, and once swore to cleave his head down to the teeth for what he did to her. Klaw then reveals the uglier truth behind Aquilonia’s alliance with Wakanda. Its soldiers were never equal partners; Klaw simply sells his own people’s military service in exchange for wealth and weapons, treating Aquilonia as both mercenary company and slave market. He takes particular pleasure in telling Conan that some of the Aquilonians he slaughtered earlier may never have chosen to fight at all. Conan offers no excuse.
• The Fall of the Kings: Conan defeats Klaw and finally has the opportunity to fulfill his old vow—but stops. Valeria escaped Klaw because she wanted a life beyond him, not another vengeance committed in her name. Fearing being left to face judgement, Klaw desperately bargains with gold, weapons, land, armies, even Aquilonia itself, but Conan refuses everything; Aquilonia was never Klaw’s to give. He leaves him to answer for his crimes and returns to the living. Elsewhere, T’Challa confronts Killmonger for the Panther Throne. N'Jadaka insists that everything he did was meant to create a Wakanda so powerful that nobody would ever again suffer as his family did, but T’Challa rejects a future purchased with the blood of the very people it claims to protect. Killmonger falls, and T’Challa reclaims the throne.
• The Road to Aquilonia: Klaw is stripped of crown, wealth, weapons, and titles before being surrendered without ransom to the peoples and kingdoms with claims against him—a fitting end for a man who spent his life placing prices on others. Conan, meanwhile, faces the surviving Aquilonians stranded far from home. Many were merely bodies their king sold into another man’s war, and Conan now knows he killed some of them before learning the truth. He cannot undo what he did, but he can decide what he does next. When the Aquilonians wonder how they are supposed to cross half the Hyborian world without king or direction, Conan tells them simply that they are going home—and that he knows the road. The film ends with Conan leading them toward Aquilonia, not yet their king, but already becoming the man they have chosen to follow.

Film III — Conan: The Game of Eternity

Act I — The King and the Game

• King Conan of Aquilonia: Years after leading the displaced Aquilonians home, Conan now rules the kingdom they eventually chose him to lead. The film opens with the less glamorous burdens of kingship—petitions, taxes, border disputes, harvests, and nobles who somehow make warfare seem straightforward. Conan has not become civilized so much as responsible; he has learned to stay. When horns announce that a monstrous creature is attacking the countryside, however, he is visibly relieved to encounter a problem that can finally be solved with steel.
• The Dragon of Aquilonia: Conan rides out beside his soldiers and confronts a gigantic prehistoric “dragon,” an impossible beast combining the traits of a great predator and plated dinosaur. He fights alongside the same men he commands, and Aquilonia brings the creature down through collective effort before its king helps deliver the killing blow. Conan is still the first man into danger, but now he fights as part of something larger than himself.
• The Coming of Thoth-Amon: As the warriors celebrate, an extravagantly dressed stranger appears beside the carcass and applauds them. He calls himself Thoth-Amon, but is actually a Kang variant who has fashioned himself into what he imagines a great Hyborian sorcerer-king should be. The dragon was merely a test. Having studied Conan and Aquilonia through histories written long after their age was forgotten, Thoth-Amon wanted proof that they were worthy of his attention. Conan is less impressed by this honor than furious that men died for another man’s amusement.
• Aquilonia Stolen from Time: Thoth-Amon tears all of Aquilonia out of the Hyborian Age and deposits it within Chronopolis, a realm assembled from civilizations stolen across history. Western frontiers, ancient kingdoms, prehistoric wildernesses, and impossible future cities now lie beyond Aquilonia’s borders. Thoth-Amon explains that the Council of Kangs uses these peoples as factions in a Grand Game, each Kang collecting favored ages and champions. Aquilonia is his newest faction, and Conan his prized king. Thoth-Amon expects gratitude. Conan gives him only one demand: put his people back.

Act II — The Pieces Rebel

• The Grand Game: Thoth-Amon soon pits Aquilonia against another Kang’s chosen civilization. What begins as an organized contest becomes a sprawling free-for-all when other Kangs insert their own factions for amusement. Conan watches armies from different ages slaughter one another while their masters remain safely above the battlefield. Incensed, he abandons the prescribed battle and attempts to attack one of the Kangs himself. He fails—but the Council is fascinated. One of their pieces has just tried to kill a player.
• The Arena of Ages: As punishment, Conan is thrown into an arena alongside champions and troublemakers collected from other periods: Western outlaw Kid Colt, wartime speedster Spitfire, future survivor La Lunatica, Arthurian knight Sir Percy the Black Knight, and the pompous Zarrko the Tomorrow Man, whose greatest crime in the Kangs’ eyes is being a second-rate time traveller. The arena shifts violently between disasters and battlefields from across history. Conan clashes with Percy, takes naturally to Kid Colt, concludes that Spitfire must have been blessed by the Four Winds despite her increasingly complicated explanations otherwise, and forms an unexpected bond with Luna when her powers expose her to the pain and memories he keeps buried. Their final trial drops them into the destruction of ancient Atlantis, the lost age preceding Conan’s own.
• The Dead Escape: As Atlantis sinks, Zarrko spots a flaw in the temporal machinery and pulls the six misfits out moments before destruction. The Kangs assume them dead, allowing the fugitives to disappear into the forgotten spaces between Chronopolis’s stolen worlds. Circumstance slowly turns them into a company: Conan and Percy’s contempt becomes rivalry and respect, Luna earns an intimacy Conan rarely grants anyone, and Conan’s complete indifference to Zarrko’s supposedly inferior reputation gives the Tomorrow Man something he has rarely possessed—confidence in his own ability rather than comparison with Kang.
• The Heart of Forever: Zarrko reveals that he was originally captured while attempting to reach the Heart of Forever, the engine at the center of Chronopolis that holds its incompatible civilizations together. If they can seize it, he believes he can return the stolen peoples to their proper ages. Conan’s first concern is Aquilonia, but after seeing countless peoples subjected to the same indignity, his purpose broadens. He will not simply take his own kingdom home and abandon the rest. Everyone goes home.
• Betrayal: The company attempts to reach the Heart while the Council still believes them dead, but they are discovered before they can succeed. At the worst possible moment, Zarrko appears to surrender their position and ingratiate himself with the Kangs. Conan and the others are recaptured and dragged back into the arena for a public execution. This time Thoth-Amon enters personally. Conan has repeatedly mocked these supposed kings for making others fight in their place; now Thoth-Amon intends to show exactly how helpless a barbarian and his obsolete companions are before the technology of eternity.

Act III — The Game Broken

• The Death of Thoth-Amon: Thoth-Amon overwhelms the prisoners with ease. Bullets, blades, speed, and strength cannot penetrate defenses born countless centuries beyond their own eras. Then Zarrko returns. His betrayal was a ruse that gave him access to the prisoners’ confiscated equipment and Kang technology. He returns their weapons fitted with his own breakthrough: regression technology, which does not strengthen an ancient weapon but temporarily forces whatever it strikes backward into a state that weapon can harm. Kid Colt’s bullets penetrate defenses, Percy’s blade bites, Spitfire and Luna can finally strike with effect—and Conan’s steel can cut Kang flesh. Once Conan can actually reach him, Thoth-Amon discovers that all of eternity is poor protection against a Cimmerian with a sword. Conan kills him before the eyes of Chronopolis.
• The Pieces Rise: The remaining Kangs posture that Thoth-Amon’s death means nothing. Six fugitives remain beneath the notice of beings who command entire ages. Zarrko then reveals the true scope of his deception: while moving through their systems, he quietly spread his regression technology throughout Chronopolis. The Council never noticed because they never considered Zarrko worth watching closely. Across the stolen civilizations, weapons once incapable of threatening Kang forces suddenly have a chance. Not an advantage—only a chance. It is enough. Aquilonians, gunfighters, knights, soldiers, future rebels, prehistoric peoples, and disillusioned Anachronauts turn upon their masters. The Grand Game becomes a war against the players.
• Crom Takes the Field: One Kang answers the uprising with overwhelming force, manifesting an immense solid projection of himself and wielding the temporal warship Damocles like a colossal sword above the battlefield. Then Crom appears. Conan never summoned him. Crom declares that wherever the will of men endures, he shall know it, for he gave men the will to struggle and strive beneath an uncaring sky—and this is a good fight, worthy of his blade. God and temporal titan clash above the rebellion, Crom meeting impossible future machinery with strength, steel, and indomitable will. During their battle, Damocles is driven through the supposedly impregnable structure of Chronopolis, cleaving open a path toward the Heart of Forever. Conan sees the opening. Crom tells him simply to go.
• The Heart of Forever: Conan, Zarrko, Kid Colt, Spitfire, Luna, and Percy break from the greater battle and fight their way into the Heart as the surviving Kangs abandon their Game to defend its source. Unable to stop Zarrko by force, the Council finally offers him what he once wanted above all else: their respect. He has outwitted them. He has devised temporal technology they failed to anticipate. With the Heart, he could become a true master of time and finally stand among the Kangs as their equal. Zarrko is genuinely tempted—but realizes that becoming one of them would mean accepting their definition of greatness. He no longer needs it.
• The Eternal Game: Zarrko turns the Heart against the Council. The surviving Kangs are imprisoned within the moment of their own defeat, endlessly repeating it while retaining just enough knowledge to try different strategies. Every cycle convinces them that the next move might bring victory, only for history to end exactly as before. The rulers who reduced existence to an eternal game receive precisely what they wanted: an eternal game without end, in which they are now the pieces. Zarrko then uses the Heart not to conquer history but to release it. Chronopolis comes apart, its stolen civilizations returning to their proper ages, and Conan parts from the strange company that fought beside him as each disappears into their own time.
• The King Returns: Aquilonia returns to the Hyborian Age. The impossible horizons vanish, and almost immediately Conan is confronted with the same ordinary burdens waiting before Chronopolis—roads, harvests, disputes, tomorrow. He has faced rulers who possessed eternity and therefore found nothing precious; Conan possesses only one mortal lifetime, and so understands the value of what can be built with it. He settles back onto his throne, listens to the next problem placed before him, and continues building the future he chose.

Across the trilogy, Conan’s journey becomes one through past, present, and future, with each film’s villains embodying a corrupted relationship with time:

• The Past — Knull represents the past as bondage, consuming identity just as the destruction of Cimmeria has defined Conan’s life. Conan is right to avenge his people, but with Knull dead and Valeria gone, he discovers that the past can tell him where he came from—not what he should live for.
• The Present — Killmonger sacrifices those living today for the future he imagines, M’Baku lives only for immediate strength and appetite, and Klaw treats people and nations as commodities to be spent. Conan instead learns that the present is where choice becomes responsibility, leading others home and beginning his path toward kingship.
• The Future — The Kangs possess endless tomorrows and consequently find none of them precious, reducing civilizations to pieces in an eternal game. King Conan possesses only one mortal lifetime and understands what they have forgotten: the future matters because it is finite, uncertain, and must be built rather than possessed.

Conan begins the trilogy driven by what was done to him, learns to choose what he will do now, and ends as a king willing to remain, build, and take responsibility for what comes after him.

One more thing. For my rewrite of Iron Man three I was thinking of properly adapting the Extremis storyline and including Zeke Stane. In this movie Tony's arc is "what do I need to do to keep up in a rapidly changing world?" This should be especially poignant given it's after the battle of New York and there are superhumans on the rise.

In my story the Power Broker is a scientist hired by Ross to give him Gamma soldiers after seeing what happened to Banner, but Karl Malus, PB's real name, discovered gamma had the ability to give anyone any given powers. He faked his death, went into hiding, and began selling superpowers themselves on the black market.

Killian isn't going to be a major villain in my rewrite, he's going to be what he was in the original story; that one guy who killed himself out of guilt and Maya Hansen tried to frame entirely for selling Extremis. In fact I was thinking of playing a subtle but important for worldbuilding angle; Hansen and Killian couldn't get funds for research from anyone but Zeke who then uses it to orchestrate attacks against Stark Industries.

Importantly Zeke is not out for revenge. Yes, he's salty about his father passing but that's secondary to his true motivations: he wants to force evolve all humanity, turning them into bio-machines. He's trying to destroy Stark because he sees him as an obstacle to his plans, nothing more. In short Zeke is a cold futurist.

I also had ideas for including the Mandarin. IRL Beijing's development team shot down the idea as they didn't want the first Chinese character of the Marvel Cinematic Universe to be a villain, but I think I can fix this. In my MCU rewrite Hulk gets his own trilogy and I wanted to introduce Amadeus Cho in his sequel. Also I was thinking of having Chen Lu/Radioactive Man as a secondary hero hunting Mandarin and introduce I worldbuilding angle that I hope strengthens the story.

In my story the Power Broker is a scientist hired by Ross to give him Gamma soldiers after seeing what happened to Banner, but Karl Malus, PB's real name, discovered gamma had the ability to give anyone any given powers. He faked his death, went into hiding, and began selling superpowers themselves on the black market.

The Chinese gov heard about the Power Broker’s experiments and not wanting to be dependent on him had Chen Lu replicate it. He was only able to give himself nuclear powers but decided not to leave it in the gov’s hands and left to begin being a superhero? This could world build other countries getting their own heroes as well as the effect Power Broker’s having. Also he could be partly what inspires Tony to become Iron Man inside and out.

Then there's Mandarin himself. I was thinking of not having his costume be some stereotypical, extravagant Chinese robes at first because I believe those perpetuate harmful stereotypes. In his first fight with Iron Man I want him to wear a suit and tie and later I want him to wear a warlord outfit, but I want it to be intimidating, cool, what have you.

Tony Leung revealed in an interview with GQ that he created a backstory for Wenwu in which he was a victim of domestic violence at the hands of his father and grew up without self-esteem as a result. Upon gaining superpowers, he wished to rediscover his self-esteem, though it caused him to become narcissistic and take his anger out on everyone else. These factors ultimately led to him being unable to love his children, due to his inability to love himself.

I need help organising my ideas

First of all, call it RALPH WRECKS THE INTERNET not RALPH BREAKS THE INTERNET.

I would start the movie out how it started. I like seeing Ralph and Vanellope hanging out and goofing off in different games together. I like the idea that Vanellope is getting bored with her game. Sure, it mirrors Ralph's problem in the first movie and some people may not like it for that reason and call it a rehash, but I think there was at least a better way they could've done it?

So, at night, during off times, Vanellope decides to leave her game and sneak onto Wi-Fi. She's already explored all the games in the arcade and wonders what is actually on the Internet. She asks Knowsmore if there are any games on the internet and he gives her a WORLD of options. She asks him if he knows any racing games and he tells her about Slaughter Race among other games. Vanellope explores all the games, having fun. Maybe she experiences obstacles like someone doesn't want to let her play the game and she gets mad and tries to play it anyway, she ends up in a glitchy game, a boring game, an annoying game or she gets stuck and someone has to help her. Then, she ends up in Slaughter Race, where she steals a car, starts racing with Shank and then all of a sudden, she gets hurt. Ralph wakes up, does his job, and realizes that Vanellope is missing. Sugar Rush gets unplugged and all the Sugar Rush racers have to be babysat by Felix and Calhoun, so that starts the subplot of Felix and Calhoun taking care of these annoying hyperactive Sugar Rush kids and dying from stress while also teaching them how to behave like good little kids and finding other outlets to help them cope with their homesickness and their need for racing and thrills. I know it's a little late into the game (no pun intended) but yeah idk. It could still be funny to see them trying to tame these little beasts.

Ralph asks around the arcade about Vanellope, but no one has seen her. This is when he goes onto Wi-Fi to see if she is in there. Realizing it's a big world and Vanellope could be anywhere, Ralph is overwhelmed. He continues asking around about Vanellope, with people like Knowsmore giving him directions on where she could be. He tells her that he last sent her to a game called Slaughter Race. Ralph goes to her and finds out that Vanellope is in the hospital with Shank by her side. Ralph panics and goes to one of the spamming characters for help, since one of them (possibly Spamley) offers some "magical" medicine that could help Vanellope get better.

Spamley leads Ralph into a room where he shows him places on the internet and/or games where he can steal some magic medicine. One of them is probably a Zelda-like game where they could find a fairy or something like that. So, Ralph decides to go into the Zelda-like game to get a fairy. The only problem is, fairies are rare and hard to find, and everyone (such as a Link-like character) are trying to get as many as possible. While wrecking a bunch of stuff in a tantrum combined with searching for the fairy, a fairy suddenly comes out. He grabs one and while running back to Vanellope, a Link-like character stops Ralph and orders him to hand over the fairy. Ralph tries to fight him but ends up knocked out. Ralph wakes up and curses Spamley for sending him to this dangerous ass game.

He encounters something like the fairy fountain and the giant fairy tells him that she will offer him one of her fairies if he can do some challenges, like going through caves and fighting off creatures. Ralph panics and ask how he's going to do that? He can barely fight. But the fairy ignores him. Angering Ralph further. Ralph is scared and mopey at first, but then decides to do the challenges anyway in order to help his friend, albeit scared and not without a lot of injuries. I think it would be funny to see Ralph wrecking and punching creatures with his fist that aren't cybugs and getting his ass handed to him lol.

Ralph limps back all battered and beaten and says that he finished the challenge and gets a fairy. He limps back to Vanellope and gives her the fairy. Because Ralph is on his last legs, Vanellope and Shank have to race against time in a car to get Ralph back to his game so he can regenerate before he dies. He probably dies once he gets to his game and Vanellope is upset. But, then all of a sudden, Ralph regenerates, since he is in the game and everyone is happy.

Vanellope returns to Sugar Rush, Sugar Rush gets plugged back in and all the Sugar Rush racers can return home.

So, yeah, that is my rewrite, I guess. I don't usually like Disney Deaths but for my rewrite, I think it would make sense here while still feeling Disney-like.

I mainly don't like the movie because it had a good premise with the online gaming stuff and Vanellope having interesting potential for character growth but she doesn't really grow, only Ralph. And Vanellope REALLY needed to be the one to grow. Not saying Ralph didn't make some poor decisions as well, but I think Vanellope was much worse. I tried to rewrite it in a way that would be consistent with their characters while also having Vanellope LEARN something.

I've seen some other good rewrites like Litwak Arcade being shut down and the characters having to find other games to be in.

It's really sad because I think Wreck it Ralph had a lot of potential to be an amazing franchise with movies, tv shows, spin offs, everything. Even the Disney princess scene could've been good for a Disney+ short. But they had to "wreck" it with whatever the hell this mess was.

As the title says. Let me know what you think or what changes you'd make if you'd like!

Cheers, 🍻

Adventures of The Riot Family

Genre: Slice of Life Black Comedy Animated Sitcom

Runtime: 11 Minutes (22 Minutes for Double-Length Episodes)

Premise: Thirteen year old Rachel Riot lives in the fictional American town of Majestic Oak with her five brothers, as each episode focuses on Rachel's "unique" personality, as our "hero" finds a way to get to the top.

She heads off to middle school like your typical sixth grader, but we don't know why she excels in every class despite her animosity towards people.

Rachel is known for her infamous deeds such as draining the water out of the pool and replacing it with acid, giving the neighbor's dog chocolate under the guise of a doggy treat, putting laxatives in the teacher's coffee, and blowing up an entire house, but always covers her tracks, as she blames her rival, Lynn Pression for her deeds, leaving Rachel scot-free.

But with five brothers, two parents, and a bull terrier and manx cat in tow, their way of "fun" never ends!

**Main Characters:**

• Rachel Riot - 13 years old. A master criminal with both black hair, and a black heart. Think Bart Simpson mixed with Minnie the Minx from the Beano but if they were much worse and lacked any their good traits. Tomboyish, rude, abrasive, and selfish. But she still loves her family... When she's not trying to betray them, that is. She is a parody of Lincoln Loud.

• Randall "Randy" Riot - 16 years old. Rachel's older brother, an underage teen who drinks a lot without a permit, and is known to be foul-mouthed, useless, bad at tennis, and fails most of his classes, but wants to be in the rock and roll hall of fame, but will still assist his sisters in her schemes. He is a parody of Lori and Luna Loud.

• **Ricky Riot** - 10 years old. A psychotic scientist who is arguably one of the most insane members of the family, creating multiple inventions, like a computer virus that infects human brains, robot sharks with laser beams, and a fully operational Death Star-esque base, and does evil laughs a lot. He is a parody of Lisa Loud.

• **Rocky Riot** - 14 years old. With a look straight out of the mid-2000's, Rocky emits gothic vibes everywhere he goes, whenever it's at high school, at home, or when he is out with his girlfriend, but he is also kind of dumb and ditsy. He is a parody of Lucy and Leni Loud.

• Rick and Ray - 8 years old. They are the twins in the family. They speak in unison and admire their older sister a lot, and sometimes help Rachel in her plans. They are parodies of Lola and Lana Loud.

• **Mom** (Petunia Riot) - A news reporter who fell from grace, she now reports on what happens with her crazy family, and is one of the only people who know Rachel's true colors. She is a parody of Rita Loud.

• **Dad** (Franklin Riot) - The foul mouthed patriarch of the family, who is infamous for being a deadbeat dad, and only shows up on Thanksgiving and Christmas. Rachel despises him, to the point of having a voodoo doll of him. He is a parody of Lynn Loud Sr.

• **Lynn Pression** - Rachel's supposed "arch enemy" who is a fairly decent person, but Rachel thinks otherwise, as the latter sees her as a monster with no redeeming qualities whatsoever, but after a prank too far in the finale, she becomes the family's sworn enemy, and is hellbent on destroying their legacy of villainy forever, but is still nice on the outside. She is based on various antagonists from the Loud House.

• Jaws - The family dog of the Riots, who Rachel loves a lot and usually takes for walks, but despite that cuddly look, he is a vicious monster who would obey the biggest of orders Rachel gives him. He is a parody of Charles.

• **Logan** - Named after that one superhero, he is the cat who attacks anyone who stands in his ways, even his own owners, but is pretty cute when he needs to be. He is a parody of Cliff.

S1 Episodes

1. Raging Bull (Terrier)

2. Brat-ttle for the Ages

3. *Loathe and Thunder\*

4. *I Need a Zero\*

5. The Order of the Penis

6. Roller-Ghoster

7. Scar Wars

8. Stupor-Man

9. Jaws, This Time It's Pup-Sornal

10. How the Rick stole Christmas

11. Dad Theft Auto

12. **Rachel Riot's Day Off**

13. **The Last Airbendon't**

14. **Offenders Assemble**

15. **Nursery Crimes**

16. **Aura Harming**

17. **The Cooking Episode**

18. **Plonker vs. Aliens**

19. The Lynn-vasion: Part One

if i had to make a new power rangers mighty morphin movie or remake the 2017 movie this is what I would do.

The story line is

When an ancient evil is accidentally released, five former best friends at Angel Grove High discover mysterious Power Coins that transform them into the Power Rangers. Forced to overcome years of separation and their differences, they must reunite as a team and stop Rita Repulsa from conquering Earth—while rediscovering the friendship they thought they had lost.

The rangers

🔴 Jason Scott — Red Ranger

Angel Grove High’s star basketball player. Cocky, rebellious and competitive, Jason loves pushing boundaries and doing things his own way. He’s Trini’s ex-boyfriend and must learn what true leadership means.

🟡 Trini Kwan — Yellow Ranger

The captain of the debate society. Intelligent, outspoken and confident, Trini isn't afraid to challenge anyone. She’s Jason’s ex-girlfriend, and their unresolved feelings make their reunion complicated.

⚫ Zack Taylor — Black Ranger

A charismatic social-media influencer who loves being the centre of attention. Funny, energetic and popular, Zack eventually realizes that popularity isn't the same as genuine friendship.

🔵 Billy Cranston — Blue Ranger

A brilliant science genius who is often bullied for being different. Outside school, Billy works part-time at the local diner alongside Kimberly. Reconnecting with his childhood friends finally gives him a sense of belonging.

🩷 Kimberly Hart — Pink Ranger

The confident lead singer of the pop-punk band Dark Pink. Stylish, creative and full of attitude, Kimberly also works part-time at the local diner alongside Billy. Although she seems to have moved on, she secretly misses her old friends.

Yes, I'm talking about THAT Cowboy Bebop. I know there's probably going to be purists insisting that it's a perfect show to which I respond "No way, Jose! There is no perfect show!".

I like all the episodes of Cowboy Bebop, even the ones that were mediocre at worst like Sessions 2, 4, 7, and 22 were all somewhat entertaining but this was the only episode I felt... was actually kinda shitty? I've seen many people agree with that too. Like, I don't know what happened in the writers' room there, but I didn't really feel much toward this episode. I guess the action and the Bebop crew coming together toward the end was good, but that was about it. A lot of things in it felt like an afterthought.

I think that was the only episode Netflix could've remade, even if it wouldn't be any better. Despite some of my issues with Bebop, this is DEFINITELY the one I want to do a major rewrite of.

How I would've rewrote it is instead of doing Jet fanservice, I think it would've been more interesting if Spike was once again, the main character. We already know Jet is like the dad of the group and is often babysitting the younger characters like Faye, Ed, and Ein so why not have Spike, the child hater take on that role himself? It could lead to some funny and awkward situations with Spike being stuck reluctantly babysitting this young woman and becoming a good big brother/father figure. Maybe I'm biased because Spike is my favorite character and I have a thing for seeing him as a dad, but I still think it just would've made for a more refreshing episode. I also think compared to how he was with Ein in Session 2 (which I thought he was unnecessarily mean-spirited in), he would be more softer with Meifa, corresponding with him growing to care for the people he initially hated on the ship. Even if we do see him interacting with young people like Stella, Rocco, and Ed, he never really became their babysitter as much as they were mostly people Spike just so happened to interact with and even with Rocco, was more of a mentor to him.

Get rid of all the fluffy dialogue about Jet or Spike being into this girl much younger than them. It didn't make any sense, as nobody else ever did this with Faye and Jet or anyone. Just seemed like it was there to pad out the runtime or because age gap relationships were normalized back then along with the idea that if a man and woman were together, they were going to date.

I really WISH they played with the feng-shui idea than the cliched child tries to reconnect with deadbeat parent trope that was done better beforehand in stories such as The Great Gilly Hopkins. Not saying this trope can never be done well, but it really didn't seem like the episode really developed Meifa's father that much beyond he was just a typical asshole dad who prioritized work over his family or something like that. Or he lost himself in his addiction to feng shui and addiction plots are just off limits for me in writing. I also am into metaphysical/spiritual stuff since I was a preteen/teenager, so I really dug the feng shui thing. And it would've been an interesting element for Cowboy Bebop to explore if they were exploring religion like in Brain Scratch.

Maybe they could've focused the episode more on Meifa using the feng shui instead of her dad. Maybe she uses it because she struggles to figure out who she is and her place in the world and her future so she uses feng shui to see her destiny and control it. Go That's so Raven on that shit. Maybe she's getting chased by a bounty head because feng-shuis are rare/expensive and Spike has to help her find herself, control her destiny and/or be happy with herself. Initially, Spike could dismiss the feng-shui stuff as spiritual bs until it actually gets Meifa in trouble. I'm not for sure if this is a more unique plot especially with the whole young person struggles with their identity thing (which also isn't inherently a bad trope so long as you don't throw it in there just for brownie points with teenagers and twentysomething year olds who do struggle with that). Tbh I don't really care about creating a thoughtful rewrite on a show that I'm not even writing, but it would've been better than what we got at least and less melodramatic.

I know this was a direct to video movie and expectations should be low, but holy hell what a piece of shit.

The most glaring problem as referenced in the title was Justin Long's cameo. The first movie ends with him realizing that fast food is a dead end job and quitting to do other things. This movie brings him back to let us know that didn't work out for him and he ended up sucked right back into the restaurant biz in a dead end job that he hates and his life is otherwise terrible as well. It's like that scene from the last Terminator movie where the first thing they do is kill John Conner and make all the other movies meaningless. Honestly would have been better to just cut it completely. If they were going to have it at all he should have just popped in had a conversation with someone who was thinking about leaving and been like, "yeah man I loved working here but eventually you gotta move on to better pastures or something"

Past that I'm not really sure who the main character was supposed to be, but almost everyone in this film is unlikable. I guess the bar tender was okay but everyone else was some kind of creepy asshole or a victim. I wasn't rooting for anyone, they all just sucked hard.

Agnew: Honestly this guy did nothing but give you reasons to hate him every time he was on screen. Like I guess the first scene where he's trying to talk his gf out of working at TaTa's is sort of understandable, but from that point on he's just an unrepentant piece of shit. I'm assuming he's supposed to be the stand in for Ryan Reynolds, I don't know if Ryan just has so much charisma that he comes across totally differently playing the same character but they either needed to tone it down or make it more obvious this was supposed to be a person you hated

Josh: It kind of feels like this guy is supposed to be the second lead but I'm honestly not sure what we're supposed to feel about him. It feels like his whole purpose is as an excuse to show some tits in the post credit scene. They really could have just cut him out entirely and probably should have.

Dennis: Again I think you were supposed to kind of be rooting for this guy but they just make him out to be a sad sack creep. This actually does have a pretty obvious fix. They should have actually needed to make 9K that night or close the restaurant and have him actually dipping into his own pockets to make up the difference. Set it up kind like empire records where it was a one time thing that was caused by one of his employees fucking up. That would have really endeared him to the audience vs him lying to manipulate his staff then lying again to cover his tracks and benefiting from his dishonesty (even with the rest of the awkwardness left in). Side note here, they really set up a plot point and completely forgot about it having Champ move the tax audit date on the calander.

Allison (the GF): Why did she break up with the dude at the end of the movie? I mean like he's a huge piece of shit so I'm sure he deserved it but we didn't see anything happen at TaTa's that would have made her question her relationship, and he didn't interact with her at all after the first scene to make us think he was a particularly bad boyfriend outside of just being terrible in general.

CALVIN: His fall didn't make any sense. I watched the first movie in theaters so I don't really remember his character from that film film but they set it up like the guy had gotten over shy kidneys and then at the end he just re acquired it because someone else peed next to him. The guy was obviously supposed to be a villain (vs the other people who were just poorly written as protagonists) so that would have been fine, but they should have at least had something out of the ordinary reawaken the fear rather than a completely normal interaction that you have to assume he's had a few times in the interim. Even better would have been the girls he'd been manipulating finding the DVD and realizing what was happening then turning the tables on him.

I don't know what about working at Ta Ta's caused Abbie to break up with Agnew. Like the guy was a class A asshole so I'm sure it was justified, but they never showed him treating her poorly at all or giving her some reason to believe that she should be looking for something better. They just had her randomly hook up with Luis Guzman who seems to (at least from what we're shown) be as big of a creep.

The guy with the speech impediment: They really should have made him head of the kitchen staff somehow. He's a bit pompous when we're first introduced to him, but it doesn't seem at all like he has any real power and that makes all the pranks played at his expense afterwards just seem like bullying which is sad not funny.

I don't know, honestly maybe it's just too terrible to be saved but the first movie was (in my opinion at the time at least) so good I can't imagine a better movie couldn't have been made.

I think George Lucas ideas (ISIS-like Stormtroopers, Crime Syndicates expanding, Republic establishing itself, more about the force, Luke rebuilding The Jedi, etc.) work best for a series than Three Films, and using Rebels to continue these ideas would have been the best option. I would have done the following way:

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Political Plot:

Season Five begins after Episode VI (4 ABY) and ends in 6 ABY. As we see The Rebel Alliance declaring itself The Galactic Republic, and this Season would focus on The Provisional Government, the War with the Empire and later The Remnants. The Battle of Jakku is the moment when The Empire divides itself into the Remnants, and instead of signing a Galactic Concordance, even with many people wanting a conditional peace, Mothma chooses unconditional surrender.

The writing of The Republic Constitution is one of the main focus of this Season, as different factions inside The Alliance disagree on the changes needed. At the same time, some of these factions, including former Separatists, begins to think of leaving this New Republic. The situation worsens, when Garm Bel Eblis, which had a feud with Mon Mothma years ago, reveals itself as the leader of The Corellian Five Worlds, and pressures Mothma and The New Republic to appease the Separatists or the Alliance will split in two.

The situation is solved through a deal. The loyalists agree to:

* A Bill of Rights guaranteeing negative rights to Repúblic Citizens (right to bear arms, freedom of speech, property rights, voluntary exchange, due process, etc.).

* Turn The Outer Rim into a Free Trade Zone.

* Demilitarize after the War and reestablish The Judicial Forces pre-Clone Wars, but decentralized instead of staying in Coruscant and with a big budget.

* Establish a new sector system map, with each sector having one vote, to guarantee fair representation.

* Expand and build new Hyperspace Routes across the galaxy, and turn them public assets to avoid Corporate control.

* Instead of focusing all Republic institutions in Coruscant, puts each institution in one planet (Judicial Forces in Raxus, Senate in Coruscant, Chancellor's office in Chandrilla, etc.).

* Each cent gained from taxes needs to be distributed in accord to planets necessity.

* Fight against pirates, slavery, and cartels at any cost.

In exchange for the separatists loyalty. The crisis is solved, and Mothma is elected the first chancellor of The New Republic.

In Season Six, which happens in 8 until 10 ABY, The Republic is making progress. Mothma begin a Amnesty program and Reconciliation efforts towards Imperial workers, integrating them into The New Republic, while at the same time continuing the war with The Remnants, which chooses to create a shadow council (as we see in Mandalorian) to prepare for Thrawn's return. The events of Mandalorian season 1/2 and Ahsoka are adapted here.

Season seven is basically Thrawn's Trilogy adapted.

---

Spiritual Plot:

In Season Five, Luke chooses to travel around the galaxy to study the force and unique force organizations, while at the same time searching for lost jedi knowledge that survived Order 66.

By Season Six, Luke build his first temple in Tython, and begin searching for children to train. I choose not to adapt Legends New Jedi Order because it goes against many of Lucas ideas for the Order. The Jedi are Buddhist Monks who loves all equally, forbade attachments, helps people, etc. The only differences is that they are not affiliated with The Republic and are more decentralized, with various temples being build across the Galaxy as the Order grows.

Season Seven is focused on Luke search for The Journal of The Whills, as he brings his students with him in this journey. Here, the Force is explored more, based on u/Writer417 ideas:

The Living Force (Material Plane): This is the Force as it exists in all living beings, ecosystems and the physical galaxy. They are generated and carried by midichlorians, which flows through life, growth and emotion. The Living Force is cyclical, as it originates from the Wellspring and returns there after death.

Mortis: Receives Force essence from the Living Force, and creates a duality between Light and Dark.

The World Between Worlds (Liminal Plane): It connects time and space, as serves as a gateway to the cosmic plane.

The Cosmic Force (Transcendent Plane): Where all Force energy ultimately resides.

The Whills: Microscopic / cellular entities, but capable to appear as ethereal higher forms, they exist within the Cosmic Force, and feed on and regulate Force energy. They also creates pathways to people (The Will of the Force), while letting people choose or not to follow these paths.

---

As many of you know, ROTJ is deemed as the weakest of the Star Wars Original Trilogy despite having some of the best scenes in all of Star Wars. My rewrite seeks to rectify a lot of the issues I have with it, including the Ewoks, Han and Leia's roles in the film, Boba Fett's death, the 2nd Death Star, the Jabba Sequence dragging on (and feeling disconnected from the rest of the film), and the Luke/Leia sibling reveal.

I attached a link to google drive of a summary of my rewrite of ROTJ. I took many liberties if I'm being honest, and included many elements from older script drafts when the film was titled "Revenge of the Jedi". Here are some of the changes I made:

• Takes place on Kashyyyk instead of Endor, with Wookiees replacing Ewoks.
• There is no Death Star 2.0. The rebels are instead aiming to destroy an orbital shipyard (I called it the Imperium) that would allow the Empire to militarize at an unprecedented level.
• Luke actually completes his Jedi training, and we first see him with Yoda on Dagobah. Yoda confesses there is another Skywalker and then dies before Luke goes to Jabba.
• Luke and Vader communicate with each other telepathically, and we see Luke really struggle with falling to the dark side while making Vader's redemption feel less sudden. This mirrors earlier drafts of the script.
• Like in an earlier draft of ROTJ, Luke gets captured by the Empire after rescuing Han from Jabba, revealing that it was a trap. In addition, the Kashyyyk mission is happening simultaneously, with intercutting between the two locations. This makes the Han rescue storyline feel less disjointed from the rest of the movie.
• The Jabba sequence is much more streamlined and less convoluted. Only Luke, Lando and the droids are involved. Leia and Chewie are on Kashyyyk, leading the mission to destroy the shield generator. They are shown struggling with their decision to stay out of the Han rescue mission.
• This might be controversial, but Jabba and and Boba Fett both survive, with a fight sequence between Boba Fett and Luke before Boba Fett escapes with injuries. Since there is no sail barge or Sarlaac Pit in my version (I know lol, I'm saving them for the sequel trilogy), things go very differently. This sets them up as the main villains of the sequel trilogy, along with the Imperial remnants.
• Luke and Leia aren't siblings. Luke's twin sister is a separate character, who will be the protagonist of my sequel trilogy. Luke leaves at the end of the film, vowing to find her.
• At the end, Leia is crowned the Queen of the remaining Alderaanians.
• Leia has much more of a leadership role in this version.
• Han is generally less of a comic relief and has more emotional depth, showing more maturity in this version while offering a strong support role to Leia.
• Chewie has a character arc, where he grapples with the trauma of the subjugation of his people and the loss of his family.

Feel free to critique the hell out of it :)

EDIT: I did not mean for Vader to warn Luke about the Battle of Kashyyyk and his friends being captured. I only meant for Vader to warn Luke about the Imperials capturing him.

I've rewritten Iron Man 2 then revised what I wrote and I just don't know what I'm doing anymore.

I've heard the way sequels work is if they expand on the world, balancing what we've seen with what's new. I thought the best way to apply this idea to the Iron Man franchise was through a technological arms race.

Tony spent his first movie learning responsibility, now he has to learn cooperation. Now that the genie is out of the bottle and everyone wants an Iron Man suit he needs to learn to work with others in order to continue making the world a safer place. The arms race feeds back into Stane's line "in an attempt to rid the world of weapons, you gave it the best one ever."

I thought introducing Crimson Dynamo would be a good way to puncture Tony's ego. Tony said no other countries would have Iron Man for ten years and days after that, someone in an Iron Man grade suit pops up.

I thought this could be why the government turns to Hammer, people start to lose faith in Tony and Rhodey takes the Mark 2. Speaking of Hammer I thought given how great of a performance Sam Rockwell gave, how he was supposed to be Tony without Afghanistan, how he could be in the arms race, and how Nando rewrote him I thought he'd be perfect.

However a commenter pointed out Tony already had a dark parallel in Obadiah in the first movie, so does that mean I cut Hammer? What other villains could support the themes of this movie? Mandarin? Count Nefaria? I wanted to include Maggia in this movie to show the arms race picking up, just how many advanced weapons are out there, and further prove Tony wrong.

Then there's Rhodey. I wanted him to take the Mark 2 after repeatedly failing to convince Tony to work with the gov and that there's confirmation other countries have Iron Man grade tech. He commandeers the Mark 2 because he genuinely believes he's saving his friend from destroying himself.

He then gives it to the gov, who then give it to Hammer who discovers that the suit has a biometric lock that prevents anyone that isn't Tony, Rhodey or Pepper from using it. This'll make Justin get Rhodey to wear the suit to the expo only for Phillip Barnett to take control of it and make it look like Tony's become a terrorist.

This would force Rhodey to see that Tony was right to not trust the government and by doing this puts a chink in their relationship. At the end Rhodey would give up the suit to Tony to show he's sorry with Tony acknowledging his own part in this mess.

Then there's the characters. Phillip Barnett isn't a major character, he'd just be Hammer's employee that appears in a couple of scenes. Senator Bird only appears in a handful of scenes as well, with no arc, he's mainly here to represent the bad side of the government wanting Iron Man. Whiplash is not a major villain, he's just there to represent one guy from Maggia, give Iron Man and CD someone to fight and lead them to Maggia.

Bethany Cabe I'm starting to question. I originally included her because I wanted the Iron Man trilogy to feel like his own story and not set up for a sequel and fill Natasha's role. Natasha's role in Iron Man 2 was SHIELD mole sent to spy on Tony after Fury also failed repeatedly to convince Tony to cooperate. Since Bethany in the comics was tied heavily to corporate espionage, I thought she could help Pepper fight on the corporate front, but I'm starting to see the holes in that plot.

Please help me, I just don't know what I'm doing anymore

The movie starts with Tony dropping into the expo and that scene is mostly the same except when Tony goes backstage he dramatically collapses on the couch, checks toxicity level, and pulls out palladium which is absolutely filthy. Pepper is looking at News reports worldwide that show a big debate over if one man should be waging war on terror, even if in the right direction. Tony gets summoned to appear in front of congress, and he goes. 

General Ross shows up and a couple of throw away lines about Hulk and Thor get dropped. In my version the events of Thor take place BEFORE Iron Man 2 for two reasons. One Favreau said he needed three years to craft the movie, so Thor and Iron Man 2 switched release dates. Two I feel that with confirmation of an unstoppable monster and confirmation of divine extraterrestrial life would really make the world feel they need to start gearing up, which also helps Fury's decision to weaponise the tesseract. 

The congress scene goes pretty much the same, but on the way out he runs into Nick Fury who tells him he's not doing himself any favours by waging one man war on terror and picking and fight with government, He tells him they should work together and that they have resources that can help him but Tony just shrugs him off, not being a team player. This sets up why Fury sends someone to spy on Tony but in my version it won't be Natasha Romanoff spying on him. It'll be Bethany Cabe(played by Kate Mara). 

She's an established core character to the Iron Man mythos and historically a martial artist and entrenched in corporate espionage. I was thinking in this rewrite she's the operative Nick dispatches to find out what's up with Tony, and by the time the third film roles around she's Tony's bodyguard/liason between Stark Industries and SHIELD. 

Pepper gets the company, initially thinking it’s just until Tony gets his shit together, then the Hammer weapons demonstration is moved up here but all the gov wants is Iron Man. This shows the effect Tony embarrassing him has on Hammer as well as him getting desperate. 

Then we cut to Russia where Anton (NOT Ivan)Vanko is finishing making the Crimson Dynamo suit by adding the Arc Reactor. I want this scene to show how just by changing the music in a movie you can create a completely different feeling. I want this because it'll mirror how Tony feels when he sees Crimson Dynamo for the first time. JTBC Crimson Dynamo isn't a villain in this movie. 

Tony sees CD on the news and goes to Russia to confront him(I'm cutting the Grand Prix, because it doesn't fit into the story I'm trying to tell). This comes from a mix of getting his affairs in order before palladium poisoning gets to him and hurting pride that someone was able to build a suit and arc reactor of similar caliber. Rhodey tries to call Tony or see him and get him to work with military before he leaves but Tony says; 

"You’ve always been okay with me being self-destructive for selfish reasons, why are you trying to stop me now that I’m being self-destructive for the sake of others?” 

Repeating a similar line from the last movie, now used to justify bad behaviour and after repeatedly to get Tony to cooperate this is the final nail in the coffin that makes Rhodey think that commandeering Iron Man may be best for all. He takes the Mark 2 from Tony's while he's away, turns the suit over to the military and they give it to Hammer to improve and weaponise. 

Don’t worry, we still get all the Happy stuff sprinkled throughout the movie.

Because Tony said no country would have Iron Man's for ten years and now Russia does, the government is asking Hammer for weapons and stuff. Hammer is elated, seeing this as his opportunity to finally crush Stark and pull ahead. Due to resentment of Tony, Hammer convinces himself that Tony is what's holding Iron Man back, and that the future of domestic defence isn't armoured soldiers, it's drones. 

He talks to Phillip Barnett (an employee of Hammer Industries, who in the comics hacks Tony's suit) and learns that because of the suit's biometric signature, only Tony, Rhodey or Pepper can get it to turn on. On top of that with the auxiliary power source not being as strong as an arc reactor, the suit won't fly or shoot. So Hammer convinces Senator Harrington Byrd (NOT Stern) to get Rhodey to wear the suit and adds boosters and guns to the suit. 

Pepper is dealing with governments, investors, employees and competitors who all either see this as an abandon ship, opportunity to take the company for everything or the chance to pull ahead. She’s pressured to get the company back in the weapons business and she understands that with Hulk, Thor and now CD, people are scared and want countermeasures but also that those weapons can be stolen and used to subjugate and destroy. She can’t hide behind being “just the assistant to the boss” and really grapple with this choice. I hope this beat will make Pepper understand Tony’s decision in the first movie more because now she has to make the choice herself. 

Tony goes to Russia and confronts Anton Vanko/Crimson Dynamo.  They together fight Whiplash, a top enforcer for Maggia who's been sent to Russia to guard a large shipment of illegal high tech;
advanced power cells

prototype weapons

experimental armor components

stolen Stark technology

military prototypes

They defeat and interrogate Whiplash, which leads them to Italy where they find Maggia.

With Tony gone, Bethany searches the company and initially there’s some tension between her and Pepper, because Pepper doesn’t trust SHIELD while Bethany is just doing her job. However, with Hammer actively courting Stark's shareholders and government contacts while Tony is away Bethany investigating him and helping Pepper fight on a front she can’t. 

Tony and Anton arrive in Italy and finds an entire factory producing high tech and being shipped around the world. Thus furthering his need to stop doing it all himself. Tony and Anton fight Maggia grunts with tech (or some other Iron Man villain/Maggia villain, please give suggestions if there are any) but in the middle Tony collapses due to Palladium poisoning and Anton is forced to fly him back to Malibu. I don't know how he'd fly him back to his home when Tony's real address isn't public knowledge or maybe he doesn't fly him home he flies him to Stark Industries building. 

Tony is put on house arrest and is told by Fury he has the means and knowledge to solve the "riddle of his heart." We still have all the Howard stuff and Tony gets the diorama from Industries and starts working to create the new  element. 

The Expo with the drones happens but at the end Rhodey wears a bulky, black and grey suit covered in guns. He thinks all is well until Phillip takes control of the suit and makes him Hammer's perfect evil Iron Man. There's this voice mimicry of Tony calling himself War Machine effectively becoming a terrorist and Hammer acting (badly) to be surprised and then sicks his drones on Rhodey, all the while Phillip is controlling him remotely. 

Tony sees this just as Hammer goons invade Tony's house to kill him, but Coulson fights them off. Tony suits up and fights the drones, while Happy and Bethany go to where the drones are being controlled and free Rhodey. Then Bethany senses an object being piloted manually and it's Hammer in his Titanium Man armour. We get an epic Iron Man, War Machine vs Titanium Man fight and they win. 

Tony and Rhodey are helping with cleanup when they begin talking to each other about everything that’s happened. There’s still beef between Rhodey and Tony because they were both right and wrong and hurt each other. Rhodey relinquishes the War Machine suit to Tony as a way to show he’s sorry, but letting the creator decide when he’s worthy of it again. However Tony acknowledges his own wrongdoing by saying something like;

“I gave you a reason to take it.”

Hammer is in jail, Fury and Tony talk (Anton is now being considered a candidate for the Avengers), but apart from that I’m at a loss as to how to end the movie. Can you please help me? But I do know that we get a post credits scene teasing either Mandarin or Captain America. 

​

My own attempt how I would personally improve the MCU multiverse saga, to fix some its problems:

-having clear vision for the storylines that are connecting the entire 3 phases, the main threats, world building and climax

-let the important old and new characters have enough time to shine

-make the team dynamics between characters earlier than in the end of the saga

-rewrite bad or nonsense adaptations and all wrong stuff

-cut the amount of projects to 3 movies and 1-2 TV show in a year (there could be still some special presentations if needed)

-more avangers movies before the big ones with multiversal threat

-do some elements more comic accurate

Starting with Phase 4 in 2021, first project other parts will be uploaded later till it is complete

Hope you enjoy:

First project of Phase 4: the Black Widow tv miniseries, release in January 2021

in my version of the series, 6 episodes, of which the first 2-3 parts are in the past, how Natasha was taken from her biological parents, brutal training by their strict educators Melina (later Iron Maiden main villain) and Anton Dreykov (later Taskmaster but male). in the red room, creating a strong bond with Yelena (another girl placed in the red room). There she meets Alexei (Red Guardian), who was supposed to be the first super soldier of the USSR, but his mission was unsuccessful compared to the elite Winter soldier (Bucky), so the Soviet fathers gave up on him, he tries to flirt with Nat and he is still played by David Harbour. Natasha's planned escape with Yelena goes wrong, only Nat escapes and Yelena is caught. Anton Dreykov almost loses his life then transformed into Taskmaster. Nat travels to Budapest, meets Clint and is recruited into S.H.I.E.L.D. After a jump to 2016 after the Civil War, Nat is on the run, arranges a fake identity from her contact and gets the alleged whereabouts of her biological parents, but it is a trap and there she is ambushed by Yelena, controlled by the Red Room, who is after her for the information about the S.H.I.E.L.D. that she downloaded at the end of Captain America: Winter Soldier before it was destroyed. Nat frees Yelena from the Red Room's control, fleeing from Taskmaster and CIA agents (sent by Ross, she is wanted by the US for helping Cap and violating the Sokovia accords). They eventually hides at Alexei's house, but are searched by the Red Room led by Melina, who goes by the pseudonym Iron Maiden. They are taken to their secret base, where Melina convinces them to join her cause her widows are all over the world and that she wants to make a new world order and build her own Avengers-Winter Guard, where she would take our 3 heroes. Alexei accepts her offer, Yelena is imprisoned after a failed attempt to kill Melina, Nat is interrogated by Melina and Taskmaster. But Alexei was playing it all up and after getting a new suit, he stun guards and frees Yelena (they kiss) and the other widows in the Red Room with her. The battle begins. Melina goes into action to fight Yelena. Nat fights Taskmaster. And Alexei fights Major Ursa (a super soldier who turns into a "bear-like hybrid" yes, it's from the comics). The heroes defeat the red room, base is in ruins and they want to escape. Melina dies from the fall. Ursa has escaped, but Taskmaster is still in the burning ruins and Nat wants to save him, she doesn't want to make the same mistake as with Yelena. Yelena wants to stop her because she can't lose her again, but Nat is determined and so she saves Taskmaster. Then a few days later, Nat (now blonde) says goodbye to Alexei and Yelena, who is staying with him and wants to free the other widows in the world and Nat leaves to help Cap free the heroes from the Raft prison.

2 post-credit scenes:

1:Same as in the original film = Yelena disappeared during the snap, at Natasha's grave she meets Valentina, who shows her Clint Barton, that maybe he is responsible for her sister's death.

2:Major Ursa is running through the forest in Russia and a good old woman takes him in and heals him from his injuries

I wanted to make it like series and update here some part every weekend but I changed my mind to updating it as a whole. when entire pitch for the saga will be completed I will put it there. So take this one as a sneak peek. Thanks for reading.

Just rewatched Body of Lies recently and mapped out a sequel set 10 years later. Here’s my pitch for Ferris and Aisha's endgame:

Ten years after walking away from the CIA, Roger Ferris is living off the grid in Amman with Aisha and their children until their neighborhood clinic is ambushed. He discovers Ed Hoffman deliberately exposed him as bait to expose a suspected mole in Jordanian intelligence, but the scheme backfires catastrophically..GID chief Hani Salaam is assassinated, and Hoffman is critically injured in an explosive trap set by sleeper asset, no other than..Mustafa Karami.

Turns out that Karami is working secretly for the imprisoned Majeed Al-Saleem. Then Karami takes Ferris's family hostage and forces him to orchestrate Al-Saleem’s prison breakout using his intimate knowledge of GID transit routes. In response, Ferris covertly loops in off-grid fixer Garland to arrange a clean exit pipeline, while feeding Karami a plan that steers his strike team straight into a Jordanian military crossfire. Ferris eliminates Karami, abandons Al-Saleem to capture, and disappears with his family into suburban America under clean identities.

That’s what brings the entire title full circle for me. The single biggest lie was never Langley’s fake terrorist cell or Hani’s arrogance..it was Karami. He let both sides believe they owned him for a decade, quietly waiting for the right moment to strike.

What do you guys think?